BOSTON SYMPHONY ORCHESTRA
SEIJI OZAWA
109TH SEASON 1989-90
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: CHARLES TANQUERAY & C° L! ~ '£ : * LONDON. ENGLAND.
"MUCE Of ENGLAND IOO% GRAIN NEUTRALS?'" zz^ssszz
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Tanqueray. A singular experience.
Imported English Gin, 47.3% Alc/Vol (94.6°), 100% Grain Neutral Spirits. © 1988 Schieffelin & Somerset Co., New York, N.Y. Seiji Ozawa, Music Director Carl St. Clair and Pascal Verrot, Assistant Conductors One Hundred and Ninth Season, 1989-90
Trustees of the Boston Symphony Orchestra, Inc.
Nelson J. Darling, Jr., Chairman Emeritus
J. P. Barger, Chairman George H. Kidder, President Mrs. Lewis S. Dabney, Vice-Chairman Archie C. Epps, Vice-Chairman Mrs. John H. Fitzpatrick, Vice-Chairman William J. Poorvu, Vice-Chairman and Treasurer
David B. Arnold, Jr. Mrs. Eugene B. Doggett Mrs. August R. Meyer Peter A. Brooke Avram J. Goldberg Mrs. Robert B. Newman James F. Cleary Mrs. John L. Grandin Peter C. Read John F. Cogan, Jr. Francis W. Hatch, Jr. Richard A. Smith Julian Cohen Mrs. Bela T. Kalman Ray Stata
William M. Crozier, Jr. Mrs. George I. Kaplan William F. Thompson Mrs. Michael H. Davis Harvey Chet Krentzman Nicholas T. Zervas
Trustees Emeriti
Vernon R. Alden Mrs. Harris Fahnestock Mrs. George R. Rowland Philip K. Allen E. Morton Jennings, Jr. Mrs. George Lee Sargent Allen G. Barry Edward M. Kennedy Sidney Stoneman Leo L. Beranek Albert L. Nickerson John Hoyt Stookey Mrs. John M. Bradley Thomas D. Perry, Jr. John L. Thorndike Abram T. Collier Irving W. Rabb
Other Officers of the Corporation
John Ex Rodgers, Assistant Treasurer Michael G. McDonough, Assistant Treasurer Daniel R. Gustin, Clerk
Administration
Kenneth Haas, Managing Director Daniel R. Gustin, Assistant Managing Director and Manager of Tanglewood
Michael G. McDonough, Director of Finance and Business Affairs Evans Mirageas, Artistic Administrator Anne H. Parsons, Orchestra Manager Caroline Smedvig, Director of Public Relations and Marketing Josiah Stevenson, Director of Development
Robert Bell, Data Processing Manager Michelle R. Leonard, Media and Production Madelyne Codola Cuddeback, Director Manager, Boston Symphony Orchestra of Corporate Development Marc Mandel, Publications Coordinator Patricia F. Halligan, Personnel Administrator John C. Marksbury, Director of Sarah J. Harrington, Budget Manager Foundation and, Government Support Margaret A. Hillyard, Director of Volunteers Julie-Anne Miner, Manager of Russell M. Hodsdon, Manager of Box Office Fund Reporting Craig R. Kaplan, Controller Richard Ortner, Administrator of Nancy A. Kay, Director of Sales & Tanglewood Music Center Marketing Manager Scott Schillin, Assistant Manager, John M. Keenum, Director of Pops and Youth Activities ( Tanglewood Music 'enter Development Joyce M. Serwitz, Director of Major Gifts/ Patricia Krol, Coordinator of Youth Activities Assistant Director of Development Steven Ledbetter, Musicologist & Cheryl L. Silvia, Function Manager Progra m A n n ota tor Susan E. Tomlin, Director ofAnnual Giving
Programs copyright ©1990 Boston Symphony Orchestra, Inc. Cover by Jaycole Advertising, Inc. /Cover photo by Steve J. Sherman Board of Overseers of the Boston Symphony Orchestra, Inc.
John F. Cogan, Jr., Chairman R. Willis Leith, Jr., Vice-Chairman Mrs. Ray A. Goldberg, Vice-Chairman Mrs. R. Douglas Hall III, Secretary
Mrs. David Bakalar Haskell R. Gordon E. James Morton Bruce A. Beal Steven Grossman David G. Mugar Mrs. Leo L. Beranek Joe M. Henson David Nelson Lynda Schubert Bodman Susan M. Hilles Robert P. O'Block Donald C. Bowersock, Jr. Glen H. Hiner Walter H. Palmer William M. Bulger Mrs. Marilyn Brachman Hoffman Andrall E. Pearson Mrs. Levin H. Campbell Ronald A. Homer John A. Perkins Earle M. Chiles Julian T. Houston Daphne Brooks Prout Mrs. C. Thomas Clagett, Jr. Lola Jaffe Millard H. Pryor, Jr. James F. Cleary Anna Faith Jones Robert E. Remis William H. Congleton H. Eugene Jones John Ex Rodgers William F. Connell Susan B. Kaplan Mrs. William H. Ryan Walter J. Connolly, Jr. Mrs. S. Charles Kasdon Keizo Saji Albert C. Cornelio Richard L. Kaye Roger A. Saunders Mrs. Eugene B. Doggett Robert D. King Mrs. Raymond H. Schneider Phyllis Dohanian Mrs. Gordon F. Kingsley Mark L. Selkowitz Hugh Downs Mrs. Carl Koch Mrs. Donald B. Sinclair Goetz B. Eaton Robert K. Kraft W. Davies Sohier, Jr. Harriett M. Eckstein George Krupp Ralph Z. Sorenson Edward Eskandarian Mrs. Hart D. Leavitt Ira Stepanian
Katherine Fanning Stephen R. Levy Mrs. Arthur I. Strang John A. Fibiger Frederick H. Lovejoy, Jr. Mark Tishler, Jr. Peter M. Flanigan Mrs. Charles P. Lyman Luise Vosgerchian Henry L. Foster C. Charles Marran Roger D. Wellington Dean Freed Nathan R. Miller Robert A. Wells Peter H.B. Frelinghuysen Hanae Mori Mrs. Thomas H.P. Whitney Mrs. James Garivaltis Mrs. Thomas S. Morse Mrs. John J. Wilson Jordan L. Golding Richard P. Morse Brunetta R. Wolfman Mark R. Goldweitz
Overseers Emeriti
Mrs. Weston W. Adams Mrs. Louis I. Kane Mrs. Peter van S. Rice Mrs. Frank G. Allen Leonard Kaplan Mrs. Jerome Rosenfeld Mrs. Richard Bennink Benjamin H. Lacy Mrs. William C. Rousseau Mary Louise Cabot Mrs. James F. Lawrence Francis P. Sears, Jr. Johns Congdon Mrs. Stephen V.C. Morris Mrs. Richard H. Thompson Mrs. Thomas J. Galligan Stephen Paine, Sr. Mrs. Donald B. Wilson Mrs. Richard D. Hill David R. Pokross
Symphony Hall Operations
Robert L. Gleason, Facilities Manager James E. Whitaker, House Manager
Cleveland Morrison, Stage Manager Franklin Smith, Supervisor of House Crew Wilmoth A. Griffiths, Assistant Supervisor of House Crew William D. McDonnell, Chief Steward H.R. Costa, Lighting Officers of the Boston Symphony Association of Volunteers
Nina Doggett, President Thelma Goldberg, Executive Vice-President Pat Jensen, Secretary Goetz B. Eaton, Treasurer Florence T. Whitney, Nominating Chairman
Vice - Presidents
Mary Bates, Hall Services Denise Mujica, Membership Charles Jack, Adult Education Susan Robinson, Fundraising Projects Marilyn Larkin, Tanglewood Carol Scheifele-Holmes, Public Relations Kathy Massimiano, Tanglewood Preston Wilson, Development Services Molly Millman, Regions Pat Woolley, Youth Activities
Chairmen of Regions
Krista Kamborian Baldini Kathleen G. Keith Patti Newton Joan Erhard Helen Lahage Pamela S. Nugent Bettina Harrison Janet Landry Beverly J. Pieper Betty Hosage Elaine Miller Patricia L. Tambone
Business and Professional Leadership Association Board of Directors
Harvey Chet Krentzman, Chairman James F. Geary, BPLA President Members
J. P. Barger Thelma Goldberg Malcolm L. Sherman Leo Beranek Joe Henson Ray Stata William F. Connell George H. Kidder Stephen J. Sweeney Walter J. Connolly Vincent M. O'Reilly Roger Wellington Nelson J. Darling
For their continued support of the Boston Symphony Orchestra, special thanks to the
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(617) 720-1516 (202) 429-6688 BSO Cooper had a lifelong interest in music and was an accomplished pianist and singer. He Joseph Silverstein to Perform was also an excellent painter, particularly of* Benefit Recital for Project STEP watercolors and portraits. A contributor to Project STEP (String Training and Educa- many of Boston's leading cultural institutions, tional Program for minority students) is spon- he served as a Trustee of the New England soring a benefit recital featuring former Boston Conservatory, the Copley Society, and the Ellis Symphony Orchestra concertmaster Joseph Memorial. He was described by a friend as "a Silverstein and pianist Sandra Rivers on Mon- cultured pearl protected by a gruff shell made
day, April 2, at 7:30 p.m. in Sanders Theater, even more lustrous by his acquisition of skills Cambridge. Project STEP student Vali Phil- and interests as an architect, pianist, talented lips will also participate. The program will painter, traveler, student of literature, and, include music of Bach, Chopin, Leclair, Schu- above all, a social being." In 1984 the Ford H. bert, Strauss, and Wieniawski. Tickets are Cooper Chair was established in his memory. $50, $25, and $15 ($10 students). A collabora- It endows the second trumpet position, cur- tive undertaking of the Boston Symphony rently held by Peter Chapman. Orchestra, Boston University, the New England Conservatory of Music, and the Help the BSO Renovation Committee Greater Boston Youth Symphony Orchestras, The Renovation Committee of the BSO Trus- Project STEP provides comprehensive music tees is looking for some very special pieces of education for talented minority students, with the highest quality period furniture, including the goal of increasing the number of minority occasional tables and chairs, small-scale buf- string players in the classical music profession. fets, and small couches or love seats, for some For tickets or further information, please call of the renovated areas of Symphony Hall. the Project STEP office at (617) 267-5777. After committee approval and professional appraisal, such gifts of furniture will be con- BSO Guests on WGBH-FM-89.7 sidered donations to the Boston Symphony In the upcoming weeks, Morning pro Musica Orchestra. If you are moving to a smaller with Robert J. Lurtsema will feature live per- home or have "one piece of furniture too formances and interviews with BSO members: many" and would like to support the BSO in an ensemble that includes principal bass Edwin this way, please call Lisa Lyles in the Develop- Barker, violinists Tatiana Dimitriades and ment Office at (617) 266-1492, ext. 131. Jennie Shames, and violist Roberto Diaz will perform on Friday, April 6, at 11 a.m. Princi- BSO Members in Concert pal flute Doriot Anthony Dwyer will appear on Collage New Music presents a program entitled Wednesday, April 11, at 11 a.m. "Eros and Other Complications," including music of Jonathan D. Kramer, John Harbison, George Symphony Spotlight Edwards, and Fred Lerdahl, on Monday, April 2, This is one in a series of biographical sketches at 8 p.m. at the Longy School of Music in Cam- that focus on some of the generous individuals bridge. John Harbison conducts; mezzo-soprano who have endowed chairs in the Boston Sym- Edith Diggery is the featured soloist. Admission phony Orchestra. Their backgrounds are varied, is $10 ($5 students and seniors); for further but each felt a special commitment to the Bos- information call (617) 776-3166. ton Symphony Orchestra. Founded by BSO cellist Jonathan Miller, the Boston Artists' Ensemble performs Bee- Ford H. Cooper Chair thoven's piano trio in G, Opus 1, No. 2, and Ford H. Cooper (1904-83) received top honors Messiaen's Quartet for the End of Time for at the Yale School of Architecture, where he clarinet, piano, violin, and cello on Friday,
earned the Dean's Gold Medal Award. He went April 6, at 8 p.m. at the Chapel Gallery of the on to practice architecture in New York and Second Church in Newton, 60 Highland Street, Boston and then served as an officer in the West Newton. The performers include Sharan Army Air Corps during World War II. Mr. Levanthal, violin, Jonathan Miller, cello, Lois I
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Tiffany &Co. BOSTON COPLEY PLACE 100 HUNTINGTON AVENUE 02116 617-353-0222 ©T&CO. 1989 Shapiro, piano, and Ian Greitzer, clarinet, Calling All "Silver Subscribers" Tickets are $9 ($7 students and seniors); for The Boston Symphony Orchestra is planning reservations, call 527-8662. to honor those subscribers who have been The Boston Composers String Quartet, attending BSO concerts for twenty-five to which includes BSO violinist James Cooke, forty-nine years with a celebration during the performs music of John Harbison, Daniel 1990-91 season. In order to receive an invita- Pinkham, Bernard Rands, and Gunther tion to this sterling event, please send your Schuller on Sunday, April 8, at 2 p.m. at name, address, and the year of your first sub- Jordan Hall. Admission is $8. scription to Mary Ford Kingsley, Overseer, BSO members Aza Raykhtsaum, violin, Boston Symphony Orchestra, Symphony Hall, Mark Ludwig, viola, and Jules Eskin, cello, Boston, MA 02115, or call Megan Goldman in perform Schubert's Arpeggione Sonata, the BSO Development Office at (617) 266-1492, Debussy's cello sonata, and two works by ext. 206. Dvorak: the G minor Rondo for cello and piano, and the D major piano quartet, Opus 23, with pianist Victor Rosenbaum on Sunday, Art Exhibits in the Cabot-Cahners Room April 22, at 3 p.m. at the Berkshire Museum as part of the Richmond Performance Series. For the sixteenth year, a variety of Boston Admission is $10 ($8 students and seniors). area galleries, museums, schools, and non- For further information call (617) 437-0204 profit artists' organizations are exhibiting their or (413) 698-2837. work in the Cabot-Cahners Room on the first- Harry Ellis Dickson conducts the Boston balcony level of Symphony Hall. On display Classical Orchestra on Wednesday, April 25, through April 16 are works from the Priscilla and Friday, April 27, at 8 p.m. at F"aneuil Hartley Gallery, to be followed by works from Hall. The program includes the overture to Depot Square (April 16-May 14) and works Mozart's Abduction from the Seraglio, Tans- from the Vose Gallery (May 14-June 11). man's Musique de Cour with classical guitarist These exhibits are sponsored by the Boston Neil Anderson, Wagner's Siegfried Idyll, and Symphony Association of Volunteers, and a Haydn's Symphony No. 96, Miracle. Tickets portion of each sale benefits the orchestra. are $18 and $12 ($8 students and seniors); for Please contact the Volunteer Office at (617) further information call 426-2387. 266-1492, ext. 177, for further information.
/ , $t 5otofp(:u^^e5t'aumHt- All our services are free - no strings attached.
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References furnished on request
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Armenta Adams Aaron Copland Santiago Rodriguez American Ballet John Corigliano Abbott Ruskin Theater Phyllis Curtin Kathryn Selby Michael Barrett Rian de Waal George Shearing Leonard Bernstein Michael Feinstein Bright Sheng William Bolcom Lukas Foss Leonard Shure Jorge Bolet Philip Glass Abbey Simon Boston Pops Orchestra Karl Haas Stephen Sondheim Boston Symphony David Korevaar Herbert Stessin Chamber Players Fernando Laires Tanglewood Music Center
Boston Symphony Garah Landes Virgil Thomson Orchestra Marian McPartland Nelita True Boston University John Nauman Craig Urquhart School of Music Seiji Ozawa Earl Wild Joanne Brackeen Luciano Pavarotti John Williams Bradshaw and Buono Alexander Peskanov Yehudi Wyner Dave Brubeck Andre Previn and 200 others Baldwin TODAY'S STANDARD OF MUSICAL EXCELLENCE. Seiji Ozawa
Seiji Ozawa was named music director of the Boston Sym- phony Orchestra in 1973 following a year as the orchestra's music adviser; he is now in his seventeenth year as the BSO's music director. With the Boston Symphony Orches- tra he has led concerts in Europe, Japan, and throughout the United States; in March 1979 he and the orchestra made an historic visit to China for a significant musical exchange entailing coaching, study, and discussion sessions with Chinese musicians, as well as concert performances, becoming the first American performing ensemble to visit China since the establishment of diplomatic relations. Ear- lier this season Mr. Ozawa and the orchestra traveled to Japan for the fourth time, on a tour that also included the orchestra's first concerts in Hong Kong.
Mr. Ozawa pursues an active international career, appearing regularly with the Berlin Philharmonic, the Orchestre de Paris, the French National Orchestra, the Vienna Philharmonic, the Philharmonia of London, and the New Japan Philharmonic. Recent appearances conducting opera have included La Scala, the Vienna Staatsoper, and the Paris Opera; he has also conducted at Salzburg and Covent Garden. In 1983, at the Paris Opera, he conducted the world premiere of Olivier Messiaen's St. Francis ofAssisi.
Mr. Ozawa has a distinguished list of recorded performances to his credit, with the Boston Symphony Orchestra, the Berlin Philharmonic, the London Philharmonic, the Philharmonia of London, the Orchestre National, the Orchestre de Paris, the Chicago Symphony Orchestra, the San Francisco Symphony, and the Toronto Symphony Orchestra, among others. His recordings appear on the CBS, Deutsche Grammophon, EMI/Angel, Erato, Hyperion, New World, Philips, RCA, and Telarc labels.
Born in 1935 in Shenyang, China, to Japanese parents, Seiji Ozawa studied West- ern music as a child and later graduated with first prizes in composition and conduct- ing from Tokyo's Toho School of Music, where he was a student of Hideo Saito. In 1959 he won first prize at the International Competition of Orchestra Conductors held in Besangon, France, and was invited to Tanglewood by Charles Munch, then music director of the Boston Symphony Orchestra and a judge at the competition. In 1960 he won the Tanglewood Music Center's highest honor, the Koussevitzky Prize for outstanding student conductor.
While a student of Herbert von Karajan in West Berlin, Mr. Ozawa came to the attention of Leonard Bernstein. He accompanied Mr. Bernstein on the New York Philharmonic's 1961 tour of Japan and was made an assistant conductor of that orchestra for the 1961-62 season. In January 1962 he made his first professional concert appearance in North America, with the San Francisco Symphony. Mr. Ozawa was music director of the Chicago Symphony Orchestra's Ravinia Festival for five summers beginning in 1964, music director of the Toronto Symphony Orchestra from 1965 to 1969, and music director of the San Francisco Symphony from 1970 to 1976, followed by a year as that orchestra's music adviser. In 1970 he was named an artistic director of the Boston Symphony Orchestra's Tanglewood Festival.
Seiji Ozawa has won an Emmy for the Boston Symphony Orchestra's "Evening at Symphony" PBS television series. He holds honorary doctor of music degrees from the University of Massachusetts, the New England Conservatory of Music, and Wheaton College in Norton, Massachusetts. Leo Panasevich Carolyn and George Rowland chair Sheldon Rotenberg Muriel C Kasdon and Marjorie C Paley chair Alfred Schneider Raymond Sird Ikuko Mizuno Amnon Levy
Second Violins Music Directorship endowed by Marylou Speaker Churchill John Moors Cabot Fahnestock chair Vyacheslav Uritsky BOSTON SYMPHONY Charlotte and Irving W. Rabb chair ORCHESTRA Ronald Knudsen Edgar and Shirley Grossman chair 1989-90 Joseph McGauley First Violins Leonard Moss * Malcolm Lowe Harvey Seigel Concertmaster *Jerome Rosen Charles Munch chair * Sheila Piekowsky Tamara Smirnova-Sajfar Ronan Lefkowitz Associate Concertmaster * Helen Horner Mclntyre chair Nancy Bracken Max Hobart * Jennie Shames Assistant Concertmaster *Aza Raykhtsaum Robert L. Beat, and *Valeria Vilker Kuchment Enid L. and Bruce A. Beal chair * Lucia Lin Bonnie Bewick Assistant Concertmaster *Tatiana Dimitriades Edward and Bertha C. Rose chair *James Cooke Bo Youp Hwang *Si-Jing Huang John and Dorothy Wilson chair, fully funded in perpetuity Max Winder Violas Forrest Foster Collier chair Burton Fine Fredy Ostrovsky Charles S. Dana chair Dorothy Q. and David B. Arnold, Jr., Patricia McCarty chair, fully funded in perpetuity Anne Stoneman chair, Gottfried Wilfinger fully funded in perpetuity Ronald Wilkison Robert Barnes * Participating in a system of rotated seating within each string section %On sabbatical leave ^Substituting, 1989-90
10 Jerome Lipson Oboes Trombones Joseph Pietropaolo Alfred Genovese Ronald Barron Michael Zaretsky Acting Principal Oboe J. P. and Mary B. Barger chair, Mildred B. Remis chair fully funded in perpetuity Jeanneret Marc Wayne Rapier Norman Bolter Betty Benthin *Mark Ludwig English Horn Bass Trombone * Roberto Diaz Laurence Thorstenberg Douglas Yeo * Rachel Fagerburg Beranek chair, fully funded in perpetuity Tuba Cellos ^Chester Schmitz Jules Eskin Clarinets Harold Wright Margaret and William C Philip R. Allen chair Rousseau chair Ann S.M. Banks chair Martha Babcock §Gary Ofenloch Vernon and Marion Alden chair Thomas Martin Sato Knudsen Peter Hadcock Esther S. and Joseph M. Shapiro chair E-flat Clarinet Timpani Joel Moerschel Everett Firth Clarinet Sandra and David Bakalar chair Bass Sylvia Shippen Wells chair * Robert Ripley Craig Nordstrom Luis Leguia Farla and Harvey Chet Percussion Krentzman chair Robert Bradford Newman chair Charles Smith Carol Procter Peter and Anne Brooke chair Lillian and Nathan R. Miller chair Bassoons ^Arthur Press * Ronald Feldman Richard Svoboda Assistant Timpanist Peter Lurie *Jerome Patterson Edward A. Toft chair Andrew chair * Jonathan Miller Roland Small Thomas Gauger Richard Ranti Frank Epstein Basses Edwin Barker Contrabassoon Harp Harold D. Hodgkinson chair Lawrence Wolfe Richard Plaster Ann Hobson Pilot Willona Henderson Sinclair chair Maria Nistazos Stata chair, fully funded in perpetuity Horns Joseph Hearne Charles Kavalovski Bela Wurtzler Helen Sagoff Slosberg chair John Salkowski Richard Sebring * Robert Olson Margaret Andersen Congleton chair * James Orleans Daniel Katzen Todd Seeber Jay Wadenpfuhl Personnel Managers *John Stovall Richard Mackey Lynn Larsen Jonathan Menkis Harry Shapiro Flutes Doriot Anthony Dwyer Trumpets Librarians Walter Piston chair Fenwick Smith Charles Schlueter Marshall Burlingame Roger Louis Voisin chair Myra and Robert Kraft chair William Shisler Leone Buyse Peter Chapman James Harper Ford Marian Gray Lewis chair H. Cooper chair Timothy Morrison Piccolo Stage Manager Steven Emery Position endowed by Lois Schaefer Angelica Lloyd Clagett Evelyn and C Charles Marran chair Alfred Robison
11 Dear Patron of the Orchestra:
For many years the Boston Symphony Orchestra has been known as the "aristocrat of American orchestras." There is indeed a distinctive "BSO sound" that has earned worldwide acclaim and has attracted the greatest musicians to audition for membership in the orchestra.
An important ingredient in the creation of this unique sound is having the finest musical instruments on the BSO's stage. However, the cost of many of these instruments (especially in the string sections) has become
staggeringly high, and it is incumbent upon the Symphony to take steps to assure that musicians in key positions who do not themselves own great instruments have access to them for use in the orchestra.
Two recent initiatives have been taken to address this concern: First, in 1988, the Boston Safe Deposit and Trust Company stepped forward
with a creative loan program that is making it possible for players to borrow at one and a half percent below prime to purchase instruments. Second, last fall, the incentive of a Kresge Foundation challenge grant helped launch our effort to raise a fund of $1 million for the Orchestra to draw upon from time to time to purchase instruments for use by the players. The BSO in this case would retain ownership.
Donations of both outright gifts and instruments are being sought to establish the BSO's Instrument Acquisition Fund. Fine pianos, period instruments, special bows, heirloom violins, etc. all make ideal gifts. The terms of the Kresge challenge grant require that we meet our goal of $1 million by October 1990. Opportunities for naming instruments and for other forms of donor recognition may be available according to the wishes of the donor.
If you are interested in this program please contact me or Joyce Serwitz in the orchestra's Development Office at (617) 266-1492, ext. 132. Your support will help make a difference that will be music to our ears!
George H. Kidder President
12 Know Your Orchestra
TV Boston Symphony program book will feature biographies of orchestra members on a regular basis as the season continues.
Norman Bolter Born in Minneapolis, Minnesota, BSO second trombone Nor- man Bolter began playing the instrument when he was nine; he was first inspired to play the trombone when, at age four, he saw the "Mr. Greenjeans" character on the Captain Kangaroo television show play the same instrument. While still in high school he studied with Stephen Zellmer; he later attended the New England Conservatory of Music, where he studied with John Swallow. He was a participant in the Boston University Tanglewood Institute Young Artists Program, and he won the CD. Jackson Award as a Fellow at the Tanglewood Music Cen- ter. After coming to Boston in 1973, Mr. Bolter performed with several freelance organizations until he successfully auditioned for the Boston Symphony Orchestra in 1975, becoming its youngest member, at age twenty, at that time. Also princi- pal trombone of the Boston Pops Orchestra, Mr. Bolter was a member of the Empire Brass Quintet for five years. He currently teaches at Boston University and at the New England Conservatory of Music.
Steven Emery Steven Emery joined the Boston Symphony Orchestra as its fourth trumpet at the beginning of the 1988 Tanglewood sea- son. He had previously been principal trumpet of the Columbus Symphony Orchestra and the Columbus Symphony Brass Quin- tet, assistant principal trumpet of the Kansas City Philhar- monic, and principal trumpet with Lyric Opera of Kansas; he has also performed with the St. Louis Symphony and the New York Philharmonic. Mr. Emery received his bachelor of music degree from the Oberlin College Conservatory of Music and his master of music degree from Ohio State University, where he was a member of the honorary music society Pi Kappa Lambda. He received private instruction and took master classes with Adolph Herseth and Vincent Cichowicz. In the jazz and commercial fields, he recorded as lead trumpet for the group "Brothers Heritage"; he was also lead trumpet for the Mokan Jazz Band in Kansas City, Missouri, and with various recording and touring bands in New York. Now teaching at Boston Conservatory, he has been instructor of trumpet and assistant director of jazz studies at the University of Missouri-Kansas City Conservatory, and instructor of trumpet and brass chamber music at Missouri Western State College in St. Joseph, Missouri. He has also taught at Ohio State University and Oberlin College. Mr. Emery performs fre- quent recitals with his wife, pianist Deborah DeWolf Emery.
13 PHILIPS
From the Distinguished BERNARDCatalogue of HAITINK on Compact Disc BRUCKNER Symphony No. 5 & Te Deum Vienna Philharmonic 422 342-2 BEETHOVEN Symphony No. 9 Concertgebouw Orchestra, Amsterdam 420 542-2 MAHLER Symphony No. 5 Berlin Philharmonic 422 355-2
New Release May 15! RAVEL Daphnis et Chloe Boston Symphony & Tanglewood Festival Chorus
Available on Compact Disc
© 1990 Philips/PolyGram Classics
Classical Music Center EARNES&NOBLE Boston 395 Washington Street
14 BOSTON SYMPHONY ORCHESTRA
Seiji Ozawa, Music Director
Carl St. Clair and Pascal Verrot, Assistant Conductors One Hundred and Ninth Season, 1989-90
Thursday, March 29, at 8 Friday, March 30, at 2 Saturday, March 31, at 8
Tuesday, April 3, at 8
BERNARD HAITINK conducting
STRAVINSKY Symphonies of Wind Instruments
DEBUSSY Nocturnes Nuages. Modere Fetes. Anime et tres rythme Sirenes. Moderement anime NEW ENGLAND CONSERVATORY WOMEN'S CHORUS, TAMARA BROOKS, director
INTERMISSION
BRAHMS Symphony No. 2 in D, Opus 73 Allegro non troppo Adagio non troppo Allegretto grazioso (quasi andantino) Allegro con spirito
The evening concerts will end about 10 and the afternoon concert about 4. RCA, Deutsche Grammophon, Philips, Telarc, CBS, EMI/Angel, New World, Erato, and Hyperion records Baldwin piano
Please be sure the electronic signal on your watch or pager is switched off during the concert.
The program books for the Friday series are given in loving memory of Mrs. Hugh Bancroft by her daughters Mrs. A. Werk Cook and the late Mrs. William C. Cox.
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* %.,* * %,* #>* V V # YV Igor Stravinsky Symphonies of Wind Instruments
Fedorovich Stravinsky was born at Oranien- rigor*V baum in what is now the Northwest Leningrad \ region of the USSR on June 17, 1882, and died in
New York on April 6, 1971. He completed the Sym- phonies of Wind Instruments on November 30, 1920; Serge Koussevitzky gave the first performance on ) 0#&k» June 10, 1921, in London. Ernest Ansermet led th£ first Boston Symphony performances on January 6
and 7, 1956. The orchestra has since played the work under the direction of Pierre Boulez, Michxiel Tilson Thomas, and Joseph Silverstein, who led the most recent Symphony Hall performances in Janu- ary 1979. Esa-Pekka Salonen conducted the only Tanglewood performance of the score on July 13, 1985. In its original version, the work was scored for three flutes and alto flute, two oboes and English horn, clarinet and alto clarinet, three bassoons (third doubling contrabassoon), four horns, three trumpets, three trom- bones, and tuba. In 1947 Stravinsky revised the work, removing the alto flute and sub- stituting three clarinets for the clarinet and alto clarinet. Bernard Haitink will conduct the 1947 version at these concerts.
The audiences that first heard Stravinsky's Symphonies of Wind Instruments cor-
dially—or perhaps not-so-cordially— hated it. There were reasons for the dislike. The work was under-rehearsed, owing to a late arrival of the parts. It was put at the end of a program that had featured large orchestral works by such brilliant orchestrators as Glazunov and Rachmaninoff. When the time came for the performance of Stravin- sky's new piece, the string players and percussionists left the stage, but their chairs and stands remained in front of the brass and woodwind players, who could thus not fail to give the impression that something was lacking. The unhappy effect of this
premiere (Stravinsky once referred to it as Koussevitzky' s "execution" of his work — "in the military sense") lingered for a long time. Other orchestras and conductors failed to learn the lesson that the composition needed to be presented as a full piece by itself, not simply an exercise for a part of the orchestra.
Stravinsky himself did not insist on moving the wind players to the front of the stage when he conducted a performance in New York in the mid-1920s, and he proba- bly did not have enough rehearsal time to solve the difficult problems of balance in this new and challenging music. The result was something of a catastrophe. Maurice Abravanel, a great admirer of Stravinsky's music who was present at that perform- ance, once told me, "I hated that piece for years!" Many other listeners have had a similar experience, especially if they come to the work, as most of us do, from the luxuriant early ballets. The first reaction is inevitably shock. Gone are the fullness of sonority, the visceral energy, the fragments of folk tunes, the thunderous climaxes. What is left seems, at first hearing, cold, willfully dissonant, harsh, grating.
With increasing experience of Stravinsky's music, though, we can realize that the Symphonies of Wind Instruments is one of the richest in implication of all of his works; it offers full-blown the techniques, the approaches, and the style of his music for the next thirty years. More important, we can enjoy the extraordinary wit and originality of the Symphonies of Wind Instruments on its own terms.
The score bears the dedication "to the memory of Claude-Achille DEBUSSY." The older French composer had been an early supporter of the young Russian. Though their friendship had its rocky moments, there was always a real appreciation of the
17 Week 20 Only you can help the pieces fall into place.
The BSO started the 19894990 season thereby weakening the Orchestra's long- with a $10 million difference between what term financial foundation. we will earn— and what we must spend to Your generous gift will help us fund
make our music. What is more, our annual outreach, educational and youth programs,
grant support from the Massachusetts and attract the world s finest musicians and
Council on the Arts and Humanities has guest artists. been severely reduced due to state budget Become a Friend of the Boston cuts. Unless these funds are found else- Symphony Orchestra today. This year,
where, continuing all current programs will more than ever, only you can help the
result in reductions in our endowment, pieces fall into place.
i 1 Yes, I want to help keep great music alive. I'd like to become a Friend of the BSO for the 1989-1990 season.
(Friends' benefits begin at $50. ) Enclosed is my check for $ payable to the Boston Symphony Annual Fund.
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Please send your contribution to: Susan E. Tomlin, Director of Annual Giving, Boston Symphony Orchestra, Symphony Hall, Boston, MA 02115. (617) 266-1492. KEEP GREAT MUSIC ALIVE L J other's work that ended only with Debussy's death in 1918, and they each dedicated compositions to the other. Thus Stravinsky's own account of the genesis of Mis Sym- phonies of Wind Instruments, taken from his 1935 autobiography Chroniques de ma vie, seems straightforward enough.
La Revue Musicale planned to devote one of its issues to the memory of Debussy and to include music written especially for the occasion by contemporaries and admirers of the composer. I was one of those who was asked to contribute, but the composition of a page of music awoke in me the need of developing my musi- cal thought which had been born under the impulse of the solemn circumstances
which had prompted it, I began with the end. I wrote a choral phrase which later was to terminate my Symphonies d'instruments a vent dedicated to Claude-Achille Debussy and I gave to the Revue Musicale this first fragment in a reduction for piano.
The special issue of La Revue Musicale appeared in 1920. Despite Stravinsky's insistence that he began with the end, and considering the plan to publish music by Debussy's colleagues in that memorial issue, Robert Craft has shown that Stravinsky made the first notation of material appearing in the Symphonies of Wind Instruments as early as March 26, 1918 — indeed, quite possibly in immediate reaction to hearing of Debussy's death. But the material in question is a skeleton of the very opening gesture:
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This is the so-called "bell motif" that recurs many times in the final piece. Further sketches appeared in the summer of 1919, and it seems that Stravinsky worked on the entire composition in chronological order. His autobiographical account of the cre- ation of the closing chorale is accurate to the extent that he actually completed that part of the score first — no doubt to meet the deadline of the Revue Musicale.
Stravinsky once described the finished work as a series of
litanies, in close tempo relations, succeeding one another, with rhythmic dialogues between separate woodwind instruments, such as flute and clarinet The whole
peculiar structure of this work required a special title. This is very easily rendered in French -SYMPHONIES (in plural) D'INSTRUMENTS A VENT -but in English we can find only an approximate translation, which is, SYMPHONIES OF WIND INSTRUMENTS.
What makes this work "peculiar" and difficult to follow at a first hearing is its insis- tence on interruption, disjunction, avoidance of obvious connection or development. It is a decisive break from the romantic tendency to build an entire piece out of trans- mutations of a single theme or motive. Here, on the contrary, Stravinsky seems to arrange a series of strikingly different objects one after the other. Debussy composed that way, too, especially in his late works, but Stravinsky goes to extremes to empha- size the breaks between sections, changing sonority, meter, texture, tempo, and har- mony all at once — and many times in quite rapid succession. The first few seconds move from the "bell motif of flutes and clarinets to a sustained, dense chord for the full ensemble (anticipating the closing chorale), a brief lyric phrase in horns and oboes, then the "bell motif again, a dance-like fragment in the oboes, the dense chord for the full ensemble, and so on, with extreme changes every three or four meas-
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20 ures! Certainly it is possible to hear echoes of the additive rhythms of Le Sacre and Les Noces, but the fast changes of mood and movement arc disconcerting at first. Y — Steven Ledbetter JOSEPH SILVERSTEIN RECITAL Sandra Rivers, piano with STEP violinist Vali Phillips to benefit PROJECT STEP (String Training and Educational Program for Minority Students) Sanders Theater, Monday, April 2, 7:30 p.m. Ticket prices are $50 (Benefactor), $25 (Patron), $15 (Sponsor), and $10 (Student). Make checks payable to Project STEP and send to: Project STEP, Symphony Hall, Boston, MA 021 15. Benefactors are invited to a reception at the Harvard Faculty Club following the performance. For more information, call (617) 482-9393. 21 The Shreve Wedding For generations, New England brides have trusted the wedding experts at Shreve. From engagement rings and wedding bands to invitations, attendant gifts and the bridal registry, Shreve's is at your service. Let your elegant wedding begin at Shreve. SHREVE,CRUMP &LOW 330 BOYLSTON ST., BOSTON, MASS. 02116 (617) 267-9100 • THE MALL AT CHESTNUT HILL • SOUTH SHORE PLAZA 22 .Louis Vuitton. 1 he art of travel. ^JyT Louis Vuitton luggage and accessories are sold only in the Jlj exclusive Louis Vuitton stores in Paris and the other great cities of the world. G)pley Place, 1(X) Huntington Avenue, Boston (617) 437-6519 At Saks Fifth Avenue, Prudential Center, Boston (617) 262-8500 x321 Also available at all Saks Fifth Avenue and Neiman Marcus stores. LOUIS VUITTON MA.UETIERAPARIS MAISON FONDEE EN 1854 A good private banker knows all about investment accounts, lines ofcredit, and quiet restaurants. You think about what you made last year, and you smile. You think about what you're going to do with it, and you scratch your head. Breakfast with your pri- vate banker could open up a lot of possibilities. Because at his fingertips are all the resources of Bank of Boston. From a range of investments, to the best credit options. Private banking makes it easier for you to do more with your money. Now you've got Bank of Boston at your convenience, on your own time, and even at your favorite restaurant. BANKOF BOSTON Put our strength to wsk for you. Call Warren Bacon, Vice President, Private Banking Group at (617) 434-5302. © 1988 The First National Bank of Boston An Exclusively Residential Enclave on Boston's Waterfront Away from the shops, the traffic and the crowds, Burroughs Wharf stands alone. From $450,000 Telephone 61 7 227-8282 J Burroughs L H Wharf \t ot Neiman Marcus - : : , : N°5 CHANEL PARFUM Claude Debussy Nocturnes Achille- Claude Debussy was born at St. Germain- en-Laye, Department of Seine-et-Oise, France, on August 22, 1862, and died in Paris on March 25, 1918. His three Nocturnes, which went through an extended genesis described below, were composed during the 1890s, reaching more or less their present form between 1897 and 1899. Debussy later made substantial revisions in the orchestration, particularly in Fetes and Sirenes, and the work is now performed according to the revised score, which was published posthumously in 1930. Nuages and Fetes were first performed at the Concerts Lam- oureux in Paris on December 9, 1900, Camille Chavillard conducting. The same performers pre- miered the complete set of three pieces on October 27, 1901. B.J. Lang conducted the first United States performance in Boston on Febru- ary 10, 1904, at a Chickering Production concert. Max Fiedler led the first complete Boston Symphony Orchestra performances in December 1908, with the Choral Club of the New England Conservatory of Music, though Vincent d'Indy had already led the orchestra in Nuages and Fetes in December 1905. Complete performances have also been given at BSO concerts under the direction of Henri Rabaud, Pierre Monteux, Ernest Ansermet, Charles Munch, Erich Leinsdorf, Claudio Abbado, Sergiu Comissiona, and Sir Colin Davis, who led the most recent complete performances at Tanglewood in 1980 and in subscription concerts in January 1982. Nuages is scored for two flutes, two oboes and English horn, two clarinets, three bassoons, four horns, timpani, harp, and strings. Fetes is scored for three flutes, two oboes, English horn, two clarinets, three bassoons, four horns, three trumpets in F, three trombones and tuba, two harps, tim- pani, cymbals, snare drum, and strings. Sirenes is scored for three flutes, oboe and English horn, two clarinets, three bassoons, four horns, three trumpets in F, two harps, wordless female chorus, and strings. The first performance of the Prelude a VApres-midi d'un faune in 1894 had made Debussy instantly famous. By the date of that performance he had already embarked on his next major orchestral work, the Nocturnes, which, with Pelleas et Melisande, were to occupy his attention for the rest of the 1890s. It seems that the Nocturnes went through at least two early versions before resulting in the music we know today, although Debussy's manuscripts for the earlier versions — if they were ever written out — no longer exist. As early as 1892, when Debussy was planning a tour of the United States (which never took place), he wrote to his patron Prince Poniatowski that the work he was planning to introduce during the tour, Trois Scenes au crepu- scule ("Three Scenes at Twilight"), was "almost finished, that is to say that the orchestration is entirely laid out and it is simply a question of writing out the score." This work was based on the poem Scenes au crepuscule by Debussy's friend Henri de Regnier, a close associate of Mallarme. Since the music of this version does not sur- vive at all, it is impossible to compare it to the final work, but it is worth noting that one of the poems involved the imagery of flutes and trumpets that might have inspired Fetes, and a reference to a female choir might have motivated the inclusion of the wordless women's voices in Sirenes. Be that as it may, the first appearance of the actual title Nocturnes in Debussy's work comes in a letter written late in 1894 to the great Belgian violinist Eugene Ysaye, to whom the composer wrote: "I am working on three Nocturnes for violin and 23 Week 20 A BROADCAST SERVICE OF THE CHRISTIAN SCIENCE MONITOR Listen to Your Neighbor Monty Haas Pat Bodnar Since 1908 one newspaper, The Christian Science Monitor, has been bringing the world to your neighborhood. Mow you can listen in on the world each weekday morning and evening on MONITORADIO. And during the weekend, too. Every morning Pat Bodnar talks to Monitor correspondents around the world. And Monty Haas wraps up the day with them in the evening. And, during the weekend you hear from top Monitor editors about what's happened, happening and could happen — as well as the best of the week's reports. Listen to your neighbor— and to the world — on MONITORADIO brought to you by your neighborhood stations. EARLY EDITION BOSTON WUMB-FM 91.9 M-F 5:00 AM DAILY EDITION WORCESTER WICN-FM 90.5 M-F 5:30 PM CONCORD WADN-AM 1120 M-F 7:00 PM WEEKEND EDITION BOSTON WGBH-FM 89.7 SAT 6:00 AM FRAMINGHAM WKOX-AM 1200 SUN 9:00 AM DisinbuiedI*b> AA\\\ American Public Radio Network The Christian Science Monitor . Broadcast service for public radio 24 orchestra that are intended for you. The first is scored for strings; the second for three flutes, four horns, three trumpets and two harps; the third is a combination of* both these groups This is, in fact, an experiment in the various arrangements that can be made with a single color — like the study of gray in painting." Debussy greatly admired a series of paintings entitled "Nocturnes" by the American artist Whistler, and the musical title could well have been suggested by that connection. Moreover, the composer's reference to "the study of gray in painting" recalls Whis- tler's most famous work (the only American painting on display in the Louvre), known popularly as "Whistler's Mother," but called by the artist "Arrangement in Black and Gray." He was also familiar with the work of other impressionists — Gau- guin, Renoir, Pissarro, and Sisley— and he was especially fond of Turner. Two years later Debussy again wrote to Ysaye, requesting that he defer the per- formance of the Nocturnes until he could give it in Brussels. This would suggest not only that a full score for the violin-and-orchestra version existed at that time, but also that Ysaye had seen it, though no one else has ever managed to put hands on the manuscript. If such a score does exist, its rediscovery would be a wonderful contribu- tion to our knowledge of Debussy's musical thought. In any case, between 1897 and 1899 Debussy completely recast the work into its present form. Debussy's comment likening his music to "the study of gray" fits best with Nuages ("Clouds"), one of his most personal musical expressions. The subdued orchestral col- ors and dynamics (mostly piano and pianissimo, with only two forte passages, each lasting only a measure or two) hold the music within carefully prescribed limits. The spare opening gesture in clarinets and bassoons — alternating open fifths with thirds — grows and intensifies in the divided string parts, while the English horn solo inter- polates a chromatic figure that outlines a diminished fifth. #*3 iW This English horn figure keeps reappearing, virtually without change, like a solid object around which the clouds float and swirl. Debussy himself wTote a program for the movement in which he said, "Nuages renders the unchanging aspect of the sky and the slow, solemn motion of the clouds, fading away in gray tones lightly tinged with white." The clouds have dispersed for the second movement, Fetes ("Festivals"). Debussy is supposed to have said that he was inspired by the merrymaking in the Bois de Bou- logne, although the brilliant processions through Paris at the time of the Franco- Russian alliance, signed in 1896, probably played a part in the final conception of the music, with its fanfares heard softly in the distance, growing to splendid display, and then fading away as the music again dissolves into silence. Debussy's fascination with the sea constantly resurfaces in his music, from the third Nocturne, called Sirenes ("Sirens"), to certain passages in Pelleas et Melisande, and culminating in the great sea symphony, La Mer. Sirenes is music of iridescent color, of decoration without themes in the normal sense, of fluid rhythmic interplay. Literary inspiration may have come either from a poem of Henri de Regnier (L'Homme et la Sirene) or from one of Swinburne (Nocturne); both poems deal with mermaids and the effects of their love on mortals. The instrumental use of the wom- en's chorus, singing wordlessly, evokes the song of these sirens from the ocean's depths. -S.L. za Week 20 ongratulations to the Boston Symphony. May your 109th season be one of many high notes. Living the good life. Jordan marsh EST 1H". 1 MASSACHU SETTS CONNECTICUT • RHODE ISLAND • NEW HAMPSHIRE • MAINE • NEW V)Rk 26 Johannes Brahms Symphony No. 2 in D, Opus 73 Johannes Brahms was born in Hamburg, Germany, on May 7, 1833, and died in Vienna on April 3, 1897. The Symphony No. 2 was composed in 1877, during a productive summer stay at Pbrtschach in Carinthia (southern Austria); the first performance took place under the direction of Hans Richter in Vienna on December 30, 1877. The first American performance was given at New York's Steinway Hall by the Philharmonic Society under Adolph Neuendorff on October 3, 1878. Boston heard the Brahms Second for the first time several months later, when Carl Zerrahn conducted it on January 9, 1879, at a Harvard Musical Society concert. Georg Henschel led the first Boston Symphony per- formances in February 1882, and the orchestra has since played it under Wilhelm Gericke, Arthur Nikisch, Emit Paur, Karl Muck, Max Fiedler, Otto Urack, Henri Rabaud, Pierre Monteux, Serge Koussevitzky, Richard Bur- gin, Bruno Walter, Leonard Bernstein, Charles Munch, Eugene Ormandy, John Bar- birolli, Lorin Maazel, Ernest Ansermet, Erich Leinsdorf, Stanislaw Skrowaczewski, William Steinberg, Michael Tilson Thomas, Sir Colin Davis, Eugen Jochum, Seiji Ozawa, Joseph Silverstein, Kazuyoshi Akiyama, Kurt Masur, who led the most recent subscription performances in January 1985, and Gunther Herbig, who led the most recent Tanglewood performance in July 1988. The symphony is scored for two each of flutes, oboes, clarinets, and bassoons, four horns, two trumpets, three trombones, tuba, timpani, and strings. Brahms's Second Symphony was new when the Boston Symphony Orchestra was founded. True, it had already been played here twice, but it was counted as a fearfully modern composition, and when the BSO's first music director, Georg Henschel, led a performance of the piece in the inaugural season, people listened with respect, at least, if not enthusiasm (after all, Henschel was a friend of the composer himself; years later he wrote a book entitled Personal Recollections of Johannes Brahms). The revi ewers found the symphony a tough nut to crack. The Boston Traveler ran a review that was as typical of its day as it is atypical of ours: It would appear as though Brahms might afford occasionally to put a little more melody into his work—just a little now and then for a change. His Second Sym- phony gave the impression that the composer was either endeavoring all the while to get as near as possible to harmonic sounds without reaching them; or that he was unable to find any whatever. We can only gape in astonishment. During the intervening century we have come to recognize the Second above all as the most pastoral of his four essays in the sym- phonic medium, the lush and sensuous foil to his more austere C minor symphony composed only the preceding year. It is well-known that Brahms delayed until his forty-third year before actually allowing a symphony of his to be brought to performance. The First, completed in 1876, was not the first he had ever attempted. At least one abortive earlier effort had served as raw material for his First Piano Concerto and the German Requiem. Others may well have been sketched, even substantially composed, then destroyed. Part of the problem was his concern with the fact that the mantle of Beethoven had been placed implicitly on his shoulders, a responsibility that Brahms neither wanted nor needed. Already more self-critical than most composers ever become, he was increas- es/ Week 20 '.~ST ingly leery of the interest with which the musical world awaited his first contribution to the field that Beethoven had made so thoroughly his own. Once having broken the ice with the First Symphony, however, Brahms did not hesitate to try again. His Second Symphony was written the following year during his summer vacation on the Worthersee (Lake Worth) near Portschach in Carinthia (southern Austria). He spent three summers, from 1877 to 1879, in that resort, and each one was musically productive. The successive years saw the composition of the Second Symphony, the Violin Concerto, and the G major violin sonata. The new sym- phony was an enormous success when Hans Richter conducted the first performance in Vienna; it was no less well received two weeks later in Leipzig. These two cities were, of course, centers of Brahms aficionados (the critic Eduard Ilanslick especially in Vienna, and Clara Schumann in Leipzig). Further afield the symphony attracted mixed notices, but always respect at the very least. The music pulses with sounds of nature. The opening horn melody conjures up the freshness of the outdoors. The composer's friend and long-time correspondent Dr. Theodor Billroth wrote to him after hearing the symphony, "How beautiful it must be on the Worthersee!" What strikes the listener first is the apparent relaxation of mood, especially of the Second Symphony as compared with the tense opening of its prede- Dinner at 6. Symphony at 8. $ Parking at 5. Make dinner at Boodle s part of your night out for Symphony, and you'll enjoy more than just award-winning dining at Boston's authentic wood grill. Because we're offering our customers special parking privileges in our private garage for just $5, and on Tuesdays and Thursdays, a free "Symphony Express" shuttle service. Just show us your tickets at dinner, and we'll arrange for your $5 parking, take you to Symphony after your meal, and return you to your car after the perfor- mance. And with a deal like that, a night at the Symphony never sounded better. OF • BOSTON An Authentic Grill Lunch and dinner daily. In Boston's Back Bay Hilton. Phone (617) BOODLES. 29 . ITS QUITE OBVIOUS WHY SOME OF TODAY'S MOST SUCCESSFUL INVESTORS NEVER TOOK THEIR MONEY OUT OF THE BANK. Shawmut Investment Management Services In today's complex market, strong Stocks, Bonds, Other Assets & investment performance is more Under Management. important than ever. That's why a (Billions Of Dollars)* growing number of investors rely on the expertise they receive from Shawmut's investment management. And why our total assets under management have grown a remark- able 104% since June 1984. When you invest with Shawmut, you receive the highest level of personalized, one-on-one service. Before doing anything else, your Personal Account Representative will sit with you and gain a complete understanding of your financial goals and risk preferences. Only then will a portfolio be custom designed to meet your individual objectives. What's more, you can count on Shawmut for highly personalized trust and estate planning. Stop by one of our investment management offices located throughout Massachusetts. Or for more information call 617-292-3885. You may never take your money out of the bank again. Shawmut 30 cessor. What is not so immediately apparent is the fact that the Second is, if any- thing, even more precision-ground than the First. The parts fit as in a fine watch. This was certainly noticed even by the negative early critics, who grudgingly admitted the composer's skill. W.F. Apthorp, later the BSO's program annotater, wrote in the Boston Courier following the first performance in Boston: It would take a year to really fathom the Second Symphony, and a year of severe intellectual work, too. One would only like to be a little more sure that such labor would be repaid. How times change! From the distance of a century, we are prepared to enjoy the spontaneity, the sensuous richness of this most "Viennese" of the Brahms sympho- nies—to such an extent, in fact, that many listeners blithely forgo the "intellectual work" that Apthorp mentions and allow themselves simply to wallow in the sound. And yet it is surprising but true that this largest, most apparently unbuttoned of the Brahms symphonies is also one of the most closely wrought. Everything in the first movement grows out of the opening phrase and its component parts: a three-note "motto" in cellos and basses, the arpeggiated horn call, a rising scale figure in the woodwinds. It might be easy, for example, to overlook the first three notes as a mere preparation for the "true" theme in the horns (after all, that motto figure does not BEFORE OR AFTER If you'd like to own a Theatre, Symphony or Ballgame, one-of-a-kind Pearson's has the selection to please your crowd. We serve dinner 'til 11 pm, treasure, offering steaks, seafood and pasta, just raise your and our Cafe Tare 'til midnight includes ribs, grilled steak sand- hand. wiches, chilled shellfish and more. Dine in our casual lounge, outside on the patio or in our fine dining room. Open until 1 am seven days, serving lunch and dinner, with SKINNER brunch on Sundays. Valet parking. Auctioneers andAppraisers PEARSONS ofAntiques and Vine Art Steak & Sea Grille 357 Main Street 2 Newbury Street Commonwealth Avenue, corner of Dartmouth Street Bolton, MA 01740 Boston, MA 02116 Boston, MA 617536-3556 508-779-6241 617-236-1700 31 /.. Afcafyrf/yjir wmM at/tmsam v • \ I ¥ 1 A © < ; \ "\ i even return at the recapitulation, which starts with the horn call); but at every point in the first movement and elsewhere throughout the symphony echoes of those three notes appear — sometimes as quarter-notes (as in the opening), sometimes speeded up to eighth-notes (which has the effect of changing the 3/4 movement to 6/8), and some- times slowed down to half-notes (which does the opposite, changing 3/4 to 3/2 in feel- ing). And the coda of the first movement is a veritable encyclopedia of treatments of the motto. Even when the motto does not appear by itself it is buried in the other melodic ideas that grow out of the opening statement. Like the motto figure, each of the other elements of the opening phrase carries its weight in the discussion to follow. One of the loveliest moments in the first movement occurs at the arrival of the sec- ond theme in violas and cellos; this melting waltz tune sounds more than a little like Brahms's Lullaby — is that why it is so relaxing? Brahms saturates the melody with lower string sound by giving the tune to the cellos and placing them above the violas, who have an accompanying part. Brahms's rhythmic control may have confused early listeners but is treasured today as a fresh and powerful feature of his music. I have already referred to the metrical transformations of the opening motto; but Brahms's interest in rhythm extends to the phrasing of melodies and whole sections. Somehow, imperceptibly, we find that he has accomplished a sleight-of-hand trick in the exposition and we reach an energetic pas- sage in which everything has been shifted by one beat— what sounds like the downbeat of the measure is in fact the second beat, and this runs for a good sixteen measures before the conductor's downbeat and the "feel" of the strong beat in the phrase again coincide. Here and in similar passages Brahms's flexibility avoids the "tyranny of the barline" that straitjacketed so much nineteenth-century music. The second movement, a rather dark reaction to the sunshine of the first, begins with a stepwise melody rising in the bassoons against a similar melody descending in the cellos, the two ideas mirroring each other. Each of them, rising and falling in slow graceful shapes, grows organically into rich and sinuous patterns. Beethoven would have written a scherzo for his third movement, perhaps one with two Trios, as in the Seventh Symphony. Brahms avoids direct comparison with Beethoven by making his third movement more of a lyrical intermezzo, but the shape is close to that of the scherzo with two Trios. A serenading melody in the oboe opens the main section, which is twice interrupted by Presto sections in different meters (the first shifts from 3/4 to 2/4, the second from 3/4 to 3/8). This aroused consternation among Boston critics a century ago. John Sullivan Dwight commented, "It is all pretty, but it hardly seems to hold together — the giddy fancies of a wayward humor." He failed to notice that each of the interruptions is a variation and further development of ideas already heard in the main part, especially the oboe tune. Trios are normally inserted for purposes of contrast, but Brahms achieves his contrast through unity. The final Allegro is as close-knit as the first movement and is based throughout on thematic ideas that can ultimately be traced back to the very beginning of the sym- phony (including the "motto"). Here, too, Brahms's lavish invention makes familiar ideas sound fresh in new relationships. Once again he produces another of those prize metrical shifts, producing a passage that gradually grows from the basic 2/2 of the movement into a surprising 3/4, while the conductor continues to beat in 2/2! The miracle of this symphony remains the fact that it sounds so easy and immedi- ate and yet turns out to be so elaborately shaped. I have a secret hope that at some point, after he had had a chance to hear the piece a few more times, old Apthorp really did put in his "year of severe intellectual work" — or perhaps simply listened with open ears — and realized what he had been missing. -S.L. 33 Week 20 The Essex ....because comfort and grace are ageless An inviting lifestyle of elegance and quality. THE ESSEX is a unique residential senior community designed to promote a fulfilling and dignified lifestyle in an atmosphere of caring and security. As a resident you wil enjoy the comfort and privacy of your own spacious apartment home, including the availability of service options, and the guarantee of our commitment to your continued well-being. • Elegant dining room • Rental programs w/option to purchase • Guest Suites • Social, cultural and wellness programs • Chauffeured transportation • Valet parking • Assisted living • Personal Care • Emergency response call system • 24-hour security • Around the clock staffing • Guest suites • Williamsburg courtyard • Housekeeping • Indoor pool and Jacuzzi Yes, send me information about The Essex Lifestyle! THE ESSEX Name(s) On Boston's North Shore Steps from the Peabody Museum 11 Church Street Historic Salem, MA State City Zip 744-4050 (508) Telephone Clip & Mail Coupon ALSO INQUIRE ABOUT OUR OTHER SENIOR COMMUNITIES THE GEORGIAN ON BOSTONS JAMAICAWAY AND THE GARDENS OF CHESTNUT HILL. 34 More . . . Stravinsky is without any doubt the best-documented composer of the twentieth cen- tury. Eric Walter White has produced a catalogue of Stravinsky's output with analy- ses of every work, prefaced by a short biography, in Stravinsky: The Composer and his Works (University of California). The most convenient brief survey of his life and works is the volume by Francis Routh in the Master Musicians series (Littlefield paperback), though it suffers from the standardized format of the series, which deals with the works by genre in individual chapters, since Stravinsky's development often involved work on several different types of music in close proximity. The most recent and large-scale study is an indispensable, incomplete, undigested, fascinating volume by Vera Stravinsky and Robert Craft, Stravinsky in Pictures and Documents (Simon and Schuster). It is a cornucopia of material, but confusingly organized, with a wealth of detail (often more than one can usefully assimilate) about some subjects while skimming over others. Primary source material can also be found in the three volumes of Stravinsky letters, edited by Robert Craft (Knopf). They may tell more about Stravinsky the businessman than Stravinsky the artist, but they are filled with fasci- nating things nonetheless. Craft has edited two further volumes that are essentially coffee-table books, full of photographs and reminiscences, but they are by no means devoid of interest, particularly for the many reproductions of Stravinsky manuscripts (sometimes, in the case of short works, a complete facsimile). Igor and Vera Stravin- sky is the more personal of the volumes, tracing the loving fifty-year relationship of the composer with the woman who became his second wife and illustrating his social surroundings. A Stravinsky Scrapbook, 1940-1971 deals with the professional aspects of the composer's American years. Robert Craft's most recent findings about the ear- liest sketches for the Symphonies of Wind Instruments are contained in an appendix to the second volume of Stravinsky's letters. Two fundamental analytical articles THE WORLD'S LARGEST RECORD STORE IS WALKING DISTANCE FROM SYMPHONY HALL Tower Records has the largest selection of classical recordings in a department with its own sound environment. OPEN TIL MIDNIGHT TO SERVE YOU! wr ratosmrco BOSTON Tycxmr//7*awTm**£ Mass. Ave. At Newbury In Back Bay Above Auditorium T Stop on the Greenline 35 HORN OurW"1 EB 1W jewelers since ^ Classical Harmonies i i Opus III Edition. ^ LASSALE Lassale presents the perfect balance between elegance and practicality: The Opus III Edition for men and women. For men, gleaming white dials highlight four subdials showing moonphase, day, date and twenty-four hour time, one with gold case and brown padded lizard strap, the other with blue bezel and blue lizard strap. For ladies, elegance couldn't be simpler, with white dial and golden © Seiko Time 1989 markers in a gold toned case with our new brushed bracelet design. All with three-year warranty. E.B. HORN • 429 WASHINGTON ST. • BOSTON, MA ^ ALL MAJOR CREDIT CARDS ACCEPTED BUDGET TERMS MAIL OR PHONE ORDERS 542-3902 OPEN MON. AND THURS., TILL 7 36 about the work are very much worth the attention of anyone desiring to get really inside it: Edward T. Cone, "Stravinsky: The Progress of a Method," in his hook Music: A View from Delft (University of Chicago paperback) and Jonathan I). Kramer, "Discontinuity and Proportion in the Music of Stravinsky," in Confronting Stravinsky, edited by Jann Pasler (University of California). There are only a handful of current choices for recordings of the Symphonies of Wind Instruments, and only one on com- pact disc, but that comes from Charles Dutoit, a conductor with special sympathy for Stravinsky, and the Montreal Symphony (London, coupled with Le Sacre). An excel- lent varied program of chamber works by Stravinsky, including the Symphonies per- formed by the Nash Ensemble under the direction of Simon Rattle, is available only on LP (Chandos), as is a version by the Munich Wind Soloists Academy under the direction of Wolfgang Sawallisch (Orfeo). The standard study of Debussy is Edward Lockspeiser's two-volume work Debussy: His Life and Works (Macmillan). David Cox has contributed a fine short study of Debussy Orchestral Music to the BBC Music Guides Series (University of Washington paperback). Roy Howat's Debussy in Perspective (Cambridge, available in paperback) is an enlightening and insightful study of the importance of proportion in the shaping of Debussy's music, but it is technical and closely argued, requiring the reader to have a score at hand. Bernard Haitink has recorded the Nocturnes with the Concertgebouw Orchestra and the Collegium Musicum Chorus (Philips CD, coupled with Jeux). Sir Colin Davis has recorded them with the Boston Symphony Orchestra and the women of the Tanglewood Festival Chorus (Philips, coupled with La Mer). Charles Munch's older BSO recording of the first two movements is still available (RCA, coupled with La Mer, Prelude to the Afternoon of a Faun, and the early symphonic suite Printemps). The Life of Johannes Brahms by Florence May, a two-volume biography that came out in 1905, is still available, superb, and expensive (Scholarly). The most recent life- and-works on a more modest scale is Karl Geiringer's (Oxford). John Horton has con- tributed a good volume on Brahms Orchestral Music to the BBC Music Guides (Uni- versity of Washington paperback). Donald Francis Tovey's excellent discussion of the Second Symphony is reprinted in his Essays in Musical Analysis (Oxford, available in paperback). For the reader with some technical knowledge of music, Arnold Schoen- berg's essay "Brahms the Progressive" is not to be missed; it is contained in Style and Idea (St. Martin's). Bernard Jacobson's The Music of Johannes Brahms is a fine introduction to Brahms's style for those not afraid of musical examples (Fairleigh Dickinson University Press), and there are good things, too, in Julius Harrison's Brahms and his Four Symphonies (Da Capo). Bernard Haitink will record the Brahms Second with the Boston Symphony Orchestra in conjunction with these per- formances (Philips). An older BSO recording under the direction of Erich Leinsdorf has been reissued on a budget CD (Victrola). George Szell's superb old Cleveland Orchestra recording has also been reissued (CBS, coupled with the Tragic Overture). Besides his studio recording with the NBC Symphony for RCA (cassette only at present), a live Toscanini performance with the Philharmonia Orchestra is available either on a single Fonit-Cetra disc containing the Second and Third symphonies, or in a three-disc Hunt Productions box with all four symphonies, the Haydn Variations, and the Tragic Overture. Herbert von Karajan's fine performance with the Berlin Philharmonic is available singly or in a set (DG). -S.L. 37 Week 20 At last, a retirement community that acres in Westwood and will open in the offers the benefits of homeownership! Summer of 1990. Fox Hill Village combines the security of Discover why over 350 people have continuing care with the many benefits decided that Fox Hill Village is more of ownership through our unique than just a retirement community, cooperative plan. it is a sound investment. Designed for comfort and con- Call (617) 329-4433 for more m venience, Fox Hill Village is now information, or make an appoint- under construction on 80 wooded ment to visit our model unit. / A TRADITION OF FINANCIALCOUNSEL OLDER THAN THE U.S. DOLLAR. State Street has been providing quality financial service since 1792. That's two years longer than the dollar has been the official currency of the United States. During that time, we have managed the assets of some of New England's wealthiest families. And provided investment advice and performance tailored to each client's individual goals and needs. Today our Personal Trust Division can extend that service to you. We've been helping people manage their money for almost 200 years. And you can only stay in business that long by offering advice of the highest quality. Let us help you get the highest performance from your assets. To enjoy today and to pass on to future generations. For more information contact Peter Talbot at 617-654-3227. State Street. Known for quality? State Street Bank and Trust Company, wholly-owned subsidiary of State Street Boston Corporation, 225 Franklin Street, Boston, MA 02101. Offices in Boston, New York, Los Angeles, London, Munich, Brussels, Tokyo, Sydney, Hong Kong. Member FDIC. Copyright State Street Boston Corporation, 1989. — : :1 ^m! j—^Sk — - A Special Life-style Carleton-Willard Village is an exceptional continuing care retirement community. Gracious independent living accommodations and fully licensed, long-term health care facilities exist in a traditional New England environment. CARLETON-WILLARD VILLAGE 100 Old Billerica Rd. Bedford, MA 01730 (617) 275-8700 Owned and operated by Carleton-Willard 31-33 & 109-111 Commonwealth Avenue 339-341-343 Beacon Street 416 Marlborough Street 184 Marlborough Street THE FINCH GROUP, IMC. Construction Financing Provided by 1st American Bank for Savings (617) 439-3000. Bernard Haitink Bernard Haitink is music director at the Royal Opera House, Covent Garden, where he conducts opera and ballet as well as concerts with the orchestra. He was music direc- tor at Glyndebourne from 1978 to 1988. His opera perform- ances with the Royal Opera in recent seasons have included works by Mozart, Britten, Verdi, Strauss, Janacek, and Wagner. In addition to performances at Covent Garden and Glyndebourne, he has conducted many operas for television and video with both companies. Mr. Haitink's career as an orchestral conductor is no less distinguished. He was chief conductor of the Concertgebouw from 1964 until the cente- nary of the Concertgebouw building in April 1988, and he was principal conductor of the London Philharmonic from 1967 to 1979. He has toured widely with both orches- tras in Europe, the United States, and the Far East. He has been a welcome visitor with the Concertgebouw to major festivals in the United Kingdom, including the Proms and the Edinburgh Festival. Mr. Haitink still works regularly with the London Philharmonic, and with the Bavarian Radio Symphony (Bayerische Rundfunk) of Munich, the Berlin Philharmonic, and the Vienna Philharmonic. In the United States he has conducted the Boston Symphony, Chicago Symphony, Cleveland Orchestra, and New York Philharmonic, and at the Metropolitan Opera. He has made many recordings, for Philips, Decca, and EMI. Those with the London Philharmonic include works by Shostakovich, Stravinsky, Liszt, Elgar, Hoist, and Vaughan Williams. His recordings with the Amsterdam Concertgebouw of the complete Mahler, Bruckner, and Beethoven symphonies are ranked among the world's best. With the Vienna Phil- harmonic he has recorded works by Brahms and Bruckner. Opera recordings for EMI include Hie Magic Flute, Daphne, and Tannhauser with the Bayerische Rundfunk, and Don Giovanni, Cost fan tutte, and Le nozze di Figaro with Glyndebourne and the Lon- don Philharmonic. During the next year he will finish recording Wagner's Ring; Das Rheingold and Die Walkiire have already been released. Last season Mr. Haitink recorded Ravel's Daphnis and Chloe with the Boston Symphony Orchestra for Philips records — his first recording venture in the United States; this year he initiates a Brahms cycle with the BSO, with the Second Symphony and the Tragic Overture. In November 1987, Bernard Haitink was made Honorary KBE. In April 1988, on the occasion of his final concert as chief conductor of the Concergebouw, he was made a Commander of the Order of Oranje Nassau and was presented with the Gold Medal of the City of Amsterdam. He has also received the Gold Medal of the International Gustav Mahler Society and the Medal of Honor of the Bruckner Society of America. He is a Chevalier de l'Ordre des Arts et des Lettres (France), an officer of the Order of the Crown (Belgium), an Honorary Member of the Royal Academy of Music, and a Fellow of the Royal College of Music. In 1988 he was awarded honorary doctorates of music by the University of Oxford and the University of Leeds. Mr. Haitink made his first Boston Symphony appearances in 1971 and 1973; he next appeared with the orchestra in November 1985 and, most recentlv, conducted two programs in April and May 1989. 39 The leged Client. riM The Boston Company has a simple approach to personal investment banking: Serve every client as if that client were our only CLIENT. For investment manage- ment. PERSONAL LENDING, money market investments, residential mortgages. or other financial services, our subsidiary. boston safe Deposit and Trust Company. jjgft has a personal investment banker to meet your requirements.* \^* -;,* i.V we serve financially successful individuals through our boston office at One Boston Place. TELEPHONE 1-800-CALL-BOS A subsidiary of (1-800-225-5267 Ext. 870). Shearson Lehman THE BOSTON COMPANY Hutton Inc. and enjoy the substantial Boston Safe Deposit and Trust Company An American advantages of being a Express companv Privileged Client. Offices in Boston, New York, Los Angeles, Newport Beach, San Francisco, Palo Alto and London. Member FDIO An Equal Housing Lender. t=J 'Certain products may not be available in all states. © 1989 The Boston Company, Inc. HI1 New England Conservatory Women's Chorus Tamara Brooks, Conductor Conductor Tamara Brooks combines a professional conduct- ing career with her love of teaching. A champion of contem- porary music, she has commissioned and performed both orchestral and choral works. She has conducted throughout the United States and in eleven European countries. She has been principal guest conductor of the Istanbul Sym- phony and the Cyprus Broadcasting Orchestra. From 1978 to 1988 she was music director and conductor of the Men- delssohn Club of Philadelphia, one of America's oldest and most distinguished choruses; she is the founder and conduc- tor of Sequenza, a professional chamber orchestra in Phila- delphia. Ms. Brooks has recorded for the RCA, Arabesque, and Musical Heritage Society labels. Members of the New England Conservatory Women's Chorus are taken from the Conservatory Chorus and Recital Chorus. These ensembles, under the direction of Tamara Brooks, are devoted to the study and performance of great choral works. The New England Conservatory Chorus has made numerous recordings and has been selected many times to perform at national and regional conferences. New England Conservatory Women's Chorus Tamara Brooks, Conductor Akemi Masuko, Accompanist Melanie Almiron Megan Mary Higley Jessie Raven Blanca Anabitarte Mariko Irie Arianne Rice Kitty Beller-MeKenna Joanne Katsoulis Natalia Rivera Susan Boddie Susan H.J. Kim Stacie Robinson Susan Brannigan Karin Kittay Jennifer Sacher Julie Eileen Braun Monica Knapp Carmen M. Santos Tali Bray Brenda L. Kuntz Yukiko Lucy Sato Nina Camp Anita Kupriss Myrna Setiawan Connie-lin ( 'hmura Suk-Rahn Kwon Gretchen Stalnecker Ingrid Coleman Sabrina Learman Wei-Lun Su ( Ihristine Conley Angela Lee Anita Synnestvedt Pamela Crouch Elizabeth Lewis Lora-Suzanne Tamagini Diana Doyle Laura Matzal Eleanor Taylor Rachel Fetler Rebecca Michael Karen Annette Tobin Payne Fogel Lisa Nappi Eiko Eva Towada Maria Antonia Garcia Emily Onderdonk Lisa Van Heldorf Marjorie Gratz Takako Onodera Theodora Van Roijen Lisa Guerin Sallie-Carol Orbas Atsuko Yoshida Elizabeth Gunn Beatrice Petitet Linda Zoolalian Gudrun Edda Gunnarsdottir Gwen A. Pvkett 41 Business/Professional Leadership Program BUSINESS The Boston Symphony Orchestra wishes to acknowledge this distinguished group of corporations and professional organizations for their outstanding and exemplary response in support of the orchestra's needs during the past or current fiscal year. Corporate Underwriters ($25,000 and above) Bank of Boston Country Curtains and The Red Lion Inn General Electric Plastics Business Group BSO Single Concert Sponsors Bank of New England Corporation Opening Night at Symphony Bay Banks, Inc. Opening Night at Pops NYNEX Corporation, WCVB-TV, Channel 5 Boston and WCRB 102.5 FM Salute to Symphony 1989 NEC Corporation and NEC Deutschland GmbH Boston Symphony Orchestra European Tour Boston Symphony Orchestra Asian Tour MCI Boston Pops Esplanade Orchestra National Tour Digital Equipment Corporation Boston Pops Orchestra Public Television Broadcasts Pepsi-Cola Bottlers of New England Boston Pops Esplanade Orchestra, Esplanade Concerts TDK Electronics Corporation Tanglewood Tickets for Children Suntory Limited BSO recording of Elektra For information on these and other corporate funding opportunities, contact Madelyne Cuddeback, BSO Director of Corporate Development, Symphony Hall, Boston, MA 02115, (617) 266-1492. 42 1989-90 Business Honor Roll (SI 0,000 and Above) Advanced Management Associates The Gillette Company Harvey Chet Krentzman Colman M. Mockler, Jr. Analog Devices, Inc. Grafacon, Inc. Ray Stata H. Wayman Rogers, Jr. AT&T GTE Products Corporation Robert Babbitt Dean T. Langford Bank of Boston Hill, Holliday, Connors, Cosmopulos, Inc. Ira Stepanian Jack Connors, Jr. Bank of New England Corporation The Henley Group Walter J. Connolly Paul M. Montrone BayBanks, Inc. Hewlett Packard Company William M. Crozier, Jr. Ben L. Holmes Bolt Beranek & Newman Houghton Mifflin Company Stephen R. Levy Harold T. Miller The Boston Company IBM Corporation George W. Phillips Paul J. Palmer The Boston Consulting Group John Hancock Mutual Life Insurance Company Jonathan L. Isaacs E. James Morton Boston Edison Company Jordan Marsh Company Stephen J. Sweeney Richard F. Van Pelt The Boston Globe William 0. Taylor The Lafayette Hotel Liam Madden Boston Herald Patrick J. Purcell Liberty Mutual Insurance Group Gary L. Countryman Bull, Worldwide Information Systems Roland Pampel Loomis-Sayles & Company, Inc. Peter G. Harwood Connell Limited Partnership William F. Connell MCI Nathan Kantor Coopers & Lybrand Vincent M. O'Reilly McKinsey & Company O'Block Country Curtains Robert P. Jane P. Fitzpatrick Morse Shoe, Inc. Creative Gourmets, Ltd. Manuel Rosenberg Stephen E. Elmont NEC Corporation Deloitte, Haskins & Sells Atsuyoshi Ouchi Mario Umana NEC Deutschland GmbH Digital Equipment Corporation Masao Takahashi Kenneth H. Olsen The New England Dynatech Corporation Edward E. Phillips J. P. Barger New England Telephone Company Eastern Enterprises Paul C. O'Brien Robert W. Weinig Northern Telecom, Inc. Ernst & Whinney John Craig Thomas M. Lankford Nynex Corporation Fidelity Investments/ Delbert C. Staley Fidelity Foundation PaineWebber, Inc. General Cinema Corporation James F. Cleary Richard A. Smith Peat Marwick Main & Co. General Electric Plastics Robert D. Happ Glen H. Hiner '' Sometimes, the more successful you become, the more you need to get away from it all. No car phones or appointment books. Just you and the sunrise. And at the end of the day, you don't even worry about how the stock market is going to close. Then again, leaving it all behind requires a certain amount of confidence. A private banking service that's more than just an investment account. Someone who knows how to get things done. A friend told me about BayBank. BayBank Private Banking. I needed an equity line fast, to buy this spectacular property here on the lake - before the owners changed their minds (wouldn't blame them). At BayBank, I finally found sophisticated bankers who realize solving a client's problem is the best way to establish a relationship. This is the kind of attention I've been looking for. They understood I wanted more than just a piece of property. I wanted peace of mind." BayBank mWATEBANKING For an introduction to Private Banking, call Pamela Henrikson, Senior Vice President, at (617) 556-6528 or Stephen Root, Senior Vice President, at (413) 781-7575. Member FDIC 44 1989-90 Business Honor Roll (continued) Pepsi-Cola Bottlers of New England The Stop & Shop Companies, Inc. Pepsi Cola — East Avram J. Goldberg Michael K. Lorelli Suntory Limited Keizo Saji Prudential-Bache Securities David F. Remington TDK Electronics Corporation R&D Electrical Company, Inc. Takashi Tsujii Richard D. Pedone USTrust Raytheon Company James V. Sidell Thomas L. Phillips WCRB-102.5 FM The Red Lion Inn Richard L. Kaye John H. Fitzpatrick WCVB-TV, Channel 5 Boston Shawmut Bank, N.A. S. James Coppersmith John P. Hamill State Street Bank & Trust Company William S. Edgerly Discovering a brave new worldin time. The Christopher Columbus.' A celebration of the enterprising spirit that led to the discovery of America 500 years ago. Made by Swiss craftsmen, the Christopher Columbus - comes in moonphase or multi-analog types. PHILIPPE CHARRIOL In Boston, only at Harper HARPER & FAYE JEWELERS 60 Federal Street (two blocks from Filene's) &Faye Boston, MA 021 10 (617) 423-9190 JEWELERS 45 eet your own high M expectations. Quality performance and personal excellence have been the expectation at The Williston Northampton School for 150 years. THE Please send me a catalog and videotape. WILLISTON NORTHAMPTON SCHOOL Name 19PaysonAve. Box 300 Street Easthampton, MA 01027 413/527-1520 FAX: 413/527-9494 City State Zip you are cordially invited to sample our Symphony Menu at TTte Cafe (Promenade -Oho BOS imiM TON 7or Reservations Call, 61 7-424- 7000 Reduced parking rates when dining at The Colonnade for Symphony Matrons. *flj& The Colonnade 'Hotel is located at 120 Huntington Avenue, 'Boston 46 The Boston Symphony Orchestra gratefully acknowledges these Business and Professional Leadership Program members for their generous and valuable support totaling $1,250 and above during the past fiscal year. Names which are both capitalized and underscored in the Business Leaders listing comprise the Business Honor Roll denoting support of $10,000 and above. Capitalization denotes support of $5,000-$9,999, and an asterisk indicates support of $2,500-$4,999. Business Leaders ($1,250 and above) Accountants J.N. Phillips Glass Company, Inc. Lee Kennedy Co., Inc. Norman S. Rosenfield Lee M. Kennedy ARTHUR ANDERSEN & CO. William F. Meagher Banking *National Lumber Company ARTHUR YOUNG & COMPANY BANK OF BOSTON Louis L. Kaitz Thomas P. McDermott Ira Stepanian PERINI CORPORATION David B. Perini 'Charles E. DiPesa & Company BANK OF NEW ENGLAND CORPORATION William F. DiPesa Consumer Goods/Distributors Walter J. Connolly COOPERS & LYBRAND *Barter Connections BAYBANKS, INC. Vincent M. O'Reilly Kenneth C. Barron William M. Crozier, Jr. DELOITTE, HASKINS & SELLS FAIRWINDS GOURMET COFFEE Mario Umana THE BOSTON COMPANY COMPANY George W. Phillips ERNST & WHINNEY Michael J. Sullivan Cambridge Trust Company Thomas M. Lankford John Gilbert Jr. Co. Lewis H. Clark PEAT MARWICK Michael Facendola MAIN & CO. Chase Manhattan Bank PEPSI-COLA BOTTLERS Robert D. Happ John McCuJlough OF NEW ENGLAND PRICE WATERHOUSE CITICORP/CITIBANK PEPSI COLA -EAST Kenton J. Sicchitano Walter E. Mercer Michael K. Lorelli * "Theodore S. Samet & Company First Mutual of Boston SUNTORY LIMITED Theodore S. Samet Keith G. Willoughby Keizo Saji Tofias, Fleishman, First National Bank of Chicago Education Shapiro & Co., P.C. Robert E. Gallery BENTLEY COLLEGE Allan Tofias *GE Capital Corporate Finance Group Gregory Adamian Richard A. Goglia Advertising/Public Relations Electrical/HVAC *RockJand Trust Company 'Cabot Advertising L. Rudolph Electrical Company, Inc. John F. Spence, Jr. William H. Monaghan Louis Rudolph SHAWMUT BANK, NA. DELLA FEMINA, MCNAMEE *p.h. mechanical Corporation John P. Hamill WCRS, INC. Paul A. Hayes Michael H. Reingold STATE STREET BANK & TRUST COMPANY R&D ELECTRICAL COMPANY, INC. HILL, HOLLIDAY, CONNORS, Richard D. Pedone William S. Edgerly COSMOPULOS, INC. The Reflex Lighting Group Jack Connors, Jr. USTRUST Paul D. Mustone James V. Sidell Aerospace Wainwright Bank & Trust Company Electronics 'Xorthrop Corporation John M. Plukas Alden Electronics, Inc. Thomas V. Jones Workingmens Co-operative Bank John M. Alden Antiques/Coin Dealers John E. McDonald *Analytical Systems Engineering Corporation The Great American Coin Company Building/Contracting Michael B. Rukin Bertram M. Cohen *A.J. Lane & Company Andrew J. Lane Lucas Epsco, Inc. Architects Wayne P. Coffin Bond Bros., Inc. ADD INC. ARCHITECTS Edward A. Bond, Jr. *The Mitre Corporation Philip Briggs M. Charles A. Zraket Chain Construction Corporation *LEA Group Howard J. Mintz PARLEX CORPORATION Eugene R. Eisenberg Herbert W. Pollack *Harvey Industries, Inc. Auto moti ve/Service Frederick Bigony Energy GANS TIRE COMPANY, INC. Mass. Electric Construction Company CABOT CORPORATION - David Gans Francis Angino Samuel W. Bodman 47 THE NEXT HOROWITZ NEEDS Dinner at 6. YOUR PIANO Symphony at 8. $ Why not consider a tax Parking at 5. deductible gift to New Make dinner at Boodle's of England Conservatory? part your night out at the Symphony. When you do, you'll not only enjoy an award winning dining experi- ence from Boston's authentic grill, For further you'll also get special parking information please privileges at the Back Bay Hilton's 0311(617)262-1120, private garage. ext. 426. Just show us your tickets at dinner on the night of the performance and park your car for just $5. And with a deal like that, a night at the Symphony never sounded better. BOOLE'S OF • BOSTON An Authentic Grill Lunch and dinner daily. In Boston's Back Bay Hilton. Phone (617) BOODLES. Engineering The Rockport Corporation DIGITAL EQUIPMENT Anthony Tiberii CORPORATION Inc. ! iioldberg-Zoino & Associates, Kenneth H. Olsen Donald T. Goldberg THE STRIDE RITE CORPORATION Arnold S. Hiatt DYNATECH CORPORATION ne & Webster Engineering J. P. Barger Corporation Furnishings/Housewares ! Philip Garfinkel ARLEY MERCHANDISE EG&G, INC. Dean W. Freed & Lichtner CORPORATION : The Thompson Company, Inc. David I. Riemer *General Eastern Instruments Co. John D. SteUing Barton Brass Associates Pieter R. Wiederhold Barton Brass HELLX TECHNOLOGY CORPORATION Enterta i n ment/Media BBF Corporation Robert J. Lepofsky GENERAL CINEMA Boruch B. Frusztajer CORPORATION Corona Curtain THE HENLEY GROUP Richard A. Smith Manufacturing Co., Inc. Paul M. Montrone National Amusements, Inc. Paul Sheiber HEWLETT-PACKARD COMPANY Sumner M. Redstone COUNTRY CURTAINS Ben L. Holmes Jane P. Fitzpatrick IBM CORPORATION Finance/Venture Capital Jofran Sales, Inc. Paul J. Palmer Robert D. Roy 3i Corporation Instron Corporation Ivan N. Momtchiloff Graphic Design Harold Hindman Carson Limited Partnership *Clark/Linsky Design *Intermetrics Inc. Herbert Carver Robert H. Linsky Joseph A. Saponaro PARRELL, HEALER & LABEL ART IONICS, INC. COMPANY, INC. Thomas Cobery Arthur L. Goldstein Richard A. Farrell, Jr. High Technology/Electronics Loral Hycor, Inc. THE FIRST BOSTON Joseph Hyman CORPORATION Alden Products Company Betsy Alden *M/A-Com, Inc. Malcolm MacColl Thomas F. Burke ANALOG DEVICES, INC. Ray Stata MASSCOMP Food Service/Industry Richard A. Phillips * Apollo Computer, Inc. 'Boston Showcase Company Thomas A. Vanderslice MILLIPORE CORPORATION Jason E. Starr John A. Gil martin *Aritech Corp. •The Catered Affair James A. Synk NEC CORPORATION Holly P. Safford Atsuyoshi Ouchi AUGAT, INC. Cordel Associates, Inc. Marcel P. Joseph NEC DEUTSCHLAND GmbH James B. Hangstefer Masao Takahashi Automatic Data Processing Cookies Cookin Arthur S. Kranseler *Orion Research, Inc. Glen Bornstein Alexander Jenkins III *Bachman Information Systems CREATIVE GOURMETS, LTD. Arnold Kraft PRIME COMPUTER, INC. Stephen E. Elmont BOLT BERANEK AND Russell Planitzer daka. Inc. NEWMAN, INC. RAYTHEON COMPANY Allen R. Maxwell Stephen R. Levy Thomas L. Phillips (jourmet Caterers BULL, WORLDWIDE SofTech, Inc. Robert A. Wiggins INFORMATION SYSTEMS Justus Lowe, Jr. Roland Pampel *TASC footwear *Cerberus Technologies, Inc. Arthur Gelb Converse, Inc. George J. Grabowski TDK ELECTRONICS Gilbert Ford Computer Power Group CORPORATION J. Baker, Inc. of America Takashi Tsujii Sherman N. Baker David L. Chapman TERADYNE INC. JONES & YINING, INC. Costar Corporation Alexander V. d'Arbeloff A. Vaule, Jr. Otto Morningstar THERMO ELECTRON MORSE SHOE, INC. CSC PARTNERS, INC. CORPORATION Manuel Rosenberg Paul J. Crowley George N. Hatsopoulos 49 PERFORMANCE YOU'LL APPRECIATE 3500-1 2800- 2100- 1400- 700 1975 1970 Don't worry about it anymore! Pulsifer & Associates Trustee and Investment Managers 27 North Main Street • P.O. Box 170 • Ipswich, MA 01938-0170 508-356-3530 In Boston: 617-227-7904 A NEW SENIOR LIFECARE RESIDENTIAL COMMUNITY IN THE FIVE COLLEGE AREA, SURROUNDED BY SCENIC BEAUTY, AND A WEALTH OF CULTURAL AND EDUCATIONAL OPPORTUNITIES. Please call 413*253*9833 or write: Applewood at Amherst P.O. Box 829 Amherst MA 01004 50 Hotels/Restaurants FRANK B. HALL & CO. OF MORGAN STANLEY & COMPANY, MASSACHUSETTS, INC. INC. 57 Park Plaza Hotel William F. Newell John Lazlo Nicholas L. Vinios *Fred S. James & Company of PAINEWEBBER, INC. 'Back Bay Hilton New England, Inc. James F. Cleary William Morton P. Joseph McCarthy SALOMON The Bostonian Hotel BROTHERS, INC. f * International Insurance Group Sherif A. Nada I Timothy P. Kirwan John Perkins "State Boston Copley Marriott Hotel Street Development Company *The J. Peter Lyons Company John R. III Jurgen Giesbert Gallagher J. Peter Lyons Cafe Amalfi TUCKER ANTHONY, INC. JOHN HANCOCK MUTUAL John Goldsmith Patricia Nee LIFE INSURANCE COMPANY Restaurant WOODSTOCK CORPORATION Christo's E. James Morton Christopher Tsaganis Nelson J. Darling, Jr. *Johnson & Higgins of Pynn's Massachusetts, Inc. James Dunn Robert A. Cameron Legal THE LAFAYETTE HOTEL * Keystone Provident Life BINGHAM, DANA & GOULD Liam Madden Insurance Company Everett H. Parker THE RED LION INN Robert G. Sharp *Choate, Hall & Stewart John H. Fitzpatrick LD3ERTY MUTUAL INSURANCE Allen M. Bornheimer The Ritz-Carlton, Boston GROUP Robert S. Frank, Jr. Sigi Brauer Gary L. Countryman Dickerman Law Offices Sheraton Boston Hotel & Towers THE NEW ENGLAND Lola Dickerman Edward E. Phillips Steve Foster FISH & RICHARDSON Sonesta International Robert D. Gordon Adjusters, Inc. Robert E. Hillman Hotels Corporation Robert D. Gordon *Gadsby & Hannah Paul Sonnabend SAFETY INSURANCE COMPANY Jeffrey P. Somers Richard B. Simches St. Botolph's Restaurant GOLDSTEIN & MANELLO John Harris Sullivan Risk Management Group Richard J. Snyder John H. Sullivan GOODWIN, Industrial Distributors PROCTER AND HOAR *Sun Life Assurance Company Robert B. Fraser Admiral Metals Servicenter of Canada Hubbard & Ferris Company Marcelle W. Farrington Charles A, Maxwell Burstein Hubbard ALLES CORPORATION Joyce & Joyce Investments Thomas J. Joyce Stephen S. Berman AMDURA NATIONAL Baring America Asset Management *Lynch, Brewer, Hoffman & Sands DISTRIBUTION COMPANY Company, Inc. Owen B. Lynch Stephen D. Cutler Brian MacKenzie Melick & Porter * Baring International Investment, Ltd. Richard P. Melick Brush Fibers, Inc. John F. McNamara Ian P. Moss *Mintz, Levin, Cohn, Ferris, Glovsky & Popeo, P.C. Eastern Refractories Company BEAR STEARNS & COMPANY, INC. Francis X. Meaney David S. Feinzig Keith H. Kretschmer Nissenbaum Offices Millard Metal Service Center Law Gerald L. Nissenbaum Donald Millard, Jr. FIDELITY INVESTMENTS/ FIDELITY FOUNDATION * Nutter, McClennen & Fish Insurance * Goldman, Sachs & Company John K. P. Stone III Peter D. Kiernan 'Arkwright PALMER & DODGE Frederick J. Bumpus KAUFMAN & COMPANY Robert E. Sullivan Sumner Kaufman CAMERON & COLBY CO., INC. Sarrouf, Tarricone & Flemming Lawrence S. Doyle THE KENSINGTON Camille F. Sarrouf INVESTMENT COMPANY 'Charles H. Watkins & Company Sherburne, Powers & Needham Alan E. Lewis Paul D. Bertrand Daniel Needham, Jr. * Kidder, Peabody & Company Chubb Group International Weiss, Angoff, Coltin, Koski & John G. Higgins John Gillespie Wolf, P.C. LOOMIS-SAYLES & COMPANY, Dudley A. Weiss "Consolidated Group, Inc. INC. Woolsey S. Conover Mark W. Hollands David & Company Graduate Gemologist sySellers* Buyers of Fine Jewelry diamonds • precious stones • estate jewelry A pair of platinum handmade earrings set with rare matched heart-shaped Colombian emeralds, approximately 3 carats total weight, surrounded by 2.50 carats of gem white diamonds *15,000. 00 Subject to prior sale Visit us at our new location. 180 Linden Street, Wellesley, MA 02181 617-235-5139 800-DAVIDCO FAX 617-235-7683 BOSTON'S only gallery CAREY* dedicated exclusively to Eskimo ar LIMOUSINE • CHAUFFEUR DRIVEN SEDANS, VANS AND LIMOUSINES INUIT FOR ALL OCCASIONS •EXECUTIVE SERVICE IMAGES Est. 1924 The finest in sculpture, rare prints, books, 623-8700 and wall hangings 24 HR. SERVICE/BOSTON AREA A&A LIMOUSINE RENTING INC. SOLD • BOUGHT • APPRAISED 161 BROADWAY—SOMERVILLE, MA Call or write: P.O. Quincy, SERVICE IN 300 CITIES • 60 COUNTRIES • 6 CONTINENTS Box 2501, MA 0226 MAJOR CREDIT CARDS ACCEPTED (617) 471-2626, Mon.-Fri., 9:00-5:00 NATIONWIDE 1-800-336-4646 (617) 471-1706 eve's & weekends 52 Management/Financial/Consulting The Biltrite Corporation *Textron, Inc. Stanley J. Bernstein ADVANCED MANAGEMENT B.F. Dolan ASSOCIATES Boston Acoustics, Inc. Wire Belt Company of America Harvey Chet Krentzman Frank Reed F. Wade Greer .ARTHUR D. LITTLE, INC. Boston Sand & Gravel Company Media John F. Magee Dean M. Boylan THE BOSTON GLOBE •Bain & Company, Inc. *C.R. Bard, Inc. William 0. Taylor William W. Bain Robert H. McCaffrey BOSTON HERALD THE BOSTON CONSULTING CENTURY MANUFACTURING GROUP COMPANY Patrick J. Purcell Jonathan L. Isaacs Joseph Tiberio WCRB- 102.5 FM Richard L. Kaye Corporate Decisions *Chelsea Industries, Inc. David J. Morrison Ronald G. Casty WCVB-TV, CHANNEL 5 BOSTON S. James Coppersmith The Forum Corporation CONNELL LIMITED John W. Humphrey PARTNERSHIP T W illiam F. Connell Personnel *Haynes Management, Inc. Dennison Manufacturing Company TAD TECHNICAL SERVICES G. Arnold Haynes Nelson G. Gifford CORPORATION Mann Strategic Marketing Irma David J. McGrath, Jr. Irma Mann Stearns *Erving Paper Mills Charles B. Housen Jason M. Cortell & Associates, Printing Inc. Inc. *FLEXcon Company, * Bradford & Bigelow, Inc. Jason M. Cortell Mark R. lingerer John D. Galligan KAZMAIER ASSOCIATES, INC. GENERAL ELECTRIC PLASTICS Glen H. Hiner Courier Corporation Richard W. Kazmaier, Jr. Alden French, Jr. ( General Latex and Chemical Corp. Lochridge & 'ompany. Inc. Robert W. MacPherson CPS Richard K. Lochridge Phineas E. Gay III MCKINSEY& COM PANT * Georgia-Pacific Corporation Maurice W. Kring Customforms, Inc. Robert P. O'Block David A. Granoff PRUDENTIAL-BACHE THE GILLETTE COMPANY DANIELS PRINTING COMPANY SECURITIES Cohnan M. Mockler, Jr. Lee S. Daniels Da\*id F. Remington GTE PRODUCTS CORPORATION D I IK Webster Company, Inc. GRAFACON, INC. 'William M. Mercer Meidinger Dean K. Webster H. Wayman Rogers, Jr. Hansen Cheater I) Clark IIMK Group Companies, Ltd. Publishing Joan L. Karol 'The Wvatt Company Addison-Wesley Publishing Company, Michael H Davis Hudson Lock. I tic Inc. ( Norman Stavisky Yankelovich 'laney Shulman Warren R. Stone Kevin Clancy 'Kendall ( 'ompany CAHNERS PUBLISHING COMPANY J Dale Sherratt Wanufarfurt r's Hi pre* ntn\\ves Ron Segel LEACH & GARNER COMPANY BEN-MAC HOUGHTON MIFFLIN COMPANY ENTERPRISES, INC. Philip F. Leach Ijawrence G. Benhardt Harold T. Miller Leggetl & Piatt. Inc. Little, Brown & Company KITCHEN, & KUTCHIN, INC Alexander M. Levine Metvin Kutchin Kevin L. Dolan NEW ENGLAND BUSINESS 'A I. l R CAHN ASSOCIATES, SERVICE, INC. Real Estate/Development Richard H. Rhoads Paul R. Calm THE BEACON COMPANIES •New England Door Corporation Norman Leventhal Vanufactun ng/Indust n/ Robert C. Frank Benjamin Schore Company * Advanced Pollution Control Corp. Pierce Aluminum Benjamin Schore Michael P. Flaherty. Jr Robert W\ Pierce * Boston Capital Partners Zildjian Company Superior Brands, Inc. Christopher W. Collins Armand Zildjian Richard J. Phelps Herbert F. Collins 'Bany Wright ( 'orporation *Termiflex ('orporation Richard J. DeAgazio Ralph Z. Sorenson William E. Fletcher John P. Manning Inside Stories MusicAmerica host Ron Delia Chiesa takes you "Inside the BSO' a series of special intermission features with members of the Boston Symphony Orchestra and the people behind the scenes at Symphony Hall. Inside the BSO Fridays at 2pm Saturdays at 8pm WGBH89.7FM 54 'The Chiofaro Company NEMAN MARCUS Shaughnessy & Ahern Co. Donald Chiofaro William D. Roddy John J. Shaughnessy Combined Properties, Inc. * Purity Supreme Supermarkets Software/Information Services Black Frank P. Giacomazzi Stanton L. CULLINET SOFTWARE, INC. Demeter Realty Trust *Saks Fifth Avenue John J. Cullinane Demeter Alison Strieder Mayher George P. •International Data Group FIRST WTSTHROP CORPORATION SEARS, ROEBUCK & Patrick J. McGovern Arthur J. Halleran, Jr. COMPANY •LOTUS DEVELOPMENT S. David Whipkey •The Flatley Company CORPORATION Thomas J. Flatley Stop & Shop Foundation Jim P. Manzi Avram J. Goldberg, Trustee 'The Fryer Group, Inc. •Phoenix Technologies Foundation Malcolm F. Fryer, Jr. Stop & Shop Company Neil Colvin Lewis Schaeneman, Chairman Heafitz Development Company Lewis Heafitz Suzanne Travel/Transportation Suzanne Seitz Hilon Development Corporation •Crimson Travel Service Haim S. Eliachar •Tiffany & Co. David Paresky William Chaney "John M. Corcoran & Company Garber Travel John M. Corcoran THE TJX COMPANIES, INC. Bernard Garber Sumner Feldberg Nordblom Company The Hallamore Companies Roger P. Nordblom Science/Medical Dennis Barry, Sr. Northland Investment Corporation Baldpate Hospital, Inc. •Heritage Travel, Inc. Robert A. Danziger Lucille M. Batal Donald R. Sohn 'Trammell Crow Company Blake & Blake Genealogists Arthur DeMartino Richard A. Blake, Jr. Telecommunications Urban Investment & Development CHARLES RTVER AT&T Rudv K. Umscheid LABORATORIES, INC. Robert Babbitt Henry L. Foster MCI •Portsmouth Regional Hospital Nathan Kantor Retail William J. Schuler NEW ENGLAND TELEPHONE Beverly Hills Flowers of Boston •CompuChem Corporation COMPANY Anthony DePari Gerard Kees Verkerk Paul C. O'Brien ( hild World. Inc. DAMON CORPORATION NORTHERN TELECOM, INC. Dennis H. Barron David I. Kosowsky John Craig DBMOULAS FOUNDATION J.A. Webster, Inc. NYNEX CORPORATION T.A Demoulas John A. Webster Delbert C. Staley FILENKS Lectro-Med Health Screening David P. Mullen Services, Inc. Utilities Allan Kaye 'Hills Department Stores BOSTON EDISON COMPANY Stephen A. Goldberger Services Stephen J. Sweeney JORDAN MARSH COMPANY •Asquith Corporation EASTERN ENTERPRISES Richard F. Van Pelt Lawrence L. Asquith Robert W. Weinig Karten'.s Jewelers •Giltspur Exhibits/Boston New England Electric System Joel Karten Thomas E. Knott Joan T. Bok .).) Next Program . . . Thursday, April 5, at S Friday, April (), at 2 Saturday, April 7, at 8 Tuesday, April 10, at 8 GENNADY ROZHDESTVENSKY conducting SCHNITTKE Concerto for Viola and Orchestra (United States premiere) Largo Allegro molto Largo YURI BASHMET INTERMISSION BERLIOZ Te Deum, for tenor soloist and three choruses, with orchestra and organ Te Deum laudamus Tibi omnes angeli Dignare, Demini Christe, Rex gloriae Te ergo quaesumus Judex crederis esse venturus DAVID GORDON, tenor TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor BOSTON BOY CHOIR, JOHN DUNN, conductor JAMES DAVID CHRISTIE, organ Supper Concerts at Symphony Hall . . . Supper Concerts feature members of the Boston Symphony Orchestra performing chamber music in Symphony Hall's Cabot-Cahners Room at 6 p.m. followed by a buffet supper. For ticket information or reservations, please call the Volunteer Office at (617) 266-1492, ext. 177. Saturday, April 21, at 6 p.m. PETER IIADCOCK, clarinet ROBERTO DIAZ, viola RICHARD MACKEY, horn JOEL MOERSCHEL, cello ROLAND SMALL, bassoon JOHN STOVALL, double bass BONNIE BEWICK, violin BEETHOVEN Septet in E-flat for winds and strings, Opus 20 56 . Coming Concerts . . Thursday 'A' -April 5, 8-10 Friday 'A'— April 6, 2-4 Saturday 'A' -April 7, 8-10 Tuesday 'C- April 10, 8-10 GENNADY ROZHDESTVENSKY conducting YURI BASHMET, viola DAVID GORDON, tenor TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor BOSTON BOY CHOIR, JOHN DUNN, director SCHNITTKE Viola Concerto (United States premiere) BERLIOZ Te Deum ££^r ~*»8^ feA.^;'-' "S^l Thursday 'D' -April 12, 8-10:05 Friday Evening -April 13, 8-10:05 Saturday 'B' -April 14, 8-10:05 TriELONious Monk. Tuesday 'B' -April 17, 8-10:05 CHARLES DUTOIT conducting Outrageous Monkfish. EMANUEL AX, piano MOZART Symphony No. 36, Linz Not only do we serve up the freshest SHOSTAKOVICH Piano Concerto No. 1 seafood in town, we serve up the hottest ELGAR Enigma Variations jazz. Every night at 8 in our bar. after the award-winning Chowder, So Thursday 'B' -April 19, 8-10 smoked salmon, and black- turner Saturday 'B' -April 21, 8-10 j \ i im FISHERIES ened Monknsh,you can swing SEIJI OZAWA conducting piano to an exciting foursome. ALFRED BRENDEL, TANGLEWOOD FESTD7AL CHORUS, Reservations gladly accepted. ' BAR & RESTAURANT JOHN 0LD7ER, conductor STRAVINSKY Chorale Variations on (617)424-7425 Vom Himmel hoch 10 Huntington Avenue, Boston, Mass. 02116 MAHLER Adagio from Symphony No. 10 BEETHOVEN Piano Concerto No. 1 Friday 'B' -April 20, 2-3:45 If it's formal . . we present SEIJI OZAWA conducting ALFRED BRENDEL, piano the TANGLEWOOD FESTD7AL CHORUS, classics, JOHN 0LD7ER, conductor too! STRAVINSKY Chorale Variations on Vom Himmel hoch BACH/ Toccata and Fugue STOKOWSKI in D minor BEETHOVEN Piano Concerto No. 1 Programs and artists subject to change. Tuxedo rentals and sales since 1914. O? the 9th Annual PRESIDENTS The BSO Salutes Business June 6, 1990 As the leader of your company, you can give your management team, your customers or clients, your vendors, or possibly your other business friends a very special summer treat — and at the same time show your support of the Boston Symphony Orchestra. Presidents at Pops 1990 is available to 110 businesses and professional organizations on a first-come, first-served basis. For $6,000 your company will receive 20 tickets to this event, which includes pre-concert cocktails and hors d'oeuvres, a gourmet picnic supper, and a special Boston Pops concert designed to delight the corporate guests on this evening. The President or CEO of each sponsor company is also invited to attend a very special black-tie dinner dance on May 14 on the floor of Symphony Hall — a unique and elegant experience. If you would like more information about Presidents at Pops, June 6, 1990, call James F. Cleary, Managing Director, PaineWebber, Inc. (439-8000) Harvey Chet Krentzman, President, Advanced Management Associates (332-3141) Sarah Coldwell, BSO Corporate Development (266-1492, ext. 207) 58 Symphony Hall Information . . . FOR SYMPHONY HALL CONCERT IN CONSIDERATION of our patrons and AND TICKET INFORMATION, call (617) artists, children under four years of age will 266-1492. For Boston Symphony concert not be admitted to Boston Symphony program information, call "C-O-N-C-E-R-T" Orchestra concerts. (266-2378). THE SYMPHONY SHOP is located in the SYMPHONY performs ten THE BOSTON Huntington Avenue stairwell near the Cohen months a year, in Symphony Hall and at Wing and is open from one hour before each Tanglewood. For information about any of concert through intermission. The shop car- the orchestra's activities, please call Sym- ries BSO and musical-motif merchandise phony Hall, or write the Boston Symphony and gift items such as calendars, clothing, Orchestra, Symphony Hall, Boston, MA appointment books, drinking glasses, holiday 02115. ornaments, children's books, and BSO and THE EUNICE S. AND JULIAN COHEN Pops recordings. All proceeds benefit the WING, adjacent to Symphony Hall on Boston Symphony Orchestra. For merchan- Huntington Avenue, is currently undergoing dise information, please call (617) 267-2692. renovations. TICKET RESALE: If for some reason you FOR SYMPHONY HALL RENTAL are unable to attend a Boston Symphony INFORMATION, call (617) 266-1492, or concert for which you hold a ticket, you may write the Function Manager, Symphony make your ticket available for resale by call- Hall, Boston, MA 02115. ing the switchboard. This helps bring needed THE BOX OFFICE is open from 10 a.m. revenue to the orchestra and makes your until 6 p.m. Monday through Saturday; on seat available to someone who wants to concert evenings it remains open through attend the concert. A mailed receipt will intermission for BSO events or just past acknowledge your tax-deductible starting-time for other events. In addition, contribution. the box office opens Sunday at 1 p.m. when there is a concert that afternoon or evening. RUSH SEATS: There are a limited number Single tickets for all Boston Symphony sub- of Rush Tickets available for the Friday- scription concerts are available at the box afternoon, Tuesday-evening, and Saturday- office. For outside events at Symphony Hall, evening Boston Symphony concerts (sub- tickets are available three weeks before the scription concerts only). The continued low concert. No phone orders will be accepted price of the Saturday tickets is assured for these events. through the generosity of two anonymous donors. The Rush Tickets are sold at $6 TO PURCHASE BSO TICKETS: American each, one to a customer, on Fridays as of Express, MasterCard, Visa, a personal 9 a.m. and Saturdays and Tuesdays as of check, and cash are accepted at the box 5 p.m. office. To charge tickets instantly on a major credit card, or to make a reservation PARKING: The Prudential Center Garage and then send payment by check, call offers a discount to any BSO patron with a "Symphony-Charge" at (617) 266-1200, ticket stub for that evening's performance. Monday through Saturday from 10 a.m. There are also two paid parking garages on until 6 p.m. There is a handling fee of $1.75 Westland Avenue near Symphony Hall. for each ticket ordered by phone. Limited street parking is available. As a GROUP SALES: Groups may take advan- special benefit, guaranteed pre-paid parking tage of advance ticket sales. For BSO con- near Symphony Hall is available to subscrib- certs at Symphony Hall, groups of twenty or ers who attend evening concerts on Tuesday, more may reserve tickets by telephone. To Thursday, Friday, or Saturday. For more place an order, or for more information, call information, call the Subscription Office at Group Sales at (617) 266-1492. (617) 266-7575. 59 LATECOMERS will be seated by the ashen Cabot-Cahners Room on the first-balcony during the first convenient pause in the pro- level serve drinks starting one hour before gram. Those who wish to leave before the each performance. For the Friday-afternoon end of the concert are asked to do so concerts, both rooms open at 12:15, with between program pieces in order not to dis- sandwiches available until concert time. turb other patrons. BOSTON SYMPHONY BROADCASTS: SMOKING IS NOT PERMITTED in any Concerts of the Boston Symphony Orchestra part of the Symphony Hall auditorium or- in are heard by delayed broadcast in many the surrounding corridors. It is permitted parts of the United States and Canada, as only in the Cabot-Cahners and Hatch well as internationally, through the Boston rooms, and in the main lobby on Massachu- Symphony Transcription Trust. In addition, setts Avenue. Friday-afternoon concerts are broadcast live CAMERA AND RECORDING EQUIP- by WGBH-FM (Boston 89.7); Saturday- evening concerts are broadcast live by both MENT may not be brought into Symphony WGBH-FM and WCRB-FM (Boston Hall during concerts. 102.5). Live broadcasts may also be heard FIRST AID FACILITIES for both men on several other public radio stations and women are available. On-call physicians throughout New England and New York. attending concerts should leave their names BSO FRIENDS: The Friends are annual and seat locations at the switchboard near donors to the Boston Symphony Orchestra. the Massachusetts Avenue entrance. Friends receive BSO, the orchestra's news- WHEELCHAIR ACCESS: During the reno- letter, as well as priority ticket information vation of the Cohen Wing, there wall be a and other benefits depending on their level temporary handicap ramp at the Huntington of giving. For information, please call the Avenue entrance. Restroom facilities and Development Office at Symphony Hall week- elevators are available. days between 9 and 5, (617) 266-1492. If AN ELEVATOR is located outside the you are already a Friend and you have Hatch and Cabot-Cahners rooms on the changed your address, please send your new Massachusetts Avenue side of the building. address with your newsletter label to the Development Office, Symphony Hall, Bos- LADIES' ROOMS are located on the ton, MA 02115. Including the mailing label orchestra level, audience-left, at the stage will assure a quick and accurate change of end of the hall, and on the first-balcony address in our files. level, audience-right, outside the Cabot- Cahners Room near the elevator. BUSINESS FOR BSO: The BSO's Busi- ness & Professional Leadership program MEN'S ROOMS are located on the orches- makes it possible for businesses to partici- tra level, audience-right, outside the Hatch pate in the life of the Boston Symphony Room near the elevator, and on the first- Orchestra through a variety of original and balcony level, audience-left, outside the exciting programs, among them "Presidents Cabot-Cahners Room near the coatroom. at Pops," "A Company Christmas at Pops," COATROOMS are located on the orchestra and special-event underwriting. Benefits and first-balcony levels, audience-left, out- include corporate recognition in the BSO side the Hatch and Cabot-Cahners rooms. program book, access to the Higginson The BSO is not responsible for personal Room reception lounge, and priority ticket apparel or other property of patrons. service. For further information, please call the BSO Corporate Development Office at LOUNGES AND BAR SERVICE: There (617) 266-1492. are two lounges in Symphony Hall. The Hatch Room on the orchestra level and the 60 InRare CasesWoodDo Conduct Electricity. ank you Boston Symphony Orchestra for music that shines brighter every year. Bank of New England »7l fasten, in RASTENE QUALITY I .^a>my INATO BlflW 35 11(2111311)52 LB.)— 453 GRMS