Boston Symphony Orchestra Concert Programs, Season 121, 2001-2002

Home , Daniele Gatti, Hans Graf, Henri Rabaud, Ilan Volkov, Interventions (Carter), Isolde Menges

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Test drive The Ultimate Driving Machine® bmwusa.com The Ultimate 1-800-334-4BI Driving Machine* at your authorized BMW center Seiji Ozawa, Music Director Ray and Maria Stata Music Directorship Bernard Haitink, Principal Guest Conductor One Hundred and Twenty-first Season, 2001-02 SALUTING SEUI OZAWA IN HIS FAREWELL SEASON

Trustees of the Boston Symphony Orchestra, Inc.

Peter A. Brooke, Chairman Deborah Davis Berman, Vice-Chairman Vincent M. O'Reilly, Treasurer Julian Cohen, Vice-Chairman Ray Stata, Vice-Chairman Nina L. Doggett, Vice-Chairman

Harlan E. Anderson John F. Cogan, Jr. George Krupp Edward I. Rudman

Diane M. Austin, Nancy J. Fitzpatrick R. Willis Leith, Jr. Hannah H. Schneider ex-officio Charles K. Gifford Ed Linde Roger T. Servison

Gabriella Beranek Avram J. Goldberg Richard P. Morse Thomas G. Sternberg Jan Brett Thelma E. Goldberg Mrs. Robert B. Newman Stephen R. Weiner Paul Buttenwieser Julian T. Houston Robert P. O'Block Dr. Nicholas T. Zervas James F. Cleary Edna S. Kalman Peter C. Read

Life Trustees

Vernon R. Alden Mrs. Edith L. Dabney Mrs. George I. Kaplan Irving W. Rabb

David B. Arnold, Jr. Nelson J. Darling, Jr. George H. Kidder Mrs. George Lee Sargent

J. P. Barger Archie C. Epps Harvey Chet Krentzman Richard A. Smith Leo L. Beranek Mrs. John H. Fitzpatrick Mrs. August R. Meyer John Hoyt Stookey

Jane C. Bradley Dean W. Freed William J. Poorvu John L. Thorndike Abram T. Collier Other Officers of the Corporation Thomas D. May and John Ex Rodgers, Assistant Treasurers Suzanne Page, Clerk of the Board

Board of Overseers of the Boston Symphony Orchestra, Inc.

Diddy Cullinane, Chair

Helaine B. Allen Jane C. Edmonds Steven E. Karol Millard H. Pryor, Jr.

Joel B. Alvord William R. Elfers Douglas A. Kingsley Patrick J. Purcell Marjorie Arons-Barron George M. Elvin Robert Kleinberg Carol Reich

Caroline Dwight Bain John P. Eustis II David I. Kosowsky Alan Rottenberg George D. Behrakis Pamela D. Everhart Dr. Arthur R. Kravitz Michael Ruettgers

George W. Berry Judith Moss Feingold Mrs. William D. Arthur I. Segel

Mark G. Borden J. Richard Fennell Larkin, Jr. Ross E. Sherbrooke

Alan Bressler Lawrence K. Fish Robert J. Lepofsky L. Scott Singleton Robin A. Brown Myrna H. Freedman Alexander M. Levine Gilda Slifka

Samuel B. Bruskin A. Alan Friedberg Christopher J. Lindop Mrs. Micho Spring William Burgin Dr. Arthur Gelb Shari Loessberg Charles A. Stakeley

Dr. Edmund B. Cabot Mrs. Kenneth J. Edwin N. London Jacquelynne M. Rena F. Clarke Germeshausen Diane H. Lupean Stepanian Mrs. James C. Collias Robert P. Gittens John A. MacLeod II Samuel Thorne Eric D. Collins Michael Halperson Carmine Martignetti Bill Van Faasen Ranny Cooper John P. Hamill Joseph B. Martin, M.D. Loet A. Velmans

Martha H.W. Ellen T. Harris Robert J. Mayer, M.D. Paul M. Verrochi Crowninshield Deborah M. Hauser Barbara E. Maze Larry Weber Joan P. Curhan Carol Henderson Thomas McCann Stephen R. Weber Robert W. Daly Anne C. Hodsdon Patricia McGovern Robert S. Weil Tamara P. Davis Phyllis S. Hubbard Joseph C. McNay James Westra

Mrs. Miguel de F. Donald Hudson Dr. Martin C. Mihm, Jr. Mrs. Joan D. Wheeler Braganca Roger Hunt Molly Beals Millman Reginald H. White Disque Deane Ernest Jacquet Robert T. O'Connell Margaret Williams- Betsy P. Demirjian Mrs. Robert M. Jaffe Norio Ohga DeCelles

Paul F. Deninger Charles H. Jenkins, Jr. Louis F. Orsatti Robin Wilson JoAnne Walton Michael Joyce May H. Pierce Robert Winters Dickinson Martin S. Kaplan Dr. Tina Young Kathryn A. Wong Harry Ellis Dickson William M. Karlyn Poussaint Richard Wurtman, M.D. Francis A. Doyle Overseers Emeriti

Sandra Bakalar Jordan Golding Mrs. Gordon F. David R. Pokross Lynda Schubert Bodman Mark R. Goldweitz Kingsley Daphne Brooks Prout William M. Bulger Mrs. Haskell R. Robert K. Kraft Robert E. Remis Mrs. Levin H. Campbell Gordon Benjamin H. Lacy Mrs. Peter van S. Rice Earle M. Chiles Susan D. Hall Hart D. Leavitt John Ex Rodgers Johns H. Congdon Mrs. Richard D. Hill Laurence Lesser Mrs. Jerome Rosenfeld Phyllis Curtin Susan M. Hillest Frederick H. Roger A. Saunders

Phyllis Dohanian Glen H. Hiner Lovejoy, Jr. Francis P. Sears, Jr. Goetz B. Eaton Marilyn Brachman Mrs. Charles P. Lyman Mrs. Carl Shapiro

Harriett Eckstein Hoffman Mrs. Harry L. Marks Mrs. Arthur I. Strang Edward Eskandarian Lola Jaffe C. Charles Marran Robert A. Wells Peter H.B. H. Eugene Jones Nathan R. Miller Mrs. Thomas H.P. Frelinghuysen Leonard Kaplan Hanae Mori Whitney Mrs. Thomas Mrs. S. Charles Kasdon Mrs. Hiroshi H. Nishino Mrs. Donald B. Wilson Galligan, Jr. Richard L. Kaye John A. Perkins Mrs. John J. Wilson Mrs. James Garivaltis tDeceased Business Leadership Association Board of Directors

Charles K. Gifford, Chairman Leo L. Beranek, James F. Cleary, and

Michael J. Joyce, President Harvey Chet Krentzman, Chairmen Emeriti

Lynda S. Bodman Lawrence K. Fish Christopher J. Lindop Patrick J. Purcell Robin A. Brown Bink Garrison Carmine Martignetti Roger T Servison Diddy Cullinane John P. Hamill Thomas May Ray Stata

Francis A. Doyle Steven E. Karol J. Kent McHose William Van Faasen William R. Elfers Edmund Kelly Joseph McNay Paul M. Verrochi

Ex- Officio Peter A. Brooke, Nicholas T. Zervas

Officers of the Boston Symphony Association of Volunteers Diane M. Austin, President Melvin R. Blieberg, Executive Vice-President/ Donna Riccardi, Executive Vice-President/ Tanglewood Administration Linda M. Sperandio, Secretary Nancy Ferguson, Executive Vice-President/ William A. Along, Treasurer Fundraising Barbara Steiner, Nominating Committee Chairman

Christina M. Bolio, Public Howard Cutler, Resource Ann M. Philbin, Special Projects Relations Development Mary Marland Rauscher, Dorothyann M. Callahan, Richard D. Dixon, Education Hall Services Membership and Outreach

Table of Contents

Looking Ahead 8 Saluting Seiji Ozawa in his Farewell Season 10 A Brief History of the Boston Symphony Orchestra 17 On Display in Symphony Hall 19 This Week's Boston Symphony Orchestra Program 23 Featured Artists 55 Future Programs 68 Symphony Hall Information 71

This week's Pre-Concert Talks are given by Robert Kirzinger, BSO Publications Associate.

Programs copyright ©2002 Boston Symphony Orchestra, Inc. Cover design by Sametz Blackstone Associates, Boston/Cover photograph by Constantine Manos Administration Mark Volpe, Managing Director Eunice and Julian Cohen Managing Directorship, fully funded in perpetuity Tony Beadle, Manager, Boston Pops Kim Noltemy, Director of Sales and Marketing J. Carey Bloomfield. Director of Development Caroline Smedvig Taylor, Director of Public Anthony Fogg, Artistic Administrator Relations and Marketing Marion Gardner-Saxe, Director of Human Resources Ray F. Wellbaum, Orchestra Manager Ellen Highstein. Director of Tanglewood Music Center Thomas D. May. Director of Finance and Business Affairs

ADMINISTRATIVE STAFF/ARTISTIC

Karen Leopardi, Artist Assistant/Secretary to the Music Director • Vincenzo Natale, Chauffeur/Valet • Suzanne Page, Assistant to the Managing Director/Manager of Board Administration • Alexander Steinbeis, Artistic Administration Coordinator ADMINISTRATIVE STAFF/ PRODUCTION Christopher W. Ruigomez, Operations Manager Felicia A. Burrey, Chorus Manager • John Demick, Senior Stage Technician • Keith Elder, Produc- tion Coordinator • Julie Giattina, Assistant Chorus Manager • Stephanie Kluter, Assistant to the Or- chestra Manager • Jake Moerschel, Stage Technician • Mark C. Rawson, Stage Technician • Timothy Tsukamoto, Orchestra Personnel Coordinator BOSTON POPS Dennis Alves, Director of Programming

Jana Gimenez, Production Manager • Sheri Goldstein, Personal Assistant to the Conductor • Julie Knippa, Administration Coordinator • Margo Saulnier, Artistic Coordinator BUSINESS OFFICE

Sarah J. Harrington, Director of Planning and Budgeting Craig R. Kaplan, Controller Leslie Bissaillon, Manager, Glass Houses, Tanglewood Roberta Kennedy, Manager, Symphony Shop Lamees Al-Noman, Cash Accountant • Yaneris Briggs, Accounts Payable Supervisor • Michelle Green, Executive Assistant to the Director of Finance and Business Affairs • Y. Georges Minyayluk, Senior Investment Accountant • Pam Netherwood, Assistant Manager, Symphony Shop • John O'Callaghan, Payroll Account- ant • Mary Park, Budget Analyst • Harriet Prout, Accounting Manager • Taunia Soderquist, Assistant Payroll Accountant/Accounting Clerk • Teresa Wang, StaffAccountant DEVELOPMENT Alyson Bristol, Director of Corporate Sponsorships Sally Dale, Director of Stewardship and Development Administration Deborah Hersey, Director of Development Services and Technology Jo Frances Kaplan, Director of Institutional Giving Tracy Wilson, Director of Tanglewood Community Relations and Development Liaison

Tahli Adler, Program Coordinator for Corporate Sponsorships • Jill Ashton, Executive Assistant to the Di- rector of Development • Howard L. Breslau, Senior Major Gifts Officer • Judi Taylor Cantor, Director of Planned Giving • Diane Cataudella, Manager of Stewardship Programs • Rebecca R. Crawford, Director of Development Communications • Elizabeth Drolet, Senior Major Gifts Officer • Adrienne Ericsson, Grants Coordinator • Sandy Eyre, Associate Director, Tanglewood Annual Funds • Sarah Fitzgerald, Manager of Gift Processing and Donor Records • Julie Hausmann, Acting Director, BSO and Pops Annual Funds • Blaine Hudson, Program Coordinator, Corporate Membership and Events • Justin Kelly, Data Production Coordinator • Patricia Kramer, Associate Director, Corporate Sponsorships • Katherine Lee- man, BSO and Pops Annual Funds Coordinator • Barbara Levitov, Director of Development Events • Mere- dith McCarroll, Assistant Director, Tanglewood Annual Funds • Mark Perreault, Gift Processing and Donor Records Coordinator • Gerrit Petersen, Director of Foundation Support • Phoebe Slanetz, Director of Development Research • Emily Smith, Development Research Analyst • Elizabeth Stevens, Planned Giving and Major Gifts Coordinator • Jared Strauss, Individual Giving and Development Events Coordinator • Mary E. Thomson, Program Manager, Corjjorate Programs • Adea Wood, Receptionist/Administrative Assistant EDUCATION AND COMMUNITY PROGRAMS/ARCHIVES Myran Parker-Brass, Director of Education and Community Programs Bridget P. Carr, Archivist-Position endowed by Caroline Dwight Bain

Angel Baker, Educatwn and Community Programs Assistant • Gabriel Cobas, Manager of Education

Programs • Leslie Wu Foley, Associate Director iff Education and Community Programs EVENT SERVICES Cheryl Silvia Lopes, Director of Event Services Lesley Ann Cefalo, Special Events Manager • Sid Guidicianne, Front of House Manager Emma-Kate Jaouen, Tanglewood Events Coordinator • Kyle Ronayne, Food and Beverage Manager

HUMAN RESOURCES

Anne Marie Coimbra, Human Resources Manager Dorothy DeYoung, Benefits Manager

INFORMATION TECHNOLOGY Robert Bell, Director of Information Technology Andrew Cordero, Special Projects Coordinator • John Lindberg, Help Desk Administrator • Michael Pijoan, Assistant Director of Information Technology • Brian Van Sickle, Software Support Representative

PUBLIC RELATIONS Bernadette M. Horgan, Director of Media Relations

Sean J. Kerrigan, Associate Director of Media Relations • Jonathan Mack, Media Relations Associate • Amy Rowen, Media Relations Assistant/Assistant to the Director of Public Relations and Marketing • Kate Sonders, StaffAssistant

PUBLICATIONS Marc Mandel, Director of Program Publications Robert Kirzinger, Publications Associate • Eleanor Hayes McGourty, Publications Coordinator/Boston Pops Program Editor

SALES, SUBSCRIPTION, AND MARKETING Malissa Bell, Marketing Assistant • Richard Bradway, Manager of Internet Marketing • Helen N.H. Brady, Director of Group Sales • David Carter, Subscription Representative/Disability Services Coordinator • Susan Dunham, Subscription Representative • Michelle Giuliana, Web Content Editor • Kerry Ann Hawkins, Graphic Designer • Susan Elisabeth Hopkins, Graphic Designer • Faith Hunter, Group Sales Manager • Chloe Insogna, SymphonyCharge Coordinator • James Jackson, Call Center Manager • Amy Kochapski, Assistant Subscription Manager • Michele Lubowsky, Subscription Representative • Mara Luzzo, Manager of Subscriptions and Telemarketing Programs • Jason Lyon, SymphonyCharge Assistant Manager • Mary MacFarlane, Assistant Call Center Manager • Sarah L. Manoog, Director of Marketing Programs • Michael Miller, SymphonyCharge Manager • Doreen Reis, Marketing Coordinatorfor Advertising • George Saulnier, Subscription Data Entry Coordinator • Jesse Weissman, Senior Web Developer

Box Office Russell M. Hodsdon, Manager • Kathleen Kennedy, Assistant Manager

Box Office Representatives Mary J. Broussard • Cary Eyges • Lawrence Fraher • Arthur Ryan

SYMPHONY HALL OPERATIONS Robert L. Gleason, Director of Hall Facilities H.R. Costa, Technical Supervisor • Michael Finlan, Switchboard Supervisor • Wilmoth A. Griffiths, Supervisor of Facilities Support Services • Catherine Lawlor, Administrative Assistant • John MacMinn, Supervisor of Building Maintenance • Shawn Wilder, Mailroom Clerk

House Crew Charles F. Cassell, Jr. • Francis Castillo • Thomas Davenport • Michael Frazier • Hank Green • Juan Jimenez • William P. Morrill Security Christopher Bartlett • Matthew Connolly, Security Supervisor • Tyrone Tyrell Cleaning Crew Desmond Boland • Clifford Collins • Angelo Flores • Rudolph Lewis • Lindel Milton, Lead Cleaner • Gabo Boniface Wahi

TANGLEWOOD MUSIC CENTER Patricia Brown, Associate Director • Marjorie Chebotariov, Manager of Student Services • Beth Paine, Coordinator • Gary Wallen, Scheduler

TANGLEWOOD OPERATIONS David P. Sturma, Director of Tanglewood Facilities and BSO Liaison to the Berkshires

VOLUNTEER OFFICE Patricia Krol, Director of Volunteer Services Susan Monack, Administrative Assistant • Paula Ramsdell, Project Coordinator Craftsbury, and Monadnock festivals. Prior BSO to his appointment at the Metropolitan Opera, Mr. Ferrillo was second oboe of the San Boston Symphony Chamber Players Francisco Symphony, and was a faculty mem- Sunday, February 3, at 3 p.m. ber at Illinois State University and West at Jordan Hall Virginia State University. A former faculty member of the Mannes School of Music in The Boston Symphony Chamber Players New York City, he has taught and performed continue their 2001-02 series of four Sun- at the Aspen and Waterloo festivals and at day-afternoon concerts at Jordan Hall at the the Mannes Bach Institute, and currently New England Conservatory on Sunday, Feb- serves on the faculty of the Juilliard School. ruary 3, at 3 p.m. with a program including As principal oboe of the Boston Symphony Mozart's Quartet in F for oboe and strings, Orchestra, he is also a member of the Bos- K.370, John Harbison's Words from Paterson ton Symphony Chamber Players. featuring baritone William Sharp, Henri Rebecca Gitter was born in Canada in Dutilleux's Les Citations for oboe, harpsi- 1978. She began violin studies at the age of chord, double bass, and percussion, and seven and viola studies when she was thir- Brahms's Quintet in B minor for clarinet teen. In May 2001 she and strings, Op. 115. The season will con- received her bachelor of tinue with a program featuring Andre Previn music degree from the as guest pianist on March 24 and conclude Cleveland Institute of with music of Schulhoff, Golijov, and Brahms Music, where she was a on April 28. Single tickets for all of these student of Robert Ver- concerts are available at $30, $22, and $17. non, having previously They may be purchased through Symphony studied in Toronto. While Charge at (617) 266-1200, at the Symphony at CIM, she was the recipient of the Insti- Hall box office, or online at www.bso.org. tute's Annual Viola Prize and the Robert On the day of the concert, tickets are avail- Vernon Prize in competition, resulting in able only at the Jordan Hall box office, 30 solo performances with the CIM orchestra. Gainsborough Street. Among other honors, she was the 2000 New BSO Members recipient of Toronto's Ben Steinberg Jewish Musical Legacy Award; before her appoint- The Boston Symphony Orchestra has three ment to the BSO's viola section, she was new members this season—principal oboe offered a position in the Detroit Symphony John Ferrillo, violist Rebecca Gitter, and Orchestra. In past summers, she has partici- cellist Mihail Jojatu. pated in the Taos School of Music, Ravinia's John Ferrillo joined the Boston Symphony Steanes Institute for Young Artists, the Na- Orchestra as principal oboe at the start of tional Academy Orchestra of Canada, and the 2001 Tanglewood season, having ap- the National Youth Orchestra of Canada. Ms.

I peared with the orchestra Gitter joined the viola section of the Boston several times as a guest Symphony Orchestra in August 2001. performer in recent sea- The newest member of the Boston Sym-

sons. From 1986 to 2001 phony Orchestra is cellist \ ^ #qj| Mihail Jojatu,

A - m> he was principal oboe of who joined the orchestra in January 2002. the Metropolitan Opera A native of Romania, Orchestra. Mr. Ferrillo Mr. Jojatu studied at the Ik *

his diploma and artist's certificate. He also ^B #» ^^nfl! Boston Conservator) <>l

studied with John Mack at the Blossom Fes- Music in 1999 and is currently an Artist tival and has participated in the Marlboro, Diploma candidate at Boston University. He has studied with former BSO cellist Ronald tion, a 2 p.m. "Aperitif concert free to tick- Feldman and is currently studying with BSO et holders features Mr. Bolter in chamber principal cellist Jules Eskin. In 1998 and music of his own composition. 1999 he was a Fellow at the Tanglewood The Concord Chamber Music Society, Music Center. Before joining the BSO, Mr. founded by BSO violinist Wendy Putnam, Jojatu was assistant principal cellist of the continues its 2001-02 season on Sunday, Boston Philharmonic and also of the Rhode February 17, at 3 p.m. at the First Parish in Island Philharmonic. Concord, 20 Lexington Rd., with music of Mozart, Ravel, Beethoven, and Elliott Carter BSO Members in Concert performed by BSO principals Jacques Zoon, flute, Malcolm Lowe, violin, and Steven BSO principal flute Jacques Zoon is soloist Ansell, viola, with guest cellist Iseut Chuat. with cellist Iseut Chuat in the world pre- Tickets are $20 ($15 students and seniors). miere of Desenne's A Valentine Duet to open For more information call (978) 371-9667 or an evening of "Duets & Love Songs" with visit www.concordchambermusic.org. Steven Lipsitt leading the Boston Classical Orchestra on Friday, February 15, at 8 p.m. Project STEP 20th Anniversary at Faneuil Hall. Also on the program are Benefit Concert to Feature Brahms's Liebeslieder Waltzes and Mozart's Keith Lockhart and Lucia Lin Sinfonia concertante in E-flat, K.364, featur- in Recital ing the husband-and-wife team of Zoon and Chuat in a transcription of that work ar- On Friday, March 1, 2002, Project STEP ranged for flute, cello, and orchestra. Tickets will hold a major benefit concert featuring a are $45, $32, and $23 ($5 discount for stu- rare duo performance by Boston Pops Con- dents and seniors). For more information ductor Keith Lockhart and BSO violinist call (617) 423-3883 or visit www.boston- Lucia Lin. This event, to take place at the classicalorchestra.org. John F. Kennedy Library and Museum, will BSO trombonist Norman Bolter is soloist celebrate twenty years of Project STEP's in the world premiere of his own IOURS for programs to provide music instruction for trombone and orchestra on Sunday, Febru- talented young people of color in eastern ary 17, at 3 p.m. with Isaiah Jackson lead- Massachusetts. This special concert will ing the Pro Arte Chamber Orchestra of Bos- feature performances by Mr. Lockhart and ton at Sanders Theatre in Cambridge. Also Ms. Lin, and by students from Project STEP. on the program are Haydn's Symphony No. 6, All proceeds will benefit the Project STEP Le Matin, and Schubert's Symphony No. 5. endowment, ensuring the future of Project Tickets are $39, $29, $19, and $9. For more STEP's intensive program of instrumental information call (617) 661-7067. In addi- lessons, classroom instruction, and perform-

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ance opportunities—all designed to encour- week, BSO Publications Associate Robert age gifted students of color to pursue careers Kirzinger discusses Schumann, Bruch, Ligeti, in music. The evening will include a pre- and Haydn. As the season continues, John concert reception at 6:15, the concert at Daverio of Boston University discusses music 7:15, and a post-concert reception at 8. For of Brahms (February 7-9), and Robert Kir- tickets and information, please call Project zinger discusses music of Stravinsky, Haydn, STEP at (617) 267-5777. and George Benjamin (February 13-19).

Pre-Concert Talks Disability Services Telephone Line Pre-Concert Talks available free of charge to BSO ticket holders precede all BSO sub- The Boston Symphony Orchestra now has a scription concerts and Open Rehearsals, dedicated telephone line for disabled patrons starting at 7 p.m. prior to evening concerts, who would like to purchase tickets to BSO, 12:15 p.m. prior to Friday-afternoon con- Pops, or Tanglewood concerts, or who need certs, and one hour before the start of morn- information about disability services at Sym- ing and evening Open Rehearsals. Given phony Hall or Tanglewood. This new line by a variety of distinguished speakers from is (617) 638-9431. Members of the BSO's Boston's musical community, these informa- Disability Services staff are available to tive half-hour talks include taped examples answer the line during business hours and drawn from the music being performed. This will answer any messages left at other times.

In Memoriam Armando Ghitalla June 1, 1925-December 14, 2001

The Boston Symphony Orchestra notes with sadness the death at age seventy-six of trumpet player Armando Ghitalla, who became a member of the Boston Symphony in 1951 and was the BSO's principal trumpet from 1965 until his retirement in 1979. As principal trumpet he was also a member of the Bos- ton Symphony Chamber Players, with whom he toured and recorded for RCA and Deutsche Grammophon. Born in Alpha, Illinois, Mr. Ghitalla was introduced to music by his father, an accordion-playing coal miner. He began playing trumpet at seven and first heard an orchestra as a teenager at the Na- tional Music Camp at Interlochen, Michigan, an experience that prompted his decision to become an orchestral trumpet player. He attended Illinois Wesleyan and New York University, continuing his studies at the Juilliard School of Music in New York. Mr. Ghitalla served in the Navy in World War II. Before coming to Boston he was principal trumpet of the New York City Center Opera and Ballet Orchestra, the Houston Symphony, and the RCA Recording Orchestra, as well as soloist with Paul Lavalle's Band of America. In 1960 he was the first trumpet player to play a solo recital at Carnegie Hall. He appeared on numerous occasions as soloist with the Boston Symphony, Boston Pops, and other orchestras, including the Miami Philhar- monic, Richmond Symphony, and Philomusica of London. Mr. Ghitalla made two solo albums for Cambridge Records and taught on the faculties of Boston Univer- sity, the New England Conservatory of Music, and the Tanglewood Music Center. Following his departure from the BSO he taught at the University of Michigan and at Rice University's Shepard School of Music. Mr. Ghitalla was both musician and gentleman. His contributions to the Boston Symphony Orchestra and Boston's musical community for more than twenty-five years will not go unremembered. .

Looking Ahead . .

In the coming months, three young conductors—Daniele Gatti, David Robertson, and Ingo Metzmacher—and an established veteran—Hans Graf-—lead the BSO at Symphony Hall. Tickets for all of these concerts are on sale now (see next page).

On February 7-8-9, the young Italian conductor Daniele Gatti makes his much- anticipated Boston Symphony debut with an all-Brahms program, leading the composer's Variations on a Theme by Haydn, Sym- phony No. 4, and, with the Tanglewood Festival Chorus, Brahms's Schicksalslied (Song of Fate). Mr. Gatti has been acclaimed for his appearances with orchestras and opera companies on both sides of the Atlantic. Currently music di-

| rector of both the Royal Philharmonic Orchestra in London and the Teatro Comunale in Bologna, he has been music director of the Accademia Nazionale di Santa Cecilia in Rome and principal guest conductor of the Royal Opera House, :l Covent Garden. Praised for his passion and £S spontaneity, he has observed that it is important for him to conduct both concerts and opera: "The two work together. ... In the opera house you must stay in control of the dramatic situation... moving from one climax to the next. Most symphonic music is also full of drama and conflict." Mr. Gatti made his La Scala debut in 1989 at twenty-seven and his United States debut in 1991 with Chicago Lyric Opera; he has also appeared at La Fenice in Venice, the Berlin Staatsoper, and the Metropolitan Opera.

The young American conductor David Robertson returns to Symphony Hall February 14-15-16-19 for a program including Stravinsky's Symphonies of Wind Instruments, Haydn's Cello Concerto in C with soloist Steven Isserlis, Palimpsest by the ac- ] claimed British composer George Benjamin, and Haydn's Symphony No. 93. He made his BSO de- but in March 2001 and his Tanglewood debut that August. Recently named "Conductor of the Year" by Musical America, he is Music Director of the Orchestre National de Lyon and Artistic Director of that city's Auditorium, marking the first time that one artist has held both musical posts in Lyon. Born in Santa Monica, California, Mr. Robertson got an early start as a conductor, filling in for a sick teacher in junior high, leading his first concert with the school orchestra at thirteen, and studying conducting in high school. His father was a research scientist, his mother an English major who specialized in Shakespeare; both loved music. He was educat- ed at London's Royal Academy of Music, where he studied French horn and composition before turning to conducting. From 1992 to 2000 he was Music Director of the acclaimed Ensemble InterContemporain in Paris.

8 Following bis acclaimed debul with the BSO last March. Engo Metzmacher return- Febman 28/March 1-12-."^ to lead an intriguing program made up of Stravin- >k\> Orpheus. Beethoven's Symphony No. 2, and Messiaens Rcvcil des oiseaux for piano and orchestra, with soloist Jean-Efflam Bavouzet. Considered a major talent among young Ger- man conductors, Ingo Metzmaoher was born in Hannover; his Gather was a well-known professor ol cello. As a rehearsal assistant at the Frankfurt Opera, he was invited to conduct two performances of Mozart's Marriage of Figaro and so made his podium debut. As he recalls, "They threw me in at the deep end!" His big break came in 1988, when he was 30, substituting at short notice for Christoph von Dohnanyi to lead the revival in Brussels of a virtually unknown opera. Mr. Metzmaoher is now Oneral Music Director of the City of Hamburg, where he leads the Hamburg Opera and Philharmonic Orchestra. He made his debut at the BBC Proms m 20(H) with the IK premiere of Henze's Ninth Symphony, which he has recorded with the Berlin Philharmonic. His 2001-02 season includes debuts with the Nem York Philharmonic. Chicago Symphony, San Francisco Symphony, and London Symphony.

Since hi. BSO debut in March 1995, the distinguished Austrian conductor Hans Graf ha. Led the BSO in a wide range of repertoire in Symphony Hall, where he appeared most recent K in January 2001. and at tiuiglewoad, where he appeared annually between 1997 and 2000. He returns to Symphony Hall March 7-H-

rhe 2001-2002 season is Mr. Grafs first as

Music Director of the Houston Symphony. He is also in In- seventh year as music director of the »r\ Philharmonic Orchestra and Ins fourth as music directoi of the Orchestra National Bordeaux tquitaine in France. Music director from L984 to 1994 of »h. Moaaiteum Orchestra in Salzburg, be ha. observed that the turning '" ,m, m ,M ^ "«•'' came "hen he won the Karl ' oral _ Bohm Conducting Competition "i L979. In hi- Boston Symphonj appearances, he ha. proved an \ expert conduct,,, "!""'"" ranging from Bach, Handel, Mozart, and Beethoven to works I.n u tuukovsky, U.i, Lurianinoff, and Stravinsky.

k "»~ ' '" '"' '" Boston Symphorrj Orchestra concerts throughout the season ivailaWe ..i the Symphonj Hall box office, online at www.bso.org oi bj .all

l,,,m( ' I ! f • '"" L200, Mondaj through Saturdaj from 10 until 6 p.m., to charge tickets instantl) on a majoj credit i aid, oi to make '""' "" , ll "" »end payment b) i heck. Outside the 617 area code call '

' , 1 1 ' ""'• ^ 'I'-" 'li. a,- i- •' >l handling I,-,- (,„ ,ach ticket 01 I b) phone n ova the internet —

Saluting Seui Ozawa in his Farewell Season

To open his farewell season with the Boston Symphony Orchestra, Music Director Seiji Ozawa led the BSO's annual "Opening Night at Symphony" followed by four weeks of subscription programs including an all-Brahms concert with pianist Peter Serkin, mem- orial performances in Boston and at Carnegie Hall in New York of the Berlioz Requiem, a concerto program featuring soloists from the orchestra, and an all-orchestral program featuring music of Takemitsu and Dutilleux—two composers closely associated with Mr. Ozawa and the BSO—and Beethoven's Eroica Symphony. AT&T was the corporate sponsor of "Opening Night at Symphony" for the fourth consecutive year. In addition, a special concert originally planned as a salute to Mr. Ozawa became "An American Salute" honoring our nation's spirit and heroes following the September 1 1 attacks on our country. Seiji Ozawa is in his twenty-ninth season as music director of the Boston Symphony Orchestra—the longest tenure of any music director currently active with a major American orchestra and exceeding the twenty-five year tenure (1925-49) of legendary BSO music director Serge Koussevitzky.

Heartfelt Tribute—Prior to the BSO's Opening Night performance of Mendelssohn's Midsummer Nights Dream music, Seiji Ozawa led the audience and those on stage including vocal soloists Susan Graham (far left) and Dawn Upshaw, narrator Blythe Danner (to Ozawa's left), the Tangle- wood Festival Chorus, and the BSO—in America the Beauti- ful to mark the tragic events of September 11, 2001. This was followed by Ms. Danner's reading of Stephen Spender's poem "The Truly Great," the playing of Bach's Air on the G string, and a moment of silence in tribute to those lost, those who lost loved ones, and all those who have helped to restore order.

Triple Threat— Seiji Ozawa leads the BSO in Bach's Con- certo for Three Violins with concertmaster Malcolm Lowe, associate concertmaster Tamara Smirnova, and assistant concertmaster Nurit Bar-Josef to open a program spot- lighting BSO string, wind, brass, and percussion principals in music of Bach, Bruch, Frank Martin, and Bartok.

10 Boston's Heroes—Seiji Ozawa (center) extended his personal thanks to members of the Boston Fire Department's Ladder Companies 15 and 33. At rear right is fireman Elijah Magee of Ladder Company 15, who was flag-bearer during the tribute portion of the BSO's Opening Night at Symphony 2001.

Marshalling his Forces—Seiji Ozawa turns to lead the brass bands stationed in the upper levels of Carnegie Hall during one of two New York performances of Berlioz's Requiem given by Mr. Ozawa with the BSO, the Tanglewood Festival Chorus, and tenor Stanford Olsen to honor those lost in the terrible events of September 11.

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12 SEIJI OZAWA

The 2001-02 season is Seiji Ozawa's twenty-ninth and final season as music director of the Boston Symphony Orchestra. Since becoming the BSO's music director in 1973 he has devoted himself to the orchestra for more than a quarter-century, the longest tenure of any music director currently active with a major Ameri- can orchestra. In recent years, numerous honors and achievements have underscored Mr. Ozawa's standing on the international music scene. In December 1998, Mr. Ozawa was named a Chevalier de la Legion d'Honneur by French President Jacques Chirac. In De- cember 1997 he was named "Musician of the Year" by Musical America. In February 1998, fulfilling a longtime ambition of uniting musicians across the globe, he closed the Opening Ceremonies at the Winter Olym- pics in Nagano, Japan, leading the "Ode to Joy" from Beethoven's Ninth Symphony with performers including six choruses on five continents linked by satellite. In 1994 he became the first recipient of Japan's Inouye Sho ("Inouye Award") for lifetime achievement in the arts. 1994 also saw the inauguration of Seiji Ozawa Hall at Tanglewood, where he has also played a key role as both teacher and administrator at the Tanglewood Music Center. In 1992 Mr. Ozawa co-founded the Saito Kinen Festival in Matsumoto, Japan, in memory of his teacher at Tokyo's Toho School of Music, Hideo Saito. More recently, in 2000, reflecting his strong commitment to the teaching and training of young musicians, he founded the Ozawa Ongaku-juku ("Ozawa Music Academy") in Japan, at which aspir- ing young orchestral musicians collaborate with Mr. Ozawa and professional singers in fully staged opera productions. Besides his concerts throughout the year with the Boston Symphony, he conducts the Berlin Philharmonic and Vienna Philharmonic on a regular basis, and appears also with the New Japan Philharmonic, the London Symphony, the Orchestre National de France, La Scala in Milan, and the Vienna State Opera. In the fall of 2002, following next summer's Tanglewood season, he will begin a new phase in his artistic life when he becomes music director of the Vienna State Opera. Throughout his tenure as music director of the Boston Symphony, Mr. Ozawa has maintained the orchestra's distinguished reputation both at home and abroad, with concerts in Symphony Hall, at Tanglewood, on tours to Europe, Japan, Hong Kong, China, and South America, and across the United States. He has upheld the BSO's commitment to new music through the frequent commissioning of new works. In addition, he and the orchestra have recorded nearly 140 works, representing more than fifty different composers, on ten labels. He has received two Emmy awards and holds honorary doctor of music degrees from the University of Massachusetts, the New England Conservatory of Music, Wheaton College in Norton, Massachusetts, and Harvard University. Born in 1935 in Shenyang, China, Seiji Ozawa studied music from an early age, later graduating with first prizes in composition and conducting from Tokyo's Toho School of Music. In 1959 he won first prize at the International Competition of Orchestra Conduc- tors held in Besancon, France, as a result of which Charles Munch, then the BSO's music director, invited him to attend the Tanglewood Music Center, where in 1960 he won the Koussevitzky Prize for outstanding student conductor. While working with Herbert von Karajan in West Berlin, he came to the attention of Leonard Bernstein, who appointed him an assistant conductor of the New York Philharmonic. Mr. Ozawa made his first professional concert appearance in North America in 1962, with the San Francisco Sym- phony, of which he was music director from 1970 to 1976; he has also been music director of the Chicago Symphony Orchestra's Ravinia Festival and of the Toronto Symphony Orchestra. Mr. Ozawa led the Boston Symphony for the first time in 1964, at Tanglewood; he made his first Symphony Hall appearance with the orchestra in January 1968. He became an artistic director at Tanglewood in 1970 and began his tenure as music director in 1973, after a year as the BSO's music adviser. Today, some 80% of the BSO's members have been appointed by Seiji Ozawa. The Boston Symphony itself stands as eloquent tes- timony not only to his work in Boston, but to Mr. Ozawa's lifetime achievement in music.

13 *Sheila Fiekowsky Edward Gazouleas Muriel C. Kasdon and Marjorie Lois and Harlan Anderson C. Paley chair chair, fullyfunded in perpetuity *Jennie Shames Robert Barnes Ruth and Carl J. Shapiro Burton Fine chair, funded in perpetuity fully Ronald Wilkison *Valeria Vilker Kuchment Michael Zaretsky David and Ingrid Kosowshy chair Marc Jeanneret *Tatiana Dimitriades *Mark Ludwig Theodore W. and Evelyn *Rachel Fagerburg Berenson Family chair *Kazuko Matsusaka BOSTON SYMPHONY *Si-Jing Huang * Rebecca Gitter ORCHESTRA Stephanie Morris Marryott and Franklin Marryott chair 2001-2002 J. Cellos *Nicole Monahan Catherine and Paul Jules Eskin Seiji Ozawa Buttenwieser chair Principal Philip R, Allen chair, endowed Music Director *Wendy Putnam in perpetuity in 1969 Maria Stata Mary B. Saltonstall chair Ray and Martha Babcock Directorship, Music *Xin Ding Assistant Principal fullyfunded in perpetuity Kristin and Roger Servison Vernon and Marion Alden chair chair, endowed in perpetuity Bernard Haitink * Alexander Velinzon in 1977 Principal Guest Conductor Donald C. and Ruth Brooks Sato Knudsen LaCroix Family Fund Heath chair, fullyfunded in Stephen and Dorothy Weber fully funded in perpetuity perpetuity chair Joel Moerschel Second Violins Sandra and David Bakalar Haldan Martinson chair Principal First Violins Luis Leguia Carl Schoenhof Family chair, Robert Bradford Newman Malcolm Lowe fully funded in perpetuity chair, fullyfunded in perpetuity Concertmaster Vyacheslav Uritsky Charles Munch chair, Carol Procter Assistant Principal fully funded in perpetuity Lillian and Nathan R. Miller Charlotte and Irving W. Rabb chair Tamara Smirnova chair, endowed in perpetuity *Jerome Patterson Associate Concertmaster in 1977 Charles and JoAnne Dickinson Helen Horner Mclntyre chair, Ronald Knudsen endowed in perpetuity in 1976 chair Edgar and Shirley Grossman Miller °Nurit Bar-Josef chair *Jonathan Rosemary and Donald Hudson Assistant Concertmaster Joseph McGauley Robert L. Beal, and Enid L. chair Shirley and J. Richard Fennell and Bruce A. Beal chair, *0wen Young chair, fullyfunded in perpetuity endowed in perpetuity in 1980 John F. Cogan, Jr., and Mary Ronan Lefkowitz Elita Kang L. Comille chair, fullyfunded David H and Edith C. Howie Assistant Concertmaster in perpetuity chair, fullyfunded in perpetuity Edward and Bertha C. Rose *Andrew Pearce *Nancy Bracken chair Richard C. and Ellen E. Paine tAza Raykhtsaum Bo Youp Hwang chair, fullyfunded in perpetuity John and Dorothy Wilson *Bonnie Bewick *Mihail Jojatu chair, fullyfunded in perpetuity *James Cooke Gordon and Mary Ford Lucia Lin * Victor Romanul Kingsley Family chair Forrest Foster Collier chair Bessie Pappas chair Ikuko Mizuno * Catherine French Basses Carolyn and George Rowland *Kelly Ban- Edwin Barker chair Principal Amnon Levy Violas Harold D. Hodgkinson chair, Dorothy Q. and David B. Steven Ansell endowed in perpetuity in 1974 Arnold, Jr., chair, fully funded Principal Lawrence Wolfe in perpetuity Charles S. Dana chair, Assistant Principal endowed in perpetuity in 1970 Maria Nistazos Stata chair, fullyfunded in perpetuity * Participating in a system Cathy Basrak of rotated seating Assistant Principal %0n sabbatical leave Anne Stoneman chair, °On leave fullyfunded in perpetuity ^Substitute player

14 Joseph Hearne Bass Clarinet Tuba Leith Family chair, Craig Nordstrom Margaret William C. fully funded in perpetuity Farla and Harvey Chet and Rousseau chair, fully funded Dennis Roy Krentzman chair, fully funded in perpetuity Joseph and Jan Brett Hearne in perpetuity chair Timpani John Salkowski Bassoons Erich and Edith Heymans chair Richard Svoboda Everett Firth Sylvia Shippen Wells chair, *Robert Olson Principal endowed in perpetuity in 1974 *James Orleans Edward A. Taft chair, endowed perpetuity in 1974 *Todd Seeber in Percussion Suzanne Nelsen Eleanor L. and Levin H. Thomas Gauger Campbell chair, fully funded Richard Ranti Peter and Anne Brooke chair, in perpetuity Associate Principal fully funded in perpetuity *John Stovall Frank Epstein Contrabassoon Peter Andrew Lurie chair, Flutes Gregg Henegar fully funded in perpetuity Helen Rand Thayer chair °Jacques Zoon J. William Hudgins Principal Timothy Genis Walter Piston chair, endowed Horns Assistant Timpanist in perpetuity in 1970 James Sommerville Mr. and Mrs. Edward H. Linde Fenwick Smith Principal chair Myra and Robert Kraft chair, Helen Sagojf Slosberg/Edna endowed in perpetuity in 1981 S. Kalman chair, endowed Harp Elizabeth Ostling in perpetuity in 1974 Ann Hobson Pilot Associate Principal Richard Sebring Principal Marian Gray Lewis chair, Associate Principal Willona Henderson Sinclair in perpetuity Congleton fully funded Margaret Andersen chair chair, fullyfunded in perpetuity Piccolo Daniel Katzen Voice and Chorus °Geralyn Coticone Elizabeth B. Storer chair John Oliver Evelyn and C. Charles Marran Jay Wadenpfuhl Tanglewood Festival Chorus chair, endowed in perpetuity in John P. II and Nancy S. Eustis Conductor 1979 chair, fullyfunded in perpetuity Alan J. and Suzanne W §Linda Toote Richard Mackey Dworsky chair, fully funded Diana Osgood Tottenham in perpetuity Oboes chair John Ferrillo Jonathan Menkis Librarians Principal Marshall Burlingame Mildred B. Remis chair, Trumpets Principal endowed in perpetuity in 1975 tCharles Schlueter Lia and William Poorvu chair, Mark McEwen Principal fully funded in perpetuity James and Tina Collias chair Roger Louis Voisin chair, William Shisler Keisuke Wakao endowed in perpetuity in 1977 John Perkel Assistant Principal Peter Chapman Elaine and Jerome Rosenfeld Ford H. Cooper chair Assistant Conductor chair Thomas Rolfs Federico Cortese Associate Principal Anna E. Finnerty chair, English Horn Nina L. and Eugene B. fully funded in perpetuity Robert Sheena Doggett chair Beranek chair, fully funded Personnel Managers in perpetuity Trombones Lynn G. Larsen Ronald Barron Bnice M. Creditor Clarinets Principal William R. Hudgins J. P. and Mary B. Barger chair, Stage Manager Principal fully funded in perpetuity Peter Riley Pfitzinger Ann S.M. Banks chair, endowed Norman Bolter Position endowed by in perpetuity in 1977 Arthur and Linda Gelb chair Angelica L. Russell Scott Andrews Thomas and Dola Sternberg Bass Trombone chair Douglas Yeo Thomas Martin John Moors Cabot chair, Associate Principal & fully funded in perpetuity E-flat clarinet Stanton W. and Elisabeth K. Davis chair, fully funded in perpetuity

15 WALTER PISTON SOCIETY MEMBER MRS. THOMAS PERRY and her late husband Tod have known the Symphony and Tanglewood for most of their lives. Tod Perry was the executive director of the BSO and created a legacy for both the Tanglewood Music Center and European tours and concerts.

IT'S ALL ABOUT the music

Many years ago, my husband was the Tod and I had Symphony Hali seats behind Walter Piston, who director of Harvard's music program. We became friendly with him, and so many other people. Eventually, we decided to give a life income

gift because of the musicians. It just makes sense, this pooled income fund. The Symphony has been such a large part of our lives, and now Giving a that Tod is gone, this beautiful Tanglewood is my great love.

special planned gift keeps this number one orchestra lively."

BOSTON SYMPHONY ORCHESTRA The Walter Piston Society mNT

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Now in its 121st season, the Boston Symphony Orchestra gave its inaugural concert on October 22, 1881, and has continued to uphold the vision of its founder, the business- man, philanthropist, Civil War veteran, and amateur musician Henry Lee Higginson, for more than a century. Under the leadership of Seiji Ozawa, its music director since 1973, the Boston Symphony Orchestra has performed throughout the United States, as well as in Europe, Japan, Hong Kong, South America, and China, and reaches audiences numbering in the millions through its performances on radio, television, and recordings. It plays an active role in commissioning new works from today's most important composers; its summer season at Tanglewood is re-

garded as one of the world's most important music festivals; it helps develop the audience of the future through BSO Youth Concerts and through a variety of outreach programs involv- ing the entire Boston community; and, during the Tanglewood

season, it sponsors the Tanglewood Music Center, one of the world's most important training grounds for young composers, conductors, instrumentalists, and vocalists. The orchestra's Major Henry Lee Higgin- virtuosity is reflected in the concert and recording activities son, founder of the Boston of the Boston Symphony Chamber Players, one of the world's Symphony Orchestra most distinguished chamber ensembles made up of a major symphony orchestra's principal players. The activities of the Boston Pops Orchestra have established an international standard for the performance of lighter kinds of music. Overall, the mission of the Boston Symphony Orchestra is to foster and maintain an organization dedicated to the making of music consonant with the highest aspirations of musical art, creating performances and providing educational and training programs at the highest level of excellence. This is accomplished with the continued support of its audiences, governmental assistance on both the federal and local levels, and through the generosity of many foundations, businesses, and individuals. Henry Lee Higginson dreamed of founding a great and permanent orchestra in his home town of Boston for many years before that vision approached reality in the spring of 1881. The following October the first Boston Symphony Orchestra concert was given under the direction of conductor Georg Henschel, who would remain as music director until 1884. For nearly twenty years Boston Symphony concerts were held in the Old Bos- ton Music Hall; Symphony Hall, one of the world's most highly regarded concert halls, was opened on October 15, 1900. The BSO's 2000-01 season celebrated the centennial

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

17 For 50 Years, Bringing You the Best

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18 of Symphony Hall, and the rich history of music performed and introduced to the world

here since it opened a century ago. Georg Henschel was succeeded by a series of German-born and -trained conductors —Wilhelm Gericke, Arthur Nikisch, Emil Paur, and Max Fiedler—culminating in the appointment of the legendary Karl Muck, who served two tenures as music director, 1906- 08 and 1912-18. Meanwhile, in July 1885, the musicians of the Boston Symphony had given their first "Promenade" concert, offering both music and refreshments, and fulfilling Major Higginson's wish to give "concerts of a lighter kind of music." These concerts, soon to be given in the springtime and re- named first "Popular" and then "Pops," fast became a tradition. In 1915 the orchestra made its first trans- continental trip, playing thirteen concerts at the Panama-Pacific Exposition in San Fran- cisco. Recording, begun with the Victor Talking Machine Company (the predecessor to RCA Victor) in 1917, continued with increasing frequency. In 1918 Henri Rabaud was engaged as conductor. He was succeed- Rush ticket line at Symphony Hall, ed the following year by Pierre Monteux. probably in the 1930s These appointments marked the beginning of a French-oriented tradition which would be maintained, even during the Russian-born Serge Koussevitzky's time, with the employment of many French-trained musicians. The Koussevitzky era began in 1924. His extraordinary musicianship and electric per- sonality proved so enduring that he served an unprecedented term of twenty-five years. The BSO's first live concert broadcasts, privately funded, ran from January 1926 through the 1927-28 season. Broadcasts continued sporadically in the early 1930s, regular live Boston Symphony broadcasts being initiated in October 1935. In 1936 Koussevitzky led the orchestra's first concerts in the Berkshires; a year later he and the players took up annual summer residence at Tanglewood. Koussevitzky passionately shared Major Hig- ginson's dream of "a good honest school for musicians," and in 1940 that dream was

On Display in Symphony Hall An exhibit celebrating the extraordinary twenty-nine-year partnership between Seiji Ozawa and the Boston Symphony Orchestra has been mounted in Symphony Hall to mark his farewell season. The exhibit documents his childhood and early musical training but focuses primarily on his impact on the BSO, including the commissioning of new works, his collaborations with a dazzling array of guest artists, an extraordinary series of international tours, and his commer- cial recording activity. The exhibit displays materials from the BSO Archives as well as photographs, scores, and other trea- sured memorabilia that Mr. Ozawa has loaned for the exhib-

it. The Seiji Ozawa exhibits are located in the Massachusetts Avenue corridor; on the first balcony, right side, near the stage, and in the Cohen Wing display cases across from the Symphony Shop. Shown here is a 1982 portrait of Mr. Ozawa by artist Robert A. Anderson, loaned through Brigitte Graneau. Also please note that the Symphony Hall Centennial Exhibit that was created last year can still be seen throughout the corridors of Symphony Hall and in the Cohen Wing display cases. New items can be found in most of the exhibit cases throughout the hall.

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20 realized with the founding of the Berkshire Music Center (now called the Tanglewood Music Center). In 1929 the free Esplanade concerts on the Charles River in Boston were inaugurated by Arthur Fiedler, who had been a member of the orchestra since 1915 and who in 1930 became the eighteenth conductor of the Boston Pops, a post he would hold for half a century, to be succeeded by John Williams in 1980. The Boston Pops Orchestra celebrated its hundredth birthday in 1985 under Mr. Williams's baton. Keith Lockhart began his tenure as twentieth conductor of the Boston Pops in May 1995, succeeding Mr. Williams. Charles Munch followed Kousse- vitzky as music director of the Boston Symphony Orchestra in 1949. Munch continued Koussevitzky's practice of supporting contemporary composers and introduced much music from the French repertory to this country. Dur- ing his tenure the orchestra toured abroad for the first time and its continuing series of Youth Concerts was initiated under the leadership of Harry Ellis Dickson. Erich Leinsdorf began his seven-year term as music director Symphony Hall in the early 1940s, with the main in 1962. Leinsdorf presented numer- entrance still on Huntington Avenue, before the ous premieres, restored many forgotten intersection of Massachusetts and Huntington avenues was reconstructed so the Green Line could and neglected works to the repertory, run underground and, like his two predecessors, made many recordings for RCA; in addition, many concerts were televised under his direction. Leinsdorf was also an energetic director of the Tanglewood Music Center; under his leadership a full-tuition fellowship program was established. Also during these years, in 1964, the Boston Symphony Chamber Players were founded. William Steinberg succeeded Leinsdorf in 1969. He conducted a number of American and world premieres, made recordings for Deutsche Grammophon and RCA, appeared regularly on television, led the 1971 European tour, and directed concerts on the east coast, in the south, and in the midwest. Now in his twenty-ninth and final season as the BSO's music director, Seiji Ozawa became the thirteenth conductor to hold that post in the fall of 1973, following a year as music adviser and having been appointed an artistic director of the Tanglewood Festi- val in 1970. During his tenure Mr. Ozawa has continued to solidify the orchestra's reputation both at home and abroad. He has also reaffirmed the BSO's commitment to new music, through a series of centennial commissions marking the orchestra's 100th birthday, a series of works celebrating the fiftieth anniversary of the Tanglewood Music Center in 1990, and a continuing series of commissions from such composers as John Corigli- ano, Henri Dutilleux, John Harbison, Hans Werner Henze, Peter Lieberson, Bright Sheng, Toru Takemitsu, and Sir Michael Tippett. The 2001-02 season brings the world premieres of newly commissioned works from Michael Colgrass and Andr6 Previn. Un- der Mr. Ozawa's direction the orchestra has also expanded its recording activities to include releases on the Philips, Telarc, Sony Classical/CBS Masterworks, EMI/Angel, Hyperion, New World, and Erato labels. In 1995 Seiji Ozawa and the Boston Symphony Orchestra welcomed Bernard Haitink as Principal Guest Conductor, in which capacity Mr. Haitink conducts and records with the orchestra, and has also taught at Tanglewood. Today the Boston Symphony Orchestra, Inc., presents more than 250 concerts annually. It is an ensemble that has richly fulfilled Henry Lee Higginson's vision of a great and permanent orchestra in Boston.

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22 BOSTON SYMPHONY ORCHESTRA

Seiji Ozawa, Music Director Bernard Haitink, Principal Guest Conductor One Hundred and Twenty-first Season, 2001-02 SALUTING SEIJI OZAWA IN HIS FAREWELL SEASON

Thursday, January 31, at 8

Friday, February 1, at 8 Saturday, February 2, at 8

Tuesday, February 5, at 8

ILAN VOLKOV conducting

SCHUMANN Overture to the opera Genoveva, Opus 81

BRUCH Violin Concerto No. 1 in G minor, Opus 26

Prelude: Allegro moderato — Adagio Finale: Allegro energico IDA HAENDEL

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Moderato e maestoso Andantino e cantabile Menuet. Allegretto; Trio Finale. Scherzando e presto

These concerts will end about 10.

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24 —

Robert Schumann Overture to the opera Genoveva, Opus 81

Robert Schumann was born in Zwickau, Saxony, on June 8, 1810, and died in Endenich, near Bonn, on July 29, 1856. He composed his four-act opera Geno- veva to a libretto prepared in 1847 and 1848 by himself and Robert Reinickfrom dramas by Ludwig Tieck and Friedrich Hebbel on the legend of Genevieve of Brabant. The opera was first performed on June 25, 1850, in Leipzig, though the overture had already been heard in a Gewandhaus pension fund concert the pre- ceding February 25 under Schumann's direction. Carl Bergmann gave the American premiere of the overture with the New York Philharmonic Society on March 16, 1861. Carl Zerrahn gave the first Boston performance on March 1, 1866, with the Harvard Musical Associa- tion. The first Boston Symphony performances of the overture were given by Georg Henschel in March 1883, subsequent BSO performances being given between 1885 and 1918 by Wilhelm Gericke, Arthur Nikisch, Emil Paur, Karl Muck, Max Fiedler, Otto Urack, and Ernst Schmidt. Since then, only Charles Munch (in Boston, out of town, and at Tangle- wood in 1951, then again at home and at Tanglewood in 1961) and Joseph Silverstein (November/December 1981) have led the overture with the BSO. The overture to Genoveva is scored for two each offlutes, oboes, clarinets, and bassoons, four horns, two trumpets, three trombones, timpani, and strings.

How many composers have been seduced—and undone—by the chimera of operatic success? The lures are obvious: potential reward, both in income and fame, was far greater than for any other kind of music. Chamber music paid only through the sale of copies since, at least early on, performances were usually private affairs in the homes of connoisseurs. Symphonies were public events that might impress the musical elite or engender respect and admiration, but they rarely filled the purse. Opera, however, was one of the major popular forms of entertainment, attracting audiences in larger numbers and from a wider circle of society than any other musical form. Success in the world of opera could, at the very least, make the composer a "brand name" figure more easily able to promote and sell other works.

Small wonder that composers like Schubert, Mendelssohn, and Schumann longed to compose operas, even if their success was never greater than middling at best. Cer- tainly the very greatest works in the operatic repertory are by composers who succeeded in uniting rich and varied musical invention with canny theatricality. A very few composers—Mozart, Verdi, Wagner—accomplished this feat many times. A few others—Beethoven, Debussy, Berg—did it once or twice. And a great many longed for an operatic success that completely evaded them.

Schumann had for years aspired to create a "German opera," a truly national style that could compete with those of Italy and France. Despite the existence of a few mas- terpieces in the German repertory (Mozart's Die Zauberfldte, Beethoven's Fidelio, Carl Maria von Weber's Der Freischiitz), most operas composed in German leaned heavily on foreign models for melodic and vocal style. Even so temporarily successful a composer as Heinrich Marschner (whose blood-curdling operas of the supernatural Der Vampyr and Hans Heiling—were very popular in the 1830s and exercised some influence on Wagner, even foreshadowing such characters as the Flying Dutchman and Lohengrin) tended to fall back on threadbare, stock Italianate phrases to parse out the arias and ensembles of his operas. But Schumann wanted to change all that with a stage work that would be modern and truly German.

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26 He settled for his subject on a medieval tale first recounted in the fourteenth-century collection of saints' lives called The Golden Legend, which included the story of Gene- vieve of Brabant. She was the wife of a knight named Siegfried who, on departing for the crusades, left her in the care of his best friend Golo. Golo, unworthy of Siegfried's trust, falls in love with Genevieve himself. When she spurns his advances, he takes revenge, upon her husband's return, by accusing her of infidelity. Condemned to death, Genevieve is saved by various miraculous interventions (depending on the version of the story) and is vindicated before her husband.

The subject had been treated by two

important German dramatists, and it is to their versions that Schumann's opera owed the most. Ludwig Tieck wrote his Leben und Tod der heiligen Genoveva in 1800; Tieck's drama was a vast canvas of Shake- spearean proportions, calling for sixty-one separate scenes and twenty-eight stage sets, all cast "in the idyllic tones of a fairy tale." Later, in 1843, Friedrich Hebbel wrote his own poetic drama Genoveva, which attempted to treat Golo's sense of guilt (in evidently autobiographical terms) and Genevieve's purity in a not totally successful combination.

Schumann asked his friend Robert Rei- nick (a minor poet and writer of children's The dramatist Friedrich Hebbel, whom stories, best-known as the author of a few Schumann contacted during work on "Genoveva" poems set to music by Schumann, Brahms, and Wolf) to prepare a libretto following Hebbel's outline. But, dissatisfied with the result, the composer wrote directly to the dramatist for advice:

In reading your poem Genoveva (I am a musician) I was struck by the magnificent

material which it offers for music I consulted a man living here who is something of a poet. He was immediately impressed by the extraordinary beauty of the

poem, and readily consented to try to arrange it as an operatic libretto But al-

though the adapter has done his best, it is not what I want. It is weak throughout. I very much dislike the ordinary libretto style, and neither can nor will write music for tirades of that sort.

I was almost in despair, when it occurred to me that the direct way might be the best — Do not suggest that you should adapt for operatic purposes a work so pro- found in its conception, so masterly in its form, but that you should look over the

adaptation, tell me what you think, and give it an inspiring touch here and there.

This is what I have to ask.

Hebbel did visit Schumann, but refused to have any participation in an operatic project. The composer then collaborated with Reinick in creating a libretto based on both Tieck and Hebbel, but he was unhappy with Reinick's tendency to ovorsentimentalize and finally wrote the text himself. He was satisfied enough with his text to pronounce it

"a gem," but when he showed it to Wagner, he got a different response. Wagner retold the event in his autobiography (where he naturally took p;iins to present himself in the most favorable light).

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Sincerely anxious to assist him with the success of his work and to make him

aware of its grave faults, suggesting to him the necessary modifications, I learnt something about the nature of this odd fellow. He would only permit me to be carried away by the subject of his enthusiasm, but stubbornly refused any inter- ference.

Schumann was evidently suspicious of Wagner's motives, especially when Wagner urged him to discard the third act completely, since it contained a seemingly unmoti- vated supernatural apparition that Wagner felt weakened the plot. "[Schumann] grew angry and thought that, by my dissuasion, I was trying to ruin his greatest effects."

Schumann kept the libretto as it stood and plunged into the composition at a feverish pace, putting the final touches to the score on August 4, 1848, but only seeing the work produced, after frustrating delays, nearly two years later. Schumann's reputation and numerous advance reports guaranteed that there was a distinguished group, including Liszt, present for the premiere, but the response was distinctly mixed. Despite the evident beauties of the score, Schumann's inability to capture in dramatically varied music the personalities of his characters have kept the opera one of those worthy attempts more honored in print than on the stage.

The overture, however, has long been recognized as one of Schumann's finest creations in the genre, outclassed only by his overture to Manfred. The very first chord an unprepared minor ninth resolved only in the third measure—was gripping and pow- erful when Schumann wrote it in 1848, and the harmonies of the rest are hardly less daring and unexpected. (Schumann's score is as harmonically advanced as anything Wagner, who was then composing Lohengrin, was doing at the time; the Ring and Tristan were still years away.) A pensive fragment of melody, dropping down a fifth and turning back, is heard in the violins, then in the solo clarinet; this will be heard again in various guises. The main portion of the work begins with the establishment of the fast tempo, "with passionate motion," in triplets with punctuations off the beat. A hunt- ing-horn motive introduces the contrasting material with the sounds of the German forest. The working-out in classical sonata form involves carefully wrought dovetailing of ideas, culminating in a major-key peroration that prefigures the happy end of the opera.

Unlike many composers of his day, Schumann wrote the overture first, in a burst of enthusiasm when embarking on the score, rather than writing it after completing the opera. Nonetheless, he used musical ideas that appear later in the opera proper and laid out the whole as a kind of dramatic precis of the events to come. —Steven Ledbetter

Steven Ledbetter was program annotator of the Boston Symphony Orchestra from 1979 to 1998. In 1991 his BSO program notes received an ASCAP/Deems Taylor Award. He now writes program notes for orchestras and other ensembles from Boston to California and for such concert venues as Carnegie Hall.

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Max Bruch Violin Concerto No. 1 in G minor, Opus 26

Max Karl August Bruch was born in Cologne, Germany, on January 26, 1838, and died in Friedenau, near Berlin, on October 20, 1 920. He composed his Violin Concerto in G minor during the years 1864 and 1867; after a number of revisions it achieved its final state in October 1867. There was apparently a performance of a preliminary version of the score in Koblenz on April 24, 1866, with soloist O. von Konigslbw under Bruch s

direction. The definitive version was first performed by

Joseph Joachim (to whom the work is dedicated) in

Bremen on January 7, 1868, with Karl Reinthaler conducting. The American premiere took place at the New York Academy of Music on February 3, 1872, under the direction of Carl Bergmann; Pablo Sarasate was the soloist. The concerto appearedfrequently in Boston Symphony concerts for many years, including, in the BSOs first few decades, some performances ofjust the first two movements, or of the Adagio alone. Georg Henschel led the orchestra s first performances of the concerto on October 20 and 21, 1882, with soloist Louis Schmidt. Wilhelm Gerickes soloists included the orchestras assistant concertmaster, Charles Martin Loejfler (who would later achieve considerable fame as a composer), Maud Powell, Teresina Tua, Nor- man Neruda, Otto Roth, Fritz Kreisler, and Willy Hess. Arthur Nikischs soloists were Timothee Adamowski and Henri Marteau; Emil Paurs were Willy Hess, Kreisler, Anton Witek, and Irma Seydel; Max Fiedler's was Bessie Bell Collier; Ernst Schmidts was Witek; Pierre Monteuxs were Isolde Menges, Carmela Ippolito, and, in 1924, Cecilia Hanson. The orchestras next performances weren't until 1951, with Yehudi Menuhin under Charles Munch, and then 1957, with Ruth Posselt under Richard Burgin. Since then, BSO performances of this concerto have featured Emanuel Borok with Arthur Fied- ler conducting, Shlomo Mintz with Charles Dutoit, Anne-Sophie Mutter and Malcolm Lowe with Seiji Ozawa, Nadja Salerno-Sonnenburg with Andrew Davis, Miriam Fried with Grant Llewellyn, Akiko Suwanai with Seiji Ozawa, Itzhak Perlman with James Conlon, Sarah Chang with Charles Dutoit (the most recent Tanglewood performance, on August 21, 1998), and Pinchas Zukerman with Jeffrey Tate (the most recent subscription performances, in March 1999). In addition to the solo violin, the score calls for two each offlutes, oboes, clarinets, and bassoons, four horns, two trumpets, timpani, and strings.

Max Bruch was a child prodigy who grew into a gifted composer of extraordinary taste and refinement, a composer who could always be relied on to turn out works of professional finish and often of great beauty. He composed in virtually every medium and was highly successful in most. His cantata Frithjof Opus 23 (1864), was extraordi- narily popular for the rest of the century; it used to be given in Boston every year or so. Similarly his Odysseus (a cantata built on scenes from Homer), Achilleus, and a setting of Schiller's Das Lied von der Glocke were long popular in the heyday of the cantata and oratorio market that was fueled by annual choral festivals in just about every town of any size or cultural pretension in Europe or America. He also wrote three operas, three symphonies, songs, choral pieces, and chamber music. He was active as a conductor in Germany and England and eventually became a professor of composition at the Berlin Academy.

Yet today he is remembered primarily for a few concertos. There can be little doubt that the violin was his preferred solo instrument. With the exception of a double concerto for clarinet and viola, all of his major compositions for soloist with orchestra three concertos, the Scottish Fantasy, a Serenade, and a Konzertstiick—feature the vio-

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32 lin. The absence of other media in his concerto output was not for lack of opportunity or invitation. But Bruch felt a strong disinclination to compose for the piano. When Eugen d'Albert specifically asked for a piano concerto in 1886, Bruch wrote to his publisher Simrock, "Well—me, write a piano concerto! That's the limit!" Twelve years earlier, when Simrock had suggested that there might be a market for a cello concerto, Bruch was even more outspoken: "I have more important things to do than write stupid cello concertos!"

In any case, Bruch limited himself almost totally to the violin, and of his three concertos for that instrument, the first was one of his earliest successes and remains the most frequently performed of all his works. The fact that his other work has almost totally dropped out of sight may have been caused, in large part, by his desire to compose music that was immediately "accessible," comprehensible to the bulk of the audience on first hearing. Such music rarely retains its interest over the stylistic changes of a century. Bruch was certainly never embroiled in the kind of controversy that followed Brahms or Wagner or most of the other great innovators. In many respects he resembled the earlier Spohr and Mendelssohn, both of whom wrote a great deal of merely ingrati- ating music (though Mendelssohn, to be sure, also composed music that was more than

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34 that); it might be well made, but it did not speak to audiences across the decades, though every now and then someone would trot out one piece or another, having discovered

that it was undeniably "effective."

One of the few works of Bruch that has not fallen into that rather patronizing category is his earliest published large-scale work (he had written an orchestral overture when he was eleven and a symphony when he was fourteen, but neither seems to survive), the

present concerto. And it is, of course, the violinists who have kept it before the world, since it is melodious throughout and ingratiatingly written. The G minor concerto is so popular, in fact, that it is often simply referred to as "the Bruch concerto," though he wrote two others for violin, both in D minor.

Bruch had a great deal of difficulty bringing the work to a successful conclusion; he reworked it over a period of four years, which included even a public performance of a preliminary version. In the end, many of the details of the solo part came about as the result of suggestions from many violinists. The man who had the greatest hand in it was Joseph Joachim (who was, of course, also to serve much the same function for the violin concerto of Johannes Brahms); Joachim's contribution to the score fully justifies that placing of his name on the title page as dedicatee. He worked out the bowings as well as many of the virtuoso passages; he also made suggestions concerning the formal structure of the work. Finally, he insisted that Bruch call it a "concerto" rather than a "fantasy," as the composer— had originally intended. Bruch's planned title "Fantasy"—helps to explain the first movement, which is something of a biological sport. Rather than being the largest and most elaborate movement formally, Bruch designs it as a "prelude" and labels it as such. The opening timpani roll and woodwind phrase bring in the soloist in a progressively more dramatic dialogue. The modulations hint vaguely at formal structures and new themes, but the atmosphere throughout is preparatory. Following a big orchestral climax and a brief restatement of the opening idea, Bruch modulates to E-flat for the slow movement, which is directly linked to the Prelude. This is a wonderfully lyrical passage; the soloist sings the main theme and an important transitional idea before a modulation to the dominant introduces the secondary theme (in the bass, under violin triplets). Though the slow movement ends with a full stop (unlike the Prelude), it is directly linked with the finale by key. The last movement begins with a hushed whisper in E-flat, but an exciting crescendo engineers a modulation to G major for the first statement (by the soloist) of the main rondo theme. This is a lively and rhythmic idea that contrasts wonderfully with the soaring, singing second theme, which remains in the ear as the most striking idea of the work, a passage of great nobility in the midst of the finale's energy.

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36 Gyorgy Ligeti Hamburgisches Konzert for horn solo and chamber orchestra

Gyorgy Sdndor Ligeti was born in Dicsoszentmdrton (now Tirndveni), Transylvania, Romania, on May 28, 1923, and later moved to Budapest for study. He fled Hungary in 1 956 and has since lived primarily in Ham- burg, Germany. Ligeti wrote his Hamburgisches Kon- zert for French horn player Marie Luise Neunecker, to whom the score is dedicated, on commission from the ZEIT- Foundation, Hamburg. Neunecker was soloist and George Benjamin conducted the Asko Ensemble in the first performance of Hamburgisches Konzert on January 20, 2001, in Hamburg concerts under the aus- pices of the North German Radio. These are the first American performances. In addition to the horn solo, the title page of the score specifies two basset horns (which double B-flat and E-flat clarinets), four obbligato natural horns, and chamber orchestra, the latter consisting of two flutes (second doubling piccolo), oboe, bassoon, trumpet, trombone, percussion (suspended cymbal, finger cymbals, four bongos, tambourine, snare drum, bass drum, tubular bells, rin [Japanese Buddhist bell], glockenspiel, xylophone, vibraphone, marimbaphone, and timpani), two violins, viola, cello, and double bass. Hamburgisches

Konzert is about fifteen minutes long.

Gyorgy Ligeti writes wonderfully characterful, intricately constructed, delightfully iconoclastic music. His communicative aim in a given work, indeed over the course of his career, is paradoxically darkly serious and Buster Keaton funny, as can be heard in his (to date) sole opera, Le Grand Macabre. Consider the following exchange near that opera's end, as the characters await the world's destruction as foretold by the apocalyp- tic messenger Nekrotzar:

Nekrotzar: Forward, my fiery steed! Let's hear your final cry! Piet the Pot: Cock-a-doodle do!

The absurdity is heightened by the fact that Nekrotzar's "fiery steed" is in fact the town drunk, Piet the Pot. The setting for Le Grand Macabre is the fictional kingdom "Breu- ghelland." Like the fantastical works of the sixteenth-century Flemish painter Pieter Breughel the Elder, an artist Ligeti greatly admires, the opera's plot is replete with social commentary, slapstick humor, and also violence and foreboding. Based on a 1934 play by Michel de Ghelderode, Le Grand Macabre is rooted in the absurdist theater of Ionesco and Jarry, touching also on Beckett. The sometimes hysterically funny, down- to-earth detail of Le Grand Macabre's scenario simultaneously focuses and undermines the apparent bleak existentialism of its outcome. Or perhaps it's the world's end that merely tempers the continuing day-to-day lives of the opera's characters.

As in Le Grand Macabre, in Ligeti's music the ultra-serious is kept honest and human by the ridiculously insolent, and vice versa. Ligeti's experience with oppressive govern- ment powers—first the Nazis during World War II, who "allied" with Hungary, and later the Soviet Union—caused him to be wary of "systems" of any kind. As a Jew in Nazi- controlled Hungary during World War II, Ligeti was pressed into a forced-labor camp in Yugoslavia, only narrowly escaping near the end of the war as the Russians pushed into the region. (Ligeti's father and musically talented younger brother died in concentration camps. His mother survived the war and lived for many more years.)

After the war he attended the Academy of Music in Budapest, where his teachers included Ferenc Farkas and Sandor Veress. The great lights of Hungarian music, Bartok and Kodaly, were strong influences on most young musicians of Ligeti's generation; it

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38 remained for the more adventurous-minded, including Ligeti and his colleague, the composer Gyorgy Kurtag, to break free somehow of this influence. In the late 1940s this became at once more difficult and more imperative as the oppressive cultural bureaucracy of Hungary's Stalin-backed regime demanded Soviet-style "cultural real- ism" of Hungary's artists. Folk materials and jingoistic pablum officially replaced intel- lectual curiosity and artistic exploration. Not surprisingly perhaps after the horror of Nazism, many of the young artists of Central Europe were initially taken in by commu- nism's Utopian promise. A few of Ligeti's pieces of the time are folksong settings and music of a character inoffensive to bureaucratic ears, but as time went by he began to encode certain works with subversive humor.

Ligeti's pieces from the late 1940s begin to show the technical assurance that has been the foundation of all his work, but it is with the eleven pieces of the solo piano work Musica ricercata that his work really starts to move beyond the shadow of Bartok. The varied character of these pieces, ranging from poignant lyricism to Transylvanian mystery (in an "homage a Bartok") to frenetic wit, is matched only by the diversity of the musical devices Ligeti employs. This approach resurfaces time and again throughout Ligeti's career, including in Hamburgisches Konzert. Ligeti later transcribed several movements of Musica ricercata for his Six Bagatelles for Woodwind Quintet. When this was first performed, one of the pieces had to be omitted as being too "modern" for the current cultural climate.

The mid-1950s were the time of a "thaw" in the Eastern Bloc countries following Stalin's death in 1953, and artists in the region slowly became more aware of the post- war experiments of their Western counterparts. Ligeti began to correspond with Karl- heinz Stockhausen after hearing performances of Stockhausen's music broadcast from the West, and what he learned piqued his interest. When finally he left Hungary (at great personal risk) in 1956, he made his way first to nearby Vienna and then to Cologne,

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39 where for some time he stayed at Stockhausen's home, working and learning with his younger but more experienced contemporary in Cologne's new electronic music studio. Among his earliest important works in the West was a tape piece, Artikulation, in which he used electronic sounds in part to mimic the cadence and expression of the human voice, often to great comic effect. Ligeti's innate musicality gained him respect and friendship among avant-garde composers and musicians even as he rebelled against the ultra-abstract and controlled philosophy of serialism prevalent in the music of Stockhausen, Boulez, and others. He found sympathy in the work of another "outsider," the Argentina-born composer Mauricio Kagel, himself also newly arrived in West Ger- many.

It was partly through his work in electronic music that Ligeti was able to begin to realize a sonic texture that had haunted him virtually since childhood—a texture of music that would articulate a dense, room-filling spider web he encountered in a dream. Ligeti translated the process of layering discrete musical entities track-by-track onto electronic tape to the world of the "live" ensemble, first in Apparitions and later, more successfully, in Atmospheres. Relatively simple melodic shapes are layered and offset rhythmically and intervallically in an effect that might resemble a roomful of people singing the well-known medieval round "Sumer is icumen in" quietly to themselves

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40 without agreeing on tempo or beginning pitch. Always the consummate craftsman, Ligeti applied his knowledge of intricate strict counterpoint learned from the music of Ockeg- hem and other Renaissance masters to achieve the paradoxically chaotic sound. This became the famous "Ligeti sound," but was similar to experiments by such composers as Xenakis (in his Metastasis, for example) and Penderecki (in De natura sonoris). By the time the world at large became much more familiar with Ligeti's music due to its (unauthorized) use by Stanley Kubrick in the epic film 2001: A Space Odyssey in 1969, Ligeti had moved on, through the quasi-theatrical vocal pieces Aventures and Nouvelles aventures, the Cello Con- certo, and Ramifications to the important Chamber Concerto—another clear predecessor to his rhythm-obsessed music of the 1980s and 1990s. The Double Concerto for flute, oboe, and orchestra and San Francisco Polyph- ony (premiered by Seiji Ozawa with the San Francisco Symphony in Jan- uary 1975) were among other significant works of the early 1970s prior to Le Grand Macabre.

The early 1980s marked a turning point. After a relatively fallow period of several years following the composition of Le Grand Macabre, his most Ligeti with Conlon Nancarrow (left), whose player- ambitious proj ect to that point? Ligeti piano music greatly influenced Ligeti's work began tQ reconsider the very basis of his musical materials. One aspect of this was his study of Central African rhythmic polyphony. He also encountered the player-piano etudes of the American expatriate composer Conlon Nancarrow (b.1912), works that explore extremely complex combina- tions of tempo and rhythm, usually through the musical means of canon, a process already with many surface similarities to Ligeti's own. Nancarrow's work and the Central African music became the catalyst that sent Ligeti off on his new artistic phase.

This new phase began with the first book of the composer's Piano Etudes, written in the first years of the decade, and the Trio for Horn, Violin, and Piano, an homage to Brahms written in 1982. This latter piece incorporates many of Ligeti's experiments in rhythm as well as a new interest in using pitch materials derived from the natural harmonic series (as opposed to the equal-tempered scale that has dominated Western music since the early eighteenth century), which both violin and horn are capable of exploit- ing. The Horn Trio is a direct progenitor of the composer's three recent solo concertos, the Piano Concerto (1985-89), the Violin Concerto (1990-93), and the present work, a horn concerto in everything but name. The three pieces share characteristics and musical materials with the Horn Trio as well as with each other. Complex tempo relationships and the harmonic series are but two of these; also present in all three is Ligeti's delight in musical character and in musical craft, as illustrated in Hamburgisches Kon- zerfs movement titles and subtitles, alternately descriptive (Capriccio; Aria; Dance) and technical (Hocket, Canon).

The concerto takes its name from the Northern German port city of Hamburg, Ligeti's home for many years, the city of the concerto's commissioning body, and the city of work's premiere. Its origin as a work for the Dutch new music group the Asko Ensemble dictated to some degree the size of the ensemble, but Ligeti made a few colorful addi- tions to the standard orchestra in the form of two basset horns (something between a standard and bass clarinet, but with a metal bell) and four obbligato natural (i.e., valve-

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42 l less) horns, two in E-flat and two in F. Like the "ocarina chorus" in Ligeti's Violin Con- certo, the natural horn choir provides pitches from the harmonic spectrum that most musicians have been trained to avoid. The soloist navigates between one sound-world and the other; when the two converge, the result doesn't so much sound out-of-tune as eerie and alien.

The six movements of Hamburgisches Konzert are each quite brief; only two (the fourth, "Solo, Intermezzo, Mixtur, Kanon"; and the fifth, "Spectra") are longer than three minutes. Even within each movement, the character of this Mad Hatter's tea party of a piece* rarely stays the same for long. The piece opens with first two and then all four of the natural horns in a closely spaced chord, leading quickly to the first entrance of the soloist, who climbs by scalar degrees to an F, the highest pitch of a clear perfect fifth in the strings.^ This slowly evolving music, punctuated by accents, is interrupted near the end of the movement by a rising, sharply accented, accelerating figure. The rest of the piece might be heard as variations on these two disparate kinds of music. The second and third movements are closely related to one another in materials and in their three-part forms, like paraphrases of one another. "Solo, Intermezzo, Mixtur, Kanon," the fourth and longest movement, begins with a cadenza for the soloist, moves to a Bartokian dancelike section, a homophonic chordal section, and the canon—intricately tangled counterpoint much like that in Ligeti's pieces from thirty years earlier. "Spectra" develops the idea found at the start of the Praeludium of amorphous, slowly evolving chords based on harmonic overtone series. The very short final "Capriccio," after beginning with blithe jocularity, ends by touching momentarily on haunting, nos- tagic music taken from the last movement of the Horn Trio and the piano etude Autumn in Warsaw. This is only the last of the visits to Ligeti's own musical past that pervade the kaleidoscope of Hamburgisches Konzert. —Robert Kirzinger

*Ligeti is a great admirer of Lewis Carroll's work. tThis brief passage, a "muddy" opening leading to a sudden transparent harmony, is character- istic of Ligeti and can be found in his works as early as the Cello Concerto. It happens again in Hamburgisches Konzert, at the end of the "Spectra" movement.

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44 Joseph Haydn Symphony No. 42 in D

Franz Joseph Haydn was born in Rohrau, Lower Austria, on March 31, 1 732, and died in Vienna on May 31, 1809. The manuscript of his Symphony No. 42 is dated 1771. There is no record of its first performance; Haydn presumably led it himself at Eszterhdza, where he was Kapellmeister to Prince Nikolaus Esterhdzy (see below). This week s performances are the first by the Boston Symphony Orchestra. The score calls for two oboes, two bassoons (doubling the bass line), two horns, and strings.

Two things about the Haydn symphony on this week's program warrant immediate comment. One is its prominent placement at the end of the program, rather than as an appetizer or warm-up to some other "main course." Even more striking is the fact that this particular symphony is being played at all. In the BSO's performance file, as would presumably be the case for most orchestras, it is mainly the later Haydn symphonies, particularly the famous ones he wrote for London (Nos. 93-104), that have been played with any regularity. No. 88 in G has chalked up the most BSO performances of all. Others, typically with nicknames, have shown up too: latish ones like The Queen of France (No. 85), The Hen (No. 83), and The Bear (No. 82); even some very early ones like the triptych Morning, Noon, and Night (Nos. 6-8). In recent years, James Levine conducted No. 22, The Philosopher, here in 1994; Franz Welser-Most No. 26, Lamentatione, in 1997; Bruno Weil No. 44, Mourning (Trauer), in 1998. The Hornsignal (No. 31) has been given by Koussevitzky, Gunther Schuller, and Seiji Ozawa. But beyond that, it is only thanks to enterprising conductors who have looked beyond the obvious choices that others from the staggering wealth of riches Haydn left us in this genre have been brought to our attention in the hall. (Several complete Haydn symphony cycles have at least been recorded.) No. 39, in G minor, which has been played here under several conductors—Erich Leinsdorf, Ozawa, and Kurt Sanderling—shows up for specific reasons: the key itself draws our attention (think Mozart), and it is a prime example of Haydn's "Sturm und Drang" symphonies written around the year 1770 (which include also the Symphony No. 42; more on this below). So how did this happen? When Ilan Volkov began planning this program, the idea was to contrast a warm, Romantically- oriented first half with a more exploratory second half. It was then decided to seek a middle-period Haydn symphony as daring in language (for its time) as the Ligeti work that precedes it. Volkov's choice was Haydn's Symphony No. 42.

In May 1761, when he was twenty-nine, Haydn was hired by Prince Paul Anton Esterhazy to be Vice-Kapellmeister at the Esterhazy court in what is now Hungary, where his duties (in Michael Steinberg's concise formulation) "combined the responsi- bilities of a modern composer-in-residence, music director, principal conductor, general manager, librarian, custodian of instruments, personnel manager (responsible, among other matters, for ensuring that members of the orchestra appeared in clean white stock- ings and white linen, with a freshly powdered queue or tie-wig), and music teacher." With the death of the Kapellmeister Gregor Joseph Werner in 1766, Haydn succeeded to that position, by which time his employer was Prince Nikolaus Esterhazy, Paul Anton having died in 1762. Music was important to Nikolaus Esterhdzy, and Haydn would remain virtually indentured to him for the rest of that prince's life, even as his music began to circulate and he established a broad reputation. It was only with Nikolaus's death in 1790 that it became possible for Haydn to travel with any real frequency or freedom, thus paving the way for his visits to London at the height of his fame, since

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46 Nikolaus's successor (his son, another Paul Anton) was not only less interested in music, but even disbanded the Esterhazy orchestra.

During his time in Esterhazy employment, Haydn wrote a great deal of music in many genres—Masses, other sacred and choral music, operas, incidental music for plays, songs, chamber music including path-breaking string quartets as well as works for a now defunct string instrument played by Prince Nikolaus called the baryton (fitted with strings on front and back, this was simultaneously bowed from above and plucked from behind), and of course symphonies. As James Webster points out in The New Grove Dic-

tionary of Music and Musicians, it was during his years as Esterhazy Vice-Kapellmeis-

ter (1761-1765), i.e., before Prince Niko- laus's demands for much music on top of Haydn's continuing administrative duties really kicked in, that he was most produc- tive as a composer of symphonies, turning out some twenty-five of them in those few years.

Symphony No. 42 falls within the next important group of Haydn symphonies, a group that includes about a dozen written around the year 1770 and seen to epitomize the composer's Sturm und Drang ("storm and stress") style. The term denotes a German literary movement that reached its height around that time (the dramatists Goethe and Schiller were prime exponents) and also left

its mark on painting and music. In music, the characteristics of Sturm und Drang en- An engravingfrom 1 770 of Prince Nikolaus compass a sort of pointed, edgy nervousness Esterhazy achieved by combining piquant use of widely spaced intervals, accents, and linear dissonance together with irregularities of rhythm and phrasing, and the darker colorations afforded by the minor mode (which can be employed for local or passing effects even in the context of a major-mode work like Symphony No. 42). At the same time, the textural clarity of the small chamber-sized orchestra for which Haydn wrote at this time allowed these characteristics to emerge from the ensemble to maximum effect. Well-known examples among Classical symphonies include Haydn's aforementioned Symphony No. 39 in G minor, and Mozart's "little" G minor symphony (No. 25) of 1773. The other minor-key Haydn symphonies from this period include Lamentation (No. 26, in D minor), Mourning (No. 44, in E minor), Farewell (No. 45, in F-sharp minor), La passione (No. 49, in F minor), and No. 52 in C minor (no nickname).

Haydn's marking for the sonata-form first movement of this D major symphony is "Moderato e maestoso," the latter adjective implying a character both "stately" and

"grand." If, as Ilan Volkov is doing this week, the conductor takes both repeats marked in the score—i.e., first repeating the exposition, and then the development-recapitulation complex—the effect is grand indeed, the movement running for more than a third of the symphony's nearly half-hour length. The other thing to note about this movement is that its development section utilizes a favorite Haydn trick, the "false recapitulation," in which the main theme shows up in clearly recognizable form, typically in the wrong key, before finally reemerging in the proper, home key to start the recapitulation. In fact we get two false recapitulations in this movement. The first, just moments into

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48 the development, actually does begin in the home key of D but quickly moves away, preparing the second false return of the theme, this time in G. This in turn gives way to an agitated passage that finally brings in the true recapitulation.

The A major slow movement is likewise large, and likewise in sonata form. Strings predominate, oboes and horns being held in reserve to heighten the thematic materials at key moments. The development offers minor-mode reworkings first of the second theme (originally in E major, now in E minor) and then of the main theme (originally in A, now heard harmonically far afield first in B minor and then moving via a jaggedly syncopated passage over a pointedly descending bass line to F-sharp minor). The oboes and horns, which have been silent throughout the development, return to clarify the return to the home key at the recapitulation. Despite his tuneful themes, Haydn knew he was asking much from his listeners in a slow movement of this scope and inventive- ness, at one point (as observed by Haydn authority H.C. Robbins Landon) striking out a "too eccentric" modulation in the manuscript and noting "Diese war vor gar zu gelehrte Ohren'' ("That was for much too learned ears").

From here things are decidedly less weighty. The triplet-energized Menuet is full of accents, good humor, and virtually non-stop energy more suggestive of foot-stomping than courtly dancing. The Trio, for strings alone, combines grace, wit, a touch of the countryside, and off-kilter phrasing.

As finale we get a brief but inventive theme-and-variations. The theme (in two sec- tions, each repeated) is straightforward, energetic, and highly inflected; Haydn gives it to the strings. Variation I is for the winds, II for scurrying strings over the original bass line, and III the expected "minore" i.e., a minor-mode treatment of the theme (D minor, though touches of F major afford some brightening). Now the theme returns to round things off, this time with winds joining in. The clever coda turns briefly indecisive as recollections of the minore intrude, but nothing can prevent the jubilant close, and Haydn signs off on the manuscript with his customary "laus Deo" ("praise God"). —Marc Mandel

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The most recent biography of Gyorgy Ligeti is Richard Toop's informative, enthusiastic volume in the wonderfully illustrated "20th-century Composers" series (Phaidon paperback). Paul Griffiths's Gyorgy Ligeti, originally published in 1983 but revised and updated extensively for a second edition in 1997, features Griffiths's usual perceptive and readable commentary on the major works as well as a brief interview with the composer (Robson paperback). Griffiths also wrote the article on Ligeti for the new (2001) edition of The New Grove Dictionary of Music and Musicians. The article for the earlier (1980) edition of Grove is by Ove Nordall, the author of two earlier German-language books on the composer. Richard Dufallo's Trackings features an interview with Ligeti as well as reminiscences by Dufallo himself and interviews with many important composers of Ligeti's generation, including Boulez, Stockhausen, Kagel, Xenakis, Cage, and others (Oxford University Press, 1989). A recording of Ligeti's Hamburgisches Konzert by Marie Luise Neunecker and the Asko Ensemble, the soloist and ensemble who gave the work its premiere, is scheduled to be released later this year or early in 2003 (Teldec "New Line"). It will be included in a volume of the "Complete Ligeti" series of recordings made with Ligeti's collaboration and encompassing all of his works excepting juvenilia. The series began on the Sony Classical label, which released seven volumes including the opera Le Grand Macabre. The first of Teldec's releases, including the Piano Con- certo, Melodien, and other works, appeared in 2001. The series as a whole is the most obvious place to start when considering the Ligeti discography. Pierre Boulez's recordings of Ligeti's music for Deutsche Grammophon—particularly the disc of concertos for cello, piano, and violin—are also significant. —Robert Kirzinger

The first full-scale biographical study of Schumann in English is Boston University professor John Daverio's Robert Schumann: Herald of a "New Poetic Age" (Oxford paperback). Daverio's discussion of Genoveva is in a particularly interesting chapter entitled "The Musical Dramatist," which also treats Schumann's incidental music to Manfred and his Scenes from Goethe s "Faust." Daverio has also written the Schumann entry in the recently revised (2001) New Grove Dictionary of Music and Musicians. Gerald Abraham's older article on Schumann from the 1980 edition of The New Grove was reprinted in The New Grove Early Romantic Masters 1—Chopin, Schumann, Liszt (Norton paperback). Eric Frederick Jensen's Schumann is a recent addition (2001) to the Master Musicians Series (Oxford); Genoveva is discussed in the chapter "Schumann's

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52 Dramatic Works." Hans GaTs Schumann Orchestral Music in the series of BBC Music Guides is a useful small volume that includes a chapter on the composer's overtures (University of Washington paperback). Robert Schumann: The Man and his Music, edit- ed by Alan Walker, includes a chapter by Frank Cooper on his "Operatic and Dramatic Music" including Genoveva (Barrie and Jenkins). Good recordings of the overture to Genoveva include Rafael Kubelik's, originally released as part of his Schumann symphony cycle with the Berlin Philharmonic (Deutsche Grammophon, in and out of print) and Christian Thielemann's more recent one with the Philharmonia Orchestra (Deutsche Grammophon, with the Symphony No. 3, Rhenish, and the Overture, Scherzo, and Finale).

I have not heard Neeme Jarvi's with the London Symphony, on a disc with Schumann's Overture, Scherzo, and Finale and his concert overture Julius Caesar (Chandos). For a complete recording of Genoveva, Kurt Masur's with the Leipzig Gewandhaus Orchestra (Berlin Classics) is generally better characterized and conducted than the more recent recording by Nikolaus Harnoncourt with the Chamber Orchestra of Europe (Teldec), though both offer good singing. Note, however, that the Masur recording includes a German-only libretto without translation.

Only recently has a full-length English-language study of Bruch appeared: Max Bruch: His Life and Works, by Christopher Fifield (Braziller). Fifield is also author of the new Bruch entry in the 2001 edition of The New Grove, which includes a corrected work- list. Not unexpectedly, there are many more recordings of the G minor violin concerto than can be listed here, among them (listed alphabetically by soloist) those by Joshua Bell with Neville Marriner and the Academy of St. Martin in the Fields (London), Jas- cha Heifetz with Malcolm Sargent and the New Symphony Orchestra of London (RCA), Yehudi Menuhin with Walter Susskind and the Philharmonia Orchestra (EMI), Anne- Sophie Mutter with Herbert von Karajan and the Berlin Philharmonic (Deutsche Gram- mophon), Itzhak Perlman with Bernard Haitink and the Concertgebouw Orchestra (EMI), Perlman this time with Andre Previn and the London Symphony Orchestra (also EMI), Gil Shaham with Giuseppe Sinopoli and the Philharmonia Orchestra (Deutsche Gram- mophon), Isaac Stern with Eugene Ormandy and the Philadelphia Orchestra (Sony Classical), and Maxim Vengerov with Kurt Masur and the Gewandhaus Orchestra of Leipzig (Teldec).

The main resource for information on Haydn and his music is the massive, five-volume study Haydn: Chronology and Works by H.C. Robbins Landon; the Symphony No. 42 is discussed in Volume II, "Haydn at Eszterhaza," which chronicles the years 1766- 1790 (Indiana University Press). The Haydn entry in the recently revised New Grove Dictionary of Music and Musicians (2001) includes a new article by James Webster and a work-list by Georg Feder. The entry from the 1980 edition of Grove—article by Jens Peter Larsen, work-list by Feder—was conveniently reprinted as The New Grove Haydn (Norton paperback). Another convenient introduction is provided by Rosemary Hughes's Haydn in the Master Musicians series (Littlefield paperback). Karl Geiring- er's Haydn: A Creative Life in Music has been reprinted by University of California Press. (Geiringer also wrote important biographies of J.S. Bach and Johannes Brahms.) If you can track down a used copy, L&szl6 Somfai's copiously illustrated Joseph Haydn:

His Life in Contemporary Pictures provides a fascinating view of the composer's life, work, and times (Taplinger). Haydn's Symphony No. 42 has been as seldom recorded as it is played. The only current listings are those by Adam Fischer with the Austro- Hungarian Haydn Orchestra in Volume 3 (Nos. 40-54; five discs) of his ongoing Haydn series for Nimbus, by Bruno Weil with the period-instrument Tafelmusik (Sony Vivarte), and by Christopher Hogwood in his complete Haydn cycle with the Academy of Ancient Music (L'Oiseau-Lyre). —Marc Mandel

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54 Dan Volkov Ilan Volkov was assistant conductor of the Boston Symphony Or- chestra from the beginning of the 1998-99 season through this past summer's Tanglewood season. His appearances at these concerts mark his first as guest conductor with the orchestra. Recently Mr. Volkov was appointed chief conductor of the BBC Scottish Sym- phony Orchestra, the youngest conductor ever to be named to such a post with a BBC orchestra. He will begin his three-year appointment in January 2003 and in May of that year will conduct the Scottish Symphony Orchestra on a tour to the Far East, including China. In July 2003 he will make his BBC Proms debut with the orchestra in two concerts at the Royal Albert Hall. Born in Israel in 1976, Ilan Volkov started playing the violin at the age of six. He studied conducting with Mendi Rodan at the Rubin Academy of Music in Jerusalem and continued his studies at the Royal Academy of Music. At nineteen he was appointed Young Conductor in Association for Britain's North- ern Sinfonia. This relationship continued into the 1997-98 season, when he became conductor of the Young Sinfonia, Northern Sinfonia's youth orchestra. Mr. Volkov conducted the Northern Sinfonia and the contemporary music group Vaganza in the BBC's "Sounding the Century" series on Radio 3 and in their London debut in the 1998 Spitalfields Festival. He was principal conductor of the London Philharmonic Youth Orchestra from 1997 to 2000. Mr. Volkov's guest conducting appearances have included concerts with the New York Phil- harmonic, London Philharmonic, Gothenburg Symphony, BBC Philharmonic, Frankfurt Radio Symphony, Stavanger Symphony, Malmo Symphony, Russian National Symphony, Atlanta Symphony, Halle Orchestra, Northern Sinfonia, and Scottish Chamber Orchestra.

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Ida Haendel Born in Chelm, Poland, Ida Haendel began playing the violin when only three and a half years old. Her father, an artist, recognized her talent and devoted as much time as possible toward furthering her career. Her studies began at the Warsaw Conservatory, where she earned a gold medal at the age of seven and won the Huberman Prize. After leaving Poland, she continued her studies with Carl Flesch and George Enescu. Ms. Haendel began her professional career as a child prodigy at the Queen's Hall in London under the baton of Sir Henry Wood, playing the Brahms Violin Concerto. Dur- ing II she lived in London, becoming a British subject, I World War and gave many concerts for the troops. When the war ended, her international career developed with performances throughout Europe, Israel, North and South America, the Far East, and the USSR. A regular visitor to the United Kingdom's major orchestras, she has accompanied them on many foreign tours. She traveled with the London Philharmonic to the first Hong Kong Arts Festival in 1973 and on their subsequent tour of China; with the BBC Symphony to Germany, Australia, and Hong Kong, and with the English Chamber Or- chestra to Mexico. In 1998 she took part in a tour to Japan with the City of Birmingham Symphony Orchestra led by Sir Simon Rattle. Ms. Haendel collaborates with such eminent conductors as Haitink, Rattle, Decker, Sanderling, and Ashkenazy. She has made regular appearances at major festivals, including Edinburgh and the BBC Proms. Recent engagements have included appearances with the Boston Symphony Orchestra, Royal Philhar- monic, Bayerisches Staatsorchester, Deutsches Symphonie-Orchester, and Los Angeles Philharmonic. Her 1999-2000 season included concerts with the Budapest Festival Or- chestra as well as recitals in London, Mexico, and the United States, including Tanglewood. Ms. Haendel, who speaks seven languages, has published the first part of her autobiogra-

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succeeded in transforming a 'mere' concert into a life-changing experience. (617) 236-0999 — London Independent www.bostonphil.org

58 phy (Woman with Violin) and is currently working on a second volume. Canadian Broad- ^m casting recently completed a two-part documentary on her life. In September 1982, Ida Haendel was awarded the Sibelius Medal by the Sibelius Society of Finland on the twenty- fifth anniversary of the composer's death, in recognition of her distinguished performances of his Violin Concerto. In the 1991 New Year's Honours List she was named a CBE for her outstanding services to music. Ms. Haendel records for the EMI, Decca, and Testament labels. Recent releases include a disc of chamber music with pianist Vladimir Ashkenazy for Decca and a recording of Bach solo works for Testament. Videos of her performances are available from Video Artists International. Ida Haendel made her Boston Symphony Orchestra debut in February 1990 with the Brahms Violin Concerto and has returned to Symphony Hall for performances of the violin concertos by Sibelius (January 1993), Bee- thoven (January 1996), and Dvorak (November 1999).

James Sommerville James Sommerville joined the Boston Symphony Orchestra as principal horn in January 1998. After winning the highest prizes at the Munich International Competition, Concours de Toulon, and Cana- dian Broadcasting Corporation Young Performers Competition, and with the support of the CBC and generous grants from the Canada Council and the Macmillan Foundation, Mr. Sommerville embarked on a solo career that has brought critically acclaimed appearances with all the major Canadian orchestras, the radio orchestras of Ba- varia and Berlin, and many others throughout North America and Europe. Recent engagements have included solo appearances in Winnipeg, Vancouver, Toronto, and Chicago, and chamber music in Boston, Toronto, Que- bec, Montreal, New Hampshire, and Colorado Springs. Mr. Sommerville's recording of the Mozart horn concertos with the CBC Vancouver Orchestra won the 1998 JUNO Award for Best Classical Recording in Canada. His CBC recordings of Britten's Serenade for Tenor, Horn, and Strings (with tenor Benjamin Butterfield, conductor Simon Streatfield, and the Manitoba Chamber Orchestra) and Canticle III were also nominated for Junos, in 1999 and 1997. Mr. Sommerville has recorded chamber music for the Deutsche Grammophon, Tel- arc, CBC, Summit, and Marquis labels. As a former member of the Montreal Symphony Orchestra, Toronto Symphony Orchestra, Symphony Nova Scotia, and as acting solo horn of the Chamber Orchestra of Europe from 1996 to 1998, he has toured and recorded extensively as an orchestral player. As a chamber musician, he is heard regularly on the CBC network, for which he has recorded all of the standard horn repertoire for broadcast. As principal horn of the Boston Symphony, he is a member of the Boston Symphony Chamber Players. Mr. Sommerville has performed as guest artist and faculty member at many chamber music festivals, including the Vancouver Chamber Music Festival, Scotia Festival, Fes- tival of the Sound, Domaine Forget, and the Banff International Festival of the Arts. He also devotes his talents to the performance of early music on period instruments, and, through the Canada Council and Ontario Arts Council, has commissioned many new works, most recently the Keith Bergs Concerto for Horn and Brass Ensemble, released on the Opening Day record label with the Hannaford Street Silver Band and Bramwell Tovey. Mr. Sommer- ville teaches at the New England Conservatory and at Boston University. He has previously been featured with the BSO in Richard Strauss's Horn Concerto No. 1 under the direction of Andre Previn, Britten's Serenade for Tenor, Horn, and Strings with Federico Cortese conducting, and, earlier this season, Frank Martin's Concerto for Seven Winds, Timpani, Per- cussion, and String Orchestra under Seiji Ozawa.

59 BOSTON SYMPHONY ORCHESTRA 2001-2002 SEASON

The sun^fft of the corporate sponsors of the Boston Symphony Orchestra reflects fcreasingly important partnership between business and the arts. The BSO is honored to be associated with these companies and gratefully acknowledges their contributions. These corporations have sponsored concerts and activities of the Boston Symphony Orchestra between September 1, 2000, and August 31, 2001. BSO corporate sponsors of $75,000 or more are listed below by contribution level. For more information, contact Alyson Bristol, Director of Corporate Sponsor- ships, at (617) 638-9279.

2 The Boston Symphony Orchestra is EMC a true New England treasure, and the talent of its musicians should where information lives be experienced by everyone. EMC Corporation is pleased to have a part in bringing the magic of the BSO to young people and their families in Boston and throughout the state. We hope these events will instill in us

Michael C. Ruettgers an interest and a love of music and remind us all of the rich Executive Chairman artistic and cultural diversity that makes Massachusetts a EMC Corporation great place to live and do business.

WCVB-TVI [J Now in our 26th year of partnership |b d s t o n 1^1 wkh the Boston Symphony Orches- ^-^ tra, WCVB-TV Channel 5 is pleased to celebrate and support one of the world's most distinguished music organizations and its historic halls. Our collaboration features stirring performances as well as stories about the orchestra's important contributions to the community in televised programs such as "POPS! Goes the Fourth," "Holiday Paul La Camera at Pops" and "Salute to Symphony." WCVB proudly shares President one of our city's premier treasures with viewers in New Eng- WCVB-TV Channel 5 land and across the country, and looks forward to the next quarter-century of partnership in great music.

GENUITY Genuity is proud to support the Boston Symphony Orchestra, one of the finest orchestras in the world and one of New England's most beloved institutions. The BSO's rich heritage, distinguished musicians and maestros, and unwavering commitment to music education have created a cultural icon in Boston that brings great pride to the region and joy to millions of music lovers everywhere. We are honored to be associated with Paul R. Gudonis this remarkable organization that has meant so much to so President, Genuity many people.

60 BSOvations (continued)

Saluting Seiji Ozawa

Four Seasons Hotel Boston has 4 been very proud to support the Four Seasons Hotel Boston Symphony Orchestra for over ten years. The Boston Sym- phony has established a tradition for presenting world class music while simultaneously bringing the magic of music to our city's children. The Boston Symphony Orchestra truly is the cornerstone of the rich cul- Thomas Gurtner tural life we enjoy. Four Seasons proudly acknowledges the Regional Vice President impact the Boston Symphony Orchestra has had in enhanc- and General Manager ing the city, and we look forward to continuing our partner- Four Seasons Hotel ship in the years to come.

—. I • I The Boston Symphony Orchestra has ,^_|_ / f4 yj enriched our local community with the C^ ® gift of music throughout the past century. As the BSO enters its next 100 years of distinguished performances, ATG is proud to sponsor and work with the BSO to amplify its reach via the World Wide Web at www.bso.org. We hope that through education and access, our global community will benefit from the educa- Jeet Singh tional and musical treasures brought to us by the BSO. Co-Chairman, Board of Trustees, ATG

Classical 102.5 WCRB has proudly been CLASSICAL involved with the Boston Symphony Or- 102.5 WCRB chestra for over forty years. Each week S T N more than a half-million people listen on Saturday nights as we broadcast BSO live performances. We have been pleased to bring the performances of our world-class orchestra under the direction of Seiji Ozawa into the homes of millions of music lovers William W. Campbell throughout his twenty-nine-year tenure. Please join us as CEO we wish Seiji Ozawa a fond farewell filled with best wishes. Charles River WCRB is part of Charles River Broadcasting Co., which also Broadcasting operates classical stations WCRI in Rhode Island, WFCC on Cape Cod, and classic rock station WKPE, also on Cape Cod.

61 LJLJLJ 32 BOSTON SYMPHONY ORCHESTRA gnsTfrW^ 2001-2002 SEASON

Business Leadership Association

The support provided by members of the Business Leadership Association enables the Boston Symphony Orchestra to keep ticket prices at accessible levels, to present free concerts to the Boston community, and to support education and outreach programs. The BSO gratefully acknowledges the following companies for their generous annual Corporate Programs support, including gifts-in-kind.

This list recognizes cumulative contributions of S2,000 or more made between

September 1. 2000. and August 31. 2001.

For more information, contact Jo Frances Kaplan, Director of Institutional Giving, at (617) 638-9264.

BEETHOVEN SOClETY-$500,000 and above

EMC Corporation Fidelity Investments WCVB-TV Channel 5 Michael C. Ruettgers Edward C. Johnson 3d Paul La Camera

gold baton-$ioo,ooo to $499,999

American Airlines Four Seasons Hotel Massachusetts Cultural James FL Carter Boston Council Art Technology Group Thomas Gurtner Peter Nessen Jeet Singh Genuity Target Corporation Baldwin Piano Paul R. Gudonis Jennifer Held Robert Jones

silver baton-$50,ooo to $99,999

Accenture Deloitte & Touche John Hancock Financial

Doug Green, Sr. Michael J. Joyce Services William D. Green Essex Investment David DAlessandro Kenneth Mitchell Management XEC Corporation

David B. Sardilli Joseph C. McXay, Jr. Koji Nishigaki David Sprows FleetBoston Financial State Street Corporation American Express Charles FL Gifford David Spina Company Harcourt General. Inc. TDK Electronics Anne Wickham Richard A. Smith Corporation AT&T Kuniyoshi Matsui Esther Silver-Parker

62 Business Leadership Association (continued)

Saluting Seiji Ozawa

conductor's circle-$25,ooo to $49,999

Allmerica Financial Garber Travel SG Cowen Securities David Portney Bernard Garber Corporation Analog Devices, Inc. The Gillette Company Amy Louise Burns Ray Stata James M. Kilts Sametz Blackstone Arthur Andersen LLP Goodwin Procter LLP Associates, Inc. George E. Massaro Regina M. Pisa Roger Sametz Blue Cross and Blue IBM and Lotus Sheraton Boston Hotel Shield of MA Development Corp. Ross Hosking William C. Van Faasen Sean C. Rush Verizon Connell Limited Liberty Mutual Group Robert Mudge Partnership Edmund F. Kelly Waters Corporation Francis A. Doyle McKinsey & Company, Douglas A. Berthiaume Filene's Inc. WorldCom

J. Kent McHose David G. Fubini Donna Kelly Fisher Scientific Parthenon Capital United Airlines International Inc. Ernest Jacquet John Tipping Paul M. Montrone

CONCERTMASTER-$15,000 to $24,999

A.T. Kearney, Inc. Clough Capital Hilb, Rogal and Hamilton Arthur Bert Partners LP Insurance

Bartley Machine Charles I. Clough, Jr. Paul Bertrand Manufacturing Co., Inc. Context Integration Hill, Holliday, Connors, Richard Bartley Kimberly Katz Cosmopulos, Inc.

Bingham Dana LLP CSC John M. Connors, Jr. Catherine Curtin Nancy McCarthy HPSC, Inc. Biogen, Inc. Dav El/Fifth Avenue John W. Everets James Mullen Limousine Jazziz Boston Capital Scott A. Solombrino Lori Fagien Corporation The DeWolfe Companies, Kessler Financial Christopher W. Collins Inc. Services, L.P.

Richard J. DeAgazio Richard B. De Wolfe Howard J. Kessler John P. Manning Ernst & Young LLP Keyspan Energy The Boston Globe James S. DiStasio Delivery, N.E. Richard Gilman Herald Media, Inc. Chester R. Messer Choate, Hall & Stewart Patrick J. Purcell Loomis Sayles & William P. Hewitt Associates Company, L.P. Gelnaw, Jr., Esq. John Kieley Mark W. Holland Citizens Bank Manulife Financial Thomas J. Hollister John DesPrez III

63 TV V VV W Business Leadership Association (continued}

CONCERTMASTER-$15,000 to $24,999 (continued)

Marsh USA Inc. NSTAR Thermo Electron

Michael P. Golden Thomas J. Max Corporation

The MassMutual PricewaterhouseCoopers Richard F. S\ron Financial Group LLP UBS PaineWebber

Robert J. O'Connell Michael Costello Richard F. Connolly MedEquity Investors. Printed Circuit ^n Hoffmann Press. Inc. LLC Corporation Robert L hlenhop Robert W. Daly Agnes Sarmanian ^atts Industries. Inc.

Meredith & Grew. Inc. Sovereign Bank XE Timothv P. Home

Thomas J. Hynes, Jr. John Hamill YAS Broadband \entures Merrill/Daniels The Studley Press. Inc. LLC Ian Levine Suzanne FL Salinetti Rouzbeh Yassini Pete Cronan

PRINCIPAL PLAYER-$10,000 to $14,999

American Management Hale and Dorr LLP Raytheon Company Services, Inc. William F. Lee Carol Ramsey George A. Cloutier Holland Mark Edmund The Red Lion Inn

Arnold Worldwide. Inc. Ingalls Clancy J. Fitzpatrick Ed Eskandarian William Davis The Ritz-Carlton Hotels The Boston Consulting Group KPMGLLP of Boston Jonathan E Isaacs Donald B. Holmes John R Rolfs David loung Longwood Investment Schnader Harrison Goldstein Boston Acoustics, Inc. Advisors & Manello PC Andy Kotsatos Robert Davidson Richard J. Snyder

Boston Scientific Corporation Joseph F. Patton. Jr. Signal Technology Laurence Best Mellon New England Corporation George H. Dean Co. David F. Lamere George Lombard G. Earle Michaud New England Financial TA Associates Realty The Michael D. Dingman James M. Benson Michael A. Ruane Foundation New England Business Taco, Inc. Michael Dingman Service. Inc. John Ricottelli

Betsy Dingman Robert J. Murray Tower Capital Partners Eze Castle Software. Inc. NORTEL NETWORKS William R. Elfers Sean McLaughlin Douglas Martin UBS Warburg Inc. Geraghty Associates. Inc. Nutter. McClennen & Fish. Mark Fouler Anne C. Geraghty TIP ^ eber Shandwick Goldman, Sachs & Co. Michael E Mooney Laurence Weber Daniel Jick Palmer & Dodge LLP Gourmet Caterers, Inc. Michael R. Broun Robert Wiggins

64 WBm Business Leadership Association (continued)

patron-$5,ooo to $9,999

The Aaron Foundation Gordon Brothers Group Perry Capital Advanstar, Inc. Haemonetics Corporation Philip Morris Management Advent International Corp. The Halleran Company Corp. Alles Corporation Highland Street Connection Pioneer Investments Aon Risk Services, Inc. of Hines Prudential Securities Inc. Massachusetts Hurley Wire and Cable REBAR Aventail Corporation Independence Investment Renaissance Worldwide, Inc. Boston Showcase Company Associates Safety Insurance Company Boston Marriott Copley Place International Data Group Sara Campbell Ltd. Bull HN Information Systems Investors Bank and Trust The Schawbel Corporation Cabot Corporation Company Schubert Associates, Inc. Cahoots Design Marketing Ionics, Incorporated Select Energy Carruth Capital, LLC J.N. Phillips Glass Co., Inc. Skadden, Arps, Slate, Charles River Laboratories Jofran, Inc. Meagher & Flom LLP International John M. Corcoran & Co. State Street Development Chelsea Industries, Inc. John F. Farrell & Associates Management Corp. Citizens Financial Group Kaufman & Company State Street Global Advisors Clair Motors Kirkpatrick & Lockhart, LLP The Stop & Shop Controlair Inc. Kruger Inc. Supermarket Company Copley Place Lexington Insurance Sun Life Financial Credit Suisse First Boston Company TJX Companies Corporation LPL Financial Services Tennessee Gas Pipeline Di Pesa & Company, CPAs Maxwell Shoe Company Inc. Towers Perrin DMS/Bowne Business Medical Information Trammell Crow Co. Solutions Technology, Inc. Tucker Anthony, Inc. Eaton Vance Corporation Millennium Partners Ty-Wood/Century Edwards & Angell, LLP Millipore Corporation Manufacturing Co., Inc EXEL Holdings, Ltd. ML Strategies, LLC United Liquors, Ltd. Fidelity Capital Markets Monitor Group Verizon Information Services The Flatley Company MR Property Management VKO, Inc. Fleet Meehan Navigator Asset W.P. Stewart & Co., Ltd. Foodmaster Super Management, LLC Watermill Ventures Markets Inc. New England Patriots Watson Wyatt Worldwide The Forbes Consulting Group New Balance Athletic Shoe, Westport Worldwide, LLC FPL Energy, LLC Inc. William M. Mercer, Inc. Gadsby Hannah LLP New England Development William Gallagher Associates Garrison Square Management Nixon Peabody LLP Woburn Foreign Motors Global Companies, LLC The Parthenon Group Woodstock Corporation The Goldman Group PerkinElmer, Inc. Yawkey Foundation

65 "Lala Rokh is the ultimate expression of ourfamily's passion GOLDEN for Persian cuisine CARE and the arts."

— Azita Bina-Seibel and Babak Bina Private Geriatric Home Care "Recognized as one of Over twenty years of experience Americas top tables" 4 hours to 24 hours a day

—Gourmet Magazine 607 Boylston Street "Best Persian restaurant" Boston, MA 02116 — Best of Boston. Boston 617/267-5858

web site: www.goldencare.org email: [email protected]

97 Mt. Vernon Street / Beacon Hill ' Tei. 720-5511

Tanglewood BOSTON fO)^r THE BSO ONLINE

Boston Symphony and Boston Pops fans with access to the Internet can visit the orchestra's official home page (http://www.bso.org). The BSO web site not only provides up-to-the- minute information about all of the orchestra's activities, but also allows you to buy tickets to BSO and Pops concerts online. In addition to program listings and ticket prices, the web site offers a wide range of information on other BSO activities, biographies of BSO musicians and guest artists, current press releases, historical facts and figures, helpful telephone numbers, and information on auditions and job openings. A highlight of the site is a virtual- reality tour of the orchestra's home, Symphony Hall. Since the BSO web site is updated on a regular basis, we invite you to check in frequently.

66 M&&&& vrvn-nnm % I I rag rxni.'XM ixti # Business Leadership Association (continued) X n .»

fellow-$3,ooo to $4,999

The Abbey Group Fitz-Inn Parking Systems Needham & Company, Inc. Alkermes, Inc. & Jacob Wirth New England Insulation Co. B2K, LLC Friedl Enterprises, Inc. New England Patriots Beacon Capital Partners Graphics Marketing Services Foundation Blake and Blake Harte Carucci & Driscoll, Phelps Industries, Inc. Genealogists P.C. PNC Advisors Boston Healthcare Harvey Industries, Inc. Rentokil, Inc. Associates, Inc. Helix Technology The Rockport Company, Inc. Chubb Group of Insurance Corporation Sappi Fine Paper North Companies Horizon Beverage Company America Consumer Financial Network The E. B. Horn Co. Twins Enterprise, Inc. Cummings Properties, LLC J.D.P. Company United Gulf Management, Delta Dental Plan Jack Madden Ford Sales, Inc. Earth Tech Inc. Weingarten, Schurgin,

Erickson Retirement J. P. Morgan Chase Gagnebin & Lebovici LLP Communities Lee Kennedy Co., Inc. Weston Presidio Eze Castle Integration Legal Sea Foods, Inc. Fiduciary Trust Company The Lenox & Copley Square Hotels/Saunders Hotel Group

MEMBER-$2,000 to $2,999

Adams, Harkness & Hill, Gardner Russo & Gardner Ropes & Gray Inc. The John and Happy White Senior Aerospace Anchor Capital Advisors, Inc. Foundation Shaughnessy & Ahern The Biltrite Corporation The MacDowell Company Company Cambridge Trust Company Macy's East Shawmut Design & Carson Limited Partnership MKS Instruments, Inc. Construction Chelsea Clock Company Neiman Marcus Slade Gorton & Co., Inc. D.K. Webster Family Nordblom Company Talbots Foundation Putnam Investments WHDH-TV Channel 7 Digitas Rodman Ford, Lincoln Wire Belt Company of EDS Mercury America

67 NEXT PROGRAM. . .

Thursday, February 7, at 10:30 a.m. Pre-Concert Talks by (Open Rehearsal) John Daverio, Boston University Thursday, February 7, at 8 Friday, February 8, at 1:30

Saturday, February 9, at 8

DANIELE GATTI conducting

ALL-BRAHMS PROGRAM

Variations on a Theme by Haydn, Opus 56a

Schicksalslied (Song of Destiny), Opus 54, for chorus and orchestra, on a poem by Friedrich Holderlin TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor

INTERMISSION

Symphony No. 4 in E minor, Opus 98

Allegro non troppo Andante moderato Allegro giocoso Allegro energico e passionato

The young Italian conductor Daniele Gatti makes his much-anticipated Boston Symphony debut next week with an all-Brahms program. Johannes Brahms revered the music of the past, particularly that of Beethoven and Haydn. He reflected that reverence in pieces such as the Haydn Variations, one of his first important scores for full orchestra. Brahms's Schicksalslied (Song of Destiny), for chorus and orchestra, sets words by the great Romantic poet Friedrich Holderlin (1770-1825) that contrast the eternal bliss of the gods with the torments of humanity. Following the infamous long delay in composing his first symphony, Brahms created four such works, the last being his Symphony No. 4 in E minor, completed in 1885, and which stands as one of the greatest masterworks of the nineteenth century.

Single tickets for all Boston Symphony Orchestra concerts throughout the season are available at the Symphony Hall box office, online at www.bso.org, or by calling "SymphonyCharge" at (617) 266-1200, Monday through Saturday from 10 a.m. until 6 p.m., to charge tickets instantly on a major credit card, or to make a reservation and then send payment by check. Outside the 617 area code, call 1-888-266-1200. Please note that there is a $4 handling fee for each ticket ordered by phone or over the internet.

68 COMING CONCERTS . . .

PRE-CONCERT TALKS: The BSO offers pre-concert talks in Symphony Hall prior to all BSO concerts and Open Rehearsals. Free to all ticket holders, these begin at 7 p.m. prior to evening concerts, 12:15 p.m. prior to afternoon concerts, and one hour before the start of each Open Rehearsal.

Thursday, February 7, at 10:30 a.m. Thursday, February 28, at 10:30 a.m. (Open Rehearsal) (Open Rehearsal) Thursday 'B'—February 7, 8-9:50 Thursday 'A'—February 28, 8-9:55 Friday 'A'—February 8, 1:30-3:20 Friday 'A'—March 1, 1:30-3:25 Saturday 'B'—February 9, 8-9:50 Saturday 'A'—March 2, 8-9:55 Tuesday March 8-9:55 DANIELE GATTI conducting 'C— 5, TANGLEWOOD FESTIVAL CHORUS, INGO METZMACHER conducting JOHN OLIVER, conductor JEAN-EFFLAM BAVOUZET, piano ALL-BRAHMS Variations on a Theme STRAVINSKY Orpheus PROGRAM by Haydn MESSIAEN Reveil des oiseaux Schicksalslied, for chorus BEETHOVEN Symphony No. 2 and orchestra

Symphony No. 4 Thursday 'D'—March 7, 8-9:55 Friday 'B'—March 8, 1:30-3:25 Wednesday, February 13, at 7:30 p.m. Saturday 'B'—March 9, 8-9:55 (Open Rehearsal) Tuesday 'B'—March 12, 8-9:55 Thursday 'D'—February 14, 8-9:45 HANS GRAF conducting Friday 'B'—February 15, 1:30-3:15 MARINA PICCININI, flute Saturday 'A February 16, 8-9:45 — ANDREAS HAEFLIGER, piano Tuesday 'B'—February 19, 8-9:45 COLGRASS New work for flute, DAVID ROBERTSON conducting piano, and orchestra ISSERLIS, cello STEVEN (world premiere; STRAVINSKY Symphonies of Wind BSO commission) Instruments SCHUBERT Symphony in C, The Great HAYDN Cello Concerto in C BENJAMIN Palimpsest Thursday 4 C'—March 14, 8-10:05 HAYDN Symphony No. 93 Friday 'A'—March 15, 1:30-3:35 Saturday 'A'—March 16, 8-10:05 Thursday 'C—February 21, 8-10:25 Tuesday 'C—March 19, 8-10:05 Friday Evening—February 22, 8-10:25 ANDRfi PREVIN conducting Saturday 'B'—February 8-10:25 23, ANNE-SOPHIE MUTTER, violin JAMES LEVINE conducting DEBUSSY Prelude to The After- DVORAK Carnival Overture noon of a Faun LIGETI Ramifications (1969) for PREVIN Violin Concerto (world string orchestra premiere; commis- MOZART Symphony No. 41, sioned by the BSO) Jupiter RACHMANINOFF Symphony No. 2 WUORINEN Grand Bamboula (1971) for string orchestra FUNDING PROVIOFD IN PAR! BY SCHUMANN Symphony No. 2

Programs and artists subject to change.

Massachusetts Cultural Council

69 sYMPHONY CAFE

Offering a buffet-style dinner at Symphony Hall from

5:30 to 7:45pm prior to all BSO evening concerts. Receive

an appetizer, soup, and salad, and choose from three

delicious entrees. In addition, coffee and tea will be

served at the table, and guests

may select from the dessert buffet.

The Cafe is located in the Cohen

Wing at Symphony Hall.

For reservations call (617) 638-9328. r "It's Worth tke Wait!"

Planning the periect retirement in Concord is easier than ever when you sign up ror Newhury Court's Future Residents Waiting List. Whether you re ready to retire now, or 5 or 10 years rrom now...you can reserve the suite or your choice with a small rerundahle deposit.

Mrs. Edith Burger

A distinctive Retirement Community Newbury Court in historic Concord. (978)369-5155 Equal Opportunity Housing |B[ ™ V. 100 Newbury Court, Concord, MA 01742 • Sponsored and Managed Ly: New England Deaconess Association

70 SYMPHONY HALL INFORMATION

FOR SYMPHONY HALL CONCERT AND TICKET INFORMATION, call (617) 266-1492. For Boston Symphony concert program information, call "C-O-N-C-E-R-T" (266-2378).

THE BOSTON SYMPHONY performs ten months a year, in Symphony Hall and at Tangle- wood. For information about any of the orchestra's activities, please call Symphony Hall, or write the Boston Symphony Orchestra, Symphony Hall, Boston, MA 02115.

THE BSO'S WEB SITE (www.bso.org) provides information on all of the orchestra's activities at Symphony Hall and at Tanglewood, and is updated regularly. In addition, tickets for BSO concerts can be purchased online through a secure credit card transaction.

THE EUNICE S. AND JULIAN COHEN WING, adjacent to Symphony Hall on Huntington Avenue, may be entered by the Symphony Hall West Entrance on Huntington Avenue.

IN THE EVENT OF A BUILDING EMERGENCY, patrons will be notified by an announce- ment from the stage. Should the building need to be evacuated, please exit via the nearest door, or according to instructions.

FOR SYMPHONY HALL RENTAL INFORMATION, call (617) 638-9240, or write the Director of Event Services, Symphony Hall, Boston, MA 02115.

THE BOX OFFICE is open from 10 a.m. until 6 p.m. Monday through Saturday; on concert

evenings it remains open through intermission for BSO events or just past starting time for other events. In addition, the box office opens Sunday at 1 p.m. when there is a concert that afternoon or evening. Single tickets for all Boston Symphony subscription concerts are available at the box office. For most outside events at Symphony Hall, tickets are available three weeks before the concert at the box office or through SymphonyCharge.

TO PURCHASE BSO TICKETS: American Express, MasterCard, Visa, Diners Club, Discover, a personal check, and cash are accepted at the box office. To charge tickets instantly on a major credit card, or to make a reservation and then send payment by check, call "Symphony- Charge" at (617) 266-1200, Monday through Saturday from 10 a.m. until 6 p.m. Outside the 617 area code, phone 1-888-266-1200. As noted above, tickets can also be purchased online. There is a handling fee of $4 for each ticket ordered by phone or online.

GROUP SALES: Groups may take advantage of advance ticket sales. For BSO concerts at Symphony Hall, groups of twenty-five or more may reserve tickets by telephone and take advantage of ticket discounts and flexible payment options. To place an order, or for more information, call Group Sales at (617) 638-9345 or (800) 933-4255.

FOR PATRONS WITH DISABILITIES, an access service center, accessible restrooms, and elevators are available inside the Cohen Wing entrance to Symphony Hall on Huntington Avenue. For more information, call VOICE (617) 266-1200 or TTD/TTY (617) 638-9289.

LATECOMERS will be seated by the patron service staff during the first convenient pause in the program. Those who wish to leave before the end of the concert are asked to do so between program pieces in order not to disturb other patrons.

IN CONSIDERATION OF OUR PATRONS AND ARTISTS, children four years old or younger will not be admitted to Boston Symphony Orchestra concerts.

TICKET RESALE: If you are unable to attend a Boston Symphony concert for which you hold a subscription ticket, you may make your ticket available for resale by calling (617) 266-1492 during business hours, or (617) 638-9426 up to thirty minutes before the concert. This helps bring needed revenue to the orchestra and makes your seat available to someone who wants to attend the concert. A mailed receipt will acknowledge your tax-deductible contribution.

RUSH SEATS: There are a limited number of Rush Seats available for Boston Symphony subscription concerts on Tuesday and Thursday evenings, and on Friday afternoons. The low price of these seats is assured through the Morse Rush Seat Fund. Rush Tickets are sold at $8 each, one to a customer, at the Symphony Hall box office on Fridays as of 10 a.m. and Tuesdays and Thursdays as of 5 p.m. Please note that there are no Rush Tickets available on Friday or Saturday evenings.

71 PLEASE NOTE THAT SMOKING IS NOT PERMITTED ANYWHERE IN SYMPHONY HALL.

CAMERA AND RECORDING EQUIPMENT may not be brought into Symphony Hall during concerts.

LOST AND FOUND is located at the security desk at the stage door to Symphony Hall on St. Stephen Street.

FIRST AID FACILITIES for both men and women are available. On-call physicians attending concerts should leave their names and seat locations at the switchboard near the Massachu- setts Avenue entrance.

PARKING: The Prudential Center Garage offers discounted parking to any BSO patron with a ticket stub for evening performances. There are also two paid parking garages on Westland Avenue near Symphony Hall. Limited street parking is available. As a special benefit, guaranteed pre-paid parking near Symphony Hall is available to subscribers who attend evening concerts. For more information, call the Subscription Office at (617) 266-7575.

ELEVATORS are located outside the Hatch and Cabot-Cahners rooms on the Massachusetts Avenue side of Symphony Hall, and in the Cohen Wing.

LADIES' ROOMS are located on the orchestra level, audience-left, at the stage end of the hall; on the first balcony, also audience-left, near the coatroom; and in the Cohen Wing.

MEN'S ROOMS are located on the orchestra level, audience-right, outside the Hatch Room near the elevator; on the first-balcony level, also audience-right near the elevator, outside the Cabot-Cahners Room; and in the Cohen Wing.

COATROOMS are located on the orchestra and first-balcony levels, audience-left, outside the Hatch and Cabot-Cahners rooms, and in the Cohen Wing. Please note that the BSO is not responsible for personal apparel or other property of patrons.

LOUNGES AND BAR SERVICE: There are two lounges in Symphony Hall. The Hatch Room on the orchestra level and the Cabot-Cahners Room on the first-balcony level serve drinks starting one hour before each performance. For the Friday-afternoon concerts, both rooms open at noon, with sandwiches available until concert time.

BOSTON SYMPHONY BROADCASTS: Friday-afternoon concerts of the Boston Symphony Orchestra are broadcast live in the Boston area by WGBH 89.7 FM. Saturday-evening concerts are broadcast live by WCRB 102.5 FM.

BSO FRIENDS: The Friends are donors to the Boston Symphony Orchestra Annual Fund. Friends receive BSO, the orchestra's newsletter, as well as priority ticket information and other benefits depending on their level of giving. For information, please call the Develop- ment Office at Symphony Hall weekdays between 9 and 5, (617) 638-9276. If you are already a Friend and you have changed your address, please inform us by sending your new and old addresses to the Development Office, Symphony Hall, Boston, MA 02115. Including your patron number will assure a quick and accurate change of address in our files.

BUSINESS FOR BSO: The BSO's Business Leadership Association program makes it possible for businesses to participate in the life of the Boston Symphony Orchestra through a variety of original and exciting programs, among them "Presidents at Pops," "A Company Christmas at Pops," and special-event underwriting. Benefits include corporate recognition in the BSO program book, access to the Beranek Room reception lounge, and priority ticket service. For further information, please call the Corporate Programs Office at (617) 638-9270.

THE SYMPHONY SHOP is located in the Cohen Wing at the West Entrance on Huntington Avenue and is open Tuesday through Friday from 11 a.m. until 4 p.m., Saturday from noon until 6 p.m., and from one hour before each concert through intermission. The Symphony Shop features exclusive BSO merchandise, including the Symphony Lap Robe, calendars, coffee mugs, an expanded line of BSO apparel and recordings, and unique gift items inspired by last year's Symphony Hall Centennial Season. The Shop also carries children's books and musical-motif gift items. A selection of Symphony Shop merchandise is also available during concert hours outside the Cabot-Cahners Room. All proceeds benefit the Boston Symphony Orchestra. For further information and telephone orders, please call (617) 638-9383.

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