BOSTON SYMPHONY ORCHESTRA

SEIJI OZAWA MUSIC DIRECTOR

109TH SEASON 1989-90 ~

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Imported English Gin, 47.3% Alc/Vol (94.6°), 100% Grain Neutral Spirits. © 1988 Schieffelin & Somerset Co.. New York, N.Y. Seiji Ozawa, Music Director Carl St. Clair and Pascal Verrot, Assistant Conductors One Hundred and Ninth Season, 1989-90

Trustees of the Symphony Orchestra, Inc.

Nelson J. Darling, Jr., Chairman Emeritus

J. P. Barger, Chairman George H. Kidder, President Mrs. Lewis S. Dabney, Vice-Chairman Archie C. Epps, Vice-Chairman Mrs. John H. Fitzpatrick, Vice-Chairman William J. Poorvu, Vwe-Chairman and Treasurer

David B. Arnold, Jr. Mrs. Eugene B. Doggett Mrs. August R. Meyer Peter A. Brooke Avram J. Goldberg Mrs. Robert B. Newman James F. Geary Mrs. John L. Grandin Peter C. Read John F. Cogan, Jr. Francis W. Hatch, Jr. Richard A. Smith Julian Cohen Mrs. Bela T. Kalman Ray Stata

William M. Crozier, Jr. Mrs. George I. Kaplan William F. Thompson Mrs. Michael H. Davis Harvey Chet Krentzman Nicholas T. Zervas

Trustees Emeriti

Vernon R. Alden Mrs. Harris Fahnestock Mrs. George R. Rowland Philip K. Allen E. Morton Jennings, Jr. Mrs. George Lee Sargent Allen G. Barry Edward M. Kennedy Sidney Stoneman Leo L. Beranek Albert L. Nickerson John Hoyt Stookey Mrs. John M. Bradley Thomas D. Perry, Jr. John L. Thorndike Abram T. Collier Irving W. Rabb

Other Officers of the Corporation

John Ex Rodgers, Assistant Treasurer Michael G. McDonough, Assistant Treasurer Daniel R. Gustin, Clerk Administration

Kenneth Haas, Managing Director Daniel R. Gustin, Assistant Managing Director and Manager of Tanglewood

Michael G. McDonough, Director of Finance and Business Affairs Evans Mirageas, Artistic Administrator Anne H. Parsons, Orchestra Manager Caroline Smedvig, Director of Public Relations and Marketing Josiah Stevenson, Director of Development

Robert Bell, Data Processing Manager Michelle R. Leonard, Media and Production Madelyne Codola Cuddeback, Director Manager, Boston Symphony Orchestra of Corporate Development Marc Mandel, Publications Coordinator Patricia F. Halligan, Personnel Administrator John C. Marksbury, Director of Sarah J. Harrington, Budget Manager Foundation and Government Support Margaret A. Hillyard, Director of Volunteers Julie-Anne Miner, Supervisor of Russell M. Hodsdon, Manager of Box Office Fund Accounting Craig R. Kaplan, Controller Richard Ortner, Administrator of Nancy A. Kay, Director of Sales & Tanglewood Music Center Marketing Manager Scott Schillin, Assistant Manager, John M. Keenum, Director of Pops and Youth Activities Tanglewood Music Center Development Joyce M. Serwitz, Director of Major Gifts/ Patricia Krol, Coordinator of Youth Activities Assistant Director of Development Steven Ledbetter, Musicologist & Cheryl L. Silvia, Function Manager Program Annotator Susan E. Tomlin, Director ofAnnual Giving

Programs copyright '1990 Boston Symphony Orchestra, Inc.

Covtr by Jaycole Advertising, Inc./Cover photo by Steve J. Sherman Board of Overseers of the Boston Symphony Orchestra, Inc.

.John P. Cogan, .Jr.. Chairman R. Willis Leith, Jr., Vice-Chairman Mrs. Kay A. Goldberg, Vice-Chairman Mrs. K. Douglas Hall III, Secretary

Mis. David Bakalar Haskell H. Cordon E. James Morton Bruce A. Beal Steven Grossman David G. Afugar Mrs. Leo L. Beranek Joe M. Ilenson David Nelson

Lynda Schubert Bodmaii Susan M. I lilies Robert P. OBloek Donald C. Bowersock, Jr. (Men II. Hiner Walter II. Palmer William M. Bulger Mis. Marilyn Brachman Hoffman Andrall E. Pearson Mis. Levin II. Campbell Ronald A. Homer John A. Perkins Earle M. Chiles Julian T. Daphne Brooks Prout Mrs. C. Thomas Clagett, Jr. Lola Jaffe Millard II. Pryor, Jr. James F. Cleary Anna Faith Jones Robert E. Remis William H. Congleton H. Eugene Jones John Ex Rodgers William P. Council Susan B. Kaplan Mrs. William II. Ryan Walter J. Connolly. Jr. Mrs. S. Charles Kasdon Keizo Saji Albert C. Cornelio Richard L. Kaye Roger A. Saunders Mrs. Eugene B. Doggett Robert D. King Mrs. Raymond H. Schneider Phyllis Dohanian Mrs. Gordon F. Kingsley Mark L. Selkowitz Hugh Downs Mrs. Carl Koch Mrs. Donald B. Sinclair Goetz B. Eaton Robert K. Kraft W. Davies Sohier, Jr. Harriett M. Eckstein George Krupp Ralph Z. Sorenson Edward Eskandarian Mrs. Hart D. Leavitt Ira Stepanian

Katherine Fanning Stephen R. Levy Mrs. Arthur I. Strang John A. Fibiger Frederick H. Lovejoy, Jr. Mark Tishler, Jr. Peter M. Flanigan Mrs. Charles P. Lyman Luise Vosgerchian Henry L. Foster C. Charles Marran Roger D. Wellington Dean Freed Nathan R. Miller Robert A. Wells Peter H.B. Frelinghuysen Hanae Mori Mrs. Thomas H.P. Whitney Mrs. James Garivaltis Mrs. Thomas S. Morse Mrs. John J. Wilson Jordan L. Golding Richard P. Morse Brunetta R. Wolfman Mark R. Goldweitz

Overseers Emeriti

Mrs. Weston W. Adams Mrs. Louis I. Kane Mrs. Peter van S. Rice Mrs. Frank G. Allen Leonard Kaplan Mrs. Jerome Rosenfeld Mrs. Richard Bennink Benjamin II. Lacy Mrs. William C. Rousseau Mary Louise Cabot Mrs. James F. Lawrence Francis P. Sears, Jr. Johns Congdon Mrs. Stephen V.C. Morris Mrs. Richard H. Thompson Mrs. Thomas J. Galligan Stephen Paine, Sr. Mrs. Donald B. Wilson Mrs. Richard D. Hill David R. Pokross

Symphony Hall Operations

Robert L. Gleason, Facilities Manager James E. Whitaker, House Manager

Cleveland Morrison, Stage Manager Franklin Smith, Supervisor of House Crew Wilmoth A. Griffiths, Assistant Supervisor of House Crew William D. McDonnell, Chief Steward H.R. Costa, Lighting Officers of the Boston Symphony Association of Volunteers

Nina Doggett, President Thelma Goldberg, Executive Vice-President Pat Jensen, Secretary Goetz B. Eaton, Treasurer Florence T. Whitney, Nominating Chairman

Vice-Presidents

Mary Bates, Hall Services Denise Mujica, Membership Charles Jack, Adult Education Susan Robinson, Fundraising Projects Marilyn Larkin, Tanglewood Carol Scheifele-Holmes, Public Relations Kathy Massimiano, Tanglewood Preston Wilson, Development Services Molly Millman, Regions Pat Woolley, Youth Activities

Chairmen of Regions

Krista Kamborian Baldini Kathleen G. Keith Patti Newton Joan Erhard Helen Lahage Pamela S. Nugent Bettina Harrison Janet Landry Beverly J. Pieper Betty Hosage Elaine Miller Patricia L. Tambone

Business and Professional Leadership Association Board of Directors

Harvey Chet Krentzman, Chairman James F. Cleary, BPLA President Members

J. P. Barger Thelma Goldberg Malcolm L. Sherman Leo Beranek Joe Henson Ray Stata William F. Connell George H. Kidder Stephen J. Sweeney Walter J. Connolly Vincent M. O'Reilly Roger Wellington Nelson J. Darling

For their continued support of the Boston Symphony Orchestra, special thanks to the

Massachusetts Council on the and the National arts and I Endowment f humanities for the Arts also serving science museums and environmental institutions Our 150* Aimvamy W- 18& jewelers since * • Classical Harmonies: i / The Opus III Edition. tt

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generous support and encouragement of young people, she has given many beginning artists, BSO dancers, and musicians a chance to succeed at their chosen professions.

"Salute to Symphony" Boston Symphony Chamber Players at Turns Twenty Jordan Hall, Sunday, February 18, at 3 p.m. March 2-5 Soprano Dawn Upshaw joins the Boston Sym- phony Chamber Players and pianist Gilbert This year's "Salute to Symphony," to take Kalish for the second concert of the Chamber place Friday, March 2, through Monday, for Players' 1989-90 season on Sunday afternoon, March 5, marks an important milestone February 18, at Jordan Hall at 3 p.m. Dedi- this annual event— 1990 is the twentieth year cated to the memory7 of the distinguished that the Boston Symphony Orchestra and American mezzo-soprano Jan DeGaetani, the WCRB 102.5 FM have collaborated to produce program will include music of Debussy, a radiothon. Known as the "Musical Mara- Stravinsky, Delage, Piston, Falla, and Ravel, thon" from 1971 through 1984, the event has with Ms. Upshaw featured in Stravinsky's become one of the BSO's most important fund- Three Japanese Lyrics and Two Poems of raising efforts and community outreach proj- Konstantin Balmont, Ravel's Three Poems of ects. WCRB will again dedicate more than

Stephane Mallarme, Delage 's Four Hindu forty hours of on-air time to "Salute," this Poems, and Falla's Psyche. Single tickets are year spotlighting favorite BSO performances of $15, $11.50, and $8.50, available in advance at Beethoven's concertos and overtures. To cele- the Symphony Hall box office or by calling brate the 50th anniversary of the Tanglewood Symphony-Charge at (617) 266-1200 (tickets Music Center this summer, TMC alumni con- are available at the Jordan Hall box office only ductors and soloists will also be featured in the on the day of the concert) broadcast. NYNEX is the corporate sponsor of "Salute to Symphony" for the second consecu- tive year. Symphony Spotlight A highlight of the event since 1977 has been

77/ is is one in a series of biographical sketches a live BSO concert telecast by WCVB-Channel that focus on some of the generous individuals 5. This year's performance, to be led by Seiji who have endowed chairs in the Boston Sym- Ozawa and John Williams, will celebrate Mr. phony Orchestra. Their backgrounds are varied, Williams's tenth- anniversary season as Con-

but each felt a special commitment to the ductor of the Boston Pops Orchestra, Monday, Boston Symphony Orchestra. March 5, from 7:30 to 9 p.m. Hosted by WCVB's Chet Curtis, Natalie Jacobson, and Helen Sagoff Slosberg Chair Frank Avruch, the telecast will also feature

It is fitting that Helen Sagoff Slosberg, an footage from the BSO's recent tour to the Far ardent and loyal Boston Symphony Orchestra East and of Seiji Ozawa at a Celtics basketball devotee who died in 1985, should have game. endowed the BSO's first horn chair, currently Following upon last year's success, Sym- held by Charles Kavalovski, in her name. A phony Hall will once again open its doors to longtime supporter of the Boston area arts the greater Boston community, on Sunday,

community, and most particularly of music, March 4, from 11 a.m. to 5 p.m. This day of Mrs. Slosberg had always helped bring music free performances and activities for the entire to many people, young and old. She and her family will include tours of Symphony Hall, husband Samuel, together with Mr. Slosberg's performances by choral and instrumental brother Charles and sister Mildred Landay, ensembles, performances on Symphony Hall's donated the Slosberg Music Center to Brandeis famous organ, and informal discussions led by University. Mrs. Slosberg's gifts also included prominent musicians closely associated with works of art to the Worcester Art Museum, the BSO. Refreshments will be available the Boston Public Library, and the Addison throughout the day. Gallery. She gave her prized Oceanic art collec- Members of the Boston Symphony Associa- tion to Brandeis University in memory of a tion of Volunteers will be answering phones in brother who died in childhood. Through her the Cabot-Cahners Room to accept pledges at References furnished on request

Armenta Adams Aaron Copland Santiago Rodriguez American Ballet John Corigliano Abbott Ruskin Theater Phyllis Curtin Kathryn Selby Michael Barrett Rian de Waal George Shearing Michael Feinstein Bright Sheng William Bolcom Lukas Foss Leonard Shu re Jorge Bolet Philip Glass Abbey Simon Boston Pops Orchestra Karl Haas Stephen Sondheim Boston Symphony David Korevaar Herbert Stessin Chamber Players Fernando Laires Tanglewood Music Cente

Boston Symphony Garah Landes Virgil Thomson Orchestra Marian McPartland Nelita True Boston University John Nauman Craig Urquhart School of Music Seiji Ozawa Earl Wild Joanne Brackeen Luciano Pavarotti John Williams Bradshaw and Buono Alexander Peskanov Yehudi Wyner Dave Brubeck Andre Previn and 200 others Baldwin TODAY'S STANDARD OF MUSICAL EXCELLENCE. (617) 262-8700 or 1-800-325-9400 throughout $12 ($8 students and seniors); for further the "Salute" weekend of March 2 through 5. information call 426-2387. When they pledge to the BSO, donors to Founded by BSO cellist Jonathan Miller, "Salute to Symphony" 1990 will be able to the Boston Artists' Ensemble performs choose from a variety of incentive gifts, rang- Mozart's B-fiat string quartet, K.589, Havel's ing from a limited-edition T-shirt for a $25 String Quartet, and Schoenberg's Quartet donation to an opportunity to conduct The No. 2 with soprano Karol Bennett on Friday,

Stars and Stripes Foreverl at a Boston Pops March 9, at 8 p.m. in the Chapel Gallery of concert for a donation of $5,000. The 1990 the Second Church in Newton, 60 Highland "Salute" compact disc or cassette— your gift Street, West Newton. Besides Mr. Miller, the for a donation of $50 — features Leonard Bern- ensemble includes BSO violinists Jerome stein leading the Boston Pops Orchestra. In Rosen and Tatiana Dimitriades, and violist addition, a contribution of $50 or more will Roberto Diaz. Tickets are $9 ($7 students and make you a "Friend" of the orchestra, entitling seniors); for reservations, call 527-8662. you to a variety of benefits. Be a part of Max Hobart leads the Civic Symphony "Salute to Symphony" 1990 -listen to WCRB, Orchestra in Britten's Canadian Carnival, watch WCVB, and please call 262-8700 or Beethoven's Concerto No. 4 with soloist 1-800-325-9400 and make a pledge to help Anthony DiBonaventura, and the Brahms keep great music a vital part of our lives! First Symphony on Sunday, March 11, at 3 p.m. at Jordan Hall. Tickets are $12 and $8; for further information call 437-0231. BSO Members in Concert

Founded by BSO percussionist Frank Epstein, Collage New Music presents a program entitled "Towards the Center Out," including music of Michael Torke, Joyce Mekeel, Lori Dobbins, and Tod Machover on Friday, February 16, at 8 p.m. at the Longy School of Music in Cam- bridge. Stephen Mosko conducts; soprano Joan

Heller is the featured soloist. Admission is $10 ($5 students and seniors); for further informa- tion call (617) 776-3166. The Richmond Performance Series, Mark Ludwig, artistic director and founder, presents the New England String Quartet in music of Haydn, Ravel, and Beethoven on Sunday,

March 4, at 3 p.m. at the Richmond Congrega- tional Church. Admission is $10 ($8 students and seniors). For further information call (617) 437-0204 or (413) 698-2837. Ronald Knudsen leads the Newton Sym- phony Orchestra in Tchaikovsky's Violin Concerto with soloist Lynn Chang and Dvorak's Symphony No. 8 on Sunday, March

4, at 8 p.m. at Aquinas Junior College, 15 Walnut Park in Newton. Tickets are $12; for further information call 965-2555.

BSO principal bass Edwin Barker is soloist in Bottesini's Concerto No. 2 for double bass and orchestra with Harry Ellis Dickson and the Boston Classical Orchestra on Wednesday,

March 7, and Friday, March 9, at 8 p.m. at Faneuil Hall. Also on the program are the overture to Mozart's Marriage of Figaro, Men- delssohn's Symphony No. 1, and Haydn's Sym- phony No. 85, La Reine. Tickets are $18 and Come see how things are

.> 4

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%f Life Care Services Corporation Edgew Call (508) 689-0202. 10284 Seiji Ozawa

Seiji Ozawa was named music director of the Boston Sym- phony Orchestra in 1973 following a year as the orchestra's music adviser; he is now in his seventeenth year as the BSO's music director. With the Boston Symphony Orches- tra he has led concerts in Europe, , and throughout the United States; in March 1979 he and the orchestra made an historic visit to China for a significant musical exchange entailing coaching, study, and discussion sessions with Chinese musicians, as well as concert performances, becoming the first American performing ensemble to visit China since the establishment of diplomatic relations. Ear-

lier this season Mr. Ozawa and the orchestra traveled to Japan for the fourth time, on a tour that also included the orchestra's first concerts in Hong Kong.

Mr. Ozawa pursues an active international career, appearing regularly with the Philharmonic, the Orchestre de , the French National Orchestra, the Vienna Philharmonic, the Philharmonia of London, and the New Japan Philharmonic. Recent appearances conducting opera have included La Scala, the Vienna Staatsoper, and the Paris Opera; he has also conducted at and Covent Garden. In 1983, at the Paris Opera, he conducted the world premiere of Olivier Messiaen's St. Francis ofAssisi.

Mr. Ozawa has a distinguished list of recorded performances to his credit, with the Boston Symphony Orchestra, the Berlin Philharmonic, the London Philharmonic, the Philharmonia of London, the Orchestre National, the Orchestre de Paris, the Chicago Symphony Orchestra, the San Francisco Symphony, and the Toronto Symphony Orchestra, among others. His recordings appear on the CBS, Deutsche Grammophon, EMI/Angel, Erato, Hyperion, New World, Philips, RCA, and Telarc labels.

Born in 1935 in Shenyang, China, to Japanese parents, Seiji Ozawa studied West- ern music as a child and later graduated with first prizes in composition and conduct- ing from Tokyo's Toho School of Music, where he was a student of Hideo Saito. In 1959 he won first prize at the International Competition of Orchestra Conductors held in Besancon, , and was invited to Tanglewood by Charles Munch, then music director of the Boston Symphony Orchestra and a judge at the competition. In 1960 he won the Tanglewood Music Center's highest honor, the Koussevitzky Prize for outstanding student conductor.

While a student of Herbert von Karajan in West Berlin, Mr. Ozawa came to the attention of Leonard Bernstein. He accompanied Mr. Bernstein on the New York Philharmonic's 1961 tour of Japan and was made an assistant conductor of that orchestra for the 1961-62 season. In January 1962 he made his first professional concert appearance in North America, with the San Francisco Symphony. Mr. Ozawa was music director of the Chicago Symphony Orchestra's Ravinia Festival for five summers beginning in 1964, music director of the Toronto Symphony Orchestra from 1965 to 1969, and music director of the San Francisco Symphony from 1970 to 1976, followed by a year as that orchestra's music adviser. In 1970 he was named an artistic director of the Boston Symphony Orchestra's Tanglewood Festival.

Seiji Ozawa has won an Emmy for the Boston Symphony Orchestra's "Evening at Symphony" PBS television series. He holds honorary doctor of music degrees from the University of Massachusetts, the New England Conservatory of Music, and Wheaton College in Norton, Massachusetts. *rf* &tf Leo Panasevich Ciirohfn and George Rowland chair BOSTON Sheldon Rotenberg SYMPHONY Muriel C. Kasdon and ORCHESTRA Marjorit C. Paleyehair SEIJI OZAWA^ Alfred Schneider MmjK Raymond Sird Dinclor Ikuko Mizuno Amnon Levy

Second Violins Music Directorship endowed by Marylou Speaker Churchill John Moors Cabot Fahnestock chair Vyacheslav Uritsky BOSTON SYMPHONY Charlotte and Irving \V Rabb chair ORCHESTRA Ronald Knudsen Edgar and Shirley Grossman chair 1989-90 Joseph McGauley Leonard Moss First Violins * Malcolm Lowe Harvey Seigel Concertmaster *Jerome Rosen Charles Munch chair * Sheila Fiekowsky Tamara Smirnova-Sajfar Ronan Lefkowitz Associate Concertmaster * Helen Horner Mclntyre chair Nancy Bracken Max Hobart *Jennie Shames Assistant Concertmaster *Aza Raykhtsaum Robert L. Beal, and *Valeria Vilker Kuchment Enid L. and Bruce A. Beal chair Lucia Lin *Bonnie Bewick Assistant Concertmaster *Tatiana Dimitriades Edward and Bertha C. Rose chair *James Cooke Bo Youp Hwang *Si-Jing Huang John and Dorothy Wilson chair, fully funded in perpetuity Max Winder Violas Forrest Foster Collier chair Burton Fine Fredy Ostrovsky Charles S. Dana chair Dorothy Q. and David B. Arnold, Jr., Patricia McCarty chair, fully funded in perpetuity Anne Stoneman chair, Gottfried Wilfinger fully funded in perpetuity Ronald Wilkison Robert Barnes * Participating in a system of rotated seating within each string section %On sabbatical leave ^Substituting, 1989-90

10 Jerome Lipson Oboes Trombones Joseph Pietropaolo Alfred Genovese Ronald Barron Michael Zaretsky Acting Principal Oboe J.P. and Mary B. Barger chair, Mildred B. Remis chair fully funded in perpetuity Marc Jeanneret Wayne Rapier Norman Bolter Betty Benthin *Mark Ludwig English Horn Bass Trombone * Roberto Diaz Laurence Thorstenberg Douglas Yeo *Rachel Fagerburg Beranek chair, fully funded in perpetuity Tuba Cellos ^Chester Schmitz Jules Eskin Clarinets Margaret and William, C. Philip R. Allen chair Harold Wright Rousseau chair Ann S.M. Banks chair Martha Babcock §Gary Ofenloch Vernon and Marion Alden chair Thomas Martin Sato Knudsen Peter Hadcock Esther S. and Joseph M. Shapiro chair E-flat Clarinet Timpani Joel Moerschel Everett Firth Bass Clarinet Sandra and David Bakalar chair Sylvia Shippen Wells chair * Robert Ripley Craig Nordstrom Luis Leguia Farla and Harvey Chet Percussion Krentzman chair Robert Bradford Newman chair Charles Smith Carol Procter Peter and Anne Brooke chair Lillian and Nathan R. Miller chair Bassoons ^Arthur Press *Ronald Feldman Richard Svoboda Assistant Timpanist *Jerome Patterson Edward A. Taft chair Peter Andrew Lurie chair *Jonathan Miller Roland Small Thomas Gauger Richard Ranti Frank Epstein Basses Edwin Barker Contrabassoon Harp Harold D. Hodgkinson chair Lawrence Wolfe Richard Plaster Ann Hobson Pilot Maria Nistazos Stata chair, Willona Henderson Sinclair chair fully funded in perpetuity Horns Joseph Hearne Charles Kavalovski Bela Wurtzler Helen Sagoff Slosberg chair John Salkowski Richard Sebring *Robert Olson Margaret Andersen Congleton chair *James Orleans Daniel Katzen *Todd Seeber Jay Wadenpfuhl Personnel Managers *John Stovall Richard Mackey Lynn Larsen Jonathan Menkis Harry Shapiro Flutes Doriot Anthony Dwyer Trumpets Librarians Walter Piston chair Fenwick Smith Charles Schlueter Marshall Burlingame Myra and Robert Kraft chair Roger Louis Voisin chair William Shisler Leone Buyse Peter Chapman James Harper Marian (Way Lewis chair Ford H. Cooper chair Timothy Morrison Piccolo Stage Manager Steven Emery Position endowed by Lois Schaefer Angelica Lloyd Clagett Evelyn and C. Charles Marran chair Alfred Robison

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N°5 CHANEL PARFUM A Brief History of the Boston Symphony Orchestra

Now in its 109th season, the Boston Sym- ers—and the activities of the Boston Pops phony Orchestra gave its inaugural concert Orchestra have established an international on October 22, 1881, and has continued to standard for the performance of lighter uphold the vision of its founder, the philan- kinds of music. Overall, the mission of the thropist, Civil War veteran, and amateur Boston Symphony Orchestra is to foster and musician Henry Lee Higginson, for more maintain an organization dedicated to the than a century. Under the leadership of Seiji making of music consonant with the highest Ozawa, its music director since 1973, the aspirations of musical art, creating perform- Boston Symphony Orchestra has performed ances and providing educational and training throughout the United States, as well as in programs at the highest level of excel- Europe, Japan, and China, and it reaches lence. This is accomplished with the con- audiences numbering in the millions through tinued support of its audiences, governmen- its performances on radio, television, and tal assistance on both the federal and local recordings. It plays an active role in com- levels, and through the generosity of many missioning new works from today's most foundations, businesses, and individuals. important composers; its summer season at Henry Lee Higginson dreamed of found- Tanglewood is regarded as one of the most ing a great and permanent orchestra in his important music festivals in the world; it home town of Boston for many years before helps to develop the audience of the future that vision approached reality in the spring through the Boston Symphony Youth Con- of 1881. The following October, the first certs and through a variety of outreach pro- Boston Symphony Orchestra concert was grams involving the entire Boston commu- given under the direction of conductor Georg nity; and, during the Tanglewood season, it Henschel, who would remain as music direc- sponsors one of the world's most important tor until 1884. For nearly twenty years Bos- training grounds for young composers, con- ton Symphony concerts were held in the Old ductors, instrumentalists, and vocalists, the Boston Music Hall; Symphony Hall, the Tanglewood Music Center, which celebrates orchestra's present home, and one of the its fiftieth anniversary in 1990. The orches- world's most highly regarded concert halls, tra's virtuosity is reflected in the concert was opened in 1900. Henschel was suc- and recording activities of the Boston Sym- ceeded by a series of German-born and phony Chamber Players — the world's only -trained conductors— Wilhelm Gericke, permanent chamber ensemble made up of a Arthur Nikisch, Emil Paur, and Max major symphony orchestra's principal play- Fiedler — culminating in the appointment of

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

13 BRILUdMTLY DRY the legendary Karl Muck, who served two Charles Munch followed Koussevitzky as tenures as music director, 1906-08 and music director in 1949. Munch continued 1912-18. Meanwhile, in July 1885, the Koussevitzky's practice of supporting con- musicians of the Boston Symphony had temporary composers and introduced much given their first "Promenade" concert, music from the French repertory to this offering both music and refreshments, and country. During his tenure the orchestra fulfilling Major Higginson's wish to give toured abroad for the first time and its con- "concerts of a lighter kind of music." These tinuing series of Youth Concerts was initi- concerts, soon to be given in the springtime ated. began his seven-year and renamed first "Popular" and then term as music director in 1962. Mr. Leins- "Pops," fast became a tradition. dorf presented numerous premieres, restored many forgotten and neglected works to the In 1915 the orchestra made its first repertory, and, like his two predecessors, transcontinental trip, playing thirteen con- made many recordings for RCA; in addition, certs at the Panama-Pacific Exposition in many concerts were televised under his San Francisco. Recording, begun with RCA direction. Leinsdorf was also an energetic in 1917, continued with increasing fre- director of the Tanglewood Music Center, quency, as did radio broadcasts. In 1918 and under his leadership a full-tuition fel- Henri Rabaud was engaged as conductor; he lowship program was established. Also dur- was succeeded a year later by Pierre Mon- ing these years, in 1964, the Boston Sym- teux. These appointments marked the begin- phony Chamber Players were founded. ning of a French-oriented tradition that would be maintained, even during the William Steinberg succeeded Leinsdorf in Russian-born Serge Koussevitzky's time, 1969. He conducted a number of American with the employment of many French- and world premieres, made recordings for trained musicians. Deutsche Grammophon and RCA, appeared regularly on television, led the 1971 Euro- The Koussevitzky era began in 1924. His pean tour, and directed concerts on the east extraordinary musicianship and electric per- coast, in the south, and in the mid-west. sonality proved so enduring that he served an unprecedented term of twenty-five years. Seiji Ozawa, an artistic director of the Regular radio broadcasts of Boston Sym- Tanglewood Festival since 1970, became the phony Orchestra concerts began during orchestra's thirteenth music director in the Koussevitzky's years as music director. In fall of 1973, following a year as music 1936 Koussevitzky led the orchestra's first adviser. Now in his seventeenth year as concerts in the Berkshires; a year later he music director, Mr. Ozawa has continued to and the players took up annual summer res- solidify the orchestra's reputation at home idence at Tanglewood. Koussevitzky passion- and abroad, and he has reaffirmed the ately shared Major Higginson's dream of "a orchestra's commitment to new music good honest school for musicians," and in through his program of centennial commis- 1940 that dream was realized with the sions and a newly initiated program includ- founding of the Berkshire Music Center ing such prominent composers as John (now called the Tanglewood Music Center). Cage, Hans Werner Henze, Peter Lieberson, and Bernard Rands. Under his direction the In 1929 the free Esplanade concerts on orchestra has also expanded its recording the Charles River in Boston were inaugu- activities to include releases on the Philips, rated by Arthur Fiedler, who had been a Telarc, CBS, EMI/Angel, Hyperion, New member of the orchestra since 1915 and World, and Erato labels. who in 1930 became the eighteenth conduc- tor of the Boston Pops, a post he would Today, the Boston Symphony Orchestra, hold for half a century, to be succeeded by Inc., presents more than 250 concerts annu- John Williams in 1980. The Boston Pops ally. It is an ensemble that has richly ful- Orchestra celebrated its hundredth birthday filled Higginson's vision of a great and per- in 1985 under Mr. Williams's baton. manent orchestra in Boston.

15 BOSTON SYMPHONY ORCHESTRA

BOSTON Seiji Ozawa, Music Director SYMPHONY Carl St. Clair and Pascal Verrot, ORCHESTRA

Assistant Conductors SEIJI OZA*Ai J, W.JK One Hundred and Ninth Season, 1989-90 \bh Ihr.clor

Tuesday, February 15, at 8 Friday, February 16, at 2 Saturday, February 17, at 8 Tuesday, February 20, at 8

CLAUS PETER FLOR conducting

BRAHMS Violin Concerto in D, Opus 77 Allegro non troppo Adagio Allegro giocoso, ma non troppo vivace IDA HAENDEL

INTERMISSION

16 MENDELSSOHN Die erste Walpurgisnacht ("The First Walpurgis Night"), Cantata, Opus 60, for soloists, chorus, and orchestra Overture: "Das sehlechte Wetter" ("Bad Weather"; Allegro con fuoco) — "Der Ubergang zum Fruhling" ("The Transition to Spring"; Allegro vivace non troppo)

I. Allegro vivace non troppo (Druid and Chorus of the Heathen)

II. Allegretto non troppo (An Old Woman of the Heathen and Chorus of Women) III. Andante maestoso (The Priest and Chorus of Men) IV. Allegro leggiero (Chorus of Druid Guards) V. Recitativ— Allegro moderato (One Druid Guard and Chorus of Guards) VI. Allegro molto (The Priest and Chorus of Druid Guards and Heathen) VII. L'istesso tempo— Andante maestoso (The Priest and Chorus of Druids and Heathen) VIII. Allegro non troppo (A Christian Guard, Chorus of Christian Watchmen, and General Chorus of Druids and Heathen) IX. Andante maestoso (The Priest and Chorus) GAIL DUBINBAUM, mezzo-soprano (An Old Woman of the Heathen) JON GARRISON, tenor (Druid; Christian Guard) HAIJING FU, baritone (Druid Priest; Druid Watchman) TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor

The evening concerts will end about 9:55 and the afternoon concert about 3:55. RCA, Deutsche Grammophon, Philips, Telarc, CBS, EMI/Angel, New World, Erato, and Hyperion records Baldwin 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.

17 Week 15 A SALUTE TO THE BOSTON SYMPHONY & BOSTON POPS

MARCH 2-5

LISTEN TO WCRB 102.5 FM FRIDAY, MARCH 2-MONDAY, MARCH 5

Listen for historic BSO performances and interviews with celebrities past and present.

VISIT SYMPHONY HALL

SUNDAY, MARCH 4, 11AM-5PM Come to the Symphony HallaOpen House, a day of free activities for the entire family! ymphoni[) 1990

WATCH WCVB-TV CHANNEL 5

MONDAY, MARCH 5, 7:30-9PM

Seiji Ozawa and John Williams will lead a live Boston Symphony telecast celebrating John Williams' 10th season as Conductor of the Boston Pops Orchestra.

PLEDGE TO SALUTE TO SYMPHONY 1990

Call (617) 262-8700 or 1-800-325-9400. In return for your generosity we will send you

a special BSO incentive gift! NYNEX Corporate Sponsor 18 Violin Concerto in D, Opus 77

Johannes Brahms was born in Hamburg, ,

on May 7, 1833, and died in Vienna on April 3, 1897. He wrote the Violin Concerto in the summer and early fall of 1878, but the published score incor- porates revisions made after the premiere, which was given by the dedicatee, , in

Leipzig, on January 1, 1879, with the Gewandhaus Orchestra under the composer's direction. The first American performance was given by BSO concert- master Franz Kneisel, with Arthur Nikisch conduct- ing the Boston Symphony Orchestra, on December 6

and 7, 1889. Kneisel played it in subsequent seasons with Emit Paur and Wilhelm Gericke. Since then, it has also been performed at BSO concerts by Adolph Brodsky (Nikisch), Maud MacCarthy (Ger- icke), Fritz Kreisler (Gericke, Max Fiedler, Karl Muck), Hugo Heermann (Gericke), Carl Wendling (Muck), Mischa Elman and Felix Barber (Fiedler), Anton Witek (Fied- ler, Muck), Carl Flesch (Muck), Albert Stoessel (Pierre Monteux), Richard Burgin (Monteux, Serge Koussevitzky), Vladimir Resnikojf and Georges Enesco (Monteux), Jacques Thibaud (Michael Press), Albert Spalding (Burgin), Jascha Heifetz, Nathan Milstein, Adolf Busch, Bronislav Huberman, Paul Makovsky (Koussevitzky), Joseph Szigeti (Koussevitzky, Charles Munch), Efrem Zimbalist (Koussevitzky), Ginette Niveu (Burgin), Yehudi Menuhin, Patricia Travers, Arthur Grumiaux (Munch), Isaac Stern (Munch, Monteux), Leonid Kogan (Monteux), Christian Ferras, Jacob Krachmalnik, Roger Shermont (Munch), Zino Francescatti (Burgin, Erich Leinsdorf, William Stein- berg), Shmuel Ashkenasi and Joseph Silverstein (Leinsdorf), David Oistrakh (Stein- berg), Miriam Fried (Silverstein, ), Gidon Kremer (Colin Davis), Joseph Silverstein (Eugene Ormandy), Henryk Szeryng (Andrew Davis), Salvatore Accardo (Leonard Slatkin), Stern (Seiji Ozawa), and Itzhak Perlman (Ozawa). Uto Ughi gave the most recent Symphony Hall performance, with Giuseppe Sinopoli con- ducting, in October 1985. Midori was the soloist in the most recent performance, last summer at Tanglewood, with Leonard Slatkin on the podium. In addition to the soloist, the score calls for two each offlutes, oboes, clarinets, and bassoons, four horns, two trumpets, timpani, and strings.

The Violin Concerto of Brahms represents both a close collaboration of two great friends and the testament to their friendship. Brahms was twenty in May 1853 when he met the violinist Joseph Joachim, who was also a fine conductor and a solidly grounded composer in his own right. Though just two years older than Brahms, Joachim was already a well-established musician. A close bond of shared artistic ideals sprang up between the two men at once and remained unbroken for more than thirty years. (There was a rupture between them in the middle 1880s, when Brahms clumsily tried to help patch Joachim's failing marriage. Brahms later composed his

Double Concerto as a peace offering; it was accepted, but the two never regained the unfettered frankness of their earlier friendship.)

It is not clear when Joachim first asked Brahms to write him a concerto, but, in any case, the violinist had to wait a number of years before receiving the work. Not until the summer of 1878 did the composer feel ready to essay the concerto, his first

since the Piano Concerto No. 1, which had been a catastrophic failure with the audi- ence at its premiere in 1859. Brahms drafted the score during a fruitful summer in Portschach, a favorite vacation spot where, as he wrote, "So many melodies fly about

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20 that one must be careful not to step on them." In fact, the Violin Concerto bears some resemblance in mood to another D major work composed in Portschach the pre- ceding summer, the Second Symphony. Not only do the two works share a key, but also a family resemblance in their melodic character.

At first Brahms planned the Violin Concerto in four movements and in fact drafted all four, but eventually he replaced the two middle movements with a new slow move- ment. One of the movements thus removed was a scherzo, now apparently lost. Still, its planned inclusion in the Violin Concerto is of interest for showing that the inclu- sion of a large and very difficult scherzo in the Second Piano Concerto, which Brahms started sketching in 1878 and then put aside until after he had finished the Violin Concerto, was not just a freak. Something within Brahms wanted the concerto to aspire to the condition of the symphony.

On August 21, 1878, Brahms suggested to Joachim that they collaborate on the final details of the solo part, since the composer was not himself a violinist. At first

Joachim received only the violin part to edit, and he complained that it was impossi- ble to do a proper job without having at hand the entire score. But Brahms did not want to let the score out of his hands until he felt he had finished the work, and that took the rest of the year, so Joachim was unable to complete his editing before he had to play the premiere on New Year's Day, 1879. Joachim, of course, was the solo- ist, and the normally shy and retiring Brahms conducted. The critical response was certainly more favorable than it had been for the piano concerto two decades earlier, but Brahms was still regarded as a composer of severely intellectual music that made extraordinary' demands on its listeners, and despite Joachim's ardent championing of the concerto, it did not really join the standard repertory until after the turn of the century.

But Brahms and his friends were clearly pleased, as we can infer from this amus- ing description of the evening's aftermath as reported by a Bostonian, George W.

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THE NEXT LEVEL OF SERVICE Ten Post Office Square, Boston, Massachusetts 02109; (617) 723-1800 Chadwick, who was a student in Leipzig at the time and soon to become one of Amer- ica's leading composers. A few days after the premiere, Chadwick wrote to a friend in Massachusetts:

Joachim played Brahms's new concerto for the violin in the Gewandhaus that night under Brahms's own direction, and about one o'clock I saw the precious pair, with little Grieg (who is here this winter) staggering out of Auerbach's keller (of Faust renown) all congratulating each other in the most frantic manner on the excellent way in which they had begun the New Year. I thought to myself that Johnny Brahms might be the greatest living composer but I did not believe

it could save him from having a "Katzenjammer" the next day about the size of the Nibelungen Trilogy, as many a lesser composer has had.

The process of revision began again after the performance. The intensity of the collaboration is made clear by the composer's manuscript score, which bears the marks of extensive revision in Brahms's hand — this often consists of a reduction in the orchestral texture for the benefit of the soloist — and even more elaborate revisions to the solo part, made in red ink by Joachim himself.

What early audiences found difficult to follow in Brahms was the abundance of his invention. He was never simply content to state a musical idea and then restate it; rather, he begins to develop his ideas from the moment they appear, and the impact of so much material seemed overwhelming to listeners encountering these works for

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A page from Brahms's autograph manuscript of the Violin Concerto. The bottom five staves with music are the orchestra string parts. Brahms cancelled the double basses and

rewrote the cello line to lighten it. The ninth stafffrom the top contains the solo violin

part as Brahms wrote it. Halfway through the page, Joachim crossed out Brahms's ver- sion and wrote his own, in red ink, on the vacant staff above the solo part.

23 Week 15 the first time, as they still can today to a newcomer. The opening orchestral ritornello flows in long musical paragraphs, but these are made up of strikingly varied ideas interwoven and designed so to be capable of development separately or in combination. The sheer profusion of ideas — three strongly contrasted themes arrive in the first two dozen measures and three more not long after — must have bewildered many first- night listeners. Yet Brahms intertwines this material, linking it into an astonishingly compact preparation for the soloist's entrance.

Following the unison melody in the lower strings and bassoons at the outset, the orchestra's soft entrance on an unexpected harmony is clearly a Brahmsian homage to Beethoven's Fourth Piano Concerto.

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Yet precisely at the moment of that harmonic surprise, a new phrase begins in the oboe, and it leads in turn to an assertive leaping figure that brings in the full orches- tra for the first time. Already Brahms begins developing his materials by presenting the opening theme in a kind of free canonic imitation between the bass and treble instruments. The energy generated by this passage seems for all the world the begin- ning of a modulation to a thoroughly traditional secondary key, A major, but instead it returns to the home key to introduce a new series of thematic ideas.

This second part of the orchestral exposition teases by aiming at, yet never quite reaching, a new lyric melody in the normal secondary key. Instead, the massed strings play a marchlike figure in a sharply dotted rhythm — in D minor — followed by a pas- sage of sixteenth-note fiddle work that finally brings in the soloist.

The soloist's entrance is dramatic: a timpani roll launches an upward rush and ref- erences to the figure heard at the outset (though now in the minor), punctuated by the orchestral strings in the rhythm of the marchlike figure. Behind the soloist's sweeping arpeggios, they convert the opening phrase into broad sequence phrases, as the solo violin's part becomes gradually gentler, finally closing on the soloist's first statement of the opening theme, now in a higher octave, with an important new accompaniment in the violas. Now the soloist begins to expand on the themes heard in the orchestral ritornello, causing us to reconsider what we have already heard. Fol- lowing a new phrase of "sublime calm" (in Tovey's phrase), the lower strings sing the second phrase from the opening against a new counterpoint in the solo part. The leaping figure that follows now becomes the accompaniment to a new theme for the soloist:

fiff i 'OWig /

Through this passage the transition to A major is finally made, and the themes that follow, still familiar from the orchestral statement, though enriched with countermel- ody in the violin, appear in the dominant. Finally, the long-awaited moment arrives.

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26 We have been teased and denied a culminating lyric theme in the opening section. Now it appears — swaying, cajoling— as a master stroke for the soloist.

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The marchlike figure and the racing sixteenths bring the full exposition to an end, solidly in A major until the measure that should produce the final confirming chord, but there a fortissimo orchestral tutti destroys the sense of that key as it begins the journey of the development.

Almost at once Brahms's homage to Beethoven again becomes apparent as he moves suddenly to the key of C, far afield from his home tonic. This new key con-

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Offices in Boston, New York, Los Angeles, Newport Beach, San Francisco, Palo Alto and London. Member FDIO An Equal Housing Lender. (=» 'Certain products may not be available in all states. © 1989 The Boston Company, Inc. firms, on the one hand, the unexpected appearance of a C major chord in the ninth measure of the concerto, while at the same time it becomes an homage to Beethoven, whose Violin Concerto (in the same key) made an identical move at the corresponding point. The choice of Beethoven's composition as a model for his own was a natural one, not only because of Brahms's general admiration for Beethoven, but also because

it may be considered the only earlier violin concerto that could be said to occupy the level at which Brahms aimed.

The development blends soloist and orchestra in reinterpreting the ideas already heard in new combinations and expressive development, constantly enriched in content as a new counterpoint in turn becomes the basis of further working-out. Eventually a dominant pedal signals that the recapitulation is imminent. The kind of material that had introduced the soloist earlier returns intensified with new additions from the orchestra; these foreshadow a powerful moment of arrival, which is not long in coming.

The main theme is sounded forth at full volume by the winds, while the upper strings feverishly play the countersubject that had been added when the soloist first played the main theme. Though much of the recapitulation follows a "normal" course, echoing the exposition, with the necessary changes of key, there are two wonderful surprises: the solo violin's lyric theme is heard first in the unexpected and bright key

of F-sharp, though quickly enough it moves to D. By way of compensation, the last orchestral statement, coming in fortissimo to introduce the cadenza—just when we

expect all the surprises to be past — is in the unusually dark key of B-flat, precisely as far from the home D in one direction as F-sharp was in the other. Thus, to the very end of the movement, Brahms's astonishing sense of musical architecture on the large

scale is balanced with the most refined attention to tiny melodic detail.

The slow movement was an afterthought, replacing two whole movements that Brahms decided to cut before the premiere. (Characteristically self-effacing, Brahms described them as "the best parts.") The new Adagio begins with a woodwind passage referred to by violinist Pablo de Sarasate when he explained why he did not intend to learn the new concerto: "Why should I stand there and let the oboe play the one good tune in the piece?" This is, of course, a calumny. The oboe, accompanied by the winds, does indeed have a great, broad melody in F, but as soon as it ends, the strings enter, and the soloist begins an equally remarkable elaboration. Following a more passionate interlude in the very distant key of F-sharp minor, the oboe and solo violin take up the lovely melody again and close in a mood of utter tranquility.

Brahms had been introduced to Joachim by a Hungarian violinist, Eduard Remenyi, with whom he was touring and who taught Brahms about the style of so- called "gypsy" music. The finale of the Violin Concerto is one of his most delightful essays in imitating that exotic style. It is essentially a rondo, with a memorable "gypsy" theme heard at the outset that returns on several later occasions, but the surprises that Brahms brings to the venerable form — unexpected returns of nearly- forgotten material, unusual choices of key, and lively changes of meter — help make this finale, filled with fire, flash, and energy, one of his most vivid creations. When the "gypsy music" finally races home in a new triplet rhythm, we are left breathless with delight.

— Steven Ledbetter

29 Week 15 KE NOTE

The precursor of the oboe goes back to antiquity

— it was found in Sumeria (2800 BC) and was

the Jewish halil, Greek aulos, and the Roman

tibia • After the renaissance, instruments of this type were found in complete families ranging from Q_ the soprano to the bass. The higher or smaller w instruments were named by the French "haulx- bois" or "hault-bois" which was transcribed by

the Italians into oboe which name is now used in English, German and Italian to distinguish the smallest instrument • In a symphony orchestra,

it usually gives the pitch to the other instruments

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30

\ Felix Mendelssohn

Die erste Walpurgisnacht , Opus 60

Jakob Ludwig Felix Mendelssohn was born in

Hamburg on February 3, 1809, and died in Leipzig

on November 4, 1847. Bariholdy was the name of his maternal uncle, Jakob, who had changed his own name from Salomon and taken on Barth/)ldy from the previous owner of a piece of real estate he bought in Berlin. It was he who most insistently urged the family's conversion to Lutheranism; the name Bartholdy was added to Mendelssohn — to dis- tinguish the Protestant Mendelssohns from the Jew- ish ones — when Felix's father actually took that step in 1822, the children having been baptized as early as 1816. Mendelssohn sketched a musical setting of Goethe's ballad Die erste Walpurgisnacht while he was in in the winter of 1830-31 and com- pleted a version of the score on February 13, 1832. Mendelssohn conducted the first per- formance in the Berlin Schauspielhaus on the last of a series offour concerts that he gave there between November 1832 and January 1833. Ten years later he revised the score, conducting it for the first time in the Leipzig Gewandhaus on February 2, 1843. The first American performance took place in Philadelphia on November 30, 1848, with the Sacred Music Society under the direction of H. Knauff. Boston first heard the can- tata on May 3, 1862, when an unnamed chorus was directed by the enterprising B.J. Lang; this was the first concert the twenty-five-year-old Lang ever conducted, and it inaugurated a busy career that lasted for forty-seven years and contributed immensely to the city's musical life. The present performances are the first by the Boston Symphony Orchestra. The score calls for mezzo-soprano, tenor, and baritone soloists, mixed chorus, and an orchestra consisting offlutes, oboes, clarinets, bassoons, horns, and trumpets in pairs, three trombones, timpani, bass drum, cymbals, and strings.

Felix Mendelssohn's reputation has suffered in recent decades from the view that he was a hidebound conservative among the major composers of the early nineteenth century. During his own lifetime he was especially revered in England, where he was the favorite composer of Queen Victoria and Prince Albert. The article on Mendelssohn in the first edition of Sir George Grove's Dictionary of Music and Musicians (1879-89) was longer than that of any composer's but Beethoven and Schubert (all three were written by Grove himself). Inevitably there was a backlash. As "progress" in romantic music came to be defined through harmonic innovation with increasingly extended chromatic harmonies and freer dissonances, Mendelssohn's work was often relegated to the category of the "classical" romantic — almost by definition less original, less significant.

Still, though Mendelssohn's musical vocabulary was less daring than that of a Schumann, a Liszt, or a Wagner, his formal innovations were many. In short, he did more with what he had inherited than most composers of his day. Striking examples occur in the Violin Concerto and the two piano concertos; all three works offer imagi- natively new treatments of such traditional formal devices as the cadenza or the open- ing ritornello. And Mendelssohn virtually invented new genres, too. His Hebrides {Fin- gal's Cave) Overture practically created the one-movement tone poem. Similarly, Die erste Walpurgisnacht broke new ground even in purely formal terms. Large works for chorus and orchestra before this time were usually either liturgical compositions or else oratorios based on a Biblical text. The idea of setting a very modern poem about pagan ritual — even though one with pantheistic overtones— was new. And the kind of

31 Week 15 music Mendelssohn wrote for it was new as well. He anticipated this in an excited letter written to his sister Fanny (herself a talented composer) from Rome on Febru- ary 22, 1831:

Listen and wonder! Since I left Vienna I have half composed Goethe's "First

Walpurgis Night," and have not courage to write it down. The composition has now taken shape, and become a grand cantata, with full orchestra, and may turn out quite amusing, for at the beginning there are songs of spring, and plenty of other similar things. Then, when the watchmen with their pitchforks, pronged

sticks, and owls make a noise, the witches come, and you know that I have a par- ticular foible for them; the sacrificial Druids then appear — in C major — with trombones — after which the watchmen come in again in alarm, and here I mean to introduce a tripping, mysterious chorus; and lastly to conclude with a grand sacrificial hymn. Do you not think that this might develop into a new style of cantata? An instrumental introduction I have gratis, and the effect of the whole

is very spirited. I hope it will soon be finished. I have once more began to com- pose with fresh vigor...

Fresh \igor indeed, considering that he had conceived the Scottish Symphony and wr as composing the Italian Symphony and polishing up the Fingal's Cave Overture, all at roughly the same time!

Goethe had written his "dramatic ballad" The First Walpurgis Night (so called to

distinguish it from the two Walpurgis Night scenes in Faust) at the end of July 1799. It tells a simple tale set in the early German Middle Ages, a time when the heathen tribes had been Christianized, but many of the people had retained elements of their old religion, based on the worship of the sun and the celebration of light. Naturally

the beginning of spring was a significant event in this old religion, and it was cele- brated by the lighting of bonfires, as a symbolic welcoming back of the sun after his winter absence. Ancient traditions in northern Germany declared that witches and

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32 devils gathered around the Brocken, the tallest of the Harz Mountains, on "Saint Walpurga's night," the night preceding May 1. The confluence of this particular saint's day and the legends of witches is an example of the fusion of Christian and M heathen traditions in Medieval Germany. Walpurga was an Anglo-Saxon nun who, »4 "" with her brothers, was an effective missionary to Germany. After her death about 780, she seems to have been confused with a heathen fertility goddess named Wald- borg, so that her feast day, April 30, was the time of a witches' rendezvous in the Harz Mountains.

Immediately after Goethe completed the poem he sent it to his friend, the composer Carl Friedrich Zelter, with the suggestion that he set it to music. Zelter tried twice, but then gave up for a decade. In 1812, Zelter tried a third time to set the ballad, and he asked Goethe for some information about the work. The poet replied on

December 3, 1812:

Now one of the investigators of German antiquities wanted to justify the witches' and devil's ride on the Brocken, which has been known in Germany for ages, by

giving it a historical origin. It seems that the German heathen priests and patri- archs, after they had been driven out of their sacred groves and Christianity had been forced upon the people, retreated, with their faithful disciples, to the wild and inaccessible Harz mountains, in the early days of spring. There, according to ancient custom, they offered up their prayers and their fires to the incorporeal God of Heaven and earth. To protect themselves against the spying, armed mis-

sionaries, they thought it good to disguise several of their number, in order to frighten away their superstitious opponents; and, thus protected by devils' masks, they carried out the purest service of God.

This information evidently did not help Zelter in his search for musical ideas; perhaps recognizing his own limitations, he never completed the setting. But Zelter did, in the end, have something to do with the creation of a musical setting. As the proud and much-admired teacher of the gifted Felix Mendelssohn, Zelter took his charge to visit Goethe when the boy was but twelve years old. Mendelssohn corresponded with Goethe and visited him on later occasions; he was profoundly influenced by the poet's views on art. The last encounter between the composer of twenty and the poet of

Tanglewood Festival Chorus Auditions 1990 Summer Season at Tanglewood

The Tanglewood Festival Chorus, John Oliver, conductor, has openings in all sections for its 1990 summer season with the Boston Symphony Orches- tra at Tanglewood. Among the works to be performed with the Boston Sym- phony Orchestra under Seiji Ozawa are a program of operatic excerpts for the Opening Night Gala Concert, a semi-staged production of Tchaikovsky's Pique Dame with soprano Mirella Freni, and Berlioz's Requiem., the chorus will also perform Ravel's Daphnis et Chloe with the Montreal Symphony Orchestra under its music director Charles Dutoit. In addition, there will be a Friday-evening Weekend Prelude program of choral works under the direc- tion of John Oliver.

Open auditions will be held on Wednesday, March 7, at 6 p.m. on the stage of Symphony Hall, 301 Massachusetts Avenue, Boston. No appoint- ment is necessary; all materials for the audition will be provided. If you have any further questions, please call the Chorus Office at (617) 266-3513.

33 eighty took place in the late spring of 1

Within ei«rht months Felix had written the letter- to his sister, quoted above. announcing that he had set Goethe's poem. It was clear from the letter that Felix expected Fanny to know the poem since he discussed specific details. And it was evi- dent, too. that the act of composition had taken place. Largely or entirely, in the com- poser's mind, for he had not yet written it down. From Rome he wrote to Goethe himself and broke the news of his plan. The poet replied with a warm letter addressed to "My dear son," with a further explanation of the poem.

Really, it is intended highly symbolically. For, in world history, it must occur

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34 Goethe's poem was written at the time of the poet's greatest disgust with Christi- anity and his interest in a nature-oriented pantheism. In the view expressed here, the older religion was a natural one, humanistic and broad-minded, a monotheism derived from natural philosophy, while the Christians were bigoted and superstitious. To a

composer it offered colorful situations for musical treatment, some of which Felix mentioned in his letter to Fanny. The heritage of the Mendelssohn family, from Felix's grandfather, the philosopher Moses Mendelssohn, accepted this broad vision of religious truth. Moses Mendelssohn had, in fact, been the model for "Nathan the Wise," the title character in Lessing's drama of that name, one of the classics of Ger- man literature, which opposed all forms of bigotry and preached religious tolerance.

Mendelssohn wrote down the score not long after his letter to Fanny and completed the cantata by composing its overture in February 1832, but he was saddened that Goethe died that March and Zelter two months later, so that neither was able to hear the piece of which he was so proud.

The version of Die erste Walpurgisnacht that we know today was a revision made

some ten years after the original act of composition. Though it is more frequently

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35 Only you can help the pieces fall into place.

The BSO started the 19894990 season thereby weakening the Orchestras long- with a $10 million difference between what term financial foundation. we will earn— and what we must spend to Your generous gift will help us fund make our music. What is more, our annual outreach, educational and youth programs, grant support from the Massachusetts and attract the worlds finest musicians and

Council on the Arts and Humanities has guest artists. been severely reduced due to state budget Become a Friend of the Boston cuts. Unless these funds are found else- Symphony Orchestra today. This year, where, continuing all current programs will more than ever, only you can help the result in reductions in our endowment, pieces fall into place.

Yes, I want to help keep great music alive. I'd like to become a Friend of the BSO for the 1989-1990 season.

(Friends' benefits begin at $50. ) Enclosed is my check for $ payable to the Boston Symphony Annual Fund

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Address.

City. State. Zip_

Please send your contribution to: Susan E. Tomlin, Director of Annual Giving, Boston Symphony Orchestra, Symphony Hall, Boston, MA 02115. (617) 266-1492. KEEP GREAT MUSIC ALIVE L J heard in Germany than elsewhere, the cantata is still not as well known as it deserves to be, either from its historical position at the head of romantic secular cantatas or for the fresh musical ideas that we find there.

There had been secular cantatas in the Baroque era; Bach's Der zufriedengestellte Aeolus or Handel's Semele might have served as models had Mendelssohn known them. But lacking such models he was forced to invent his own approach and thus to become a pioneer in a form that was to become ubiquitous in the romantic era, as choral organizations all over Europe and America developed a tradition of great cho- ral festivals at which such works could be heard.

As for its music, Die erste Walpurgisnacht at times approaches opera in its energy and color. It contains power, fresh lyricism, and even humor, that rarest of all com- modities in romantic music. The orchestra projects an elemental energy rare for Men- delssohn, as in the opening orchestral passage depicting the stormy winds of winter (the A minor theme heard at the outset is a close relative to a theme Mendelssohn invented at about the same time for his Scottish Symphony); evocations of lightning and thunder burst forth, but it subsides into a wonderfully fresh chorus in which the women's voices hail the arrival of May. The Priest hails the coming of the new light and asks the crowd to thank the Universal Father with him. This they do in a chorus that, like the rest of the worship music of the "heathens" throughout the cantata, is grand in its simple nobility.

An old woman recalls the dire threats that have been made by the Christians and asks whether the people dare risk the reprisals. But the plan is to turn their own superstitions against them. If they want to believe in the existence of witches and dev- ils, the people gathered here will provide the "proof when they come to disturb the ritual.

The Druid guards prepare themselves for the encounter, which takes place to a wonderfully imaginative racket: shrill and grotesque, with the full orchestra — including the bass drum, cymbals, and piccolo — it is some of the most raucous music composed by a German romantic composer. Mendelssohn agonized over whether or not to include the bass drum. The words of the feisty Druids "really drive me to it," he wrote, "but moderation dissuades me." Eventually, though, he decided that modera- tion had little part to play in an evocation of a witches' sabbath, and he went for the noise. Hector Berlioz happened to hear Die erste Walpurgisnacht when Mendelssohn conducted the final version in Leipzig, and it led to one of his few positive comments about the composer, of whom he was not an admirer; he was especially pleased with this passage. But then, Berlioz himself had composed a witches' sabbath in his Sym- phonic fantastique, and he knew what they required!

The real ceremony comes next, and the chorus intones its ceremonial song. The sound brings the Christian watchmen, who have been trying to catch the Druids as they perform their rite. They are quickly put to rout in satiric music inspired by the styles of opera buffa. One look at the "spectres" confronting them, and the watchmen cry "All Hell is coming!" and run away. Now that they are undisturbed, the chorus can complete the ceremony in a more triumphant form of the chorus hailing the eter- nal light. -S.L.

Text and translation begin on page 38.

37 Week 15 DIE ERSTE WALPURGISNACIIT THE FIRST WALPURGIS NIGHT

(Mendelssohn frequently repeats portions of Goethe's poem or assigns the text partly to a soloist and partly to the chorus; occasionally he changes a word or two. The text printed reflects the musical setting, not Goethe's original.)

I. DRUID (Tenor) Es lacht der Mai! May smiles at us! Der Wald ist frei The woods are free Von Eis und Reifgehange. of ice and hoar-frost. CHORUS OF THE HEATHEN Es lacht der Mai! May smiles at us! Der Wald ist frei The wr oods are free Von Eis und Reifgehange. of ice and hoar-frost. Der Schnee ist fort; The snow has gone; Am griinen Ort every green place Erschallen Lustgesange. resounds with songs of pleasure.

DRUID (Tenor) Ein reiner Schnee A pure snow7 Liegt auf der Hoh; lies on the peaks; Doch eilen wir nach oben, we hasten upwards, Begehn den alten heilgen Brauch, to celebrate the ancient sacred rites, Allvater dort zu loben. to praise there the Father of All. Die Flamme lodre durch den Rauch! Let the flame blaze through the smoke! Hinauf! Hinauf! Upward! Upward! So wird das Herz erhoben. Our hearts will be uplifted. CHORUS OF THE HEATHEN Die Flamme lodre durch den Rauch! Let the flame blaze through the smoke! Begeht den alten heilgen Brauch, Perform the old, sacred custom, Allvater dort zu loben! praising there the Father of All. Hinauf! hinauf! Upward! Upward! So wird das Herz erhoben. Our hearts will be uplifted.

II. AN OLD WOMAN OF THE HEATHEN Konnt ihr so verwegen handeln? Can you act so rashly! Wollt ihr denn zum Tode wandeln? Do you want to go to your death? Kennet ihr nicht die Gesetze Do you not know the laws Unsrer harten Uberwinder? of our stern conquerors? Rings gestellt sind ihre Netze Their nets are set all around Auf die Heiden, auf die Sunder. for the heathen, the "sinners." Ach, sie schlachten auf dem Walle On the battlements they'll slay Unsre Vater, unsre Kinder. our fathers, our children. Und wir alle And we are all Nahen uns gewissem Falle. nearing this sure trap. CHORUS OF WOMEN Auf des Lagers hohem Walle On the camp's high battlements Schlachten sie uns unsre Kinder they'll slaughter our children. Ach, die harten Uberwinder! Ah, the stern conquerors! Und wir alle And we are all Nahen uns gewissem Falle. nearing this sure trap.

38 III. PRIEST (Baritone) Wer Opfer heut Whoever this day Zu bringen scheut fears to bring a sacrifice, Verdient erst seine Bande. deserves his chains. Der Wald ist frei! The forest is free! Das Holz dabei, The wood is ready, Und schichtet es zum Brande! prepare it for the burning! CHORUS OF MEN Der Wald ist frei! The forest is free! Das Holz dabei, The wood is ready, Und schichtet es zum Brande! prepare it for the burning! THE PRIEST Doch bleiben wir But we'll remain Im Buschrevier in our wooded hideout Am Tage noch im stillen, silently during the day, Und Manner stellen wir zur Hut and keep men on their guard Um eurer Sorge willen. for the sake of your concerns. Dann aber lasst mit frischem Mut But then, with fresh courage, Uns unsre Pflicht erfiillen. let us fulfill our duty. CHORUS OF MEN Dann aber lasst mit frischem Mut Then with fresh courage Uns unsre Pflicht erfiillen. let us fulfill our duty.

THE PRIEST Verteilt euch, wackre Manner, hier Spread out up here, brave men.

IV. CHORUS OF DRUID GUARDS Verteilt euch, wackre Manner, hier Spread out here, brave men, Durch diese ganze Waldrevier through the entire forest, Und wachet hier im stillen, and wT atch here silently Wenn sie die Pflicht erfiillen. as they perform their duty.

V. ONE DRUID GUARD (Bass) Diese dumpfen Pfaffenchristen, These stupid Christians — Lasst uns keck sie iiberlisten! let us boldly outsmart them! Mit dem Teufel, den sie fabeln, With the very devil they invent Wollen wir sie selbst erschrecken. We'll terrify them. Kommt! Mit Zacken und mit Gabeln Come! With stakes and pitchforks Und mit Glut und Klapperstocken and with flames and rattling sticks, Larmen wir bei nachtger Weile we'll make noise through the night Durch die leeren Felsenstrecken. in these empty rocky gorges. CHORUS OF DRUID GUARDS Kommt mit Zacken und mit Gabeln, Come with stakes and pitchforks; Und mit Glut und Klapperstocken and with flames and rattling sticks, Larmen wir bei nachtger Weile we'll make noise through the night Durch die leeren Felsenstrecken. in these empty rocky gorges. Kauz und Eule The owls Heul in unser Rundgeheule! will howl at our racket!

— Please turn the page quietly.—

39 DRUID GUARD Kommt! koinint! kommt! Come! Come! Conic!

VI. CHORUS OF DRUID (HARDS AND HEATHEN Kommt mit Zacken und mit Gabeln, Come with stakes and pitchforks; Wie der Teuf'el, den sie fabeln, like the devil they invent, Und mit wildem Klapperstoeken and with wild rattling sticks Durch die leeren Pelsenstrecken. through the empty rocky gorges. Kauz und Eule The owls Heul in unser Randgeheule! will howl at our racket! Kommt! kommt! kommt! Come! Come! Come!

VII. THE PRIEST So weit gebracht, We've been brought so far, Dass wir bei Naeht that by night we Allvater heimlich singen! sing in secret to the Father of All!

Doeh ist es Tag, Yet when it is day, Sobald man mag as soon as we may, Ein reines Herz dir bringen. we bring you a pure heart. CHORUS OF DRUIDS AND HEATHEN Doch ist es Tag, Yet when it is day, Sobald man mag as soon as we may, Ein reines Herz dir bringen. we bring you a pure heart.

As a prelude to a BSO concert, or as an occasion in itself, these suppers provide an opportunity to enjoy dinner with old friends or meet new ones who share your love of music.

y- <. > ^» SUPPER CONCERTS SUPPER TALKS The evening begins at 6:00 pm with Supper begins at 6:30 pm members of the BSO performing followed by a talk given by chamber music and concludes an orchestra member or a with supper immediately following. distinguished guest.

For further information on the supper concerts and talks, please call the Volunteer Office, (617) 266-1492. Reservations may be placed, at least 48 hours prior to the event,

using VISA, MasterCard, or American Express. The price of a single supper is $21.00

40 PRIEST AND CHORUS Du kannst z\var heut, Today indeed, Und manehe Zeit, and many times, Dem Feinde viel erlauben. you've granted the foe suecess. Die Flamme reinigt sich vom Rauch: As the flame is purified in smoke, So reinig' unsern Glauben! so purify our faith! Und raubt man uns den alten Brauch, And even if they rob us of our ancient ritual, Dein Licht, wer will es rauben? who can take your light from us?

VIII. A CHRISTIAN GUARD (Tenor) Hilf, ach, hilf mir, Kriegsgeselle! Help, oh help me, fellow soldier! Ach, es kommt die ganze Holle! Alas, all hell is coming! Sieh, wie die verhexten Leiber See, how the bewitched bodies Durch und durch von Flamme gluhen! glow with flames through and through! Menschen-Wolf und Drachen-Weiber, Werewolves and dragon-women, Die im Flug voriiberziehen! passing by in flight! CHORUS OF CHRISTIAN WATCHMEN Schreckliche, verhexte Leiber, Frightening bewitched bodies, Menschen-Wolf und Drachen-Weiber, Werewolves and dragon-women, Lasst uns flieh'n, lasst uns flieh'n! Let us flee, let us flee!

CHRISTIAN GUARD Welch entsetzliches Getose! What a fearful scramble! Lasst uns, lasst uns alle fliehen! Let us, let us all flee! Oben flammt und saust der Bose, Above flames and sparkles the evil one, Aus dem Boden out of the ground Dampfet rings ein Hollen-Broden. steams a hellish brew.

CHORUS OF CHRISTIAN WATCHMEN Welch entsetzliches Getose! What a fearful scramble! Sieh, da flammt, da zieht der Bose, Behold, there flames and sparkles the evil one, Aus dem Boden out of the ground Dampfet rings ein Hollen-Broden. steams a hellish brew.

CHRISTIAN GUARD AND CHRISTIAN WATCHMEN (severally) Lasst uns flieh'n, lasst uns flieh'n! Let us flee, let us flee!

IX. GENERAL CHORUS OF DRUIDS AND HEATHEN Die Flamme reinigt sich vom Rauch: As the flame is purified in smoke, So reinig' unsern Glauben! so purify our faith!

THE PRIEST Die Flamme reinigt sich vom Rauch: As the flame is purified in smoke, So reinig' unsern Glauben! so purify our faith! Und raubt man uns den alten Brauch, And even if they rob us of our ancient ritual, Dein Licht, wer kann es rauben? who can take your light from us? CHORUS Dein Licht, wer kann es rauben? Who can take your light from us?

41 25TH ANNIVERSARY SEASON Join the principal players of the Boston Symphony Orchestra and experience chamber music at its best with one of the world's finest ensembles.

BOSTON SYMPHONY CHAMBER PLAYERS JORDAN HALL AT NEW ENGLAND CONSERVATORY

GILBERT KALISH, pianist

SUNDAY, FEBRUARY 18, 1990, AT 3:00PM

with DAWN UPSHAW, soprano

DEBUSSY Sonata No. 2, for flute, viola, and harp STRAVINSKY Three Japanese Lyrics Two Poems of Konstantin Balmont RAVEL Three Poems of Stephane Mallarme FALLA 'Psyche' RAVEL Introduction and Allegro for harp, string quartet, flute, and clarinet

SUNDAY, MARCH 25, 1990, AT 3:00PM

MOZART Quartet in D for flute and strings, K. 285 LERDAHL Waltzes, for violin, viola, cello, and double bass VOLKMANN Trio in B-flatfor violin, cello, and piano, Op. 5 MOZART Quintet in E-flat for piano and winds, K.452

GOOD SEATS ARE STILL AVAILABLE

TICKET PRICES: $15.00, $11.50, $8.50

Tickets are available through Symphony- Charge, (617) 266-1200, or at the Symphony Hall Box Office. On the day of the concert, tickets are available only at Jordan Hall.

42 More . . .

The Life of Johannes Brahms by Florence May, a two-volume biography that came out in 1905, is still available, superb, and expensive (Scholarly). The most recent life-and- works on a more modest scale is Karl Geiringer's (Oxford). John Horton has contrib- uted a good volume on Brahms Orchestral Music to the BBC Music Guides (Univer- sity of Washington paperback). Donald Francis Tovey's note on the Violin Concerto in his Essays in Musical Analysis is particularly valuable (Oxford, available in paper- back). For the reader with some technical knowledge of music, Arnold Schoenberg's essay "Brahms the Progressive" is not to be missed; it is contained in Style and Idea (St. Martin's). Bernard Jacobson's The Music of Johannes Brahms is a fine introduc- tion to Brahms's style for those not afraid of musical examples (Fairleigh Dickinson University Press). Harvard University Press has issued an elegant facsimile edition of Brahms's manuscript of the Violin Concerto, which shows how much Brahms cor- rected in second thoughts and how much Joachim's editings shaped the solo part. Among the many available recordings of the Violin Concerto, one very special choice is the reissue on compact disc of the performance by Jascha Heifetz at his peak in a superb recording with the Chicago Symphony under Fritz Reiner (RCA, coupled with Beethoven's Violin Concerto). Anne-Sophie Mutter's performance with the Berlin Philharmonic under Herbert von Karajan is full of fire (DG). Itzakh Perlman's ver- sion with the Chicago Symphony under is darker, but thoroughly songful (Angel), and Isaac Stern's 1960 recording with the Philadelphia Orchestra under Eugene Ormandy preserves one of his finest performances on compact disc (CBS).

Karl-Heinz Kohler's Mendelssohn article in The New Grove is the best place to start; it has been reprinted in The New Grove Early Romantic Masters 2, which also includes the Grove articles on Weber and Berlioz (Norton paperback). Philip Rad- cliffe's Mendelssohn in the Master Musicians series (Littlefield paperback) is a good introductory life-and-works treatment, though now somewhat outdated. Eric Werner's Mendelssohn: A New Image of the Composer and his Age is the most recent serious biography, especially good on the period, often trivial on the music. Mendelssohn's own letters are delightful, but the published versions are frightfully bowdlerized; a much-needed new critical edition is in the works. Christoph von Dohnanyi conducts the and Chorus in a fresh- sounding performance of Die erste Walpurgisnacht (Telarc, coupled with the Symphony No. 3, Scottish). I have not heard the only other currently available recording, with Tamara Brooks conducting the New School of Music Orchestra and the Mendelssohn Club of Philadelphia (Arabesque). -S.L.

43 Week 15 'His musical achievement stands out as being of the highest distinction." Ovation

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44 Claus Peter Flor

Making his Boston Symphony debut with these concerts, Claus Peter Flor is music director of the Berlin Symphony Orchestra of East Germany. Born in Leipzig in 1953, Mr. Flor began his musical training in violin and clarinet at the Robert Schumann Conservatory in Zwickau and in 1968 was accepted at the Franz Liszt Institute for Music in Weimar; he continued his studies at the Felix Mendelssohn-Bartholdy High School for Music in Leipzig. While continuing his vio- lin studies, he took a four-year conducting course with Rolf Reuter and joined the conducting class of Kurt Masur after success in numerous competitions. He was awarded the Mendelssohn Scholarship by the Ministry of Culture in 1979 and also won first prize at competitions in and . In 1981 he was appointed principal conduc- tor of the Suhler Philharmonic and began to appear as guest conductor with the lead- ing East German orchestras, including the Leipzig Gewandhaus, the Dresden Staatskapelle, and the Berlin Symphony, of which he became principal conductor in 1984 and music director a year later, becoming one of the youngest conductors ever to hold a music directorship in Germany. In West Germany, he has appeared regu- larly with the Bavarian Radio Orchestra, the Munich Philharmonic, the Radio Sym- phony Orchestras of and Cologne, and the Bamberg Symphony, which he led on tour in December 1988. In January 1988 he made a highly successful debut with the Berlin Philharmonic, becoming the first conductor from East Berlin to con- duct that orchestra since the war. Other recent appearances as guest conductor have included the Orchestre de Paris, London Symphony, Royal Philharmonic, Rotterdam Philharmonic, Amsterdam Concertgebouw, and Zurich Tonhalle. In opera, Claus Peter Flor has conducted at the Bavarian State Opera in Munich and the Semper Opera in Dresden. He recently appeared for the first time with the Berlin State Opera, leading a new production of La traviata. Mr. Flor has an exclu- sive recording contract with RCA Victor Red Seal. Recordings released so far include an album of Mendelssohn overtures and the same composer's music for A Midsummer Night's Dream with the Bamberg Symphony and Chorus; Martinu's Fifth and Sixth symphonies, with the Berlin Symphony, beginning a Martinu cycle with that orches- tra; Cherubini's C minor Requiem with the Berlin Symphony and Chorus; an album of popular classics including Tchaikovsky's 1812 Overture and Liszt's Les Preludes with the Berlin Symphony; and, due for release this month, Franck's D minor sym- phony with the Royal Philharmonic. Mr. Flor's American debut with the Los Angeles Philharmonic in 1985 brought immediate invitations to conduct in St. Louis, Minne- sota, and San Francisco. In the fall of 1988 he led the Berlin Symphony on a world tour including concerts in Great Britain, the United States, Canada, and Japan. Besides his BSO debut this season he makes his debut with the Philharmonia Orches- tra and also appears with the Zurich Tonhalle, Orchestre de Paris, Bamberg Sym- phony, and Gurzenich Orchestra in Cologne. This summer he makes debut appear- ances with the Mostly Mozart Festival in New York and the Philadelphia Orchestra at the Mann Music Center.

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46 Ida Haendel

Born in Chelm, Poland, Ida Haendel began playing the vio- lin when only three-and-a-half years old; her late father, an artist, recognized her talent and devoted as much time as possible to furthering her career. Ms. Haendel began her studies at the Warsaw Conservatory, where she won a gold medal when she was seven; at the same age she won first prize, the Huberman Prize, in a national competition for children fifteen or younger. She left Poland for Paris, where she studied with Carl Flesch and later with Georges Enescu, and began her professional career at Queen's Hall in Lon- don, playing the Brahms Violin Concerto under the direction of Sir Henry Wood. She lived in London and became a British subject during World War II, giving many concerts for the troops. Her international career developed immediately after the war; she has since appeared throughout Europe, Scandinavia, , , the United States, Canada, Central and South America, the Far East, and the Soviet Union. Ms. Haendel appears regularly with the major orchestras of Great Britain and has accompanied them on foreign tours: she has traveled with the London Philharmonic to the first Hong Kong Festival of the Arts in 1973 and on their subsequent tour of China; with the BBC Symphony to Germany, , and Hong Kong; and with the English Chamber Orchestra to Mexico. During the last few years she has performed with many American and Canadian orchestras, including those of Los Angeles, Dallas, Baltimore, Detroit, St. Louis, Montreal, Houston, Min- nesota, Edmonton, New York, and Vancouver. In Britain, besides her many orchestral engagements, she has appeared at such important festivals as Cheltenham, Edin- burgh, King's Lynn, and the Proms. Ms. Haendel' s major engagements during the 1987-88 season included concerts with the London Philharmonic, the Philharmonia, the Scottish National and Royal Philharmonic orchestras, and the orchestras of San Francisco and Indianapolis in the United States, as well as a visit to Spain. Engage- ments since then have included the Meadow Brook Festival, the Proms, the New York Philharmonic, the Dallas Symphony, the St. Louis Symphony, the Philharmonia, the Academy of St. Martin-in-the-Fields, and the Warsaw Philharmonic on the Barbican's "Great Orchestras of the World" series. Besides her Boston Symphony debut, her current season includes concerts with the Philharmonia, the London Philharmonic, the Scottish National Orchestra, the Last Night of the Proms with the BBC Sym- phony under the direction of Sir John Pritchard, the Bavarian Radio Orchestra, the Israel Philharmonic, and the Montreal Symphony. In September 1982, in recognition of her distinguished performances of his violin concerto, Ida Haendel was awarded the Sibelius Medal by the Sibelius Society of Fin- land on the twenty-fifth anniversary of the composer's death. She speaks seven lan- guages and has published the first part of her autobiography — Woman With Violin; she is currently working on the second volume. A two-part television documentary about her life has been completed for Canadian Broadcasting. Ms. Haendel took up

residence in Montreal in 1952 and currently lives in Florida, but she still spends sev- eral months each year touring Europe. Ms. Haendel records for EMI.

47 ongratulations to the Boston Symphony. May your 109th season be one of many high notes.

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48 Gail Dubinbaum

Mezzo-soprano Gail Dubinbaum first attracted national attention by winning the Auditions in 1981; she made her Met debut the following season and has since appeared with many of the world's leading opera com- panies and orchestras. Ms. Dubinbaum performs in opera, concerts, and recitals throughout the United States. Recent seasons have included performances of Bruckner's Te Deum with the New York Philharmonic under ; Met- ropolitan Opera performances as Dorabella in Cosi fan tutte, Rosina in R barbiere di Siviglia, Lola in Cavalleria rusti- cana, and Isabella in L'italiana in Algeri; appearances as Rosina with California's Opera Pacific and the Vienna State Opera, where she made her debut in that role in September 1986; Beethoven's Ninth Symphony with the Phoenix Symphony; Handel's Messiah with the Montreal and Pittsburgh symphony orchestras; Haydn's Lord Nelson Mass with the San Francisco Symphony; Mozart's Solemn Vespers with the Detroit Symphony; and Met appearances in Falstaff, Carmen, L'Enfant et les sortileges, Rinaldo, Adriana Lecouvreur, La traviata, Manon Lescaut, Parsifal, and Francesco da Rimini. She has also toured in recital, including a twenty- concert tour during the 1987-88 season. Her Dallas Opera debut was as Zaida in Rossini's R turco in Ralia, and she was acclaimed in the title role of Rossini's La Cenerentola with Washington Opera. Other concert engagements have included Pergo- lesi's Stabat Mater and Stravinsky's Pulcinella with the Handel & Haydn Society of Boston, and Mozart's Requiem with the Phoenix Symphony. While a member of the Metropolitan Opera's Young Artist Development Program, Ms. Dubinbaum sang for President and Mrs. Reagan on the televised series "In Performance at the White House" in 1983. She was also seen on national television as Isabella in the first-act finale of L'italiana in Algeri on the Metropolitan Opera's Centennial Gala. Gail Dubinbaum made her Boston Symphony Orchestra debut at Tanglewood in 1983, in a performance of Leonard Bernstein's Jeremiah Symphony under the com- poser's direction; she also performed that work with Mr. Bernstein at the Hollywood

Bowl with the Los Angeles Philharmonic and repeated it with the Pittsburgh Sym- phony in celebration of the work's fortieth anniversary. Ms. Dubinbaum's orchestral credits also include concerts with the Los Angeles Philharmonic under the direction of , Myung Whun Chung, and Christopher Hogwood. She made her Carnegie Hall debut in January 1984 performing Mozart's C minor Mass with the New York Choral Society and has also been guest soloist in Bach's B minor Mass under the direction of Gerard Schwarz on the 92nd Street Y's Chamber Concert Series.

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American tenor Jon Garrison divides his time between opera and oratorio on the major stages of North America and Europe. Highlights of his current schedule include the world premiere of a new opera by Stuart Copeland, Holy Blood, Crescent Moon, with Cleveland Opera, Berlioz's L'Enfance du Christ with the Quebec Symphony, Messiah with the Pittsburgh Symphony, Sir 's The Mask of Time also with the Pittsburgh Symphony, and performances with the Cleveland Orchestra and the New York Philhar- monic. Mr. Garrison's recent engagements have included the world premiere of Rasputin with Opera, La traviata with Washington Opera, Otello with the St. Louis Symphony, The Magic Flute with Toledo Opera, The Pearl Fishers with Cleveland Opera, Hie Merry Widow with Portland Opera, and Don Giovanni and La boheme also with New York City Opera. In past summers he has performed at the Spoleto, Tanglewood, and Santa Fe festivals, including a lead role in Cosi fan tutte at Santa Fe in 1988. Recent concert appearances have included a performance of Beethoven's Ninth Symphony under the direction of Robert Shaw. During 1987-88, Mr. Garrison's calendar included a return to New York City Opera for TTie Student Prince, La Rondine, The Magic Flute (including a "Live from Lincoln Center" telecast), The Rake's Progress, La boheme, and La traviata. He also appeared with the San Francisco Symphony, the Philadel- phia Orchestra, the symphony orchestras of Detroit, St. Louis, and Phoenix, Portland Opera, and the Handel & Haydn Society of Boston. Other opera companies with which he has appeared include the Metropolitan Opera, Hamburg Opera, Lyons Opera, Montreal Opera, and the companies of Miami, Cincinnati, Portland, Pittsburgh, and San Diego. Besides appearances with orchestras in the United States, he has also appeared with the Berlin Radio Orchestra, the Scottish Chamber Orches- tra in Edinburgh and Glasgow, and the Calgary Philharmonic. He has recorded the Evangelist in the St. Matthew Passion under Raymond Leppard for EMI and Han- del's Roman Vespers for RCA. Mr. Garrison made his Boston Symphony Orchestra debut in Beethoven's Ninth Symphony at Tanglewood in 1984; also that summer he sang the role of Benedict in a staging of Berlioz's Beatrice and Benedict under the direction of Seiji Ozawa. He has since returned for Symphony Hall performances as Andres in Berg's Wozzeck in April 1987, also under the direction of Seiji Ozawa.

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52 Haijing Fu

An esteemed artist in the People's Republic of China, baritone Haijing Fu has already sung in Portugal, Czechoslovakia, Bul- garia, the Soviet Union, Finland, England, Japan, and Hong Kong. He came to the United States following his success as second prize winner in the Benson & Hedges Gold Award International Competition. In April 1988 he was a winner in the Metropolitan Opera National Council Auditions. Last sea- son, Mr. Fu appeared in a concert with other winners of the Metropolitan Opera National Council Auditions at the Shreve- port Opera in January, sang in performances of Hoist's Sdvitri in Boston in February, and sang the title role in a folly-staged production at Boston University of Mozart's Don Giovanni to open the newly renovated Tsai Performance Center. Last April he performed the role of Miller in Verdi's Luisa Miller with Luciano Pavarotti and the Opera Company of Philadelphia (a perform- ance to be telecast on PBS this spring); in May he appeared as Germont in Verdi's La traviata with the Merrimack Opera Company in Massachusetts; and last summer he sang the role of Renato in Verdi's Un hallo in maschera at the Monadnock Festival in New Hampshire. Also last summer he participated in a special concert celebrating Phyllis Cur- tin's twenty-five years of teaching at Tanglewood; he was a Vocal Fellow at the Tangle- wood Music Center in the summer of 1988. In October 1989 Mr. Fu returned to the Opera Company of Philadelphia for performances as Enrico in Donizetti's Lucia di Lam- mermoor opposite Cheryl Studer. During the 1989-90 season, his concert engagements include Mozart's C minor Mass with Jesus Lopez-Cobos and the Cincinnati Symphony and Mahler's Songs of a Wayfarer with the Brockton Symphony in Massachusetts. In the summer of 1990 he will sing the role of Marcello in a concert performance of Puccini's La boheme with Charles Dutoit and the Philadelphia Orchestra at the Mann Music Center, and he is scheduled to sing Faure's Requiem with Mr. Dutoit and the Pittsburgh Sym- phony in the spring of 1991. Mr. Fu made his Boston Symphony Orchestra debut earlier this season, in Prokofiev's Lieutenant Kizhe Suite under the direction of Seiji Ozawa.

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53 Tanglewood Festival Chorus John Oliver, Conductor

Celebrating its twentieth anniversary this season, the Tan- glewood Festival Chorus was organized in the spring of 1970 when founding conductor John Oliver became director of vocal and choral activities at the Tanglewood Music Cen- ter. Co-sponsored by the Tanglewood Music Center and Bos- ton University, and originally formed for performances at the Boston Symphony's summer home, the chorus was soon playing a major role in the orchestra's Symphony Hall sea- son as well. Now the official chorus of the Boston Symphony Orchestra, the Tanglewood Festival Chorus is made up of members who donate their services, performing in Boston, New York, and at Tanglewrood, and working with Music Director Seiji Ozawa, John Williams and the Boston Pops, and such prominent guests as Leonard Bernstein, Kurt Masur, and Charles Dutoit. Noteworthy recent performances have included the world premiere of Sir Michael Tippett's Tlie Mask of Time under Sir Colin Davis in April 1984, the American premiere of excerpts from Olivier Messiaen's opera St. Francis of Assisi under Seiji OzawTa in April 1986, and the world premiere in April 1987 of Donald Martino's Tlie White Island, a Boston Symphony Orchestra centennial commission, performed at a special Symphony Hall concert under John Oliver's direc- tion. More recently, the chorus participated in performances under Seiji Ozawa's direction of Richard Strauss's Elektra, with Hildegard Behrens in the title role, in Boston, New York, and at Tanglewood.

The Tanglewood Festival Chorus has collaborated with Seiji Ozawr a and the Boston Symphony Orchestra on numerous recordings, beginning with Berlioz's The Damna- tion of Faust for Deutsche Grammophon, a 1975 Grammy nominee for best choral performance. An album of a cappella twentieth-century American music, recorded at the imitation of Deutsche Grammophon, was a 1979 Grammy nominee. Recordings with Mr. Ozawa and the orchestra available on compact disc also include Strauss's Elektra, Schoenberg's Gurrelieder, Mahler's Symphony No. 8, the Symphony of a Thousand, and Mahler's Symphony No. 2, Resurrection, on Philips, and Beethoven's Choral Fantasy with pianist Rudolf Serkin, on Telarc. The chorus has also recorded Poulenc's Stabat Mater and Gloria with Mr. Ozawr a, the orchestra, and soprano Kath- leen Battle for Deutsche Grammophon. The chorus may also be heard in Debussy's La Damoiselle elue with the orchestra and mezzo-soprano Frederica von Stade on CBS, on the Philips album "We Wish You a Merry Christmas" with John Williams and the Boston Pops, and on a Nonesuch recording of music by Luigi Dallapiccola and Kurt Weill conducted by John Oliver.

In addition to his work with the Tanglewood Festival Chorus, John Oliver is con- ductor of the MIT Choral Society, a senior lecturer in music at MIT, and conductor of the John Oliver Chorale, nowT in its thirteenth season. The Chorale gives an annual concert series in Boston and has recorded for Northeastern and New World records. Mr. Oliver made his Boston Symphony Orchestra conducting debut at Tanglewood in 1985 and led performances of Bach's B minor Mass at Symphony Hall in December that year.

The Tanglewood Festival Chorus, John Oliver, conductor, was recently chosen to help close a month-long International Choral Festival that took place in and around Toronto, Canada, throughout June 1989. The chorus presented an afternoon concert of music by Tallis, Ives, Brahms, and Gabrieli under John Oliver's direction on Fri- day, June 30, and participated in the festival's closing performance— Verdi's Requiem with the Toronto Symphony under the direction of Charles Dutoit — that same evening.

54 Tanglewood Festival Chorus John Oliver, Conductor

Sopranos Evelyn M. Eshelman-Kern Thomas Lee Maria E. Favorito F. Brian Mc( ionville Margaret Aquino Dorrie A. Freedman David E. Meharry Michele M. Bergonzi Irene Gilbride David R. Pickett Sarah S. Brannen Toni Gustus David Raish Bonita Ciambotti Thelma Hayes Roger II. Randall Lorenzee Cole Janice Hegeman Ronald Severson Margo Connor Dorothy W. Love Terence R. Stephenson Mary A.V. Crimmins April Merriam Carl Swanson Lou Ann David Roslyn Pedlar Carl Zahn Sara Dorfman Avis Wong See-Tho Christine P. Duquette Linda Kay Smith Basses Amy G. Harris Ada Park Snider Alice Honner-White Peter Crowell Anderson Julie Steinhilber Kristin E. Hughes Eddie Andrews Judith Tierney Christine Jaronski Kirk H. Chao Constance Turnburke Holly MacEwen Krafka Mel Conway Christina Lillian Wallace Lillian M. LeBlanc James W. Courtemanche Elizabeth Wallace-Taylor Barbara S. MacDonald Edward E. Dahl Marguerite Weidknecht Jan Elizabeth Norvelle John Duffy Phyllis S. Wilner Fumiko Ohara Stephen Falbel Anne Peckham Mark L. Haberman Tenors Jennifer M. Pigg Derrick A. Johnson Jamie Redgrave Antone Aquino David K. Kim Sarah J. Robinson John C. Barr Timothy Lanagan Charlotte C. Russell Richard A. Bissell Lee B. Leach Lisa Saunier Andrew O. Crain Steven Ledbetter Genevieve Schmidt David J. Deschamps David K. Lones Pamela Schweppe Reginald Didham H. Brady Macosko Joan Pernice Sherman Benjamin DiScipio Joseph A. Oravecz, Jr. Deborah L. Speer Jeffrey B. Flaster Stephen H. Owades Diane M. Stickles William E. Good, Jr. Carl R. Peterscheim Carolyn Torrey J. Stephen Groff Michael J. Prichard David M. Halloran Peter Rothstein Mezzo-sopranos Dean Armstrong Hanson A. Michael Ruderman Maisy Bennett George W. Harper Frank Sherman Clarissa Botsford John W. Hickman Timothy Shetler Nancy Brockway Richard P. Howell Peter S. Strickland Stephanie D. Cabell James R. Kauffman Paul R. Tessier Barbara Clemens Brian Robert Kern Bradley S. Turner Catherine Diamond Hyung Goo Kim Pieter Conrad White Diane Droste Edward J. Kiradjieff

Virginia Hecker, Manager Frank Corliss, Rehearsal Pianist

55 Business/Professional Leadership Program

BUSINESS

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

Corporate Underwriters ($25,000 and above)

Bank of Boston Country Curtains and The Red Lion Inn General Electric Plastics Business Group BSO Single Concert Sponsors

Bank of New England Corporation Opening Night at Symphony

BayBanks, Inc. Opening Night at Pops

NYNEX Corporation, WCVB-TV, Channel 5 Boston and WCRB 102.5 FM Salute to Symphony 1989

NEC Corporation and NEC Deutschland GmbH Boston Symphony Orchestra European Tour Boston Symphony Orchestra Asian Tour

MCI Boston Pops Esplanade Orchestra National Tour

Digital Equipment Corporation Boston Pops Orchestra Public Television Broadcasts

Pepsi-Cola Bottlers of New England Boston Pops Esplanade Orchestra, Esplanade Concerts

TDK Electronics Corporation Tanglewood Tickets for Children

Suntory Limited BSO recording of Elektra

For information on these and other corporate funding opportunities, contact Madelyne Cuddeback, BSO Director of Corporate Development, Symphony Hall, Boston, MA 02115, (617) 266-1492.

56 1989-90 Business Honor Roll (SI 0,000 and Above)

Advanced Management Associates The Gillette Company Harvey Chet Krentzman Colman M. Mocklcr, Jr.

Analog Devices, Inc. Grafacon, Inc.

Ray Stata II. Wayman Rogers, Jr.

AT&T GTE Products Corporation Robert Babbitt Dean T. Langford

Bank of Boston Hill, Holliday, Connors, Cosmopulos, Inc. Ira Stepanian Jack Connors, Jr.

Bank of New England Corporation The Henley Group Connolly Walter J. Paul M. Montrone BayBanks, Inc. Hewlett Packard Company William M. Crozier, Jr. Ben L. Holmes Bolt Beranek & Newman Houghton Mifflin Company Stephen R. Levy Harold T. Miller The Boston Company IBM Corporation George W. Phillips Paul J. Palmer The Boston Consulting Group John Hancock Mutual Life Insurance Company Jonathan L. Isaacs E. James Morton Boston Edison Company Stephen J. Sweeney Jordan Marsh Company Richard F. Van Pelt The Boston Globe William 0. Taylor The Lafayette Hotel Liam Madden Boston Herald Patrick J. Purcell Liberty Mutual Insurance Group Gary L. Countryman Bull, Worldwide Information Systems Roland Pampel Loomis-Sayles & Company, Inc. Peter G. Harwood Connell Limited Partnership William F. Connell MCI Nathan Kantor Coopers & Lybrand Vincent M. O'Reilly McKinsey & Company Country Curtains Robert P. O'Block

Jane P. Fitzpatrick Morse Shoe, Inc. Creative Gourmets, Ltd. Manuel Rosenberg Stephen E. Elmont NEC Corporation Deloitte, Ilaskins & Sells Atsuyoshi Ouchi Mario Umana NEC Deutschland GmbH Digital Equipment Corporation Masao Takahashi Kenneth H. Olsen The New England Dynatech Corporation Edward E. Phillips J. P. Barger New England Telephone Company Eastern Enterprises Paul C. O'Brien Robert W. Weinig Northern Telecom, Inc. Ernst & Whinney John Craig Thomas M. Lankford Nynex Corporation Fidelity Investments/ Delbert C. Staley Fidelity Foundation PaineWebber, Inc. General Cinema Corporation James F. Cleary Richard A. Smith Peat Marwick Main & Co. General Electric Plastics Robert D. Happ Glen II. Hiner 1989-90 Business Honor Roll (continued)

Pepsi-Cola Bottlers of New England The Stop & Shop Companies, Inc. Pepsi Cola — East Avram J. Goldberg Michael K. Lorelli Suntory Limited

Prudential-Baehe Securities Keizo Saji David F. Remington TDK Electronics Corporation R&D Electrical Company, Inc. Takashi Tsujii Richard D. Pedone USTrust Raytheon Company James V. Sidell Thomas L. Phillips WCRB-102.5 FM The Red Lion Inn Richard L. Kaye John H. Fitzpatrick WCVB-TV, Channel 5 Boston Shawmut Bank, N.A. S. James Coppersmith John P. Hamill

State Street Bank & Trust Company William S. Edgerly

In Boston, only at HARPER & FAYE JEWELERS 60 Federal Street (two blocks from Filene's) Boston, MA 021 10 (617) 423-9190 JEWELERS

58 The Boston Symphony Orchestra gratefully acknowledges these Business and Professional Leadership Program members for their generous and valuable support totaling $1,250 and above during the past fiscal year. Names which are both capitalized and underscored in the Business Leaders listing comprise the Business Honor Roll denoting support of $10,000 and above. Capitalization denotes support of $5,000-$9,999, and an asterisk indicates support of $2,500-$4,999. Business Leaders ($1,250 and above)

Accountants J.N. Phillips Glass Company, Inc. Lee Kennedy Co., Inc. Norman S. Rosenfield Lee M. Kennedy ARTHUR ANDERSEN & CO. William F. Meagher Banking *National Lumber Company ARTHUR YOUNG & COMPANY BANK OF BOSTON Louis L. Kaitz Thomas P. McDermott Ira Stepanian PERINI CORPORATION David B. Perini *Charles E. DiPesa & Company BANK OF NEW ENGLAND William F. DiPesa CORPORATION Consumer Goods/Distributors Walter J. Connolly COOPERS & LYBRAND *Barter Connections BAYBANKS, INC. Vincent M. O'Reilly Kenneth C. Barron William M. Crozier, Jr. DELOITTE, HASKINS & SELLS FAIRWINDS GOURMET COFFEE Mario Umana THE BOSTON COMPANY COMPANY George W. Phillips ERXST & WHINNEY Michael J. Sullivan Cambridge Trust Company Thomas M. Lankford John Gilbert Jr. Co. Lewis H. Clark PEAT MARWICK Michael Facendola MAIN & CO. Chase Manhattan Bank PEPSI-COLA BOTTLERS Robert D. Happ John McCuJlough OF NEW ENGLAND PRICE WATERHOUSE CITICORP/CITIBANK PEPSI COLA -EAST Kenton J. Sicchitano Walter E. Mercer Michael K. Lorelli

* * Theodore S. Samet & Company First Mutual of Boston SUNTORY LIMITED Theodore S. Samet Keith G. Willoughby Keizo Saji

Tofias, Fleishman, First National Bank of Chicago Education Robert E. Gallery Shapiro & Co., P.C. BENTLEY COLLEGE Allan Tofias *GE Capital Corporate Finance Group Gregory Adamian Richard A. Goglia Advertising/Public Relations Electrical/HVAC * Rockland Trust Company *Cabot Advertising L. Electrical John F. Spence, Jr. Rudolph Company, Inc. William H. Monaghan Louis Rudolph DELLA FEMINA, MCNAMEE SHAWMUT BANK, N.A. John P. Hamill *p.h. mechanical Corporation INC. WCRS, Paul A. Hayes Michael H. Reingold STATE STREET BANK & TRUST COMPANY R&D ELECTRICAL COMPANY, INC. HILL, HOLLIDAY, CONNORS, William S. Edgerly Richard D. Pedone COSMOPULOS, INC. The Reflex Lighting Group Jack Connors, Jr. USTRUST Paul D. James V. Sidell Mustone Aerospace Wainwright Bank & Trust Company Electronics *Xorthrop Corporation John M. Plukas Alden Electronics, Inc. Thomas V. Jones Workingmens Co-operative Bank John M. Alden Antiques/Coin Dealers John E. McDonald * Analytical Systems The Great American Coin Company Building/Contracting Engineering Corporation Michael B. Rukin Bertram M. Cohen *A.J. Lane & Company Andrew J. Lane Lucas Epsco, Inc. Architects Wayne P. Coffin Bond Bros., Inc. ADD INC. ARCHITECTS Edward A. Bond, Jr. *The Mitre Corporation Philip M. Briggs Charles A. Zraket Chain Construction Corporation *LEA Group Howard J. Mintz PARLEX CORPORATION Eugene R. Eisenberg Herbert W. Pollack * Harvey Industries, Inc. A uto motive/Service Frederick Bigony Energy GANS TIRE COMPANY, INC. Mass. Electric Construction Company CABOT CORPORATION David Gans Francis Angino Samuel W. Bodman

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venience, Fox Hill Village is now information, or make an appoint-

under construction on 80 wooded ment to visit our model unit. AGj

100 High Street, Westwood, MA 02090 A TRADITION OF FINANCIALCOUNSEL OLDER THAN THE U.S. DOLLAR. State Street has been providing quality financial service since 1792.

That's two years longer than the dollar has been the official currency of the United States. During that time, we have managed the assets of some of New England's wealthiest families. And provided investment advice and performance tailored to each client's individual goals and needs. Today our Personal Trust Division can extend that service to you. We've been helping people manage their money for almost 200 years. And you can only stay in business that long by offering advice of the highest quality. Let us help you get the highest performance from your assets. To enjoy today and to pass on to future generations. For more information contact Peter Talbot at 617-654-3227. State Street. Known for quality?

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, Los Angeles, London, Munich, , Tokyo, Sydney, Hong Kong. Member FDIC. Copyright State Street Boston Corporation, 1989. Wm

1* 5

I BBS.

A Special Life-style Carleton-Willard Village is an exceptional continuing care retirement community. Gracious independent living accommodations and fully licensed, long-term health care facilities exist in a traditional New England environment. VVv CARLETON-WILLARD VILLAGE 100 Old Bilierjca Rd. ULi Bedford, MA 01730 (617) 275-8700

Owned and operated by Carleton-Willard Vm TO 0*^ Homes, Inc., a non-profit corporation TFG Back Bay Properties is honored to present an array of residential restorations in Boston's most coveted neighborhood, Back Bay. Property offerings at various market levels, each with The Finch Group signature of quality and value. From $125,000 to $2,200,000.

31-33 & 109-111 Commonwealth Avenue 339-341-343 Beacon Street 416 Marlborough Street 184 Marlborough Street

THE riMCM GROUP, IMC.

Construction Financing Provided by 1st American Bank for Savings (617) 439-3000. Engineering The Rockport Corporation DIGITAL EQUIPMENT Anthony Tiberii CORPORATION Goldberg-Zoino & Associates, Inc. Kenneth II. Olseu Donald T. Goldberg THE STRIDE RITE CORPORATION Arnold S. Hiatt DYNATECH CORPORATION Stone & Webster Engineering J.P. Barger Corporation Furnishings/Housewares Philip Garfinkel ARLEY MERCHANDISE EG&G, INC Dean W. Ftvc.1 The Thompson & Lichtner CORPORATION Company, Inc. David I. Riemer *General Eastern Instruments Co. John D. Stelling Barton Brass Associates Pieter R. Wiederhold Barton Brass HELLX TECHNOLOGY Enterta in ment/Media BBF Corporation CORPORATION GENERAL CINEMA Boruch B. Frusztajer Robert J. Lepofsky CORPORATION Corona Curtain THE HENLEY GROUP Richard A. Smith Manufacturing Co., Inc. Paul M. Montrone

National Amusements, Inc. Paul Sheiber HEWLETT-PACKARD COMPANY Sumner M. Redstone COUNTRY CURTAINS Ben L. Holmes Jane P. Fitzpatrick IBM CORPORATION Finance/Venture Capital Jofran Sales, Inc. Paul J. Palmer Robert D. Roy *3i Corporation Instron Corporation Ivan N. Momtchiloff Graphic Design Harold Hindman

Carson Limited Partnership *Clark/Linsky Design *Intermetrics Inc. Herbert Carver Robert H. Linsky Joseph A. Saponaro FARRELL, HEALER & LABEL ART IONICS, INC. COMPANY, INC. Thomas Cobery Arthur L. Goldstein Richard A. Farrell, Jr. High Technology/Electronics Loral Hycor, Inc. THE FIRST BOSTON Joseph Hyman CORPORATION Alden Products Company Betsy Alden *M/A-Com, Inc. Malcolm MacColl Thomas F. Burke ANALOG DEVICES, INC. Ray Stata MASSCOMP Food Service/Industry Richard A. Phillips *Apollo Computer, Inc. * Boston Showcase Company Thomas A. Vanderslice MILLIPORE CORPORATION Jason E. Starr John A. Gilmartin *Aritech Corp. The Catered Affair James A. Synk NEC CORPORATION Holly P. Safford Atsuyoshi Ouchi AUGAT, INC. Cordel Associates, Inc. Marcel P. Joseph NEC DEUTSCHLAND GmbH James B. Hangstefer Takahashi Automatic Data Processing Masao Cookies Cookin Arthur S. Kranseler * Orion Research, Inc. Glen Bornstein Alexander Jenkins III *Bachman Information Systems CREATIVE GOURMETS, LTD. Arnold Kraft PRIME COMPUTER, INC. Stephen E. Elmont BOLT BERANEK AND Russell Planitzer daka, Inc. NEWMAN, INC. RAYTHEON COMPANY Allen R. Maxwell Stephen R. Levy Thomas L. Phillips Gourmet Caterers BULL, WORLDWIDE SofTech, Inc. Robert A. Wiggins INFORMATION SYSTEMS Justus Lowe, Jr. Roland Pampel *TASC Footwear * Cerberus Technologies, Inc. Arthur Gelb Converse, Inc. George J. Grabowski TDK ELECTRONICS Gilbert Ford Computer Power Group CORPORATION J. Baker, Inc. of America Takashi Tsujii Sherman N. Baker David L. Chapman TERADYNE INC. JONES & VTNING, INC. Costar Corporation Alexander V. d'Arbeloff Sven A. Vaule, Jr. Otto Morningstar THERMO ELECTRON MORSE SHOE, INC. CSC PARTNERS, INC. CORPORATION Manuel Rosenberg Paul J. Crowley George N. Hatsopoulos

61 you are cordially invited to sampCe our Symphony Menu

at cIhe Cafe Promenade

olonna umn

7 for (Reservations Call, 61/ -424 -7000

(Reduced parking rates when dining at (The Colonnade for Symphony (Patrons. *Pjlfl

The Colonnade. Motel is located, at 120 Huntington Avenue, 'Boston

eet your own high M expectations. Quality performance and personal excellence have been the expectation at The Williston Northampton School for 150 years.

THE Please send me a catalog and videotape. WILLISTON NORTHAMPTON SCHOOL Name

19PaysonAve. Box 300 Street Easthampton, MA 01027 413/527-1520 FAX: 413/527-9494 City State Zip

62 Hotels/Restaurants FRANK B. HALL & CO. OF MORGAN STANLEY & COMPANY, MASSACHUSETTS, INC. INC. 57 Park Plaza Hotel William F. Newell John Lazlo Nicholas L. Vinios "Fred S. James & Company of PAINEWEBBER, INC. *Back Bay Hilton New England, Inc. James F. Cleary William Morton P. Joseph McCarthy SALOMON BROTHERS, INC. The Bostonian Hotel "International Insurance Group Sherif A. Nada Timothy P. Kirwan John Perkins "State Street Development Company Boston Copley Marriott Hotel 15 The J. Peter Lyons Company John R. Gallagher III Jurgen Giesbert J. Peter Lyons TUCKER ANTHONY, INC. Cafe Amain JOHN HANCOCK MUTUAL John Goldsmith Patricia Nee LIFE INSURANCE COMPANY WOODSTOCK CORPORATION Christo's Restaurant E. James Morton Nelson J. Darling, Jr. Christopher Tsaganis "Johnson & Higgins of Fynn's Massachusetts, Inc. James Dunn Robert A. Cameron Legal LAFAYETTE HOTEL THE "Keystone Provident Life BINGHAM, DANA & GOULD Liam Madden Insurance Company Everett H. Parker THE RED LION INN Robert G. Sharp *Choate, Hall & Stewart John H. Pitzpatrick LIBERTY MUTUAL INSURANCE Allen M. Bornheimer "The Ritz-Carlton, Boston GROUP Robert S. Frank, Jr. Sigi Brauer Gary L. Countryman Dickerman Law Offices "Sheraton Boston Hotel & Towers THE NEW ENGLAND Lola Dickerman Edward E. Phillips Steve Foster FISH & RICHARDSON *Sonesta International Robert D. Gordon Adjusters, Inc. Robert E. Hillman Hotels Corporation Robert D. Gordon *Gadsby & Hannah Paul Sonnabend SAFETY INSURANCE COMPANY Jeffrey P. Somers Richard B. Simches St. Botolph's Restaurant GOLDSTEIN & MANELLO John Harris Sullivan Risk Management Group Richard J. Snyder John H. Sullivan GOODWIN, PROCTER AND HOAR Industrial Distributors c Sun Life Assurance Company Robert B. Fraser Admiral Metals Servicenter of Canada Hubbard & Ferris Company Marcelle W. Farrington Charles A. Hubbard Maxwell Burstein ALLES CORPORATION Joyce & Joyce Investments Thomas J. Joyce Stephen S. Berman AMDURA NATIONAL Baring America Asset Management *Lynch, Brewer, Hoffman & Sands DISTRIBUTION COMPANY Company, Inc. Owen B. Lynch Stephen D. Brian MacKenzie Cutler Melick & Porter * Baring International Investment, Ltd. Richard P. Melick Brush Fibers, Inc. John F. McNamara Ian P. Moss *Mintz, Levin, Cohn, Ferris, Glovsky & Popeo, P.C. Eastern Refractories Company BEAR STEARNS & COMPANY, INC. Francis X. Meaney David S. Feinzig Keith H. Kretschmer Nissenbaum Millard Metal Service Center Law Offices Gerald L. Donald Millard, Jr. FIDELITY INVESTMENTS/ Nissenbaum FIDELITY FOUNDATION *Nutter, McClennen & Fish Insurance *Goldman, Sachs & Company John K. P. Stone III Peter D. Kiernan 'Arkwright PALMER & DODGE Frederick J. Bumpus KAUFMAN & COMPANY Robert E. Sullivan Sumner Kaufman CAMERON & COLBY CO, INC. Sarrouf, Tarricone & Flemming Lawrence S. Doyle THE KENSINGTON Camille F. Sarrouf INVESTMENT COMPANY 'Charles H. Watkins & Company Sherburne, Powers & Needham Alan E. Lewis Paul D. Bertrand Daniel Needham, Jr. * Kidder, Peabody & Company Chubb Group International Weiss, Angoff, Coltin, Koski & John G. Higgins John Gillespie Wolf, P.C. LOOMIS-SAYLES & COMPANY, Dudley A. Weiss "Consolidated Group, Inc. INC. Woolsey S. Conover Mark W. Hollands The Boston Home (formerly The Boston Home for Incurables)

Est. 1881

Seeks Your Support for Another Century

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

PERFORMANCE YOU'LL APPRECIATE.

ilk PULSIFER & ASSOCIATES Investments managed with integrity.

Pulsifer & Associates Trustee and Investment Managers 27 North Main Street • P.O. Box 170 • Ipswich, MA 01938-0170 508-356-3530 In Boston: 617-227-7904

64 Management/Financial/Consulting The Biltrite Corporation *Textron, Inc. Bernstein B.F. Dolan ADVANCED MANAGEMENT Stanley J. ASSOCIATES Boston Acoustics, Inc. Wire Belt Company of America Harvey Chet Krentzman Frank Reed F. Wade Greer ARTHUR D. LITTLE, INC. Boston Sand & Gravel Company Media John F. Magee Dean M. Boylan THE BOSTON GLOBE *Bain & Company, Inc. *C.R. Bard, Inc. William 0. Taylor William W. Bain Robert H. McCaffrey BOSTON HERALD THE BOSTON CONSULTING CENTURY MANUFACTURING GROUP COMPANY Patrick J. Purcell Jonathan L. Isaacs Joseph Tiberio WCRB- 102.5 FM Richard L. Kaye Corporate Decisions *Chelsea Industries, Inc. David J. Morrison Ronald G. Casty WCVB-TV, CHANNEL 5 BOSTON S. James Coppersmith The Forum Corporation CONNELL LIMITED John W. Humphrey PARTNERSHIP William F. Connell Personnel *Haynes Management, Inc. Manufacturing TAD TECHNICAL SERVICES G. Arnold Haynes Dennison Company Nelson G. Gifford CORPORATION Irma Mann Strategic Marketing David J. McGrath, Jr. Irma Mann Stearns *Erving Paper Mills Charles B. Housen Jason M. Cortell & Associates, Printing Inc. Inc. *FLEXcon Company, * Bradford & Bigelow, Inc. Jason M. Cortell Mark R. Ungerer John D. Galligan KAZMAIER ASSOCIATES, INC. GENERAL ELECTRIC PLASTICS Hiner Courier Corporation Richard W. Kazmaier, Jr. Glen H. Alden French, Jr. General Latex and Chemical Corp. Lochridge & Company, Inc. CPS Richard K. Lochridge Robert W. MacPherson Phineas E. Gay III MCKINSEY & COMPANY * Georgia-Pacific Corporation Customforms, Inc. Robert P. O'Block Maurice W. Kring David A. Granoff PRUDEXTIAL-BACHE THE GILLETTE COMPANY DANIELS PRINTING COMPANY SECURITIES Colman M. Mockler, Jr. Lee S. Daniels David F. Remington GTE PRODUCTS CORPORATION Dean T. Langford *Espo Litho Co., Inc. Rath & Strong David M. Fromer Dan Ciampa HARVARD FOLDING BOX COMPANY, INC. George H. Dean Company Towers Perrin Melvin A. Ross Earle Michaud J. Russell Southworth H.K. Webster Company, Inc. GRAFACON, INC. William M. Mercer Meidinger K. Webster H. Wayman Rogers, Jr. Hansen Dean Chester D. Clark HMK Group Companies, Ltd. Publishing TheWyatt Company Joan L. Karol Addison-Wesley Publishing Company, Michael H. Davis Hudson Lock, Inc. Inc. Stavisky Yankelovich Norman Clancy Shulman Warren R. Stone Kevin Clancy * Kendall Company CAHNERS PUBLISfflNG COMPANY J. Dale Sherratt Manufacturer's Representatives Ron Segel LEACH & GARNER COMPANY BEN-ALU 1 HOUGHTON MIFFLIN COMPANY ENTERPRISES, INC. Philip F. Leach Lawrence G. Benhardt Harold T. Miller Leggett & Piatt, Inc. KITCHEN, Little, Brown Company & KUTCHIN, INC. Alexander M. Levine & Melvin Kutchin Kevin L. Dolan NEW ENGLAND BUSINESS PAUL R. CAHN ASSOCIATES, SERVICE, INC. INC. Real Estate/Development Richard H. Rhoads Paul R. Cahn THE BEACON COMPANIES *New England Door Corporation Norman Leventhal Manufactu ri ng/Industry Robert C. Frank Benjamin Schore Company Advanced * Pierce Aluminum Pollution Control Corp. Benjamin Schore Michael F. Flaherty, Jr. Robert W. Pierce *Boston Capital Partners *Avedis Zildjian Company Superior Brands, Inc. Christopher W. Collins Armand Zildjian Richard J. Phelps Herbert F. Collins * Barry Wright Corporation *Termifiex Corporation Richard J. DeAgazio Ralph Z. Sorenson William E. Fletcher John P. Manning David & Company

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t*fo Sales and Rentals Condominiums

66 The Chiofaro Company NEIMAN MARCUS Shaughnessy & Ahern Co. Donald Chiofaro William D. Roddy John J. Shaughnessy

Combined Properties, Inc. Purity Supreme Supermarkets Software/Information Services Frank P. Giacomazzi Stanton L. Black CULLINET SOFTWARE, INC. Demeter Realty Trust *Saks Fifth Avenue John J. Cullinane Alison Strieder Mayher George P. Demeter International Data Group FIRST WTNTHROP CORPORATION SEARS, ROEBUCK & Patrick J. McGovern Arthur J. Halleran, Jr. COMPANY LOTUS DEVELOPMENT S. David Whipkey The Flatley Company CORPORATION Thomas J. Flatley Stop & Shop Foundation Jim P. Manzi Avram J. Goldberg, Trustee The Fryer Group, Inc. Phoenix Technologies Foundation Malcolm F. Fryer, Jr. Stop & Shop Company Neil Colvin Lewis Schaeneman, Chairman Heafitz Development Company Lewis Heafitz Suzanne Travel/Transportation Suzanne Seitz Hilon Development Corporation Crimson Travel Service Haim S. Eliachar Tiffany & Co. David Paresky William Chaney John M. Corcoran & Company Garber Travel John M. Corcoran THE TJX COMPANIES, INC. Bernard Garber Sumner Feldberg Nordblom Company The Hallamore Companies Roger P. Nordblom Science/Medical Dennis Barry, Sr.

Northland Investment Corporation Baldpate Hospital, Inc. Heritage Travel, Inc. Robert A. Danziger Lucille M. Batal Donald R. Sohn

Trammell Crow Company Blake & Blake Genealogists Arthur DeMartino Richard A. Blake, Jr. Telecommunications Urban Investment & Development CHARLES RD7ER AT&T Rudy K. Umscheid LABORATORIES, INC. Robert Babbitt Henry L. Foster MCI Portsmouth Regional Hospital Nathan Kantor Retail William J. Schuler NEW ENGLAND TELEPHONE Beverly Hills Flowers of Boston *CompuChem Corporation COMPANY Anthony DePari Gerard Kees Verkerk Paul C. O'Brien

Child World, Inc. DAMON CORPORATION NORTHERN TELECOM, INC.

Dennis II . Barron David I. Kosowsky John Craig

DEMOULAS FOUNDATION J.A. Webster, Inc. NYNEX CORPORATION T.A. Demoulas John A. Webster Delbert C. Staley

WLENE'S Lectro-Med Health Screening David P. Mullen Services, Inc. Utilities Allan Kaye *Hills Department Stores BOSTON EDISON COMPANY Stephen A. Goldberger Services Stephen J. Sweeney

JORDAN MARSH COMPANY *Asquith Corporation EASTERN ENTERPRISES Richard F. Van Pelt Lawrence L. Asquith Robert W. Weinig

Karten's Jewelers Giltspur Exhibits/Boston New England Electric System Joel Karten Thomas E. Knott Joan T. Bok

67 Next Program . . .

Thursday, February 22, at 8 Friday, February 23, at 2 Saturday, February 24, at 8

GIUSEPPE SINOPOLI conducting

WAGNER Prelude to Die Meistersinger von Nilrnberg

STRAUSS Don Juan, Tone poem after Lenau, Opus 20

INTERMISSION

SCHUMANN Symphony No. 2 in C, Opus 61 Sostenuto assai— Allegro ma non troppo

Scherzo: Allegro vivace; Trio I; Trio II Andante espressivo Allegro molto vivace

Single tickets for all Boston Symphony Orchestra concerts throughout the season are available at the Symphony Hall box office, or by calling "Symphony-Charge" at (617) 266-1200, Monday through Saturday from 10 a.m. until 6 p.m., to charge tickets instantly on a major credit card, or to make a reservation and then send payment by check. Please note that there is a $1.75 handling fee for each ticket ordered by phone.

Supper Concerts at Symphony Hall

Supper Concerts feature members of the Boston Symphony Orchestra performing chamber music in Symphony Hall's Cabot-Cahners Room at 6 p.m., followed by a buffet supper. For ticket information or reservations, please call the Volunteer Office at (617) 266-1492, ext. 177.

Saturday, February 17, and Tuesday, February 20, at 6 p.m. JAMES COOKE, violin CAROL PROCTER, cello NANCY BRACKEN, violin DANIEL KATZEN, horn RACHEL FAGERBURG, viola DAVID DEVEAU, piano

LITTLEFIELD String Quartet No. 1 BRAHMS Trio in E-flat for violin, horn, and piano, Opus 40

68 Coming Concerts BEFORE OR AFTER Thursday 'A' -February 22, 8-9:35 Friday 'A' -February 23, 2-3:35 Saturday 'B'- February 24, 8-9:35 GIUSEPPE SINOPOLI conducting WAGNER Prelude to or Ballgame, Theatre, Symphony Die Meistersinger Pearsons has the selection to please STRAUSS Don Juan SCHUMANN Symphony No. 2 your crowd. We serve dinner 'til 11 pm,

offering steaks, seafood and pasta, Wednesday, February 28, at 7:30 Open Rehearsal and our Cafe Fare 'til midnight Marc Mandel will discuss the program includes ribs, grilled steak sand- at 6:30 in Symphony Hall.

Thursday 'B'- March 1, 8-9:55 wiches, chilled shellfish and more. Friday 'B'- March 2, 2-3:55

Saturday 'A' -March 3, 8-9:55 Dine in our casual lounge, outside Tuesday 'C- March 6, 8-9:55 on the patio or in our fine dining ROGER NORRINGTON conducting

room. Open until 1 am seven days, HAYDN Symphony No. 83, The Hen serving lunch and dinner, with TIPPETT Fantasia on a Theme brunch on Sundays. Valet parking. of Corelli MENDELSSOHN Symphony No. 4, Italian

Thursday 'C- March 8, 8-9:55 PEARSON'S Friday 'B'- March 9, 2-3:55 SEIJI OZAWA conducting Steak & Sea Grille ANNE-SOPHIE MUTTER, violin BACH/SAITO Chaconne in D minor corner of Dartmouth Street Commonwealth Avenue, MORET Violin Concerto, En Reve Boston, MA 617536-3556 BEETHOVEN Symphony No. 5

Saturday 'B' -March 10, 8-9:45 SEIJI OZAWA conducting ANNE-SOPHIE MUTTER, violin BARTOK Violin Concerto No. 2 Now with bookshelf or drawers. BEETHOVEN Symphony No. 5 Our desk ... still Wednesday, March 21, at 7:30 stands Open Rehearsal alone. Steven Ledbetter will discuss the program at 6:30 in Symphony Hall. Stand-up desks and stools Thursday 'A' -March 22, 8-10:05 hand-crafted Friday 'A' -March 23, 2-4:05 to your height Saturday 'A' -March 24, 8-10:05 in oak, walnut, Tuesday 'C- March 27, 8-10:05 mahogany, BERNARD HAITINK conducting cherry and MAURIZIO POLLINI, piano black deco. The Stand-Up COPLAND Appalachian Spring Desk Co. BEETHOVEN Piano Concerto No. 4 For free brochure: 3207 Baltimore Ave. STRAVINSKY Petrushka (original (301)657-3630 Bethesda,Md.20816 version, 1911)

Programs and artists subject to change.

69 .

t*ffany& q>.

Tiffany Service

Sterling silver flatware patterns of timeless elegance from Tiffany's exclusive collection. From top left: "Hampton", "Shell and Thread", "Chrysanthemum", "Century" and "Audubon".

TlFFANY&CO. BOSTON COPLEY PLACE 100 HUNTINGTON AVENUE 02116 617-353-0222 ©T&CO. 1989 Symphony Hall Information

FOR SYMPHONY HALL CONCERT IN CONSIDERATION of our patrons and AND TICKET INFORMATION, call (617) artists, children under four years of age will 266-1492. For Boston Symphony concert not be admitted to Boston Symphony program information, call "C-O-N-C-E-R-T" Orchestra concerts. (266-2378). THE SYMPHONY SHOP is located in the performs ten THE BOSTON SYMPHONY Huntington Avenue stairwell near the Cohen months a year, in Symphony Hall and at Wing and is open from one hour before each For information about any of Tanglewood. concert through intermission. The shop car- the orchestra's activities, please call Sym- ries BSO and musical-motif merchandise phony Hall, or write the Boston Symphony and gift items such as calendars, clothing, Orchestra, Symphony Hall, Boston, MA appointment books, drinking glasses, holiday 02115. ornaments, children's books, and BSO and THE EUNICE S. AND JULIAN COHEN Pops recordings. All proceeds benefit the WING, adjacent to Symphony Hall on Boston Symphony Orchestra. For merchan- Huntington Avenue, is currently undergoing dise information, please call (617) 267-2692. renovations. TICKET RESALE: If for some reason you FOR SYMPHONY HALL RENTAL are unable to attend a Boston Symphony INFORMATION, call (617) 266-1492, or concert for which you hold a ticket, you may write the Function Manager, Symphony make your ticket available for resale by call- Hall, Boston, MA 02115. ing the switchboard. This helps bring needed THE BOX OFFICE is open from 10 a.m. revenue to the orchestra and makes your until 6 p.m. Monday through Saturday; on seat available to someone who wants to concert evenings it remains open through attend the concert. A mailed receipt will intermission for BSO events or just past acknowledge your tax-deductible starting-time for other events. In addition, contribution. the box office opens Sunday at 1 p.m. when there is a concert that afternoon or evening. RUSH SEATS: There are a limited number Single tickets for all Boston Symphony sub- of Rush Tickets available for the Friday- scription concerts are available at the box afternoon, Tuesday-evening, and Saturday- office. For outside events at Symphony Hall, evening Boston Symphony concerts (sub- tickets are available three weeks before the scription concerts only). The continued low concert. No phone orders will be accepted price of the Saturday tickets is assured for these events. through the generosity of two anonymous donors. The Rush Tickets are sold at $6 TO PURCHASE BSO TICKETS: American each, one to a customer, on Fridays as of Express, MasterCard, Visa, a personal 9 a.m. and Saturdays and Tuesdays as of check, and cash are accepted at the box 5 p.m. office. To charge tickets instantly on a major credit card, or to make a reservation PARKING: The Prudential Center Garage and then send payment by check, call offers a discount to any BSO patron with a "Symphony-Charge" at (617) 266-1200, ticket stub for that evening's performance. Monday through Saturday from 10 a.m. There are also two paid parking garages on until 6 p.m. There is a handling fee of $1.75 Westland Avenue near Symphony Hall. for each ticket ordered by phone. Limited street parking is available. As a GROUP SALES: Groups may take advan- special benefit, guaranteed pre-paid parking tage of advance ticket sales. For BSO con- near Symphony Hall is available to subscrib- certs at Symphony Hall, groups of twenty or ers who attend evening concerts on Tuesday, more may reserve tickets by telephone. To Thursday, Friday, or Saturday. For more place an order, or for more information, call information, call the Subscription Office at Group Sales at (617) 266-1492. (617) 266-7575.

71 LATECOMERS will be seated by the ushers Cabot-Cahners Room on the first-balcony daring the first convenient pause in the pro- level serve drinks starting one hour before gram. Those who wish to leave before the each performance. For the Friday-afternoon end of the concert are asked to do so concerts, both rooms open at 12:15, with between program pieces in order not to dis- sandwiches available until concert time. turb other patrons. BOSTON SYMPHONY BROADCASTS: SMOKING IS NOT PERMITTED in any Concerts of the Boston Symphony Orchestra part of the Symphony Hall auditorium or in are heard by delayed broadcast in many the surrounding corridors. It is permitted parts of the United States and Canada, as only in the Cabot-Cahners and Hatch well as internationally, through the Boston rooms, and in the main lobby on Massachu- Symphony Transcription Trust. In addition, setts Avenue. Friday-afternoon concerts are broadcast live CAMERA AND RECORDING EQUIP- by WGBII-FM (Boston 89.7); Saturday- evening concerts are broadcast live by both MENT may not be brought into Symphony WGBII-FM and WCRB-FM (Boston Hall during concerts. 102.5). Live broadcasts may also be heard FIRST AID FACILITIES for both men on several other public radio stations and women are available. On-call physicians throughout New England and New York. attending concerts should leave their names BSO FRIENDS: The Friends are annual and seat locations at the switchboard near donors to the Boston Symphony Orchestra. the Massachusetts Avenue entrance. Friends receive BSO, the orchestra's news- WHEELCHAIR ACCESS: During the reno- letter, as well as priority ticket information vation of the Cohen Wing, there will be a and other benefits depending on their level temporary handicap ramp at the Huntington of giving. For information, please call the Avenue entrance. Restroom facilities and Development Office at Symphony Hall week- elevators are available. days between 9 and 5, (617) 266-1492. If Friend have AN ELEVATOR is located outside the you are already a and you Hatch and Cabot-Cahners rooms on the changed your address, please send your new Massachusetts Avenue side of the building. address with your newsletter label to the Development Office, Symphony Hall, Bos- LADIES' ROOMS are located on the ton, MA 02115. Including the mailing label orchestra level, audience-left, at the stage will assure a quick and accurate change of end of the hall, and on the first-balcony address in our files. level, audience-right, outside the Cabot- Cahners Room near the elevator. BUSINESS FOR BSO: The BSO's Busi- ness & Professional Leadership program MEN'S ROOMS are located on the orches- makes it possible for businesses to partici- tra level, audience-right, outside the Hatch pate in the life of the Boston Symphony Room near the elevator, and on the first- Orchestra through a variety of original and balcony level, audience-left, outside the exciting programs, among them "Presidents Cabot-Cahners Room near the coatroom. at Pops," "A Company Christmas at Pops," COATROOMS are located on the orchestra and special-event underwriting. Benefits and first-balcony levels, audience-left, out- include corporate recognition in the BSO side the Hatch and Cabot-Cahners rooms. program book, access to the Higginson The BSO is not responsible for personal Room reception lounge, and priority ticket apparel or other property of patrons. service. For further information, please call the BSO Corporate Development Office at LOUNGES AND BAR SERVICE: There (617) 266-1492. are two lounges in Symphony Hall. The Hatch Room on the orchestra level and the

72 InRare CasesWoodDo ^Conduct Electrioty fhank you Boston Symphony Orchestra for music that shines brighter every year.

Bank of New England astcn? ITALIAN PEELe?^

WITH BASIL LEAF

FasteiJ i TOMATOES

#3> , RASTENE QUALITY '

NETH 3xzkc# fi

SfT WEIGHT 35 OZS. (2 LBS. 3 OZS.) 992 WTO PAST 9 LB.)— HH WT. 16 OZ. 11 453 GRAMS