Boston Symphony Orchestra
SEIJI OZAWA, Music Director
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'BOSTON ' SYMPHONY \ ORCHESTRA, \ i Stljl /•-> k OZAWA 103rd Season Savor the sense of Remy
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im&SNBwmaBmU Seiji Ozawa, Music Director
Sir Colin Davis, Principal Guest Conductor
Joseph Silverstein, Assistant Conductor
One Hundred and Third Season, 1983-84
Trustees of the Boston Symphony Orchestra, Inc.
Leo L. Beranek, Chairman Nelson J. Darling, Jr., President Mrs. Harris Fahnestock, Vice-President George H. Kidder, 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.
David B. Arnold, Jr. Mrs. John H. Fitzpatrick William J. Poorvu J.R Barger Mrs. John L. Grandin Irving W. Rabb Mrs. John M. Bradley E. James Morton Mrs. George R. Rowland Mrs. Norman L. Cahners David G. Mugar Mrs. George Lee Sargent
George H.A. Clowes, Jr. Albert L. Nickerson William A. Selke
Mrs. Lewis S. Dabney John Hoyt Stookey
Trustees Emeriti
Abram T. Collier, Chairman of the Board Emeritus
Philip K. Allen E. Morton Jennings, Jr. Mrs. James H. Perkins Allen G. Barry Edward M. Kennedy Paul C. Reardon
Richard P. Chapman Edward G. Murray John L. Thorndike John T. Noonan
Administration of the Boston Symphony Orchestra, Inc.
Thomas W. Morris - General Manager
William Bernell - Artistic Administrator
Daniel R. Gustin - Assistant Manager
B.J. Krintzman - Director of Planning
Anne H. Parsons - Orchestra Manager
Caroline Smedvig - Director of Promotion Theodore A. Vlahos - Director of Business Affairs
Arlene Germain - Financial Analyst Richard Ortner - Administrator of
Charles Gilroy - ChiefAccountant Berkshire Music Center
Vera Gold - Promotion Coordinator Charles Rawson - Manager ofBox Office
Patricia Halligan - Personnel Administrator Eric Sanders - Director of Corporate Development
Nancy A. Kay - Director ofSales Joyce M. Serwitz - Assistant Director ofDevelopment
Nancy Knutsen - Production Assistant Cheryl L. Silvia - Symphony Hall Function Manager
Anita R. Kurland - Administrator of James E. Whitaker - Hall Manager, Symphony Hall
Youth Activities Katherine Whitty - Coordinator ofBoston Council
Steven Ledbetter Marc Mandel Jean Miller MacKenzie Director of Publications Editorial Coordinator Print Production Coordinator
Programs copyright ©1983 Boston Symphony Orchestra, Inc. Cover photo by Walter H. Scott Board of Overseers of the Boston Symphony Orchestra, Inc.
William J. Poorvu Chairman
William M. Crozier, Jr. Harvey C. Krentzman
I ice-Chairman lice-Chairman
Mrs. Gordon F. Kingsley Secretary
John Q. Adams Avram J. Goldberg Mrs. Thomas Spurr Morse Mrs. Weston W Adams Mrs. Ray A. Goldberg Mrs. Robert B. Newman Martin Allen Haskell R. Gordon Mrs. Hiroshi Nishino
Hazen H. Ayer Mrs. R. Douglas Hall III Vincent M. O'Reilly
Bruce A. Beal Mrs. Richard E. Hartwell Stephen Paine, Sr.
Mrs. Richard Bennink Francis W Hatch, Jr. John A. Perkins
Mrs. Edward J. Bertozzi, Jr. Mrs. Richard D. Hill David R. Pokross
Peter A. Brooke Ms. Susan M. Hilles Mrs. Curtis Prout. William M. Bulger Mrs. Marilyn Brachman Hoffman Ms. Eleanor Radin
Mary Louise Cabot Mrs. Bela T. Kalman Peter C. Read
Julian Cohen Mrs. S. Charles Kasdon Mrs. Peter van S. Rice
Mrs. Nat King Cole Richard L. Kaye David Rockefeller, Jr.
Arthur P. Contas Mrs. F. Corning Kenly, Jr. Mrs. Jerome Rosenfeld
Mrs. A. Werk Cook John Kittredge Mrs. William C. Rousseau
Phyllis Curtin Mrs. Carl Koch Mark L. Selkowitz
Victoria L. Danberg Robert K. Kraft Malcolm L. Sherman
A.V. d'Arbeloff Mrs. E. Anthony Kutten Donald B. Sinclair
D.V. d'Arbeloff John P. LaWare Richard A. Smith
Mrs. Michael H. Davis Mrs. James F. Lawrence Ralph Z. Sorenson
William S. Edgerly Laurence Lesser Peter J. Sprague
Mrs. Alexander Ellis, Jr. Mrs. Charles P. Lyman Ray Stata
Frank L. Farwell Mrs. Harry L. Marks Mrs. Arthur I. Strang John A. Fibiger C. Charles Marran Mrs. Richard H. Thompson
Kenneth G. Fisher Mrs. August R. Meyer Mark Tishler, Jr.
Gerhard M. Freche J. William Middendorf II Ms. Luise Vosgerchian Peter H.B. Frelinghuysen Paul M. Montrone Roger D. Wellington
Mrs. Thomas J. Galligan, Jr. Mrs. Hanae Mori Mrs. Donald B. Wilson
Mrs. Thomas Gardiner Mrs. Stephen V.C. Morris John J. Wilson
Mrs. James G. Garivaltis Richard P. Morse Nicholas T. Zervas
Overseers Emeriti Mrs. Frank G. Allen Paul Fromm
David W Bernstein Carlton P. Fuller Leonard Kaplan - Giving is an art in itself
When you make financial contributions to the arts or to any other non-profit organi- zation, Bank of New England can bring important benefits to your philanthropy.
Bank of New England is an expert at financial planning for people who make substantial gifts to charity. We will show you how you can make con- tributions, save on taxes, and at the same time, continue to provide yourself with income from those gifts. There's an art to making the most of your contri- butions, for yourself as well as for your favorite charity. So when you want expert financial guid- ance in making charitable gifts, look to the light.
Investment Services
I BANK OF NEW ENGLAND 28 State Street, Boston, MA 02109, (617) 973-1872
© Bank of New England Corporation, 1983 • PRESIDE^
Over 100 company sponsors will join John Williams and the Boston Pops on June 12, 1984 for "Presidents at Pops" - a festive, exciting benefit saluting New England businesses. A very special program book is planned to commemorate the performance It will provide the opportunity for businesses to place an advertisement which will have high visibility among the business leaders present. Reserve space now for your business; an effective way
ess to advertise and to help support thei Boston * t *«c "ftusta Symphony, -TViP^SOSaiweb^ Contact Eric Sanders, BSO D irector of Corporate * nc Development (617-266-1492); Lew Dabney, Yankee Publishing (542-8321); Chet Krentzman, Advanced 12, I*** June Management Associates (332-3141); Vin O'Reilly,
Coopers& Lybrand (574-5000) ; or Mai Sherman, Zayre Stores (620-5000).
1984 "Presidents at Pops" Sponsors
ABD Securities Corp. Filene's O'Donnell-Usen ADCO Publishing, Inc First Boston Corp. Fisheries Corp. Affiliated Publications Framingham Trust Co. Packaging Industries Analog Devices Frank B. Hall & Co. Parlex Corp. Augat, Inc. Gadsby& Hannah Peat-Marwick-Mitchell Bank of Boston General Cinema Corp. Plymouth Rubber Co. Bank of New England General Eastern Pneumo Corp. Barry Wright Corp. Instrument Corp. Prime Computer Bay Banks, Inc. Gillette Company Printed Circuit Corp. Bell Manufacturing Co. GTE Products Corp. Rath & Strong Bentley College Guzovsky Electrical Corp. Raytheon Company Blyth-Eastman-Paine-Webber Haemonetics Corp. Shawmut Bank of Boston Bolt, Beranekand Newman HCW Oil & Gas Signal Technology Corp. Boston Consulting Group Helix Technology Corp. Signal Companies Boston Edison Co. Heritage Travel Simplex Time Recorder Co. Boston Park Plaza Herrick& Smith Sonesta International Hotels Buckley & Scott Hill& Knowlton Spencer Companies Burgess & Leith Honeywell Corp. State Street Bank \. Cameron & Colby Houghton Mifflin Co. Stop & Shop Co. Charles River Breeding Labs Howard Johnson Co. Stride Rite Corp. Citicorp (USA) IBM Corp. Systems Engineering Clark-Franklin- Kingston Press John Hancock Mutual TAD Technical Services Computer Partners Life Insurance Towle Manufacturing Coopers & Lybrand Johnson, O'Hare Co. Touche Ross & Co. Country Curtains Jones & Vining Trans Lease Group Creative Gourmets, Ltd. Kenyon & Eckhardt Trans National Group Services Cullinet Software, Inc. Knapp King Size Trina, Inc Daniels Printing Co. Label Art, Inc. Tucker, Anthony, & R. L. Day Data Packaging Leach & Garner Co. Wang Laboratories Digital Equipment Corp. Lee Shops WBZ-TV Dunkin' Donuts Liberty Mutual Insurance Co. WCIB-FM Dynatech Corp. Mercury International WNEV-TV E.F. Hutton& Co. Narragansett Capital Corp. Westin Hotel Eastern Gas & Fuel New England Business Service Woodstock Corp. Econocorp New England Mutual Yankee Oil & Gas Epsilon Data Life Insurance Zayre Corporation Ernst & Whinney New England Telephone
Far re 1 1, Healer & Co. Newsome & Company BSO
"The Orchestra Book" Answers Your Questions
What BSO member is a former NASA research chemist? What current members played under Serge Koussevitzky? Who joined his father as an orchestra member this season? "The Orchestra Book," newly published by the Council of the Boston Symphony
Orchestra, has the answers to these questions, as well as hundreds of interesting facts about all 101 members of the orchestra and a photograph of each. A convenient stage- seating diagram with the names of the players and their chair positions is also included.
To order a copy of "The Orchestra Book" by mail, please send $6 per book, plus $2 postage and handling (for one or two books; $3 for three or more books) to The Council Office, Boston Symphony Orchestra, Symphony Hall, Boston, MA 02115. Make your check payable to "Boston Symphony Orchestra," and act now to receive your copy of this attractive, 72-page limited edition while the supply lasts!
WGBH Intermission Features on the Air
WGBH radio personality Ron Delia Chiesa conducts interviews with Boston Symphony staff and orchestra members throughout the 1983-84 season. These interviews are aired as intermission features during the Friday-afternoon and Saturday-night BSO concerts broadcast live by WGBH-FM-89.7. Coming up: BSO violinist and Pops Associate
Conductor Harry Ellis Dickson on 17 and 18 February; program editor Marc Mandel on 24 and 25 February; and BSO/WCRB Musical Marathon Chairman Debby Davis on 2 and 3 March.
Art Exhibits in the Cabot-Cahners Room
The Boston Symphony Orchestra is pleased that a variety of Boston-area schools, museums, non-profit artists' organizations, and commercial galleries are once again displaying their work in the Cabot-Cahners Room this season. During the next few months, the following organizations will be represented:
9 January-6 February Helen Schlien Gallery 6 February-5 March Arnold Arboretum 5 March-26 March Segal Gallery
Correction: Whose "Pictures"?
In our program note two weeks ago for Pictures at an Exhibition, reference was made twice to "Gorchakov's orchestration of Ravel's Pictures." This should of course have read "Gorchakov's orchestration of Mussorgsky's Pictures," and only serves further to point up how closely Ravel's familiar orchestration has caused his name to be linked with Mussorgsky's work. BSO Members in Concert
BSO violinist and Newton Symphony Orchestra Music Director Ronald Knudsen will conduct the Newton Symphony Orchestra on Sunday evening, January 22 at 8 p.m. at
Brown Junior High School auditorium in Newton. BSO principal flutist Doriot Anthony Dwyer will be featured in the Nielsen Flute Concerto on a program also including Rimsky- Korsakov's Sheherazade. Tickets are $8 and may be reserved by calling 965-2555; they are also available at the door. Ms. Dwyer is the Newton Symphony Orchestra's Celebrated
Artist of 1983-84, and in that capacity she will also present a flute master class at the All
Newton Music School, 321 Chestnut Street in Newton, on Sunday, January 29 from 1 to 4 p.m. The class is open to auditors for a $3 admission fee at the door.
BSO principal trumpet Charles Schlueter performs the Hummel Trumpet Concerto in
E with the Brockton Symphony Orchestra under its conductor, BSO violinist Ronald Knudsen, at the Brockton High School Auditorium on Sunday evening, 29 January at 7:30 p.m. Also on the program are Mozart's Symphony No. 38, Prague, and Men- delssohn's Symphony No. 5, Reformation. Single tickets are available at $7. For further information, call 583-6786.
The contemporary music ensemble Collage gives the second program of its 1983-84 season on Monday evening, 30 January at 8 p.m. in Sanders Theatre, Cambridge. This program of world premieres with guest conductor Gunther Schuller and featured soprano Janice Felty includes music by Nicholas Thorne, Richard Busch, John Harbison, and Joan
Tower. For ticket prices and further information, please call 437-0231; tickets are available in advance at Bostix and at the door the day of the performance. Collage includes BSO members Joel Moerschel, cello, Frank Epstein, percussion, Ann Hobson Pilot, harp, and Joel Smirnoff, violin, as well as Robert Annis, clarinet, Randy Bowman, flute, Joan Heller, soprano, and Christopher Oldfather, piano.
Max Hobart leads the Civic Symphony Orchestra in its second of three programs this year at Jordan Hall on Sunday evening, 12 February at 8 p.m. The program includes
Stravinsky's Suite No. 2, the Glazunov Violin Concerto in A minor with soloist Stephanie Chase, and the Shostakovich Symphony No. 5. Single tickets are available at $6.50, $5, and $3.50 from the Jordan Hall Box Office, 536-2412.
'Behind the Scenes" Luncheon at Symphony Hall
BSO principal harpist Arm Hobson Pilot is the featured speaker at the next "Behind the Scenes" luncheon, to be held on Friday, 17 February in the Cohen Annex of Symphony
Hall. This is the third of a four-luncheon series sponsored by the Council of the Boston Symphony Orchestra. You may purchase drinks at the bar when the doors open at 11:45 a.m.; the buffet lunch and talk begin at 12:15 p.m. A limited number of single tickets are available at $14.50; please phone the Friends' Office at 266-1348 for reservations or further information.
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. Symphony Sweets for Your Valentine!
The Junior Council has the perfect Valentine's Day gift for your music lover. The Symphony Sweets (the Mint, Bark, and Tin) are available at the Junior Council counter now through Valentine's Day in a special combination package with eye-catching red and gold heart-covered ribbon. This special holiday "Duet" of the Mint and the Bark, or any of the regular items, are sure to please your valentine while benefiting the BSO.
Sale of the Symphony Mint, Bark, and Tin is a project of the Junior Council to benefit the Boston Symphony Orchestra; the project is now in its fourth season. The Symphony
Mint is an exclusive formulation of dark sweet chocolate laced with creme de menthe. The
Symphony Bark is a miniature bar of dark, rich chocolate stuffed with whole toasted almonds. Both are embossed with the BSO colophon and are individually wrapped in gold foil. These products are made expressly for the BSO by Harbor Sweets of Marblehead.
The Symphony Mint is available in the following quantities: Tasters, 3 pieces at $2.00;
Hostess Box, 12 pieces at $6.00; Gift Box, 30 pieces at $12; and the filled Symphony Tin, 36 pieces at $18.00. Symphony Bark Tasters offer 2 pieces for $3.00; a Hostess Box of the Symphony Bark includes 8 pieces for $10.00.
All of these items are available at the Junior Council counter in the Massachusetts Avenue corridor of Symphony Hall near the elevator. They are also available by mail- order (forms can be found at the counter), or you may order directly from Harbor Sweets of Marblehead by calling (617) 745-7648 and charging it to your MasterCard or Visa.
Handicapped kids have a lot to give
k and the Cotting School has a lot to give handicapped children. We offer a 12-year day school program for physically handicapped children with normal intellectual capability. Included in school services are both vocational and college
preparatory training, transportation (in. Boston), medical, dental, and vision care, speech and physical therapy, social development programs, lunch, testing, recreation and summer camping. Without any cost whatsoever to parents. Right now, we have openings for handicapped children. Please pass the
word. Call or write William J. Carmichael, Superintendent, Cotting School for Handicapped Children. 241 St. Botolph Street, Boston. Massachusetts 02115. (617)536-9632.
Cotting School for Handicapped Children a private, non-profit, nonsectarian. Ch. 766-approved institution supported primarily by gifts, grants, legacies and bequests. Seiji Ozawa
The 1983-84 season is Seiji Ozawa's eleventh season. His first professional concert as music director of the Boston Symphony appearance in North America came in Janu-
Orchestra. In the fall of 1973 he became the ary 1962 with the San Francisco Symphony orchestra's thirteenth music director since it Orchestra. He was music director of the was founded in 1881. Chicago Symphony's Ravinia Festival for five summers beginning in 1964, and music Born in 1935 in Shenyang, China, to director for four seasons of the Toronto Sym- Japanese parents, Mr. Ozawa studied both phony Orchestra, a post he relinquished at the Western and Oriental music as a child and end of the 1968-69 season. later graduated from Tokyo's Toho School of
Music with first prizes in composition and con- Seiji Ozawa first conducted the Boston Sym- ducting. In the fall of 1959 he won first prize phony in Symphony Hall in January 1968; he at the International Competition of Orchestra had previously appeared with the orchestra for Conductors, Besancon, France. Charles four summers at Tanglewood, where he
Munch, then music director of the Boston became an artistic director in 1970. In Symphony and a judge at the competition, December 1970 he began his inaugural season invited him to Tanglewood for the summer as conductor and music director of the San following, and he there won the Berkshire Francisco Symphony Orchestra. The music Music Center's highest honor, the directorship of the Boston Symphony followed Koussevitzky Prize for outstanding student in 1973, and Mr. Ozawa resigned his San conductor. Francisco position in the spring of 1976, serv- ing as music advisor there for the 1976-77 While working with Herbert von Karajan in season. West Berlin, Mr. Ozawa came to the attention of Leonard Bernstein, whom he accompanied As music director of the Boston Symphony on the New York Philharmonic's spring 1961 Orchestra, Mr. Ozawa has strengthened the Japan tour, and he was made an assistant orchestra's reputation internationally as well conductor of that orchestra for the 1961-62 as at home, leading concerts on the BSO's
8 1976 European tour and, in March 1978, on a Symphony" television series. His award-win- nine-city tour of Japan. At the invitation of the ning recordings include Berlioz's Romeo 'et Chinese government, Mr. Ozawa then spent a Juliette, Schoenberg's Gurrelieder, and the week working with the Peking Central Philhar- Berg and Stravinsky violin concertos with monic Orchestra; a year later, in March 1979, Itzhak Perlman. Other recordings with the he returned to China with the entire Boston orchestra include, for Philips, Richard Symphony for a significant musical and Strauss's Also sprach Zarathustra and Ein cultural exchange entailing coaching, study, Heldenleben, Stravinsky's Le Sacre du and discussion sessions with Chinese musi- printemps, Hoist's The Planets, and Mahler's cians, as well as concert performances. Also in Symphony No. 8, the Symphony ofa Thou-
1979, Mr. Ozawa led the orchestra on its first sand; for CBS, a Ravel collaboration with tour devoted exclusively to appearances at the mezzo-soprano Frederica von Stade and the major music festivals of Europe. Most Mendelssohn Violin Concerto with Isaac Stern; recently, Seiji Ozawa and the Boston Sym- and, for Telarc, Vivaldi's Four Seasons with phony celebrated the orchestra's one-hun- violin soloist Joseph Silverstein, and music of dredth birthday with a fourteen-city American Beethoven—the Fifth Symphony, the Egmont tour in March 1981 and an international tour Overture, and, with soloist Rudolf Serkin, the to Japan, France, Germany, Austria, and Eng- Third, Fourth, and Fifth piano concertos and land in October/ November that same year. the Choral Fantasy. Mr. Ozawa has recorded Mr. Ozawa pursues an active international Roger Sessions's Pulitzer Prize-winning Con- career. He appears regularly with the Berlin certo for Orchestra and Andrzej Panufnik's Philharmonic, the Orchestre de Paris, the Sinfonia Votiva, both works commissioned by
French National Radio Orchestra, the Vienna the Boston Symphony Orchestra for its cen- Philharmonic, the Philharmonia of London, tennial, for Hyperion records. He and the and the New Japan Philharmonic, and his orchestra have also recorded Stravinsky's operatic credits include Salzburg, London's Firebird and, with soloist Itzhak Perlman, the Covent Garden, La Scala in Milan, and the violin concertos of Earl Kim and Robert Starer Paris Opera, where he conducted the world for Angel/ EMI. Mr. Ozawa holds honorary premiere of Olivier Messiaen's opera St. Fran- Doctor of Music degrees from the University cis ofAssist in November 1983. Mr. Ozawa of Massachusetts and the New England Con- has won an Emmy for the BSO's "Evening at servatory of Music. References S i furnished on request -^~— .^H fir
\ Aspen Music School W and Festival Gilbert Kalish Dickran Atamian Ruth Laredo Burt Bacharach Liberace David Bar-Illan Panayis Lyras Berkshire Music Center Marian McPartland and Festival at Tanglewood Zubin Mehta Leonard Bernstein Eugene Ormandy Jorge Bolet Seiji Ozawa Boston Pops Orchestra Philadelphia Orchestra Boston Symphony Orchestra Andre Previn Brevard Music Center Ravinia Festival Dave Brubeck Santiago Rodriguez Chicago Symphony Orchestra George Shearing fl» Cincinnati May Festival Abbey Simon Cincinnati Symphony Orchestra Georg Solti Aaron Copland Beveridge Webster Denver Symphony Orchestra Earl Wild Ferrante and Teicher John Williams Interlochen Arts Academy and Wolf Trap Foundation for the National Music Camp Performing Arts Byron Janis Yehudi Wyner Billy Joel Over 200 others
Raldwfn ! Violas Clarinets Burton Fine Harold Wright Charles S. Dana chair Ann S.M. Banks chair Patricia McCarty Pasquale Cardillo Mrs. David Stoneman chair Peter Hadcock Ronald Wilkison E-flat Clarinet Robert Barnes Bass Clarinet Jerome Lipson Craig Nordstrom Bernard Kadinoff Bassoons Joseph Pietropaolo Sherman Walt Michael Zaretsky Music Directorship endowed by Edward A. Taft chair Marc Jeanneret John Moors Cabot Roland Small Betty Benthin Matthew Ruggiero BOSTON SYMPHONY * Lila Brown ORCHESTRA * Mark Ludwig Contrabassoon Richard Plaster 1983/84 Cellos Horns First Violins Jules Eskin Charles Kavalovski Joseph Silverstein Philip R. Allen chair Helen SagoffSlosberg chair Concertmaster Martha Babcock Richard Sebring Charles Munch chair and Marion Alden chair Vernon Daniel Katzen Emanuel Borok Mischa Nieland Assistant Concertmaster Richard Mackey Esther S. and Joseph M. Shapiro chair Helen Horner Mclntyre chair Jay Wadenpfuhl Jerome Patterson Max Hobart * Robert Ripley Trumpets Robert L. Beal, and Enid and Bruce A. Beal chair Luis Leguia Charles Schlueter Roger Louis Voisin chair Cecylia Arzewski Carol Procter Edward and Bertha C. Rose chair * Ronald Feldman Andre Come Bo Youp Hwang * Joel Moerschel Charles Daval and Dorothy Wilson chair John * Jonathan Miller Timothy Morrison Max Winder * Sato Knudsen Trombones Harry Dickson Ronald Barron Forrest Foster Collier chair J. P. and Mary B. Barger chair Gottfried Wilfinger Basses Barker Norman Bolter Fredy Ostrovsky Edwin Harold D. Hodgkinson chair Gordon Hallberg Leo Panasevich Lawrence Wolfe George Rowland chair Tuba Carolyn and Maria Stata chair Chester Schmitz Sheldon Rotenberg Joseph Hearne Margaret and William C. Alfred Schneider Bela Wurtzler Rousseau chair Raymond Sird Leslie Martin Timpani Ikuko Mizuno John Salkowski Everett Firth Amnon Levy John Barwicki Sylvia Shippen Wells chair Second Violins * Robert Olson Percussion Marylou Speaker Churchill * James Orleans Fahnestock chair Charles Smith Vyacheslav Uritsky Flutes Arthur Press Charlotte and Irving W Rabb chair Assistant Timpanist Doriot Anthony Dwyer Ronald Knudsen Thomas Gauger Walter Piston chair Joseph McGauley Frank Epstein Fenwick Smith Leonard Moss Myra and Robert Kraft chair Harp Laszlo Nagy Leone Buyse Ann Hobson Pilot * Michael Vitale Willona Henderson Sinclair chair * Harvey Seigel Piccolo * Rosen Personnel Managers Jerome Lois Schaefer * William Moyer Sheila Fiekowsky Evelyn and C. Charles Marran chair Harry Shapiro * Gerald Elias * Ronan Lefkowitz Oboes Librarians * Bracken Nancy Ralph Gomberg Victor Alpert * Joel Smirnoff Mildred B. Remis chair William Shisler * Jennie Shames Wayne Rapier James Harper * Nisanne Lowe Alfred Genovese Stage Manager * Aza Raykhtsaum * Alfred Robison Nancy Mathis DiNovo English Horn Thorstenberg Stage Coordinator * Participating in a system ofrotated Laurence chair Cleveland Morrison seating within each string section. Phyllis Knight Beranek A Brief History of the Boston Symphony Orchestra
For many years, philanthropist, Civil War 1915, the orchestra made its first transconti- veteran, and amateur musician Henry Lee nental trip, playing thirteen concerts at the Higginson dreamed of founding a great and Panama-Pacific Exposition in San Francisco. permanent orchestra in his home town of Recording, begun with RCA in the pioneering
Boston. His vision approached reality in the days of 1917, continued with increasing fre- spring of 1881, and on 22 October that year quency, as did radio broadcasts of concerts. the Boston Symphony Orchestra's inaugural The character of the Boston Symphony was concert took place under the direction of con- greatly changed in 1918, when Henri Rabaud ductor Georg Henschel. For nearly twenty was engaged as conductor; he was succeeded years, symphony concerts were held in the old the following season by Pierre Monteux. These Boston Music Hall; Symphony Hall, the appointments marked the beginning of a orchestra's present home, and one of the French-oriented tradition which would be world's most highly regarded concert halls, maintained, even during the Russian-born was opened in 1900. Henschel was succeeded Serge Koussevitzky's time, with the employ- by a series of German-born and -trained con- ment of many French-trained musicians. ductors—Wilhelm Gericke, Arthur Nikisch, The Koussevitzky era began in 1924. His Emil Paur, and Max Fiedler culminating in — extraordinary musicianship and electric per- the appointment of the legendary Karl Muck, sonality proved so enduring that he served an who served two tenures as music director, unprecedented term of twenty-five years. In 1906-08 and 1912-18. Meanwhile, in July 1936, Koussevitzky led the orchestra's first 1885, the musicians of the Boston Symphony concerts in the Berkshires, and a year later he had given their first "Promenade" concert, and the players took up annual summer resi- offering both music and refreshments, and dence at Tanglewood. Koussevitzky passion- fulfilling Major Higginson's wish to give ately shared Major Higginson's dream of "a "concerts of a lighter kind of music." These good honest school for musicians," and in concerts, soon to be given in the springtime 1940 that dream was realized with the found- and renamed first "Popular" and then ing at Tanglewood of the Berkshire Music "Pops," fast became a tradition. Center, a unique summer music academy for
During the orchestra's first decades, there young artists. Expansion continued in other were striking moves toward expansion. In areas as well. In 1929 the free Esplanade concerts on the Charles River in Boston were
inaugurated by Arthur Fiedler, who had been a> member of the orchestra since 1915 and who
in 1930 became the eighteenth conductor of the Boston Pops, a post he would hold for half a century, to be succeeded by John Williams
in 1980.
Charles Munch followed Koussevitzky as
music director in 1949. Munch continued Koussevitzky's practice of supporting contem- j
porary composers and introduced much music I from the French repertory to this country. During his tenure, the orchestra toured abroacj
for the first time, and its continuing series of Youth Concerts was initiated. Erich Leinsdorf, Henry Lee Higginson began his seven-year term as music director in
12 —
1962. Leinsdorf presented numerous pre- Corigliano, Peter Maxwell Davies, John mieres, restored many forgotten and neglected Harbison, Leon Kirchner, Peter Lieberson, works to the repertory, and, like his two prede- Donald Martino, Andrzej Panufnik, Roger cessors, made many recordings for RCA; in Sessions, Sir Michael Tippett, and Oily addition, many concerts were televised under Wilson—on the occasion of the orchestra's his direction. Leinsdorf was also an energetic hundredth birthday has reaffirmed the orches- director of the Berkshire Music Center, and tra's commitment to new music. Under his under his leadership a full-tuition fellowship direction, the orchestra has also expanded its program was established. Also during these recording activities to include releases on the years, the Boston Symphony Chamber Players Philips, Telarc, CBS, and Hyperion labels. were founded, in 1964; they are the world's From its earliest days, the Boston Sym- only permanent chamber ensemble made up of phony Orchestra has stood for imagination, a major symphony orchestra's principal play- enterprise, and the highest attainable stand- ers. William Steinberg succeeded Leinsdorf in ards. Today, the Boston Symphony Orchestra, 1969. He conducted several American and Inc., presents more than 250 concerts world premieres, made recordings for annually. Attended by a live audience of near- Deutsche Grammophon and RCA, appeared ly 1.5 million, the orchestra's performances regularly on television, led the 1971 European are heard by a vast national and international tour, and directed concerts on the east coast, audience through the media of radio, tele- in the south, and in the mid-west. vision, and recordings. Its annual budget has
Seiji Ozawa, an artistic director of the grown from Higginson's projected $115,000 Berkshire Festival since 1970, became the to more than $16 million. Its preeminent posi- orchestra's thirteenth music director in the fall tion in the world of music is due not only to the of 1973, following a year as music advisor. support of its audiences but also to grants from Now in his eleventh year as music director, the federal and state governments, and to the Mr. Ozawa has continued to solidify the generosity of many foundations, businesses, orchestra's reputation at home and abroad, and individuals. It is an ensemble that has and his program of centennial commissions richly fulfilled Higginson's vision of a great from Sandor Balassa, Leonard Bernstein, John and permanent orchestra in Boston.
r X * I I 1
The first photograph, actually a collage, ofthe Boston Symphony Orchestra under Georg Henschel, taken 1882
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BOSTON SYMPHONY ORCHESTRA
Seiji Ozawa, Music Director
Sir Colin Davis, Principal Guest Conductor
Joseph Silverstein, Assistant Conductor
One Hundred and Third Season, 1983-84
Thursday, 19 January at 8 Friday, 20 January at 2 g^-& Saturday, 21 January at 8 Tuesday, 24 January at 8
SEIJI OZAWA conducting
BERG Three movements from the Lyric Suite arranged for string orchestra Andante amoroso Allegro misterioso; Trio estatico Adagio appassionato
SAINT-SAENS Violin Concerto No. 3 in B minor, Opus 61
Allegro non troppo Andantino quasi allegretto Molto moderato e maestoso Allegro non troppo PIERRE AMOYAL
INTERMISSION
MENDELSSOHN Symphony No. 3 in A minor, Opus 56, Scottish
Introduction and Allegro agitato Scherzo assai vivace Adagio cantabile Allegro guerriero and Finale maestoso
Thursday's, Saturday's, and Tuesday's concerts will end about 9:55 and Friday's about 3:55.
Philips, Telarc, CBS, Deutsche Grammophon, Angel/EMI, 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.
15 Week 12 WHERE IS THE TIMBERLAND MY UNCLE LEFT ME?
HUNGRY WHAT ? . . . BUT I DON'T EVEN SEE A HUNGRY HORSE, MONTANA!
A gift of land can be a double blessing. The responsibility for long-distance management can be an overwhelming burden.
The Boston Symphony Orchestra can show you how to exchange that land for a
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16 Alban Berg Three movements from the Lyric Suite arranged for string orchestra
Alban Berg was born in Vienna, Aus-
tria, on 9 February 1885 and died there on 24 December 1935. He completed the Lyric Suite for string quartet in 1926. The premiere was given in Vienna on 8 January 1927 by the Kolisch Quartet, who performed the work about a hundred times in the following years. (Eugene Lehner, who recently retired from the Boston Symphony Orchestra, was the quartet's violist.) In 1928 Berg arranged three of the six movements for string orchestra in five parts, with a bass independent of the cello part. Jascha Horenstein conducted the first performance of this version in Berlin on 21 January 1929. Ernest Ansermet introduced the work to Boston Symphony audiences in December 1955 and January 1956. The only other performances were led by Erich Leinsdorf in November and December 1969. The score calls for the full string complement of the orchestra.
For half a century after its composition, Berg's Lyric Suite was regarded as one of the great works for string quartet composed in this century, a masterpiece of expressive musical content in an abstract framework employing the twelve-tone technique quite consistently throughout (for almost the first time in Berg's work), calling for unprece- dented resources of technique and sonority in the string quartet medium. The work quickly achieved widespread fame and influence through the repeated performances of the Kolisch Quartet. When they gave it at the Baden-Baden Festival on 16 July 1927, the audience demanded and received an encore. Bartok, who was then composing his Third
Quartet, was performing on the same program; it is not at all unlikely that he was influenced in his quartet writing by the Berg work.
Over the years commentators had been very much aware of the unusually dramatic expressive quality of the piece. Berg himself had prepared notes for Rudolf Kolisch at the time his quartet was preparing for the premiere, to explain that the thematic connections between the different movements were not mechanical repetitions, but were motivated by "the large unfolding (the continuing intensification of mood) within the whole composi- tion." The whole work is conceived in six movements, alternating fast and slow, but with the fast movements getting ever faster and the slow movements getting ever slower, the divergence of tempos highlighting the "intensification of mood." Like much of Berg's other music, the score is shaped according to certain numerological precepts, with significant musical events occurring on measures or beats that are multiples of 10 or 23.
(Berg had long considered 23 to be "his" number, and he employed it in various ways in a number of works; but until recently no one could explain the significance of the number 10.) It had also been noticed that Berg quoted the Tristan chord as well as a theme from a song cycle of Alexander von Zemlinsky, where it appeared with the words, "Du bist mein eigen, mein eigen!" ("You are my own, my own!"). Summing all this up, Theodor Adorno called the Lyric Suite a "latent opera."
17 Week 12 Then in January 1977 came a surprising discovery that made headline news all over the world. George Perle, a composer who is also one of the world's leading Berg authori- ties, found a copy of the first edition of Berg's Lyric Suite in which the composer had personally written extensive annotations on 82 of the score's 90 pages. Far from being technical and analytical detail, Berg's notes revealed that the Lyric Suite concealed an intensely personal, even operatic story behind it. Virtually every note of the score symbolized a passionate but frustrated love that had overwhelmed Berg in 1925 and that remained fully in force until his death a decade later, though both parties kept it a close secret, since both were married. But in the private copy of the Lyric Suite which Berg presented to the woman he loved, he explained in detail how the music reflected their passion. The score passed into the hands of the woman's daughter, who showed it to Perle when he came to ask her about Berg's relationship with her parents (she had not bothered to tell anyone about it before, she said, because no one had asked).
The real story of the Lyric Suite begins in May 1925, when Berg went to Prague to attend a festival of the International Society for Contemporary Music, at which Zemlinsky was conducting the Three Excerpts from Wozzeck. He was the house guest on that occasion of Herbert and Hanna Fuchs-Robettin, to whom he had surely been introduced by his wife's closest friend, Alma Mahler Werfel. Hanna was Franz Werfel's sister, and therefore Alma's sister-in-law. During that visit, Alban Berg and Hanna Fuchs evidently realized (apparently on 20 May, as will appear shortly) that they were profoundly in love. The effect soon issued forth in music. On 12 October, Berg mentioned in a letter to Anton Webern that he had just made his "first attempt at strict twelve-note serial composition." He had set to music a poem by Theodor Storm, Schliesse mir die Augen beide ("Close my two eyes with your dear hands; then everything that I suffer turns into content"). He had already composed this text as a tonal song in 1907 —when he had offered it as a gift
The impeccably made salad is ofequal importance to me as the impe COPLEY The Grande Dame ofBoston. Operated by Hotels ofDistinction, Inc., Copley Square, Boston, Massachusetts 02116. Reservations: tollfree, 800-225-7654, oryour agent. 18 to the woman he was determined to marry. It is significant, given Berg's constant interest in symmetry, that he should set the same poem to music again, in a more mature musical style, as his first musical offering to Hanna Fuchs ( Webern, of course, was told nothing of the song's emotional significance to Berg). Not long after this Berg evidently began to work on the Lyric Suite. When the work was published, its official dedication was to Alexander von Zemlinsky; but Berg wrote in the copy of the study score that he annotated for Hanna that "in spite of the official dedication on the following page," every note had been written for her and her alone: "May it be a small monument to a great love." Berg carefully conceived his material so as to make frequent reference to the pitches B, F, A, and B-flat. In German notation, these would be read as H-F-A-B, the initials of Hanna Fuchs and Alban Berg. At the same time the metronome markings for the tempi are multiples of 10 (Hanna's number) and 23 (Berg's number); the movements are divided into sections similarly organized around the numbers 10 and 23. A full analysis of the score would be out of place here, if only because Berg's orchestral version contains only the second, third, and fourth movements of the full Lyric Suite. Douglas Jarman, noting Berg's love for symmetry, suggests that he put the third move- ment in the center of the orchestral set because it was a palindrome, even though Webern, whose advice Berg had requested (since Webern had a great deal of experience as a conductor and Berg virtually none), had recommended leaving out the third movement (the second in the orchestral version) entirely, since he did not find it suitable for transcription. It is at least equally likely that Berg's insistence on retaining the (original) Hanna Fuchs-Robettin, who inspired Berg's "Lyric Suite" 19 Week 12 " ASJ& PTPOP&Zly /N$UR£ YOUR ASSETS . For more good advice, talk to us about your insurance needs. We'll send you our informative brochures. harold h. sisson & co. insurance specialists one Mckinley square boston, mass. 02109 (617)742-9444 Representing The Chubb Group of Insurance Companies -JTc/ze if^ensian A Distinctive Selection of Oriental Rugs and Wall Hangings 1643 Beacon Street, Waban Square Hours: Tues-Sat 11-5, Thurs Evenings til 8 Phone (617) 964-2686 ,(J(U cMov Ojou D 20 — third movement is that that movement in particular seems to contain a reference to Alban's and Hanna's mutual recognition of their love, on 20 May 1925 (Berg wrote that date at the beginning of the movement in his annotated study score; it is certainly not the date of composition!). As it stands for orchestral strings, the Lyric Suite comprises the second through fourth movements of the string quartet version. The first of these (in the original version) bore Berg's private dedication: To you and your children, I have dedicated this "Rondo"—a musical form in which the themes (specifically, your theme) closing the charming circle, continually recur. Berg's annotations to this movement are in three colors, red for Hanna, blue and green respectively for her son Munzo and daughter Dorotea (whose nickname was Dodo). The first sixteen bars present Hanna's theme, followed by music for Munzo (described by Berg as "not unintentionally with a gentle Czech touch," since Munzo was attending a Czech school at the time and spoke that language more fluently than German). Following a return of Hanna's music, Berg goes on to refer to Dorotea; her nickname is actually com- posed into the viola part, which consists of repetitions of middle C "don-don"] The remainder of the "Rondo" involves the interplay of the three musical ideas. At the end, Alban Berg and his wife, Helene 21 Week 12 Imagine Friday night without the BSQ Don't worry. We're very pleased to continue our sponsorship of Friday evening concerts on WCRB 102.5 FM. Tune in at 9:00. Honeywell .» Berg noted that the movement was 150 measures long, i.e. 15 times Hanna's number, 10. The following movement is the emotional core of the orchestral version. Berg's anno- tation at the head of this movement simply identifies the date, 20 May 1925, twice underlined in red. Then, after the tempo marking Allegro misterioso, he added, "for everything was still a mystery — a mystery to «s." After 70 measures of this Allegro, the Trio estatico ("ecstatic Trio") is qualified by Berg's note, "suddenly bursting out." Here the basic cell, A-F-H-B, occurs independently, making its own statement. Yet the fact that Berg calls for the strings to keep the mutes on, even though the dynamic marking is fortissimo, evidently has a programmatic significance: the "breaking out" is still "repressed, still with mutes." When the Allegro returns, it is played retrograde (that is, with the twelve-tone material presented in reverse order). This is again evidently a !" programmatic device, since Berg wrote into the study score "Forget it — at the beginning of the recapitulation. The last movement of the orchestral suite continues developing the material from the "Trio estatico" of the preceding movement. Berg wrote into Hanna's score that this was "The next day." In measure 24 the viola and first violin are presented in imitation (Berg wrote "I and you"). At measure 32 the viola ("I," i.e., Berg) quotes Zemlinsky's song, with the words understood: "You are my own, my own!"). The first violin sings out H[anna] F[uchs]/A[lban] B[erg] before the second violin quotes the Zemlinsky themes ("Now you say it too: You are my own, my own!"). The closing section is annotated with the words "fading into the wholly ethereal, spiritual, transcendental." Even from these three movements alone, which comprise half the full work (though they tell the heart of the love story), it is clear that the Lyric Suite is one of the most extraordinary compositions not only of our century but of any period. The accident of its "secret" being unraveled only a half-century after it had entered the repertory merely highlights this fact. It is a score that has astonished, delighted, and mystified theoreticians, analysts, performers, and listeners for years. They were astonished and delighted by its formal musical qualities, its range of invention and expression, all the while it was con- sidered as an abstract musical structure. How much more astonishing, then, is the work when we realize that while Berg was composing that carefully conceived structure, he was also weighing every note for what it would signify about the great love of his life. —Steven Ledbetter 23 Week 12 THE MUSIC OF PDQBACH with professor Peter Schickele & The Boston Symphony Orchestra Joseph Silverstein, conducting .... ;/ SYMPHONY HALL February 14 at 8PM Pension fund concert TICKETS ON SALE NOW Tickets priced from $6 to $25 at Symphony Hall box office, 266-1492 tin iv Camille Saint-Saens Violin Concerto No. 3 in B minor, Opus 61 Charles Camille Saint-Saens was born in Paris on 9 October 1835 and died in Algiers on 16 December 1921. He com- posed his third and last violin concerto in 1880; the work received its first per- formance in a Chatelet concert in Paris on 2 January 1881; Pablo de Sarasate (to whom the work is dedicated) was the soloist. The American premiere took place in Boston on 3 January 1890: Arthur Nikisch conducted the Boston Symphony Orchestra, with Timothee Adamowski as the soloist. In the early years the work attained a considerable popularity here; for a time the last two movements were played by the Boston Symphony on tours to Baltimore, St. Paul, Ann Arbor, and so on. Complete performances in Boston were given by Emil Paur (with Eugene Ysa'ye, Olive Mead, and Adamowski), Wilhelm Gericke (Adam- owski, Emile Sauret), Karl Muck (Adamowski, Ysaye, Vera Barstow, Sylvain Noack, Irma Seydel), Max Fiedler (Noack, Kathleen Parlow, Bessie Bell Collier), Otto Urack (Noack), Ernst Schmidt (Jacques Thibaud), Henri Rabaud (Thibaud), Richard Burgin (Thibaud), and Charles Munch (Zino Francescatti) . Burgin conducted the most recent performance, on 18 December 1956, with Joseph Silverstein as soloist. In addition to the solo violin, the score calls for two flutes and piccolo, two oboes, two clarinets, two bassoons, two horns, two trumpets, three trombones, timpani, and strings. As a young man, Saint-Saens was dazzling in his quickness, whether in music or almost any other field of study. By the time he was three he had composed his first little piece, and by the age of ten he had made his formal debut as a pianist at the Salle Pleyel in Paris with a program of Mozart and Beethoven concertos (then little heard and not respected in France). As an encore he offered to play any one of Beethoven's piano sonatas from memory. He learned Latin from a private tutor and quickly made his way through the classics, years later regretting only that he had never had time to learn Greek, too. He became particularly interested in mathematics and the natural sciences, and for the rest of his life he pursued interests in astronomy, archaeology, and geology. He entered the Conser- vatoire at age thirteen, won prizes as an organist, then studied composition with Jacques Halevy. Although he never won the Prix de Rome, recognition of his creative talents came early. Not without reason, Hector Berlioz, wittiest of Romantic composer-critics, said of him, "He knows everything but lacks inexperience." In the early years Saint-Saens was a devotee of the new music of Wagner and Liszt. He defended Tannh'duser and Lohengrin against the attacks of French critics. He played Schumann in his recitals, then unheard-of in France. Liszt inspired his own significant ventures into the medium of the symphonic poem. He worked on behalf of older com- 25 Week 12 26 posers as well: Bach, Handel, Rameau, Gluck, and Mozart. In short, he was a represen- tative of many of the newest trends in music (even his historical interests made him "modern," since it was just at this time that the discipline of musicology, and its active pursuit of old music, was developing). He was one of the founders in 1871 of the Societe Nationale de Musique. Its motto was "Ars gallica" and it promoted the composition of new music by French composers— especially music in the abstract instrumental forms such as symphony, concerto, and string quartet, since the preceding generations had concentrated their attention on the opera, and there were then few outlets for such works (most concert programs were dominated by German classics). The committee members of the Societe Nationale included Faure, Franck, and Lalo. Over the years the organization sponsored premieres of important new works by many of the leading French composers. Still, Saint-Saens himself grew increasingly out of touch with the newer music. By the turn of the century he was trying to prevent, rather than promote, performances of works by Debussy, who, he said, had cultivated only an absence of style. His own music became "purer," more linear, in opposition to the coloristic impressionism of Debussy and his circle. The first performance of Stravinsky's Rite ofSpring in 1913 left him speechless with horror. By the time of his death, he was regarded in France as a hopeless reactionary; younger musicians, of course, tended to forget his many services to music in his earlier years. His neo-classical elegance of musical line and polish of expression were qualities that were no longer in favor. His star subsided in France, though he remained extremely popular in both England and America, where even up to his death he was regarded as the greatest living French composer. His admirers called him a second Mozart, though he himself was certainly aware that such a rating was greatly exaggerated. At the same time, he never deserved the scorn of the musicians at the other end of the spectrum, who saw him only as a composer of "bad music well written." The Third Violin Concerto was composed in the middle of a twenty-year span that saw the creation of most of Saint-Saens's most popular and successful works, including also the Fourth Piano Concerto, the Organ Symphony, Samson et Dalila, and The Carnival of the Animals. The two earlier violin concertos had been more challenging in their demands on the player's virtuosity, but they were not as rewarding musically as the Third, far and away the most popular of the three. The pellucid clarity of Saint-Saens's musical thought, based on the traditional concerto procedures, removes any necessity for extended discussion. —sx. 27 Week 12 Singleness of Purpose In most trust companies, commercial banking constitutes the principal business, while the trust department is assigned a role of lesser importance. Fiduciary Trust Company feels strongly that the problems of trusteeship require full time, not part time, effort; that they call for nothing less than complete attention. In consequence, Fiduciary Trust Company, true to its name, devotes all of its activities to its fiduciary obligations. By thus restricting our activities, we are in a position to provide the constant care and undivided attention necessary for the successful management of trust funds. FIDUCIARY BOSTON TRUSTEES Fiduciary Trust Company 175 Federal Street, Boston, Massachusetts 02110 Telephone (617) 482-5270 §# 28 Felix Mendelssohn-Bartholdy Symphony No. 3 in A minor, Opus 56, Scottish Jakob Ludwig Felix Mendelssohn was born in Hamburg, Germany, on 3 Feb- ruary 1809 and died in Leipzig on 4 November 1847. Bartholdy was the name ofhis maternal uncle, Jakob, who had changed his own name from Salomon and taken on Bartholdyfrom the previous owner ofa piece of real estate he bought in Berlin. It was he who most persistently urged the fam- ily's conversion to Lutheranism: the name Bartholdy was added to Mendelssohn — to distinguish the Prot- estant Mendelssohns from the Jewish ones— when Felix's father actually took that step in 1822, the children having fl*A » /^^kmtiMlm been baptized as early as 1816. Men- delssohn conceived the Scottish Symphony as early as 1829 and continued sketching it in Rome in the late winter and spring of1831; he then stopped work on it for a decade. He finallyfinished the score in Berlin on 20 January 1842 and conducted its first performance in the Leipzig Gewandhaus on 3 March of that year. The American premiere was given by the New York Philharmonic Society under the direction of George Loder on 22 November 1845; some two months later it came to Boston when George J. Webb led a performance at the Odeon. The program billed this "Grand Symphony No. 3 (in A minor) " as "reputed the chef-d'oeuvre of the greatest living composer.'" The advertisement for the concert stated: "The orchestra on this occasion will numberforty-four performers, and is as efficient a band as can be organized in this city." The first Boston Symphony performances were given under the direction of Georg Henschel on 19 and 20 January 1883. Later performances were conducted by Bernhard Listemann (the second and third movements only, in Fall River), Wilhelm Gericke, Arthur Nikisch, Emil Paur, Karl Muck, Max Fiedler, Pierre Monteux, Serge Koussevitzky, Dimitri Mitropoulos, Charles Munch, Erich Leinsdorf who gave the most recent Tanglewood performance in August 1968, and Joseph Silverstein, who led the most recent Symphony Hall performances in January 1979. The score calls for pairs offlutes, oboes, clarinets, and bassoons, four horns, two trumpets, timpani, and strings. On 30 July 1829, Felix Mendelssohn, traveling with his friend Karl Klingemann, an amateur poet and attache at the German embassy in London, wrote to his family from Edinburgh about the sightseeing he and Klingemann had done, with a particular account of their visit to the palace of Holyrood, closely associated with the romantic figure of Mary, Queen of Scots. Here, it is said, she succumbed to an infatuation for an Italian lutenist named David Rizzio, for which real or imagined affair her husband had poor Rizzio murdered. The story has appealed to opera composers over the years — all of them unknown today: Canepa, Capecelatro, Rodrigues, Schliebner, and most recent of them all, an American woman named Mary Carr Moore, whose David Rizzio was produced in Los Angeles in 1935 (the vocal score has recently been reprinted by Da Capo). Many visitors, 29 Week 12 lesson SAFE&SOUND You want to know and need to know that them. All of which Security Deposit provides. your personal and family valuables and papers Plus a great many other security services availa- are fully protected 24 hours a day, seven days a ble nowhere else- including insurance, 12- week. hour-a-day accessibility, bonded pickup and Fully protected. Not only from theft and delivery, even private conference and viewing prying eyes, but also from extremes of tempera- facilities. ture and humidity. Call us at (617) 338-6393. Or write us. And you need to know that you can get at No matter what you want to protect, we'll these valuables conveniently, when you want keep it Safe & Sound. A PRIVATE SAFE DEPOSIT CENTER Security Deposit Corporation One Milk Street Boston, MA 02109 ,. 30 including Dr. Samuel Johnson, included Holyrood on their itineraries. Mendelssohn, too, was touched by the romantic tale associated with the spot. He wrote: We went, in the deep twilight, to the palace where Queen Mary lived and loved. There is a little room to be seen there, with a winding staircase leading up to it. That is where they went up and found Rizzio in the little room, dragged him out, and three chambers away is a dark corner where they killed him. The adjoining chapel is now roofless; grass and ivy grow abundantly in it; and before the ruined altar Mary was crowned Queen of Scotland. Everything around is broken and moldering, and the bright sky shines in. I believe I found the beginning of my Scotch symphony there today. Indeed, on that day, Mendelssohn wrote down the opening bars of the melody that begins his A minor symphony. But Holyrood was not the only impressive sight in Scotland. He was much taken, too, with the natural phenomenon known as Fingal's Cave in the Hebrides, and there, too, he wrote down a melody that came into his head on the spot. Later in 1829 he wrote, "The 'Scotch' symphony and all the Hebrides matter is building itself up step by step," implying that he was at work on two compositions inspired by his travels. But both of them were soon pushed aside. In 1830 he had to compose the Reformation Symphony, now known as No. 5, for the 300th anniversary of the Augsburg Confession which had firmly established Luther's new church, and that event wouldn't wait. Then he undertook his grand tour, extending from May 1830 to June 1832, with months-long stops in Rome, Paris, and London. New impressions crowded in on him and demanded attention, even though he was still working on compositions already underway. From Rome on 20 December 1830, Felix wrote to his family, "The Hebrides is completed at last, and a strange production it is." After mentioning a few small vocal T^artertsBvscnts Mnestjeim^ Delight in the mini classic and modern masterpieces orchestrated for diamonds andprecious gems. 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A non-profit corporation pieces he was working on, he added: "After the new year I intend to resume instrumental music, and to write several things for the piano, and probably a symphony of some kind, for two have been haunting my brain." The two symphonies in question were the ones we now know as the Scotch (or, better, "Scottish") and Italian symphonies. Just after Christmas, Felix complained of absolutely miserable rainy weather, which may have dampened his sightseeing ardor, but surely made it easier for him to settle down to composition instead of running off to visit the villa and gardens at Tivoli. And though the weather became springlike by mid-January, he was able to write on the 17th that he had completed some small pieces and that "the two symphonies also begin to assume a more definite form, and I particularly wish to finish them here." It is surprising that a composer should try to work on avowedly Scottish and Italian symphonies (the names 1 come from Mendelssohn himself, though he used "Scottish' '' only informally in his letters, and not on the published score) at the same time. One result is that the two symphonies are, in a sense, tonal shadows of one another: the Scottish is mostly in A minor, but ends in the major, while the Italian is in A major but ends in the minor. He continued for a time to work on both pieces, though the sunny brilliance of Italy seems to have driven out the memory of Scottish mists, for on 22 February 1831 he wrote to his sister Fanny (herself a composer of some ability): I have once more begun to compose with fresh vigor, and the Italian symphony makes rapid progress .... The Scottish symphony alone is not yet quite to my liking; if any brilliant idea occurs to me, I will seize it at once, quickly write it down, and finish it at last. f^amd i^ t;l From the travel diary ofMendelssohn and Karl Klingemann, with a sketch by Mendelssohn of the Scottish countryside 33 Week 12 .-.:> W9L — In the end, though, his attention was directed to the completion of his remarkable and too- little-known cantata Die erste Walpurgisnacht (a setting of a text by Goethe) and the Italian Symphony. The Scottish Symphony was unfinished at the time of his return home. And Mendelssohn soon became so involved in marriage and a busy professional life, conducting and administering in Leipzig, that the A minor symphony must have looked to be unfinished forever. Only in 1841, after he had experienced severe disappointment with an attempt to reform the musical life of Berlin, did he return to the long-unfinished score — possibly because his new mood of resignation more precisely matched the character of the sombre musical ideas he had conceived earlier in the blithe period of early manhood. By the time he finished the work, he clearly felt that the expressive character of the music took precedence over any allegedly "Scottish" elements. At any rate, he omitted the adjective "Scottish" from the published score, but added a note that the audience should be given a listing of the different movements that stresses their expressive content, with headings that differ in some striking ways from those of the score itself: Tempo indication in score Character indications for the audience I. Andante con moto Introduction Allegro un poco agitato- Allegro agitato ("slightly agitated Assai animato Allegro") II. Vivace ma non troppo Scherzo assai vivace ("very lively Scherzo") III. Adagio Adagio cantabile ("songlike Adagio") IV. Allegro vivacissimo Allegro guerriero ("martial Allegro") Finale maestoso ("majestic Finale") This last of Mendelssohn's symphonies is also the freest, the most romantic. Even Wagner, a composer usually antipathetic to Mendelssohn's work, conducted the Scottish Symphony and admired the poetic qualities of the music. (Is it mere chance that a chromatic figure in the sustained woodwinds over muttering tremolo strings near the end of the first movement THE SWLER BUILDING 20 Park Plaza, Boston, MA 02 1 16 JAPANESE & Prime office space offering FRENCH CUISINE first class amenities Lunch daily 12 - 2 in a classic setting. Dinner daily 5:30 - 9 220 Huntington Saunders & Associates, AMO Ave., Boston, MA Exclusive Leasing and Managing Agents (Acrossfrom Symphony Hall) (617) 426-0720 247-2662 Real Estate Since 1898 Free parking at Mid-Town Hotel Garage 35 MflflM wf A music lover's guide to home improvement Once upon a time serious stereo was a big investment. Big amplifier. Big turntable. A system that seemed to take up half the room and looked like the flight deck of a 747. If you still have yours it's time to redecorate. Because now, ADS offers a better-looking, better sounding way to satisfy your craving for beautiful music. It's called Atelier ("Ah-tell-yea") and it's built by ADS who >* made their name making superb speakers in human scale. In addition to the turntable, receiver, and cassette deck shown above, the Atelier range includes an amplifier, a tuner, and a speaker system. They're all fashionably matte black and sensibly engineered as slim modules, with removable rear covers that conceal outlets and cables. Place them side by side, atop one another, on a shelf, or smack in the middle of your room. Know too that future Atelier components will fit the system so that you can add or upgrade without outmoding. If the logic of all this appeals to you as it does to us, write for information to: Analog & Digital Systems, 999 Progress Way, Wilmington MA 01887. Or call 800-824-7888, Operator 483. Or better yet see your ADS dealer and make home • a nicer place to come home to. suggests the Flying Dutchman overture?) But just how "Scottish" is it? Here are no skirling bagpipes, no highland flings, no folk tunes borrowed and harmonized (though the pentatonic main tune of the second movement certainly has some characteristics of a Scottish folk melody). Even so sensitive a musician as Robert Schumann found himself tripped up on this point: he reviewed the score of this work in the mistaken assumption that it was the Italian Symphony and wrote that the beauty of the music made him regret that he had never visited Italy! The opening theme is the only part of the score explicitly inspired by Scotland; it is the melody that Mendelssohn wrote down after his visit to Holyrood, a pensive tune in A minor sung by melancholy violas and oboes. The development of this theme is shrouded in harmonic clouds and mists. A hesitant pause on the dominant leads into the main body of the movement with a 6/8 melody that follows the outline of the introductory theme, but in a more agitated character. A vigorous continuation, based largely on the opening gesture of the main theme, ultimately yields to a meltingly lyrical closing theme in E minor that ends the exposition. The development becomes progessively less energetic, as the texture lightens to a long, gentle cello tune that seems about to die away into silence as the strings and clarinets bring in the recapitulation. A particularly attractive touch here: the cellos continue singing their broad, lyrical melody as a new counterpoint to the main theme. A tutti coda ends—but leaves the woodwinds hanging with a version of the main motive; they die away into a final pensive statement of the introductory phrase. The scherzo, which comes next, is of a brilliance unsurpassed even in that most brilliant of Mendelssohn scores, the Italian Symphony. The principal theme, first stated in the A new tradition in Cambridge salutes the fine tradition of the Boston Symphony Orchestra. THE RESIDENCES AT CHARLES SQUARE Harvard Square, Cambridge 86 riverview condominium residences Scheduled for occupancy late 1984 617-542-7500 37 1A~ .1 III! II III • • 1 r Houses Condominiums Apartments ' I Sales Rentals Management 1384 COMMONWEALTH AVENUE Allston, Massachusetts 02134 Telephone: (617) 738-5700 m Weknow a good investment whenwe hear one. vj Lets all support the BSO. Tucker. Anthony & R.L. Day, Inc. Serving investors in 30 offices in the U.S. and abroad. Since 1892. One Beacon Street. Boston. (617) 725-2000. Tucker Anthony 38 clarinet over tremolo strings, is supposed to be derived from an actual Scottish bagpipe tune, though it could just as easily be a completely original melody. The secondary theme begins staccato in the strings. Even in the tuttis the movement remains zephyr-light throughout. The third movement alternates a slow singing melody with rhythmic ideas of a march- like character. The dotted rhythms that appear in the winds at the outset eventually take over the entire orchestra, but the cantilena comes back each time with ever more delicate elaboration. The finale begins with a wild flourish in the violins against a steady marching beat in the horns, bassoons, and violas. Mendelssohn characterized this movement, after all, as a "martial Allegro," and the battle is joined at once. A second theme, equally warlike in its determined vitality, is first sounded by the oboe and clarinets over tremolo violins; its shape seems to be related to that of the very opening theme of the symphony. These two themes do battle with one another, but at the end of the recapitulation the second theme gradually dies out in a very beautiful passage that seems about to lead to a quiet conclusion — perhaps yet another and more definitive statement of the first movement's introductory theme. But Mendelssohn has a surprise: suddenly we move to the major and the presentation of a completely new theme (though it may be possible to demonstrate some connection with the introductory melody, it is not immediately obvious to the listener), described by Mendelssohn as '''maestoso" ("majestic"). Some critics find this new theme to be an unconvincing outburst, an unmotivated capitulation to the major mode for a "heroic" conclusion. The idea is not unique, though. Other composers at about the same time (one thinks of Schumann and his Second Symphony) also experimented with the introduction of a brand-new theme at the very end of the symphony, actually changing, in retrospect, the listener's recollection of the foregoing moods with a conclu- sion pregnant with affirmative power. —S.L. HARVARD COOPERATIVE SOCIETY <&h Harvard Square • MIT Student Center Children's Medical Center • One Federal Street 39 HI Join The ^Boston Symphony 'FridaycAfternoons The BSO offers new subscription options for the Friday Afternoon Series. You can now purchase by subscription five or six concerts. Featuring Music Director Seiji Ozawa and Principal Guest Conductor Sir Colin Davis, such leading guest soloists as pianist Maurizio Pollini, violinist Isaac Stern, and soprano Hildegard Behrens, with music by Brahms, Mozart, and Berlioz, these new options offer you the opportunity of enjoying the symphony for the remainder of this exciting season. "Two Series cAre cAvailable ^Beginning In January THE FRIDAY SPRING "5" or THE FRIDAY SPRING "6." FOR FURTHER PROGRAM INFORMATION AND SEAT AVAILABILITY. PLEASE CALL THE SUBSCRIPTION OFFICE AT SYMPHONY HALL. 266-1492. More . . . There are two recent and superb studies of Berg's music: Douglas Jarman's The Music of Alban Berg and George Perle's The Operas ofAlban Berg: Volume I, Wozzeck (both University of California); both are detailed and technical, but not dauntingly so. For the historical background one can get a good deal from Alban Berg: Letters to his Wife, translated by Bernard Grun (St. Martin's). Three standard biographies widely available in English, by Willi Reich (1963), Mosco Carner (1975), and Karen Monson (1979), are all extremely interesting and extremely unreliable. An extensive discussion of Berg's annota- tions in Hanna Fuchs-Robettin's copy of the Lyric Suite, and of their significance, can be found in Perle's three-part article "The Secret Programme of the Lyric Suite" in The Musical Times for August, September, and October 1977. Most recordings of the Lyric Suite, understandably enough, are of the original version for string quartet, of which readings by the Berg Quartet (Telefunken, with Berg's Opus 3) and the LaSalle Quartet (in a five-record set from DG containing all the string quartets of Berg, Webern, and Schoenberg) are worth getting. As for the orchestral version of the three movements performed here, the only available recording is masterful and almost sinfully sensuous, part of a three-record set of orchestral works by Berg, Schoenberg, and Webern performed by the Berlin Philharmonic under the direction of Herbert von Karajan (DG). The best biography of the multi-talented Saint-Saens is James Harding's Saint-Saens and his Circle, which is currently out of print in this country, though it may still be available in England, where it was originally published. Martin Cooper's French Music from the Death ofBerlioz to the Death ofFaure (Oxford paperback) also provides some information. Pierre Amoyal has recorded the B minor concerto with Vernon Handley and the New Philharmonia Orchestra. It is available in this country by mail from the Musical Heritage Society, 14 Park Road, Tinton Falls, NJ 07724. Other recommended recordings include those of Isaac Stern with Daniel Barenboim and the Orchestre de Paris (Columbia, with music by Chausson and Faure) and of Kyung-Wha Chung with Sidney Foster and the London Symphony (London, with the Fifth Violin Concerto of Henri Vieuxtemps). Philip Radcliffe's Mendelssohn in the Master Musicians series (Littlefield paperback) is a good introductory life-and- works treatment. Eric Werner's Mendelssohn: a New Image of the Composer and his Age is the most recent serious biography, especially good on the period, often trivial on the music (Macmillan). Mendelssohn's own letters are delightful, but the published versions are frightfully bowdlerized; a much-needed new critical edition is in the works. Kurt Masur's atmospheric performance of the Scottish is part of his four- record set containing all five Mendelssohn symphonies with the Leipzig Gewandhaus Orchestra (Vanguard); recommended single disc recordings include those by Bernard Haitink with the London Philharmonic (Philips, coupled with Calm Sea and Prosperous Voyage), Herbert von Karajan with the Berlin Philharmonic (DG, coupled with the Hebrides Overture), and Peter Maag with the London Symphony (London Stereo Treasury, also coupled with the Hebrides Overture). —S.L. 41 Week 12 For rates and information on BOSTON advertising in the SYMPHONY Boston Symphony, ORCHESTRA Boston Pops, SEIJI OZAWA A and Music Director £s j w Tanglewood program books please contact: STEVE GANAK AD REPS 51 CHURCH STREET (617)-542-6913 BOSTON, MASS. 02116 Why You Should Spend as Much Time Selecting a '3otofpk/]^strfmraKi-, Volvo Garage As You Did (5* Selecting Your Volvo: iou spent good time and thought selecting jyour Volvo. It wasn't a simple decision. |An emotional reaction. Ego gratification. It was a sensible, common sense solution. Now, you should spend some time and thought selecting the correct Volvo garage. A garage that has the same dedication to workmanship and quality as Volvo itself. Cinderella Carriage Company is the quality, common sense place to have your Volvo serviced. It is one of the finest, most modern repair shops in New England. And, according to Boston Magazine, the best place in Greater Boston to have your Volvo serviced. A charming 19th Century Townhouse in people and the It's simple. Cinderella believes the best serving superb continental cuisine most modern technology. We do it right. in contemporary informal elegance. In fact, our quality control insures that our repairs are 98% perfect (and in a business where 75% is great, Offering lunch and dinner with a variety we're aiming for 100%!) of fresh seafood specials daily, and our Cinderella Carriage uses an extremely advanced after theatre cafe menu till midnight. computerized inventory control, computer diagnostics, the service team approach, a tough system of quality control, and a true personal dedication to our customers. Serving - It all adds up to quality, common sense service. Lunch: 12:00-2:30 weekdays Dinner: 6:00-10:30 Sun.-Thurs. 6:00-12:00 Fri.-Sat. Brunch: 1 1:00-3:00 Sat. & Sun. Cinderella Carriage00 reservations: 266-3030 "A little magic and lots ot common sense." 47 Smith Place, Cambridge 99 St. Botolph Street Just one minute from Fresh Fond Circle. behind the Colonnade Hotel Phone 876-1781 42 Pierre Amoyal One of Europe's leading violin virtuosos, Pierre Amoyal is rapidly becoming a well- known soloist in North America as well. Engagements during the 1983-84 season include his debut appearances with the Boston Symphony Orchestra, as well as performances with the orchestras of Cleveland, Detroit, Bal- timore, Quebec, and Winnipeg. Mr. Amoyal appears also in recital in Dallas, and his European engagements include the Berlin Philharmonic under Edo de Waart. Mr. Amoyal's recent appearances include the Orchestre National de France under Sir Georg Solti, the Halle Orchestra with Simon Rattle, and the BBC Orchestra under Pierre Boulez, with whom he has recorded the violin concer- tos of Arnold Schoenberg and Alban Berg. In the fall of 1982 he appeared with the Montreal Symphony; during 1981-82 he toured North America, appearing with the Dallas Sym- phony, the Houston Symphony, the Montreal Symphony, and the National Arts Centre Orchestra of Ottawa, Canada. His 1981-82 European schedule included a tour of Ger- many with the Tonkunstler Orchestra of Vien- na and performances with the BBC Symphony of London, the Helsinki Philharmonic, and the Prague Chamber Orchestra. In the U.S.S.R. he has performed with the orchestras of Moscow, Leningrad, and Kiev, and previous Rental apartments tours have also included South Africa and for people who'd Japan. rather hear French horns Born in Paris in 1949, Pierre Amoyal than Car hornS. Enjoy easy living within received a surprising first prize at age twelve easy reach of Symphony Hall. from the Conservatoire National Superieur de New in-town apartments with doorman, harbor Musique in Paris, where he was named profes- views, all luxuries, sor of violin in 1977. From age seventeen to health club, twenty-two he was a pupil of Jascha Heifetz in land 2 Los Angeles, California. Following his return bedrooms and from the United States at age twenty-two, Mr. penthouse duplex apartments. Amoyal was engaged by Sir Georg Solti for four performances of the Berg Concerto with THE DEVONSHIRE the Orchestre de Paris. Mr. Amoyal performs O .«. One Devonshire Place. (Between Washington on a Stradivarius violin. _i T= I and Devonshire Streets, off State Street) Boston. § Renting Office Open 7 Days. Tel: (617) 720-3410. 2 Park free in our indoor garage while inspecting models. 43 1 Round Out Your Repertoire of Recipes! Get your copy of THE BOSTON SYMPHONY COOKBOOK $18.95 at bookstores everywhere 500 carefully- tested recipes from BSO musicians and their families, distinguished guest artists, staff, and friends. 368 pages bound in hard cover with captioned photographs of BSO personalities and historic events, including the BSO One Hundredth Birthday celebration. Published by Houghton Mifflin Company COOKBOOK ORDER FORM The Cookbook Office Symphony Hall Boston, MA 02115 Please send copies of the cookbook to: books @ $18.95 Mass. residents add 5% sales tax tel. # Postage & handling $2 < » per book* street city state & zip code Total *Books may be picked up at Symphony Hall by arrangement with the Cookbook office, 266-1492 ext. 248 Check One Payment enclosed (please make check payable to Boston Symphony) Charge purchase to Master Charge Visa 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 Expiration date I I 1 1 I I (month - year) Signature 44 • the past or current fiscal year. (* denotes support of at least $2,500; capitalized names denote support of at least $5,000; underscored capitalized names within the Business Leaders' listing comprise the Business Honor Roll.) 1983-84 Business Honor Roll ($10,000+ ) American Telephone & Telegraph Company Gillette Company Charles L. Brown Colman M. Mockler, Jr. Analog Devices, Inc. John Hancock Mutual Life Insurance Company Ray Stata E. James Morton Bank of Boston Liberty Mutual Insurance Company William L. Brown Melvin B. Bradshaw Bank of New England Mobil Chemical Corporation Roderick M. MacDougall Rawleigh Warner, Jr. BayBanks, Inc. New England Mutual Life Insurance Company William M. Crozier, Jr. Edward E. Phillips Boston Consulting Group, Inc. New England Telephone Company Arthur P. Contas Gerry Freche Boston Edison Company Raytheon Company Thomas J. Galligan, Jr. Thomas L. Phillips Boston Globe/Affiliated Publications Red Lion Inn William 0. Taylor John H. Fitzpatrick Cahners Publishing Company, Inc. The Signal Companies Norman Cahners Michael H. Dingman Commercial Union Assurance Companies WCRB/Charles River Broadcasting, Inc. Howard H. Ward Richard L. Kaye Country Curtains WCVB-TV 5 Mrs. John Fitzpatrick S. James Coppersmith Devonshire Associates Wang Laboratories Weston Howland Dr. An Wang Digital Equipment Corporation Wm. Underwood Company Kenneth H. Olsen James D. Wells Dynatech Corporation I J.P Barger Business Leaders ($1,000+ ) Accountants Advertising/ P.R. COOPERS & LYBRAND *Giltspur Exhibits/Boston Vincent M. O'Reilly Thomas E. Knott, Jr. * Ernst & Whinney *Kenyon & Eckhardt James G. Maguire Thomas J. Mahoney *Peat, Marwick, Mitchell & Company *Newsome & Company Herbert E. Morse Peter G. Osgood TOUCHE ROSS & COMPANY Aerospace James T. McBride Northrop Corporation Joseph Yamron 45 I Successful business trips Dine are music to my ears. Garber Travel has been at the garden orchestrating travel plans for some of the before or finest companies in New England and after we've never missed a beat. Call me at symphony 734-2100. 1 know we can work in perfect harmony. Our magnificently large atrium garden of a restaurant for all seasons. It's Main Office:- 1406 Beacon St., Brookline new and just a few steps away from Symphony Hall. Dinner. Light meals, pastries or cocktails. We make music from 7am to 1 1pm, daily. BovkDn CM QJ © SheratMi-BosttHi Hotel SHERATON HOTELS INNS & RESORTS WORLDWIDE "SUCCESS ONE SALEM STREET, SWAMPSCOTT, PRUDENTIAL CENTER BOSTON MASSACHUSETTS 02199 • (61 7) 236 2000 IS OFTEN the North Shore address that creates an MEASURED everlasting impression. The only address BY YOGR that uniquely offers detached single with condo- ADDRESS." family residences carefree minium style conveniences. And all just 20 minutes from Boston! Enjoy security, swimming pool, tennis, and exterior | maintenance. Now featuring sixarchitect- ual plans with custom variations to fulfill your every requirement With prices beginning at $229,000, almost half have been sold. So don't wait Because the most prestigious address is the most sought after. For further information Call: Cynthia Pierce Associates at 581 -5070. Models Open Daily 1 1 - 4PM. Directions: From Boston, take 1 A to Swampscott, Nahant exit along Lynn Shore Drive to Humphrey Street, Swampscott. Turn Left onto Salem St. A Boston Tradition s^^£t The address that says it all! 41 UNION STREET 227-2750 46 w PNEUMO CORPORATION Electronics Gerard A. Fulham *Parlex Corporation Banking Herbert W. Pollack BANK OF BOSTON SIGNAL TECHNOLOGY CORPORATION William Cook Kenneth R. Rossano BANK OF NEW ENGLAND Energy Roderick M. MacDougall ATLANTIC RICHFIELD COMPANY BAYBANKS, INC. Robert 0. Anderson William M. Crozier, Jr. * Buckley & Scott Boston Five Cents Savings Bank Charles H. Downey Robert J. Spiller HatofTs *Citicorp/Citibank Sidney Hatoff Clarke Coggeshall HCW Oil & Gas Framingham Trust Company John M. Plukas William A. Anastos MOBIL CHEMICAL CORPORATION * Patriot Bancorporation Rawleigh Warner, Jr. Allyn L. Levy * Yankee Oil & Gas, Inc. SHAWMUT BANK OF BOSTON Graham E. Jones William F. Craig Finance STATE STREET BANK & TRUST COMPANY William S. Edgerly Chase Econometric/Interactive Corporation Carl G. Wolf * United State Trust Company *Farrell, Healer Inc. James V. Sidell & Company, Richard Farrell Clothing *The First Boston Corporation *Knapp King-Size Corporation George L. Shinn Winthrop A. Short * Kaufman & Company William Carter Company Sumner Kaufman Leo J. Feuer *Leach & Garner Computer/ High Technology Philip Leach *Narragansett Capital Corporation Henco Software Henry Cochran Arthur D. Little *TA Associates Consulting/ Management Peter A. Brooke *Advanced Management Associates, Inc. Food/ Hotel/ Restaurant Harvey Chet Krentzman Boston Showcase Company BOSTON CONSULTING GROUP, INC. Jason Starr Arthur P. Contas DEVONSHIRE ASSOCIATES *Creative Gourmets Limited Weston Howland Stephen E. Elmont *Dunkin' Inc. * Forum Corporation Donuts, John Humphrey Robert M. Rosenberg * LEA Group Howard Johnson Company Eugene Eisenberg Howard B. Johnson * Johnson, O'Hare Company, Inc. Arthur D. Little, Inc. Harry O'Hare John F. Magee OCEAN SPRAY CRANBERRIES, INC. Russell Reynolds Associates, Inc. Jack Vernon Harold Thorkilsen *0'Donnell-Usen Fisheries, Corporation Education Irving Usen *Bentley College RED LION INN Gregory H. Adamian John H. Fitzpatrick STANLEY H. KAPLAN EDUCATIONAL CENTER Shaw's Supermarkets Susan B. Kaplan Stanton Davis 47 "WHEN NURSING CARE BECOMES A CONSIDERATION" Mayo Health Facilities has Residents are welcome to developed a unique alternative enjoy all of these services on a to retirement housing at the short term basis through the foot of the Blue Hills in Milton, new RESPITE CARE program. Massachusetts, offering skilled The Milton Adult Day Care nursing care in an estate Center is also an integral part setting. The Milton Health of the Milton facility. Adult Care Facility combines all the Day Care is the new trend in in benefit from our experience health care, offering to its' the development of luxury clients complete health and apartments and elegant social services. A special hotels in addition to 20 years Alzheimer's program is avail- of quality nursing care. able during the day schedule. The new Milton facility offers Your questions and personal to its' resident's a warm and visit are welcome. We invite caring atmosphere with 1 8th you to visit seven days a week Century appointments. Total care is avail- from 9:00 a.m. to 5:00 p.m. Please call able including supportive, preventative, Marion Bibbey at 333-0600 for further rehabilitative, religious and social services information. MAYO HEALTH FACILITIES a division of The Flatley Company Division Office Milton Mayo Health Facilities Milton Health Care Facility 150 Wood Road, Braintree, MA 02 184 1200 Brush Hill Road, Milton, MA 02 186 848-2000 333-0600 Locations at: \. Boston Fall River Framingham Milton Norwood Randolph Some say Jaeger is a state of mind. Others that it is a certain look. Yet still others maintain that ifs a way of life. They are all correct. Jaegerfashions create a state of mind which seeks a certain look that does, indeed, become a way of life. Jaegerfashions are created in London and seen the world over. Ifyou are not yetfamiliar with Jaeger, why not come in and get acquainted. :CER .( fix ti Ladies' & Gentlemen's Sportswear Jaeger International Shop, The Mall at Chestnut Hill, Newton MA 02167 (617) 527-1785 48 Sonesta International Hotels Corporation * Polaroid Corporation Paul Sonnabend William J. McCune, Jr. THE STOP & SHOP COMPANIES, INC. * Prime Computer, Inc. Avram J. Goldberg John K. Buckner WM. UNDERWOOD COMPANY * Printed Circuit Corporation James D. Wells Peter Sarmanian RAYTHEON COMPANY Furnishings/ Housewares Thomas L. Phillips COUNTRY CURTAINS Systems Engineering & Manufacturing Corporation Jane P. Fitzpatrick Steven Baker Health Care/ Medicine Teledyne Engineering Services *Haemonetics Corporation Fred C. Bailey Gordon F. Kingsley Thermo Electron Corporation Dr. George N. Hatsopoulos High Technology/ Computers Transitron Electric Corporation ANALOG DEVICES David Bakalar Ray Stata WANG LABORATORIES, INC. The Analytic Sciences Corporation Dr. An Wang Dr. Arthur Gelb * Western Electric Fund Analytical Systems Engineering Corporation Donald E. Procknow Michael B. Rukin Aritech Insurance James A. Synk AUGAT, INC. Arkwright- Boston Insurance Roger Welllington Frederick J. Bumpus UNION ASSURANCE COMPANIES *Bolt, Beranek & Newman, Inc. COMMERCIAL Stephen Levy Howard H. Ward B. Hall Company of Massachusetts, Inc. *Computer Partners, Inc. *Frank & John B. Pepper Paul J. Crowley LIFE INSURANCE COMPANY *Cullinet Software, Inc. JOHN HANCOCK MUTUAL E. James Morton John J. Cullinane *Data Packaging Corporation LIBERTY MUTUAL INSURANCE COMPANY Otto Morningstar Melvin B. Bradshaw DIGITAL EQUIPMENT CORPORATION NEW ENGLAND MUTUAL LIFE INSURANCE COMPANY Kenneth H. Olsen Edward E. Phillips DYNATECH CORPORATION PRUDENTIAL INSURANCE COMPANY OF AMERICA Robert Scales J.P Barger J. of Canada *Epsilon Data Management, Inc. Sun Life Assurance Company Thomas 0. Jones John D. McNeil The Foxboro Company Investments Bruce D. Hainsworth GTE ELECTRICAL PRODUCTS Amoskeag Company John C. Avallon Joseph B. Ely *GenRad, Inc. *Blythe Eastman Paine Webber Incorporated William R. Thurston James F. Cleary * Honeywell Information Systems *Burr, Egan, Deleage & Company William R. Smart Craig L. Burr *IBM Corporation *E.F. Hutton & Company, Inc. Bradford Towle S. Paul Crabtree Instron Corporation Loomis Sayles & Company Harold Hindman Robert L. Kemp * LFE Corporation Moseley, Hallgarten, Estabrook & Weeden, Inc. Herbert Roth, Jr. Fred S. Moseley 49 -.- - i'Wf . WlSV'. », 50 091mm Northland Investment Corporation * Barry Wright Corporation Robert A. Danziger Ralph Z. Sorenson The Putnam Advisory Company, Inc. John A. Sommers Media TUCKER, ANTHONY & R.L. DAY, INC. General Cinema Corporation R. Willis Leith, Jr. Richard A. Smith * Woodstock Corporation WBZ-TV 4 Frank B. Condon Thomas Goodgame RIVER BROADCASTING, INC. Legal WCRB/CHARLES Richard L. Kaye Cesari & McKenna WCVB-TV 5 Robert A. Cesari S. James Coppersmith Gadsby & Hannah WNEV-TV 7/NEW ENGLAND TELEVISION Harry Hauser Seymour L. Yanoff HERRICK & SMITH Malcolm D. Perkins Musical Instruments I. Stephen Samuels, PC. Avedis Zildjian Company I. Stephen Samuels Armand Zildjian Leisure BALDWIN PIANO & ORGAN COMPANY * Heritage Travel R.S. Harrison Donald Sohn Trans National Group Services, Inc. Printing/ Publishing Alan E. Lewis *ADCO Publishing Company, Inc. Manufacturing Samuel Gorfinkle ALPHA INDUSTRIES, INC. BOSTON GLOBE/AFFILIATED PUBLICATIONS William 0. Taylor Andrew S. Kariotis Boston Herald Bell Manufacturing Company E. Irving W. Bell Robert Page INC. Bird Companies CAHNERS PUBLISHING COMPANY, Joseph C.K. Breiteneicher Norman Cahners Crane & Company CLARK-FRANKLIN-KINGSTON PRESS Bruce Crane Lawrence Dress * Daniels Printing Econocorp, Inc. Company Richard G. Lee Lee Daniels Mifflin Gans Tire Company, Inc. Houghton Company David Gans Marlowe G. Teig ' GILLETTE COMPANY *Label Art, Inc. Leonard J. Peterson Colman M. Mockler, Jr. * Norton *Marks International, Inc. Company Harry Marks Donald R. Melville Millard Metal Service Center, Inc. Retailing Donald Millard New England Millwork Distributors, Inc. Armen Dohanian Rugs Samuel H. Gurvitz Armen Dohanian *Plymouth Rubber Company, Inc. *Wm. Filene's & Sons Company Maurice J. Hamilburg Merwin Kaminstein TAD Technical Services Corporation *Lee Shops, Inc. David McGrath Arthur Klein TOWLE MANUFACTURING COMPANY LINCOLN-MERCURY DEALERS ASSOCIATION Leonard Florence Al Kalish * THE SIGNAL COMPANIES Marshall's Inc. Michael H. Dingman Frank H. Benton 51 '• Inside Stories \ MusicAmerica host Ron Delia Chiesa takes you "Inside the BSO" — a series of special intermission features with members of the Boston Symphony Orchestra and the people behind the scenes at Symphony Hall. Inside the BSO n Fridays at 2 pm Saturdays at 8pm WGBH89.7FM ZAYRE CORPORATION STRIDE RITE CORPORATION Maurice Segall Arnold S. Hiatt Science Transportation *Charles River Breeding Laboratories, Inc. The Trans-Lease Group Henry L. Foster, D.V.M. John F. McCarthy, Jr. Damon Corporation Utilities Dr. David I. Kowosky AMERICAN TELEPHONE & TELEGRAPH Ionics, Inc. COMPANY Arthur L. Goldstein Charles L. Brown Shoes BOSTON EDISON COMPANY *Jones & Vining, Inc. Thomas J. Galligan, Jr. Sven Vaule, Jr. * Eastern Gas & Fuel Associates * Mercury International Trading Corporation William J. Pruyn Irving Wiseman NEW ENGLAND TELEPHONE THE SPENCER COMPANIES, INC. Gerry Freche C. Charles Marran The Boston Symphony Orchestra gratefully acknowledges the following founda- tions for their generous support. These valuable gifts are greatly appreciated. The Lassor & Fanny Agoos Charity Fund Helen & Leo Mayer Charitable Trust Anthony Advocate Foundation William Inglis Morse Trust Frank M. Bernard Foundation, Inc. Mydans Foundation Theodore H. Barth Foundation The Nehemias Gorin Foundation The Adelaide Breed Bayrd Foundation Thomas Anthony Pappas Charity Foundation Bezalel Foundation, Inc. Parker Charitable Foundation Cabot Family Charitable Trust Permanent Charities Fund of Boston, Inc. Calvert Trust Olive Higgins Prouty Foundation The Clowes Fund, Inc. A.C. Ratshesky Foundation Eastman Charitable Foundation Sasco Foundation Eaton Foundation Schrafft Charitable Trust Orville W. Forte Charitable Foundation, Inc. George and Beatrice Sherman Family Charitable Foster Charitable Trust Trust The Fuller Foundation, Inc. Sandra & Richard Silverman Foundation George F. & Sybil H. Fuller Foundation The Seth Sprague Educational and Charitable The Charles Robert Gens Foundation Foundation Kenneth J. Germeshausen Charitable Trust Stearns Charitable Trust Elizabeth Grant Trust The Stone Charitable Foundation, Inc. Greylock Foundation Gertrude W & Edward M. Swartz Charitable Reuben A. & Lizzie Grossman Foundation Trust Hayden Charitable Trust Webster Charitable Foundation, Inc. The Howard Johnson Foundation Edwin S. Webster Foundation Hunt Foundation Carl A. Weyerhaeuser Trust The John A. and Ruth E. Long Foundation Albert 0. Wilson Foundation, Inc. MacPherson Fund, Inc. 53 Yourinsurance agent will always be there, but will you recognize him? Can you remember the name of the person who handles your insurance? Many of the people who sell business insurance change jobs quite often. You may be working with someone familiar one month, and then with a total stranger the next. At Brewer & Lord, we think continuity is an important part of the insurance relationship. Every account is supervised by one of our partners. This gives you the advantage of working with some- one who understands your busi- ness. Not just initially, but year after year. Since 1859, we've provided our clients with the consistent service they deserve. With Brewer & Lord, you'll not only recognize your insurance agent, you'll know him as someone you can depend on. Brewer & Lord New England finds security in our experience. MAIN OFFICE: 40 Broad Street. Boston, MA 02109 Tel. (617) 426-0830 BRANCHES: Acton, Framingham. Bedford (Gail Aviation Insurance) & Falmouth (Lawrence and Motta) Personal & Business Fire/Casualty/Surety/Marine/ Auto/ Homeowners/ Risk Management & Engineering Services/Life & Employee Benefits _ We are grateful to those who generously responded to the Youth Activities fundraising program during our fiscal year which ended August 31, 1983. Your gifts are critical to the continuation of our music education program for children. Donors to the Youth Activities Program $10,000 and over $500-$999 Mr. & Mrs. Nelson J. Darling, Jr. Miss Barbara Adams Abbot & Dorothy H. Stevens Foundation Clark Charitable Trust Cornelius A. and Muriel P. Wood Charity Fund Hon. & Mrs. John H. Fitzpatrick Mr. & Mrs. Carl Koch Mrs. E. Anthony Kutten Dr. & Mrs. Edwin H. Land Mrs. August R. Meyer $5,000-$9,999 Mr. and Mrs. David R. Pokross Cabot Corporation Foundation Mr. and Mrs. David Rockefeller, Jr. Mr. & Mrs. Harry Remis Mr. and Mrs. George B. Thomas, Jr. Mr. and Mrs. George R. Walker $250-$499 Mr. & Mrs. Avram J. Goldberg $l,000-$2,499 Mrs. Joan Bennett Kennedy Mrs. Donald L. Brown Mrs. Charles P. Lyman Clippership Foundation Mr. David Mugar Mr. & Mrs. Eugene B. Doggett Mr. & Mrs. Donald B. Sinclair Harvard Musical Association Dr. Frances H. Smith Mr. & Mrs. Benjamin Lacy Mr. & Mrs. Jeffrey Stahl Joseph Warren—Soley Lodge Mr. Sherman M. Wolf S100-S249 Mr. Richard Bruce Abrams Mr. John W Calkins Mr. & Mrs. Jack Adelson Mrs. Hugh A. Carney Mrs. John M. Alden Mrs. Judith Brown Card Mr. & Mrs. Stephen Allen Mr. & Mrs. John B. Chaffee Mrs. Charles Almy Mr. & Mrs. Stephen Chiumenti Mr. & Mrs. Julian D. Anthony Miss Margaret Clark Mrs. Paul T. Babson Dr. & Mrs. Robert B. Clarke Sandra & David Bakalar Mrs. John W. Coffey Mr. & Mrs. Allen G. Barry Mr. & Mrs. Bertram Cohen Mr. & Mrs. Alan C. Bemis Mr. & Mrs. Gilbert Cohen Mr. Clinton W Bennett Mr. Johns H. Congdon Mr. Leo L. Beranek Mr. Arthur P. Contas Mr. & Mrs. Donald J. Bertrand Mr. & Mrs. William Cook Mrs. Leonce Bonnecaze Miss Sarah Thorn Couch Mr. & Mrs. John D. Brewer, Jr. Mrs. Stephen Crandall Mrs. Alexander H. Bright Mrs. Bigelow Crocker Mrs. Walter Swan Burrage Mrs. Louisa R. Cutler Mr. & Mrs. Norman Cahners Mrs. Lewis S. Dabney 55 In concert with the people of Boston, our solute to the proud trodition of the Boston Symphony Orchestro . . . end our best wishes for o trlumphont hundred-ond-third seoson. I Jordan marsh m-w ice. A Unit of Allied Stores Sheet music courtesy of Boston Music Company Mrs. John M. Dacey Mrs. David S. McLellan Dauber Miss Nina L. McMaster i Mrs. Clarence A. Mrs. Panos S. Dukakis Mr. & Mrs. George H. Milton Mrs. Charles C. Eaton Mrs. Lovett Morse Mrs. Charles F. Eaton, Jr. Mr. & Mrs. Henry A. Morss, Jr. Mr. & Mrs. H. Norman Eston Mr. & Mrs. Horace S. Nichols Mrs. Harris Fahnestock Mrs. Louiville Niles Mr. & Mrs. Benjamin Fisher Mrs. Hiroshi H. Nishino Mr. Joseph M. Flynn Mrs. Richard C. Paine Mr. & Mrs. Stanley Ganz Mr. & Mrs. Stephen Paine, Sr. Mrs. Fernand Gillet Mrs. A. Seymour Parker Ms. Margaretta M. Godley Mrs. Martha Patrick Dr. & Mrs. Ray A. Goldberg Miss Katharine E. Peirce Mr. & Mrs. Charles Goldman Mr. C. Marvin Pickett, Jr. Mr. Frederick Goldstein Mr. & Mrs. Leo M. Pistorino > Mr. & Mrs. Haskell Gordon Mr. & Mrs. Richard Preston Mrs. Harry N. Gorin Mrs. George Putnam, Sr. Mr. & Mrs. John L. Grandin, Jr. Mr. & Mrs. John C. Quinn Mr. & Mrs. James H. Grew Mr. & Mrs. Irving W. Rabb Mr. & Mrs. Wesley M. Hague Mr. & Mrs. Norman F. Ramsey, Jr. Mr. & Mrs. Christia Halby Mrs. Raymond A. Remick Mrs. Edward E. Hale Mrs. George R. Rowland Mr. & Mrs. G. Neil Harper Ms. Anne Cable Rubenstein Mrs. Richard C. Hayes Mr. & Mrs. Robert Saltonstall Mr. & Mrs. George F. Hodder Mr. A. Herbert Sandwen Mrs. David H. Howie Mr. & Mrs. Maurice Saval Miss Elizabeth B. Jackson Mrs. George A. Shaps Mr. & Mrs. James Jackson, Jr. Mrs. Alfred J. Shepherd Mr. & Mrs. Bela T. Kalman Miss Marion C. Shorley Mrs. Abraham A. Katz Mr. & Mrs. Edward J. Sibleian Dr. Gustav G. Kaufmann Mr. John S. Stone Mr. & Mrs. Richard Kaye Miss Elizabeth B. Storer Mr. & Mrs. F. Corning Kenly, Jr. Mrs. Helen Streuli Mrs. Prescott L. Kettell Dr. P. Suzman Mrs. J. Philip Kistler Mrs. Rosamond S. Taylor Mr. & Mrs. Manuel Kurland Miss Carolyn Thomas Mrs. James Lawrence Dr. & Mrs. Richard Thompson Mrs. Hart D. Leavitt Unitrode Corporation Dr. Philip M. LeCompte Mr. & Mrs. Jack H. Vernon Ms. Janet Lombard Dr. & Mrs. Charles Weingarten Mrs. Joseph W. Lund Mr. & Mrs. John P. Weitzel Mr. & Mrs. Ernest Lynton Mr. & Mrs. Charles Werly Miss Ann E. Macdonald Mr. & Mrs. Maurice Wheeler Mrs. S. Lang Makrauer Miss Ruth H. Whitney Mr. & Mrs. Donald M. Manzelli Mr. & Mrs. Ralph R. Willard Mrs. Edward E. Martin Ms. Mary Wolfson Mr. Andrew J. Mazzella, Jr. Dr. & Mrs. Leonard Wolsky Miss Margaret B. McCaffrey Mrs. William S. Youngman 57 \ . h/u& gw chanty. . t77ir sra&ons come and^o^/aces cAanae, /resA ideas are explored, cdder ones are re-examined, ana(traditions endure jfflarrunei hro musica asidtAe SBaston continue tAeir /or^-s/xindiny association coitA tke /wJm/ar^feature "koe onferomusira" — a so/oists, condac^tor&r and composers. jfflorninyfero musica, coitA (AloAert^. jfart&ema, is broadcast eoeru da^Jronvsro^num^noon on stations oftAe kiddie tfladio jYeiioorA and is Aeara'in tAe ^Boston area on Wm%$J.7jn. 58 Donors to the "Days in the Arts" Program $10,000 and over $500-$999 Boston Safe Deposit & Trust for the Honeywell Foundation Arthur F. Blanchard Trust Mrs. August R. Meyer Mr. & Mrs. Robert Saltonstall $250-$499 $2,500-14,999 Mrs. & Mrs. Bela T. Kalman The Stride Rite Corporation Mr. & Mrs. Carl Koch Mr. & Mrs. Henry Lyman, Jr. $100-$249 $l,000-$2,499 Mr. & Mrs. Eugene B. Doggett Cambridge Foundation Mrs. Harris Fahnestock Clippership Foundation Junior Council of the Boston Symphony Orchestra Alice Willard Dorr Foundation Ms. Diane E. Kaneb The Arthur D. Little Foundation Mrs. Charles P. Lyman Mutual Bank for Savings Mr. & Mrs. James T. Mountz NEBS Foundation Mr. Aaron Nurick & Ms. Diane Austin Parker Brothers Mrs. Frank E. Remick Theodore Edson Parker Foundation Mrs. George R. Rowland The Polaroid Corporation Mr. & Mrs. Sidney Stoneman The Schrafft Charitable Trust Mrs. Florence Whitney, Jr. Charles Irwin Travelli Fund Dr. & Mrs. Leonard Wolsky WE SPECIALIZE INN COMFORT. To stay at the Wellesley Inn is to surround yourself with all the comforts of home and more. From our 70 regally appointed rooms to delectable food in one of our three restaurants, the Wellesley Inn is the select place to stay at affordable prices. We also specialize in weddings and confer- ^^wmm ences. Our function staff will help you select a room that's just right for you, from a small party to a Grand Ballroom affair The Wellesley Inn complete with all the trimmings. We're On The Square just 15 minutes from downtown Boston. 576 Washington Street, Wellesley, MA 02 181 Telephone (617) 235-0180 59 . Interior Design for Any Setting Barbara Winter Glauber By Appointment Only (617) 723-5283 > n Let iis orchestrate all "SEASONS . . your financial AT THE BOSTONIAN HOTEL, arrangements. MAY WELL BE THE BEST RESTAURANT IN BOSTON." The TAB August 24, 1983 Mutual Rank 45 Franklin St Boston MA 02110 482-7530 969-7500 (Boston) (Newlon) MemDC FDtC AT THE BOSTONIAN HOTEL OVERLOOKING FANEUIL HALL MARKETPLACE TELEPHONE 523-4119 A la carte weekend brunch, 11:30-3:00. Valet parking available. Reservations suggested. Coming Concerts . . . A Uitterent southeast- Asian Ipeat Thursday, 26 January—8-9:25 4 Thursday 10' series Friday, 27 January— 2-3:25 T^MANDALAY Saturday, 28 January —8-9:25 BURMESE RESTAURANT SEIJI OZAWA conducting Mahler Das klagende Lied soprano top Mpe and Attep ESTHER HINDS, JANICE TAYLOR, mezzo-soprano I neatpG feasts DAVID RENDALL, tenor JORMA HYNNINEN, baritone TANGLEWOOD FESTIVAL CHORUS, 329 Huntington Avenue, Boston. 247-2111 JOHN OLIVER, conductor Two Blocks West of Symphony Hall - Reservations Suggested Thursday, 16 February—8-9:50 Thursday 'B' series Friday, 17 February— 2-3:50 Saturday, 18 February —8-9:50 JOSEPH SILVERSTEIN conducting Ravel Mother Goose Suite Carter Double Concerto for harpsichord, piano, and two chamber orchestras Mozart Symphony No. 40 Wednesday, 22 February at 7:30 Open Rehearsal Steven Ledbetter will discuss the program at 6:45 in the Cohen Annex. Thursday, 23 February—8-9:55 Thursday '10' series N° 9665-Marketing Tote-$160 Friday, 24 February— 2-3:55 All Coach Stores carry our Saturday, 25 February—8-9:55 full range of Bags, Belts SEIJI OZAWA conducting and Accessories in every color Mozart Overture to Idomeneo and size we make them in. Schoenberg Piano Concerto There are now Coacff Stores MAURIZIO POLLINI in New York City, Paris, Strauss Symphonia domestica Washington, D.C., Boston, San Francisco and Seattle. Tuesday, 28 February—8-9:50 4 We accept telephone and mail Tuesday C series orders and will be happy to SEIJI OZAWA conducting sendyou our catalogue. Mozart Overture to Idomeneo Haydn Symphony No. 73, The CoacK Store The Hunt Strauss domestica r 75-B Newbury Street, Boston, Mass. 02116 Symphonia (617) 536-2777 Programs subject to change. 61 MAKE SURE EVERY Uorn 1 PERFORMANCE YOU ATTEND ENDS & ON A HIGH NOTE. INVESTMENT COUNSEL International Portfolio Management End your evenings at one of Individuals "Trusts 'Pension Funds the three restaurants at The Westin Hotel, Copley Place - Tel. (617) 720-0079 60 State Street, Boston, MA 02109 The Brasserie, Turner Fisheries < or Ten Huntington. Located close by in Bostons historical Back Bay. For reservations call 262-9600. At Last. A super6 steak and seafood house in the dassicd tradition. The Westin Hotel AJuH menufor pre-theatre Copley Place Boston diners sw^iementedby a supper menufrom 10:30 to 12featuring lighterfoods for (ater dmexs. Sunday brunch from Hto3. Intimate bar and (ounge. Berkeley Street Special pre-theatre dinner available at Stuart. Cad 542-2255 for reservations. Major credit cards accepted. Uaitrc'^ Continental Cuisine on the Charles 10 Emerson Place Boston 742-5480 62 Symphony Hall Information . . . FOR SYMPHONY HALL CONCERT AND concerts (subscription concerts only). The TICKET INFORMATION, call (617) continued low price of the Saturday tickets is 266-1492. For Boston Symphony concert pro- assured through the generosity of two anony- gram information, call "C-O-N-C-E-R-T." mous donors. The Rush Tickets are sold at $4.50 each, one to a customer, at the Sym- THE BOSTON SYMPHONY performs ten phony Hall West Entrance on Fridays begin- months a year, in Symphony Hall and at ning 9 a.m. and Saturdays beginning 5 p.m. Tanglewood. For information about any of the orchestra's activities, please call Symphony LATECOMERS will be seated by the ushers Hall, or write the Boston Symphony Orches- during the first convenient pause in the pro- tra, Symphony Hall, Boston, MA 02115. gram. Those who wish to leave before the end of the concert are asked to do so between THE EUNICE S. AND JULIAN COHEN program pieces in order not to disturb other ANNEX, adjacent to Symphony Hall on patrons. Huntington Avenue, may be entered by the Symphony Hall West Entrance on Huntington SMOKING IS NOT PERMITTED in any part Avenue. of the Symphony Hall auditorium or in the FOR SYMPHONY HALL RENTAL INFOR- surrounding corridors. It is permitted only in the Cabot-Cahners and Hatch rooms, and in MATION, call (617) 266-1492, or write the the main lobby on Massachusetts Avenue. Hall Manager, Symphony Hall, Boston, MA 02115. CAMERA AND RECORDING EQUIPMENT may not be brought into Symphony Hall dur- THE BOX OFFICE is open from 10 a.m. until ing concerts. 6 p.m. Monday through Saturday; on concert evenings, it remains open through intermission FIRST AID FACILITIES for both men and for BSO events or just past starting-time for women are available in the Cohen Annex near other events. In addition, the box office opens the Symphony Hall West Entrance on Hunt- Sunday at 1 p.m. when there is a concert that ington Avenue. On-call physicians attending afternoon or evening. Single tickets for all concerts should leave their names and seat Boston Symphony concerts go on sale twenty- locations at the switchboard near the Massa- eight days before a given concert once a series chusetts Avenue entrance. 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-after- noon and Saturday- evening Boston Symphony 63 II WHEELCHAIR ACCESS to Symphony Hall is BOSTON SYMPHONY BROADCASTS: Con- available at the West Entrance to the Cohen certs of the Boston Symphony Orchestra are I Annex. heard by delayed broadcast in many parts of the United States and Canada, as well as AN ELEVATOR is located outside the Hatch internationally, through the Boston Symphony and Cabot-Cahners rooms on the Massachu- Transcription Trust. In addition, Friday after- setts Avenue side of the building. noon concerts are broadcast live by WGBH- FM (Boston 89.7), WMEA-FM (Portland LADIES' ROOMS are located on the orches- 90.1), WAMC-FM (Albany 90.3), WMEH- tra level, audience-left, at the stage end of the FM (Bangor 90.9), and WMEM-FM (Presque hall, and on the first-balcony level, audience- Isle 106.1). Live Saturday-evening broadcasts right, outside the Cabot-Cahners Room near are carried by WGBH-FM, WCRB-FM the elevator. (Boston 102.5), WFCR-FM (Amherst 88.5), and WPBH-FM (Hartford 90.5). If Boston MEN'S ROOMS are located on the orchestra Symphony concerts are not heard regularly in level, audience-right, outside the Hatch Room your home area and you would like them to near the elevator, and on the first-balcony be, please call WCRB Productions at (617) level, audience-left, outside the Cabot-Cahners 893-7080. WCRB will be glad to work with Room near the coatroom. you and try to get the BSO on the air in your area. COATROOMS are located on the orchestra and first-balcony levels, audience-left, outside BSO FRIENDS: The Friends are supporters ofi the Hatch and Cabot-Cahners rooms. The the Boston Symphony, active in all of its en- BSO is not responsible for personal apparel or deavors. Friends receive BSO, the orchestra's other property of patrons. newsletter, as well as priority ticket informa- tion. For information, please call the Friends' LOUNGES AND BAR SERVICE: There are Office at Symphony Hall weekdays between 9 two lounges in Symphony Hall. The Hatch and 5. If you are already a Friend and would Room on the orchestra level and the Cabot- like to change your address, please send your Cahners Room on the first-balcony level serve new address with your newsletter label to the drinks starting one hour before each perfor- Development Office, Symphony Hall, Boston, mance. For the Friday-afternoon concerts, MA 02115. Including the mailing label will both rooms open at 12:15, with sandwiches assure a quick and accurate change of address available until concert time. in our files. You can commission a painting of the musical composition of your own choice. Paintings are already in collections in Sara- sota, Cleveland, New York, ^e^ofte oft a^teft a Greenwich, North Hollywood ! ^me peft^oftwance... and Oslo, Helsinki, Munich, Basle. Send for colorful, descrip- tive literature. D/MdS Box 315 Mllford, NH 03055 269 NEWBURY STREET LUNCH / Mon. thru Sat. DINNER / Sun.- Sat. til 11:00 FULL COCKTAIL SERVICE Valet parking 262-4810 ^ All Major Credit Cards Accepted ( DAVIOS / 1 Block Irom HYNES Auditorium ) mm, n 4 Every clay for three decades, 2ome fair, foul, or worse, Harbor Master Tait logged them n and logged them out. Slow, every captain ^jv^ ~ counts on safe berth in ij * Scotland's Eyemouth larbor. And finds it.The good things in life stay that wav. Wh EWARS White Label: never varies* yluthentie The Oewar Highlander "-* *f ,- "- * Catch of the day. Now you can bring home the Italian white wine that's so light and refreshing, the French - and who should know better - rated it best of all wines in Europe with fish. Bianchi Verdicchio. Surprisingly inexpensive, it's now in America at your favorite restaurant or store. Bianchi Verdicchio Imported by Pastene Wine & Spirits Co., Inc., Somerville, MA. Also available in party-size magnums.