Boston Symphony Orchestra
SEIJI OZAWA, Music Director
^BOSTON * (symphony^ \ orchestra i ,\ SEIJI OZAWA A \\ lh *•«/« Director V ^ 104th Season \\ tit; ^\*.\t-^ . 1984-85 THE
;_ j
REMY MARTIN COGNAC
EXCLUSIVELY FINE CHAMPAGNE COGNAC 1 Imported By Remy Martin Amerique. Inc NY. NY 80 Proot Seiji Ozawa, Music Director One Hundred and Fourth Season, 1984-85
Trustees of the Boston Symphony Orchestra, Inc.
Leo L. Beranek, Chairman Nelson J. Darling, Jr., President
J.P Barger, Vice-President George H. Kidder, Vice-President
Mrs. George L. Sargent, Vice-President William J. Poorvu, Treasurer
Vernon R. Alden Mrs. Michael H. Davis E. James Morton
David B. Arnold, Jr. Archie C. Epps David G. Mugar
Mrs. John M. Bradley Mrs. John H. Fitzpatrick Thomas D. Perry, Jr. Mrs. Norman L. Cahners Mrs. John L. Grandin Irving W. Rabb
George H.A. Clowes, Jr. Harvey Chet Krentzman Mrs. George R. Rowland
William M. Crozier, Jr. Roderick M. MacDougall Richard A. Smith Mrs. Lewis S. Dabney John Hoyt Stookey Trustees Emeriti
Philip K. Allen E. Morton Jennings, Jr. John T. Noonan Allen G. Barry Edward M. Kennedy Mrs. James H. Perkins
Richard P. Chapman Edward G. Murray Paul C. Reardon Abram T. Collier Albert L. Nickerson Sidney Stoneman Mrs. Harris Fahnestock John L. Thorndike
Administration of the Boston Symphony Orchestra, Inc.
Thomas W Morris, General Manager
William Bernell, Artistic Administrator Daniel R. Gustin, Assistant Manager Anne H. Parsons, Orchestra Manager Caroline Smedvig, Director of Promotion Josiah Stevenson, Director ofDevelopment Theodore A. Vlahos, Director ofBusiness Affairs
Charles S. Fox, Director ofAnnual Giving Anita R. Kurland, Administrator of Youth Activities Arlene Germain, Financial Analyst Richard Ortner, Administrator of Charles Gilroy, ChiefAccountant Tanglewood Music Center Vera Gold, Assistant Director ofPromotion Robert A. Pihlcrantz, Properties Manager Patricia Halligan, Personnel Administrator Charles Rawson, Manager of Box Office Nancy A. Kay, Director ofSales Eric Sanders, Director of Corporate Development John M. Keenum, Director of Joyce M. Serwitz, Assistant Director of Development Foundation Support Diane Greer Smart, Director of Volunteers Nancy Knutsen, Production Manager Nancy E. Tanen, Media/ Special Projects Administrator
Steven Ledbetter Marc Mandel Jean Miller MacKenzie Musicologist & Publications Print Production Program Annotator Coordinator Coordinator
Programs copyright ®1985 Boston Symphony Orchestra, Inc. Cover photo by Walter H. Scott Board of Overseers of the Boston Symphony Orchestra, Inc.
Harvey Chet Krentzman Chairman
Avram J. Goldberg Mrs. August R. Meyer Vice-Chairman Vice-Chairman
Ray Stata Mrs. Gordon F. Kingsley Vice-Chairman Secretary
Mrs. Weston W. Adams Mrs. Ray A. Goldberg Mrs. Hiroshi Nishino Martin Allen Jordan L. Golding Vincent M. O'Reilly
Bruce A. Beal Haskell R. Gordon Stephen Paine, Sr.
Mrs. Richard Bennink Mrs. R. Douglas Hall III John A. Perkins
Peter A. Brooke Francis W. Hatch, Jr. Mrs. Curtis Prout
William M. Bulger Mrs. Richard D. Hill Peter C. Read Mary Louise Cabot Susan M. Hilles Robert E. Remis
James F. Cleary Glen H. Hiner Mrs. Peter van S. Rice
John F. Cogan, Jr. Mrs. Marilyn Brachman Hoffman David Rockefeller, Jr. Julian Cohen Mrs. Bela T. Kalman John Ex Rodgers Mrs. Nat King Cole Mrs. S. Charles Kasdon Mrs. Jerome Rosenfeld
Arthur P. Contas Richard L. Kaye Mrs. William C. Rousseau Mrs. A. Werk Cook John Kittredge Mrs. William H. Ryan Phyllis Curtin Mrs. Carl Koch Gene Shalit A.V. d'Arbeloff Mrs. E. Anthony Kutten Malcolm L. Sherman
D.V. d'Arbeloff John P. LaWare Donald B. Sinclair
Mrs. Michael H. Davis Mrs. James F. Lawrence Ralph Z. Sorenson
Mrs. Otto Eckstein Laurence Lesser Mrs. Arthur I. Strang
William S. Edgerly Mrs. Charles P. Lyman Mrs. Richard H. Thompson
Mrs. Alexander Ellis Mrs. Harry L. Marks William F. Thompson
John A. Fibiger C. Charles Marran Mark Tishler, Jr.
Kenneth G. Fisher J. William Middendorf II Luise Vosgerchian Gerhard M. Freche Paul M. Montrone Mrs. An Wang Peter H.B. Frelinghuysen Hanae Mori Roger D. Wellington
Mrs. Thomas J. Galligan Richard P. Morse John J. Wilson Mrs. Thomas Gardiner Mrs. Robert B. Newman Brunetta Wolfman Mrs. James G. Qarivaltis Nicholas T. Zervas
Overseers Emeriti
Mrs. Frank G. Allen Paul Fromm Benjamin H. Lacy
Hazen H. Ayer Mrs. Louis I. Kane Mrs. Stephen V.C. Morris David W. Bernstein Leonard Kaplan David R. Pokross Officers of the Boston Symphony Association of Volunteers
Mrs. Michael H. Davis President Mrs. Hart D. Leavitt Mrs. Carl Koch
Executive I ice-President Treasurer Mrs. Barbara W. Steiner Mrs. August R. Meyer Secretary dominating Chairman
Vice-Presidents
Mrs. Gilman W. Conant, Regions Mrs. Craig W. Fischer, Tanglewood Phyllis Dohanian, Fundraising Projects Mrs. Hiroshi Nishino, Youth Activities
Mrs. R. Douglas Hall III, Mrs. Mark Selkowitz, Tanglewood Development Services Mark Tishler, Public Relations
Chairmen of Regions
Mrs. Roman W. DeSanctis Mrs. Charles Hubbard Mrs. Frank E. Remick
Mrs. Russell J. Goodnow, Jr. Mrs. Herbert S. Judd, Jr. John H. Stookey
Mrs. Baron M. Hartley Mrs. Robert B. Newman Mrs. Arthur I. Strang
Symphony Hall Operations
Cheryl Silvia Tribbett, Function Manager James E. Whitaker, House Manager
Earl G. Buker, ChiefEngineer Cleveland Morrison, Stage Manager Franklin Smith, Supervisor ofHouse Crew
Wilmoth A. Griffiths, Assistant Supervisor ofHouse Crew William D. McDonnell, ChiefSteward WE HELPED ED MILLER GET BY ON $125,000. LAST YEAR
Most people assume that success
automatically brings with it a sub- stantially brighter -• and easier -- financial picture. Yet when they reach a comfortable income level, too many
find themselves wondering where it all goes. This is one of the most common reasons people come to The Cambridge Group for financial planning. Because success depends as much on preserving and investing your money as
on earning it. At The Cambridge Group, our job is to help you focus on your goals.Then help you achieve them. All of them. We can help with business management. Investment objectives. Retirement plans Educational needs. Estate planning. And any other special objectives you might have, business or personal. It's only through careful planning All while keeping your taxes at that someone like Ed Miller can feel their lowest legitimate level. comfortable with his income. Knowing To achieve this, we develop an that his money is working as hard for overall, comprehensive financial plan. him as he worked for his money. Our specialists optimize your posi- If you'd like a closer look at what tion in each area giving you a balanced financial planning can do for you, financial picture. Not a plan skewed we'd be happy to arrange a private toward the stock market by a broker. consultation at no cost or obligation Or toward life insurance by an agent. to you. Just call Charlie Gerrior at But a truly objective perspective. (617)965-7480.
Cambridge Group YOG SET THE GOALS WE HELP YOU REACH THEM Planned Giving Seminars
The Boston Symphony Orchestra's Development
Office continues its series of planned giving semi- BSO nars led by consultant John Brown during the 1984-85 fiscal year. Topics still to be discussed
include wills and bequests (19 March), and spe- Leon Fleisher Named cialty items such as royalty interests and limited Artistic Director of partnerships (29 April). In addition, Mr. Brown Tanglewood Music Center will be available to meet with prospects and to
BSO Music Director Seiji Ozawa recently work with members of the Development Office
announced the appointment of Leon Fleisher as staff. For further information, please contact Artistic Director of the Tanglewood Music Cen- Joyce Serwitz, Assistant Director of Develop-
ter. Fleisher—well-known for his work as pianist, ment, at (617) 266-1492, ext. 132. conductor, and teacher— will assume his duties as Artistic Director- Designate this summer, becoming Artistic Director in residence for the Art Exhibits in the full summer as of 1986. He succeeds Gunther Cabot-Cahners Room Schuller, who held the position for twelve years
until his resignation at the end of the 1984 The Boston Symphony Orchestra is pleased that
session. a variety of Boston-area galleries, museums, schools, and non-profit artists' organizations are Mr. Fleisher will direct artistic planning for continuing to exhibit their work in the Cabot- the Music Center, review and recommend all Cahners Room on the first-balcony level of Sym- faculty appointments, oversee the contemporary phony Hall. The current exhibit is being pre- music program, and administrate the auditions sented by the Boston Visual Artists Union, to be process for the selection of students. He is followed by Gallery 52, which will display a extremely active in the field of music, and since selection of its work from 18 March until 15 1959 he has held the Andrew W. Mellon Chair at April. the Peabody Conservatory of Music in Baltimore. He co-founded the Theater Chamber Players of the Kennedy Center in 1967, presenting con- BSO Guests on WGBH-FM-89.7 certs devoted primarily to contemporary music, and he has held conducting positions with the The featured guests with Ron Delia Chiesa dur- Annapolis Symphony and the Baltimore ing the intermissions of upcoming live Boston Symphony. Symphony broadcasts will be BSO principal oboe Ralph Gomberg (1 and 2 March), Boston Sym- Born in San Francisco, Mr. Fleisher became a phony Association of Volunteers Fundraising student of Artur Schnabel when he was nine and Vice-President Phyllis Dohanian (15 and 16 went on to win recognition as one of the great March), BSO assistant principal trumpet Charles solo pianists; a muscular problem in his right Daval (28 and 29 March), and BSO principal hand and forearm forced him to curtail his career bass Edwin Barker (5 and 6 April). in 1964. In recent seasons his solo appearances
with orchestra have focused on the piano litera-
ture for the left hand; he appeared with the With Thanks Boston Symphony Orchestra most recently at
Tanglewood last summer. Following the final We wish to give special thanks to the National meeting of the Tanglewood Music Center Artistic Endowment for the Arts and the Massachusetts Director Search Committee, Mr. Fleisher was the Council on the Arts and Humanities for their unanimous choice of Mr. Ozawa and the continued support of the Boston Symphony committee. Orchestra. iOMem
oist and
•
iHaUb
ilk So
tprop
isic.ttK
ncerto ml
liomti
J BSO Members in Concert
Music Director Max Hobart conducts the Civic Boston, 53 Marlborough Street. The program
Symphony Orchestra on Friday, 1 March at 8:30 will include music of Ravel, Rameau, Debussy, p.m. in Jordan Hall in a program including and Faure. For further information, call Leopold Stokowski's instrumentation of Bach's 266-4351.
Toccata and Fugue in D minor; the Bach Concer- Music Director Ronald Knudsen conducts the to for violin and oboe with Mr. Hobart as violin Newton Symphony Orchestra on Sunday, 17
oist and BSO member Alfred Genovese as March at 8 p.m. at Aquinas Junior College in oboe soloist, and the Sibelius Symphony No. 2. Newton. On the program are the Bach Branden-
For ticket information call 326-8483 or the Jor- burg Concerto No. 3, the Mendelssohn Violin dan Hall box office at 536-2412. Concerto with soloist Robert Davidovici, and the
Music Director Max Hobart conducts the Dvovak Symphony No. 6 in D. Single tickets are
North Shore Philharmonic on Sunday, 3 March $8; for information or reservations, call at 7:30 p.m. at Salem High School Auditorium. 965-2555.
The program includes Handel's Royal Fireworks BSO assistant principal flutist Leone Buyse
Music, the suite from Walter Piston's ballet The will appear in recital at Boston University School Incredible Flutist, and the Beethoven Piano for the Arts, 855 Commonwealth Avenue, on
Concerto No. 5, the Emperor, with soloist David Sunday, 17 March at 8 p.m. The program Deveau. Tickets are $5 ($3 for students and includes music of Marin Marais, Robert senior citizens); for further information, call Schumann, Verne Reynolds, Jean Cartan, Ernst 1-631-6513. von Dohnanyi and Friedrich Kuhlau. Admission
The Melisande Trio will perform on Sunday, is free.
17 March at 5 p.m. at the French Library of
Jhe m john0liver H Chorale ^>4 and Orchestra
presents
J.S. BACH Mass in B Minor, BWV 232 Saturday, March 30 at 8 p.m. Jordan Hall at New England Conservatory
soloists—Martha Elliott, Gloria Raymond, David Norris, Mark Fularz, James Kleyla.
For phone orders and information, call: (617) 353-0556 MasterCard and VISA. Bostix
-" They let the music soar . . . The Boston Globe Seiji Ozawa
wl
The 1984-85 season is Seiji Ozawa's twelfth 1961 Japan tour, and he was made an assistai as music director of the Boston Symphony conductor of that orchestra for the 1961-62
Orchestra. In the fall of 1973 he became the season. His first professional concert orchestra's thirteenth music director since it appearance in North America came in was founded in 1881. January 1962 with the San Francisco
Born in 1935 in Shenyang, China, to Symphony Orchestra. He was music director Japanese parents, Mr. Ozawa studied both of the Ravinia Festival for five summers begii Western and Oriental music as a child and ning in 1964, and music director for four later graduated from Tokyo's Toho School of seasons of the Toronto Symphony Orchestra,
Music with first prizes in composition and con- post he relinquished at the end of the ducting. In the fall of 1959 he won first prize 1968-69 season. at the International Competition of Orchestra Seiji Ozawa first conducted the Boston Syr Conductors, Besancon, France. Charles phony in Symphony Hall in January 1968; h> Munch, then music director of Boston the had previously appeared with the orchestra f a judge at the competition, Symphony and four summers at Tanglewood, where he invited him to Tanglewood, where in he 1960 became an artistic director in 1970. In won the Koussevitzky Prize for outstanding December 1970 he began his inaugural seasc student conductor, the highest honor awarded as conductor and music director of the San by the Berkshire Music Center (now the Francisco Symphony Orchestra. The music Tanglewood Music Center). directorship of the Boston Symphony followe While working with Herbert von Karajan in in 1973, and Mr. Ozawa resigned his San West Berlin, Mr. Ozawa came to the attention Francisco position in the spring of 1976, sen of Leonard Bernstein, whom he accompanied ing as music advisor there for the 1976-77 on the New York Philharmonic's spring season.
8 Do you know iwhere you're going? Are you already there? Boston Safe Deposit and Trust Company i^M 3te5tfr K
1
Member FDIC m
i
Pmi™ Or
"If you really loved me, asal
BSO' you'd know exactly what I want!
OZ:
You can spend 40 years with someone and never really know her.
Finding someone special something equally as
special can be extremely frustrating. Especially when it comes to fine jewelry. Which is why you should come to Harper & Faye. We're personal jewelers. Meaning we don't just sell jewelry. Rather, we help you
buy it. By taking the time to find out about the person you want to please. What she's like. What she does. And what she likes. So we can recommend the piece (or pieces) that will be right for her. To arrange a time Gold is precious. But Designer Michael- or for our color bro- Harper Good? 14K and 18K gold eanings are chure, call 523-4555. priceless. $300 and respectively. &Faye JEWELERS
60 Federal Street Boston, MA 02110 As music director of the Boston Symphony the Grand Prix de la Critique 1984 in the Orchestra, Mr. Ozawa has strengthened the category of French world premieres. reputation internationally as well orchestra's Mr. Ozawa has won an Emmy for the beginning with concerts on the as at home, Boston Symphony Orchestra's "Evening at European tour and, in March BSO's 1976 Symphony" television series. His award- a nine-city tour of Japan. At the 1978, on winning recordings include Berlioz's Romeo et invitation of the Chinese government, Mr. Juliette, Schoenberg's Gurrelieder, and the then spent a week working with the Ozawa Berg and Stravinsky violin concertos with Central Philharmonic Orchestra; a Peking Itzhak Perlman. Other recordings with the later, in March 1979, he returned to year orchestra include, for Philips, Richard with the entire Boston Symphony for China Strauss's Also sprach Zarathustra and Ein cultural exchange a significant musical and Heldenleben, Stravinsky's Le Sacre du coaching, study, and discussion ses- entailing printemps, Hoist's The Planets, and Mahler's sions with Chinese musicians, as well as con- Symphony No. 8, the Symphony ofa Thou- performances. Also in 1979, Mr. Ozawa cert sand. For CBS, he has recorded music of led the orchestra on its first tour devoted Ravel, Berlioz, and Debussy with mezzo- to appearances at the major music exclusively soprano Frederica von Stade and the Men- festivals of Europe. Seiji Ozawa and the Boston delssohn Violin Concerto with Isaac Stern; in celebrated the orchestra's one- Symphony addition, he has recorded the Schoenberg/ hundredth birthday with a fourteen-city Amer- Monn Cello Concerto and Strauss's Don Qui- ican tour in March 1981 and an international xote with cellist Yo-Yo Ma for future release. tour to Japan, France, Germany, Austria, and For Telarc, he has recorded the complete England in October/ November that same cycle of Beethoven piano concertos and the year. Most recently, in August/September Choral Fantasy with Rudolf Serkin. Mr. Ozawa 1984, Mr. Ozawa led the orchestra in a two- and the orchestra have recorded five of the and-one-half-week, eleven-concert tour which works commissioned by the BSO for its cen- included appearances at the music festivals of tennial: Roger Sessions's Pulitzer Prize- Edinburgh, London, Salzburg, Lucerne, and winning Concerto for Orchestra and Andrzej Berlin, as well as performances in Munich, Panufnik's Sinfonia Votiva are available on Hamburg, and Amsterdam. Hyperion; Peter Lieberson's Piano Concerto Mr. Ozawa pursues an active international with soloist Peter Serkin, John Harbison's
career. He appears regularly with the Berlin Symphony No. 1, and Oily Wilson's Sinfonia Philharmonic, the Orchestre de Paris, the have been taped for New World records. For French National Radio Orchestra, the Vienna Angel/EMI, he and the orchestra have Philharmonic, the Philharmonia of London, recorded Stravinsky's Firebird and, with so-
and the New Japan Philharmonic. His operatic loist Itzhak Perlman, the violin concertos of credits include Salzburg, London's Royal Earl Kim and Robert Starer. Mr. Ozawa holds
Opera at Covent Garden, La Scala in Milan, honorary Doctor of Music degrees from the and the Paris Opera, where he conducted the University of Massachusetts, the New England world premiere of Olivier Messiaen's opera Conservatory of Music, and Wheaton College St. Francis ofAssist in November 1983. in Norton, Massachusetts. Messiaen's opera was subsequently awarded tmmmm&&m
£'?*,<.
POSTER AVAILABLE AT THE KENNEDY STUDIOS THE HARVARD COOP. THE ARTIST WORKS (B.U. BOOK STORE) AND PARTICIPATING BALDWIN DEALERS TANGLEWOOD BALDWIN IS THE OFFICIAL PIANO OF THE BOSTON SYMPHONY AND PHOTOGRAPHER WILLIAM TAYLOR Violas Thomas Martin Burton Fine Peter Hadcock Charles S. Dana chair E-flat Clarinet McCarty Patricia Bass Clarinet Anne Stoneman chair Nordstrom Ronald Wilkison Craig Robert Barnes Bassoons Jerome Lipson Sherman Walt Bernard Kadinoff Edward A. Taft chair Joseph Pietropaolo Roland Small Michael Zaretsky Matthew Ruggiero Music Directorship endoived by- Marc Jeanneret John Moors Cabot Contrabassoon Betty Benthin Richard Plaster SYMPHONY * Mark Ludwig I BOSTON Horns ORCHESTRA Cellos Charles Kavalovski 1984/85 Jules Eskin Helen SagoffSlosberg chair Philip R. Allen chair Richard Sebring First Violins Martha Babcock Daniel Katzen Malcolm Lowe Vernon and Marion Alden chair Wadenpfuhl Concertmaster Mischa Nieland Jay Charles Munch chair Esther S. and Joseph M. Shapiro chair Richard Mackey Borok Emanuel Jerome Patterson Jonathan Menkis Assistant Concertmaster * Robert Ripley Helen Horner Mclntyre chair Trumpets Luis Leguia Max Hobart Charles Schlueter Beal, and Robert L. Carol Procter Roger Louis Voisin chair Enid and Bruce A. Beal chair Ronald Feldman Andre Come Arzewski Cecylia * Joel Moerschel Ford H. Cooper chair Edward and Bertha C. Rose chair Sandra and David Bakalar chair Charles Daval Bo Youp Hwang * Jonathan Miller Peter Chapman John and Dorothy Wilson chair * Sato Knudsen Max Winder Trombones Harry Dickson Basses Ronald Barron Forrest Foster Collier chair P. and Mary B. Barger chair Barker J. Gottfried Wilfinger Edwin Harold D. Hodgkinson chair Norman Bolter Fredy Ostrovsky Lawrence Wolfe Leo Panasevich Maria Stata chair Tuba Carolyn and George Rowland chair Joseph Hearne Chester Schmitz Sheldon Rotenberg Margaret and William C. Bela Wurtzler Muriel C. Kasdon and Rousseau chair Marjorie C. Paley chair Leslie Martin Alfred Schneider John Salkowski Timpani Raymond Sird John Barwicki Everett Firth Sylvia Shippen Wells chair Ikuko Mizuno * Robert Olson * Orleans Amnon Levy James Percussion Second Violins Flutes Charles Smith Churchill Marylou Speaker Doriot Anthony Dwyer Arthur Press Fahnestock chair Walter, Piston chair Assistant Timpanist Vyacheslav Uritsky Fenwick Smith Thomas Gauger Charlotte and Irving W. Rabb chair Myra and Robert Kraft chair Frank Epstein Ronald Knudsen Leone Buyse Joseph McGauley Harp Leonard Moss Piccolo Ann Hobson Pilot Laszlo Nagy Lois Schaefer Willona Henderson Sinclair chair Charles Marran chair * Michael Vitale Evelyn and C. * Harvey Seigel Oboes Personnel Managers I* Jerome Rosen Ralph Gomberg William Moyer I* Sheila Fiekowsky Mildred B. Remis chair Harry Shapiro I* Gerald Elias Wayne Rapier Librarians I* Ronan Lefkowitz Alfred Genovese * Nancy Bracken Marshall Burlingame Shisler I* Joel Smirnoff English Horn William * Jennie Shames Laurence Thorstenberg James Harper Phyllis Knight Beranek chair I* Lowe Nisanne Stage Manager * Aza Raykhtsaum Clarinets Position endowed by * DiNovo Angelica Lloyd Clagett Nancy Mathis Harold Wright Ann S.M. Banks chair Alfred Robison Participating in a system ofrotated seating within each string section. How to conduct yourself on Friday night.
Aficionados of classical music can enjoy the Boston Symphony Orchestra every Friday night at 9 o'clock on WCRB 102. 5 FM. Sponsored in part by Honeywell.
Honeywell
12 A Brief History of the Boston Symphony Orchestra
For many years, philanthropist, Civil War fulfilling Major Higginson's wish to give veteran, and amateur musician Henry Lee "concerts of a lighter kind of music." These Higginson dreamed of founding a great and concerts, soon to be given in the springtime permanent orchestra in his home town of and renamed first "Popular" and then Boston. His vision approached reality in the "Pops," fast became a tradition. spring of 1881, and on 22 October that year the Boston Symphony Orchestra's inaugural During the orchestra's first decades, there concert took place under the direction of con- were striking moves toward expansion. In ductor Georg Henschel. For nearly twenty 1915, the orchestra made its first transconti- years, symphony concerts were held in the old nental trip, playing thirteen concerts at the
Boston Music Hall; Symphony Hall, the Panama-Pacific Exposition in San Francisco. orchestra's present home, and one of the Recording, begun with RCA in the pioneering world's most highly regarded concert halls, days of 1917, continued with increasing fre- was opened in 1900. Henschel was succeeded quency, as did radio broadcasts of concerts. by a series of German-born and -trained con- The character of the Boston Symphony was ductors—Wilhelm Gericke, Arthur Nikisch, greatly changed in 1918, when Henri Rabaud Emil Paur, and Max Fiedler—culminating in was engaged as conductor; he was succeeded the appointment of the legendary Karl Muck, the following season by Pierre Monteux. These who served two tenures as music director, appointments marked the beginning of a 1906-08 and 1912-18. Meanwhile, in July French -oriented tradition which would be 1885, the musicians of the Boston Symphony maintained, even during the Russian-born had given their first "Promenade" concert, Serge Koussevitzky's time, with the employ- offering both music and refreshments, and ment of many French-trained musicians.
The first photograph, actually a collage, ofthe Boston Symphony Orchestra under Georg Henschel, taken 1882
13 The Koussevitzky era began in 1924. His om
extraordinary musicianship and electric per-
sonality proved so enduring that he served an
unprecedented term of twenty-five years. In out
1936, Koussevitzky led the orchestra's first
concerts in the Berkshires, and a year later he m
and the players took up annual summer resi-
dence at Tanglewood. Koussevitzky passion- ork ately shared Major Higginson's dream of "a
good honest school for musicians," and in Udit
1940 that dream was realized with the found- ing at Tanglewood of the Berkshire Music
Center, a unique summer music academy for
young artists. To broaden public awareness of the Music Center's activities at Tanglewood, Henry Lee Higginson ear; the Berkshire will Music Center be known as ere the Tanglewood Music Center beginning with Jy| the 1985 session.
Expansion continued in other areas as well.
In 1929 the free Esplanade concerts on the
Charles River in Boston were inaugurated by
Arthur Fiedler, who had been a member of the orchestra since 1915 and who in 1930 became
the eighteenth conductor of the Boston Pops, a post he would hold for half a century, to be succeeded by John Williams in 1980. The
Boston Pops will celebrate its hundredth birth- erks day in 1985 under Mr. Williams's baton.
Charles Munch followed Koussevitzky as music director in 1949. Munch continued Koussevitzky's practice of supporting contem- Georg Henschel porary composers and introduced much music
Karl Muck Pierre Monteux Serge Koussevitzky
14 M from the French repertory to this country. gram of centennial commissions—from iicp During his tenure, the orchestra toured abroad Sandor Balassa, Leonard Bernstein, John
for the first time, and its continuing series of Corigliano, Peter Maxwell Davies, John -ars.In Youth Concerts was initiated. Erich Leinsdorf Harbison, Leon Kirchner, Peter Lieberson,
began his seven-year term as music director in Donald Martino, Andrzej Panufnik, Roger 1962. Leinsdorf presented numerous pre- Sessions, Sir Michael Tippett, and Oily mieres, restored many forgotten and neglected Wilson—on the occasion of the orchestra's works to the repertory, and, like his two prede- hundredth birthday has reaffirmed the orches- cessors, made many recordings for RCA; in tra's commitment to new music. Under his
addition, many concerts were televised under direction, the orchestra has also expanded its his direction. Leinsdorf was also an energetic recording activities to include releases on the director of the Berkshire Music Center, and Philips, Telarc, CBS, Angel/EMI, Hyperion,
under his leadership a full-tuition fellowship and New World labels. ene:s< program was established. Also during these From its earliest days, the Boston Sym- BWM years, the Boston Symphony Chamber Players phony Orchestra has stood for imagination, lownas were founded, in 1964; they are the world's enterprise, and the highest attainable stan- ln^itl only permanent chamber ensemble made up of dards. Today, the Boston Symphony Orches- a major symphony orchestra's principal play- tra, Inc., presents more than 250 concerts ers. William Steinberg succeeded Leinsdorf in s as we annually. Attended by a live audience of nearly 1969. He conducted several American and 1.5 million, the orchestra's performances are world premieres, made recordings for heard by a vast national and international Deutsche Grammophon and RCA, appeared )eroft audience through the media of radio, tele- regularly on television, led the 1971 European 3 becar vision, and recordings. Its annual budget has tour, and directed concerts on the east coast, in Pops grown from Higginson's projected $115,000 in the south, and in the mid -west. to more than $20 million. Its preeminent posi-
The Seiji Ozawa, an artistic director of the tion in the world of music is due not only to the
Berkshire Festival since 1970, became the support of its audiences but also to grants from
orchestra's thirteenth music director in the fall the federal and state governments, and to the of 1973, following a year as music advisor. generosity of many foundations, businesses, .zkvas Now in his twelfth year as music director, Mr. and individuals. It is an ensemble that has ]ued Ozawa has continued to solidify the orchestra's richly fulfilled Higginson's vision of a great
; contei reputation at home and abroad, and his pro- and permanent orchestra in Boston. chmus
m i
I Charles Munch William Steinberg per•form* ance (par-fof-mans) n. 1. The act or style of performing a work or role before an audience. 2. What you can expect from Mutual Bank, whether you're looking for outstanding customer service, con- venient downtown locations or innovative banking and investment services.
Mutual Bank What other big bank treats you like a partner?
45 Franklin Street, Boston, MA 02110, 482-7530
Member FDIC
16 BOSTON SYMPHONY ORCHESTRA
Seiji Ozawa, Music Director
One Hundred and Fourth Season, 1984-85
Thursday, 28 February at 8
Friday, 1 March at 2 Saturday, 2 March at 8 Tuesday, 5 March at 8
KURT MASUR conducting
BERG Symphonic Pieces from the opera Lulu
(commemorating the 1 00th anniversary
of the composer's birth)
Rondo (Andante and Hymn)
Ostinato (Allegro) Lulu's Song Variations Adagio
FAYE ROBINSON, soprano
INTERMISSION
HANDEL Ode for St. Cecilia's Day (commemorating the 300th anniversary
of the composer's birth)
FAYE ROBINSON, soprano VINSON COLE, tenor TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor
Thursday's, Saturday's, and Tuesday's concerts will end about 10 and Friday's about 4.
Philips, Telarc, CBS, Deutsche Grammophon, Angel/EMI, New World, Hyperion, and RCA records Baldwin piano
Harpsichord by Hubbard & Broekman, Boston 1984
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 LOCATION The Fairways at Chestnut Hill gives you downtown Boston from the perfect vantage point: within sight and within a 15- minute drive. You'll also have a bricked terrace and a balcony overlooking a golf course, where you can relax and look back on the day's accomplishments. Sitting pretty is just one of the advantages of owning a home at The Fairways. We invite you to come view all the others.
Two-bedroom townhouses with study from $285,000. Furnished models open 12-5 seven days a week, or by appointment From Centre Street in Newton go east on Commonwealth Avenue, left on Hammond Street which becomes Woodchester Drive which, in turn, becomes Algonquin Road The Fairways AT CHESTNUT HILL
85 Algonquin Road Newton (617)965-8988 Marketed by: The Condominium Collaborative, Inc.
18 —
Alban Berg Symphonic Pieces from the opera Lulu
Alban Maria Johannes Berg was born in Vienna on 9 February 1885 and died there on 24 December 1935. Berg's sec-
ond and last opera, Lulu, is based on two plays by Frank Wedekind, Erdgeist (Earth Spirit) and Biichse der Pandora (Pandora's Box). He chose the subject in
1928, began actual composition the fol-
lowing year, and left the score all but finished at his death, when details in the scoring of the final act remained to be completed. The premiere of the opera (in incomplete form) took place at the Stadttheater in Zurich on 2 June 1937. Berg also prepared a symphonic ver- sion ofmusic from the opera; this he completed in the summer of1934. The score is dedicated "To Arnold Schoenberg on his sixtieth birthday." The third movement, "Lulus Song," bears an additional dedication "To Anton Webern on his fiftieth birthday." These symphonic pieces were first heard in Berlin under the baton ofErich Kleiber on 30 November 1934. Serge Koussevitzky led the Boston Symphony Orchestra in the American premiere on 22 and 23 March 1935; the soprano soloist
was Olga Averino. The same forces gave the first New York performance on 4 April. Erich Leinsdorfled BSO performances of the last four movements with Phyllis Bryn- Julson in October and November 1966. Niklaus Wyss conducted a performance of "Lulus Song" with soprano Reri Grist at Tanglewood in July 1979. This week's performances are the first by the BSO since Koussevitzky''s to include allfive movements. Instrumentation for the suite consists of three flutes and piccolo, three oboes and English horn, three clarinets, two E-flat clarinets, and bass clarinet, alto saxophone, three bassoons and contrabassoon, four horns, three trumpets, three trombones and tuba, timpani, bass drum, cymbals, snare drum, large tam-tam, small tam-tam, triangle, vibraphone, and strings. The alto saxophone in these performances will be played by Ken Radnofsky
Berg chose the subject for his last opera seven years before his premature death. He crafted the libretto himself by arranging and condensing the material in two Wedekind dramas about a woman named Lulu whose effect on men was like a force of nature, taking care to arrange the story in such a way as to emphasize the symmetry of its two halves
Lulu's vertiginous rise, and her catastrophic fall and squalid death. He began composing the work in 1929 and completed the short score for the entire opera in 1934. In view of the later history of the work, it is worth explaining that a short score represents the complete musical content, with quite intricate indications for the orchestration, from which the composer may write out the full score in all its details. From the composer's point of view, the real creative work is finished when the short score is completed; the rest is merely the drudgery of a high-class music copyist.
For a time it had looked as if Berg's economic situation would be stable; Wozzeck had achieved a considerable success. By the end of 1932 it had been staged in seventeen i 19 Week 15 Established 1885
<*/)a/ite/ &? «uf*e,m.m-- sagygigw«wrer ial CSaHKiMF 5#i»s«*M»*c:jfcjrr rare postage stamps manuscripts autographs and archives 40 BROAD STREET BOSTON, MASSACHUSETTS 02109 617-523-3676 617-742-0883 617-542-445O Richmond, Proprietor Stanley J. German opera houses. But Hitler's appointment as Chancellor of Germany, followed by the Reichstag fire ("Dancing on a volcano!" wrote Berg to his wife when he heard the news), quickly gave the Nazi party control of Germany's artistic life —which meant that there would be no further performances of Wozzeck. Berg had hoped that Erich Kleiber would conduct the premiere of Lulu in Berlin during the 1932-33 season, but he had not finished the opera in time, and Berlin was now clearly out of the question. He thought that perhaps an orchestral suite of music from the opera might still be performed there, given a sufficiently brave conductor. A suite would serve the double function of providing some immediate income from performance rights and of arousing interest in the opera as a whole. The concert music would be more easily performed than a full opera, which would never get past the censorship of the state-run theaters. About his orchestral selections, Berg wrote to Kleiber, "I think we could risk doing it even in Germany." Kleiber courageously took the chance and conducted the "Symphonic Pieces from the opera Lulu'' in Berlin on 30 November 1934—and resigned his post four days later. A second performance took place in Vienna less than two weeks before Berg died. Though gravely ill with a painful abscess (evidently from a bee sting suffered the previous summer), Berg attended the performance—the only opportunity he ever had to hear music from Lulu. Following Berg's death, his widow Helene became more and more insistent over the years that the score of Lulu had never been finished and that Berg had come to realize, at the end, that it could never be performed complete. The opera was premiered in truncated form in 1937. At one point about twenty years ago George Perle, who is both a distinguished composer and our leading Berg scholar, had an opportunity to look at the manuscript of the third act and saw at once that it was, in every essential detail, finished. But when Helene Berg realized that Perle and others felt the third act could be fully scored according to Berg's sketches, she withdrew access to the score entirely. Only after A postcard showing the Opera House, Unter den Linden, in Berlin, where the Symphonic Pieces from "Lulu" were first performed 21 Week 15 Investments are like trees. Tb stay healthy, they must withstand the winds of change. Having a financial strategy that is not firmly rooted can be rather unnerving. Because if the economic climate changes for the worse, the whole thing can get blown away. That's why we recommend the services of our Financial Consulting Group. They can advise you on all aspects of retire- ment income, tax shelters, investment goal setting, employee stock options, partnerships and closely held corporations, portfolio diag- nostics, and estate planning. And they have expertise in giving you tax shelter assistance that isn't linked to a com- missioned sale, and helping you plan a sound strategy for your future. So, call our Financial Consulting Group at 1-800-SHAWMUT. You'll feel better about your future when you work with bankers who can see the trees for the forest. Shawmut Financial Management ^ Division Look to us for direction. 22 her death was it finally possible to stage the complete opera, in three acts, with the scoring Bs of the final act completed by the Viennese composer Friedrich Cerha. In his concert version of music from Wozzeck, Berg had simply taken three excerpts straight out of the opera. In the case of Lulu, though, he did more than that. Three of the five movements involved selecting and adapting passages from the opera into a real symphonic structure. In that sense, the Lulu music is not just a "suite," as it has often been called (even in published recordings); Berg himself gave it the more accurate title "Symphonic Pieces from Lulu." The music, then, is not simply a precis of the opera; Berg reorders whole sections and makes virtually a symphony of the work—a Mahleresque symphony with a solo voice at two points. (In the opera, the two sung passages are for different characters, Lulu and Countess Geschwitz; on the concert stage, they are sung by a single performer.) The title character of the opera is (as the title of Wedekind's first play indicates) an "earth spirit," a woman of such overwhelming sensual attractiveness that she destroys almost everyone she comes into contact with —and is, in the end, herself destroyed. Berg arranged the opera so that the same singers who are ruined by Lulu in the first half return (as different characters) in the second half to play a part in her downfall. The dramatic symmetry is echoed by a musical symmetry hinging on the "Ostinato" in the middle of Act II; this movement is a palindrome—that is, at its midpoint, it reverses and begins to run backwards. Berg even requested that the engraver of the music plan the layout of the publication so that the midpoint of the Ostinato would fall in the middle of a page, thus making the palindrome evident. The climax of Lulu's ascendant phase comes with her marriage to the wealthy and prominent Dr. Schon, whose mistress she has been through two earlier marriages, and who Elegant suppers 5:30-12:00, Mon.-Thurs.; 5:30-8:00, Fri. and Sat. Boston's classic 4-star restaurant at the Dave McKenna, resident pianist . At the Copley Plaza Hotel. Valet parking. 267-5300. Copley Plaza Hotel. Valet parking. 267-5300. '" '" : . ' ' 23 mmMM FIDUCIARY. Private Trustees in Corporate Form - For over 100 years we have devoted complete and undi- vided attention to the care and management of property for individuals and institu- tions. We maintain no co- mingled funds: all accounts are handled on an individual basis. We believe that con- tinuity of administration is essential to the achievement of established objectives. Thus, one officer is assigned to pay close attention to the client's needs and goals, and look after all aspects of the client's affairs. © FIDUCIARY BOSTON TRUSTEES Fiduciary Trust Company 175 Federal Street, Boston, Massachusetts 021 10 Telephone (617) 482-5270 24 has tried repeatedly, but without success, to sever his ties with her. The first half of the opera concludes (in the first scene of Act II) with the murder of Dr. Schon by Lulu. The doctor brings it on himself when he finds Lulu with his son Aiwa. In despair he hands her a gun and orders her to shoot herself. Instead, she kills him. The first movement of the Symphonic Pieces, Rondo (Andante and Hymn) , is assembled from the various parts of the opera that depict Alwa's view of Lulu. Since their relationship changes very little for over a year in the opera's plot, the musical character lends itself perfectly to rondo form. The movement opens with a few bars of the music with which Lulu is introduced in the opera's metaphorical Prologue, in which she is presented by an Animal-Trainer as a serpent. Then the rondo proper begins; the alto saxophone lends a remarkable color to much of this movement, characterizing the fascination that Lulu exerts over all men. The Hymn follows directly from the Andante, with plucked strings, piano, and harp, followed by a dialogue in the alto saxophone and horn. The movement ends with an indication that Aiwa, too, has succumbed to Lulu's will. The midpoint of the opera, following the murder of Dr. Schon, is taken up by a silent film depicting Lulu's arrest, trial, imprisonment, removal from prison to a cholera ward when she becomes ill, and her escape, aided by Countess Geschwitz, whose lesbian passion for her Lulu barely tolerates. The film is accompanied by a palindromic Ostinato, the midpoint of which marks the beginning of Lulu's downfall. The movement is built up of many of the opera's motives. The climax comes when Lulu's "earth spirit" motive, a chain of fourths, is proclaimed by a brass unison fortissimo. This dies away into a dolce passage for a few measures, and then we reach the palindromic midpoint, from which the movement runs its course backwards. From the premiere of "Lulu" at the Zurich Stadttheater on 2 June 1937 25 Week 15 Lulu's Song, like the Ostinato. comes directly from Act II of the opera. She sings it to Dr. Schbn while holding the revolver with which she will eventuallv kill him. Berg built this demanding vocal number out of the principal series of the work as a whole and the "earth spirit*" theme of Lulu. The Variations movement consists of four variations based on a procurer's song collected by the playwright Wedekind himself. The theme is hinted at briefly in the horns. The four variations follow: Grandioso (fairground music), Grazioso (a bitonal statement in two kevs a tritone apart). Funebre (foreshadowing Alwa's murder, with the theme in the bass), and Affettuoso (with the theme divided up among the strings). At the end we hear the Theme proper for the first time, in the woodwinds, scored as if for a wheezy barrel organ. The final Adagio begins with music associated with Countess Geschwitz, the one character whose devotion to Lulu remains unchanged to the end. Significantly, her motive is constructed of fifths, the interval that is an inversion of the fourths used to represent Lulu. Other allusions follow to Dr. Schon, Aiwa, and the Countess. A big Mahleresque passage culminates in Lulus death cry. a thunderous chord of superimposed fourths, as We know a good investment whenwe hear one. Let's all support the BSO. Tucker, Anthony & R.L. Day, Inc. Serving investors in 33 offices in the U.S. Since 1892. One Beacon Street, Boston (617) 725-2000. Tucker Anthony A John Hancock Company — — she is murdered by Jack the Ripper (a role played by the same singer who was Dr. Schbn— the man Lulu had murdered in the first half); in the opera, Countess Geschwitz comes to Lulu's aid, but is herself stabbed. The chord representing Lulu's death throes fades away, and the concert version closes, like the opera, with the Countess's dying words of devotion. —Steven Ledbetter LULU'S SONG Wenn sich die Menschen um meinetwillen Even though men may kill themselves umgebracht haben, so setzt das meinen because of me, that doesn't lower my Wert nicht herab. value. Du hast so gut gewusst, weswegen Du You know well why you mich zur Frau nahmst, took me as your wife, wie ich gewusst habe, just as I knew weswegen ich Dich zum Mann nahm. why I took you as my husband. Du hattest Deine besten Freunde You had deceived your best friends mit mir betrogen, with me, Du konntest nicht gut auch noch You couldn't very well even Dich selber mit mir betriigen. deceive yourself with me. Wenn Du mir Deinen Lebensabend zum And even if you give me the twilight Opfer bringst, years of your life as an offering, so hast Du meine ganze Jugend you have had my whole youth dafiir gehabt. in return for it. Ich habe nie in der Welt etwas anderes I have never in the world wanted to scheinen wollen, appear to be something other als wofiir man mich genommen hat. than what people took me for. Und man hat mich nie in der Welt And no one has ever in the world fur etwas anderes genommen, taken me for anything als was ich bin. but what I am. Nein, nein, nein! No, no, no! FINALE COUNTESS GESCHWITZ: Lulu! — Mein Engel! Lass dich noch Lulu! —My angel! Let me see you einmal sehen! — Ich bin dir nah! once more! — I am near you! Bleibe dir nah— in Ewigkeit! I'll remain near you— for eternity! German texts copyright 1935 by Universal Edition, copyright renewed. All rights reserved. Used by permission of European American Music Distributors Corporation, sole U.S. agent for Universal Edition. mm. 27 Week 15 HWfi £fij§£si One word is worth a thousand pictures. Daniels Daniels Printing Company 40 Commercial Street Everett, MA 02149 (617) 389-7900 Serving New England's business and financial communities. A new tradition in Cambridge salutes the fine tradition of the Boston Symphony Orchestra. THE RESIDENCES AT CHARLES SQUARE Harvard Square, Cambridge 86 riverview condominium residences Scheduled for occupancy late 1984 617-491-6790 28 George Frideric Handel Ode for St. Cecilia s Day Georg Friederich Handel was born in Halle, Germany, on 23 February 1685 and died in London on 14 April 1759; after his naturalization as an Eng- lishman, he generally spelled his name George Frideric Handel. He composed his Ode for St. Cecilia's Day (under the title "A Songfor St. Cecilia's Day") between 15 and 24 September 1739, to a text that John Dryden had written in 1687; he led the first performance in London on 22 November 1739. The American premiere was given by the Handel and Haydn Society in Boston's Music Hall on 26 November 1863. Carl r ,# Zerrahn conducted, and the soloists included a Miss Houston and Lyman W. Wheeler. B.J. Lang was the organist in this concert, which was held to dedicate the hall's new Walcker organ. The present performances are the first by the Boston Symphony Orchestra. In addition to soprano and tenor soloists and mixed chorus, the Ode calls for one flute, two oboes, two bassoons, two trumpets, timpani, lute, organ, strings, and continuo. David Hahn is the lutenist, James David Christie the organist, and Mark Kroll the harpsichordist in these performances. Cecilia, a saint and martyr of the early Christian church, has been regarded as the patron saint of music from the late fifteenth century, since which time paintings by such artists as Raphael, Rubens, and Poussin have depicted her playing beautiful Renaissance and Baroque organs, while musical compositions have sung her praises and that of her art. It is ironic, then, that the account of this possibly fictitious Roman woman, as recorded in the Acts of St. Cecilia about 500 A.D., has virtually nothing to say about music, except to describe her rejection of it. The book tells of a patrician Roman maiden who dedicated herself to perpetual virginity, though her family arranged a betrothal with a young nobleman named Valerian. The tale has only one reference to music: The day on which her wedding was to be held arrived, and while musical instruments were playing, she was singing in her heart to God alone, saying, "Make my heart and my body pure that I be not confounded." Thus, the music that she heard evidently had no effect on her at all. She managed to persuade Valerian to live with her in continence, and she converted him and his brother Tiberius to Christianity. All three were discovered and martyred not long after. This is not the place to consider the historical arguments as to whether Cecilia actually existed (though Valerian and Tiberius seem to have been genuine martyrs). She was, in any case, held to be a saint from the fifth century. But it was not until the fifteenth century that she suddenly began to appear as a patroness of music. In the late sixteenth century she began to be celebrated in festivals on her feast day, 22 November. The earliest of these took ^ffflnl place at Evreux, in France, but the custom became regularly established a century later in *ase England—despite the fact that England was by then officially a Protestant country with a long history of strife between Protestants and Catholics. mm 29 Week 15 mm The tradition of Cecilian odes grew up in a time when music was very much the object of attention from poets—not so much real music as played and heard in the living culture, but music as a symbol of other things. Some of these poetic elements go back to classical antiquity and to the notions of music generated by Pythagoras; others were carried down through the ages in works of literature, philosophy, and music theory. Perhaps the most important symbolic use of music was to represent cosmic harmony in the most all- inclusive sense, from the order of the celestial bodies visible in the sky to the psychological harmony of the various states of the soul among human beings. In this sense, actual music (as we know it) was nothing more than the lowest stage in the grand scheme of things. Still, as the rift between traditional cosmology and modern science developed in the seven- teenth century (after all, Galileo had discovered celestial bodies that didn't fit the "music of the spheres" inherited from antiquity), the poets began to celebrate music more and more for its own sensual delights, while still drawing upon the imagery of centuries past. John Dryden wrote two different texts designed to serve as odes for St. Cecilia festivals, and Handel set both of them, though he was neither a contemporary of the poet's nor the first to set his texts. In February 1736 Handel had achieved a great triumph with a performance of Alexander's Feast, set to the longer and more elaborate of Dryden's odes. The poem had little to do with the Christian imagery of St. Cecilia; the characters included Alexander the Great and a host of Greek warriors. (A reference to Cecilia was dragged in at the very end.) But it offered many opportunities to demonstrate the expressive power of music, and Handel took advantage of them all. In 1737 Handel suffered a stroke that left him partially paralyzed for a time. He went to Aachen (Aix-la-Chapelle) for a cure, and was fortunate enough to recover the use of his damaged right arm quite soon. It may have looked for a while as if his creative life was ifaWVs rior Selections in Fine Jewelry, rndwrought Silver & Pewter, Original Art, Antiques, Porcelains & Other Accents, the Heart of Newburyport ys Historic Restoration. * OLD NEWBURY mn St., Newburyport, MA 01950, (617) 462-9891 30 over, but he recovered his mental faculties as well. The only permanent damage seems to have been the difficulty he occasionally experienced in actually inventing new thematic material; he never had any problem developing it once it existed. More and more frequently he resorted to starting pieces with themes adapted from an earlier work of his own or even that of another composer— a practice that has sometimes led to charges of plagiarism, not least with his next Cecilian ode. Whether or not Handel's use of other men's musical ideas was a necessary response to his stroke, he never simply stole the material to use it unchanged. Every time he borrowed someone else's ideas, he recast them so thoroughly as to make them virtually new works. This often resulted in what might be called a Cinderella effect, the original material being the girl in rags, Handel's version representing her all dressed up for the prince's ball. In the fall of 1739 Handel was enjoying a renewed compositional vigor. In the months of September and October he followed up the Ode for St. Cecilia's Day, composed in just ten days, with the set of Concerti Grossi, Opus 6. By this time Handel was near the end of his career as a composer of Italian operas, since the public support for that genre was rapidly disappearing. But he had not yet entirely convinced himself that composition of choral-dramatic works in English was to be his path in the future—despite the success of Acis and Galatea (composed twenty years earlier), Esther, Athalia, and Saul. Nonethe- less, Handel decided in the fall of 1739 to produce a Cecilian concert on his own with a new composition. He had already set Dryden's later and more elaborate text, Alexander's Feast, so this time he went back to Dryden's first Cecilia ode, a more traditional poem in praise of music, without any semblance of a plot. It treats music—or more precisely, "Harmony" —as the motive power from which "this universal frame began," calling order out of chaos. Most of the poem, though, deals with music's various effects on human Jaeger salutes the Boston Symphony Orchestra. Jaeger International Shop - Copley Place, Boston, MA. (617) 437-1163 Jaeger International Shop - The Mall at Chestnut Hill, Newton, MA. (617) 527-1785 31 CELEBRATING THE RHYTHMS AND RITES OF SPRING. We salute Mr. Seiji Ozawa and members of The Boston Symphony Orchestra on a triumphant one-hundred-fourth season . . . sharing a season shaped and renewed '<-« #* in performance committed to excellence. Jordan marsh WP %c£ Jordan Marsh m A Unit of Allied Stores. emotions, providing the composer with the challenge of recreating those effects. It was customary to provide the opportunity for praise of the trumpet, flute, violin, and organ (in that order, supposed to represent successively closer approaches to divine perfection), culminating in the human voice —more perfect than any instrument, because it alone could sing God's praises. This progression in Dryden's ode leads to his most original stroke: as music organized the universe at the beginning of all, so a final trumpet, "heard on high," shall draw all things to an end. Though the text is by no means as wide-ranging as Alexander's Feast, Dryden nonetheless offers musical opportunities in great number here, and Handel seizes them. Yet for all his brilliant imagination in completing the score, Handel borrowed themes extensively throughout the Ode from the Componimenti Musicali per il Cembalo by Gottlieb Muffat, which had just been published earlier the same year! It is this fact that has sometimes led to accusations of plagiarism, since Muffat's themes appear in all three movements of the overture and other passages as well, including the opening recitative and chorus, the aria in praise of the organ, and the final chorus. More to the point, though, is the fact that, in every instance, Handel repays the loan with interest. His elaborations and developments of Muffat's ideas range far beyond the originals in color and expressive power. The overture is typical of Handel in being laid out in three sections: a crisply dotted introductory section that ends up poised on the dominant, a lightly fugal section in a much faster tempo, and a gently poignant minuet. Dryden's opening words call up the image of Music as the grand organizing force of the universe, and Handel's accompanied recitative, richly studded with diminished seventh chords, depicts primordial Nature lying "under- -4gS*£J| storic Boston. GOLDWEITZ&C ;NY 267-S00O J.J, Hawes, circa 1870 33 COPLEY PLACE at Copley Square in the Back Bay Prelude. Copley Place is where beautiful evenings begin. Here you can shop for every fashion need. From elegant occasions to casual gatherings with friends. In The Shopping Galleries at Copley Place you will find all that's new and beautiful from this country and abroad. Neiman-Marcus and 100 exceptional shops and boutiques await you! To add to your pleasures there are 9 cinemas, 13 restaurants and the new Westin and Marriott hotels. neath a heap of jarring atoms." The "tuneful voice" from on high sings the arpeggiation of a major triad ("Arise, arise"), summoning the traditional atoms of the universe of earth, air, water, and fire ("cold and hot and moist and dry") into order. The result is a grand D major chorus celebrating the effects of "heav'nly harmony" on the universe, setting up the great chain of being "through all the compass of the notes" (depicted in melodies running up and down the scale) to Man himself. The following sequence of movements brings the traditional elements of praise. First comes Music herself, whose ability to arouse every kind of passion in the human breast is celebrated in the gentle phrases of the soprano's aria of wonderment, to which the solo cello provides rippling accompaniment. The trumpet, which is most often given over to warlike activity, is the most earthbound of the musical instruments in the traditional catalogue. Nonetheless its ability to inspire acts of heroism wins praise in one of the most Purcellian numbers in the score, a rugged tenor aria that actually contains a charming quote from Henry Purcell, Handel's greatest predecessor in the composition of Cecilian odes. Dryden, who had written the text for Purcell's semi-opera King Arthur, had used there as well as here the words "The double, double, double beat [of the thund'ring I drum]," and Handel chose to preserve the actual setting that Purcell had given those same words a half-century earlier. The trumpet is featured in the ensuing march. The soprano's next aria refers to the flute and the lute, a convenient rhyme for the poet, and a convenient cue to the composer. The flute solo forms the backbone of the aria, but the lute "warbles" prettily at the appropriate points. The violins are presented with a dash and go that Handel and other Baroque composers used in their operas for moments of rage and other "jealous pangs," as described by the tenor. The soprano returns with the kind of subdued passion heard in her first aria as well; the organ (presumably Cecilia's own instrument) is now praised in almost the same fulsome terms as Music herself. The last three numbers form an extended and connected movement. We have reached the ultimate point, the praise of the human voice, which surpasses any instrument. The instruments, after all, can sway human passions; but the "vocal breath" added to the organ's sound caused an angel to mistake earth for heaven. The soprano's aria with an unexpectedly perky accompaniment alia Hornpipe moves from D minor to its relative major, F, as the singer tells of the wonderful effects of music in the stories of Orpheus. But where handcraftsmanship For rates and is a tradition information on advertising in the Boston Symphony, Boston Pops, and Tanglewood program books please contact: Goldsmiths STEVE GANAK AD REPS (617)-542-6913 upstairs a{7 5 Main Street, Concord, MA Mon.-SaKlO-5 ^M^(617) 371-1088 mm 35 Ilii SfclSXra1 — the aria fails to close in the home key. Instead, the brief connecting recitative takes us to the dominant of D, and the final solo and chorus ring out in a bright D major. Handel, taking a tune from Moffat's collection, arranges it so that the solo soprano, utterly unaccompanied, sings the opening words, to be echoed by the full orchestra and chorus in richest harmony. Handel shows the power of "sacred lays," in that this single clarion voice causes the spheres to move, as the last trumpet call "untunes the sky" in a gloriously sonorous final chorus. —S.L. Ode for St. Cecilia's Day OVERTURE RECITATIVE, accompanied (Tenor) From Harmony, from heav'nly Harmony, This universal frame began. When Nature underneath a heap Of jarring atoms lay, And could not heave her head: The tuneful voice was heard from high, "Arise! ye more than dead": Then cold and hot, and moist and dry, In order to their stations leap, And Music's pow'r obey. CHORUS From Harmony, from heav'nly Harmony, This universal frame began: From Harmony to Harmony, Through all the compass of the notes it ran, The diapason closing full in Man. AIR (Soprano) What passion cannot Music raise and quell? When Jubal struck the chorded shell, His list'ning brethren stood around, And, wond'ring, on their faces fell, To worship that celestial sound. Less than a God they thought there could not dwell Within the hollow of that shell, That spoke so sweetly and so well. What passion cannot Music raise and quell! AIR (Tenor) and CHORUS The Trumpet's loud clangor Excites us to arms With shrill notes of anger, And mortal alarms. The double, double, double beat Of the thund'ring DRUM Cries, hark! the foes come; Charge, charge! 'tis too late to retreat. 36 — MARCH AIR (Soprano) The soft complaining FLUTE In dying notes discovers The woes of hopeless lovers, Whose dirge is whisper'd by the warbling LUTE. AIR (Tenor) Sharp Violins proclaim Their jealous pangs and desperation, Fury, frantic indignation, Depth of pains, and height of passion, For the fair disdainful dame. AIR (Soprano) But oh! what art can teach, What human voice can reach The sacred Organ's praise? Notes inspiring holy love, Notes that wing their heav'nly ways To join the choirs above. AIR (Soprano) Orpheus could lead the savage race; And trees uprooted left their place, Sequacious of the Lyre. RECITATIVE, accompanied (Soprano) But bright CECILIA rais'd the wonder high'r: When to her ORGAN vocal breath was giv'n, An angel heard, and straight appear'd, Mistaking earth for heaven. GRAND CHORUS As from the pow'r of sacred lays The spheres began to move; And sung the great Creator's praise !! To all the bless'd above; So when the last and dreadful hour, This crumbling pageant shall devour; The Trumpet shall be heard on high, The dead shall live, the living die, And Music shall untune the sky. —John Dryden <>.''life 37 Week 15 '•- Mm iH MORE MUSIC FORYOUR MONEY. Whether you're looking for an opera or an oratorio, a ballet or a baroque trumpet fanfare, you're sure to find what you want at the Classical Record Center at Barnes & Noble. When it comes to classical music, you always get more for your money at Barnes & Noble. Classical Record Center at Barnes & Noble 395 Washington Street (at Downtown Crossing) BARNES Mon.-Fri., 9:30-6:30 Sat., 9:30-6:00 &NOBLE Sun., 12:00-6:00 Another Virtuoso Selection From Karten's Jewelers Fine works from Karten's repertoire ofjewelry for men and women are now available at all ten of our stores: Copley Place ( 2nd level); malls in Burlington, Braintree, Natick, North Dartmouth, Swansea, Nashua; the Mall of New Hampshire, Fox Run Mall and Downtown New Bedford. AfQske*!* 38 More . . . There are two superb studies of Berg's music: Douglas Jarman's The Music ofAlban Berg and George Perle's The Operas ofAlban Berg {both University of California). Both are detailed and somewhat technical, but well worth persevering with; Perle's study is in two volumes, the second of which, devoted to Lulu, has just appeared. The first (on Wozzeck) has already become established as a classic. For the historical background one can get a good deal from Alban Berg: Letters to his Wife, translated by Bernard Grun (St. Martin's). Three biographies widely available in English, by Willi Reich (1963), Mosco Carner (1975), and Karen Monson (1979), are all extremely interesting and often unreliable. Lulu has been recorded several times without the unfinished third act, but, like any theatrical piece, to hear just the beginning without being able to learn how it comes out is frustrating beyond words. Now that all three acts of the opera have been produced (the third act in the completion of Friedrich Cerha), we can hear actually what Berg intended. There is a fine recording of the first complete production: Pierre Boulez conducts the orchestra of the Paris Opera; the cast includes Teresa Stratas, Yvonne Minton, Hanna Schwarz, Robert Tear, Franz Mazura, and Kenneth Riegel (DG). Boulez also made a fine recording of the Symphonic Pieces from Lulu with the New York Philharmonic and Judith Blegen, but it has unfortunately been deleted from the catalogue; this is a pity, since it also includes Jessye Norman's superb rendering of Berg's concert aria Der Wein (CBS). Eugene Ormandy's fine older recording with the Philadelphia Orchestra and Luisa de Sett as the soloist has recently been reissued on a mid-price line and is of extra interest for its coupling—the only recordings of early orchestral works of Anton Webern, as well as the orchestral version of Schoenberg's Theme and Variations, Opus 43b (CBS). The two competitive current recordings are those by the London Symphony under Claudio Abbado with Margaret Price (DG; coupled with Berg's Alten- berg Songs and the Three Pieces for Orchestra, Opus 6) and by the Cincinnati Orchestra under Michael Gielen with Kathleen Battle (Vox; coupled with the Lyric Suite). Winton Dean's splendid Handel article in The New Grove has been reissued separately in book form (Norton, available in paperback). The standard full-length biography is Paul Henry Lang's George Frideric Handel (Norton, now also in paperback); it is sometimes argumentative as Lang disputes what he perceives to be long-standing errors of Handelian interpretation, but it is also rich in cultural background and so well written as to have become a best-seller when it was first published, a rare enough achievement for any musicological work. Of special interest in connection with the Ode for St. Cecilia's Day is a very different kind of book in which John Hollander uses Dryden's text as the framework for a fascinating study, The Untuning of the Sky: Ideas ofMusic in English Poetry, 1500-1700 (Norton paperback), which discusses things that happen on the borderline of poetry, music, and the history of ideas. There is a recording of Handel's Ode on early instruments with soloists Felicity Palmer and Anthony Rolfe Johnson, with Nikolaus Harnoncourt conducting the Concentus Musicus and the Stockholm Bach Chorus, but I find that Harnoncourt too often pursues principle—even dubious princi- ple —over satisfying music-making (Teldec). My choice, then, goes to the other currently available recording, by the English Chamber Orchestra under Philip Ledger, with Jill Gomez and Robert Tear as the soloists and the King's College Choir (Vanguard). —S.L. 39 Week 15 th 1984 is our 75 Anniversary Ganteaume & McMullen, Inc. Architects • Engineers 99 Chauncy Street at Lafayette Place, Boston, 617»423»7450 e put nursing care in wthe proper environment. When visiting the Milton Health Care rehabilitative programs, organized Facility, You experience an elegant activities as well as social services. atmosphere of residents enjoying This individual quality care is carried gourmet meals in the gracious 18th into the Adult Day Care Program, also century dining room, socializing in the available at Milton, offering to its clients Greenhouse Tavern, or relaxing in the a complete program on a daily basis. charming ice cream parlour or movie At Milton, we go beyond the industry theatre. nursing standards to provide the More important, is the dedicated The very best health care possible. staff of health care profes- For more information, visit sionals providing traditional or call (617) 333-0600. skilled nursing care, com- Milton bined with individual HEALTH CARE AND RETIREMENT FACILITY Flatley Company 1200 Brush Hill Road, Milton, MA 02186 A Mayo Health Facility Division of The 40 Kurt Masur toured with the Leipzig Gewandhaus. He has since returned to this country with the Gewandhaus Orchestra in the spring of 1981, the fall of 1982, and during the current 1983-84 season, which included a Beethoven symphony cycle at Carnegie Hall in New York. Mr. Masur has appeared with leading orchestras throughout Europe, has toured the Soviet Union and Japan, and has participated in numerous international music festivals. He has recorded nearly one hundred albums; those with the Gewandhaus which are avail- able in the United States on the Philips label include the complete violin and orchestral works of Bruch and the Beethoven and Brahms violin concertos with Salvatore Music director of the Leipzig Gewandhaus Accardo, the Brahms piano concertos with Orchestra since 1970, Kurt Masur was born in Misha Dichter, the Four Last Songs of Richard Brieg, Silesia, in 1927. Mr. Masur's first Strauss with soprano Jessye Norman, and an musical training was at the piano. He attended album of Strauss songs with tenor Siegfried the Music College of Leipzig from 1946 to Jerusalem. In addition, the five Mendelssohn 1948 to continue his piano studies, and it was symphonies are available on Vanguard there that he took his first conducting course. Records. His first engagement was as orchestra coach at the Halle County Theatre, followed by Since his American debut, Mr. Masur has positions as Kapellmeister of the Erfurt and appeared with the Toronto Symphony, the Leipzig opera theatres. In 1955 he became a Dallas Symphony, the Boston Symphony, the conductor of the Dresden Philharmonic, at the San Francisco Symphony, the New York time headed by his former conducting teacher Philharmonic, the Cleveland Orchestra, the Heinz Bongartz. Mr. Masur returned to opera Chicago Symphony, and the Philadelphia from 1958 to 1960 as general director of Orchestra. In Europe, his guest conducting music at the Mecklenberg State Theatre of engagements include such prestigious ensem- Schwerin, and from 1960 to 1964 he was bles as the Berlin, Vienna, Czech, Leningrad, senior director of music at the Komische Oper Stockholm, and Royal Philharmonic orches- in Berlin, where he frequently collaborated tras, the Dresden Staatskapelle, the Orchestre with the noted stage director Walter Felsen- de Paris, and the New Philharmonia. Kurt stein. The Komische Oper's world tours were Masur made his first appearance with the instrumental in building Kurt Masur's interna- Boston Symphony Orchestra in February tional reputation, which grew quickly with 1980. In his frequent guest appearances since numerous appearances as a guest conductor in then in Symphony Hall and at Tanglewood, his Europe. In 1967 Mr. Masur was appointed widely varied programs have included music of chief conductor of the Dresden Philharmonic, Mozart, Hindemith, Strauss, Tchaikovsky, a position which he held until 1972. In 1975 Beethoven, Britten, Prokofiev, Brahms, he became a professor at the Leipzig Academy Paganini, Kodaly, Cimarosa, Liszt, Stravinsky, of Music. His first appearance as a conductor Haydn, Bartok, Weber, Schumann, Shosta- in the United States was with the Cleveland kovich, Mussorgsky, Franck, Respighi, Ravel, Orchestra in 1974, the same year he first Telemann, Bach, and Handel. 41 Tthe principals of Dumont Kiradjieff & Moriarty invite you to tap the expertise which has built our firm's success in the placement of professional and managerial people throughout New England. DUMONT KIRADJIEFF 79 Milk Street &MORIARTY Boston, MA EMPLOYMENT K(617)451 92U2 CONSULTING 5t^otofpk^^5tllurwt^, MAHLER'S SYMPHONY #9 with Solti conducting Chicago Symphony on Digital's Grammy Award Winning Recording. 16.58 Rarely performed. Rarely recorded. GRIEG'S P£ER SYNT with Edo De Waart conducting the San A charming 19th Century Townhouse serving superb continental cuisine Francisco Symphony in contemporary informal elegance. and Chorus Offering lunch and dinner with a variety &29 of fresh seafood specials daily, and our after theatre cafe menu till midnight. Serving Lunch: 12:00-2:30 weekdays Dinner: 6:00-10:30 Sun.-Thurs. 6:00-12:00 Fri.-Sat. Brunch: 1 1:00-3:00 Sat. & Sun. reservations: 266-3030 Available at Harvard Square, M.I.T. Student Center, Children's 99 St. Botolph Street Medical Center and One Federal St., Boston. Coop behind the Colonnade Hotel 42 Faye Robinson Houston Symphony, Bach's Ascension and W -VsX .*• Easter oratorios with Musica Sacra, and Beethoven's Missa Solemnis in Frankfurt, Toronto, and Pittsburgh. Last July she partici- pated in the London premiere of Sir Michael Tippett's The Mask of Time with the BBC Symphony Orchestra under the direction of Andrew Davis. Ms. Robinson's highly suc- cessful debut at the Aix-en-Provence Festival in 1974 has led to return engagements in each successive season. She has also performed at the music festivals of Caramoor, Blossom, Saratoga, Chautauqua, Aspen, Ambler, and Israel. Ms. Robinson's operatic appearances have been highlighted by performances in the major Houston-born soprano Faye Robinson made musical centers of Europe and the United her Boston Symphony debut in performances States. She has sung leading roles with the of Beethoven's Ninth Symphony under Sir opera companies of Vienna, Paris, Hamburg, Colin Davis in April 1979. During the 1980-81 Frankfurt, Cologne, Munich, Diisseldorf, the season she sang performances of Mahler's Teatro Colon in Buenos Aires, New Orleans, Eighth Symphony under Seiji Ozawa's and Philadelphia, and with the New York City direction in Symphony Hall, Carnegie Hall, Opera. Recent engagements have included and at Tanglewood and also recorded that Idomeneo in Madrid, Luisa Miller in Bor- work with the orchestra for Philips. She deaux, Romeo et Juliette and La boheme at returned for performances of Beethoven's the Paris Opera, and all four heroines in Les Ninth at the beginning of the Boston Sym- Contes d'Hoffmann with the Calgary Opera. phony's hundredth-anniversary season in She returned to the Frankfurt Opera last sea- October 1981, and she participated in a per- son for La traviata and Die Entfuhrung aus formance and recording of Beethoven's Choral dem Serail. Ms. Robinson's highly acclaimed Fantasy the October following. Last April, Ms. Munich Opera debut as Constanze in Entfuh- Robinson was soprano soloist in the world pre- rung was in the last opera production to be led miere performances under Sir Colin Davis of by the late Karl Bbhm; she made her San Sir Michael Tippett's The Mask ofTime for Diego Opera debut in February 1984 with her voices and orchestra, commissioned by the first appearances as Donna Anna in Don BSO for its centennial. One of the foremost Giovanni. Ms. Robinson's most recent concert artists today, Ms. Robinson has sung appearance with the Boston Symphony with virtually every major orchestra, among Orchestra was in a performance of them the Concertgebouw, the New York Phil- Beethoven's Ninth Symphony under the harmonic, the Philadelphia Orchestra, the direction of Stanislaw Skrowacezski at Tangle- Chicago Symphony, the Cleveland Orchestra, wood last summer. the Los Angeles Philharmonic, and the National Symphony of Washington, D.C. Recent performances have included the final scene of Richard Strauss's Daphne with the mjt Cleveland Orchestra under Erich Leinsdorf JSjji'fjS^&V y^JVOQ, and with the National Orchestral Association %*&3la3fi3 KW#nH*lW*' at Carnegie Hall, Handel's Messiah with the TC>£$ wdMl ? 43 PiK*5S^ $ESg SflbroA 4k«4H2zmtiiQ j^ 1 . • *"*£ -'''. Handicapped kids have a lot to give i and the Cotting School has a lot to give handicapped children. We are a 12-year day school providing quality education, medical support services, and pre-vocational training to physically handicapped boys and girls. Support services include occupational, physical and speech therapies, counselling, vision and dental clinics, and fulltime nursing supervision. Computer-based learning programs, summer camping, adapted physical education, art, music and training for independent living help students develop daily living and social skills and increased self-esteem. If you know a child we can help, please pass the word. Call or write Dr. Carl W. Mores, Superintendent, Cotting School for Handicapped Children, 241 St. Botolph Street, Boston, Massachusetts 02115 (617) 536-9632. Cotting School for Handicapped Children is a private, non-profit Ch. 766-approved institution, supported primarily by gifts, grants, legacies and bequests. COA.CH The Gift. It should express your feelings. Celebrate the occasion. Touch the heart. And mean as much years from now, as it does today. 2" 17" x 11 " x special The Gift N** 5050 For that someone, is waiting to be discovered at Handle Portfolio $130 Wild Goose Chase. We make this soft, uncon- structed, legal size portfolio in six colors of real Glove Tanned Cowhide: Black, Burgundy, Mocha, Red, British Tan and Tabac. You can order it by mail or telephone, and we will ship it to you from our factory at no extra cost. Send for our free catalogue. WILD GOOSE CHASE The CoacK Store Contemporary American Crafts and Gifts Beacon St. Brookltne, MA 02146, 738-8020 75-B Newbury Street, Boston, Mass. 02116 1431 Hours: Mon. -Sat., 10-6; Sun., 12-5 I (617) 536-2777 44 Vinson Cole Dallas, Seattle, Vancouver, St. Louis, and Santa Fe. Commanding an unusually large orchestral repertoire, Mr. Cole has appeared with orches- tras and conductors such as the Chicago Sym- phony with Carlo Maria Giulini and James Levine, the Toronto Symphony with Andrew Davis, the Montreal Symphony, the San Fran- cisco Symphony with Edo de Waart, and the Cleveland Orchestra, in repertoire ranging from Mozart's Mass in C and Berlioz's Dam- nation ofFaust to Janacek's Amarus and Kodaly's Psalmus Hungaricus. Mr. Cole made his Boston Symphony debut in August 1982 at Tanglewood when he appeared as Jaquino under Seiji Ozawa's direction in a Missouri, tenor Vinson Born in Kansas City, staged production of Beethoven's Fidelio, and Cole has gained accolades for his perform- he returned for performances at Symphony in opera, with orchestra, and in recital. ances Hall of Benjamin Britten's Les Illuminations His 1983-84 season brought several important under guest conductor Kurt Masur. Recent invitation of Herbert von milestones. At the and upcoming engagements include a 1984 Karajan he his Salzburg Festival debut made Salzburg Festival appearance again in Der as Italian tenor in Der Rosenkavalier, also the Rosenkavalier, debuts in Toulouse as Edgardo recording the role for Deutsche Grammophon. in Lucia di Lammermoor and in Nice as his orchestral debut in He made German Leicester in Maria Stuarda opposite Katia Berlin Philharmonic performances of Ricciarelli, a return to Nice for Anna Bolena likewise under Beethoven's Ninth Symphony, and The Pearl Fishers, and a new production Karajan and also recorded. His Italian debut ofAlceste in Stuttgart with Jessye Norman. followed, again in Beethoven's Ninth Sym- He will record Don Ottavio in Don Giovanni phony, under Lorin Maazel in Rome. He made with Rafael Kubelik, with whom he has his Paris Opera debut in January 1984 as recorded Haydn's Creation, and he is sched- Belmonte in Mozart's Die aus Entfuhrung uled for a "Live from Lincoln Center" telecast dem Serail, returning to Paris later in the with Luciano Pavarotti in April 1985. season as Paolino in // matrimonio segreto Mr. Cole received his early musical training and as Des Grieux in a new production of at the University of Missouri and was awarded Marion with Catherine Malfitano. He also sang a full scholarship to the Philadelphia Musical his first Gennaro in Lucrezia Borgia in Nancy Academy, continuing his studies at the Curtis and his first Faust for the Michigan Opera Institute with Margaret Harshaw, who remains Theatre, a role he later sang in Bonn, West his vocal mentor today. In 1976 he won the Germany. Following his enormously successful National Award in Chicago's WGN "Auditions debut at the New York City Opera in 1979 as of the Air," and in 1977 he won first prize in Rodolfo in La boheme, Mr. Cole remained the Metropolitan Opera National Auditions. with that company for four seasons in a vari- He was invited to sing at a White House state ety of roles, including Tamino in The Magic dinner in 1977 and appeared there again in Flute, Fenton in The Merry Wives of Wind- 1981. sor, and the Duke in Rigoletto. He has also appeared with the opera companies of Boston, 45 . Nancy A. Smith Appraisal Associates Insurance 7 Kent Street Estate Taxation Brookline Village Gift Evaluation Massachusetts 02146 Property Division (617) 566-1339 or Member ^American Society ofl / Serpentine "Line of Beauty' Appraisers Analysis by William Hogart Analysis of Beauty 1753. IGOR 5TRAV/IM5KY Co-. THE SOUUER'SpUl The perfect i.J, \A^ AM ANIMATED * j prelude. , riLM BY R.O Xjfp& BLECNMAN The grand sea- HOME VIDEO Extraordinary finale. Animation on Home Video JlL9xperience superb This is a dazzling version of Stravinsky's magical musical, cuisine amidst lavish surroundings based a classic on Russian fable. Also available . . that have been recreated The Four Seasons The Nutcracker Turnadet from the spirit of the roaring twenties See it today from a video dealer below. in all their elegant glory. Before Box Office Video Entertainment Inc. or after the symphony, Cafe Beta & VHS Movies Beta & VHS Movies 160 Newbury St. 555 Washington St. Rouge is a dining experi- Boston- 247-3211 Wellesley 237-2320 ence that's perfectly grand. 1158 Beacon Street Newton • 332-6665 Videosmith™ Beta & VHS & CED Movies 275 Dartmouth St. Video Plus Copley Square Beta & VHS Movies CAFE Boston • 262-1144 Old Path Village wor Coolidge Comer 969 Concord St. Dai Brookline • 232-6637 Framingham • 875-6855 warn. The Mall at Chestnut Hill Porter Square Ton Newton • 965-7970 21 White St. at Mass at the Boston Park Plaza Hotel & Towers Ore Rt. 9, Worcester Rd. Ave., Cambridge On Park Plaza at Arlington Street Natick 651 3044 Opening Soon For reservations call 426-2000 Parking Available 46 Tanglewood Festival Chorus John Oliver, conductor also includes regular performances of a cap- pella repertory in its schedule, requiring a very different sort of discipline from perform- ance with orchestra, and ranging in musical content from Baroque to contemporary. In the spring of 1977, John Oliver and the chorus were extended an unprecedented invitation by Deutsche Grammophon to record a program of a cappella twentieth-century American choral music; this record received a Grammy nomination for best choral performance in 1979. The latest recordings by Mr. Oliver and the chorus include music of Luigi Dallapiccola and Kurt Weill on Nonesuch, Beethoven's Choral Fantasy with Seiji Ozawa, Rudolf Serkin, and the Boston Symphony Orchestra Co-sponsored by the Berkshire Music Center on Telarc, and Debussy's La Damoiselle and Boston University, the Tanglewood Fes- elue with the orchestra and mezzo-soprano tival Chorus was organized in the spring of Frederica von Stade on CBS. 1970 when John Oliver became director of vocal and choral activities at the Berkshire The Tanglewood Festival Chorus has collab- Music Center. Originally formed for perform- orated with the Boston Symphony Orchestra ances at the Boston Symphony Orchestra's on numerous other recordings for Deutsche summer home, the chorus was soon playing a Grammophon, New World, and Philips. For major role in the orchestra's Symphony Hall the chorus' first appearance on records, in season as well. Now the official chorus of the Berlioz's Damnation ofFaust, John Oliver orchestra, the Tanglewood Festival Chorus is and Seiji Ozawa received a Grammy nomina- regarded by conductors, press, and public as tion for best choral performance of 1975. one of the great orchestra choruses of the The Tanglewood Festival Chorus may be heard world. The members of the chorus donate on the Philips releases of Schoenberg's their services, and they perform regularly with Gurrelieder, taped live during Boston Sym- the Boston Symphony Orchestra in Boston, phony performances and named best choral New York, and at Tanglewood, working with recording of 1979 by Gramophone magazine, Music Director Seiji Ozawa, John Williams and Mahler's Symphony No. 8, the Sym- and the Boston Pops, and such prominent phony ofa Thousand. Other recordings with guests as Sir Colin Davis, Leonard Bernstein, the orchestra include music of Ravel, Liszt, Claudio Abbado, Klaus Tennstedt, Mstislav and Roger Sessions, and the chorus has also Rostropovich, Andre Previn, Eugene recorded with John Williams and the Boston Ormandy, and Gunther Schuller. Last April in Pops. Symphony Hall, the chorus received interna- In addition to his work with the Tanglewood tional attention for its participation in the Festival Chorus, John Oliver is conductor of world premiere performances under Sir Colin the MIT Choral Society, a senior lecturer in Davis of Sir Michael Tippett's The Mask of music at MIT, and conductor of the John Time, commissioned by the Boston Symphony Oliver Chorale, now in its eighth season, and Orchestra for its centennial in 1981. with which he has recently recorded an album Unlike most other orchestra choruses, the of Christmas music for release by North- Tanglewood Festival Chorus under John Oliver eastern Records next fall. 47 Self-portrait of a genius With wit and charm, Aaron Copland, America s greatest living composer looks back on the first four decades of his life in music. It is a monumental work about an exceptional era in America s artistic history and the events, here and abroad, that spawned his genius. Enhanced by "interludes" that feature reminiscences by friends and colleagues like Madia Boulanger, Virgil Thompson, Agnes DeMille, and Leonard Bernstein, Copland is a stirringAchronicle of our cultural times. 1900 through 1942 'Aaron Copland and Vivian Perlis With over 100 photographs, $24.95 at bookstores or direct from ST. MARTIN'S/MAREK, 175 Fifth Avenue, New York, NY 10010 (Mail orders: Add $1.50 extra for postage. Send Attn: PY) "I love dining with four starsT "\ said join me at Apl< The Boston Globe gave it four stars. Then Esquire called I terrific. Oh, and Boston It's becoming a habit. Apley's, please.'' EXCEPTIONAL GOURMET AMERICAN CUISINE RESERVATIONS A MUST. 236-2000 AT THE SHERATON BOSTON PRUDENTIAL CENTER 48 IS Tanglewood Festival Chorus John Oliver, conductor oks e in Sopranos Vanessa Ovian an Christie St. Clair Margaret Aquino story Judith Tierney Michele M. Bergonzi Lorraine Walsh Cathy E. Carberry Joanne L. Colella Mary A. V. Crimmins Tenors Helen Eberle Daly Antone Aquino Lou Ann David Reginald Didham Christine P. Duquette J. Stephen Groff ies, Amy G. Harris Dean Armstrong Hanson Lisa Heisterkamp George Harper Paula J. Jacobson Fred G. Hoffman Frances V. Kadinoff Stanley Hudson Patricia Ann Kasko James R. Kauffman Carol McKeen Edward J. Kiradjieff Ida McManis Mehrdad Moasser Patricia Mitchell Dwight E. Porter Annette L. Murphy David A. Redgrave Diana Noyes Terence Stephenson Fumiko Ohara Charlotte C. Russell Priest Joan Pernice Sherman Basses Bernadette Yao David J. Ashton J. Barrington Bates Aubrey Botsford 3 Mezzo-Sopranos Daniel E. Brooks Sharon R. Brown Agostino M. DeBaggis Ann Caradonna Mark L. Haberman Judith F. Cobble G. Paul Kowal Ethel Crawford Timothy Lanagan Catherine Diamond Steven Ledbetter Mary F. Ellis Jay F. Levine Paula Folkman Sandy Macfarlane Irene Gilbride David B. McCarthy Thelma Hayes Jack L. Milne Donna Hewitt- Didham Rene A. Miville April Merriam Stephen H. wades i Sarah Harrington, Manager Susan Almasi, Rehearsal pianist 49 oatvdOut of recipes get your copy of THE BOSTON SYMPHONY COOKBOOK $18.95 at bookstores everywhere 500 carefully-tested recipes from BSO musicians and their families, distinguished guest artists, staf£ and friends. 368 pages bound in hard cover with captioned photographs of BSO personalities and historic events, including the BSO One Hundredth Birthday celebratioa Published by Houghton Mifflin Company COOKBOOK ORDER FORM The Cookbook Office Symphony Hall Boston, MA 02115 books® $18.95 Please send _ copies of the Mass. residents add cookbook to: 5% sales tax tel. # Postage & handling street $2 per book* city state & zip code Total $„ Books may be picked up at Symphony Hall by arrangement with the Cookbook office, 266-1492 ext. 248 Check One Payment enclosed (please make check payable to Boston Symphony) Charge purchase to Master Charge Visa Account # Exp. date Signature 50 The Boston Symphony Orchestra gratefully acknowledges the following corporations and professional organizations for their generous and important support in the past or current fiscal year. (* denotes support of at least $2,500; capitalized names denote support of at least $5,000; underscored capitalized names within the Business Leaders' listing comprise the Business Honor Roll.) 1984-85 Business Honor Roll ($10,000+ ) Advanced Management Associates, Inc. John Hancock Mutual Life Insurance Company Harvey Chet Krentzman E. James Morton Analog Devices, Inc. Stanley H. Kaplan Educational Center Ray Stata Susan B. Kaplan Bank of Boston Liberty Mutual Insurance Company William L. Brown Melvin B. Bradshaw Bank of New England Mobil Chemical Corporation Peter H. McCormick Rawleigh Warner, Jr. BayBanks, Inc. New England Mutual Life Insurance Company William M. Crozier, Jr. Edward E. Phillips Boston Consulting Group, Inc. New England Telephone Company Arthur P. Contas Gerry Freche Boston Edison Company Raytheon Company Thomas J. Galligan, Jr. Thomas L. Phillips Boston Globe /Affiliated Publications Red Lion Inn William 0. Taylor John H. Fitzpatrick Cahners Publishing Company, Inc. State Street Bank & Trust Company Norman Cahners William S. Edgerly Country Curtains The Sheraton Corporation Jane P. Fitzpatrick John Kapioltas Digital Equipment Corporation The Signal Companies Kenneth H. Olsen Paul M. Montrone Dynatech Corporation Teradyne Corporation J. P. Barger Alexander V. d'Arbeloff Exxon Corporation Urban Investment & Development Stephen Stamas Company/ Copley Place Wm. Filene's & Sons Company R.K. Umscheid Michael J. Babcock GTE Electrical Products WCRB/Charles River Broadcasting, Inc. Dean T. Langford Richard L. Kaye General Cinema Corporation WCVB-TV 5 Richard A. Smith S. James Coppersmith Laboratories General Electric Company Wang An Wang John F. Welch, Jr. Gillette Company Colman M. Mockler, Jr. 51 f*4£jRm jercier createsthe perfect harmony ofdiamonds and gold? The moment you slip it on, youll feei ning diamond ensemble created by the excitement that comes only from world-renowned designers. wearing diamonds and gold from the When you select your fine jewelry skilled Swiss watchmakers at Baume & or timepiece from us, youll feei Mercier. And to complement your fine confident knowing that we back your timepiece, youll want to select a stun- purchase with our tradition of service. Just as we've done for generations. - '. .--• -- .. - Baume & Mercier Lady's Baume & Mercier quart: mond bezel. $3,600. 18 karat gold and diamond: Xecklace, $3,650. Earrings, $935. A Fine Jeweler Since 1822 Convenient locations in the greater Boston metropolitan area. (617) 542-5670 Business Leaders ($1,000+) Accountants BAYBANKS, INC. Electronics William M. Crozier, Jr. Arthur Andersen & Co. Mitre Corporation Robert R. Everett William F. Meagher Chase Manhattan Corporation COOPERS & LYBRAND Robert M. Jorgensen *Parlex Corporation Vincent M. O'Reilly *Citicorp (USA), Inc. Herbert W. Pollack Walter E. Mercer * Signal Technology Corporation Charles DiPesa & Company William Cook William DiPesa Coolidge Bank & Trust Company Charles W. Morash 'Ernst & Whinney Employment James G. Maguire Framingham Trust Company PEAT, MARWICK, MITCHELL W illiam A. Anastos * Emerson Personnel & COMPANY Mutual Bank Rhoda Warren Herbert E. Morse Keith G. Willoughby Robert Kleven & Company, Inc. Robert Kleven •TOUCHE ROSS & COMPANY Rockland Trust Company James T. McBride John F. Spence, Jr. Russell Reynolds Associates, Inc. 'Arthur Young & Company SHAWMUTBANKOF Jack H. Vernon Thomas P. McDermott BOSTON *TAD Technical Services Corp. William F. Craig David J. McGrath, Jr. Advertising/ P. R. United States Trust Company 'Hill. Holliday, Connors, James V Sidell Cosmopulos, Inc. Energy Jack Connors, Jr. Building/Contracting Buckley & Scott Company Knowlton Charles H. Downey Hill & National Lumber Company Patricia Butterfield Louis L. Kaitz EXXON CORPORATION *Kenyon & Eckhardt Stephen Stamas 'J J.F. White Contracting Company r Thomas J. Mahoney Inc. Thomas J. White *HCW Oil & Gas Company, *Newsome & Company John M. Plukas Consdting/ Management Peter Farwell Hators ADVANCED MANAGEMENT Hatoff Aerospace Stanley ASSOCIATES, INC. MOBIL CHEMICAL * Northrop Corporation Krentzman Harvey Chet CORPORATION Thomas V Jones BLP Associates Rawleigh Warner, Jr. PNEUMO CORPORATION Bernard L. Plansky Gerard A. Fulham Yankee Oil & Gas, Inc. BOSTON CONSULTING Paul J. Montle Apparel GROUP, INC. Arthur P. Contas *Knapp King Size Corporation Finance Winthrop A. Short Jason M. Cortell and *Farrell, Healer & Company, Inc. William Carter Company Associates, Inc. Richard Farrell Cortell Leo J. Feuer Jason M. *The First Boston Corporation Rath & Strong, Inc. George L. Shinn [ Architecture /Design Arnold 0. Putnam Jung Brannen Associates, Inc. Kaufman & Company Small Business Foundation of Yu Sing Jung Sumner Kaufman America, Inc. * Leach & Garner Selame Design Richard Giesser Joe Selame Philip Leach Education *Narragansett Capital Banking *Bentley College Corporation BANK OF BOSTON Gregory H. Adamian Arthur D. Little W' illiam L. Brown STANLEY H. KAPLAN TA ASSOCIATES BANK OF NEW ENGLAND EDUCATIONAL CENTER Peter A. Brooke Peter H. McCormick Susan B. Kaplan 53 t ^ .i R>l~l1 I I REALTORS II III I I •l'l • - ' Houses • Condominiums • Apartments Sales Rentals Management 1412 B Beacon Street, Brookline, Massachusetts 02146 w*: ; Telephone: (617) 738-5700 IB fl2B£S ffl£« The seafood restaurant that takes you to newhorizons. c cmrbor &race Monkfish in Brandy & Cream. Trout Stuffed with Crabmeat. And dozens of other dishes that present new horizons in seafood dining. All served in an elegantly relaxed atmosphere with sweeping views of Boston Harbor. HarborTerrace. Join us. BOSTON ^Varriott ® ™ /"" ^ LONGf\ XI WHARF11/ I J A D C 296 State Street, Boston, MA 02109 (617) 227-0800 54 MnbK $3S ai Amoskeag Company Food/Hotel/Restaurant Computer Partners, Inc. Joseph B. Ely II Paul J. Crowley Boston Park Plaza Hotel & Data Packaging Corporation BLYTH EASTMAN PAINE Towers Otto Morningstar WEBBER INC. Roger A. Saunders Epsilon Data Management, Inc. James F. Cleary Boston Showcase Company Thomas 0. Jones E.F Hutton & Company, Inc. Jason Starr General Eastern Instruments S. Paul Crabtree CREATIVE GOURMETS LTD. Corporation Goldman, Sachs & Company Stephen E. Elmont Pieter R. Wiederhold Stephen B. Kay Dunkin' Donuts, Inc. Helix Technology Corporation Kensington Investment Robert M. Rosenberg Frank Gabron Company Howard Johnson Company IBM CORPORATION Alan E. Lewis G. Michael Hostage Paul J. Palmer Loomis Sayles & Company Inncorp, Ltd. POLAROID CORPORATION Robert L. Kemp Harry Axelrod William J. McCune, Jr. Moseley, Hallgarten, Estabrook Johnson, O'Hare Company, Inc. RAYTHEON COMPANY & Weeden, Inc. Harry O'Hare Fred S. Moseley Thomas L. Phillips O'Donnell-Usen Fisheries Anthony R.L. Day, Systems Engineering & Tucker, & Corporation Manufacturing Corporation Inc. Arnold Wolf Segel Steven Baker Gerald RED LION INN Woodstock Corporation Transitron Electric Corporation John H. Fitzpatrick B. Condon David Bakalar Frank Roberts and Associates Warren Pierce Insurance Legal THE SHERATON Arkwright-Boston Insurance CORPORATION Frederick J. Bumpus Gadsby & Hannah John Kapioltas Jeffrey P. Somers Cameron & Colby Co., Inc. Silenus Wines, Inc. Graves D. Hewitt Goldstein & Manello James B. Hangstefer Snyder Commercial Union Assurance Richard J. Sonesta International Hotels Companies Herrick & Smith Corporation Howard H. Ward Malcolm D. Perkins Paul Sonnabend Frank B. Hall & Company of Nissenbaum Law Offices THE STOP & SHOP Massachusetts, Inc. Gerald L. Nissenbaum COMPANIES, INC. Colby Hewitt, Jr. Avram J. Goldberg JOHN HANCOCK MUTUAL THE WESTIN HOTEL LIFE INSURANCE COMPANY Manufacturing Bodo Lemke E. James Morton Acushnet Company LIBERTY MUTUAL John T. Ludes Furnishings/ Housewares INSURANCE COMPANY Bell Manufacturing Company COUNTRY CURTAINS Melvin B. Bradshaw Irving W Bell Jane P. Fitzpatrick NEW ENGLAND MUTUAL Checon Corporation LIFE INSURANCE COMPANY Donald E. Conaway Edward E. Phillips • High Technology/Computers Dennison Manufacturing PRUDENTIAL INSURANCE AT&T Company COMPANY OF AMERICA Nelson S. Gifford Charles R. Grafton Robert J. Scales Econocorp, Inc. Analytical Systems Engineering Sun Life Assurance Company of Richard G. Lee Corporation Canada Michael B. Rukin FLEXcon Company, Inc. John D. McNeil Mark R. Ungerer Aritech Corporation James A. Synk Investments GENERAL ELECTRIC COMPANY Automatic Data Processing ABD Securities Corporation John F. Welch, Jr. Josh Weston Theodor Schmidt-Scheuber 55 GENERAL ELECTRIC Superior Pet Products, Inc. Westinghouse Broadcasting & COMPANY/LYNN Richard J. Phelps Cable, Inc. Lawrence P. Fraiberg James P. Krebs *Towle Manufacturing Company GILLETTE COMPANY Leonard Florence Musical Instruments Colman M. Mockler, Jr. *Trina, Inc. * Baldwin Piano & Organ Guzoysky Electrical Corporation Thomas L. Easton Company Edward Guzovsky Webster Spring Company, Inc. R.S. Harrison Levine Inland Steel-Ryerson A.M. Avedis Zildjian Company Foundation, Inc. Wellman, Inc. Armand Zildjian Robert L. Atkinson Arthur 0. Wellman, Jr. Kendall Company Printing/ Publishing J. Dale Sherratt Media *ADC0 Publishing Company, Inc. L.E. Mason Company BOSTON GLOBE/ Samuel Gorfinkle B. Berman Harvey AFFILIATED PUBLICATIONS Bowne of Boston Ludlow Corporation William 0. Taylor William Gallant Arthur Cohen * Boston Herald CAHNERS PUBLISHING NEW ENGLAND BUSINESS Patrick J. Purcell COMPANY, INC. SERVICE, INC. GENERAL CINEMA Norman L. Cahners Richard H. Rhoads CORPORATION CLARK-FRANKLIN- Norton Company Richard A. Smith KINGSTON PRESS Donald R. Melville *WBZ-TV 4 Lawrence Dress * Packaging Industries, Inc. Thomas L. Goodgame Customforms, Inc. John D. Bambara WCIB-FM David A. Granoff Parker Brothers Lawrence K. Justice * Daniels Printing Company Richard E. Stearns WCRB/CHARLES RIVER Lee Daniels * Plymouth Rubber Company, Inc. BROADCASTING, INC. HOUGHTON MIFFLIN Richard L. Kaye Maurice J. Hamilburg COMPANY Marlowe G. Teig Scully Signal Company WCVB-TV 5 Robert G. Scully S. James Coppersmith * Label Art, Inc. William Flynn *Simplex Time Recorder *WNEV-TV 7/New England J. Company Television McGraw Hill, Inc. Glenn R. Peterson Seymour L. Yanoff Joseph L. Dionne Ljins lf\ 9i±ian A Distinctive Selection of Oriental Rugs and Wall Hangings 1643 Beacon Street, Waban Square Hours: Tues-Sat 11-5, Thurs Evenings til 8 Phone (617) 964-2686 < '" "Ok 56 WEALTH HAS ITS REWARDS. For a personal appointment. call Dean Ridlon, Vice President Private Banking Group, Bank of Boston (617) 434-5302. Bostons Financial District and Back Bay (g 19434 The^ifstN^ '" ' •'.. \ I ,1 ^ I* k : Staale) ;rbam / \ ^hsjuufk UOOM^hcfB^ & **«*«to ofB^'W*^ m B&H B Beloved Oiu/Mfa^/- ^ y^T| L.OUEUR leal Estate / Development Kay Bee Toy & Hobby Shops, MORSE SHOE, INC. Inc. Manuel Rosenberg "Combined Properties, Inc. Howard Kaufman THE SPENCER COMPANIES, I Stanton L. Black Marshall's, Inc. INC. iorcoran Mullins Jennison, Inc. Frank H. Brenton C. Charles Marran Joseph Corcoran *Saks Fifth Avenue STRIDE RITE CORPORATION lilon Development Corporation Ronald Hoffman Arnold S. Hiatt Haim Eliachar J. Stuart's Department Stores, Inc. Northland Investment Software/ Information Services Paul Cammarano Corporation Henco Software, Inc. Robert A. Danziger *Zayre Corporation Henry Cochran Maurice Segall Stanmar, Inc. Interactive Data Corporation Stanley W. Snider Science I Medical Carl G. Wolf tJRBAN INVESTMENT & * Charles River Breeding DEVELOPMENT COMPANY/ Laboratories, Inc. Travel/ Transportation COPLEY PLACE Henry L. Foster * Heritage Travel R.K. Umscheid Damon Corporation Donald Sohn Winthrop Securities Co., Inc. David I. Kosowsky *The Trans-Lease Group C. Hewitt David Hospital of Corporation America John J. McCarthy, Jr. Retailing HCA Foundation Donald E. Strange Utilities WM. FILENE'S & SONS BOSTON EDISON COMPANY COMPANY Shoes Thomas J. Galligan, Jr. Michael J. Babcock * Jones & Vining, Inc. * Eastern Gas & Fuel Associates Hills Department Stores Sven Vaule, Jr. William Pruyn Stephen A. Goldberger J. * Mercury International Trading NEW ENGLAND TELEPHONE Jordan Marsh Company Corporation Gerry Freche Elliot Stone Irving Wiseman H LIOUEUH 1 57 r tACompcuy PRESIDENTS Christmas The Boston Symphony and the "Presidents at Pops" and "A Company Christmas at Pops" committees thank you for your support of our programs during the year. We hope that you will join us for these exciting business benefits this year. "Presidents at Pops" occurs each June and involves over 100 leading Boston businesses participating in a special Boston Pops concert conducted by John Williams. Each company purchases a package of 20 tickets to use for their employees, customers or guests. Dinner and drinks are served to everyone. "A Company Christmas at Pops" is modelled similarly and occurs during the week of Christmas Pops concerts. &*-~^- For more information on each, please call the BSO Director ofCorporate Development at 266-1492. Thank you. 58 •I EMM^Z The following Members of the Massa- MASSACHUSETTS chusetts High Technology Council MGH TECHNOLOGY COUNCL support the BSO through the BSO mm m 9* v*a Business & Professional Leadership ^7 Program: Alpha Industries, Inc. DYNATECH CORPORATION M/A-COM, INC. George S. Kariotis J.P Barger Vessarios G. Chigas EPSCO, Inc. Massachusetts High Technology ANALOG DEVICES, INC. Wayne P. Coffin Council, Inc. Ray Stata Foxboro Company Howard P. Foley The Analytic Sciences Earle W. Pitt Millipore Corporation Corporation GCA Corporation Dimitri d'Arbeloff Arthur Gelb Milton Greenberg PRIME COMPUTER, INC. *Augat, Inc. GTE ELECTRICAL Joe M. Henson Roger D. Wellington PRODUCTS * Printed Circuit Corporation Barry Wright Corporation Dean T. Langford Peter Sarmanian Ralph Z. Sorenson *GenRad Foundation SofTech, Inc. *Bolt Beranek and Newman Inc. Lynn Smoker Justus Lowe, Jr. Stephen Levy *Haemonetics, Inc. TERADYNE, INC. Computervision Corporation John F. White Alexander V. d'Arbeloff Martin Allen Honeywell Information Systems Thermo Electron Corporation *Cullinet Software, Inc. Warren G. Sprague George N. Hatsopoulos John J. Cullinane Instron Corporation Unitrode Corporation DIGITAL EQUIPMENT Harold Hindman George M. Berman CORPORATION Arthur D. Little, Inc. WANG LABORATORIES, INC. Kenneth H. Olsen John F. Magee An Wang RICHARD M- DANA, inc* JEWELERS We are specialists in custom design and restoration work in platinum and gold* All work is done on the premises* 43 CENTRAL STREET WELLESLEY, MASSACHUSETTS 237-2730 59 c W/iat better axu^ to start t/i& dan? Sterolsongs;, masio, a comforta6l& c^m^anion, a? reasoned'assessment' oftA& afa/f&new&, — asS£ns&(^tA&wea/Aer'faittefn&) andtAen mor&nuisio. X I Si ^/Gnerica?smost? /isten£^tx^^ro^ranv of c/assical, traditional and'contemporary masio, Jfylorninyfiro~musica/usa^ / i&bresen/^enern acu/yfonvseoen tillnoon onstzttion&oftA&l£ul>li& ^^< and'i& Aeard in tA& ^Boston area? yearningftro- musica/ i&mad&fto&uiie> isiftart 60 Coming Concerts . . . Wednesday, 6 March at 7:30 Real Estate Management Open Rehearsal Brokerage and Consulting Services Marc Mandel will discuss the program Since 1898 at 6:45 in the Cohen Annex. Thursday 4 B — 7 March, 8-9:40 Friday 'B'—8 March, 2-3:40 Saturday 'B'— 3 March, 8-9:40 ADAM FISCHER conducting Beethoven Overture to The Creatures SAUNDERS & ASSOCIATES ofPrometheus 20 Park Plaza Boston MA • 02116 Beethoven Piano Concerto No. 4 (617)426-0720 KRYSTIAN ZIMERMAN, piano Bartok Rumanian Folk Dances Bartok Suite from The Miraculous Mandarin A Southeast Asian Ipeat Thursday '10'— 14 March, 8-10 Friday 'A'— 15 March, 2-4 ffi\MANDALAY Saturday 'A' — 16 March, 8-10 T MAURIZIO POLLINI, conductor and pianist BURMESE RESTAURANT All-Mozart Piano Concerto No. 12 Program in A, K. 414 Symphony No. 34 in C •Celebrates lenth Year* Piano Concerto No. 17 inG,K.453 329 Huntington Avenue, Boston. 247-2111 Two Blocks West of Symphony Hall - Reservations Suggested Wednesday, 27 March at 7:30 Open Rehearsal Rental apartments Steven Ledbetter will discuss the program for people who'd at 6:45 in the Cohen Annex. rather hear French horns Thursday 'A'— 28 March, 8-9:55 than Car hornS. Enjoy easy living within Friday 'B'— 29 March, 2-3:55 easy reach of Symphony Hall. Saturday 'B'— 30 March, 8-9:55 New in-town apartments 2 April, 8-9:55 with doorman, harbor Tuesday 'C— views, all luxuries, ANDREW DAVIS conducting health club, Mozart Symphony No. 39 land 2 Stravinsky Violin Concerto bedrooms and penthouse duplex CHO-LIANG LIN, violin apartments. Rachmaninoff Symphonic Dances THE DEVONSHIRE^ : ^»>^ One Devonshire Place. (Between Washington = _i I~" I and Devonshire Streets, off State Street) Boston. Programs subject to change. I Renting Office Open 7 Days. Tel: (617) 720-3410. Park free in our indoor garage while inspecting models. 61 * Synipl We invite you to join us before or after Symphony for a fine dining experience. We're so close you can almost hear TICKE For Bo: the music. I ce tion, THEE - - Lunch 11:30 3 pm month: - Dinner 5 -11pm wood. - BAR SPECIALS-* 6 pm tra'sai 10 - 12 pm writet CAFE AMALFI phony ITALIAN RESTAURANT SPECIAL FUNCTIONS and THEI 8-10 WESTLAND AVENUE LARGE GROUPS ACCOMMODATED BOSTON, MASS. / 536-6396 RESERVATIONS RECOMMENDED PACKAGING here can you find the best seats NEW ENGLAND'S in the house? FINEST PRODUCT! At DCH. Because we sell the world's most on' 1 elegant and distinctive Manufacturers of furniture. And we sell it Folding Cartons. at up to 70% off. Quality So if you're looking for the Best seats, lamps, sofas, tables and art in the house, visit our salon. You'll agree the selec- tion is worth blowing our own horn about. k Decorator'smClearing House. Furniture as unique as you are. 1029 Chestnut St., Newton Upper Falls, MA (617) 884-4200 965-6363 Mon.-Sat. 9:30 AM-5:30 PM 28 Gerrish Avenue, Chelsea, MA 02150 k MC, Visa, AmEx Open to the Public 62 . ' " J S - . JH Symphony Hall Information . . FOR SYMPHONY HALL CONCERT AND each, one to a customer, at the Symphony Hall- 1 TICKET INFORMATION, call (617) 266-1492. West Entrance on Fridays beginning 9 a.m. and For Boston Symphony concert program informa- Saturdays beginning 5 p.m. tion, call "C-O-N-C-E-R-T." LATECOMERS will be seated by the ushers dur- THE BOSTON SYMPHONY performs ten ing the first convenient pause in the program. months a year, in Symphony Hall and at Tangle- Those who wish to leave before the end of the wood. For information about any of the orches- concert are asked to do so between program tra's activities, please call Symphony Hall, or pieces in order not to disturb other patrons. write the Boston Symphony Orchestra, Sym- SMOKING IS NOT PERMITTED in any part of phony Hall, Boston, MA 02115. the Symphony Hall auditorium or in the sur- THE EUNICE S. AND JULIAN COHEN rounding corridors. It is permitted only in the ANNEX, adjacent to Symphony Hall on Hunt- Cabot-Cahners and Hatch rooms, and in the ington Avenue, may be entered by the Symphony main lobby on Massachusetts Avenue. Hall West Entrance on Huntington Avenue. CAMERA AND RECORDING EQUIPMENT FOR SYMPHONY HALL RENTAL INFORMA- may not be brought into Symphony Hall during TION, call (617) 266-1492, or write the Func- concerts. tion Manager, Symphony Hall, Boston, MA FIRST AID FACILITIES for both men and 02115. women are available in the Cohen Annex near THE BOX OFFICE is open from 10 a.m. until 6 the Symphony Hall West Entrance on Hunt- p.m. Monday through Saturday; on concert eve- ington Avenue. On- call physicians attending con- nings, it remains open through intermission for certs-should leave their names and seat locations BSO events or just past starting-time for other at the switchboard near the Massachusetts Ave- events. In addition, the box office opens Sunday nue entrance. at 1 p.m. when there is a concert that afternoon WHEELCHAIR ACCESS to Symphony Hall is or evening. Single tickets for all Boston Sym- available at the West Entrance to the Cohen phony concerts go on sale twenty-eight days Annex. before a given concert once a series has begun, and phone reservations will be accepted. For AN ELEVATOR is located outside the Hatch and outside events at Symphony Hall, tickets will be Cabot-Cahners rooms on the Massachusetts Ave- available three weeks before the concert. No nue side of the building. phone orders will be accepted for these events. TICKET RESALE: If for some reason you are unable to attend a Boston Symphony concert for which you hold a ticket, you may make your ticket available for resale by calling the switch- board. This helps bring needed revenue to the orchestra and makes your seat available to some- one who wants to attend the concert. A mailed receipt will acknowledge your tax-deductible contribution. RUSH SEATS: There are a limited number of Rush Tickets available for the Friday-afternoon and Saturday-evening Boston Symphony con- certs (subscription concerts only). The continued low price of the Saturday tickets is assured through the generosity of two anonymous donors. The Rush Tickets are sold at $5.00 63 LADIES' ROOMS are located on the orchestra concerts are broadcast live by the following FM level, audience-left, at the stage end of the hall, stations: WGBH (Boston 89.7), WFCR (Amhers and on the first-balcony level, audience -right, 88.5), and WAMC (Albany 90.3); in Maine by outside the Cabot-Cahners Room near the WMED (Calais 89.7), WMEA (Portland 90.1), elevator. WMEH (Bangor 90.9), WMEW (Waterville 91.3), and WMEM (Presque Isle 106.1); and in MEN'S ROOMS are located on the orchestra Connecticut by WMNR (Monroe 88.1), WNPR level, audience-right, outside the Hatch Room (Norwich 89.1), WPKT (Hartford 90.5), and near the elevator, and on the first-balcony level, WSLX (New Canaan 91.9). Live Saturday. audience-left, outside the Cabot-Cahners Room evening broadcasts are carried by WGBH and near the coatroom. WCRB (Boston 102.5). If Boston Symphony COATROOMS are located on the orchestra and concerts are not heard regularly in your home first-balcony levels, audience-left, outside the area and you would like them to be, please call Hatch and Cabot-Cahners rooms. The BSO is not WCRB Productions at (617) 893-7080. WCRB responsible for personal apparel or other prop- will be glad to work with you and try to get the erty of patrons. BSO on the air in your area. LOUNGES AND BAR SERVICE: There are two BSO FRIENDS: The Friends are annual donors lounges in Symphony Hall. The Hatch Room on to the Boston Symphony Orchestra. Friends the orchestra level and the Cabot-Cahners Room receive BSO, the orchestra's newsletter, as well on the first-balcony level serve drinks starting as priority ticket information and other benefits one hour before each performance. For the Fri- depending on their level of giving. For informa- day-afternoon concerts, both rooms open at tion, please call the Development Office at Sym- 12:15, with sandwiches available until concert phony Hall weekdays between 9 and 5. If you time. are already a Friend and you have changed you; BOSTON SYMPHONY BROADCASTS: Con- address, please send your new address with you\ certs of the Boston Symphony Orchestra are newsletter label to the Development Office, heard by delayed broadcast in many parts of the Symphony Hall, Boston, MA 02115. Including the mailing label will assure a quick and accurat United States and Canada, as well as interna- j tionally, through the Boston Symphony Tran- change of address in our files. scription Trust. In addition, Friday-afternoon A Boston Tradition 41 UNION STREET 227-2750 64 White Label « never varies. ^v^ti^* oo^ wineyou .. and dine you. PASTENE PasteneWine& Fo Somerville,MA02 -...,.1TB« Good foodGood v Since 1874.