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Boston Symphony Orchestra

SEIJI OZAWA, Music Director

105th Season 1985-86

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Barrel-Blending is the final process of blending selected whiskies as they are poured into oak barrels to marry prior to bottling. Imported in bottle by Hiram Walker Importers Inc., Detroit Ml © 7985. Seiji Ozawa, Music Director One Hundred and Fifth Season, 1985-86

Trustees of the Boston Symphony Orchestra, Inc.

Leo L. Beranek, Chairman Nelson J. Darling, Jr., President

J.P. Barger, Vice-Chairman Mrs. John M. Bradley, Vice-Chairman

George H. Kidder, Vice-Chairman William J. Poorvu, Treasurer Mrs. George L. Sargent, Vice-Chairman

Vernon R. Alden Archie C. Epps Mrs. August R. Meyer David B. Arnold, Jr. Mrs. John H. Fitzpatrick E. James Morton Mrs. Norman L. Cahners Mrs. John L. Grandin David G. Mugar George H.A. Clowes, Jr. Francis W Hatch, Jr. Thomas D. Perry, Jr. William M. Crozier, Jr. Harvey Chet Krentzman Mrs. George R. Rowland Mrs. Lewis S. Dabney Roderick M. MacDougall Richard A. Smith Mrs. Michael H. Davis John Hoyt Stookey Trustees Emeriti

Philip K. Allen E. Morton Jennings, Jr. John T. Noonan Allen G. Barry Edward M. Kennedy Irving W. Rabb Richard P. Chapman Edward G. Murray Paul C. Reardon Abram T. Collier Albert L. Nickerson Sidney Stoneman Mrs. Harris Fahnestock John L. Thorndike Officers of the Corporation

Thomas W Morris, Vice-President, Special Projects and Planning

John Ex Rodgers, Assistant Treasurer Theodore A. Vlahos, Assistant Treasurer Jay B. Wailes, Assistant Treasurer Daniel R. Gustin, Clerk Mary Glenn Goldman, Assistant Clerk

Administration of the Boston Symphony Orchestra, Inc.

Daniel R. Gustin, Acting General Manager

Anne H. Parsons, Orchestra Manager Costa Pilavachi, Artistic Administrator Caroline Smedvig, Director of Promotion Josiah Stevenson, Director of Development Theodore A. Vlahos, Director of Business Affairs Arlene Germain, Financial Analyst Marc Mandel, Publications Coordinator Charles Gilroy, ChiefAccountant Richard Ortner, Administrator of Vera Gold, Assistant Director of Promotion Tanglewood Music Center Patricia Halligan, Personnel Administrator Charles Rawson, Manager of Box Office Nancy A. Kay, Director of Sales Eric Sanders, Director of Corporate John M. Keenum, Director of Development Foundation Support Joyce M. Serwitz, Assistant Director Nancy Knutsen, Production Manager of Development Anita R. Kurland, Administrator of Diane Greer Smart, Director of Volunteers Youth Activities Nancy E. Tanen, Media/Special Projects Steven Ledbetter, Musicologist & Administrator Program Annotator Susan E. Tomlin, Director of Annual Giving

Programs copyright ©1986 Boston Symphony Orchestra, Inc. Cover photo by Christian Steiner Board of Overseers of the Boston Symphony Orchestra, Inc.

: Harvey Chet Krentzman Chairman

Avram J. Goldbt;rg Mrs. Carl Koch Vice-Chairman Vice-Chairman

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

John Q. Adams Mrs. Thomas Gardiner Mrs. Hiroshi Nishino Mrs. Weston W. Adams Mrs. James G. Garivaltis Vincent M. O'Reilly Martin Allen Mrs. Ray A. Goldberg Stephen Paine, Sr. Mrs. David Bakalar Jordan L. Golding John A. Perkins Bruce A. Beal Joseph M. Henson Peter C. Read Peter A. Brooke Arnold Hiatt Robert E. Remis Mary Louise Cabot Mrs. Richard D. Hill Mrs. Peter van S. Rice Mrs. C. Thomas Clagett, Jr. Susan M. Hilles David Rockefeller, Jr. James F. Cleary Glen H. Hiner John Ex Rodgers John F. Cogan, Jr. Mrs. Marilyn Brachman Hoffman Mrs. Jerome Rosenfeld Mrs. Nat Cole Mrs. Bela T. Kalman Mrs. William C. Rousseau William H. Congleton Mrs. S. Charles Kasdon Mrs. William H. Ryan Arthur P. Contas Richard L. Kaye Gene Shalit Mrs. A. Werk Cook Robert D. King Mark L. Selkowitz Phyllis Curtin John Kittredge Malcolm L. Sherman A.V. d'Arbeloff Robert K. Kraft W. Davies Sohier, Jr. Mrs. Michael H. Davis John P. LaWare Ralph Z. Sorenson

Mrs. Eugene B. Doggett Mrs. James F. Lawrence Mrs. Arthur I. Strang Harriett Eckstein Laurence Lesser William F. Thompson Mrs. Alexander Ellis R. Willis Leith, Jr. Luise Vosgerchian Katherine Fanning Mrs. Charles P. Lyman Mrs. An Wang John A. Fibiger Mrs. Harry L. Marks Roger D. Wellington Kenneth G. Fisher Hanae Mori Mrs. Thomas H.P. Whitney Gerhard M. Freche Richard P. Morse Mrs. Donald B. Wilson Peter H.B. Frelinghuysen Mrs. Thomas S. Morse Brunetta Wolfman

Mrs. Thomas J. Galligan Mrs. Robert B. Newman Nicholas T. Zervas

Overseers Emeriti

Mrs. Frank G. Allen Paul Fromm Mrs. Stephen V.C. Morris Hazen H. Ayer Mrs. Louis I. Kane David R. Pokross David W. Bernstein Leonard Kaplan Mrs. Richard H. Thompson Benjamin H. Lacy

Symphony Hall Operations

1 Cheryl L. Silvia, Function Manager James E. Whitaker, House Manager

Earl G. Buker, Chief Engineer Cleveland Morrison, Stage Manager Franklin Smith, Supervisor of House Crew

Wilmoth A. Griffiths, Assistant Supervisor of House Crew William D. McDonnell, Chief Steward

2

l Officers of the Boston Symphony Association of Volunteers

Mrs. Michael H. Davis President Mrs. R. Douglas Hall III Mrs. Carl Koch Executive Vice-President Treasurer Mrs. Harry F. Sweitzer, Jr. Mrs. Gilman W. Conant Secretary Nominating Chairman

Vice-Presidents

Mrs. Eugene B. Doggett, Development Services Mrs. Bela T. Kalman, Youth Activities Ms. Phyllis Dohanian, Fundraising Projects Mrs. Hart D. Leavitt, Regions Mrs. Craig W. Fisher, Tanglewood Mrs. August R. Meyer, Membership Mrs. Mark Selkowitz, Tanglewood Ms. Ellen M. Massey, Public Relations

Chairmen of Regions

Mrs. Thomas M. Berger Ms. Prudence A. Law Mrs. F.L. Whitney Mrs. Charles A. Hubbard Mrs. Robert B. Newman Mrs. Thomas H.P. Whitney Mrs. Herbert S. Judd, Jr. John H. Stookey Mrs. Norman Wilson Mrs. Thomas Walker How to conduct yourself on Friday night.

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

Honeywell BSO

Pops Esplanade Orchestra to Perform at Space is limited to 42 people on a first-come, Statue of Liberty first-served basis. The cost of the weekend, $375 per person, double occupancy ($485 for John Williams and the Boston Pops Esplanade single occupancy), includes a $50 tax-deduct- Orchestra will participate in the national cele- ible contribution to the orchestra and covers bration surrounding the unveiling ceremony transportation, lodging, meals (excluding and relighting of the torch of the restored breakfast), and concert tickets. For further Statue of Liberty on 4 July as part of the information, please call the Volunteer Office at "Americana Music" segment of a live, nation- 266-1492, ext. 177. ally-televised program on ABC-TV from 8 to 10 p.m. Their salute to the Statue of Liberty will include music by such great American com- Ozawa to Lead American Premiere posers as John Philip Sousa, Irving Berlin, of Scenes from George M. Cohan, George Gershwin, and Messiaen's "St. Francis of Assisi" Aaron Copland. Returning to Boston 5 July, French composer Olivier Messiaen and Seiji the Boston Pops Esplanade Orchestra and Mr. Ozawa made history when Ozawa led the Williams will present the traditional Indepen- world premiere of Messiaen's six-hour opera dence Day free concert on the Esplanade that St. Francis of Assisi at the Paris Opera in evening for the city of Boston. WNEV-TV- November 1983. The opening performance Channel 7 will present a live telecast of the had been sold out for years, the French press event, which will feature the annual perform- was unanimously enthusiastic, and the work ance of Tchaikovsky's 1812 Overture complete was subsequently awarded the Grand Prix de with bells, cannon, and fireworks. la Critique 1984 in the category of French world premieres. Messaien worked on his three-act, eight-scene opera for nearly a Friends Weekend at Tanglewood decade, composing it to his own libretto, evolution of the The Friends of the BSO have the opportunity which traces the spiritual to travel to Tanglewood via chartered bus for poet-philosopher-monk St. Francis. Next three days of spectacular music by the Boston month, with Messaien himself in attendance, Symphony Orchestra the weekend of Seiji Ozawa and the Boston Symphony will give the American premiere of 25-27 July. This summer, the Friends Weekend Orchestra — includes the BSO concerts on Friday and Sat- three scenes from St. Francis "St. Francis urday evenings, as well as on Sunday after- Kisses the Leper," "The Stigmata," and in noon. Performances include Seiji Ozawa "Death and New Life"—with performances conducting music of Brahms, Haydn, and Symphony Hall on 10, 11, 12, and 15 April, Beethoven, Leonard Bernstein conducting followed by Carnegie Hall performances in April. their music of Tchaikovsky and Bernstein, and solo New York on 16 and 17 Repeating premiere, baritone appearances by violinist Mi Dori and pianists roles from the Paris Jose Peter Serkin and Alfred Brendel. The Friends van Dam will sing St. Francis and tenor Ken- the Leper. will joined will stay at the Red Lion Inn and will have neth Riegel They be by door-to-door service provided by Greyhound soprano Kathleen Battle as the Angel, and the Tanglewood Festival Chorus, John Oliver, Bus for all events. Dinner Friday night will be conductor. at the Pittsfield Country Club. Lunch on Satur- day will be at Seranak, the former home of Serge Koussevitzky, and dinner will be at With Thanks Mahkeenac Farm, adjacent to the Tanglewood grounds. Sunday luncheon at Blantyre will pre- We wish to give special thanks to the National cede the 2:30 p.m. concert. Anticipated arrival Endowment for the Arts and the Massachu- time in Boston on 27 July is 8 p.m. setts Council on the Arts and Humanities for The weekend is available to Friends of the their continued support of the Boston Sym- BSO who have donated a minimum of $40. phony Orchestra. Investments are like trees. Tb grow steadily, they must have solid roots.

There are two ways to invest your organization's money. You can put

it in a questionable, "go for it all" program. Or you can put it in a program like ours that is solid and firmly rooted. So call our Institutional Financial Management Group at 1-800- SHAWMUT. You'll find that when it comes to investing, we know our way around the woods. Shawmut Financial Management ® Division

Look tousfordirection. A "Salute" Update string quartet. Tickets are $6 general admis- sion, $4 students, seniors, and special needs. The most important public fundraising event BSO assistant principal flutist Leone Buyse for the Boston Symphony Orchestra, "A Salute will present a faculty recital with Barbara Lister- to Symphony" (formerly the "Musical Mar- Sink, piano and voice, in the Concert Room of the athon"), takes place Friday, 11 April through Boston Conservatory, 8 The Fenway, on Friday, Monday, 14 April. A project of the Boston Sym- 4 April at 8 p.m. The program will include music phony Association of Volunteers and chaired by of Telemann, Devienne, Fukushima, Martimi, Susan D. Hall, this year's Salute will focus on Roussel, and Prokofiev. Admission is free. the theme "Get to Know the BSO." WCRB- The Newton Symphony Orchestra under its 102.5-FM will devote much of its radio pro- music director Ronald Knudsen will perform gramming to the BSO, featuring celebrity its free annual Youth Concert on Saturday, interviews and musical selections from the past 5 April at 2 p.m. at Newton North High School thirty years. The broadcast schedule is as fol- auditorium. The program will combine the lows: Friday, 11 April from noon to 2 p.m. and shadow puppet wizardry of the Underground 9 to 11 p.m.; Saturday, 12 April from 11 a.m. to Railway Puppet Theatre with the orchestra's 1 p.m. and 6 to 8 p.m.; Sunday, 13 April from performance of Strauss's Till Eulenspiegel's 10 a.m. to midnight; and Monday, 14 April from Merry Pranks, and will also feature the winner 7 to 11 p.m. The kick-off activities, broadcast by of the orchestra's Young Soloist Competition. WCRB, take place at Quincy Market, begin- For further information, call 965-2555. ning at noon on Friday, and feature Roger The Boston Artists Ensemble, founded in Voisin and a student brass ensemble. Local 1980 by its director, BSO cellist Jonathan performing artists will continue to provide mid- Miller, performs Beethoven's Piano Trio in day entertainment at Quincy Market each day C minor, Opus 1, No. 3, and the Tchaikovsky of Salute beginning at noon. A highlight of A minor Piano Trio on Sunday, 6 April at Salute weekend is the elegant brunch and 7 p.m. at Ellsworth Hall at Pine Manor College promenade on Sunday, 13 April from 11:30 a.m. in Brookline. Tickets are $7 ($5 students and to 2:30 p.m. at Neiman-Marcus, Copley Place, senior citizens); for further information, call offering delights for the ear, the eye, and the 266-2322. palate on all three levels of the store. Tickets are $50 per person and are available by invita- tion only. To receive an invitation, please call the Volunteer Office, 266-1492, ext. 178. The BSO Guests on WGBH-FM-89.7 culmination of "A Salute to Symphony" is the The featured guests with Ron Delia Chiesa dur- live telecast, including a performance by Seiji ing the intermissions of live Boston Symphony Ozawa and the BSO, on WCVB-TV Channel 5 broadcasts for the rest of the season will be on Monday, 14 April from 7:30 to 9 p.m., simul- mezzo-soprano Jan DeGaetani (28 and cast on WCRB. Generous corporate support 29 March), BSO chief engineer Earl Buker for Salute has been provided by Neiman-Mar- (4 and 5 April), Harry Ellis Dickson (11 and cus, Carter Hawley Hale, and Raytheon. Please 12 April), and the co-chairmen of this year's join them and the many Friends of the orches- "Opening Night at Pops," Susan Reeder tra in saluting the great traditions of the BSO (18 and 19 April) and Molly Millman (25 and and Pops. 26 April). Guest conductor Jeffrey Tate will be

Robert J. Lurtsema's guest on Morning Pro Musica on Thursday, 3 April.

BSO Members in Concert Season Opener for Pops

Ronald Feldman leads the Mystic Valley Invitations to "Opening Night at Pops" 1986 Orchestra in a program featuring violinist are already in the mail to BSO Friends and Jennie Shames in the Dvorak Violin Concerto subscribers, according to co-chairmen Molly on Saturday, 29 March at 8 p.m. at Cary Hall in Millman and Susan Reeder. Tickets for the Lexington and on Sunday, 30 March at 3 p.m. event, which takes place on Tuesday, 6 May, are at Paine Hall, Harvard University. The pro- priced from $25 to $150 and include supper gram also includes Haydn's Symphony No. 60, and wine. If you have not received an invita- II distratto, Morton Feldman's Intersection #1, tion, please call the Volunteer Office at and the Andante from Mendelssohn's E minor 266-1492, ext. 178. Seiji Ozawa

Symphony Orchestra, a post he relin- quished at the end of the 1968-69 season.

Seiji Ozawa first conducted the Boston Symphony in Symphony Hall in January 1968; he had previously appeared with the orchestra for four summers at Tanglewood, where he became an artistic director in 1970. In December 1970 he began his inau- gural season as conductor and music director of the San Francisco Symphony Orchestra. The music directorship of the Boston Symphony followed in 1973, and Mr. Ozawa resigned his San Francisco posi- tion in the spring of 1976, serving as music advisor there for the 1976-77 season.

As music director of the Boston Sym- phony Orchestra, Mr. Ozawa has strength- The 1985-86 season is Seiji Ozawa's thir- ened the orchestra's reputation inter- teenth as music director of the Boston Sym- nationally as well as at home, beginning phony Orchestra. In the fall of 1973 he with the BSO's 1976 European tour and, in became the orchestra's thirteenth music March 1978, a nine-city tour of Japan. At director since it was founded in 1881. the invitation of the Chinese government, Born in 1935 in Shenyang, China, to Mr. Ozawa then spent a week working with Japanese parents, Mr. Ozawa studied both the Peking Central Philharmonic Orches- Western and Oriental music as a child and tra; a year later, in March 1979, he returned later graduated from Tokyo's Toho School to China with the entire Boston Symphony of Music with first prizes in composition for a significant musical and cultural and conducting. In the fall of 1959 he won exchange entailing coaching, study, and first prize at the International Competition discussion sessions with Chinese musi- of Orchestra Conductors, Besancon, cians, as well as concert performances. Also France. Charles Munch, then music in 1979, Mr. Ozawa led the orchestra on its director of the Boston Symphony and a first tour devoted exclusively to appear- judge at the competition, invited him to ances at the major music festivals of Tanglewood, where in 1960 he won the Europe. Seiji Ozawa and the Boston Sym- Koussevitzky Prize for outstanding student phony celebrated the orchestra's one-hun- conductor, the highest honor awarded by dredth birthday with a fourteen-city the Berkshire Music Center (now the American tour in March 1981 and an inter- Tanglewood Music Center). national tour to Japan, France, Germany, Austria, and England in October/November While working with Herbert von Karajan that same year. In August/September 1984, in West Berlin, Mr. Ozawa came to the Mr. Ozawa led the orchestra in a two-and- attention of Leonard Bernstein, whom he one-half-week, eleven-concert tour which accompanied on the New York Philhar- included appearances at the music festivals monic's spring 1961 Japan tour, and he was of Edinburgh, London, Salzburg, Lucerne, made an assistant conductor of that orches- and Berlin, as well as performances in tra for the 1961-62 season. His first profes- Munich, Hamburg, and Amsterdam. This sional concert appearance in North February he returned with the orchestra to America came in January 1962 with the San Japan for a three-week tour. Francisco Symphony Orchestra. He was music director of the Ravinia Festival for Mr. Ozawa pursues an active interna- five summers beginning in 1964, and music tional career. He appears regularly with the director for four seasons of the Toronto Berlin Philharmonic, the Orchestre de

8 Paris, the French National Radio Orches- music of Ravel, Berlioz, and Debussy with tra, the Vienna Philharmonic, the Philhar- mezzo-soprano Frederica von Stade and monia of London, and the New Japan the Mendelssohn Violin Concerto with Philharmonic. His operatic credits include Isaac Stern; in addition, he has recorded Salzburg, London's Royal Opera at Covent the Schoenberg/Monn Cello Concerto and Garden, La Scala in Milan, and the Paris Strauss's Don Quixote with cellist Yo-Yo Ma Opera, where he conducted the world for future release. For Telarc, he has premiere of Olivier Messiaen's opera recorded the complete cycle of Beethoven St. Francis of Assisi in November 1983. piano concertos and the Choral Fantasy Messiaen's opera was subsequently with Rudolf Serkin. Mr. Ozawa and the awarded the Grand Prix de la Critique 1984 orchestra have recorded five of the works in the category of French world premieres. commissioned by the BSO for its centen- Mr. Ozawa will lead the Boston Symphony nial: Roger Sessions's Pulitzer Prize-win- '>j*\ Orchestra in the American premiere of ning Concerto for Orchestra and Andrzej scenes from St. Francis of Assisi in April Panufnik's Sinfonia Votiva are available on 1986 in Boston and New York. Hyperion; Peter Lieberson's Piano Con- certo with soloist Peter Serkin, John Seiji Ozawa has won an Emmy for the Harbison's Symphony No. 1, and Oily Boston Symphony Orchestra's "Evening at Wilson's Sinfo?iia have been taped for New Symphony" television series. His award- World records. For Angel/EMI, he and the winning recordings include Berlioz's orchestra have recorded Stravinsky's Fire- Romeo et Juliette, Schoenberg's Gurrelieder, bird and, with soloist Itzhak Perlman, the and the Berg and Stravinsky violin concer- violin concertos of Earl Kim and Robert tos with Itzhak Perlman. Other recordings Starer. with the orchestra include, for Philips, Richard Strauss's^Zso sprach Zarathustra Mr. Ozawa holds honorary Doctor of and Fin Heldenleben, Stravinsky's Le Sacre Music degrees from the University of Mas- du printemps, Hoist's The Planets, and sachusetts, the New England Conservatory Mahler's Symphony No. 8, the Symphony of of Music, and Wheaton College in Norton, a Thousand. For CBS, he has recorded Massachusetts. %~£

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10 k Violas Bass Clarinet Burton Fine Craig Nordstrom Charles S. Dana chair Patricia McCarty Bassoons Anne Stoneman chair Sherman Walt Ronald Wilkison Edward A. Taft chair Robert Barnes Roland Small Jerome Lipson Matthew Ruggiero Bernard Kadinoff Contrabassoon Joseph Pietropaolo Richard Plaster Michael Zaretsky Marc Jeanneret Horns Music Directorship endowed by Betty Benthin Charles Kavalovski John Moors Cabot Mark Ludwig Helen Sagoff Slosberg chair *Roberto Diaz Richard Sebring BOSTON SYMPHONY Daniel Katzen ORCHESTRA Cellos Jay Wadenpfuhl Jules Eskin Richard Mackey 1985-86 Philip R. Allen chair Jonathan Menkis Martha Babcock Vernon and Marion Alden chair First Violins Trumpets Mischa Nieland Malcolm Lowe Charles Schlueter Esther S. and Joseph M. Shapiro chair Concertmaster Roger Louis Voisin chair Charles Munch chair *Robert Ripley Andre C6me Max Hobart Luis Leguia Ford H. Cooper chair Acting Associate Concertmaster Carol Procter Charles Daval Helen Horner Mclntyre chair Ronald Feldman Peter Chapman Ceeylia Arzewski *Jerome Patterson Acting Assistant Concertmaster Trombones Robert L. Beal, and fJoel Moerschel Enid and Bruce A. Beal chair Sandra and David Bakalar chair Ronald Barron J.P. and Mary B. Barger chair Bo Youp Hwang *Jonathan Miller Norman Bolter Edward and Bertha C. Rose chair *Sato Knudsen Max Winder Bass Trombone John and Dorothy Wilson chair Basses Douglas Yeo Harry Dickson Edwin Barker Forrest Foster Collier chair Harold D. Hodgkinson chair Tuba Gottfried Wilfinger Lawrence Wolfe Chester Schmitz Maria Stata chair Fredy Ostrovsky Margaret and William C. Leo Panasevich Joseph Hearne Rousseau chair Carolyn and George Rowland chair Bela Wurtzler Timpani Sheldon Rotenberg Leslie Martin Muriel C. Kasdon and John Salkowski Everett Firth Marjorie C. Paley chair Sylvia Shippen Wells chair Alfred Schneider John Barwicki Raymond Sird •Robert Olson Percussion * flkuko Mizuno James Orleans Charles Smith Amnon Levy Peter and Anne Brooke chair Flutes Arthur Press Doriot Anthony Dwyer Assistant Timpanist Second Violins Walter Piston chair Thomas Gauger Marylou Speaker Churchill Fenwick Smith Frank Epstein Fahnestock chair Myra and Robert Kraft chair Vyacheslav Uritsky Leone Buyse Charlotte and Irving W. Rabb chair Harp Ronald Knudsen Piccolo Ann Hobson Pilot Willona Henderson Sinclair chair Joseph McGauley Lois Schaefer Leonard Moss Evelyn and C. Charles Marran chair * Michael Vitale * Harvey Seigel Oboes * Jerome Rosen Ralph Gomberg Mildred B. Remis chair *Sheila Fiekowsky Personnel Wayne Rapier Managers fGerald Elias William Alfred Genovese Moyer Ronan Lefkowitz Harry Shapiro * Nancy Bracken English Horn *Joel Smirnoff Laurence Thorstenberg Librarians *Jennie Shames Phyllis Knight Beranek chair Marshall Burlingame *Nisanne Lowe William Shisler *Aza Raykhtsaum Clarinets James Harper * Lucia Lin Harold Wright Ann S.M. Banks chair Stage Manager * Participating in a system of rotated Thomas Martin Position endowed by seating within each string section. Peter Hadcock Angelica Lloyd Clagett t On sabbatical leave. E-flat Clarinet Alfred Robison

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12 —

A Brief History of the Boston Symphony Orchestra

For many years, philanthropist, Civil War personality proved so enduring that he veteran, and amateur musician Henry Lee served an unprecedented term of twenty- Higginson dreamed of founding a great and five years. permanent orchestra in his home town of In 1936, Koussevitzky led the orchestra's Boston. His vision approached reality in first concerts in the Berkshires, and a year the spring of 1881, and on 22 October that later he and the players took up annual year the Boston Symphony Orchestra's summer residence at Tanglewood. inaugural concert took place under the Koussevitzky passionately shared Major direction of conductor Georg Henschel. For Higginson's dream of "a good honest nearly twenty years, symphony concerts school for musicians," and in 1940 that were held in the old Boston Music Hall; dream was realized with the founding at Symphony Hall, the orchestra's present Tanglewood of the Berkshire Music Center home, and one of the world's most highly (now called the Tanglewood Music Center), regarded concert halls, was opened in 1900. a unique summer music academy for young Henschel was succeeded by a series of artists. German-born and -trained conductors Wilhelm Gericke, Arthur Nikisch, Emil Expansion continued in other areas as Paur, and Max Fiedler—culminating in the well. In 1929 the free Esplanade concerts appointment of the legendary Karl Muck, on the Charles River in Boston were inau- who served two tenures as music director, gurated by Arthur Fiedler, who had been a 1906-08 and 1912-18. Meanwhile, in July member of the orchestra since 1915 and 1885, the musicians of the Boston Sym- who in 1930 became the eighteenth conduc- phony had given their first "Promenade" tor of the Boston Pops, a post he would concert, offering both music and refresh- hold for half a century, to be succeeded by ments, and fulfilling Major Higginson's John Williams in 1980. The Boston Pops wish to give "concerts of a lighter kind of celebrated its hundredth birthday in 1985 music." These concerts, soon to be given in under Mr. Williams's baton. the springtime and renamed first "Popu- Charles Munch followed Koussevitzky as lar" and then "Pops," fast became a music director in 1949. Munch continued tradition. Koussevitzky's practice of supporting con-

During the orchestra's first decades, temporary composers and introduced much there were striking moves toward expan- music from the French repertory to this sion. In 1915, the orchestra made its first transcontinental trip, playing thirteen con- certs at the Panama- Pacific Exposition in San Francisco. Recording, begun with RCA in the pioneering days of 1917, continued with increasing frequency, as did radio broadcasts of concerts. The character of the Boston Symphony was greatly changed in 1918, when Henri Rabaud was engaged as conductor; he was succeeded the following season by Pierre Monteux. These appoint- ments marked the beginning of a French- oriented tradition which would be main- tained, 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 Henry Lee Higginson

13 References furnished request

Aspen Music Festival Liberace Burt Bacharach Panayis Lyras David Bar-Man Marian McPartland Leonard Bernstein Zubin Mehta Bolcom and Morris Metropolitan Opera Jorge Bolet Mitchell-Ruff Duo Boston Pops Orchestra Seiji Ozawa Boston Symphony Orchestra Philadelphia Orchestra Brevard Music Center Andre Previn Dave Brubeck Ravinia Festival David Buechner Santiago Rodriguez Chicago Symphony Orchestra George Shearing Cincinnati May Festival Abbey Simon Cincinnati Symphony Orchestra Georg Solti Aaron Copland Tanglewood Music Center Denver Symphony Orchestra Michael Tilson Thomas Ferrante and Teicher Beveridge Webster Natalie Hinderas Earl Wild Interlochen Arts Academy and John Williams National Music Camp Wolf Trap Foundation for Billy Joel the Performing Arts Gilbert Kalish Yehudi Wyner Ruth Laredo Over 200 others Baldwin

14 1

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country. During his tenure, the orchestra abroad, and his program of centennial com- toured abroad for the first time, and its missions—from Sandor Balassa, Leonard continuing series of Youth Concerts was ini- Bernstein, John Corigliano, Peter Maxwell tiated. Erich Leinsdorf began his seven- Davies, John Harbison, Leon Kirchner, year term as music director in 1962. Peter Lieberson, Donald Martino, Andrzej Leinsdorf presented numerous premieres, Panufnik, Roger Sessions, Sir Michael restored many forgotten and neglected Tippett, and Oily Wilson—on the occasion works to the repertory, and, like his two of the orchestra's hundredth birthday has predecessors, made many recordings for reaffirmed the orchestra's commitment to RCA; in addition, many concerts were tele- new music. Under his direction, the orches- vised under his direction. Leinsdorf was tra has also expanded its recording activi- also an energetic director of the Tangle- ties to include releases on the Philips, wood Music Center, and under his lead- Telarc, CBS, Angel/EMI, Hyperion, and ership a full-tuition fellowship program was New World labels. established. Also during these years, the Boston Symphony Chamber Players were Prom its earliest days, the Boston Sym- founded, in 1964; they are the world's only phony Orchestra has stood for imagination, permanent chamber ensemble made up of a enterprise, and the highest attainable stan- major symphony orchestra's principal dards. Today, the Boston Symphony players. Orchestra, Inc., presents more than 250 concerts annually. Attended by a live audi- William Steinberg succeeded Leinsdorf ence of nearly 1.5 million, the orchestra's in 1969. He conducted several American performances are heard by a vast national and world premieres, made recordings for and international audience through the Deutsche Grammophon and RCA, media of radio, television, and recordings. appeared regularly on television, led the Its annual budget has grown from 1971 European tour, and directed concerts Higginson's projected $115,000 to more on the east coast, in the south, and in the than $20 million, and its preeminent posi- mid-west. tion in the world of music is due not only to Seiji Ozawa, an artistic director of the the support of its audiences but also to Tanglewood Festival since 1970, became grants from the federal and state govern- the orchestra's thirteenth music director in ments, and to the generosity of many foun- the fall of 1973, following a year as music dations, businesses, and individuals. It is adviser. Now in his thirteenth year as music an ensemble that has richly fulfilled director, Mr. Ozawa has continued to solid- Higginson's vision of a great and perma- ify the orchestra's reputation at home and nent orchestra in Boston.

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

15 :

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Local performing artists, introduced by celebrity hosts, you on Sunday, April 13 from 11:30 a.m. to 2:30 p.m. brighten the midday scene with lively entertainment on the three levels of Neiman-Marcus at Copley Place. under the Rotunda. Performances take place on each Tickets, priced at $50 per person, are available by day of Salute to Symphony beginning at noon. Join invitation only. To receive an invitation, please call the fun! the Volunteer Office, 266-1492, ext. 178.

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16 — — ——

BOSTON SYMPHONY ORCHESTRA

Seiji Ozawa, Music Director

One Hundred and Fifth Season, 1985-86

Thursday, 27 March at 8 Friday, 28 March at 2 Saturday, 29 March at 8

PIERRE BOULEZ conducting

STRAVINSKY The Song of the Nightingale, Symphonic poem Presto—Andantino Chinese March— Poco pm mosso—Tempo giusto Song of the Nightingale: Adagio—Presto—Vivace The Mechanical Nightingale Plays: Moderato Larghetto—Maestoso e piano

BOULEZ Notations I-IV Modere, Fantasque Rythmique Tres modere

Tres vif, Strident

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RAVEL Daphnis and Chloe NEW ENGLAND CONSERVATORY CHORUS, LORNA COOKE deVARON, conductor

Thursday's and Saturday's concerts will end about 10:05 and Friday's about 4:05. Philips, Telarc, CBS, Deutsche Grammophon, Angel/EMI, New World, Hyperion, and RCA records Baldwin piano

Please be sure the electronic signal on your watch or pager is switched off during the concert. The program books for the Friday series are given in loving memory of Mrs. Hugh Bancroft by her daughters Mrs. A. Werk Cook and the late Mrs. William C. Cox.

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Exclusively ^LandVest^ Headquarters 14 Kilby Street, Boston, Massachusetts 02109 Telephone (617) 723-1800, BOS TELEX 294-116 Igor Stravinsky The Song of the Nightingale, Symphonic poem

Igor Stravinsky was born at Oranien- baum, Russia, on 17 June 1882 and died in New York on 6 April 1971. He composed The Song of the Nightingale in 1917—

completing it on 4 April—by adapting music from his opera The Nightingale, which had been composed in two separate

stages in 1908-09 and 1913-14. The first performance of the symphonic poem took place in Geneva on 6 December 1919 with Ernest Ansermet conducting the Orchestre

de la Suisse Romande. The first American performance was given by Leopold Stokowski and the Philadelphia Orchestra on 19 October 1923. Serge Koussevitzky introduced the work to the Boston Sym- phony Orchestra's repertory on 30 and 31 October 1925. It has also been per- formed here under the direction of Ansermet, Lorin Maazel, Charles Wilson, and Erich Leinsdorf, who led the most recent Symphony Hall performances in February 1969 and the only Tanglewood performance in July 1982.

While still a student of Rimsky-Korsakov's, Stravinsky conceived a short opera based on Hans Christian Andersen's fairy tale The Nightingale. He composed the first act at his family's estate at Ustilug in 1908 and 1909, but then laid it aside for (as he thought) a short time because he had received an offer he couldn't refuse: Serge Diaghilev had commissioned him to write a ballet on a scenario about a mythological "firebird" for the Russian Ballet. The offer—with its guarantee of a performance in Paris by the most famous Russian performing organization of the time—was irresistible. Little did Stravinsky guess that the overwhelming success of The Firebird would lead to pressing commissions for more ballets and the even greater success (and notoriety) oiPetrushka and The Rite of Spring by 1913. Only after completing the latter ballet was he able to turn his mind again to his little opera. But by this time he was a completely different composer. The musical sketches for Act I had been seen and approved by Rimsky-Korsakov shortly before his death; Rimsky would scarcely have approved so audacious a score as Stravinsky was turning out five years later. After failing to interest anyone in performing the single completed act as a "lyric scene," Stravinsky decided to go ahead and complete the score, despite the inevitable disjunction of musical styles. It was possible, he felt, that the change might work dramatically, since an important change in the plot at precisely the point where he broke off in 1909 could justify the new musical language.

The plot of the opera is quite simple. Indeed, the three "acts" are so brief that it really makes more sense to regard them as scenes in a one-act opera lasting about three-quarters of an hour. In the opening scene, a Chinese fisherman sings of his joy at hearing the voice of a nightingale, whose exquisite song fills the air with music. The bird's song is interrupted by a group of courtiers—absurd characters all—who have come to invite the nightingale to sing for the Emperor. Though the bird prefers the open air, it agrees to go. The second and third acts take place in the Emperor's palace (hence the justification for a change of musical style). At first the Emperor is moved to tears by the bird's song, but when three Japanese envoys arrive with a gift in the form of a dazzlingly ornate mechanical nightingale (a visual delight, though it cannot sing nearly so well), the true nightingale slips out of the room. The Emperor

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lying ill in bed, while Death wears his royal regalia. But the nightingale returns and, by its singing, redeems the life of the Emperor, forcing Death to depart.

Ultimately the opera was produced on the stage by the Russian Ballet since the Moscow Free Theater, which had commissioned the score, had folded. But Diaghilev always preferred ballet to opera, and he approached Stravinsky in 1917 with the proposal that the The Nightingale be remounted as a ballet. Stravinsky offered instead to produce a symphonic poem based on the stylistically consistent second and third acts of the opera, from which Diaghilev could make his ballet. The scenario was adapted from the original story, the symphonic poem composed in short order (mostly by adapting existing music), and the ballet produced—though it was delayed until 1920, at which time the choreography was created by Leonid Massine and the stage designs by Henri Matisse.

Most of the symphonic poem consists of passages taken more or less directly from the opera, and thus not really symphonic in intent. The score opens with the introduction to Act II. The "Chinese March" accompanies the entrance of the Emperor. For the "Song of the Nightingale," Stravinsky replaced the original vocal line for soprano by a solo flute and solo violin, allowing a much wider melodic range, which in turn necessitated rewriting of the rest of the score. A repetition of some of the opening music is interrupted by the music signaling the arrival of the Japanese ambassadors. The mechanical nightingale sings as a solo oboe, the intention being

that it imitate the character of a real bird but sound less "natural." The introductory music to Act III of the opera is included, but then Stravinsky recomposes the nightingale's song to Death, the separate statements of which he puts in different keys for greater harmonic variety. The score closes with the "Funeral March" (interrupted in the opera by the discovery that the Emperor is alive) and the fisherman's song once again. —Steven Ledbetter

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22 Pierre Boulez Notations I-IV

Pierre Boulez was born in Montbrison, in the Loire region of France, on 26 March 1925 and lives in Paris. Notations is an orchestral reworking of four unpublished piano compositions dating from his stu- dent years. The orchestral treatment was completed in 1978; the work was pre- miered in Paris on 18 June 1980 by the Orchestre de Paris under the direction of Daniel Barenboim. The American pre- miere took place on 11 December that year, when Zubin Mehta led a performance by the New York Philharmonic in Avery Fish-

er Hall. These are the first performances by the Boston Symphony. Notations calls for a large orchestra consisting of four flutes (fourth doubling piccolo), three oboes and English horn, three clarinets, E-flat clarinet, and bass clarinet, three bassoons and contrabassoon, six horns, four trumpets, four trombones, tuba, three harps, piano, celesta, a percussion section consisting of xylophone, vibraphone, glockenspiel, marimba, Japanese woodblocks, anvils, bongos, tubular bells, tablas, cowbells, timbales, cymbals, gongs, and various other drums, bells, and wood and metal blocks, plus a string section consisting of nine stands of first violins, eight of second violins, seven of violas, six of cellos, and five of double basses.

Pierre Boulez has been one of the world's leading musical figures for more than three decades. As a boy he divided his attention between mathematics and music, and his father intended that he become an engineer. But he chose differently, and against his father's will, he entered the Paris Conservatoire, where he quickly found that the most interesting things were happening in Olivier Messiaen's harmony class, which ranged far beyond the restrictive limits of the normal conservatory curriculum. (Since Messiaen was hired only as a "harmony" teacher, he was not officially allowed to teach composition, but he found innovative ways of enlivening the curriculum nonetheless.) Boulez's alert mind, already trained in the clear paths of mathematics, sought persistently for what was genuinely original, and he made something of a reputation by decrying "new" works that he considered merely facile in their novelty. Perhaps his strongest statement came in the notorious, feisty essay "Schoenberg is Dead," which was not an obituary tribute to the recently deceased master, but an attack on those who continued to follow in his footsteps without, in Boulez's view, progressing beyond.

Already by that time Boulez had begun to conduct, gaining valuable experience in the theater, but his conducting career really took off only after he had established an international reputation as a composer. Though he was already highly regarded for his Soleil des eaux (1948) and his first two piano sonatas, it was the premiere of Le Marteau sans maitre in 1955 that made him internationally famous.

Over the years Boulez has withdrawn many of his pieces from circulation and reworked some of them into new forms. He is never satisfied that a composition is entirely "finished"; everything is to some extent "work in progress" as long as the mind that conceived it continues to function and to grow. This is one reason why his output is not exceptionally large, although it includes works for chorus and orches- tra, for orchestra alone, for a wide range of chamber ensembles, for one or two pianos, and for electronic media.

23 Week 18 For some years Boulez's composing was slowed by his increasingly active life as a conductor. Like many composers who conduct, he began largely out of self-defense, to be sure that his own works would be properly rehearsed and performed. But he quickly developed a reputation as an unusually thoughtful proponent of certain composers, especially of many twentieth-century figures. His conducting technique is up to any complication that a composer can devise, and even very difficult scores are "sorted out" under his extraordinarily clear beat—in some cases for the first time. As music director of the BBC Symphony Orchestra and of the New York Philharmonic, he made a series of important recordings that remain monuments of their kind. He pursued original goals in programming for the orchestra as well. At the start, for example, he emphasized one or two composers each year. The research library at Lincoln Center would put, say, the complete works of Liszt on special reserve so that Boulez could study them to find rarely-performed pieces that he wanted to put on his programs; to this day the librarians at Lincoln Center recall with delight the wide-ranging curiosity, the penetrating intelligence, and the Gallic charm that he brought in his visits. Today he restricts his conducting to twentieth- century music, the repertory where he feels his advocacy can make an important difference.

During the years when he was busiest as a conductor (and, by the same token, composing less than he had in the preceding decade), Boulez became an important figure in the promotion of new music, not only in the standard concert venues such as Lincoln Center, but also in the relaxed "Rug Concerts," where dress and decorum were informal and there was an opportunity to discuss the music with the perform- ers and composer, and often to hear it twice on a given evening.

Perhaps Boulez's most important contribution to contemporary music has come in recent years when, as director of IRCAM in Paris (the Institut de Recherche et de Coordination Acoustique/Musique), he is not only actively composing again, but also making a home for musicians of pioneering minds from all over the world. There, with the support of the French government, he has established a unique new-music orchestra, the Ensemble InterContemporain, thirty musicians available full-time to rehearse and perform compositions of the twentieth century, many of them works of the last decade.

Since relocating to Paris and IRCAM, Boulez has concentrated much of his attention on an issue that concerned him already in the early 1950s: the role of

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24 electronics in music. The earliest attempts at "tape music" and other forms of electronic composition were as much a struggle with the technology as with the musical conception. At IRCAM, quite possibly the world's best-equipped laboratory for musical creation using any kind of electronic device or technique, Boulez has been able to function and invent to the limits of current technology, as in his Reports, which he performed with the Ensemble InterContemporain in this hall last month.

But his recent music also includes works for the traditional acoustic instruments without electronic intervention. A case in point is Notations, four short movements for large orchestra drawn from piano pieces that he had composed as a student. The original piano pieces have never been published, so it is not possible to determine how much recomposition has taken place. As it stands in the orchestral version, Notations consists of four movements, all of them fairly short (the only one to run more than 100 measures is the last, which is also the fastest in tempo), of differing moods and characters; the entire set lasts less than a dozen minutes. (Although the score of each of the four movements is prominently numbered I, II, III, and IV, the composer has decided to reverse the order of the even-numbered pieces, so that-—in this and future performances—the closing movement will be the one that originally stood in second place.)

No. I (Modere, Fantasque) begins with isolated upbeat figures presented through- out the orchestra in imaginative scatterings of color. The tempo is unsteady, picking up speed or relaxing as the instruments play longer notes, their trills or tremolos suggesting the "fantastic" element indicated in the movement heading. Massed sonorities in divided strings—sometimes bowed, sometimes plucked in sixteenth- note figures—alternate with fragments heard elsewhere in the orchestra, before dying away in a few persistent trills and brief gestures.

The second movement (originally the fourth) is marked Rythmique. Its most salient feature is the continuous pulse of eighth-notes heard at the beginning with irregular metric organization (a device familiar from as long ago as Stravinsky's Rite of Spring). The orchestral instruments tend to retain their family connections: four flutes shooting forth their iridescent figures in a choir against sustained chords in the clarinets, and punctuation underneath it all by the three bassoons, against which strings divide themselves by stand into a complex chordal sonority. Gradually the eighth-note pulse becomes further enlivened by a predominance of sixteenths; the dynamic level grows to the very end.

The third movement, Tres modere, is the slowest of the set, though filled with expressive little quickenings and delays of the basic pulse. Its opening is also perhaps the most delicate in color, though a middle section becomes fuller and more dramatic. The closing section positively shimmers with trills, tremolos, and harmon- ics, becoming ever more hushed until only silence is left.

The last movement (originally second) is marked Tres vif, Strident. Its beginning is a particularly striking foil to the soft close of the preceding movement. Like the second movement, it emphasizes a steadily pulsed eighth-note, but now the scoring is also at its fullest and most complex, sustained with only slight variations, as one group of instruments drops out for a moment, to be replaced by another in a kaleidoscope of colors leading to the tutti of the shattering final measures. —S.L.

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26 Maurice Ravel Daphnis and Chloe

Joseph Maurice Ravel was born at Ciboures, Basses-Pyrenees, France, on 7 March 1875 and died in Paris on 28 December 1937. Serge Diaghilev com- missioned the ballet Daphnis and Chloe in 1909; the piano score was published in 1910. Ravel completed the fully scored Daphnis and Chloe in 1911, though there was some recasting of the "Bacchanale" after a private hearing, so that the present form of the work was not ready until 5 April 1912. By that time the first concert suite had already been performed, on 2 April 1911, at a concert in the Theatre du Chatelet in Paris under the direction of Gabriel Pierne. Pierre Monteux con- ducted the first stage performance at a production by Diaghilev's Russian Ballet at the Chatelet on 8 June 1912. Scenario and choreography were by Michel Fokine, scenery and costumes by Leon Bakst; the principal dancers were Vaslav Nijinsky and Tamara Karsavina. By far the greater number of Boston Symphony Orchestra perform- ances of Daphnis have been of the second suite, which was introduced to the orchestra's repertory by Karl Muck on 14 and 15 December 1917. It was also performed here under the direction of Pierre Monteux, Serge Koussevitzky (129 performances between 1925 and 1949!), Charles Munch (95 performances between 1949 and 1965!), Richard Burgin, Eugene Ormandy, Seiji Ozawa, Milton Katims, Claudio Abbado, Rafael Fruhbeck de Burgos, Charles Dutoit, and Andre Previn. The complete ballet was introduced here by Charles Munch on 21 and 22 January 1955, with the New England Conservatory Chorus and Alumni Chorus directed by Robert Shaw in association with Lorna Cooke deVaron. Other complete performances have been led by Michael Tilson Thomas and Ozawa, whose October 1974 performances were the most recent in Symphony Hall, and Charles Dutoit, who conducted the most recent Tanglewood performance in August 1983. Since 1974, all performances in Boston or Tanglewood have included the Tanglewood Festival Chorus, John Oliver, conductor. The score calls for three flutes, alto flute, and piccolo, two oboes and English horn, two clarinets, E-flat clarinet, and bass clarinet, three bassoons and contrabassoon, four horns, four trumpets, three trombones, bass tuba, timpani, snare drums, cymbals, antique cymbals, triangle, tambourine, tam-tam, castanets, celesta, glockenspiel, wind machine, two harps, strings, and wordless chorus.

Margaret Drabble, writing in the Oxford Companion to English Literature, calls the literary source for Ravel's ballet Daphnis and Chloe "the finest of Greek romances." The tale, written in prose by a shadowy author known only as Longus (whose dates can only be estimated as second or third century A.D. through the problematic device of stylistic analysis), is unusual among Greek stories in prose for its attention to character. The setting was an idealized landscape of shepherds and shepherdesses, nymphs and satyrs—a tradition going back in lyric poetry to Theocritus (third century B.C.); it was to have a long history in post-classical literature as well. Greek literature was strongest in epic and lyric poetry, drama, and history; most of the surviving output of narratives rises only rarely above the level of "pulp fiction" (if the anachronism can be admitted for the sake of com- parison), with emphasis on plot alone, and very little attention to the other elements that make for high art. Typical Greek romances involve a potential love-relation that

27 Week 18 is thwarted by some obstacle—in this respect it is no different from modern popular fiction or television drama. The run-of-the-mill story often involved the carrying off of the maiden by a band of pirates and her rescue by the hero to reunite the couple at the predictable end where all obstacles are overcome.

Daphnis and Chloe has some of these elements, to be sure, but the emphasis is elsewhere: on a psychological description of the passion that grows between Daphnis and Chloe, two foundlings raised by shepherds on the island of Lesbos, from the first naive and confused feelings of childhood to full sexual maturity. So powerful is Longus' psychological analysis—and his description of the sex act—that the book has been regarded as pornographic throughout much of literary history. These circumstances, maintains Margaret Drabble, have kept Daphnis and Chloe from receiving the critical attention that its "charm and genuine artistry" would normally

have won for it.

It is moot whether Ravel was concerned about this issue when he came to compose the ballet. The idea was more or less thrust upon him by the impresario Serge Diaghilev, whose chief choreographer Michel Fokine had wanted to do a Greek ballet since 1904, when he saw Isadora Duncan dance in St. Petersburg. He created a two- act scenario for a Daphnis and Chloe and proposed to the directors of the Maryinski

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Theater in St. Petersburg that the work would show "artistic unity of conception . . a unity of the three elements—music, painting, and plastic art." Most important, "the whole meaning of the story can be expressed by the dance." Nothing came of the idea at the time, but Pokine continued to urge his scenario, and it was finally to reach fruition in France.

The Russians conquered Paris (artistically speaking) for the first time in 1907, when Diaghilev presented five concerts at the Opera. In 1908 he brought out Boris Godunov (with Chaliapin in the title role), and the following year he appeared for the first time with the Ballets Russes, which were to win him lasting fame. The earliest productions were brilliantly mounted versions of existing works—the Polovtsian Dances from Borodin's Prince Igor and a dance version of Rimsky-Korsakov's Scheherazade. But Diaghilev commissioned new scores as well, and to that end he sought out the brightest composers on the scene in Paris and Russia. His collabora- tion with Stravinsky over the course of two decades was to be epoch-making, but he also commissioned and performed important scores by Debussy, Ravel, Falla, Satie, Prokofiev, and many others. He commissioned artists like Picasso to design the sets and costumes for some of these, and the choreography of his ballets was created by Fokine, Massine, Nijinsky, and Balanchine.

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Ravel was commissioned to write Daphnis and Chloe, his largest and finest orchestral score, in 1909, even before the Ballets Russes had become established as an artistic vanguard. He was dissatisfied with Fokine's scenario, though, and their collaboration was complicated by mutual unfamiliarity with one another's language. In June 1909 Ravel wrote to a friend:

I must tell you I've just had an insane week: preparation of a ballet libretto for the next Russian season. Almost every night, work until 3 a.m. What complicates things is that Fokine doesn't know a word of French, and all I know of Russian is how to swear. In spite of the interpreters, you can imagine the savor of these meetings.

Despite the long hours, the score was not finished for the "next" Russian season; it was barely begun. Ravel worked on it during the spring of 1910 and completed a piano score by May. But he was not entirely satisfied, and he substantially reworked the finale in 1911 and completed the scoring in that year. The problem then was to mount the work on the stage.

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30 Fokine's original idea of setting a ballet in ancient Greece lost some of its novelty when Diaghilev insisted that he choreograph Nicholas Tcherepnin's Narcisse-, Leon Bakst's ideas for the design of Daphnis were also used in this project. To make matters far more complicated, the premier danseur of the Russian Ballet, Vaslav Nijinsky, who was also Diaghilev's lover, was planning a Greek ballet of his own, one designed to imitate the figures on a Greek frieze, presented in profile. The musical score chosen for this work was Debussy's Prelude a VApres-midi d'un faune. Diaghi- lev was determined to do everything in his power to make a success of Nijinsky's first essay as a choreographer, but he was at the same time concerned about Fokine's reaction. A second Greek ballet in the 1911 season might be construed as a slap in the face, given Fokine's long interest in such a subject. So he postponed the Faun to the 1912 season.

Even then, though, things were not noticeably better. Since Nijinsky was dancing the principal role in both his own Faun and Fokine's Daphnis, the works had to be given on different programs. The Debussy ballet came first; it was produced on 29 May 1912 and caused an immediate sensation, especially for Nijinsky's dancing, which was regarded as scandalously erotic. Daphnis was to be premiered a week later, on 5 June, but Diaghilev asked Fokine to cancel it entirely. Ravel was caught in the middle of a bitter power struggle between impresario and choreographer. In the end, the premiere was postponed three days; Daphnis finally appeared on 8 June, though not before Fokine and Diaghilev had argued more violently than ever over its placement on the program.

It is not clear whether Diaghilev's opposition to the production of Daphnis grew out of a dislike of Fokine's choreography (which was certainly more traditional than

Vaslav Nijinsky

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32 Nijinsky's for the Faun) or out of a desire to emphasize the piece in which Nijinsky was both principal dancer and choreographer. It was, in any case, the composer who suffered most. Ravel's experience with the production of the ballet—the seemingly endless delays, the arguments among the participants—quite naturally cooled his enthusiasm for such work in the future. Thus, even though Daphnis and Chloe is his largest and finest orchestral work, there was no likelihood of another such score to follow.

The typical ballet of the late nineteenth and early twentieth centuries was made up of isolated musical numbers whose character was determined by the kind of dance the choreographer wanted to create; this typically controlled the tempo, meter, and length of the music. At its most devastatingly dull, you can identify ballet music of this sort upon hearing a single phrase. The phrase is bound to be repeated, so that whatever the dancers have just done on the right foot they can now do on the left. Phrase after phrase piling up with such simpleminded squareness can leave the listener—especially in a concert performance, without dancing to take one's mind off the music—utterly stupefied.

Daphnis and Chloe, though, is an entirely different matter. When heard in its entirety, it offers ample evidence to counter the canard that Ravel was a miniaturist pure and simple, unable to sustain larger musical structures. Ravel himself called it a "Choreographic Symphony in Three Parts." He wrote in a biographical sketch that the work was "constructed symphonically on a very strict tonal plan, with a number of themes whose developments assure the homogeneity of the work." The harmonic structure and the development and transformation of the principal thematic ideas can only be perceived, of course, in performances of the complete score. When one of the two suites that Ravel drew from the ballet is heard by itself, the listener loses the sense of connection. However gorgeous the individual sections may be—and they

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33 *

are gorgeous!—they cannot have the same impact as when they become part of the entire structure. The ballet works in the theater because Ravel's music unfailingly supports the scenario with colorful and rhythmic invention; and it works in the concert hall because its harmonic and thematic structure make it memorable even when heard on its own, without the visual images of the stage. At the same time, Ravel's fabulous orchestration supports, intensifies, and enlivens the music in either venue.

The scene is a grotto in a sacred wood. The figures of three nymphs, sculpted in archaic style, stand on a rock. To the left is a large rock resembling the figure of Pan, half-man, half-goat. It is a sunny afternoon. The horns and the chorus offer a hushed dialogue in a gently hovering dotted figure that will be heard frequently throughout the work:

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As the rhythm becomes more animated (in triplets), young men and women appear with baskets of fruit to be presented as offerings to the nymphs of the grotto. They perform a dignified "Religious dance." When Daphnis enters briefly in the back- ground, we hear Example 3 in the oboe, restated at once in the flute when Chloe arrives. The religious dance continues and builds to a climax. Daphnis and Chloe reenter downstage (their theme now in octaves in the woodwinds) and prostrate themselves before the altar. All present are sweetly moved (Example 2 in solo violin) by the sight of this innocent young couple.

The young girls induce Daphnis to join them in a lively 7/4 dance. When Chloe objects, the young men begin dancing with her (in a passage beginning with strings alone). She attracts the attention of a young drunkard, Dorcon. At the end of the dance, to some gestural miming music, Dorcon offers to embrace Chloe, but Daphnis pushes him away and approaches Chloe himself. The other young men form a circle around Chloe and propose a dance competition, the winner of which will win a kiss. Dorcon performs a grotesque dance in 2/4 time, with the bassoons leading the way and chattering woodwinds making fun of him, and by the end the entire crowd is laughing along. Now Daphnis performs a light and graceful dance in a slow 6/8 time. Eventually the crowd invites Daphnis to claim his reward. Dorcon attempts to steal a kiss as well, but the crowd sends him away with laughter.

34 —

The crowd is struck dumb at the sight of the innocent embrace of Daphnis and Chloe (expressive restatement of Example 3 in the strings). They lead Chloe away, leaving Daphnis to ponder the mysteries he is beginning to sense. He lies down at full length on the ground, his face cradled in his hands, thinking about what has happened.

A slithery clarinet figure in thirds marks the arrival of Lyceion, a married woman with lustful intentions toward Daphnis. She dances enticingly, artfully dropping a veil, then a second. (At this point the ballet departs from the plot of Longus' romance—certain things are not possible on the stage.) Suddenly there is a violent interruption. A horde of pirates is attacking. Daphnis runs off to find and protect Chloe, but he misses her, and she enters to take refuge by the altar. The pirates seize her and carry her away. Daphnis reenters, finds her sandal, and curses the gods for failing to protect her (all this has taken place in less than a minute).

Suddenly a light appears around the statues of the nymphs at the altar (gentle tremolo in the strings). A flame burns in the grotto, illuminating the statues, which come to life and perform a stately dance. They become aware of the weeping Daphnis and lead him to the rock at the left, where they invoke Pan, who appears more and more clearly. A magical passage—magical because so utterly unexpected—for a cappella chorus marks the end of the scene.

The scene changes to the pirates' camp on the seashore. The pirates perform a vigorous, brutal dance. At its conclusion, Chloe is brought in, her hands tied. The pirate chieftain Bryaxis orders her to dance, and she dances out her supplication though twice she attempts to flee, each time to be brought back before the pirates. She abandons herself to despair and thinks of Daphnis (English horn solo). Bryaxis lifts her up in triumph.

Suddenly the mood changes. Sinister rustlings in the strings mark the charged atmosphere. The lights flicker, fantastic figures appear, terrifying the pirates. This is

Nijinsky and Ravel playing from a score of "Daphnis and Chloe," 1912

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36 the doing of the god Pan (whose effect on mankind is to spread "panic," as his name indicates). Satyrs surround the pirates; the earth shakes. As the profile of Pan appears in a gigantic shadow, the pirates take to their heels in terror.

The scene reverts to that of the opening. It is still night. Daphnis sleeps at the entrance to the grotto. In one of Ravel's most brilliantly achieved strokes, dawn arrives unmistakably, with the singing of birds, the plashing of the waterfall, and the sun increasingly penetrating the mists. Shepherds arrive looking for Daphnis and Chloe; they find Daphnis and awaken him. He looks around for Chloe, and sees her arriving at last. They throw themselves into one another's arms (climactic statement, "very expressive," for full orchestra of Example 3). Daphnis notices that Chloe's head is illumined by a mysterious glow, which Daphnis recognizes as the sign of Pan's intervention.

The old shepherd Lammon explains to them that if Pan did indeed help them, it was in remembrance of his lost love for Syrinx. Daphnis and Chloe mime the story of Pan and Syrinx: Pan expresses his love for the nymph Syrinx, who, frightened, disappears in the reeds. In despair, Pan forms a flute out of a reed and plays upon it to commemorate his love. (During the ravishing flute solo, Chloe reappears and echoes, in her movements, the music of the flute.) The dance becomes more and more animated. At its climax, Chloe throws herself into Daphnis' arms, and they solemnly exchange vows before the altar (Examples 1 and 2 in combination). A group of young girls dressed as bacchantes enter with tambourines. Now the celebration can begin in earnest, in the extended Danse generate, one of the most brilliant and exciting musical passages ever written. —S.L.

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More . .

Stravinsky is without any doubt the best-documented composer of the twentieth century. Eric Walter White has produced a catalogue of Stravinsky's output with analyses of every work, prefaced by a short biography, in Stravinsky: The Composer and His Works (University of California). The most convenient brief survey of his life and works is the volume by Francis Routh in the Master Musicians series (Littlefield paperback), though it suffers from the standardized format of the series (which deals with the works by genre in individual chapters) since Stravinsky's development often involved work on several different types of music in close proximity. The most recent and large-scale study is an indispensable, incomplete, undigested, fascinat- ing volume by Vera Stravinsky and Robert Craft, Stravinsky in Pictures and Docu- ments (Simon and Schuster). It is a cornucopia of material, but confusingly organized, with a wealth of detail about the composition of some works (often more than one can usefully assimilate) while skimming over others. Primary source material can also be found in the volumes of Stravinsky letters, edited by Robert Craft (Knopf). They may tell more about Stravinsky the businessman than Stravinsky the artist, but they are filled with fascinating things nonetheless. The most thorough and enlightening discussion of Stravinsky's work is both the newest and one of the oldest books about the composer: Boris Asaf'yev's A Book About Stravinsky, written in Russian (under the pseudonym Igor Glebov) and published in Leningrad in 1929. It has recently been translated into English by Richard F. French (UMI Research Press). Though the book obviously cannot deal with any of Stravinsky's later works, it is full of enlightening analytical commentary on all of

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38 the works up to the instrumental compositions of the mid-1920s, to which is appended a short added chapter dealing with Stravinsky's return to the theater in Oedipus Rex, Apollo, and The Fairy's Kiss. Since Stravinsky's style had a very distinct and recognizable personality throughout his life, despite the frequent surface changes evident in his music, the richness of observation in this book explains a good deal about the composer and his work even beyond its cutoff date. Only one recording of The Song of the Nightingale is currently available: that by Riccardo Chailly and the Berlin Radio Symphony (London; coupled with Fireworks, King of the Stars, and the Symphony of Psalms). It is worth keeping an eye out for Robert Craft's CBS recording with the Columbia Symphony Orchestra, partly because that album contains a unique recording of Stravinsky's aborted attempt to compose Les Noces for full orchestra. You might also like to hear Stravinsky's own Russian-language recording of the opera on which the orchestral piece is based, Le Rossignol or The Nightingale, with the Opera Society of Washington (CBS, a two- disc album also containing Renard and Pulcinella).

The best discussion in English of Boulez's music is to be found in Paul Griffiths' modest but informative contribution to the Oxford Studies of Composers series (Oxford paperback). The full-length book by Joan Peyser, Boulez: Composer, Conduc- tor, Enigma (Norton), is altogether more gossipy and less satisfactory on matters of substance. Very much worth reading are the composer's own collection of essays, Releves d'apprenti, translated as Notes of an Apprenticeship (Knopf); the volume contains the essay "Schoenberg is Dead" mentioned in the program note. Notations is not yet available on records, but the epoch-making Le Marteau sans maitre with Jeanne Deroubaix and an instrumental ensemble under the composer's direction has never been out of the catalogue (Turnabout). Boulez himself has recorded Rituel with the Ensemble InterContemporain and Eclats/Multiples with the BBC Symphony Orchestra (available together on a CBS disc). And don't overlook the important piano sonatas (No. 1 played by Alan Marks on CRI, No. 2 by Maurizio Pollini on DG) or the breathtaking and phenomenally difficult Structures for two pianos, Books I and II, both recorded by the Kontarsky brothers on Wergo.

The best Ravel book available has not yet been published in this country; it is Roger Nichols' new contribution to the Master Musicians series, replacing the older (but still useful) volume by Norman Demuth, which is particularly informative on the score of Daphnis and Chloe. Nichols is both insightful and enthusiastic in his treatment of Ravel's music. Arbie Orenstein's Ravel: Man and Musician (Columbia) is a thorough study, but very dry, all too clearly revealing its origin in a doctoral dissertation. A sensitive discussion of Ravel can be found in Romanticism and the Twentieth Century, the final volume of the four-volume study Man and His Music by Wilfred Mellers (Schocken). An excellent brief discussion of Ravel's orchestral music is to be found in the BBC Music Guide that Laurence Davies devotes to that subject (University of Washington paperback), though his treatment of Daphnis is limited to consideration of the suites. Davies has also written a fine book called The Gallic Muse with essays on Faure, Duparc, Debussy, Satie, Ravel, and Poulenc (Barnes). Seiji Ozawa and the Boston Symphony Orchestra have recorded Daphnis and Chloe in a boxed set containing all of Ravel's works for orchestra (DG). Other excellent recordings of the ballet include Pierre Boulez's highly praised reading with the New York Philharmonic (CBS), Charles Dutoit's version with the Montreal Symphony Orchestra (London), and the older BSO recording made by Charles Munch, which is still available on the budget-priced Victrola label. —S.L.

39 Week 18 s

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40 Pierre Boulez

trends in twentieth-century music. Already highly regarded for his Soleil des eaux of 1948 and his first two piano sonatas, he became internationally famous in 1955 with the first performance of his Le Marteau sans maitre for contralto and mixed sextet.

Since 1957 Mr. Boulez has made frequent appearances as a conductor, leading sym- phonic and operatic performances through- out the world. From 1971 to 1974 he was music director of the BBC Symphony; from 1971 to 1977 he was music director of the New York Philharmonic. In 1966 he signed an exclusive long-term contract with CBS Records. His work with the BBC Symphony and the New York Philharmonic, and his appearances as guest conductor with the The internationally renowned composer Cleveland Orchestra, were the source of and conductor Pierre Boulez is one of the remarkable recordings which have earned foremost figures in the world of contempo- numerous international awards. His most rary music. As music director of both the recent recordings, with the Ensemble Inter- New York Philharmonic and the BBC Sym- Contemporain, include Schoenberg's phony Orchestra, Mr. Boulez sensitized a Verkl'drte Nacht and Opus 29 Suite. In 1976 wide public to today's music. The Ring Boulez was appointed to the Professorial cycle he conducted at the Bayreuth centen- Chair of Technical Creativity and Language nial has become a landmark. Through his in Music at the College de France and responsibilities as the director of IRCAM became director of IRCAM. Since then he (the Institut de Recherche et Coordination has continued his distinguished activities in Acoustique/Musique) at the Georges Pom- conducting, composing, teaching, and pidou Center, as president of the Ensemble recording. In July 1985 he was appointed InterContemporain, with which he visited vice-chairman of the Opera de la Bastille Boston last month, and through his numer- Foundation. Responsible for artistic deci- ous writings, he is constantly striving to sions, he is liaison between the board of bridge the gap which exists between con- directors, of which he is an original member, temporary composers and the public. and the organizations which utilize this per- Born in 1925 in Montbrison, a small town forming location. This week's concerts mark near the Loire, Pierre Boulez began piano Mr. Boulez's first appearances as guest con- lessons when he was seven. From then on, ductor with the Boston Symphony Orchestra he devoted himself wholeheartedly to since 1969, when he appeared both at Sym- music, even though his father had planned a phony Hall and at Tanglewood. career in engineering for him. At eighteen, Boulez enrolled in the Paris Conservatory, where he studied with Olivier Messiaen, who introduced him to the works of Stravinsky, Bartok, Schoenberg, and Berg, and encouraged his curiosity about Asian and African music as well as European music. Lessons with Rene Leibowitz, who had studied with Schoenberg and Webern, introduced him to twelve-tone composition, which he adapted to his own purposes, and he soon became an outspoken critic of many

41 e^ tfnt

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M Lorna Cooke deVaron

of Distinction in 1978. In 1977 and 1979, Mrs. deVaron was one of the guest conduc- tors at the Zimriya Festival of Choruses in Israel; while there, she taught choral con- ducting workshops at the University of Jerusalem and received the Israeli Govern- ment Medal. In 1978, she and the New Eng- land Conservatory Chorus gave concerts in Israel as part of the State of Israel's thir- tieth-anniversary celebrations.

In recent seasons Mrs. deVaron has pre- pared the New England Conservatory Cho- rus for performances of Haydn's Creation and Berlioz's L'Enfance du Christ with the Boston Symphony Orchestra under the direction of Seiji Ozawa. The New England Conservatory Chorus and Orchestra under Lorna Cooke deVaron, one of America's fore- Mrs. deVaron's direction performed most choral conductors and a graduate of Beethoven's Mass in C at Alice Tully Hall in Wellesley and Radcliffe colleges, founded the New York City in December 1983. In Janu- New England Conservatory Chorus in ary and February 1984, Mrs. deVaron was 1947. In 1953 she joined the faculty of the guest conductor of the Cameran Singers in Tanglewood Music Center, where she Israel. In recent summers, Mrs. deVaron taught choral conducting and prepared the has conducted the New England Conser- Festival Chorus for concerts with the vatory Chamber Singers in concerts at the Boston Symphony Orchestra. Monadnock Music Festival in New Hampshire and has been guest condeutor at As director of the Choral Department at the Berkshire Choral Festival. In 1984 she the Conservatory, Mrs. deVaron teaches a became director of the choral institute graduate program in choral conducting and which is part of the Composers Conference conducts both the Conservatory Chamber held each summer at Wellesley College. Singers and the New England Conserva- tory Chorus, which she has regularly pre- pared for its performances with the Boston Symphony Orchestra. Under her direction, and in collaboration with many distin- guished conductors, recordings by the Chorus have won the Grand Prix du Disque and awards from the National Academy of Recording Arts and Sciences. She has led the Chorus on tours to Europe, Israel, and the Soviet Union, and has conducted them in festivals at Avignon and Lucerne, and at the Casals Festival in Puerto Rico. Mrs. deVaron has conducted many performances of modern choral works, including pre- mieres by such composers as Schuller, Shifrin, Thompson, Bernstein, and Messiaen.

Mrs. deVaron was awarded the Radcliffe College Graduate Society Medal in 1972 and the Wellesley College Alumnae Award

43 ioW° ' »o?>

44 New England Conservatory Chorus

The New England Conservatory Chorus, 1978, Lorna Cooke deVaron and the New founded in 1947 by director Lorna Cooke England Conservatory Chorus were invited deVaron, was established to provide profes- by the Israeli government to participate in sional training for future singers, conduc- Israel's thirtieth anniversary festivities. In tors, and music educators. In the thirty- 1983, members of the New England Conser- nine years since its founding, the Chorus vatory Chorus took part in the Casals Fes- has become one of the country's most dis- tival in Puerto Rico. In June 1986, Lorna tinguished choral ensembles. The New Cooke deVaron will lead the New England England Conservatory Chorus has made Conservatory Chorus and several other seventeen recordings with the Boston Sym- choral organizations in a festival and con- phony Orchestra for the RCA and Deutsche cert tour in the Costa del Sol region of Grammophon labels. Among their recent Spain. recordings are Berlioz's Romeo and Juliet, For more than thirty years the New Eng- which won the Grand Prix du Disque, and land Conservatory Chorus has performed an album of American contemporary choral with the Boston Symphony Orchestra. music for CRI. In addition, the Chorus has Recent BSO appearances have included been awarded six other Grand Prix du Haydn's Seven Last Words of Christ on the Disques, as well as many nominations for Cross under the direction of Antal Dorati awards from the Academy of Recording and Haydn's Creation under the direction Arts and Sciences. of Seiji Ozawa. In April 1984, the chorus The New England Conservatory Chorus again joined Ozawa and the Boston Sym- has made extensive tours of the United phony Orchestra for performances of States, the Soviet Union, and Europe, and Berlioz's L'Enfance du Christ. The New has performed under such distinguished England Conservatory Alumni Chorus, conductors as Seiji Ozawa, Sir Colin Davis, under the direction of Steven Karidoyanes, Erich Leinsdorf, Leonard Bernstein, Aaron joins the New England Conservatory Copland, Robert Shaw, Nadia Boulanger, Chorus for these performances of Ravel's and Claudio Abbado. In the summer of Daphnis and Chloe.

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J. P. Barger Thomas L. Phillips Exxon Corporation The Red Lion Inn Stephen Stamas John H. Fitzpatrick GTE Electrical Products State Street Bank & Trust Company Dean T. Langford William S. Edgerly General Cinema Corporation Teradyne, Inc. Richard A. Smith Alexander V. d'Arbeloff General Electric Company WCRB/Charles River Broadcasting, Inc. John F. Welch, Jr. Richard L. Kaye The Gillette Company WCVB-TV 5 Colman M. Mockler, Jr. S. James Coppersmith John Hancock Mutual Life Wang Laboratories, Inc. Insurance Company An Wang E. James Morton Weston/Loblaw Companies Ltd. Honeywell Richard Currie Warren G. Sprague Zayre Corporation Maurice Segall

49 Business Leaders ($1,000+)

Accountants William Carter Company National Lumber Company Manson H. Carter Louis ARTHUR ANDERSEN & CO. L. Kaitz William E Meagher Architecture/Design *Perini Corporation David B. Perini ARTHUR YOUNG & COMPANY ADD INC ARCHITECTS Thomas P. McDermott *J.F. White Contracting Philip M. Briggs Company COOPERS & LYBRAND Interalia Design Associates Thomas J. White Vincent M. O'Reilly Judith Brown Caro *CharlesE.DiPesa&Co. *LEA Group Displays/Flowers William F. DiPesa Eugene R. Eisenberg *Giltspur Exhibits/Boston ERNST & WHINNEY Thomas E. Knott, Jr. James G. Maguire Banking BANK OF BOSTON *Harbor Greenery KMG Main Hurdman Diane Valle William A. Larrenaga William L. Brown PEAT, MARWICK, BANK OF NEW ENGLAND Education Peter H. McCormick MITCHELL & CO. *Bentley College Robert D. Happ BAYBANKS, INC. Gregory H. Adamian William M. Crozier, Jr. *Theodore S. Samet & Co. STANLEY H. KAPLAN Theodore S. Samet Boston Safe Deposit and EDUCATIONAL CENTER TOUCHE ROSS & CO. Trust Company Susan B. Kaplan James T. McBride James N. von Germeten Cambridge Trust Company Electrical/HVAC Advertising/Public Relations Lewis H. Clark Guzovsky Electrical *Berk and Company, Inc. Chase Manhattan Corporation Corporation Kenneth A. Berk Robert M. Jorgensen Edward Guzovsky BMC STRATEGIES, INC. CITICORP/CITIBANK *p.h. mechanical corporation Bruce M. McCarthy Clark Coggeshall Paul A. Hayes Harold Cabot & Co., Inc. *Eastern Corporate Federal R&D ELECTRICAL CO., INC. James I. Summers Credit Union Richard D. Pedone Clarke & Company, Inc. Jane M. Sansone Terence M. Clarke Framingham Trust Company Electronics THE COMMUNIQUE GROUP, INC. William A. Anastos Alden Electronics, Inc. James H. Kurland Mutual Bank John M. Alden *Hill, Holliday, Connors, Keith G. Willoughby *Analytical Systems Engineering Cosmopulos, Inc. * Patriot Bancorporation Corporation Jack Connors, Jr. Thomas R. Heaslip Michael B. Rukin Kenyon & Eckhardt, Inc. *Provident Financial Services, Inc. Bose Corporation Thomas J. Mahoney Robert W Brady Amar G. Bose NEWSOME & COMPANY Rockland Trust Company C & K Components, Inc. Peter Farwell John F. Spence, Jr. Charles A. Coolidge, Jr. Young & Rubicam SHAWMUT BANK OF BOSTON The Mitre Corporation Alexander Kroll William P. Craig Robert R. Everett Aerospace STATE STREET BANK & *Parlex Corporation Herbert Pollack * Northrop Corporation TRUST COMPANY W Thomas V Jones William S. Edgerly * Signal Technology Corporation William E.Cook PNEUMO CORPORATION *UST Corp. Gerard A. Fulham James V. Sidell Energy Apparel Building/Contracting ATLANTIC RICHFIELD *Knapp King-Size Corporation *A.J. Lane & Co., Inc. FOUNDATION

Winthrop A. Short Andrew J. Lane William F. Kieschnick

50 CABOT CORPORATION *Federal Distillers, Inc. High Technology FOUNDATION Alfred J. Balerna ALLIED-SIGNAL, INC. Ruth C. Scheer Garelick Farms, Inc. Paul M. Montrone Peter M. Bernon EXXON CORPORATION *Computer Partners, Inc. Stephen Stamas *Johnson, O'Hare Co., Inc. Paul J. Crowley MOBIL CHEMICAL Harry O'Hare *Data Packaging Corporation CORPORATION KIKKOMAN CORPORATION Otto Morningstar Rawleigh Warner, Jr. Katsumi Mogi *Encore Computer Corporation *Yankee Companies, Inc. *0'Donnell-Usen Fisheries Kenneth G. Fisher Paul J. Montle Corporation General Eastern Instruments Arnold S. Wolf Engineering Corporation THE PRINCE COMPANY, INC. Pieter R. Wiederhold Stone & Webster Engineering Joseph P. Pellegrino * Corporation Helix Technology Corporation William F. Allen, Jr. *Roberts and Associates Frank Gabron Richard J. Kunzig Hycor, Inc. Entertainment/Media Ruby Wines Joseph Hyman GENERAL CINEMA Theodore Rubin POLAROID CORPORATION CORPORATION Silenus Wines, Inc. William J. McCune, Jr. Richard A. Smith James B. Hangstefer RAYTHEON COMPANY National Amusements, Inc. *The Taylor Wine Company, Inc. Thomas L. Phillips Sumner M. Redstone Michael J. Doyle Hotel/Restaurant *New England Patriots Football Club WESTON/LOBLAW William H. Sullivan, Jr. COMPANIES LTD. Boston Park Plaza *Williams/Gerard Productions, Inc. Richard Currie Hotel & Towers A. William J. Walsh Roger Saunders Footwear FOUR SEASONS HOTEL Finance/Venture Capital Seamus McManus Chelsea Industries, Inc. *Farrell, Healer & Company Ronald G. Casty *The Hampshire House Richard Farrell Thomas A. Kershaw THE FIRST BOSTON *Jones & Vining, Inc. *Howard Johnson Company CORPORATION Sven A. Vaule, Jr. G. Michael Hostage George L. Shinn *Mercury International Mildred's Chowder House Kaufman & Company Trading Corporation James E. Mulcahy Sumner Kaufman Irving A. Wiseman MORSE SHOE, INC. THE RED LION INN *Narragansett Capital Manuel Rosenberg John H. Fitzpatrick Corporation * Arthur D. Little THE SPENCER Sheraton Boston COMPANIES, INC. Hotel & Towers Pioneer Financial C. Charles Marran Gary Sieland Richard E. Bolton Sonesta International Hotels *TA Associates STRIDE RITE Corporation Peter A. Brooke CORPORATION Arnold S. Hiatt Paul Sonnabend Food Service/Industry THE WESTIN HOTEL ARCHER DANIELS Furnishings/Housewares Bodo Lemke MIDLAND COMPANY COUNTRY CURTAINS Insurance Dwayne 0. Andreas Jane P. Fitzpatrick Azar Nut Company *A.I.M. Insurance Agency, Inc. Hitchcock Chair Company James A. Radley Edward Azar Thomas H. Glennon Arkwright-Boston Insurance Boston Showcase Company The Jofran Group Frederick J. Bumpus Jason Starr Robert D. Roy *Cameron & Colby Co., Inc. CREATIVE GOURMETS, LTD. Graves D. Hewitt Stephen E. Elmont Graphic Design Consolidated Group, Inc. daka Food Service Management, Inc. Clark/Linsky Design, Inc. Woolsey S. Conover Terry Vince Robert H. Linsky Frank B. Hall & Company of Dunkin' Donuts, Inc. *Weymouth Design, Inc. Massachusetts Robert M. Rosenberg Michael E. Weymouth Colby Hewitt, Jr.

51 JOHN HANCOCK MUTUAL Moseley, Hallgarten, Rath & Strong, Inc. LIFE INSURANCE COMPANY Estabrook & Weeden, Inc. Arnold 0. Putnam E. James Morton Fred S. Moseley The Wyatt Company Fred S. James & Co. Putnam Mutual Funds, Inc. Michael H. Davis

of New England, Inc. Lawrence J. Lasser P. Joseph McCarthy Tucker, Anthony & *Johnson & Higgins R.L.Day, Inc. Manufacturers Representatives Robert A. Cameron Gerald Segel LIBERTY MUTUAL Woodstock Corporation Paul R. Cahn & Associates, Inc. INSURANCE COMPANIES Frank B. Condon Paul R. Cahn Melvin B. Bradshaw Richard Dean Associates G. Dean Goodwin MANUFACTURERS LIFE Legal INSURANCE COMPANY Bingham, Dana & Gould Paul K. O'Rourke, Inc. Paul K. E. Sydney Jackson Everett H. Parker O'Rourke Shetland Co., Inc. NEW ENGLAND MUTUAL Cargill, Masterman & Culbert W.M. Sherman LIFE INSURANCE COMPANY Thomas E. Cargill, Jr. Total Market Impact Edward E. Phillips Dickerman Law Offices Ronald J. Monahan Prudential Life Insurance Lola Dickerman Company of America Gadsby & Hannah Robert J. Scales Harry R. Hauser Sullivan Risk Management GOLDSTEIN & MANELLO Manufacturing/Industry Group Richard J. Snyder Acushnet Company John Herbert Sullivan Mintz, Levin, Cohn, Ferris, Glovsky John T. Ludes Sun Life Assurance Company and Popeo, PC. Alles Corporation of Canada Francis X. Meaney Stephen S. Berman David D. Horn Nissenbaum Law Offices Ames Safety Envelope *Charles H. Watkins & Gerald L. Nissenbaum Company Company, Inc. Sherburne, Powers & Needham Robert H. Arnold Richard P. Nyquist Daniel Needham, Jr. Avondale Industries, Inc. Investments William F. Connell *ABD Securities Corporation Management/Financial C.R. Bard, Inc. Theodor Schmidt-Scheuber Consulting Robert H. McCaffrey Amoskeag Company ADVANCED MANAGEMENT Checon Corporation Joseph B. Ely II ASSOCIATES, INC. Donald E. Conaway Harvey Chet Krentzman Bear, Stearns & Company Dennison Manufacturing Stuart Zerner BLP Associates Company Bernard L. Plansky Nelson S. Gifford *E.F. Hutton & Company, Inc. S. Paul Crabtree Bain & Company Econocorp, Inc. FIDELITY INVESTMENTS William W Bain, Jr. Richard G. Lee Samuel W. Bodman THE BOSTON ERVING PAPER MILLS CONSULTING GROUP Fidelity Service Co. Charles B. Housen Arthur P. Contas Robert W. Blucke Flexcon Company, Inc. Goldman, Sachs & Company General Electric Consulting Mark R. Ungerer Stephen B. Kay Services Corporation GENERAL ELECTRIC James J. O'Brien, Jr. HCW, Inc. COMPANY John M. Plukas Kazmaier Associates, Inc. John F. Welch, Jr. Richard W. Kazmaier, Jr. Kensington Investment GENERAL ELECTRIC Company Killingsworth Associates, Inc. COMPANY/LYNN Alan E. Lewis William R. Killingsworth Frank E. Pickering INC. KIDDER, PEABODY & CO., McKINSEY & COMPANY, THE GILLETTE COMPANY INCORPORATED Robert P. O'Block Colman M. Mockler, Jr. John G. Higgins Mitchell and Company Harvard Folding Box Co., Inc. LOOMIS SAYLES & Carol B. Coles Melvin A. Ross COMPANY Nelson Communications, Inc. The Horn Corporation Robert L. Kemp Bruce D. Nelson Robert H. Lang, Jr.

52 Kendall Company *WNEV-TV 7 * Boston Financial Technology

J. Dale Sherratt Seymour L. Yanoff Group, Inc. Fred N. Pratt, Jr. Kenett Corporation Musical Instruments Julius Kendall Combined Properties, Inc. * Baldwin Piano & Organ Stanton L. Black * Leach & Garner Company Company Philip F. Leaeh *John M. Corcoran & Co. R.S. Harrison John M. Corcoran L.E. Mason Company Avedis Zildjian Company Harvey B. Berman *Corcoran, Mullins, Jennison, Inc. Armand Zildjian Joseph E. Corcoran Monsanto Company *The Flatley Company John P. Dushney Personnel Thomas J. Flatley NEW ENGLAND BUSINESS Dumont Kiradjieff & Moriarty SERVICE, INC. *Fowler, Goedecke, Ellis & Edward J. Kiradjieff O'Connor Richard H. Rhoads *Emerson Personnel, Inc. William J. O'Connor *Plymouth Rubber Company, Inc. Rhoda Warren Hilon Development Corporation Maurice J. Hamilburg *TAD Technical Services Haim S. Eliachar Princess House, Inc. Corporation Haig Historic Mill Properties Robert David J. McGrath, Jr. Bert Paley * Rand-Whitney Corporation *McGregor Associates Robert Kraft Printing Kathleen McGregor *Soundesign Corporation *Bowne of Boston, Inc. *Meredith Grew, Incorporated Robert H. Winer Albert G. Mather & George M. Lovejoy, Jr. Superior Pet Products, Inc. * Bradford & Bigelow, Inc. Northland Investment Richard J. Phelps John D. Galligan Corporation Customforms, Inc. Tech Pak, Inc. Robert A. Danziger William F. Rogers, Jr. David A. Granoff Ryan, Elliott & Coughlin DANIELS PRINTING *Termiflex Corporation John Ryan William E. Fletcher COMPANY Benjamin Schore Company *Towle Manufacturing Company Lee S. Daniels Benjamin Schore Leonard Florence *Espo Litho Company Stanmar, Inc. *Trina, Inc. David Fromer Stanley W Snider Thomas L. Easton In memory of Joseph B. Fromer * Urban Investment & H.K. Webster Company, Inc. Label Art, Inc. Development Corp. Dean K. Webster J. William Flynn R.K. Umscheid Lithograph, Inc. Webster Spring Company, Inc. *United Leonard A. Bernheimer A.M. Levine Retail

Wire Belt Company of America Child World, Inc. Publishing F. Wade Greer, Jr. Dennis H. Barron *ADCO Publishing Company, Inc. FILENE'S Media Samuel D. Gorfinkle Michael J. Babcock THE BOSTON GLOBE/ Addison-Wesley Publishing AFFILIATED Company Herman, Inc. Bernard A. Herman PUBLICATIONS Donald R. Hammonds William O. Taylor CAHNERS PUBLISHING Hills Department Stores *The Boston Herald COMPANY, INC. Stephen A. Goldberger Patrick J. Purcell Norman L. Cahners * Jordan Marsh Company WBZ-TV4 HOUGHTON MIFFLIN Elliot Stone Thomas L. Goodgame COMPANY Karten's Jewelers WCIB-FM Marlowe G. Teig Joel Karten Lawrence K. Justice Marshall's, Inc. WCRB/CHARLES RIVER Real Estate/Development Frank H. Brenton BROADCASTING, INC. Amaprop Developments, Inc. *Neiman-Marcus Richard L. Kaye Gregory Rudolph William D. Roddy

WCVB-TV 5 *JL. BealProperties, Inc. * Purity Supreme, Inc. S. James Coppersmith Joanne Beal Frank P. Giacomazzi

53 I

Saks Fifth Avenue HEALTH PROGRAMS •Heritage Travel, Inc. Ronald J. Hoffman INTERNATIONAL, INC. Donald R. Sohn Donald B. Shaw's Supermarkets Giddon *Lily Truck Leasing Corp. Stanton W. Davis *J.A. Webster, Inc. John A. Simourian THE STOP & SHOP John A. Webster, Jr. THE TRANS-LEASE GROUP John J. McCarthy, Jr. COMPANIES, INC. Services Avram J. Goldberg Travel Consultants International American Cleaning Co., Inc. Phoebe L. Giddon ZAYRE CORPORATION Joseph A. Sullivan, Jr. Maurice Segall *Asquith Corporation Science/Medical Laurence L. Asquith Utilities *Victor Grillo & Associates * Charles River Breeding BOSTON EDISON Victor N. Grillo Laboratories, Inc. COMPANY Stephen J. Sweeney Henry L. Foster Software/Information Services EASTERN GAS & FUEL *Compu-Chem Laboratories, Inc. *First Software Corporation ASSOCIATES Claude L. Buller Rick H. Faulk William J. Pruyn Damon Corporation Interactive Data Corporation David I. Kosowsky John Rutherfurd New England Electric System Guy Nichols *HCA Foundation W Travel/Transportation Hospital Corporation of NEW ENGLAND America Federal Express Corporation TELEPHONE COMPANY Donald E. Strange Frederick W Smith Gerhard M. Freche

For rates and information on BOSTON advertising in the SYMPHONY Boston Symphony, ORCHESTRA Boston Pops, SEIJI OZAWA and Music Dirtctor Tanglewood program books please contact: J STEVE GANAK AD REPS 51 CHURCH STREET (617)-542-6913 BOSTON, MASS. 02116

54 »««»«* gj^| Yrm The following Members of the MASSACHUSETTS Massachusetts High Technology WGH TECHNOLOGY Council support the BSO through COUNCL »'« the BSO Business & Professional it urn m i in . Leadership Program:

AT&T DYNATECH LOTUS DEVELOPMENT Peter Cassels CORPORATION CORPORATION ANALOG DEVICES, INC. J. P. Barger Mitchell D. Kapor Ray Stata *EG&G, Inc. *M/A-COM, Inc. *The Analytic Sciences Dean W. Freed Vessarios G. Chigas Corporation *Epsilon Data Management, *Masscomp Arthur Gelb Inc. August P. Klein APOLLO COMPUTER, Thomas O. Jones Massachusetts High INC. The Foxboro Company Technology Council, Inc. Thomas A. Vanderslice Earle W. Pitt Howard P. Foley Aritech Corporation GTE ELECTRICAL MILLIPORE James A. Synk PRODUCTS CORPORATION *Augat, Inc. T. Langford Dean John G. Mulvany Roger D. Wellington GenRad Foundation *Orion Research Incorporated BBF Corporation Linda B. Smoker Alexander Jenkins III Frusztajer Boruch B. *Haemonetics, Inc. * PRIME COMPUTER, INC. Barry Wright Corporation John F. White Ralph Z. Sorenson Joe M. Henson Harbridge House, Inc. * Printed Circuit Corporation BOLT BERANEK AND George Rabstejnek INC. Peter Sarmanian NEWMAN Hewlett-Packard Company Stephen R. Levy SofTech, Inc. Alexander R. Rankin *Compugraphic Corporation HONEYWELL Justus Lowe, Jr. Carl E. Dantas * Sprague Electric Warren G. Sprague Company Computervision Corporation John L. Sprague Martin Allen IBM CORPORATION Tech/Ops, Inc. Paul J. Palmer Corning Glass Works Marvin G. Schorr Foundation Impact Systems, Inc. TERADYNE, INC. Richard B. Bessey Melvin D. Platte Alexander V. d'Arbeloff *Cullinet Software, Inc. Instron Corporation Harold Hindman Thermo Electron Corporation John J. Cullinane George N. Hatsopoulos *Dennison Computer *Ionics, Incorporated Supplies, Inc. Arthur L. Goldstein WANG LABORATORIES, Charles L. Reed, Jr. *Arthur D. Little, Inc. INC. DIGITAL EQUIPMENT John F. Magee An Wang CORPORATION *XRE Corporation Kenneth H. Olsen John K. Grady

55 Classical, rock and all that jazz sound better on audio systems by ADS.

V—

iflil

For proof see an ADS dealer. For information call (617) 658- 5100. Or write to Analog & Digital Systems, 425 Progress Way, Wilmington, MA 01887.

Audio Apart. Coming Concerts . . . All our services are free —no strings attached. Wednesday, 2 April at 7:30 We perform a veritable symphony of Open Rehearsal travel arrangements... Marc Mandel will discuss the program at no extra charge to you. at 6:45 in the Cohen Annex. '10'— Travel is our forte; Thursday 3 April, 8-9:55 Garber is our name. Friday 'B'—4 April, 2-3:55 Give us a call- Saturday 'B'—5 April, 8-9:55 734-2100 JEFFREY TATE, conductor and we'll get in tune with your Beethoven Piano Concerto No. 3 travel needs RUDOLF BUCHBINDER Main Office: Elgar Symphony No. 2 1406 Beacon St., Brookline. Thursday 'A'—10 April, 8-10:05 Friday 'A'—11 April, 2-4:05 Saturday 'A'—12 April, 8-10:05 Tuesday 'C—15 April, 8-10:05 SEIJI OZAWA, conductor

For A Southeast Asian Treat Messiaen Three Tableaux from St. Francis ofAssisi

f (American premiere) JOSE VAN DAM, baritone KATHLEEN BATTLE, soprano MANDALAY KENNETH RIEGEL, tenor BURMESE RESTAURANT PHILIPPE ROUILLON, baritone TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor

Boston • 329 Huntington Avenue • 247-2111 Friday 'B'—18 April, 2-3:55

Cambridge • 143 First Street • 876-2111 Saturday 'B'—19 April, 8-9:55 SEIJI OZAWA conducting Reservation Suggested Chopin Piano Concerto No. 1 Chopin Fantasy on Polish Airs ALEXIS WEISSENBERG Strauss Don Juan

Tuesday 'B'—22 April, 8-9:55 SEIJI OZAWA conducting Chopin Piano Concerto No. 1 ALEXIS WEISSENBERG Tchaikovsky Symphony No. 6, WITH Pathetique Our performance will Programs subject to change. m^± please you.

(DRUM ASSOCIATES INC REAL ESTATE OF DISTINCTION IN BROOKLINE AND NEWTON

57 JOIN THE FUN!

® JBLimited

The Symphony has a new pool — pooled income fund that is. The pooled fund is a way for you and a lot of other generous friends of the Symphony to make a gift ($5,000 minimum) while retaining the income from that gift during your lifetime.

You'll have a dependable annual income, a tax-saving charitable deduction, professional investment management and the joy of knowing that you are a guarantor of this great orchestra's bril- liance in the years to come.

For a personal illustration and a copy of the fund's prospectus please call or write:

Jane Bradley Chairman, Planned Gifts Boston Symphony Orchestra Boston, MA 02115

Telephone (617) 266-1492, xl32

58 Symphony Hall Information . . .

FOR SYMPHONY HALL CONCERT AND make your ticket available for resale by call- TICKET INFORMATION, call (617) ing the switchboard. This helps bring 266-1492. For Boston Symphony concert needed revenue to the orchestra and makes program information, call "C-O-N-C-E-R-T." your seat available to someone who wants to attend the concert. A mailed receipt will THE BOSTON SYMPHONY performs ten acknowledge your tax-deductible months a year, in Symphony Hall and at contribution. Tanglewood. For information about any of the orchestra's activities, please call Sym- RUSH SEATS: There are a limited number phony Hall, or write the Boston Symphony of Rush Tickets available for the Friday- Orchestra, Symphony Hall, Boston, MA afternoon and Saturday-evening Boston 02115. Symphony concerts (subscription concerts only). The continued low price of the Satur- THE EUNICE S. AND JULIAN COHEN day tickets is assured through the gener- ANNEX, adjacent to Symphony Hall on osity of two anonymous donors. The Rush Huntington Avenue, may be entered by the Tickets are sold at $5.00 each, one to a Symphony Hall West Entrance on Hunt- customer, at the Symphony Hall West ington Avenue. Entrance on Fridays beginning 9 a.m. and FOR SYMPHONY HALL RENTAL Saturdays beginning 5 p.m. INFORMATION, call (617) 266-1492, or LATECOMERS will be seated by the write the Function Manager, Symphony ushers during the first convenient pause in Hall, Boston, MA 02115. the program. Those who wish to leave THE BOX OFFICE is open from 10 a.m. before the end of the concert are asked to until 6 p.m. Monday through Saturday; on do so between program pieces in order not concert evenings, it remains open through to disturb other patrons. intermission for BSO events or just past SMOKING IS NOT PERMITTED in any starting-time for other events. In addition, part of the Symphony Hall auditorium or in the box office opens Sunday at 1 p.m. when the surrounding corridors. It is permitted there is a concert that afternoon or evening. only in the Cabot-Cahners and Hatch Single tickets for all Boston Symphony rooms, and in the main lobby on Massachu- concerts go on sale twenty-eight days setts Avenue. before a given concert once a series has begun, and phone reservations will be accepted. For outside events at Symphony Hall, tickets will be available three weeks before the concert. No phone orders will be Rental apartments accepted for these events. for people who'd rather hear French horns THE SYMPHONY SHOP is located in the Enjoy easy living within Huntington Avenue stairwell near the than Car horns. easy reach of Symphony Hall. Cohen Annex and is open from one hour New in-town apartments before each concert through intermission. ith doorman, harbor The shop carries all-new BSO and musical- views, all luxuries, health motif merchandise and gift items such as club. calendars, appointment books, drinking land 2 glasses, holiday ornaments, children's bedrooms and r y penthouse duplex books, and BSO and Pops recordings. All 1 ^^^K^^^^^^ apartments. proceeds benefit the Boston Symphony Orchestra. For merchandise information, please call 267-2692. THE DEVONSHIRE

One Devonshire Place. (Between Washington TICKET RESALE: If for some reason you ^^ l — I and Devonshire Streets, off State Street) Boston. are unable to attend a Boston Symphony 3 " Renting Office Open 7 Days. Tel: (617) 720-3410. Park free in our indoor garage concert for which you hold a ticket, you may L? while inspecting models.

59 CAMERA AND RECORDING EQUIP- tra are heard by delayed broadcast in many MENT may not be brought into Symphony parts of the United States and Canada, as Hall during concerts. well as internationally, through the Boston Symphony Transcription Trust. In addi- FIRST AID FACILITIES for both men tion, Friday-afternoon concerts are broad- and women are available in the Cohen cast live by WGBH-FM (Boston 89.7); Annex near the Symphony Hall West Saturday-evening concerts are broadcast Entrance on Huntington Avenue. On-call live by both WGBH-FM and WCRB-FM physicians attending concerts should leave (Boston 102.5). Live broadcasts may also be their names and seat locations at the heard on several other public radio stations switchboard near the Massachusetts Ave- throughout New England and New York. If nue entrance. Boston Symphony concerts are not heard WHEELCHAIR ACCESS to Symphony regularly in your home area and you would Hall is available at the West Entrance to like them to be, please call WCRB Produc- the Cohen Annex. tions at (617) 893-7080. WCRB will be glad to work with you and try to get the BSO on AN ELEVATOR is located outside the the air in your area. Hatch and Cabot-Cahners rooms on the Massachusetts Avenue side of the building. BSO FRIENDS: The Friends are annual donors to the Boston Symphony Orchestra. LADIES' ROOMS are located on the Friends receive BSO, the orchestra's news- orchestra level, audience-left, at the stage letter, as well as priority ticket information end of the hall, and on the first-balcony and other benefits depending on their level level, audience-right, outside the Cabot- of giving. For information, please call the Cahners Room near the elevator. Development Office at Symphony Hall MEN'S ROOMS are located on the orches- weekdays between 9 and 5. If you are tra level, audience-right, outside the Hatch already a Friend and you have changed Room near the elevator, and on the first- your address, please send your new address balcony level, audience-left, outside the with your newsletter label to the Develop- Cabot-Cahners Room near the coatroom. ment Office, Symphony Hall, Boston, MA 02115. Including the mailing label will COATROOMS are located on the orchestra assure a quick and accurate change of and first-balcony levels, audience-left, out- address in our files. side the Hatch and Cabot-Cahners rooms. The BSO is not responsible for personal BUSINESS FOR BSO: The BSO's Busi- apparel or other property of patrons. ness & Professional Leadership program makes it possible for businesses to partici- LOUNGES AND BAR SERVICE: There pate in the life of the Boston Symphony are two lounges in Symphony Hall. The Orchestra through a variety of original and Hatch Room on the orchestra level and the exciting programs, among them "Presi- Cabot-Cahners Room on the first-balcony dents at Pops," "A Company Christmas at level serve drinks starting one hour before Pops," and special-event underwriting. each performance. For the Friday-after- Benefits include corporate recognition in noon concerts, both rooms open at 12:15, the BSO program book, access to the with sandwiches available until concert Higginson Room reception lounge, and time. priority ticket service. For further informa- BOSTON SYMPHONY BROADCASTS: tion, please call the BSO Corporate Concerts of the Boston Symphony Orches- Development Office at (617) 266-1492.

60 © 1985 BENEDICTINE &A, 80 PROOF IMPORTED FROM FRANCE. JULIUS WILE SONS & CO.. LAKE SUCCESS. NY

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