BOSTON SOYMPHONY OORCHESTRA

Hundredth Birthday Season

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THE FIRST NAME IN COGNAC SINCE 1724 EXCLUSIVELY FINE CHAMPAGNE COGNAC: FROM THE TWO PREMIERS CRUS" OF THE COGNAC REGION Sei ji Ozawa, Music Director

Sir Colin Davis, Principal Guest Conductor Joseph Silverstein, Assistant Conductor

Hundredth Birthday Season, 1981-82 Trustees of the Boston Symphony Orchestra, Inc.

Abram T. Collier, Chakman Nelson J. Darling, Jr., President

Leo L. Beranek, Vice-President George H. Kidder, Vice-President Mrs. Harris Fahnestock, Vice-President Sidney Stoneman, Vice-President Roderick M. MacDougall, Treasurer John Ex Rodgers, Assistant Treasurer

Vernon R. Alden Archie C. Epps III Thomas D. Perry, Jr. J.P Barger Mrs. John L. Grandin Irving W Rabb Mrs. John M. Bradley Edward M. Kennedy Mrs. George Lee Sargent Mrs. Norman L. Cahners David G. Mugar William A. Selke

George H.A. Clowes, Jr. Albert L. Nickerson John Hoyt Stookey Trustees Emeriti Talcott M. Banks, Chairman of the Board Emeritus

Philip K. Allen E. Morton Jennings, Jr. Mrs. James H. Perkins Allen G. Barry Edward G. Murray Paul C. Reardon

Richard P Chapman John T. Noonan John L. Thorndike Administration of the Boston Symphony Orchestra Thomas W. Morris General Manager William Bernell Edward R. Birdwell Daniel R. Gustin Artistic Administrator Orchestra Manager Assistant Manager

Caroline Smedvig Walter D.Hill Joseph M. Hobbs Director of Director of Director of Promotion Business Affairs Development

Judith Gordon Joyce M. Snyder Theodore A. Vlahos Assistant Director Development Controller of Promotion Coordinator

Marc Solomon Katherine Whitty Arlene Germain Production Coordinator of Financial Analyst Coordinator Boston Council

James E. Whitaker Elizabeth Dunton Richard Ortner Hall Manager, Director of Sales Adminstrator Symphony Hall Berkshire Music Center Charles Rawson James F. Kiley Anita R. Kurland Manager of Box Office Operations Manager, Administrator of Tanglewood Youth Activities

Steven Ledbetter Marc Mandel Jean Miller MacKenzie Director of Editorial Printing Production Publications Coordinator Coordinator

Programs copyright ©1981 Boston Symphony Orchestra, Inc. Cover photo by Peter Schaaf

1 Board of Overseers of the Boston Symphony Orchestra, Inc.

Mrs. Norman L. Cahners Chairman

William J. Poorvu Mrs. William H. Ryan Vice-chairman Secretary

Charles F. Adams Jordan L. Golding Paul M. Montrone John Q. Adams Haskell R. Gordon Mrs. Hanae Mori Mrs. Frank G. Allen Graham Gund Mrs. Stephen YC. Morris

David B. Arnold, Jr. Christian G. Halby E. James Morton

Hazen H. Ayer Mrs. R. Douglas Hall III Stephen Paine, Sr.

Bruce A. Beal Francis W Hatch, Jr. John A. Perkins Mrs. Richard Bennink Mrs. Richard D. Hill David R. Pokross David W. Bernstein Ms. Susan M. Hilles Mrs. Curtis Prout

Mrs. Edward J. Bertozzi, Jr. Mrs. Amory Houghton, Jr. Mrs. Eleanor Radin

Peter A. Brooke Richard S. Jackson, Jr. Peter C. Read

William M. Bulger Mrs. Bela T Kalman Mrs. Peter van S. Rice

Curtis Buttenheim Mrs. Louis I. Kane David Rockefeller, Jr.

Julian Cohen Mrs. S. Charles Kasdon Mrs. George R. Rowland

Mrs. Nat King Cole Mrs. F. Corning Kenly Jr. Francis P. Sears

Johns H. Congdon Mrs. Gordon F. Kingsley Gene Shalit

William M. Crozier, Jr. Mrs. Carl Koch Donald B. Sinclair

Mrs. Lewis S. Dabney Robert K. Kraft Richard A. Smith Mrs. Michael H. Davis Harvey C. Krentzman Ralph Z. Sorenson

William S. Edgerly Mrs. E. Anthony Kutten Peter J. Sprague

Mrs. Alexander Ellis, Jr. Benjamin H. Lacy Ray Stata

Frank L. Farwell Mrs. Henry A. Laughlin Mrs. Edward S. Stimpson

Kenneth G. Fisher Mrs. James F. Lawrence Mrs. Arthur I. Strang

Mrs. John H. Fitzpatrick Mrs. Charles P. Lyman Mrs. Richard H. Thompson

Peter H.B. Frelinghuysen C. Charles Marran Mark Tishler, Jr. Paul Fromm Mrs. August R. Meyer Ms. Luise Vosgerchian

Mrs. Thomas J. Galligan, Jr. Edward H. Michaelsen Robert A. Wells

Mrs. Thomas Gardiner J. William Middendorf II Mrs. Donald Wilson

Avram J. Goldberg John J. Wilson

THE SYMBOL OF GOOD BANKING.

Union Warren Savings Bank Main Office: 133 Federal Street, Boston, MA 02110 l»-

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For good advice on personal trust and investment matters, call our Trust Division at (617) 742-4000. Or write New England Merchants National Bank, 28 State Street, Boston, Massachusetts 02109. Bank of New England.

I Join morningpro musica's host Robert J. Lurtsema as he surveys the Boston Symphony Orchestra's 100th Birthday season through a series of infor- mal conversations with featured soloists, conduc- tors, and composers.

morningpro musica is WVPS (107.9 fm) now heard coast to coast Burlington, VT on stations of the Public WMEH(90.9fm) Radio Cooperative Bangor, ME including, in the New York/New England area: WMEA(90.1fm) Portland, ME WGBH(89.7fm) Boston, MA WMEM (106.1 fm) Presque Isle, ME WFCR(88.5fm) Amherst, MA WPBH(90.5fm) Hartford, New Haven, WAMC(90.3fm) Waterbury, CT Albany, NY WEVO(89.1fm) WNYC(93.9fm) Concord, NH New York, NY WVPR(89.5fm) Windsor, VT BSO

BSO/WCRB Musical Marathon '82: Premiums to Run With

The twelfth annual BSO/WCRB Musical Marathon takes place the weekend of 16-18 April 1982. Two years ago, the Musical Marathon was held the weekend immedi- ately preceding the running of the Boston Marathon, and the BSO Marathon's premium T-shirts, shorts, and sweatshirt proved particularly timely. The Boston Marathon follows hard on the heels of our Marathon again this year, and the Marathon Committee anticipates a good deal of interest in its expanded selection of exclusive, athletically- oriented BSO premiums.

For example, there's the terry-lined, velcro-fastened navy wristband with zipper com- partment and BSO colophon imprint. Or white shoelaces with a pattern of blue musical notes may help speed you along. This year brings the return of the classical BSO T-shirt in navy with beige colophon, as well as a colorful child's T-shirt with a specially designed logo in red, blue, and green. And you can keep yourself safe with this year's new fluorescent orange reflecting BSO/WCRB "Flash Sash." Also among the offerings are a navy crewneck sweatshirt with beige colophon and, new this year, navy BSO sweatpants with beige colophon on the left hip. You may want to carry your gear in this year's BSO "Round the World" totebag. And finally, for some after-running refreshment, the BSO's new wine tote, complete with corkscrew, and listing on its navy label some "Vintage BSO" world-premiere performances, may come in particularly handy!

"Presidents at Pops"

A very special night at Pops, and a first for the BSO, is being planned by a committee of business leaders, BSO Trustees, and Overseers. Designed to solidify and broaden the relationship between the BSO and the business community, it will make possible corporate support of the BSO and, at the same time, the establishment of new business contacts, the honoring of employees and spouses, or the conclusion of a company business meeting with a pleasant evening. This "Presidents at Pops" Concert will be held on 15 June 1982 with an outstanding program and buffet supper. Tickets will be sold as a "package" to include two adjoining Pops floor tables of five seats each and ten balcony seats. In addition there will be a Presidents Dinner, an elegant and fun evening at Symphony Hall on 10 May 1982 for 100 Presidents of supporting companies who will be guests of the BSO.

So far, more than ninety businesses in the greater Boston area have agreed to sponsor

"Presidents at Pops" at $3,000 each, but a total of 100 is needed for an absolute sell-out. Many business volunteers are active, but chief among them are Chet Krentzman of

Advanced Management Associates,- Malcolm L. Sherman, executive vice president,

Zayre Corp.,- Vincent O'Reilly, managing partner, Coopers & Lybrand; and J. P. Barger, president, Dynatech Corp. For details, contact any of the foregoing or Frank Pemberton,

Director of Corporate Development, in the Symphony Hall Development Office, (617) 266-1492. 'Opening Night at the Pops"

For the eighth consecutive year, the Junior Council of the Boston Symphony Orchestra will sponsor "Opening Night at Pops," this year marking the opening of the Boston Pops 1982 season with John Williams beginning his third year as Pops conductor. The

evening, to take place on Tuesday, 4 May in Symphony Hall, begins with cocktails at 5:30, followed by supper at 6:30 and the concert at 8:00. A champagne reception with John Williams will follow for Benefactors. The concert will include a piece by William Bolcom especially commissioned for this evening; many special guests will also be part of the opening celebration. Ticket prices, which include the supper, range from $17.50 to $100. For ticket information, please call Mrs. Deborah Spangler at 899-4982.

The Junior Council of the Boston Symphony Orchestra is a group of young men and women who donate their varied talents and time to fundraising efforts, such as "Opening Night at Pops" and sale of the Symphony Mint, for the Boston Symphony Orchestra. New members are admitted in September, January, and May. For further information, please call the Friends' Office at 266-1348.

BSO on WGBH

Continuing his series of live interviews with BSO guest artists and personalities, Robert J. Lurtsema talks with noted Haydn specialist, conductor Antal Dorati, on Monday morn-

ing, 5 April at 11 on WGBH-FM-89.7's Morning Pro Musica.

With Thanks

We wish to give special thanks to the National Endowment for the Arts and the Massachusetts Council on the Arts and Humanities for their continued support of the Boston Symphony Orchestra.

'BSO Members in Concert":

The contemporary chamber ensemble Collage, whose music director is BSO percus- sionist Frank Epstein and which also includes BSO members Martha Babcock, Ann

Hobson Pilot, and Joel Smirnoff, offers its final concert of the season on Monday evening,

29 March at 8, at Sanders Theater. The program includes music of Louis Gruenberg, John

Heiss, Leonard Rosenman, T.J. Anderson, and Ray Shattenkirk. Earlier that evening, at 5 p.m. at the Longy School of Music, there will be a discussion of "The Composer Today,"

featuring T.J. Anderson, Charles Fussell, John Harbison, and John Heiss. For ticket

information, please call 738-5372.

The Boston Artists' Ensemble, which includes violinist Arturo Delmoni, pianist Andrew Wolf, and BSO cellist Jonathan Miller, has two concerts coming up at the Longy

School of Music in Cambridge: on Tuesday evening, 30 March at 8, they'll perform trios by Beethoven, Brahms, and Mendelssohn. On Tuesday evening, 4 May, there'll be music of Beethoven, Faure, Chopin, Debussy, and Grieg. For ticket information, please call 864-1774.

The Berkshire String Trio includes BSO members Marylou Speaker, violin, Patricia McCarty viola, and Carol Procter, cello. On Sunday evening, 4 April at 8 p.m. they'll perform music of Beethoven, Schubert, and Dohnanyi in Jewett Hall at Wellesley

College. Admission is free. m

From the Gustav Mahler Society

The following letter of 23 February 1982 recently came to BSO Music Director Seiji Ozawa from Avik Gilboa, president of the Gustav Mahler Society USA:

"Dear Maestro Ozawa :

"The Gustav Mahler Society is delighted to inform you that we have chosen your outstanding recording of Mahler's 8th Symphony with the Boston Symphony Orchestra as the 'Best Mahler Recording for 1981.'

"The plaque will follow soon.

"Our congratulations and appreciation for your excellent Mahler performances."

Mahler's Eighth Symphony as recorded by Seiji Ozawa, the Boston Symphony the Tanglewood Festival Chorus, Boston Boy Choir, and eight internationally acclaimed soloists is available on Philips records.

Share the BSO with the Kids!!

The final program of this season's Boston Symphony Youth Concerts, Harry Ellis Dickson, Artistic Director, will focus on The Classical Orchestra and feature music of Haydn, Mozart, and Prokofiev. Although weekday concerts are sold out, a limited number of Saturday-morning tickets are available this year due to school budget cuts which have affected group sales. Share the BSO with the kids on either Saturday morning, 27 March at 11, or Saturday morning, 3 April at 11. Please call the Symphony Hall Youth Activities Office at 267-0656 for complete ticket information.

In addition, the second of this year's new Boston Symphony High School Concerts takes place on Monday morning, 29 March at 10:15. An all-Mozart program offers examples of the composer's work as dramatist, performer, and symphonist: the overture to Don Giovanni, two movements from the Piano Concerto No. 20 in D minor, K.466, and the Haffner Symphony. For ticket information, please call 267-0656.

Wednesday, 31 March at 8 p.m. in Symphony Hall

"SOIREE MUSICALE"

A Special Concert Commemorating Franz Joseph Haydn's 250th Birthday

with ANTAL DORATI

Michael Steinberg, host

Music of Haydn, Debussy, Ravel, and Dorati, with participating artists Use von Alpenheim, piano,- vocalists Linda Zoghby, Sarah Walker, Claes H. Ahnsjo, and Wolfgang Lenz,- members of the New England Conservatory Chorus,- and members of the Boston Symphony Orchestra. Complimentary Viennese wine and pastry courtesy the Junior Council of the Boston Symphony Orchestra.

Tickets priced at $8, $10, $13, and $16 are available at the Symphony Hall Box Office. Seiji Ozawa

In the fall of 1973, Seiji Ozawa became the thirteenth music director of the Boston Sym- phony Orchestra since the orchestra's founding in 1881. Born in 1935 in Shenyang, China, to Japanese parents, Mr. Ozawa studied both Western and Oriental music as a child and later graduated from Tokyo's Toho School of Music with first prizes in composition and conducting. In the fall of 1959 he won first prize at the Interna- tional Competition of Orchestra Conductors, Besancon, France. Charles Munch, then music director of the Boston Symphony and a judge at the competition, invited him to Tanglewood for the summer following, and he there won the Berkshire Music Center's highest honor, the Koussevitzky Prize for outstanding student conductor. While working with Herbert von Karajan in West Berlin, Mr. Ozawa came to the attention of Leonard Bernstein, whom he accompanied on the New York Philharmonic's spring 1961 Japan tour, and he was made an assistant conductor of that orchestra for the 1961-62 season. His first professional concert appearance in North America came in January 1962 with the San Francisco Symphony Orchestra. He was music director of the Chicago Symphony's Ravinia Festival for five summers beginning in 1964, and music director for four seasons of the Toronto Symphony Orchestra, a post he relinquished at the end of the 1968-69 season in favor of guest conducting numerous American and European orchestras. Seiji Ozawa first conducted the Boston Symphony in Symphony Hall in January of 1968; he had previously appeared with the orchestra for four summers at Tanglewood, where he was made an artistic director in 1970. In December of 1970 he began his inaugural 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 position in the spring of 1976, serving as music advisor there for the 1976-77 season. As music director of the Boston Symphony Orchestra, Mr. Ozawa has strengthened the orchestra's reputation internationally as well as at home, leading concerts on the BSO's 1976 European tour and, in March 1978, on a nine-city tour of Japan. At the invitation of the Chinese government, Mr. Ozawa then spent a week working with the Peking Central Philharmonic Orchestra,- a year later, in March of 1979, he returned to China with the entire Boston Symphony for a significant musical and cultural exchange entailing coaching, study, and discussion sessions with Chinese musicians, as well as concert performances. Also in 1979, Mr. Ozawa led the orchestra on its first tour devoted exclusively to appearances at the major music festivals of Europe. Most recently, Seiji Ozawa and the Boston Symphony celebrated the orchestra's hundredth birthday with a fourteen-city American tour last March, and, earlier this season, an international tour with concerts in Japan, France, Germany, Austria, and England. Mr. Ozawa pursues an active international career and appears regularly with the orchestras of Berlin, Paris, and Japan; his operatic credits include appearances at the Paris Opera, Salzburg, London's Covent Garden, and La Scala in Milan. Mr. Ozawa has won an Emmy for the BSO's "Evening at Symphony" television series. His award-winning recordings include Berlioz's Romeo et Juliette, Schoenberg's Gurrelieder, and the Berg and Stravinsky violin concertos with Itzhak Perlman. Other recent recordings with the orchestra include, for Philips, Stravinsky's he Sacre du phntemps, Hoist's The Planets,

and Mahler's Symphony No. 8, the Symphony of a Thousand; for CBS, a Ravel Stade and, for Telarc, music of collaboration with mezzo-soprano Frederica von ; Beethoven—the Fifth Symphony the Egmont Overture, and, with pianist Rudolf Serkin, the Emperor Concerto. 8 Violas Clarinets Burton Fine Harold Wright

Charles S. Dana chair Arm S. M. Banks chair

Patricia McCarty Pasquale Cardillo Mrs. David Stoneman chair Peter Hadcock Eugene Lehner E-flat Clarinet Robert Barnes Bass Clarinet Jerome Lipson Craig Nordstrom Bernard Kadinoff Vincent Mauricci Bassoons Music Directorship endowed by John Moors Cabot Earl Hedberg Sherman Walt Joseph Pietropaolo Edward A. Taft chair BOSTON SYMPHONY Michael Zaretsky Roland Small ORCHESTRA : Marc Jeanneret Matthew Ruggiero

: 1981/82 Betty Benthin Contrabassoon First Violins Richard Plaster Cellos Joseph Silverstein Concertmastei Jules Eskin Horns Charles Munch chair Philip R. Allen chair Charles Kavalovski Helen Sagoff Slosberg chair Emanuel Borok Martin Hoherman Assistant Concertmaster Vernon and Marion Alden chair Roger Kaza Helen Horner Mclntyre chair Mischa Nieland Daniel Katzen Max Hobart Esther S. and Joseph M. Shapiro chair Richard Sebring Robert L. Beal, and Jerome Patterson Richard Mackey Enid and Bruce A. Beal chair : Robert Ripley Jay Wadenpfuhl Cecylia Arzewski Luis Leguia Charles Yancich Edward and Bertha Rose chair C : Carol Procter

1 Trumpets Bo Youp Hwang Ronald Feldman John and Dorothy Wilson chair Schlueter : Charles Joel Moerschel Roger Louis Voisin chair Max Winder 1 Jonathan Miller

: Andre Come Harry Dickson Martha Babcock Forrest F. Collier chair Timothy Morrison Gottfried Wilfinger Basses Trombones Fredy Ostrovsky Edwin Barker Ronald Barron Leo Panasevich Harold D. Hodgkinson chair J. P. and Mary B. Barger chair Carolyn and George Rowland chair Lawrence Wolfe Norman Bolter Sheldon Rotenberg Joseph Hearne Gordon Hallberg Alfred Schneider Bela Wurtzler * Gerald Tuba Gelbloom Leslie Martin * Chester Schmitz Raymond Sird John Salkowski * Ikuko Mizuno John Barwicki Timpani * Amnon Levy Robert Olson Everett Firth Second Violins Sylvia Shippen Wells chair Marylou Speaker Flutes Fahnestock chair Percussion Doriot Anthony Dwyer Vyacheslav Uritsky Walter Piston chair Charles Smith Charlotte and Irving W. Rabb chair Arthur Press Fenwick Smith Assistant Timpanist Ronald Knudsen Mr. and Mrs. Robert K. Kraft chair Thomas Gauger Leonard Moss Paul Fried Laszlo Nagy Frank Epstein * Michael Vitale Piccolo Harp * Darlene Gray Lois Schaefer Ann Hobson Pilot * Ronald Wilkison Evelyn and C Charles Marran chair * Harvey Seigel Personnel Managers * Jerome Rosen Oboes William Moyer * Sheila Fiekowsky Ralph Gomberg Harry Shapiro * Gerald Elias Mildred B. Remis chair * Ronan Lefkowitz Librarians Wayne Rapier * Joseph McGauley Victor Alpert Alfred Genovese * Nancy Bracken William Shisler * Joel Smirnoff James Harper English * Jennie Shames Horn Laurence Thorstenberg Stage Manager

* Participating in a system of rotated seating Phyllis Knight Beranek chair Alfred Robison within each string section. 9 A Brief History of the Boston Symphony Orchestra

For many years, Civil War veteran, philanthropist, and amateur musician Henry Lee Higginson dreamed of founding a great and permanent orchestra in his home town of Boston. His vision approached reality in the spring of 1881, and on 22 October of that year the Boston Symphony Orchestra's inaugural concert took place under the direction of conductor Georg Henschel. For nearly twenty years, symphony concerts were held in the old Boston Music Hall; Symphony Hall, the orchestra's present home, and one of the world's most highly regarded concert halls, was opened in 1900. Henschel was succeeded by a series of German-born and -trained conductors— Wilhelm Gericke, Arthur Nikisch, Emil Paur, and Max Fiedler—culminating in the appointment of the legendary Karl Muck, who served two tenures as music director, 1906-08 and 1912-18. Meanwhile, in

July 1885, the musicians of the Boston Symphony had given their first "Promenade" concert, offering both music and refreshments, and fulfilling Major Higginson's wish to give "concerts of a lighter kind of music." These concerts, soon to be given in the springtime and renamed first "Popular" and then "Pops," fast became a tradition.

During the orchestra's first decades, there were striking moves toward expansion. In

1915, the orchestra made its first transcontinental trip, playing thirteen concerts at the Panama-Pacific Exposition in San Francisco. Recording, begun with RCA in the pioneer- ing 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 appointments marked the beginning of a French-oriented tradition which would be maintained, even during the Russian-born Serge Koussevitzky's time, with the employment of many French-trained musicians.

10 The Koussevitzky era began in 1924. His extraordinary musicianship and electric personality proved so enduring that he served an unprecedented term of twenty-five

years. In 1936, Koussevitzky led the orchestra's first concerts in the Berkshires, and two years later he and the players took up annual summer residence at Tanglewood. Koussevitzky passionately shared Major Higginson's dream of "a good honest school for musicians," and in 1940 that dream was realized with the founding at Tanglewood of the

Berkshire Music Center, a unique summer music academy for young artists. Expansion continued in other areas as well. In 1929 the free Esplanade concerts on the Charles River in Boston were inaugurated by Arthur Fiedler, who had been a member of the orchestra since 1915 and who in 1930 became the eighteenth conductor of the Boston Pops, a post

he would hold for half a century to be succeeded by John Williams in 1 980. Charles Munch followed Koussevitzky as music director in 1949. Munch continued Koussevitzky's practice of supporting contemporary composers and introduced much music from the French repertory to this country. During his tenure, the orchestra toured abroad for the first time, and its continuing series of Youth Concerts was initiated. Erich Leinsdorf began his seven-year term as music director in 1962. Leinsdorf presented numerous premieres, restored many forgotten and neglected works to the repertory, and, like his two predecessors, made many recordings for RCA in addition, many concerts ; were televised under his direction. Leinsdorf was also an energetic director of the Berkshire Music Center, and under his leadership a full-tuition fellowship program was established. Also during these years, the Boston Symphony Chamber Players were founded, in 1964; they are the world's only permanent chamber ensemble made up of a major symphony orchestra's principal players. William Steinberg succeeded Leinsdorf in 1969. He conducted several American and world premieres, made recordings for Deutsche Grammophon and RCA, appeared

11 12 regularly on television, led the 1971 European tour, and directed concerts on the east

coast, in the south, and in the mid-west. Seiji Ozawa, an artistic director of the Berkshire Festival since 1970, became the orchestra's thirteenth music director in the fall of 1973, following a year as music advisor. Mr. Ozawa has continued to solidify the orchestra's reputation at home and abroad, and his program of centennial commissions—from Sandor Balassa, Leonard Bernstein, John Corigliano, Peter Maxwell Davies, John Harbi- son, Leon Kirchner, Peter Lieberson, Donald Martino, Andrzej Panufnik, Roger Sessions, Sir Michael Tippett, and Oily Wilson—on the occasion of the orchestra's hundredth birthday has reaffirmed the orchestra's commitment to new music. Under his direction,

the orchestra has also expanded its recording activities to include releases on the Philips,

Telarc, and CBS labels.

From its earliest days, the Boston Symphony Orchestra has stood for imagination, enterprise, and the highest attainable standards. Today, the Boston Symphony Orchestra,

Inc., presents more than 250 concerts annually. Attended by a live audience of nearly 1.5 million, the orchestra's performances are heard by a vast national and international audience through the media of radio, television, and recordings. Its annual budget has grown from Higginson's projected $1 15,000 to more than $16 million. Its preeminent position in the world of music is due not only to the support of its audiences but also to grants from the federal and state governments, and to the generosity of many founda- tions, businesses, and individuals. It is an ensemble that has richly fulfilled Higginson's vision of a great and permanent orchestra in Boston.

ftv The Somerset on Commonwealth Avenue, J Offering one-hundred fifty distinguished residential condominiums from $100,000 to $400,000. Covered, secured condominium garages. 50 Units only in Phase 1-30% now sold. Models available for viewing, by appointment only Somerset, 400 Commonwealth Avenue, Boston, MA 02215 Phone (617) 266-6085

13 Baldwin Piano & Organ Company pays tribute to the Boston Symphony Orchestra on its first century of achievement. We look forward to continuing our association at this, the start of the Boston's second century of excellence. BOSTON SYMPHONY ORCHESTRA

Seiji Ozawa, Music Director

Sir Colin Davis, Principal Guest Conductor

Joseph Silverstein, Assistant Conductor

Hundredth Birthday Season, 1981-82

Thursday, 25 March at 8 Friday, 26 March at 2 Saturday 27 March at 8

VACLAV NEUMANN conducting

MARTINU Symphony No. 1 (world premiere given by the Boston Symphony Orchestra on 12 November 1942) Moderato—Poco piu mosso Allegro,- Trio: Poco moderato Largo Allegro non troppo

INTERMISSION

BRAHMS Symphony No. 4 in E minor, Opus 98 Allegro non troppo Andante moderato Allegro giocoso Allegro energico e passionato

Thursday's and Saturday's concerts will end about 9=50 and Friday's about 3=50.

Philips, Telarc, CBS, Deutsche Grammophon, and RCA records Baldwin piano

The program books for the Friday series are given in loving memory of Mrs. Hugh Bancroft by her daughters Jessie Bancroft Cox and fane Bancroft Cook.

15 Week 18 m^mmimk^

Jordan Marsh celebrates on the occasion of the BSO's centennial.

Jordan marsh Hi A Unit of Allied Stores

16 Bohuslav Martinu

Symphony No. 1

Bohuslav Jan Martinu was born in Policka, east Bohemia, on 8 December 1890 and died in Liestal, Switzerland, on 28 August 2959. He composed the First Symphony in 1942 on a commission from the Koussevitzky Music Foundation; the score bears the dedication "To the " memory of Mrs. Natalie Koussevitzky Koussevitzky conducted the world pre- miere in Cambridge on 12 November 1942 and repeated the work in Sym- phony Hall the following two days. Charles Munch programmed the sym- phony again in March of 1953; the pre-

sent performances are the first by the Boston Symphony Orchestra since that

occasion. The symphony is scored for two flutes and piccolo, two oboes and English horn, three clarinets, two bassoons and contrabassoon, four horns, three trumpets, three trombones, tuba, timpani, bass drum, cymbals, side drum, triangle, tam-tam, tambourine, harp, piano, and strings.

It is often averred that composers and other artistic types live in an ivory tower. Bohuslav Martinu must then have been predestined for an artistic career, for he spent the first thirteen years of his life in a tower— not, to be sure, made of ivory—nearly two hundred steps above the streets of the little Bohemian town of Policka. It was here, where his father was employed as tower-keeper, with duties ranging from the care of the church bells to keeping a lookout for fires in the town, that Bohuslav was born. And whether or not the tower years were the cause, he developed a quiet, shy, almost reclusive person- ality, devoted to constant reading and to music. Even his musical talent, though evident from a very early age, seemed for a time destined to go nowhere, since he was never happy with the strict Austrian educational system (his native Bohemia was then still a part of the Austro-Hungarian empire). He did not do well in school, and even at the Prague Conservatory, where gifts as a young violinist were evident at once, his studies suffered from the fact that he gave so much of his time to reading and composition. Finally he was expelled for trying to earn extra money by touring with a country orchestra—students at the conservator/ were strictly forbidden to play in public (how times change!),- he then enrolled at the Prague School for Organ with the view of pursuing its excellent theory curriculum, but again he could not interest himself in other academic areas, with the result that he never completed his studies there—he was expelled for "incorrigible negligence" in 1910.

Still composing on his own, by the end of World War I, which he spent working as a music teacher in Policka, he had completed over 120 scores of all types. He made his living for the next five years in the second violin section of the Czech Philharmonic, while continuing to compose between tours. The Prague National Theater produced his ballet Istar in 1924, the first of his large-scale works to achieve a performance. In the meantime, the opportunity to become familiar with the new French music—Debussy, Ravel, Dukas, and Roussel, as well as the Gallicized Russian Stravinsky— in the orchestra convinced him that his path lay in that direction. A performance of Roussel 's Poeme de

\7 Week 18 la foret convinced Martinu that he had to go to Paris. The fortunate offer of a state grant—enough to support him for three months—made the trip possible.

He may have planned to stay only a short while, but as things turned out, Paris became Martinu's home for seventeen years, a period of time that lay the basis for his interna- tional fame. He studied with Roussel, absorbed the new jazz style, which appeared particularly in a number of chamber pieces, and in general developed his own composi- tional voice. Already by 1927 he had made the acquaintance of Serge Koussevitzky, who introduced his orchestral work, La Bagane ("Tumult"), to audiences of the Boston

Symphony Orchestra in November of that year— the first time Martinu's music had been heard on this side of the Atlantic. Paris might well have remained Martinu's home for life were it not for the invasion of France by the German army. Martinu, who had written a powerful Double Concerto for two string orchestras, piano, and timpani as a musical opposition to the Nazi invasion of Czechoslovakia, was persona non grata to the Germans. When they blacklisted him, he set out from Paris with his wife, leaving behind his manuscripts and other belongings, and sought for passage to America. During the nine months from June 1940 they wandered about the south of France, often sleeping on station platforms, trying to procure exit papers. After finding refuge in Lisbon, the Martinus finally managed to get to New York by the end of March 1941.

Serge Koussevitzky made an important contribution to Martinu's well-being at this time. When he arrived in the United States, the shy, retiring composer could speak hardly a word of English and had only a handful of scores— including pieces composed during the months since leaving Paris—as evidence of his talent. But Koussevitzky offered him the commission for a symphony, and with this project the composer regained his self-confidence. He began writing the first movement in the spring of 1942 in Jamaica, Long Island. By mid-June he had decided to move to a more rural location and settled in

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Please feel free to visit or call for further information. Brochure on request. Owned and Managed by Astor & McGregor (617) 542-0573 Middlebury, Vermont, but soon after he received a telegram from Koussevitzky inviting him to share the duties of composition teacher with Aaron Copland at the Berkshire Music Center that summer. Martinu accepted, though he made sure that Koussevitzky understood his limited fluency in English, and then set to work composing full-speed. By the time he arrived in Lenox on the first of July, he had already completed the second and third movements of the symphony—they had taken him ten days. He composed the last movement in Lenox during the 1942 Berkshire Music Center season, finally completing the entire score at Manomet, Massachusetts, on 1 September.

At the first performance Boston's critics were not enthusiastic about the new work, though Koussevitzky insisted, "You could not change one note in this work. It is like a classical symphony." But after a performance in New York a week later, Virgil Thomson wrote:

The Martinu Symphony is a beaut. It is wholly lovely and doesn't sound like

anything else . . .the shining sounds of it sing as well as shine the instrumental ;

complication is a part of the musical conception, not an icing laid over it. Personal

indeed is the delicate but vigorous rhythmic animation, the singing (rather than

dynamic) syncopation that permeates the work. Personal and individual, too, is the

whole orchestral sound of it, the acoustical superstructure that shimmers constantly.

Brahms was in his early forties before daring to write a symphony,- Martinu waited a decade longer, though once he had broken the ice, he returned to the same genre five more times (the last was a Boston Symphony commission for the orchestra's seventy-fifth birthday,- though identified as the Symphony No. 6, it is officially entitled Fantaisies symphoniques). This first of the six symphonies is laid out in the established four- movement plan, with the scherzo in second place and the slow movement in third. But

Martinu's style is predicated not on the dialectical debates of contrasting thematic and THE HOLLOWS 335-341 NEWTON STREET • CHESTNUT HILL • BROOKLINE

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19 ./HLTIDO r harmonic materials, as in sonata form, so much as on the gradual long-term growth of small motives. These are treated with a rhythmic freedom that delights in denying or

negating the barline, so that although the first movement is in a straightforward 6/8 time, the rhythmic groupings in the different parts may either suggest 3/4 (as in so much Czech dance music) or destroy the basic impulse by reiterating patterns of seven eighth-

notes, or five, or whatever. Martinu's love of the French composers of the early part of

the century is evident in the shimmer of his scoring, though there are many passages where the orchestral color—in the woodwinds particularly — recalls Smetana's Ma Vlast and the rhythmic play evokes the dance movements of Dvorak.

The first movement begins with a brief introduction, Moderato,- the opening B minor chord leads to mysterious chromatic rising string figures that replace the minor chord two measures later with a sunny B major. A rocking figure in the horns at the outset sets up the basic rhythmic motives of the whole movement, which sing in the violins at the beginning of the main section and continue to ebb and flow throughout the movement.

SIXTY-SECOND SEASON NINETEEN HUNDRED FORTY-TWO AND FORTY-THREE

Sixth Programme

FRIDAY AFTERNOON, November 13, at 2:30 o'clock

SATURDAY EVENING, November 14, at 8:15 o'clock

Smetana Overture to "The Bartered Bride"

Martinu Symphony No. 1

I. Moderato; poco piii mosso

II. Allegro; Trio: poco moderato HI. Largo IV. Allegro non troppo (First performance) INTERMISSION

Beethoven Concerto for Pianoforte No. 4 in G major, Op. 58

I. Allegro moderato

II. Andante con moto III. Rondo: vivace

SOLOIST JAN SMETERLIN (Mr. Smeterlin uses the Steinway Piano)

BALDWIN PIANO

This programme will end about 4:25 on Friday Afternoon 10:10 o'clock on Saturday Evening

Symphony Hall is organized for your protection in case of a blackout. The auditorium and the corridors will remain lighted. You are requested to keep your seats. Above all, keep calm.

From the premiere of Martinu's First Symphony, given by the Boston Symphony Orchestra under Serge Koussevitzky

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22 The second movement is the dance-like scherzo, built of the rhythmic drive and the ambiguous treatment of 3/4 time familiar from the furiant—the popular dance so often translated into symphonic terms by Smetana and Dvorak. Its Trio is in a more moderate

6/8 time that plays with the same rhythmic tricks as the first movement.

The slow movement grows in two large arches from the somber, pianissimo beginning in cellos and double basses to a massive climax in which the sustained phrases are progressively animated by smaller subdivisions. The dark scoring of the opening and the saturated low string sound, with the cellos and violas divided, are partially offset at climactic moments by sparkles of woodwinds and the high register of the first violins, but the overall mood is one of sobriety.

The finale is a witty romp—beginning as a 2/4 galop, though later sections are in 3/4 time—built of ideas that wouldn't be out of place in a Haydn symphony, though

Martinu plays jokes even wilder than Haydn's with the rhythmic stress. What sounds like the upbeat of the phrase rarely appears exactly where we expect it, leaving us constantly, and delightfully, off balance. —Steven Ledbetter

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24 Johannes Brahms Symphony No. 4 in E minor, Opus 98

Johannes Brahms was born in Hamburg, Germany, on 7 May 1833 and died in

Vienna on 3 April 1897. His first mention

of his Fourth Symphony is in a letter of 19 August 2884 to his publisher, Fritz Simrock. The work must have been com- pleted about a year later, and in October

1885 he gave a two-piano reading of it with Ignaz Brull in Vienna for a small group of friends including the critic Eduard Hanslick, the surgeon Theodor Billroth, the conductor Hans Richter, and the historian and Haydn biographer C.F.

Pohl. Brahms conducted the first orches- tral performance at Meiningen on 25 October 1885. The American premiere was to have taken place in Boston in November 1886. Wilhelm Gericke in fact conducted the work at the public rehearsal on the 26th of that month, but cancelled the scheduled performance after making highly

critical remarks to the audience about the new score. He did conduct it at the Boston Symphony concerts of 22 and 23 December 1886, but meanwhile Walter Damrosch had gotten ahead of him with a concert performance with the New York Symphony on 11

December. It has been played by the Boston Symphony under Arthur Nikisch, Emil Four, Carl Wendling, Max Fiedler, Karl Muck, Pierre Monteux, Serge Koussevitzky, Eugene Goossens, Stanley Chappie, George Szell, Charles Munch, Leonard Bernstein, Richard Burgin, Vladimir Golschmann, Erich Leinsdorf, Rafael Kubelik, Carlo Maria Giulini, William Steinberg, Michael Tilson Thomas, Joseph Silverstein, Edo de Waart, Klaus Tennstedt, Colin Davis, and Andrew Davis. The most recent Symphony Hall perfor-

mances were led by Seiji Ozawa in November 1978; Tennstedt conducted the most recent performance of the symphony at Tanglewood in 1980. The score calls for two flutes and piccolo, two oboes, two clarinets, two bassoons and contrabassoon, four horns, two trumpets, three trombones, timpani, triangle, and strings. Piccolo and triangle appear in the third movement only, contrabassoon in the third and fourth movements only, and the trombones in the fourth movement only

Brahms sat on his First Symphony for close to twenty years. He was making sketches

in the late '50s friends like Clara Schumann and Albert Dietrich saw the first movement ; in more or less completed state in the early '60s, the C major horn call that now floods the introduction to the finale with sunlight served as a birthday greeting to Clara in 1868,

but still, in 1872, Brahms wrote, "I shall never write a symphony! You can't have a

notion what it's like always to hear such a giant marching behind you." It was late 1876 when he at last released the work for performance. The terror of Beethoven and the terror of the idea of symphony once overcome, three more such works followed in relatively quick succession. The Second came along almost right away, having been

begun, finished, performed, and published, all in 1877. Then there was an interval filled with other work—the Violin Concerto and Second Piano Concerto, the Academic Festival and Tragic overtures, Ndnie and Gesang der Parzen, chamber music including

the G major violin sonata, C major trio, F major string quintet, solo piano pieces, songs,

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26 and a second book of Hungarian Dances. The Third Symphony, begun in 1882, was finished in the summer of 1883, and the Fourth seems to have been started during the summer of the following year. That year he chose Miirzzuschlag in Styria for his annual holiday*: "The cherries don't ever get to be sweet and edible in this part of the world," he wrote to several of his friends, adding that he feared his new music had taken on something of their flavor.

As always, he announced a work in progress with caution. To his publisher he made only some vague noise about a need for paper with more staves. To Hans von Biilow he

reported in September 1885: "Unfortunately, nothing came of the piano concerto that I

should have liked to write. I don't know, the two earlier ones are too good or maybe too

bad, at rate they are obstructive to me. But I do have a couple of entractes put but any ;

together they make what is commonly called a symphony. On tour with the Meiningen

orchestra, I have often imagined with pleasure how it would be to rehearse it with you,

nicely and at leisure, and I'm still imagining that now, wondering by the way whether it would have much of an audience."

Meiningen, about 100 miles east and slightly north of Frankfurt, and now just over the border into the German Democratic Republic, was the capital of the tiny principality of Saxe-Meiningen.f In the eighteenth century, when Johann Sebastian Bach's third cousin, Johann Ludwig Bach, was Capellmeister there, Meiningen's orchestra had an excellent

reputation. The little town continued to have a vital theatrical and musical community

and during the last part of the nineteenth century, when first Hans von Biilow and then

Fritz Steinbach were its conductors, the Meiningen Orchestra was one of Europe's elite

musical organizations. Liszt, Wagner, and Brahms were associated with it, as was Max

Reger in later years,- Richard Strauss learned his trade as conductor with von Biilow and

* During the year, in the city, Brahms sketched new works and read publishers' proofs. He also still gave occasional concerts. Summers, in the country, he did his most concentrated composing. These were working holidays, then, and the choice of site—and no place, however lovely, served him more than three years in a row—was one of the principal preoccupations of each spring.

f'Ah, good morning, Your Highness," said Brahms once to Prince George II. "I've just taken a quick pre-breakfast walk through the neighboring kingdoms."

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28 the Meiningen players,- Richard Miihlfeld, the great clarinetist for whom Brahms wrote his two sonatas, trio, and quintet, was in the orchestra; and Donald Tovey began his career as a writer about music when he supplied program notes for the orchestra's visit to London.

Von Biilow, fifty when he began his five-year stint at Meiningen in 1880, was one of the most imposing and brilliant musical personalities of the century. A remarkable pianist, conductor, and polemicist, he was one of the most prominent of the Wagnerians and conducted the first performances of Tristan and Meistersinger. He was caught in a wretched personal situation when his wife, the daughter of Franz Liszt, left him for Wagner. He continued to conduct Wagner's music, but he became one of the most fervent admirers and effective champions of Brahms (and thus one of the few to bridge what seemed then a vast gulf between musical ideologies*). He was, in any event, delighted to have Brahms come to Meiningen with his new symphony and cautiously explored the possibility of including composer and work on a tour of the Rhineland and Holland. In due course, Brahms arrived at Meiningen, and the new symphony went into rehearsal. "Difficult, very difficult," reported von Biilow, adding a few days later, "No. 4 gigantic, altogether a law unto itself, quite new, steely individuality. Exudes unparalleled energy from first note to last." The premiere went well, and the audience tried hard but unsuccessfully to get an encore of the scherzo. Von Biilow conducted a repeat perform- ance a week later, after which the orchestra set off on its tour, with Brahms conducting

*He was also the first to play the Tchaikovsky B flat minor concerto— in Boston, 25 October 1875- commitment that would have united the Brahmsians and the Wagnerians in their disapproval.

Johannes Brahms and friends. Brahms is seated second from the right. Among the others are pianist and composer Igraz Brull (standing, far left), musicologist Eusebius

Mandyczewski (standing, far right), critic Eduard Hanslick (seated, second from left), and clarinetist Richard Muhlfeld (seated, far right).

29 the new symphony in Frankfurt, Essen, Elberfeld, Utrecht, Amsterdam, The Hague,

Krefeld, Cologne, and Wiesbaden. It was liked and admired everywhere, though Vienna rather resisted the performance two months later by the Philharmonic under Richter, a performance unfortunately prepared nowhere near as well as the series in Meiningen.

It is curious that while the public took to the Fourth, Brahms's friends, including professionals and near-professionals like Eduard Hanslick and Elisabeth von Herzogen-

berg, had some difficulty with it. Perhaps that can be explained. The public, except in

Vienna, heard superbly realized performances, while Hanslick, for example, knew it first

from a two-piano reading (he remarked it was like being beaten up by two tremendously intelligent and witty people), and Frau von Herzogenberg, cursing the difficult horn and

trumpet transpositions, had to decipher it at the piano from the manuscript of Brahms's full score. Then, where the public would have chiefly perceived and been carried away by the sweep of the whole, the professionals, with their special kind of connoisseurship and perception of detail, would have been more struck by what was—and is —genuinely difficult in the score.

It is fascinating, for example, to learn that the opening was disconcerting to Joseph

Joachim. Something preparatory, he suggests, even if it were only two measures of unison

B, would help listeners find their way into the piece (in fact, reading his correspondence with Brahms, we learn that originally there were some preparatory measures which were struck out and destroyed). The second statement of the opening melody was difficult to

unravel, the theme itself now given in broken octaves and in dialogue between second

and first violins,* with elaborate decorative material in violas and woodwinds. Almost everyone was upset over what seems now one of the most wonderful strokes in the work, the place where Brahms seems to make the conventional, classical repeat of the exposi- tion but changes one chord after eight measures, thereby opening undreamed-of harmon-

ic horizons, and only then, after so leisurely a start, moves into the closely argued development. On the other hand, everyone admired the dreamily mysterious entry into the recapitulation—the long sequence of sighing one-measure phrases, subsiding, sinking into one of only four places marked ppp in all of Brahms's orchestral music, from which oboes, clarinets, and bassoons emerge in their severe yet gentle reediness to sound the first

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30 four notes of the opening melody, in immense magnification, strings weaving an enigmatic garland about the last note. The next four notes are treated the same way, and then the music's melancholy flow resumes in the expected way.

For Brahms to build a slow movement over the same keynote as the first movement is rare indeed; yet he does it here and finds an inspired way of celebrating simultaneously the continuity and the contrast of E minor (the first movement) and E major (the second). Horns play something beginning on E—a note we have well in our ears after the emphatic close of the Allegro—but which sounds like C major. It turns out to be something more like the old Phrygian mode, and it is in any case fresh enough and ambiguous enough to accomodate the clarinets' hushed suggestion that one might place a

G-sharp over the E, thus inaugurating an idyllic E major. But the notion of a C major beginning is not forgotten and will be fully pursued in the massively rambunctious scherzo.

Boston Music Hall

SEASON 1886-87.

BOSTON SYMPHONY ORCHESTRA.

MR. WILHELH GERICKE, CONDUCTOR.

VII. C8NCERT.

Saturday, November 27th, at 8, P. M. PROGRAMME.

F. MENDELSSOHN. OVERTURE. (Midsummer-night's Dream.)

J. GLUCK. a) ARIA. (Semiramis.)

F. GIORDANI. b) ARIA. (Caro mio ben.)

W. A. MOZART. CONCERTO for Flute and Haisp. (Allegro — Andante.)

SONGS with Piano.

J. BRAHMS. SYMPHONY in E minor, No. (First time.)

SOLOIST:

MISS EMILY WINANT.

From what would have been the first American performance of the Brahms Fourth, had not Gericke decided to cancel after the preceding day's public rehearsal

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It is one of twenty belts ffi W we make out of leather-trimmed wools m W and linens in a wide range of colorful ^ stripes and solids in both men's and women's sizes. These belts, as well as our Glove Leather belts, are sold in selected storesthroughout the country. If you cannot find the Coach® Belt you want in a store near you, you can also order it directly from the Coach Factory in New York. For Catalogue and Store List write or call: Consumer Service, Coach Leatherware, 516 West 34th Street, New York City 10001. Tel: (212) 594-3914. For the finale, Brahms goes back to the E minor from which he began, but with a

theme whose first chord is A minor and thus very close to the world of the just finished scherzo. Brahms's knowledge of Baroque and Renaissance music was extensive and,

above all, profound, and so, when he writes a passacaglia, which must have seemed like

sheer madness to the up-to-date Wagnerians, he does it like a man composing living

music, with no dust of antiquarianism about it. He had been impressed by a cantata, then

believed to be by Bach (listed as No. 150, Nach dir, Herr, verlanget mich), whose last

movement is a set of variations over a repeated bass, and he had maintained that

something could still be done with such a bass, though the harmonies would probably have to be made richer. And of course he knew well the great Chaconne for violin solo. The finale of the Haydn Variations of 1873 was a brilliantly achieved trial run, but the

scope of the grand and tragic finale of the Fourth Symphony is on another level

altogether. Woodwinds and brasses, joined at the last by rolling drums, proclaim a sequence of eight chords. The trombones have been saved for this moment, and even

now it is characteristic that the statement is forte rather than fortissimo. The movement

falls into four large sections. First, twelve statements of the eight-bar set, with bold

variations of texture, harmonic detail, and rhetoric. This phase subsides, to inaugurate a

contrasting section, first in minor still, but soon to move into major, in which the

measures are twice as long, the movement thus twice as slow. (Brahms is explicit here about wishing the beats, though there are now twice as many of them per measure, to

move at the same speed as before: in other words, the double length of the measures is enough to make this "the slow movement" of the finale, and the conductor should not impose a further slowing down of his own.) Four of these bigger variations make up this

section. The original pace is resumed with what appears to be a recapitulation. But strings intervene passionately midway through the eight-chord sequence, and the ensuing sixteen variations bring music more urgently dramatic than any yet heard in the

symphony. The passion and energy are released in an extensive, still developing, still

experiencing coda at a faster speed. Thus the symphony drives to its conclusion, forward- thrusting yet measured, always new in detail yet organically unified, stern, noble, and with that sense of inevitability that marks the greatest music. —Michael Steinberg

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The current full-scale biography of Martinu is that by Brian Large. Milos Safranek wrote a short but informative study Bohuslav Martinu, the Man and his Music, in 1944, bringing the story up to the Second Symphony his 1962 English publication of the same ; title, which I have not seen, is presumably an expansion covering the composer's entire life. Vaclav Neumann has recorded the First Symphony with the Czech Philharmonic (Pro Arte, coupled with the Inventions for orchestra).

The Life of Johannes Brahms by Florence May, a two-volume biography that came out in 1905, is still available, superb, and expensive (Scholarly). The most recent life-and- works on a more modest scale is Karl Geiringer's (Oxford). John Horton has contributed a good volume on Brahms Orchestral Music to the BBC Music Guides (U. of Washington paperback). Donald Francis Tovey's note on the Fourth Symphony in the first volume of

Essays in Musical Analysis is excellent (Oxford, available in paperback). For the reader with some technical knowledge of music, Arnold Schoenberg's essay "Brahms the

Progressive," with particular bearing on the Fourth Symphony, is not to be missed; it is contained in Style and Idea (St. Martin's). Bernard Jacobson's The Music of Johannes

Brahms is a fine introduction to Brahms's style for those not afraid of musical examples (Fairleigh Dickinson University Press), and there are good things, too, in Julius Harrison's Brahms and his Four Symphonies (Da Capo). Brahms's Fourth has been recorded many times, of course, but many conductors come to grief in the treatment of tempo in the last movement (as described in Michael Steinberg's note). The old recording by Toscanini and the NBC Symphony is excellent in this respect and very good altogether, though rather hard in sound (Victrola, mono, a four-record box, with all four symphonies, both overtures, and the Haydn Variations). Other recommended performances include those of Fritz Reiner with the Royal Philharmonic (RCA), Sir Adrian Boult with the London Philharmonic (Angel, with the Academic Festival Overture), and Kurt Masur with the Leipzig Gewandhaus in his complete set of the symphonies (Philips). -S.L.

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V&clav Neumann

as guest conductor with the leading orchestras of Europe brought him to the Zurich Tonhalle, the Munich Philharmonic, the Royal Philharmonic, the Hamburg State Orchestra, the Bavarian Radio Orchestra, and the Berlin Philharmonic. He has toured Europe, Japan, and America, and he appears frequently at international music festivals. Mr. Neumann's concert repertory extends

from the classical to the contemporary. He is a noted exponent of Czech music—he was made Artist of Merit for his services to Czech music in 1967 and National Artist in 1977 and his recordings of the Martinu symphonies were awarded the International

Record Prize by the mayor of Paris last year.

These are his first appearances with the Born in Prague, Czech conductor Vaclav Boston Symphony Orchestra. Neumann studied violin and conducting at the Prague Conservatory, where he was first violinist and later violist of the Smetana , Quartet, which he co-founded, and which <5* ^otofpk/I^stflurad- began concertizing in 1945. He made his conducting debut in 1948 with the Czech Philharmonic, and he was chief conductor of the Karlsbad Philharmonic from 1951-54. Walter Felsenstein, director of Berlin's Comic Opera, invited him to conduct Janacek's Cunning Little Vixen in Berlin in 1956. Following the extraordinary success of that production, Mr. Neumann worked with that company for eight years, including two -?s> seasons as its chief conductor. At the same time, he was conductor of the Prague Symphony. From 1964 to 1968, he was conductor with Karel Ancerl of the Czech A charming 19th Century Townhouse Philharmonic, with which he toured to serving superb continental cuisine Russia, West Germany, the United States, and in contemporary informal elegance. lunch dinner variety Canada. During those years he was also Offering and with a of fresh seafood specials daily, and our principal conductor of the Leipzig after theatre cafe menu till midnight. Gewandhaus and general music director of the Leipzig Opera, where his new productions Serving - included Tristan und Isolde, Katya Kabanova, Lunch: 12:00-2:30 weekdays Dinner: 6:00-10:30 Sun.-Thurs. and Boris Godunov. In 1968 Mr. Neumann 6:00-12:00 Fri.-Sat. became chief conductor of the Czech Brunch: 11:00-3:00 Sat. & Sun. Philharmonic, and from 1970 to 1973 he was general music director of the Stuttgart reservations: 266-3030

Staatsoper. 99 St. Botolph Street behind the Colonnade Hotel In the late 1960s, Mr. Neumann's activities

37 People who are still making beautiful music together on their 100th anniversarydeserve to be listened to.

Honeywell is proud to help sponsor the BSO's 100th anniversary, Friday evenings at 9:00 on WCRB 102.5 FM. Honeywell The Boston Symphony Orchestra is grateful to the following corporations and professional organizations for their vital and generous contributions in the past or

current fiscal year.

Corporate Honor Roll ($10,000+)

Advanced Management Associates, Inc. Morse Shoe, Inc. BayBanks, Inc. New England Merchants National Bank Boston Broadcasters, Inc./WCVBTV New England Mutual Life Insurance Company Boston Edison Company New England Telephone Company Cahners Publishing Company Ocean Spray Cranberries, Inc. Charles River Broadcasting, Inc./WCRB Paine Webber Jackson & Curtis, Inc. Commercial Union Assurance Company Polaroid Corporation Digital Equipment Corporation Prime Computer, Inc. Dynatech Corporation Prudential Insurance Company of America First National Bank of Boston Raytheon Company Gillette Company Shawmut Bank of Boston, N. A. Globe Newspaper Company Stop & Shop Companies, Inc. John Hancock Mutual Life Insurance Company Stride Rite Corporation Heublein, Inc. Wm. Underwood Co. Kenyon & Eckhardt, Inc. Wang Laboratories, Inc. Liberty Mutual Insurance Company WheelabratorFrye, Inc. Mobil Oil Corporation Woodstock Corporation

Corporate Leaders ($1,000+)

Accountants Berkshire County Savings Bank

Arthur Andersen & Co. Robert A. Wells Thomas A. Sampson Boston Five Cents Savings Bank Robert Spiller Coopers and Lybrand J. Vincent M. O'Reilly City Saving Bank of Pittsfield Peat Marwick Mitchell & Company Luke S. Hayden

Jordan L. Golding First Agricultural Bank of Berkshire County Selwyn Atherton Advertising First National Bank of Boston Kenyon Eckhardt, Inc. & Kenneth R. Rossano Thomas Mahoney J. Lee Savings Bank Young Rubicam, Inc. & Richard Sitzer Edward N. Ney Lenox Savings Bank Aerospace Stanley T Ryba

Northrop Corporation Mutual Bank for Savings Thomas V Jones Keith G Willoughby Pneumo Corporation New England Merchants National Bank Gerard A. Fulham Roderick M. MacDougall Shawmut Bank of Boston, N. A. Banks John P. LaWare BankAmerica International State Street Bank and Trust Company Christopher S. Wilson William S. Edgerly BayBanks, Inc. Union Federal Savings and Loan

William M. Crozier, Jr. William H. McAlister, Jr. Berkshire Bank & Trust Co. D.R. Ekstrom

39 Augment your investments lest you go baroque.

Fidelity Management & Research Co. Investment Advisor to the Fidelity Group of Funds 82 Devonshire Street, Boston, Massachusetts 02109, Tel. 523-1919

Where the well-dressed woman shops.

Timeless clothing and personal service.

Talbote Since 194 458 Boylston Street, Boston, Tel 262-2981

For our free catalog write The Talbots, Dept. PB, Hingham, MA 02043, or call toll-free 800-225-8200, (in Massachusetts call 800-232-8181).

40 Consultants Microsomes, Incorporated William Cook Advanced Management Associates, Inc. Harvey Chet Krentzman Polaroid Corporation

William McCune, Jr. Stanley H. Kaplan Educational Center J. Susan Kaplan Prime Computer, Inc. John K. Buckner Arthur D. Little, Inc. Printed Circuit Corporation John F. Magee Peter Sarmanian Education Raytheon Company

Stanley H. Kaplan Educational Center Thomas L. Phillips Susan B. Kaplan Technical Operations, Inc. Food Products Marvin G. Shorr Thermo Electron Corporation Adams Super Market Corporation Howard Wineberg Dr. George N. Hatsopoulos Tyco Laboratories, Inc. Heublein, Inc. Joseph S. Gaziano Robert R. Weiss U.S. Components, Inc. Ocean Spray Cranberries, Inc. B.A. Jackson Harold Thorkilsen Wang Laboratories, Inc. Stop &. Shop Companies, Inc. An Wang Avram J. Goldberg Western Electric Co., Inc. Wm. Underwood Co. Donald E. Procknow James D. Wells

High Technology/Computers Hotels

Analog Devices Red Lion Inn Ray Stata John H. Fitzpatrick Augat, Inc. Parker House Roger Wellington Dunfey Family

Automatic Data Processing, Inc. Frank R. Lautenberg Insurance

Bolt Beranek and Newman, Inc. Arkwright Boston Insurance

Stephen Levy Frederick J. Bumpus Charles River Breeding Laboratories, Inc. Berkshire Life Insurance Company

Henry L. Foster Lawrence W Strattner, Jr. Data Packaging Corporation Brewer & Lord

Otto Morningstar Joseph G. Cook, Jr. Digital Equipment Corporation Commercial Union Insurance Companies Kenneth H. Olsen Howard H. Ward

Dynatech Corporation Deland, Gibson, Meade &. Gale, Inc.

J.P Barger George W Gibson

The Foxboro Company Frank B. Hall Company

Bruce D. Hainsworth John B. Pepper

GenRad, Inc. John Hancock Mutual Life Insurance Company

William R. Thurston E. James Morton General Telephone & Electronics Corporation Liberty Mutual Life Insurance Company

Theodore F. Brophy Melvin B. Bradshaw

Honeywell Information Systems, Inc. Marsh & McLennan, Inc. Edson W Spencer Robert L. Peretti Instron Corporation New England Mutual Life Insurance Company

Harold Hindman Edward E. Phillips

Itek Corporation Prudential Insurance Company of America

Robert P Henderson Robert J. Scales

LFE Corporation Maurice H. Saval, Inc.

Herbert Roth, Jr. Maurice H. Saval

41 II r^ldtelitK THE SUITE SOLUTION.

We are interior designers of residential, commercial and office spaces. Our personalized services are what make us special. Call us for a free consultation. Portuguese Needlepoint Rugs We specialize in these elegant handmade wool rugs from Lisbon. Choose from our wide assortment or let us help you design Custom Quarters, Inc. your own. Please call (617) 523-2424 for an 6 Faneuil Hall Marketplace appointment. Cindy Lydon, Arkelyan Rugs, Boston, MA 02109 617/720-4114 67 Chestnut Street, Boston.

^^/oAA^^tUOy.

The cbse-to-perfect evening.

There are restaurants closer to Symphony Hall than the 57 Restaurant. But there are none closer to perfection.

The setting is unique and opulent. The cuisine, distinctively international:

prime beef, seafood, magnificent desserts. Prestigious Office Space in Park Plaza, Boston All perfectly prepared and served. Adjoining the Boston Park So even though its closer to the Plaza Hotel Metropolitan Center than to Symphony Hall,

dinner at the 57 is the perfect prelude to an evening with the BSO. The

Restaurant Exclusive Leasing and Managing Agents dose to perfect. Call (617) 426-5554 Anytime Christine R Kandrach, Leasing Manager 200 Stuart Street, Boston, Massachusetts Reservations: (617) 423-5700 All credit cards welcome.

42 Sun Life Assurance Company of Canada Rising Paper Company George Meltzer Robert E. O'Connor

Systems Engineering &. Manufacturing Corp. Investments Steven Baker Amoskeag Company Trina, Inc. Joseph B. Ely Jr. Arnold Rose Moseley Hallgarten Estabrook &. Weeden, Inc. WheelabratorFrye, Inc. Fred S. Moseley Michael H. Dingman Paine Webber, Inc. Donald B. Marron Media/Leisuie Time

Paine, Webber, Jackson & Curtis Inc. General Cinema Corporation Francis P. Sears Richard A. Smith The Putnam Advisory Company, Inc. Showcase Cinemas Michael C. Hewitt Jason C. Starr Tucker, Anthony & R.L. Day, Inc. WCRB/Charles River Broadcasting, Inc. R. Willis Leith, Jr. Theodore Jones Woodstock Corporation WCVBTV/Boston Broadcasters, Inc. Thomas Johnson Robert M. Bennett

Manufacturers Target Communications, Inc.

Thomas E. Knott Acushnet Company, Inc.

Robert L. Austin Oil Baldwin Piano and Organ Company Buckley & Scott Company R.S. Harrison William H. Wildes Rudolph Beaver, Inc. Mobil Chemical Corporation John R. Beaver Rawleigh Warner, Jr. Bell Manufacturing Company Northeast Petroleum Corporation Irving W Bell John Kaneb Bird &. Son, Inc. Yankee Oil & Gas, Inc. Robert F. Jenkins Graham E. Jones Cabot Corporation

Robert A. Charpie Printing/ Publishing College Town, Inc. Adco Publishing Company, Inc. Arthur M. Sibley Samuel Gorfinkle Corning Glass Works Berkshire Eagle Amory Houghton, Jr. Lawrence K. Miller Crane and Company Cahners Publishing Company Bruce Crane Norman Cahners AT. Cross Company Globe Newspaper Company Russell A. Boss John I. Taylor Dennison Mfg. Company Houghton Mifflin Company Nelson S. Gifford Harold T Miller Gillette Company Label Art Colman M. Mockler, Jr. Leonard J. Peterson Kimberly-Clark Corporation, Schweitzer Division Ronald Gill Real Estate Corporation Mead Leggat, McCall &. Werner, Inc. C.E. Burke Edward R. Werner Millard Metal Service Center, Inc. Donald Millard Retail Stores

National Distillers and Chemical Corporation England Brothers

John H. Stookey Andrew J. Blau Norton Company Wm. Filene's Sons Co. Robert Cushman Merwin Kaminstein

43 a round of applause for the store in the heart of the square

HARVARD SQUARE M.I.T. STUDENT CENTER CHILDREN'S HOSPITAL MEDICAL CENTER ONE FEDERAL STREET IN BOSTON

44 Howard Johnson Company Spencer Companies, Inc. Howard B. Johnson C. Charles Marran

Jordan Marsh Company Stride Rite Corporation Elliot Stone J. Arnold S. Hiatt King's Department Stores, Inc. Utilities Paul Kwasnick Berkshire Mars Bargainland, Inc. Gas Company Matthew Tatelbaum Joseph Kelley

Marshall's Inc. Boston Edison Company Thomas Galligan, Frank Brenton J. Jr. Zayre Corporation Eastern Gas and Fuel Associates William Maurice Segall J. Pruyn New England Telephone Company Shoes William C. Mercer Jones Vining, Inc. & Northeast Utilities Sven Vaule, Jr. B.D. Barry Morse Shoe, Inc. L.R. Shindler

OF THE jy

July 11 through 25 at Williams College, Williamstown, Mass. or July 11 through August 8 at Skidmore College, Saratoga Springs, N.Y.

Choose your week or weekend! Program includes The Philadelphia Orchestra, New York City Ballet, Boston Symphony, Wil- liamstown Theater and much more! Sem- inars in Music, Art History, Architecture, Literature, Philosophy, Political Science, Dance, Drama. Workshops in art and cera- mics. Swimming, tennis, golf. Dormitory rooms, limited rooms with private baths, and apartments available. Fee includes 3 full meals daily, and transportation to all evening events where necessary. Write for brochure.

Aliens Lane Art Center (Dept. B)

Aliens Lane & McCallum St. Philadelphia, PA. 19119 (215) 248-0546

45 If Beethoven had needed help with his first note, we would have been there.

•$!$• COMMONWEALTH BANK Main Office, 10 Post Office Square, Boston (617) 482-8300

Newbury's Steak House Back Bay's oldest restaurant...

Neufaury^s remembers w% their first cms" tamers became regular emwmexs ~—

A emgemal ambiemet friendly efficient

service, the choicest cms of beeft fresh fish

specials daily, generous sandwkhes t an ovXr

standing salad barf homemade desserts as

well as impormd wnes> beert and cocktomk aM at sensMe prices,

Only 10 minutes from Symphony Hall, Newbury's is at Massachusetts Ave. on the corner of Nevubury St. Free parking facilities are available before or after the symphony.

Open noon to midnight seven dorp a week, 94 Massachusetts Ave. • 556*0184

46 .

Friday, 16 April— 2-3:30 Coining Concerts . . Saturday, 17 April— 8-9:30

Wednesday, 31 March at 8 SEIJI OZAWA conducting "Soiree Musicale": A Special Concert Stravinsky Oedipus Rex Celebrating the 250th Birthday of Symphony of Psalms Franz Joseph Haydn JESSYE NORMAN, soprano KENNETH RIEGEL, tenor

Thursday 1 8-10:10 April— JOHN CHEEK, bass-baritone Thursday '10' series AAGE HAUGLAND, bass Friday 2-4:10 2 April— JOHN GILMORE, tenor Saturday 3 8-10: April— 10 JOSEPH McKEE, bass-baritone ANTAL DORATI conducting TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor All-Haydn Overture to Stage direction by Peter Sellars Program II htorno di Tobia

Symphony No. 26, Lamentatione The Seven Last Words of Christ j£T^ Return to Victorian splendor. LINDA ZOGHBY, soprano To fine wines and attentive service. SARAH WALKER, mezzo-soprano To gracious, intimate dining CLAES H. AHNSJO, tenor To Delmonico's. WOLFGANG LENZ, bass NEW ENGLAND CONSERVATORY CHORUS, LORNA COOKE deVARON, conductor

Thursday, 8 April— 8-9=50 Thursday 'A' series Friday, 9 April—2-3:50 Saturday, 10 April— 8-9:50

ANTAL DORATI conducting All-Haydn Overture to nSHOXICQS Program L'isola disabitata

Symphony No. 83, The Hen Piano Concerto in D

ILSE VON ALPENHEIM Continental classics expertly flamed at your table. Valet parking. Symphony No. 82, Monday - Friday, 5- The Bear 10pm Saturday, 5-1 1pm Sunday Brunch, 8am-3pm Wednesday, 14 April at 7:30 Open Rehearsal Steven Ledbetter will discuss the program at 645 in the Cohen Annex. The Lenox Hotel j~ Prudential Center at Copley Square Thursday, 15 April— 8-9:30 W?, Boston 536-2200 Thursday '10' series

47 Howabout tA& UMM*(€fe/Jp*eClt> UHM& dinner

Bordeaux. The Loire at my place?" Valley. Italy. California's Napa Valley. Germany. Ur deniably the world's great wine producing regions. And now, Boston can match those great regions bottle for bottle. Because Boston has Brookline Liquor Mart, a ^mgh ^m^ % wine, liquor, and gourmet food store nearly large '$$&& enough to qualify as a region of its own. Brookline Liquor Mart offers a huge selection - of the highest quality wines from France, Germany, Italy, and California. To help you make more intelligent and informed choices among our wines, our knowledge- able and experienced sales staff is at your service. And to give you the same sort of selection among liquors, Brookline Liquor Mart stocks shelves and shelves of single malt Scotches, French eaux de vie, rare cognacs and 'Apley's Restaurant. brandies, vodkas and gins from around the world, To me, it's a new Boston classic and the best American bourbons. Plus a full comple- ment of domestic and imported beers. like a Longfellow poem In addition, we've or fine Revere silver. built a better Mouse- It's traditional yet modern, trap, expanding our old Mousetrap Cheese fashionable but timeless. Shop to provide more

It's the Boston I love." gourmet cheeses and foods. And we offer such services as deliv- ery, complete yearly catalogs of our stock, and fully planned and furnished home wine cellars. So for great wines, great liquors and gourmet foods, visit one of the world's great wine regions. Brookline Liquor Mart.

SERVING FROM 6 PM-10:30 PM DAILY Q&rooAluie' Sheraton-Boston 1354 Commonwealth Ave. Allston, Mass. 02134 Hotel 617-734-7700 SHERATON HOTELS & INNS WORLDWIDE PRUDENTIAL CENTER BOSTON MASSACHUSETTS 617 236-2000

48 .

Symphony Hall Information . .

FOR SYMPHONY HALL, CONCERT, AND TICKET INFORMATION, call (617) 266T492. For Boston Symphony concert program information, call "CONOE-R-T." THE BOSTON SYMPHONY performs ten months a year, in Symphony Hall and at Tanglewood. For information about any of the orchestra's activities, please call Sym- phony Hall, or write the Boston Symphony Orchestra, Symphony Hall, Boston, MA 02115.

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

FOR SYMPHONY HALL RENTAL INFORMATION, call (617) 266-1492, or write the Hall Manager, Symphony Hall, Boston, MA 021 15.

THE BOX OFFICE is open from 10 a.m. until 6 p.m. Monday through Saturday,- on concert evenings, it remains open through intermission for BSO events or just past starting-time for other events. In addition, the box office opens Sunday at 1 p.m. when there is a concert that afternoon or evening. Single tickets for all Boston Symphony concerts go on sale twenty-eight days 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 accepted for these events.

TICKET RESALE: If for some reason you are unable to attend a Boston Symphony concert for which you hold a ticket, you may make your ticket available for resale by calling the switchboard. This helps bring needed revenue to the orchestra and makes your seat available to someone who wants to attend the concert. A mailed receipt will acknowledge your tax-deductible contribution.

RUSH SEATS: There are a limited number of Rush Tickets available for the Friday afternoon and Saturday evening Boston Symphony concerts (subscription concerts only).

The continued low price of the Saturday tickets is assured through the generosity of two anonymous donors. The Rush Tickets are sold at $4.50 each, one to a customer, at the Symphony Hall West Entrance on Fridays beginning 9 a.m. and Saturdays beginning 5 p.m.

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

SMOKING IS NOT PERMITTED in any part of the Symphony Hall auditorium or in the surrounding corridors. It is permitted only in the Cabot-Cahners and Hatch rooms, and in the main lobby on Massachusetts Avenue.

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

FIRST AID FACILITIES for both men and women are available in the Cohen Annex near the Symphony Hall West Entrance on Huntington Avenue. On-call physicians attending concerts should leave their names and seat locations at the switchboard near the Massachusetts Avenue entrance.

WHEELCHAIR ACCESS to Symphony Hall is available at the West Entrance to the Cohen Annex.

49 AVOID The Boston Five Cents Savings Bank has a variety of retire- ment plans that shelter your FAYING income from taxation and help assure a financially secure retirement. The pension planning experts THE at The Boston Five will assist you with an Individual Retire- ment Account, Keogh plan or Simplified Employee Pension PIPER plan. They'll help you choose from a wide range of invest- ment options. And show you how to build a retirement plan that's exactly right for you. NOW Give the Pension Trust Depart- ment a call at 742-6000, ext. 329, and find out how you can

waltz through* retirement gracefully. SINGING FOR YOUR The M Boston SUPPERS j' Five Forgoodold Boston

LATER Member FDIC

50 AN ELEVATOR is located outside the Hatch and Cabot-Cahners rooms on the Massachu- setts Avenue side of the building.

LADIES' ROOMS are located on the orchestra level, audience-left, at the stage end of the hall, and on the first-balcony level, audience-right, outside the Cabot-Cahners Room near the elevator.

MEN'S ROOMS are located on the orchestra level, audience-right, outside the Hatch Room near the elevator, and on the first-balcony level, audience-left, outside the Cabot- Cahners Room near the coatroom.

COATROOMS are located on the orchestra and first-balcony levels, audience-left, outside

the Hatch and Cabot-Cahners rooms. The BSO is not responsible for personal apparel or other property of patrons.

LOUNGES AND BAR SERVICE: There are two lounges in Symphony Hall. The Hatch Room on the orchestra level and the Cabot-Cahners Room on the first-balcony level serve drinks starting one hour before each performance. For the Friday afternoon concerts, both rooms open at 12:15, with sandwiches available until concert time.

BOSTON SYMPHONY BROADCASTS: Concerts of the Boston Symphony Orchestra are heard by delayed broadcast in many parts of the United States and Canada, as well as internationally, through the Boston Symphony Transcription Trust. In addition, Friday

afternoon concerts are broadcast live by WGBH-FM (Boston 89.7), WAMC-FM (Albany

90.3), WMEA-FM (Portland 90. 1), WMEH-FM (Bangor 90.9), WMEM-FM (Presque Isle

106. 1), WEVO-FM (Concord 89. 1), WVPR-FM (Windsor 89.5), and WVPS-FM (Burlington 107.9). Live Saturday evening broadcasts are carried by WGBH-FM and WAMC-FM, as

well as by WCRB-FM (Boston 102.5), WFCR-FM (Amherst 88.5), and WPBH-FM

(Hartford 90.5). If Boston Symphony concerts are not heard regularly in your home area, and you would like them to be, please call WCRB Productions at (617) 893-7080. WCRB will be glad to work with you and try to get the BSO on the air in your area.

BSO FRIENDS: The Friends are supporters of the Boston Symphony, active in all of its endeavors. Friends receive BSO, the orchestra's newsletter, as well as priority ticket information. For information, please call the Friends' Office at Symphony Hall weekdays

between 9 and 5. If you are already a Friend and would like to change your address, please send your new address with your newsletter label to the Development Office, Symphony Hall, Boston, MA 021 15. Including the mailing label will assure a quick and accurate

change of address in our files.

IS THERE IN TH€ USA, AN ALCOHOLISM PROBLEM A VOLVOS UF€ CRN B€ IN YOUR LIFE? 18 VCRRS IN YOUR FAMILY? IN YOUR WORKPLACE? ...OR €V€N LONG€R WITH €XP€RTRTT€NTION FROM CONSIDER TH€ P€OPl€ WHO KNOW MOUNT PLEASANT HOSPITAL VOLVOS INSID6 AND OUT. CIND€R€UR CRRRIRGC • Modern equipment and treatment in a comprehensive facility.

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Symphony tickets, $30. Ballet, intensive"; many individuals are legislatures to lend assistance to

$24. Opera, $40. Museum involved, and in these fields the the arts. If you have spare time,

Admissions, $ 1 0.50. If the arts were effects of inflation are particularly volunteer to help in fund raising forced to charge fees that reall y severe. adivities. covered operating or production The difference between Encourage attendance and costs. .if the arts went "pay as you operating costs and ticket receipts support among your friends and go," not many people would go. is an "income gap" made up by neighbors. Sponsor local And life would be immeasurably gifts— from individuals, govern- performances and exhibitions. Be duller. ment, foundations, and business. a patron, every way you can.

Thingsaren 'f that way, thankfully. Those who can afford to do so, Audiences for the visual and support the arts so that all can performing arts are expanding. benefit. SUPPORT Many museums are free to the If you support the arts financially, public. Ticket prices, while up, are we urge you to continue to do so THE ARTS possible. within reason. as generously as But Business Committee

But the arts face an enormous there are other ways to help. Urge for the Arts. Inc., 1 700 Broadway, cost problem. They are "labor your local, state, and national New York, N.Y 10019

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