BOSTON SYMPHONY ORCHESTRA SEIJI OZAWA Mujic Director

107th Season 1987-88 C 1987 80 Proof. Imported from France by Regal Brands. Inc.. New York. NY

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, ORCHESTRA SEIJI OZAWA^ Mujic Director

Seiji Ozawa, Music Director

Carl St. Clair and Pascal Verrot, Assistant Conductors One Hundred and Seventh Season, 1987-88

Trustees of the Boston Symphony Orchestra, Inc.

Leo L. Beranek, Honorary Chairman George H. Kidder, President

Nelson J. Darling, Jr, Chairman J. P. Barger, Vice-Chairman

Mrs. John M. Bradley, Vice-Chairman William J. Poorvn, Vice-Chairman and Treasurer Archie C. Epps, Vice-Chairman

Vernon R. Alden Mrs. Eugene B. Doggett Roderick M. MacDougall David B. Arnold, Jr Mrs. John H. Fitzpatrick Mrs. August R. Meyer Mrs. Norman L. Cahners Avram J. Goldberg David G. Mugar William M. Crozier, Jr Mrs. John L. Grandin Mrs. George R. Rowland Mrs. Lewis S. Dabney Francis W. Hatch, Jr Richard A. Smith Mrs. Michael H. Davis Harvey Chet Krentzman Ray Stata Trustees Emeriti

Philip K. Allen E. Morton Jennings, Jr Ir\'ing W. Rabb Allen G. Barry Edward M. Kennedy Paul C. Reardon

Richard P. Chapman Albert L. Nickerson Mrs. George L. Sargent Abram T. Collier John T. Noonan Sidney Stoneman George H.A. Clowes, Jr Thomas D. Perry, Jr. John Hoyt Stookey Mrs. Harris Fahnestock John L. Thomdike Other Officers of the Corporation

John Ex Rodgers, Assistant Treasurer Jay B. Wailes, Assistant Treasurer Daniel R. Gustin, Clerk

Administration of the Boston Symphony Orchestra, Inc. Kenneth Haas, Managing Director Daniel R. Gustin, Assistant Managing Director and Manager of Tanglewood

Michael G. McDonough, Director of Finance and Business Affairs Anne H. Parsons, Orchestra Manager Costa Pilavachi, Artistic Administrator Caroline Smedvig, Director of Promotion Josiah Stevenson, Director of Development

Robert Bell, Data Processing Manager Marc Mandel, Publications Coordinator Helen P. Bridge, Director of Volunteers Julie-Anne Miner, Supervisor of Madelyne Codola Cuddeback, Director Fund Accounting of Corporate Development Richard Ortner, Administrator of Vera Gold, Assistant Director of Promotion Tanglewood Music Center Patricia F. Halligan, Nancy E. Phillips, Media and Personnel Administrator Production Manager, Nancy A. Kay, Director of Sales Boston Symphony Orchestra John M. Keenum, Director of Charles Rawson, Manager of Box Office Foundation Support Joyce M. Serwitz, Assistant Director Steven Ledbetter, Musicologist & of Development Program Annotator Susan E. Tomlin, Director of Annual Giving Michelle R. Leonard, Budget Manager John G. Welch, Controller

Programs copyright ®1987 Boston Symphony Orchestra, Inc. Cover photo by Christian Steiner/Design by Wondriska Associates Inc. Board of Overseers of the Boston Symphony Orchestra, Inc.

Avram J. Goldberg Chairman

Mrs. Carl Koch John F. Cogan, Jr. Mrs. R. Douglas Hall HI Vice-Chairman Vice-Chairman Secretary

Mrs. Weston W. Adams Jordan L. Golding Mrs. Robert B. Newman Martin Allen Mark R. Goldweitz Mrs. Hiroshi Nishino Mrs. David Bakalar Haskell R. Gordon Vincent M. O'Reilly Mrs. Richard Bennink Joseph M. Henson Stephen Paine, Sr. Mrs. Samuel W. Bodman Arnold Hiatt Andrall E. Pearson William M. Bulger Susan M. Hilles Daphne Brooks Prout Mary Louise Cabot Glen H. Hiner Peter C. Read Mrs. C. Thomas Clagett, Jr. Mrs. Marilyn B. Hoffman Robert E. Remis James F. Cleary Ronald A. Homer John Ex Rodgers Julian Cohen Anna Faith Jones Mrs. Jerome Rosenfeld Mrs. Nat Cole H. Eugene Jones Mrs. William C. Rousseau William H. Congleton Mrs. Bela T. Kalman Mrs. William H. Ryan

Walter J. Connolly, Jr. Mrs. S. Charles Kasdon Roger A. Saunders Mrs. A. Werk Cook Howard Kaufman Mrs. Raymond H. Schneider Albert C. Cornelio Richard L. Kaye Mark L. Selkowitz Phyllis Curtin Robert D. King Malcolm L. Sherman A.V. d'Arbeloff Robert K. Kraft Mrs. Donald B. Sinclair Mrs. Eugene B. Doggett John P. LaWare W Davies Sohier, Jr. Phyllis Dohanian Mrs. Hart D. Leavitt Ira Stepanian Harriett Eckstein R. Willis Leith, Jr. Mrs. Arthur L Strang Edward Eskandarian Laurence Lesser Mark Tishler, Jr. Katherine Fanning Stephen R. Levy Luise Vosgerchian John A. Fibiger Frederick H. Lovejoy, Jr. Mrs. An Wang Peter M. Flanigan Mrs. Charles P. Lyman Roger D. Wellington Gerhard M. Freche Mrs. Harry L. Marks Mrs. Thomas H.P Whitney Dean Freed C. Charles Marran Mrs. Donald B. Wilson

Peter H.B. Frelinghuysen Hanae Mori Mrs. John J. Wilson Mrs. James G. Garivaltis Richard P. Morse Brunetta Wolfman Mrs. Ray A. Goldberg Mrs. Thomas S. Morse Nicholas T. Zervas E. James Morton

Overseers Emeriti

Mrs. Frank G. Allen Mrs. Richard D. Hill Mrs. Stephen V.C. Morris Hazen H. Ayer Mrs. Louis L Kane David R. Pokross Mrs. Thomas J. Galligan Leonard Kaplan Mrs. Peter van S. Rice Mrs. Thomas Gardiner Benjamin H. Lacy Mrs. Richard H. Thompson Mrs. James F. Lawrence

Symphony Hall Operations

Robert L. Gleason, Facilities Manager

Cheryl Silvia, Function Manager James E. Whi taker. House Manager

Earl G. Buker, Chief Engineer Cleveland Morrison, Stage Manager Franklin Smith, Supervisor of House Crew Wilmoth A. Griffiths, Assistant Supervisor of House Crew William D. McDonnell, Chief Steward Officers of the Boston Symphony Association of Volunteers

Mrs. Eugene B. Doggett President Phyllis Dohanian Ms. Helen Doyle Executive Vice-President Secretary Mr. Goetz B. Eaton Mrs. Seabury T. Short, Jr. Treasurer Nominating Chairman

Vice-Presidents

Mrs. Ray A. Goldberg, Fundraising Projects Mrs. Jeffrey Millman, Membership Ms. Kathleen Heck, Development Services Mrs. Harry F. Sweitzer, Jr., Public Mrs. James T. Jensen, Hall Services Relations Mrs. Eugene Leibowitz, Tanglewood Mrs. Thomas Walker, Regions Mrs. Robert L. Singleton, Tanglewood Ms. Margaret Williams, Youth Activities and Adult Education

Chairmen of Regions

Mrs. Claire E. Bessette Ms. Linda Fenton Mrs. Hugo A. Mujica Mrs. Thomas M. Berger HI Mrs. Daniel Hosage Mrs. G. William Newton Mrs. John T. Boatwright Ms. Prudence A. Law Mrs. Ralph Seferian Mrs. Oilman W. Conant Mrs. Robert Miller Mrs. Richard E. Thayer Mrs. James Cooke Mrs. FT. Whitney

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Aspen Music Festival Metropolitan Opera Leonard Bernstein Mitchell -Ruff Duo Bolcom and Morris Seiji Ozawa Jorge Bolet Luciano Pavarotti Boston Pops Orchestra Alexander Peskanov Boston Symphony Orchestra Philadelphia Orchestra Brevard Music Center Andre Previn Dave Brubeck Ravinia Festival David Buechner Santiago Rodriguez Chicago Symphony Orchestra George Shearing Cincinnati May Festival Bobby Short Cincinnati Symphony Orchestra Abbey Simon Aaron Copland Georg Solti Denver Symphony Orchestra Stephen Sondheim Eastern Music Festival Tanglewood Music Center Michael Feinstein Michael Tilson Thomas Ferrante and Teicher Beveridge Webster Natalie Hinderas Earl Wild Dick Hyman John Williams Interlochen Arts Academy and Wolf Trap Foundation for National Music Camp the Performing Arts Marian McPartland Yehudi Wyner Zubin Mehta Over 200 others Baldwin^ BSO In Memoriam

Symphony Spotlight The BSO family was deeply saddened earlier this year by the loss of two longtime Boston This is the first in a series of biographical sketches Symphony Orchestra members, both of whom which will focus on some of the generous individu- died following the close of last year's sub- als who have endowed chairs in the Boston Sym- scription season. phony Orchestra. Their backgrounds are varied, Andre M. Come, a trumpet player with the but each felt a special commitment to the Boston orchestra for thirty years, died unexpectedly Symphony. last June. Born in Cambridge, Andre was The John Moors Cabot loved and respected for both his character and Endowed Music Directorship his musicianship. In addition to his faculty position at the New England Conservatory, he A magna cum laude graduate of Harvard in was also a devoted teacher for many years at 1923 and of Oxford in 1925, John Moors Cabot the Tanglewood Music Center, where a memo- spent forty years in the foreign sendee, during rial fellowship has been established in his which time he served in Latin America and memory. Europe and represented the United States as BSO violist Bernard Kadinoff, who died in ambassador to Brazil, Columbia, Finland, August, joined the Orchestra in 1951 under Poland, and Sweden. Both Ambassador Cabot Charles Munch, having previously played in and his widow Elizabeth Lewis Cabot recog- the NBC Symphony Orchestra under the nized and enjoyed beauty in a wide variety of direction of Arturo Toscanini. Bernard was a art forms. They followed a family tradition of devoted teacher of viola and chamber music at supporting those academic and cultural insti- Boston University and at the Boston Univer- tutions that would make the finest art avail- sity Tanglewood Institute, where a schol- able to the whole community. After Mr Cabot arship has been established in his name. died in 1981, his four children continued this tradition. He asked that his planned bequest to the BSO be put into the endowment and not Planned Giving Seminars used for current operating expenses because Again this season the Boston Sjinphony he wanted to be certain that it would ensure offers series the future of one of the great cultural institu- Orchestra a of Personal Financial tions in his beloved Boston. Planning Seminars, to include such topics as gifting to family members, estate planning, and charitable giving in today's tax setting. Symphony Shop Begins New Season The programs are presented by John Brown, The Symphony Shop, a project of the Boston an internationally-known consultant in the Symphony Association of Volunteers, begins field of deferred giving. Upcoming seminars at the 1987-88 season wdth a wide array of new Symphony Hall will be held on October 15 and and exciting merchandise. Gifts wdth a BSO or 30. For further information, please contact musical motif, umbrellas, tote bags, books, cal- Joyce M. Serwitz, Assistant Director of endars, glasses, toys, ties, recordings, and Development, at 266-1492, ext. 132. familiar favorites are just part of the dazzling display. The Symphony Shop now has two loca- BSO Guests on WGBH-FM-89.7 tions—in the Huntington Avenue stairwell near the Cohen Annex, and on the first-balcony BSO Musicologist and Program Annotator level near the elevator The shops are open from Steven Ledbetter will be Ron della Chiesa's one hour before each concert through intermis- guest during the intermissions of the live Boston sion. All proceeds benefit the Boston Sym- Symphony broadcasts of October 2,3,9 and 10 phony Orchestra, so please stop by and the and will discuss the orchestra's 1987-88 season. volunteer sales staff will be happy to help you BSO Assistant Conductor Carl St. Clair will be I with your selections. For merchandise informa- Robert J. Lurtsema's guest on Morning Pro tion, please call 267-2692. Musica, Monday, October 26, at 11. this is a musical cheer

May the melody never end

jBPdan mapsli

6 Pre-Concert Supper Series Art Exhibits in the Cabot-Cahners Room

The Boston Symphony Association of Volun- For the fourteenth year, a variety of Boston- teers sponsors two different types of supper area galleries, museums, schools, and non- series during the BSO's winter season. The profit artists' organizations will exhibit their "Supper Talks" series combines a buffet sup- work in the Cabot-Cahners Room on the first- per at 6:15 p.m. in the Cohen Annex with an balcony level of Symphony Hall. On display informative talk by a BSO player or other dis- through October 26 are works from the J. Todd tinguished member of the music community; an Gallery of Wellesley. Other organizations to be a la carte bar opens at 5:30 p.m. The "Supper represented during the coming months are the Concerts" series offers a chamber music per- Randall Beck Gallery (October 26-November formance given by the members of the Boston 23), Concord Art Association (November 23- Symphony Orchestra in the Cabot-Cahners December 21), and Clarence Kennedy Gallery Room at 6 p.m., followed by a buffet supper in (December 21-January 18). These exhibits are the Cohen Annex. These events are offered sponsored by the Boston Symphony Associa- either by subscription or on an individual basis, tion of Volunteers, and a portion of each sale even if you do not attend that evening's BSO benefits the orchestra. Please contact the Vol- concert. Supper Concerts for the coming unteer Office at 266-1492, ext. 177, for further months will take place on October 23, 29, and information. 31, and on November 3, 12, 14, and 17. Supper Talks will take place on October 6, 8, 13, and 15, and on November 19. Single reservations at With Thanks $19 are available only as space permits and are We wish to give special thanks to the National accepted until two business prior days to the Endowment for the Arts and the Massachu- event. For further information and reserva- setts Council on the Arts and Humanities for tions, please call the Volunteer Office at their continued support of the Boston Sym- 266-1492. phony Orchestra.

Friday Previews

Subscribers to Friday-afternoon BSO concerts have an opportunity to enhance their under- standing of symphonic music and to increase their appreciation of the day's concert. Under the sponsorship of the Boston Symphony Asso- ciation of Volunteers, BSO Musicologist and Program Annotator Steven Ledbetter and BSO Publications Coordinator Marc Mandel offer a series of ten lectures throughout the season, supplementing their talks about the afternoon's music with carefully chosen recorded excerpts. Friday Previews begin — Boston - promptly at 12:45 in the Cohen Annex. Con- certgoers may purchase sandwiches and drinks Qassical in Symphony Hall and bring them to the Cohen Orchestra Annex, where complimentary bouillon, coffee, tea and sweets are provided. The full series of Harry Ellis Dickson ten Friday Previews beginning October 9 is music director available at $26, or you may choose any five days for $13. Single previews at $3 will be Oct. 7 and 9, 8 pm available only as the seating of the Cohen Faneuil Hall Annex permits. For reservations or informa- Bach Little Fugue in g tion, please call the Volunteer Office at Mozart Sinfonia Concertante, k. 297b 266-1492, ext. 177. Symphony No. 39

Bostix, Out of Town Tickets or 426-2387 Seiji Ozawa

followed by a year as that orchestra's music adviser.

Seiji Ozawa made his first Symphony Hall appearance with the Boston Sym- phony Orchestra in January 1968; he had previously appeared with the orchestra for four summers at Tanglewood, where he became an artistic adviser in 1970. For the 1972-73 season he was the orchestra's music adviser. Since becoming music director of the Boston Symphony Orchestra in 1973, Mr. Ozawa has strengthened the orchestra's reputation internationally as well as at home, leading concerts in Europe, Japan, and throughout the United States. In March 1979 he and the orchestra traveled to China for a significant musical This is Seiji Ozawa's fifteenth year as music and cultural exchange entailing coaching, director of the Boston Symphony Orchestra. study, and discussion sessions with Chinese The thirteenth conductor to hold that posi- musicians, as well as concert performances. tion since the orchestra was founded in 1881, That same year, the orchestra made its first Mr. Ozawa became the BSO's music director tour devoted exclusively to appearances at in 1973. Born in 1935 in Shenyang, China, to the major European music festivals. In Japanese parents, Mr. Ozawa studied both 1981 Mr. Ozawa and the orchestra cele- Western and Oriental music as a child, later brated the Boston Symphony's centennial graduating from Tokyo's Toho School of with a fourteen-city American tour and an Music with first prizes in composition and international tour to Japan, France, Ger- conducting. In 1959 he won first prize at the many, Austria, and England. They returned International Competition of Orchestra Con- to Europe for an eleven-concert tour in the ductors held in Besangon, France, and was fall of 1984, and to Japan for a three-week invited to Tanglewood by Charles Munch, tour in February 1986, the orchestra's third then music director of the Boston Symphony visit to that country under Mr. Ozawa's and a judge at the competition. In 1960 he direction. Mr. Ozawa has also reaffirmed won the Tanglewood Music Center's highest the orchestra's commitment to new music honor, the Koussevitzky Prize for outstand- with the recent program of twelve centen- ing student conductor. nial commissions, and with a new program, initiated last year, to include such com- While working with Herbert von Karajan posers as Peter Lieberson and Hans in West Berlin, Mr. Ozawa came to the Werner Henze. attention of Leonard Bernstein. He accom- panied Mr. Bernstein on the New York Phil- Mr. Ozawa pursues an active interna- harmonic's 1961 tour of Japan and was tional career, appearing regularly with the made an assistant conductor of that orches- Berlin Philharmonic, the Orchestre de tra for the 1961-62 season. In January 1962 Paris, the French National Radio Orches- he made his first professional concert tra, the Vienna Philharmonic, the Philhar- appearance in North America, with the San monia of London, and the New Japan Phil- Francisco Symphony. Mr. Ozawa was music harmonic. His operatic credits include director of the Ravinia Festival for five Salzburg, London's Royal Opera at Covent summers beginning in 1964, music director Garden, La Scala in Milan, the Vienna of the Toronto Symphony Orchestra from Staatsoper, and the Paris Opera, where he 1965 to 1969, and music director of the San conducted the world premiere of Olivier Francisco Symphony from 1970 to 1976, Messiaen's opera St. Francis of Assisi in

8 November 1983. Mr. Ozawa led the Amer- Isaac Stem, and Strauss's Don Quixote and ican premiere of excerpts from that work in the Schoenberg/Monn Cello Concerto with Boston and New York in April 1986. Yo-Yo Ma. He has also recorded the complete cycle of Beethoven piano concertos and the Seiji Ozawa has recorded with the Boston Choral Fantasy with Rudolf Serkin for Symphony Orchestra for Philips, Telarc, Telarc, orchestral works by Strauss, CBS, Deutsche Grammophon, EMI/Angel, Stravinsky, and Hoist, BSO centennial com- New World, Hyperion, Erato, and RCA missions by Roger Sessions, Andrzej Pan- records. His award-winning recordings ufnik, Peter Lieberson, John Harbison, and include Berlioz's Romeo et Juliette on DG, Oily Wilson, Franz Liszt's two piano concer- Mahler's Symphony No. 8, the Symphony of a tos and Totentanz with pianist Krystian Thousand, and Schoenberg's Chirrelieder, Zimerman for Deutsche Grammophon, and, both on Philips, and, also on DG, the Berg as part of a Mahler cycle for Philips records, and Stravinsky violin concertos with Itzhak Mahler's Symphony No. 2, Resurrection, with Perlman, with whom he has also recorded the Kiri Te Kanawa and Marilyn Home. violin concertos of Earl Kim and Robert Starer for EMI/Angel. With Mstislav Mr. Ozawa holds honorary doctor of Rostropovich he has recorded the Dvorak music degrees from the University of Mas- Cello Concerto and Tchaikovsky's Variations sachusetts, the New England Conservatory on a Rococo Theme for Erato. Other record- of Music, and Wheaton College in Norton, ings, on CBS, include music of Berlioz and Massachusetts. He has won an Emmy for Debussy with mezzo-soprano Frederica von the Boston Symphony Orchestra's "Eve- Stade, the Mendelssohn Violin Concerto with ning at Symphony" PBS television series. USTEN New England Conservatory of Music is an environment in which students

listen to the words and music of our outstanding faculty, teachers listen to the needs and musical growth of young performers, and audiences listen to first-rate faculty and student performances.

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New England W Conservatory

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(617) 262-1120 Leo Panasevich Carolyn and George Rowland chair Sheldon Rotenberg Muriel C. Kasdon and Marjorie C. Paley chair Alfred Schneider Raymond Sird Ikuko Mizuno Amnon Levy

Music Directorship endowed by Second Violins John Moors Cabot Marylou Speaker Churchill Fahnestock chair Vyacheslav Uritsky BOSTON SYMPHONY Charlotte and Irving W. Rabb chair ORCHESTRA Ronald Knudsen Edgar and Shirley Grossman chair 1987-88 Joseph McGauley Leonard Moss First Violins *Michael Vitale Malcolm Lowe *Harvey Seigel Concertmaster Charles Munch chair *Jerome Rosen Tamara Smirnova-Sajfar *Sheila Fiekowsky Associate Concertmaster *Gerald Elias Helen Homer Mclntyre chair Ronan Lefkowitz Max Hobart *Nancy Bracken Concertmaster Assistant *Jennie Shames Robert L. Beal, and Enid L. and Bruce A. Beal chair *Aza Raykhtsaum Bo Youp Hwang * Lucia Lin Acting Assistant Concertmaster *Valeria Vilker Kuchment Edward and Bertha C. Rose chair *Bonnie Bewick Max Winder *Tatiana Dimitriades John and Dorothy Wilson chair, * fully funded in perpetuity James Cooke Gottfried Wilfinger Forrest Foster Collier chair Violas Fredy Ostrovsky itBurton Fine Dorothy Q. and David B. Arnold, Jr., Charles S. Dana chair perpetuity chair, fully funded in Patricia McCarty Anne Stoneman chair, fully funded in perpetuity ^Participating in a system of rotated seating within each string section. tOn sabbatical leave. iSubstituting, 1987-88

10 Ronald Wilkison Piccolo Trumpets Robert Barnes Lois Schaefer Charles Schlueter Jerome Lipson Evelyn and C. Charles Marran Roger Louis Voisin chair chair Joseph Pietropaolo Peter Chapman Michael Zaretsky Ford H. Cooper chair Mare Jeanneret Oboes Timothy Morrison Betty Benthin Alfred Genovese Trombones *Mark Ludwig Acting Principal Oboe Mildred Ronald Barron *Roberto Diaz B. Remis chair WajTie Rapier J.P. and Mary B. Barger chair, fully funded in perpetuity Norman Bolter Cellos English Horn Jules Eskin Laurence Thorstenberg Bass Trombone Philip R. Allen chair Beranek chair, Douglas Yeo Martha Babeock fully funded in perpetuity Vernon and Marion Alden chair Mischa Nieland Tuba Esther S. and Joseph M. Shapiro chair Clarinets Chester Schmitz Joel Moerschel Harold Wright Margaret and William C. Rousseau chair Sandra and David Bakalar chair Ann S.M. Banks chair Robert Ripley Thomas Martin Timpani Luis Leguia Peter Hadcock Everett Firth Robert Bradford Newman chair E-flat Clarinet Sylvia Shippen Wells chair Carol Procter Lillian and Nathan R. Miller chair Bass Clarinet Percussion Ronald Feldman Craig Nordstrom Charles Smith *Jerome Patterson Farla and Harvey Chet Peter and Anne Brooke chair Krentzman chair *Jonathan Miller Arthur Press *Sato Knudsen Assistant Timpanist Bassoons Peter Andrew Lurie chair Sherman Thomas Ganger Basses Walt Edward A. Taft chair Frank Epstein Edwin Barker Roland Small Harold D. Hodgkinson chair Harp ^Matthew Ruggiero Lawrence Wolfe Ann Hobson Pilot Maria Nistazos §Donald Bravo Stata chair, Willona Henderson Sinclair chair fully funded in perpetuity Joseph Heame Contrabassoon Personnel Manager Bela Wurtzler Richard Plaster Harry Shapiro John Salkowski Acting Personnel Manager *Robert Olson * James Orleans Horns Librarians Charles Kavalovski Marshall Burlingame Helen Sagoff Slosberg chair William Shisler Richard Sebring Flutes James Harper Doriot Anthony Dwyer Margaret Andersen Congleton chair Walter Daniel Katzen Piston chair Stage Manager Jay Wadenpfuhl Fenwick Smith Position endowed by Myra and Robert Kraft chair Richard Mackey Angelica Lloyd Clagett Leone Buyse Jonathan Menkis Alfred Robison

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Cecilia Beaux 1855-1942 William J. Kaula 1871-1953 W Lester Stevens 1888-1969 Frank W. Benson 1862-1941 Lee Lufkin Kaula 1865-1957 MaudStumm John Appleton Bro\)w 1844-1902 Leon Kroll 1884-1974 Harry Sutton, Jr. 1879-1984 Howard Chandler Christy 1873-1952 John La Faroe 1835-1942 Anthony Thieme 1888-1954 Joseph C. Claghorn 1869- Walter Lansil 1846-1925 Leslie Prince Thompson 1880-1963 Gaines Ruger Donoho 1857-1916 Philip Little 1857-1942 Stacy TOLMAN 1860- Arthur W. Dow 1857-1922 Ernest Lee Major 1864-1916 Frank Hector Tompkins 1847-1922

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12 —

A Brief History of the Boston Symphony Orchestra

Now in its 107th season, the Boston Sym- Lee Higginson dreamed of founding a great phony Orchestra continues to uphold the and permanent orchestra in his home town vision of its founder Henry Lee Higginson of Boston. His vision approached reality in and to broaden the international reputation the spring of 1881, and on October 22 that it has established in recent decades. Under year the Boston Symphony Orchestra's the leadership of Music Director Seiji inaugural concert took place under the Ozawa, the orchestra has performed direction of conductor Georg Henschel. For throughout the United States, as well as in nearly twenty years symphony concerts Europe, Japan, and China, and it reaches were held in the Old Boston Music Hall; audiences numbering in the millions Symphony Hall, the orchestra's present through its performances on radio, televi- home, and one of the world's most highly sion, and recordings. It plays an active role regarded concert halls, was opened in 1900. in commissioning new works from today's Henschel was succeeded by a series of most important composers, and its summer German-born and -trained conductors season at Tanglewood is regarded as one of Wilhelm Gericke, Arthur Nikisch, Emil the most important music festivals in the Paur, and Max Fiedler—culminating in the world. The orchestra's virtuosity is appointment of the legendary Karl Muck, reflected in the concert and recording activ- who served two tenures as music director, ities of the Boston Symphony Chamber 1906-08 and 1912-18. Meanwhile, in July Players—the world's only permanent 1885, the musicians of the Boston Sym- chamber ensemble made up of a major sym- phony had given their first "Promenade" phony orchestra's principal players—and concert, offering both music and refresh- the activities of the Boston Pops have ments, and fulfilling Major Higginson's established an international standard for wish to give "concerts of a lighter kind of the performance of lighter kinds of music. music." These concerts, soon to be given in In addition, during the Tanglewood season, the springtime and renamed first "Popu- the BSO sponsors one of the world's most lar" and then "Pops," fast became a important training grounds for young musi- tradition. cians, the Tanglewood Music Center, which During the orchestra's first decades celebrates its fiftieth anniversary in 1990. there were striking moves toward expan- For many years, philanthropist. Civil sion. In 1915 the orchestra made its first War veteran, and amateur musician Henry transcontinental trip, playing thirteen con-

*r^^

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

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16 BOSTON SYMPHONY ORCHESTRA

Seiji Ozawa, Music Director Carl St. Clair and Pascal Verrot, Assistant Conductors One Hundred and Seventh Season, 1987-88

Friday, October 2, at 2 THE FANNY PEABODY MASON MEMORIAL CONCERT

Saturday, October 3, at 8

Tuesday, October 6, at 8

JOHN OLIVER conducting

MARTINO The White Island, for mixed chorus and chamber orchestra (commissioned by the Boston Symphony Orchestra for its centennial and supported in part by a generous grant from the Massachusetts Council on the Arts and Humanities) The Bell-man Upon Time His Letanie, to the Holy Spirit The goodnesse of his God The white Island TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor

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SEIJI OZAWA conducting

MAHLER Symphony No. 1 in D Langsam. Schleppend (Slow. Dragging) Kraftig bewegt, doch nicht zu schnell; (With powerful motion, but not too fast) Trio: Recht gemachlieh (Pretty easygoing) Feierlich und gemessen, ohne zu schleppen (Solemn and measured, without dragging) Stiirmiseh bewegt (With tempestuous motion)

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18 Donald Martino The White Island, for mixed chorus and chamber orchestra

Donald Martino was born in Plainfield, New Jersey, on May 16, 1931, and lives in Newton, Massachu- setts; he is currently Professor of Music at Harvard University. The White Island was one of the twelve new compositions commissioned by the Boston Sym- phony Orchestra for its centennial, this one intended specifically for the Tanglewood Festival Chorus. The composer selected texts from the seven- teenth-century English poet Robert Herrick; his score bears, at its end, the date October 23, 1985, and, at its head, the dedication "To John Oliver and the Tanglewood Festival Chorus. " The

first performance took place on April 8, 1987, at a Symphony Hall concert under the direction of John Oliver. The score calls for a mixed chorus, gener- ally in four parts, though both men's and women's parts subdivide at certain points, and an ensemble consisting of flute (doubling piccolo), oboe (doubling English horn), clarinet, contrabass clarinet (extended) and bass clarinet, bassoon, horn, trumpet (doubling flugelhorn), tenor/bass trombone, bass trombone, an elaborate percussion part for two players (five temple blocks, bass drum, two tom-toms, two timbales, two bongo drums, military drum, snare drum, medium and large tam-tams, medium and large cymbals, three timpani, six roto-toms, marimba, four tubular chimes, tuned gong, vibraphone, glockenspiel, and antique cymbal), piano (doubling celesta), and five string parts (two violins, viola, cello, and double bass), for single instruments or a small consort.

Donald Martino's first composition teacher was Ernst Bacon at Syracuse Univer- sity. In his undergraduate days he was heavily involved with jazz and the music of the Broadway theater as a clarinetist. Even today his music frequently retains reflections, often sublimated, of the harmonic and rhythmic turns of that musical world, and it is filled with indications of his love for the clarinet. During graduate work at Princeton, where he studied with Roger Sessions and Milton Babbitt, he decided to pursue composition as his major activity. Unlike most of the Princeton graduate students in composition, Martino was not yet committed to serial composi- tion; probably the greatest influence on his work at that time was Bartok. But after earning his master's degree, he spent two years in Florence studying with Luigi Dallapiccola, who, though committed to twelve-tone composition, always retained the typically Italian concern for a Ijrrical vocal quality in the melodic line, however complex.

Martino, too, boasts an Italian heritage, and combines Italian characteristics of expressive singing and a sense of the theatrical, even in works designed purely for concert use. During his studies with Dallapiccola he turned to twelve-tone music, but, like his teacher, even in his most exacting music, a sense of line emerges out of the richly detailed writing. This is certainly true of The White Island, where the chorus projects the core expressive element surrounded by elaborate figuration and commentary from the instruments.

Commissioned by the Boston Symphony Orchestra for its centennial and intended for the Tanglewood Festival Chorus, The White Island took its impetus from two earlier choral works performed and recorded by Boston ensembles. The first of these was a series of unaccompanied choral works published as Seven Pious Pieces, composed as a kind of "penitence" on Sundays, one each week, while Martino was

19 Weekl working on a verj' secular work, Augenmusik, "a Mixed Mediocritique for actress, danseuse, or uninhibited female percussionist" and tape. The choral pieces were designed to senT a practical function, as anthems that might be within the capabili- ties of a good church choir. Martino had discovered the poet accidentally while looking over some music by his teacher Ernst Bacon; one of the pieces was a setting of Herrick's "The Soule," a poem that appealed to him immediately.

Robert Herrick (1591-1674), the greatest of the English Cavalier poets, is best known to students of English literature for the simplicity and sensuousness of lyrics like "Upon Julia's Clothes" or "Corinna's Going a-Ma>dng." These love lyrics are found in many anthologies, but the religious poetry is much less familiar. Martino was so attracted by "The Soule" that he looked up more of Herrick's religious works and found much that moved him to composition, first in the unaccompanied anthems. Some remaining Herrick texts continued to attract him, but he did not yet know how he would set them. Thus, when he received the commission from the Boston Sym- phony Orchestra for a choral piece, Martino thought immediately of Herrick.

Two of the remaining poems formed the starting point for this contemplation of the inevitability of death and of the poet's coming to grips with that fact. In partic- ular, "His Letanie, to the Holy Spirit," which is now the third movement, had been in Martino's mind for some time. When he came across ''The White Island," he knew that it had to be the final movement of his new work, but for a long time he thought of the litany as the opening, beginning with a rush of abject pleas for deliverance. He sought texts that would motivate the transition from the mood of the first movement to that of the last. After much consideration, Martino realized that the litany should be the centerpiece, for it would allow the prayer embedded in each stanza to provide the motivation.

The final arrangement of the poems offers varying views of time as the poet contemplates his oym mortality and comes to terms with it. Martino's setting reflects these central issues of existence in a dramatic way, invohdng evocative sonority and musical sjTnbolism. The chorus remains the focus of attention through- out; the chorus part is conceived in broad strokes, while the orchestra pro^^des support, commentary, and occasional contrast. The vocal lines are generally legato and expressive, though certain dramatic outbursts (especially at the beginning of the fourth movement) are almost violent in their wide leaps. Also drawn from the Italian tradition, perhaps (one thinks of the Renaissance madrigal, where the technique was highly developed), is the frequent use of ''word-painting" devices to translate individual words or images into musical equivalents.

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20 As with the source of texts, the musical style of The White Island goes back to the Seven Pious Pieces (1972) and involves a procedure that can be described as making twelve-tone music sound tonal. The "tonal" elements come from arranging the twelve notes of the basic set in such a way that they include segments of "tradi- tional" scales, and from these the composer can, when he chooses, create a musical surface that sounds very tonal. Martino elaborated the technique in his Paradiso Choruses (1974), composed for the twentieth anniversary of Lorna Cooke deVaron's work as director of the choral program at the New England Conservatory. Here, as Martino explained in an interview, the "three-ness" of Dante's Divine Comedy had an effect on the choice of tonal centers.

Here you had the Dante terza rima, everything was in triplets representing the holy number, the Trinity, and so forth. All that is infused in the poetry, with the notion of the universe divided into three parts—Hell, Purgatory, and Heaven. I came up with what I called a "universe chain," which you can generate from the first six notes of a particular twelve-tone set. The three transpositions that were important to me were E major, C major, and A-flat, derived from just six notes. In the Paradiso Choruses, I associated E major, that extremely bright and exciting key, with heaven. And I associated A-flat with earth or purgatory, which I've come to think of as synonymous pretty much. That left C for hell—no way you can get around it. I'm not sure I would have picked C for hell, but it fit the plan. And certainly E major is an

exquisite heaven key . . . That same universe chain gets reused in The White Island. It's exactly the same thing. You could call this the "little Paradiso," I suppose.

The three transpositions that lie at the heart of The White Island are based on six pitches, consisting of three pairs of semitones: D-sharp and E, G and G-sharp, B and C. From these it is possible to produce the triads of E major or minor, A-flat major or minor, and C major or minor (remember that G-sharp is the same as A-flat, D-sharp the same as E-flat, and B the same as C-flat) for a symbolic and musical reference to the realms of Heaven, Purgatory, and Hell:

Example 1 m M 1^^^^ 'Paradise" "Purgatory" "Hell"

Moreover it is possible to move from one realm to another simply by changing a single note to a different one from the same sub-set.

Another arrangement, used both melodically and harmonically in many parts of the work, divides the set into three groups of four notes, in which each group represents the pitches traditionally identified as do, re, fa, sol in the keys of E, A-flat, andC:

Example 2 ^^^^

Again the arrangement provides a structural framework for the ear and at the same time reflects the symbolic elements of the text. It allows the composer to move through a wide expressive range from near-hysterical terror to mystical tranquility.

The orchestration is conceived for a chamber orchestra, with one instrument on a part. This explains in part the extensive use of bass and contrabass clarinet and the

21 Weekl trombones, which, along with the piano, reinforce the bass line that might otherwise be restricted to a single double bass in the strings. The work can also be performed with a larger ensemble, as will be the ease here; the composer prefers that option

when it is possible.

"The Bell-man" opens with a brief shimmering on high E. but the brightness is soon undercut as the trombones begin a funeral march centered around C. Time passes inexorably, marked by sharply dotted rlmhms summoning all humanity to 'the gen'rall Session." the last judgment. The mood and rh^lhm of the funeral march dominate throughout the movement.

The measured pace of the funeral march suddenly turns into a steady rapid ticking of the clock, as the poet becomes aware of time racing on. unstoppable. '"Upon Time" moves in a steady eighth-note ostinato (over which other patterns are sometimes superimposed) as the singers try to catch Time, to make him stop. Martino says that, in composing this movement, he had the image of a fly buzzing all around, ceaselessly annoying, but uncatchable—and, indeed, at the end. "away he flew."

The central text, "His Letanie, to the Holy Spirit." attracted Martino both for its

intrinsic dramatic quality and the fact that it had twelve stanzas (which makes it "a natural" for a twelve-tone composer). At the same time, its ver}- length and the

repetitious character of the litany make it a dangerous text to set. But the composer loved the grisly quality of the poem and the wonderful touches of irony (the poet, seeing himself Mng on his deathbed, imagines the doctor who "... sees No one hope, but of his Fees"I). By putting the litany in the central position instead of first, as originally intended, Martino makes the prayer "Sweet Spirit comfort mel" begin the psychological and emotional change that will lead to the tranquility of the finale.

This happens over a long and complicated course, which begins with something of a surprise: the words of the litany are not sung. but. rather, spoken in unison by the

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men, who are adjured to make them "well dramatized." Throughout the spoken part, Martino completely eliminates the last line of each stanza, the prayer The men's voices recite, in quasi-theatrical fashion, while the orchestra comments, and the women, at first, remain silent. Only after the men have finished the first five stanzas do the women's voices appear, singing the words of the final line; their melody grows out of the four-note patterns illustrated in Example 2. Martino compares the use of women's voices here to the Divine Comedy, drawing an analogy between Dante (the men's voices) and his Beatrice (the women).

One by one the subdivided women's voices enter in contrapuntal elaboration. Meanwhile the men continue to declaim; their line is to be "chanted" when they speak of the priest, and it becomes rhythmically uneven to illustrate "'Cause my speech is now decaid." There is even a private joke at the words

When the Tempter me pursu'th

With the sins of all my youth . .

Martino works one of his youthful "sins" into the horn and trumpet—a brief reference to "a little folksong setting that I did when I was very young." At that moment, too, bassoon and contrabass clarinet make a passing reference to Verdi's La forza del destino ("I played a lot of Italian opera in band transcriptions, playing Italian feasts and so on"). Eventually the men, too, turn to song and join in the prayer The entire chorus brings the litany to a quiet close on the first really strong evocation of E major in the work.

The mood of tranquility is rudely shattered by an orchestral outburst and a wrenching, operatic shriek for all the women in unison. "The goodness of his God" exchanges the roles of the men and women. Here the women are "just wailing,'' as

the composer puts it, "stormy seas and all that stuff," in the first half of each stanza, while the men sing the second half in unaccompanied four-part harmony, evoking the sturdy faith of a Bach chorale and foreshadowing the "peep of light" that will bring "gentle calm." By the third stanza, the women, too, have found the spirit of the chorale, and we have our first serious intimation of the peacefulness of the "white island."

Martino wrote the last movement first, "so I knew where I was going." A quiet but dense chord gently sustained, consisting of a four-note subset (Example 2), is presented simultaneously in all three transpositions (A-flat in the strings, C in the woodwinds, E in the brass), then rotated among the choirs of the orchestra. Out of this arises the chorus's closing lines, calm and sustained. The orchestra moves in rustles and whispers around them, illustrating the passage of souls as "from hence we flie." Upon arrival at "that whiter Island,'' all becomes transparent and serene:

There in calm and cooling sleep We our eyes shall never steep; But eternall watch shall keep. Attending

Pleasures . .

Here—on the word "Pleasures"—E major is most firmly established, with a domi- nant-to-tonic harmony that sets us resolutely in the heavenly realm. The close magically suggests a kind of sustained "unendingness" that will go on forever. —Steven Ledbetter

23 Week 1 THE WHITE ISLAND

1 The Bell-man. Upon Time.

Along the dark, and silent night, Time was upon with my Lantern, and my Light, The wing, to flie away; And the tinkling of my Bell, And I cal'd on Thus I walk, and this I tell: Him but a while to stay; Death and dreadfulnesse call on. But he'd be gone, To the gen'rall Session; For ought that I could say. To whose dismall Barre, we there He held out then, All accompts must come to eleere: A Writing, as he went; Scores of sins w'ave made here many, And askt me, when Wip't out few, (God knowes) if any. False man would be content Rise ye Debters then, and fall To pay agen. To make paiment, while I call. What God and Nature lent. Ponder this, when I am gone; An houre-glasse, By the clock 'tis almost One. In which were sands but few, As he did passe. He shew'd, and told me too. Mine end near was, And so away he flew.

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24 When the Judgment is reveal'd, His Letanie, to the Holy Spirit. And that open'd which was seal'd. When to Thee I have appeal'd; In the houre of my distresse, Sweet Spirit comfort me! When temptations me oppresse, And when I my sins eonfesse, Sweet Spirit comfort me! The goodnesse of his God. When I lie within my bed, Sick in heart, and sick in head. When Winds and Seas do rage, And with doubts discomforted. And threaten to undo me. Sweet Spirit comfort me! Thou dost their wrath asswage. If I but call unto Thee. When the house doth sigh and weep, And the world is drown'd in sleep. A mighty storm last night Yet mine eyes the watch do keep; Did seek my soule to swallow, Sweet Spirit comfort me! But by the peep of light A gentle calme did follow. When the artless Doctor sees No one hope, but of his Fees, What need I then despaire, And his skill runs on the lees; Though ills stand round about me; Sweet Spirit comfort me! Since mischiefs neither dare To bark, or bite, without Thee? When his Potion and his Pill, His, or none, or little skill. Meet for nothing, but to kill; Sweet Spirit comfort me! The white Island: or place of the Blest.

When the passing-bell doth tole. In this worlde (the Isle of Dreames) And the Furies in a shole While we sit by sorrowes streames, Come to fright a parting soule; Teares and terrors are our theames Sweet Spirit comfort me! Reciting:

When the tapers now burne blew, But when once from hence we flie. And the comforters are few, More and more approaching nigh And that number more then true; Unto young Etemitie Sweet Spirit comfort me! Uniting:

When the Priest his last hath praid. In that whiter Island, where And I nod to what is said, Things are evermore sincere; 'Cause my speech is now decaid; Candor here, and lustre there Sweet Spirit comfort me! Delighting:

When (God knowes) I'm tost about. There no monstrous fancies shall Either with despaire, or doubt; Out of hell an horrour call, Yet before the glasse be out. To create (or cause at all) Sweet Spirit comfort me! Affrighting.

When the Tempter me pursu'th There in calm and cooling sleep With the sins of all my youth. We our eyes shall never steep; And halfe damns me with untruth; But eternal watch shall keep. Sweet Spirit comfort me! Attending Pleasures, such as shall pursue When the flames and hellish cries Me immortaliz'd, and you; Fright mine eares and fright mine eyes, And fresh joyes, as never too And all terrors me surprize; Have ending. Sweet Spirit comfort me!

—Robert Herrick

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Ten Post Office Square, Boston, Massachusetts 02109; (617) 723-1800 Gustav Mahler Symphony No. 1 in D

Gustav Mahler was horn at Kalische (Kaliste) near

the Moravian border of Bohemia on July 7, 1860, and died in Vienna on May 18, 1911. He did most of the work on this symphony in February and March 1888, having begun to sketch it in earnest three years earlier and using material going back to the 1870s. He revised the score extensively on several occasions; the second, and last, edition published during Mahler's lifetime was dated 1906. Mahler himself conducted the first performance of the work, then in five movements and called ''Symphonic Poem in Two Parts, " with the Budapest Philhar- monic on November 20, 1889. At a New York Phil- harmonic concert on December 16, 1909 he introduced the work to the United States in its final four-movement form, having dropped the original second movement (the so-called ''Blumine" movement; see below) after a June 1894 performance in Weimar. Pierre Monteux conducted the first Boston Symphony performances—in fact the first in Boston—on November 23 and 24, 1923 (the Boston Symphony had already performed the Fifth Symphony under Wilhelm Gericke in 1906 and the Second under Karl Muck in 1918). Other Boston Symphony performances of the four-movement Mahler First have been given by Dimitri Mitropoulos, Richard Burgin, William Steinberg, Erich Leinsdorf, Eugene Ormandy, Bernard Haitink, Klaus Tennstedt, and Hiroshi Wakasugi. Adam Fischer led the most recent subscription performances in March 1984; Seiji Ozawa led the most recent Tanglewood performance this past August. A five- movement version including "Blumine" was given by Seiji Ozawa in April 1974 and then again during the 1977-78 season, as well as by Kenneth Schermerhorn at Tangle- wood in 1974. Mahler's First Symphony is scored for four flutes (three of them doubling piccolo), four oboes (one doubling English horn), four clarinets (one doubling bass clarinet, two doubling high clarinet in E-flat), three bassoons (one doubling contrabas- soon), seven horns, five trumpets, four trombones, bass tuba, timpani (two players), bass drum, cymbals, triangle, tam-tam, harp, and strings.

Once, contemplating the failures of sympathy and understanding with which his First Symphony met at most of its early performances, Mahler lamented that while Beethoven had been able to start as a sort of modified Haydn and Mozart, and Wagner as Weber and Meyerbeer, he himself had the misfortune to be Gustav Mahler from the outset. He composed this symphony, surely the most original First in the literature, in high hopes of being understood, even imagining that it might earn him enough money so that he could abandon his rapidly expanding career as a conduc- tor—a luxury that life would in fact never allow him. But he enjoyed public success with the work only in Prague in 1898 and in Amsterdam five years later. The Viennese audience in 1900, musically reactionary, and anti-Semitic to boot, was singularly vile in its behavior, and even Mahler's future wife, Alma Schindler, whose devotion to The Cause would later sometimes dominate a concern for truth, fled that concert in anger and disgust. One critic suggested that the work might have been meant as a parody of a symphony: no wonder that Mahler, completing his Fourth Symphony that year, felt driven to marking its finale ''Durchaus ohne Par- odie.'"("With no trace of parody!").

The work even puzzled its own composer. No other piece of Mahler's has so complicated a history and about no other did he change his mind so often and over so

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long a period. He changed the total concept by cancelling a whole movement, he made striking alterations in compositional and orchestral detail, and for some time he was unsure whether he was offering a symphonic poem, a program symphony, or just a symphony. Let us begin there.

At the Budapest premiere the work appeared as a "symphonic poem" whose two parts consisted of the first three and the last two movements. The fourth movement was called "a la pompes funehres,'" but that was the only suggestion of anything programmatic. Nevertheless, a newspaper article the day before the premiere out- lined a program whose source can only have been Mahler himself and which identi- fies the first three movements with spring, happy daydreams, and a wedding procession, the fourth as a funeral march representing the burial of the poet's illusions, and the fifth as a hard-won progress to spiritual victory.

When Mahler revised the score in January 1893, he called it a symphony in five movements and two parts, also giving it the name of "'Titan,'''' not, however, for the terrible and violent figures of Greek mythology, but for the eponymous novel by Jean Paul (Johann Paul Friedrich Richter, 1763-1825), a key figure in German literary Romanticism and one of Mahler's favorite writers. The first part. From the Days of Youth, comprised three movements, Spring Without End, Blumine, and Under Full Sail; the second, Commedia humana, two movements. Funeral March in the Manner of Callot and DalVinferno al paradiso. But by the time another performance actually came around—that was in Hamburg in October of the same year—he announced the work as TITAN, a Tone Poem in the Form of a Symphony. The first part was now called From the Days of Youth: Flower-, Fruit-, and Thornpieces (this is part of the full title of Siebenk'ds, another of Jean Paul's novels), and Mahler added that the introduction represented "Nature's awakening from its long winter sleep." For the

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A November 1889 caricature mocking the premiere of Mahler's Symphony No. 1 in Budapest

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fourth movement, now entitled Foundered!, he provided a long note to the effect that his inspiration had been the familiar picture "The Hunter's Funeral," which he described, adding that the mood was "now ironic and merry, now uncanny and brooding. Upon which—immediately DalVinferno follows as the sudden despair- ing cry of a heart wounded to its depths."

He retained most of that through the nineties. Before the Vienna performance in 1900 he again leaked a program to a friendly critic, and it is a curious one. First comes rejection of Titan as well as of "all other titles and inscriptions, which, like all 'programs,' are always misinterpreted. [Mahler] dislikes and discards them as 'antiartistic' and 'antimusical.' " There follows a scenario that reads much like an elaborated version of the original one for Budapest.* What had happened is that during the nineties, when Richard Strauss's Till Eulenspiegel, Thus Spoke Zarathustra, Don Quixote, and A Hero's Life had come out, program music had become a hot political issue in the world of music, one on which to take sides. Mahler saw himself as living in a very different world from Strauss and he wanted to establish a certain distance between himself and his colleague. At the same time, the extramusical ideas that had originally informed his symphony would not disappear, and, somewhat uncomfortably and unconvincingly, he seemed now to be wanting to have it both ways.f He found, moreover, that there was no pleasing the critics on this issue: in Berlin he was faulted for omitting the program and in Frankfurt for

keeping it.

"I should like to stress that the symphony goes far beyond the love story on which it is based, or rather, which preceded it in the life of its creator," wrote Mahler. In that spirit, let us move on to the music, stopping just long enough to say that two love stories were involved, one in 1884 with the Kassel Opera soprano Johanna Richter, which led to the composition of the Wayfarer songs that Mahler quotes and uses in the symphony, and a more dangerous one in Leipzig in 1887 and 1888 with Marion von Weber, wife of the composer's grandson. The first time that the opening pianississimo A, seven octaves deep, was ever heard, it was the von Webers who stood at the piano on either side of Mahler to play the notes that were beyond the reach of his hands.

*This was one of the occasions when Mahler stressed the connection between the First and Second symphonies, saying here that "the real, the climactic denouement [of the First] comes only in the Second." Elsewhere he stated that the opening movement of the Second was the funeral music for the hero of the First. fStrauss, too, lived uneasily with this question, composing a highly detailed sort of program music, reacting irritably to requests for explications but providing them nonetheless, and always stressing the purely musical integrity of his tone poems.

'The Hunter's Funeral," a woodcut after the drawing which inspired Mahler's original fourth movement

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IF II L E IJ E Mahler writes ''Wie ein Naturlauf ("like a sound of nature") on that first page, and in a letter to the conductor Franz Schalk we read, "The introduction to the first movement sounds of nature, not music!'' In the manner discovered by Beethoven for the opening of his Ninth Symphony and imitated and used in countless ways throughout the nineteenth century, fragments detach themselves from the mist, become graspable, coalesce. Among these fragments are a pair of notes descending by a fourth, distant fanfares, a little cry of oboes, a cuckoo call (by the only cuckoo in the world who toots a fourth rather than a third), a gentle horn melody. Gradually the tempo quickens—one of the most characteristic, original, and forward-looking features of this movement is how much time Mahler spends not in a tempo but en route from one speed to another—to arrive at the melody of the second of Mahler's Wayfarer songs. Mahler's wayfarer crosses the fields in the morning, rejoicing in the beauty of the world and hoping that this marks the beginning of his own happy times, only to see that no, spring can never, never bloom for him. But for Mahler the song is useful not only as evocation but as a musical source, and he draws astound- ing riches from it by a process, as Erwin Stein put it, of constantly shuffling and reshuffling its figures like a deck of cards. The movement rises to one tremendous climax—to bring that into sharper focus was one of the chief tasks of the 1893 revision—and the last page is wild, but most important and constant is another of the features to which Mahler drew Schalk's attention in the letter already quoted: "In the first movement the greatest delicacy throughout (except in the big climax)."

The scherzo, whose indebtedness to Bruckner was acknowledged by Mahler himself, is the symphony's briefest and simplest movement, and also the only one that the first audiences could be counted on to like. Its opening idea comes from a fragment for piano duet that may go back as far as 1876, and the movement makes several allusions to the song Hans und Grethe, whose earliest version was written in 1880. The Trio, set in an F major that sounds very mellow in the A major context of the scherzo itself, fascinatingly contrasts the simplicity of the rustic, super-Austrian material with the artfulness of its arrangement. It is an early instance of what Theodor W. Adomo perceived as the essence of Mahler, the turning of cliche into event.

By contrast to the popular scherzo, the funeral music that follows was what most upset audiences. The use of vernacular material presented in slightly perverted form (the round we have all sung to the words ""Frere Jacques,'' but set by Mahler in a lugubrious minor); the parodic, vulgar music with its lachrymose oboes and trum- pets, the boom-chick of bass drum with cymbal attached, the hiccupping violins; the appearance in the middle of all this of part of the last Wayfarer song, exquisitely scored for muted strings with a harp and few soft woodwinds—people simply did not know what to make of this mixture, how to respond, whether to laugh or cry or both together. They sensed that something irreverent was being done, something new and somehow ominous, that these collisions of the spooky, the gross, and the vulnerable were uncomfortably like life itself, and they were offended. Incidentally, the most famous detail of orchestration in the symphony, the bass solo that begins the round, was an afterthought: as late as 1893, the first statement of the Frere Jacques tune was more conventionally set for bass and cello in unison.

Mahler likened the opening of the finale to a bolt of lightning that rips suddenly from a black cloud. Using and transforming material from the first movement, he takes us, in the terms of his various programs, on the path from annihilation to victory, while in musical terms he engages in a struggle to regain D major, the main key of the symphony, but unheard since the first movement ended. When at last he reenters that key, he does so by way of a stunning and really violent coup de theatre, only to withdraw from the sounds of victory and to show us the hollowness of that triumph. He then goes all the way back to the music with which the symphony had begun and gathers strength for a second assault that does indeed open the doors to a

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Finally, a word about ''Blumine.'' The title is yet another tribute to Jean Paul, who gave the name of ""Herhst-Blumine" to a collection of his magazine articles. Jean Paul seems to have invented the word: It comes from "5Zitme" ("flower"), and his ''Herbst- Blumine'' might be translated as "autumn flora." The movement itself is an adapta- tion—or just possibly a straight transcription—of a section of incidental music Mahler wrote early in 1884 for a series of tableaux vivants based on Viktor von Scheffel's sentimental poem Der Trompeter von Sdckingen (in the scene in question, Werner, the trumpeter, plays a serenade to his beloved across the Rhine). The inciden- tal music is lost and so apparently is the manuscript of the original 1889 version of the

*Strauss, who conducted the preliminary rehearsals for the 1894 Weimar performance, sug- gested to Mahler that he make a cut from the first D major arrival to the second, which is nearly one-third of the movement. Mahler of course did no such thing; that cut, however, was common practice until about twenty years ago, perpetrated even by conductors whom one would have expected to know better (including two of the Boston Symphony's former music directors).

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36 "symphonic poem." The only source for '^Blumine" is the manuscript of the January 1893 revision, which was in private ownership and inaccessible from the time Mahler gave it to an American former pupil until December 1959, when it was bought at a Sotheby's auction by Mrs. James M. Osbom of New Haven and deposited in the Osbom Collection of the Yale University Library. The first performance since 1894 of ""Blumine" was given by Benjamin Britten and the New Philharmonia at the Alde- burgh Festival on June 18, 1967. Britten played ''Blumine'" by itself, and the first modem performance of the whole symphony including this movement was given by Frank Brieff and the New Haven Symphony on April 9, 1968.

Debate over whether or not to restore "5/wmine" began immediately after the New Haven revival of the five-movement version—after a seventy-four-year hiatus. The pro-"5^wmtne" arguments are that the music itself is touchingly delicate and lovely, offering a wonderful opportunity to a sensitive trumpet soloist; that it is interesting and valuable to get acquainted with the symphony as Mahler first imagined, composed, and conducted it; that it makes a welcome buffer between the exuberances of the first movement's close and the beginning of the scherzo. The counter-arguments are that combining the 1884/1893 "5/wmine" with four move- ments in the form they achieved much later gives us a problematic hybrid, and that as long as performance materials of the 1893 version are not readily available, we are not in fact likely to hear the piece in any form that Mahler imagined, composed, and conducted; that it is more of an interruption than a buffer; that Mahler, in words and deed, left no doubt that he thought the inclusion of "BZwmme" an error and that he wished to leave the symphony as a four-movement work.* —Michael Steinberg

Now Artistic Adviser of the San Francisco Symphony, Michael Steinberg was the Boston Symphony Orchestra's Director of Publications from 1976 to 1979.

*Brieff's performances and his Columbia recording, like Eugene Ormandy's RCA recording and various other performances which took place during the 1970s, were all of the uncomforta- ble hybrid of an 1893 ''Blumine'' put into the middle of a text otherwise derived from the revisions of 1906. The first conductor to reintroduce "fi/wmine" in a wholly coherent context was Joel Lazar, who led a performance with the Cantabrigia Orchestra at Harvard University on August 11, 1969. As anyone knows who has ever had to deal with the different versions of, say, Bach's St. John Passion or Handel's Messiah, the Prague version of Don Giovanni as against the one for Vienna, the first edition of Schumann's Kreisleriana versus the second, or the 1911 and 1947 scores of Stravinsky's Petrushka, the question of the relative validity of composers' first, intermediate, and final thoughts is immensely complicated, and I hate to seem to deal with this particularly interesting and complex case in so summary a fashion.

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Elaine Barkin and Martin Brody wrote the informative article on Donald Martino for The New Grove Dictionary of American Music. The two compositions that were stylistic and textual sources for The White Island have both been recorded: the Seven Pious Pieces were recorded by the John Oliver Chorale (New World, coupled with music by Salvatore Martirano), and the Paradiso Choruses by the New England Conservatory Chorus under the direction of Lorna Cooke deVaron (Golden Crest/ NEC, coupled with music by Daniel Pinkham). Other Martino works available on records include the Pulitzer Prize-winning Notturno, performed by Speculum Musicae (Nonesuch), and the virtuosic Triple Concerto (for clarinet, bass clarinet, and contrabass clarinet with chamber orchestra), performed by the Group for Contemporary Music under the direction of Harvey SoUberger with soloists Anand Devandra, Robin Smylie, and Les Thimmig (Nonesuch). A number of works have appeared on CRI, coupled with various compositions by other composers: the 1964 Concerto for Wind Quintet; Strata, for bass clarinet solo; Quodlibets for solo flute, played by Samuel Baron; the Trio for clarinet, violin, and piano, and the Fantasy- Variations for piano solo, the latter played by Gilbert Kalish. Randall Hodgkinson has recorded the 1981 piano work Fantasies and Impromptus on New World!

The best place to start reading about Gustav Mahler is Paul Banks's superbly insightful article in The New Grove. Next, a little larger, is the splendid short study by Michael Kennedy in the Master Musicians series (Littlefield paperback). Still going by increasing size, we come to Kurt Blaukopfs biography, a readable jour- nalistic account (London), and Egon Gartenberg's, which is especially good on the Viennese milieu if somewhat trivial on the music (Schirmer paperback). Henry-Louis de La Grange's Mahler (Doubleday) is an extremely detailed biographical study. Only one volume has been published in English yet, although the second and third volumes are out in the original French. It will be the standard biographical study for many years. Donald Mitchell's perceptive and detailed study of the music now runs to three volumes with a fourth on the way; the series consists of: Gustav Mahler: The Early Years, Gustav Mahler: The Wunderhorn Years, and Gustav Mahler: Songs and Symphonies of Death (California; the second volume available in paperback). The extremely detailed study is informed by a strong musical intelligence. Alma Mahler's autobiography ^nd the Bridge Is Love (Harcourt Brace Jovanovich) and her Gustav Mahler: Memories and Letters (U. of Washington paperback) offer essential source material, but they must be treated with caution and considerable skepticism. The most recent edition of the latter book provides important corrections by Donald Mitchell and Knud Martner. Martner has edited Gustav Mahler: Selected Letters (Farrar, Straus and Giroux), which contains all of the letters published earlier in Alma Mahler's less than reliable collection plus a good many more, though it is still a far cry from the complete edition of Mahler letters we need. Ivan Fischer has recorded the 1889 Budapest version of the Mahler First (Hungaroton, available on CD). Seiji Ozawa and the Boston Symphony Orchestra will record the Mahler First Symphony as part of their ongoing Mahler cycle for Philips records; their earlier recording for DG is currently unavailable. In the meantime, other recommended performances of the familiar four-movement version include Erich Leinsdorf's with the Boston Sjmiphony Orchestra on a budget LP (RCA Victrola), Claudio Abbado with the Chicago Symphony (DG, available on CD), Bernard Haitink with the Con- certgebouw Orchestra (Philips), Rafael Kubelik with the Bavarian Radio Orchestra (DG), and Klaus Tennstedt with the London Philharmonic (Angel). —S.L.

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Now in its eighteenth year, the Tanglewood Festival Chorus was organized in the spring of 1970 when founding conduc- tor John Oliver became director of vocal and choral activities at the Tanglewood Music Center. Co-sponsored by the Tanglewood Music Center and Boston University, and origi- nally formed for performances at the Boston Symphony's summer home, the chorus was soon playing a major role in the orchestra's Symphony Hall season as well. Now the official chorus of the Boston Symphony Orchestra, the Tanglewood Festival Chorus is made up of members who donate their services, performing in Boston, New York, and at Tanglewood, and working with Music Director Seiji Ozawa, John Williams and the Boston Pops, and such prominent guests as Leonard Bernstein, Kurt Masur, and Charles Dutoit. Noteworthy recent performances have included the world premiere of Sir Michael Tippett's The Mask of Time under Sir Colin Davis in April 1984, the American premiere of excerpts from Olivier Messiaen's opera St. Francis of Assisi under Seiji Ozawa in April 1986, and the world premiere last April of Donald Martino's The White Island, the last of the Boston Symphony Orchestra's centennial commissions, performed at a special Symphony Hall concert under John Oliver's direction.

The Tanglewood Festival Chorus has collaborated with Seiji Ozawa and the Boston Symphony Orchestra on numerous recordings, beginning with Berlioz's The Damnation of Faust for Deutsche Grammophon, a 1975 Grammy nominee for best choral performance. An album of a cappella twentieth-century American music, recorded at the invitation of Deutsche Grammophon, was a 1979 Grammy nominee. Recordings with Ozawa and the orchestra available on compact disc include Schoen- berg's Gurrelieder and Mahler's Symphony No. 8, the Symphony of a Thousand, both on Philips, and Beethoven's Choral Fantasy with pianist Rudolf Serkin, on Telarc. Last season the chorus recorded Mahler's Symphony No. 2, Resurrection, with Ozawa and the orchestra, with soloists Kiri Te Kanawa and Marilyn Home, for future release also on Philips. The chorus may also be heard in Debussy's La Damoiselle elue with the orchestra and mezzo-soprano Frederica von Stade on CBS, on the Philips album "We Wish You a Merry Christmas" with John Williams and the Boston Pops, and on a Nonesuch recording of music by Luigi Dallapiccola and Kurt Weill conducted by John Oliver.

In addition to his work with the Tanglewood Festival Chorus, John Oliver is conductor of the MIT Choral Society, a senior lecturer in music at MIT, and conductor of the John Oliver Chorale, now in its eleventh season. The Chorale gives an annual concert series in Boston and has recorded for Northeastern and New World records. Mr. Oliver made his Boston Symphony Orchestra conducting debut at Tanglewood in 1985 and led performances of Bach's B minor Mass at Symphony Hall in December that year.

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Sopranos Arnalee Cohen Warren D. Hutchison Margaret Aquino Ethel Crawford James R. Kauffman Ingrid Bartinique Catherine Diamond Edward J. Kiradjieff Phyllis Benjamin Sara Dorfman Mehrdad Moasser Miehele M. Bergonzi Evelyn M. Eshleman-Kern David R. Norris Ellen N. Brown Paula Folkman David Raish Bonita Ciambotti Donna Hewitt-Didham Ernest Redekop Margo Connor Jennifer Ann Hruska Barry Singer Mary A.V Crimmins Dorothy W Love Michael Spence April Merriam Christine P. Duquette Carl Zahn Amy G. Harris Amy Sheridan Alice Honner-White Linda Kay Smith Basses Ada Park Snider Kristen E. Hughes J. Barrington Bates Julie Steinhilber Frances V. Kadinoff Aubrey Botsford Nina Giselle Keidann Judith Tierney Daniel Brooks Lydia A. Kowalski Betty Karol Wilson Edward E. Dahl Patricia Mary Mitchell John Duffy Nancy Lee Patton Mark L. Haberman Charlotte C. Russell Tenors Mitsuhiro Kawase Lisa Saunier Kent Anderson G. Paul Kowal Genevieve Schmidt Antone Aquino Lee B. Leach Carrol J. Shaw Donato Bracco Steven Ledbetter Joan Pernice Sherman Reginald Didham Stephen H. Owades Deborah L. Stanton Robert Doran David Sanford Wendy Lee Tedman Michael P. Gallagher Robert Schaffel Andrew Hamilton Robert W. Schlundt Mezzo-sopranos George W. Harper Peter S. Strickland Maisy Bennett John W Hickman Cliff Webb Christine Billings Fred G. Hoffman Pieter Conrad White

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Boston, Massachusetts 02 1 1 Telephone (617) 266-1492 Tax-free income trom Nuveen. That's music to our ears."

,^ A 1 \^

f

1- '-

For more complete information on \uveen Tax-Exempt Unit Trusts and Mutual Funds, wcluding charges and expenses, call vour investment broker or adviser for a prospectus. Read it carefulfy before you invest or send money. Or call 800-221-4276. (In New York Stste, call 212-208-2350.)

John Ntjveen & Co irvcorporaied IVIUVEEIU Americas Tax-Free Investment Investment Bankers

333 Vitest VWacKer Ofve Ctincago IL 60606 140 Broadway Mew >tirk NY 10005 A ^^cial Life-style Carleton-Willard Village is an exceptional continuing care retirement community. Gracious independent living accommodations and fully licensed, long-term health care facilities exist in a traditional New England environment. CARLETON-WILtARD VILLME 100 Old Billerica Rd. irnf Bedford, MA 01730 (617) 275-8700 Owned and operated by Carleton-Willard Homes, Inc., a non-profit corporation acknowledges these Business and e^sional The Boston Symphony Orchestra gratefully P^f generous and valuable support totaling $1,250 and Leadership Program members for their which are both capitalized and underscored m the above during the past fiscal year. Names Honor Roll denotmg support of $10,000 and Business Leaders listing comprise the Business indicates support of IrSlization demotes support of $5,000-$9,999, and an asterisk $2,500-$4,999.

Business Leaders (S 1,2 50 and above)

Architecture/Design Building/Contracting Accountants & Company, Inc. ARTHUR ANDERSEN & COMPANY ADD INC ARCHITECTS •A.J. Lane Philip M. Briggs Andrew J. Lane William F. Meagher Chain Construction Corporation YOUNG & COMPANY LEA GROUP ARTHUR Howard J. Mintz Thomas E McDermott Eugene R. Eisenberg Harvey Industries, Inc. DiPesa & Company Charles E. Robert K. Moprison William F. DiPesa JF. White Contracting COOPERS & LYBRAND Banking Philip Bonanno Vincent M. O'Reilly BANK OF BOSTON Lee Kennedy Co., Inc. WHINNEY William L. Brown ERNST & Lee M. Kennedy James G. Maguire BANK OF NEW ENGLAND National Lumber Company MARWICK, Peter H. McCormick PEAT, Louis L. Kaitz MITCHELL & COMPANY BAYBANKS, INC. Perini Construction Robert D. Happ William M. Crozier, Jr. David B. Perini PRICE WATERHOUSE Boston Safe Deposit Kenton J. Sicehitaro Company & Trust Consumer Goods/Distributors Germeten Theodore S. Samet & Company James N. von Almaden Vineyard Theodore S. Samet Cambridge Trust Company Louis de Santis Tofias, Fleishman, Lewis H. Clark Fairwinds Gourmet Coffee Shapiro & Company CITICORP/CITIBANK Pauline Elkin Allan Tofias Walter E. Mercer MOET-HENNESSY TOUCHE ROSS & COMPANY Eastern Corporate Federal Credit U.S. CORPORATION James T. McBride Union Ambassador Evan G. Galbraith Jane M. Sansone NABISCO BRANDS, INC. First Mutual of Boston Charles J Chapman Keith G. Willoughby Advertising/Public Relations The Taylor Wine Company, Inc. First National Bank of Chicago Michael J. Doyle BMC Strategies, Inc. Robert E. Gallery Bruce M. McCarthy Liquors, Ltd. Framingham Trust Company United GROUP, INC. Michael Tye THE COMMUNIQUE William A. Anastos James H. Kurland NeWorld Bank HBM/CREAMER, INC. James M. Gates Displays/Flowers Edward Eskandarian Patriot Bancorporation Giltspur Exhibits/Boston Knott, Jr. Heller Breene Design & Advertising Thomas R. Heaslip Thomas E. Cheryl Heller Provident Financial Services, Inc. Harbor Greenery HILL AND KNOWLTON, INC. Robert W Brady Diane Valle A. Farwell Peter Rockland Trust Company Education •Hill, HoUiday, Connors, John F Spence, Jr. Cosmopulos, Inc. SHAWMUT BANK OF BOSTON BENTLEY COLLEGE Connors, Jr. Adamian Jack William F. Craig Gregory H. STATE STREET BANK & TRUST STANLEY H. KAPLAN COMPANY EDUCATIONAL CENTER William S. Edgerly Susan B. Kaplan Aerospace Corporation UST CORPORATION •Northrop Electrical/HVAC James V. Sidell Thomas V. Jones Company, Inc. PNEUMO ABEX CORPORATION Yankee Bank for Finance & Savings L. Rudolph Electrical Richard N. Morash Louis Rudolph Norman J. Ryker

47 The Boston Home (formerly The Boston Home for Incurables)

Est: 1881

Seeks Your Support for Another Century

Write for Centennial Brochure: The BoStOn HomC, IllC. John Bigelow, Treasurer 2049-2061 Dorchester Avenue Robert B. Minturn, Jr., Assistant Treasurer Boston, Massachusetts 02124 617/825-3905

Decisions for an autumn evening.

The marriage of fresh native ingredients of the season with the creativity of French cooking, presents the discerning diner with an exquisite array of choices. ^^ iB^^BKS^M ^^^ result ... a menu of scope and originality.

Sample it amid the ambiance of Boston's . —~ most elegant restaurant. ^

Julien Restaurant and Bar. In the Hotel Meridien, 250 Franklin Street, Boston. Private Valet Parking.

48 Diane Fassino/Design p.h. mechanical corporation HAMBRECHT & QUIST VENTURE Fassino Paul A. Hayes PARTNERS Diane R&D ELECTRICAL COMPANY, INC. Robert M. Morrill *Gill Fishman and Associates Richard D. Pedone Investors in Industry Gill Fishman Ivan N. Montchiloff Williams Graphics Walter F. Williams Electronics KAUFMAN & COMPANY Sumner Kaufman Alden Electronics, Inc. John M. Alden TA ASSOCIATES Peter A. Brooke Analytical Systems Engineering High Technology Corporation ANALOG DEVICES, INC. Michael B. Rukin Food Service/Industry Ray Stata The Mitre Corporation * Boston Showcase Company APOLLO COMPUTER, INC. Charles A. Zraket Jason Starr Thom&s A. Vanderslice PARLEX CORPORATION Cordel Associates *Aritech Corporation Herbert W. Pollack James B. Hangstefer James A. Synk Technology Coi-poration Signal Creative Capers AT&T William E. Cook Paul Schatz Marc Rosen CREATIVE GOURMETS, LTD. AUGAT, INC. Energy Stephen E. Elmont Roger D. Wellington CORPORATION CABOT Gourmet Caterers, Inc. BBF Corp. FOUNDATION, INC. Wiggins Robert Boruch B. Frusztajer Ruth C. Scheer JBILDNER&SONS BOLT BERANEK & NEWMAN, INC. Bildner James L. Stephen R. Levy Engineering * John Sexton and Company COMPUGRAPHIC CORPORATION General Systems Company, Inc. R.C. Judge Carl E. Dantas Donald S. Feigenbaum JOHNSON O'HARE COMPANY, INC ' COMPUTER PARTNERS Harry O'Hare Goldberg-Zoino & Associates, Inc. Paul J. Crowley Donald T. Goldberg DIGITAL EQUIPMENT Stone & Webster Engineering Footwear CORPORATION Corporation Kenneth G. Olsen *Jones & Vining, Inc. William F. Allen, Jr. Sven A. Vaule, Jr. DYNATECH CORPORATION MORSE SHOE, INC. J. P. Barger Entertainment/Media Manuel Rosenberg *EG&G, Inc. GENERAL CINEMA The Rockport Corporation Dean W Freed CORPORATION Stanley Kravetz EMC2 CORPORATION Richard A. Smith STRIDE RITE CORPORATION Richard J. Egan *New Boston Garden Corporation Arnold S. Hiatt GENERAL COMPUTER COMPANY William D. Hassett Kevin G. Curran *The New England Patriots *General Eastern Instruments Furnishings/Housewares Patrick J. Sullivan Corporation *USA Cinemas ARLEY MERCHANDISING Pieter R. Wiederhold A. Alan Friedberg CORPORATION HELIX TECHNOLOGY David I. Riemer CORPORATION COUNTRY CURTAINS Frank Gabron Finance/Venture Capital Jane P. Fitzpatrick THE HENLEY GROUP Battery Ventures L.P HITCHCOCK CHAIR COMPANY Paul M. Montrone Robert G. Barrett Thomas H. Glennon HONEYWELL BULL *Boston Financial Group, Inc. The Jofran Group Warren G. Sprague Harold A. Howell Robert D. Roy IBM CORPORATION Carson Limited Linenworks Paul J. Palmer Herbert Carver Gail Cohen FARRELL, HEALER & COMPANY Instron Corporation Harold Hindman Harry J. Healer, Jr. THE FIRST BOSTON Graphic Design *Ionics, Inc. Arthur L. Goldstein CORPORATION *Clark/Linsky Design, Inc. Mark S. Ferber Robert H. Linsky

49 BALLY

NATHANIEL PULSIFER & ASSOCIATES

Family Trustee and Investment Advisor

27 North Main Street Ipswich MA 01938 617-356-3530

50 ' /A-COM, Inc. THE WESTIN HOTEL KENSINGTON INVESTMENT vessarios G. Chigas Bodo Lemke COMPANY ASSCOMP Alan E. Lewis \ugust p. Klein *Kidder, Peabody & Company, Inc. ILLIPORE CORPORATION Insurance John G. Higgins John A. Gilmartin *Arkwright Boston Insurance Loomis Sayles & Company Frederick J. Bumpus Robert L. Kemp 11 on Research Incorporated \lexander Jenkins III CAMERON & COLBY COMPANY, MORGAN STANLEY & COMPANY RIME COMPUTER, INC. INC. Jack Wadsworth Graves D. Hewitt Joe M. Henson PAINEWEBBER, INC. RINTED CIRCUIT *Charles H. Watkins & Company, Inc. James F. Cleary Richard P. Nyquist ORPORATION *The Putnam Management Peter Sarmanian *Consolidated Group, Inc. Company, Inc. Woolsey S. Conover AYTHEON COMPANY Lawrence J. Lasser Thomas L. Phillips FRANK B. HALL & COMPANY OF SALOMON INC. MASSACHUSETTS Joseph P. Lombard ofTech, Inc. Colby Hewitt, Jr. Fustus Lowe, Jr. *State Street Development Company *Fred S. James & Company of New TELLAR COMPUTER John R. Gallagher III England, Inc. TUCKER, ANTHONY & J. William Poduska P. Joseph McCarthy R.L. DAY, INC. A.SC JOHN HANCOCK MUTUAL LIFE Gerald Segel (Vrthur Gelb INSURANCE COMPANY Wainwright Capital ech/Ops, Inc. E. James Morton John M. Plukas Vlarvin Schorr G. *Johnson & Higgins *Woodstock Corporation ERADYNE, INC. Robert A. Cameron Frank B. Condon V. d'Arbeloff Alexander Kendall Insurance, Inc. hermo Electron Corporation Kennett Kendall, Jr. George N. Hatsopoulos LIBERTY MUTUAL INSURANCE ;RE Corporation COMPANIES Legal John K. Grady Melvin B. Bradshaw BINGHAM, DANA & GOULD THE NEW ENGLAND Everett H. Parker Edward E. Phillips Dickerman Law Offices otels/Restaurants Robert D. Gordon Adjusters, Inc. Lolo Dickerman Robert D. Gordon oston Marriott Copley Place *Edwards & Angell Main Piallat Sun Life Assurance of Canada Deming E. Sherman oston Park Plaza Hotel & Towers David D. Horn *Fish & Richardson loger A. Saunders John N. Williams *Gadsby & Hannah ostonian Hotel Investments Jeffrey P. Somers Timothy P. Kirwan GOLDSTEIN & MANELLO harly's Saloon Baring America Asset Management Richard J. Snyder Charles Sarkis Company, Inc. Stephen Cutler *Mintz, Levin, Cohn, Ferris, Glovsky & hristo's Restaurant Popeo, PC. Christopher Tsaganis Baring International Investment, Ltd. John F McNamara Francis X. Meaney OUR SEASONS HOTEL Nissenbaum Law Offices Hans Willimann BEAR STEARNS & COMPANY, INC. Keith H. Kretschmer Gerald L. Nissenbaum he Hampshire House *Nutter, McClennen & Fish Thomas A. Kershaw Burr, Egan, Deleage & Company John Stone III Craig L. Burr K.P 'HE RED LION INN PALMER & DODGE John H. Fitzpatrick E.F HUTTON & COMPANY, INC. Robert E. Sullivan S. Paul Crabtree ially Ling's Restaurants Sherburne, Powers & Needham Sally Ling Liu FIDELITY INVESTMENTS Daniel Needham, Jr. Anne-Marie Soulliere Iheraton Boston Hotel & Towers Weiss, Angoff, Coltin, Koski & Robert McEleney GOLDMAN, SACHS & COMPANY Wolf, PC. Stephen B. Kay lonesta International Hotels Dudley A. Weiss corporation *Interact Management, Inc. Paul Sonnabend Stephen Parker

51 m: !l

BOSTON ;ymphon ARCHEST] SEIJI OZAWA Mus/c |> Director

(S"^ ^ HARRY ELL IS DICKSON Founder and Coi iductor Laureate

CARL sr.: CLAIR Assistant Conductor Boston Symplkony Orchestra

THREE-CONCERT SERIES-$15.00^ TWO-CONCER SERIES-$11.50

ILEMENTARY SCHOOL SERIES (GRADES 3

WEEKDAWSERIES I 10:15 AM WEEKDAY SERIES II 10:15 AM Novempet^Al 987 Novembet^987 Febritf*)cri988 Febru^V>i7l988 T5,1988 M^^ff31,1988

FAMILY SERIES

SATURDAY SERIES "A" 10:00 AM SATURDAY SERIES "B" 12:30 PM

November 7, 1987 November 7, 1987 F^ebruary 6, 1988 February 6, 1988 larch 5,1988

HIGH SCHOOL SEF [IES (GRADES 8-12)

THURSDAY SIIRIES 10:15 AM

November 5, 1987 February 4, 988

GIVE YOUR CHILDRE^ THE GIFT OF MUSIC CALL 266-1492 OR 267-0656

SORRY, NO PRE-SCHOC L CHILDREN ADMITTED, Management/Finatf.cial/ConsuUing *Century Manufacturing & Tywood *Sprague Electric Company Corporation John L. Sprague Acuity Management & Investment Joseph Tiberio *Termiflex Corporation Murray J. Swindell ADVANCED MANAGEMENT *Chelsea Industries, Inc. William E.Fletcher Ronald G. Casty ASSOCIATES, INC. Towle Manufacturing Company Harvey Chet Krentzman *Connell Limited Partnership Paul Dunphy William F. Council INC. ARTHUR D. LITTLE, INC. TRINA, *C.R. Bard, Inc. Thomas L. Easton John F. Magee Robert McCaffrey THE BOSTON CONSULTING Webster Spring Company, Inc. GROUP Dennison Manufacturing Company A.M. Levine Nelson G. GifFord Arthur R Contas Wire Belt Company of America Dynamics Research Corporation The Forum Corporation F. Wade Greer, Jr. John S. Anderegg, Jr. John W. Humphrey ERVING PAPER MILLS Harry Axelrod Consultants, Inc. Charles B. Housen Media Harry Axelrod *FLEXcon Company, Inc. THE BOSTON GLOBE/ HCA Management Company Mark R. Ungerer AFFILIATED PUBLICATIONS Donald E. Strange William 0. Taylor Gamewell Corporation Irma S. Mann, Strategic Marketing Martin Reiss THE BOSTON HERALD Irma S. Mann GENERAL ELECTRIC COMPANY/ Patrick J. Purcell M. Cortell & Associates, Inc. Jason LYNN WBZ-TV 4 Jason M. Cortell Frank E. Pickering John J. Spinola KAZMAIER ASSOCIATES, INC. GENERAL ELECTRIC PLASTICS WCRB/CHARLES RIVER Richard W. Kazmaier, Jr. BUSINESS GROUP BROADCASTING, INC. Keller Company, Inc. Glen H. Hiner Richard L. Kaye Robert R. Keller GENERAL LATEX & CHEMICAL WCVB-TV 5 Mitchell & Company CORPORATION S. James Coppersmith Carol B. Coles Robert W. MacPherson

*Rath & Strong, Inc. THE GILLETTE COMPANY Personnel Arthur 0. Putnam Colman M. Mockler, Jr. Robert Boyer GTE ELECTRICAL PRODUCTS *John Leonard Personnel Linda J. Polodian Robert Boyer Dean T. Langford *Robert Kleven & Company, Inc. William M. Mercer-Meidiner *Harvard Folding Box Company, Inc. Robert Kleven Hansen, Inc. Melvin A. Ross Chester D. Clark TAD TECHNICAL SERVICES H.K. Webster Company, Inc. CORPORATION The Wyatt Company Dean K. Webster David J. McGrath, Jr. Michael H. Davis The HMK Group of Companies Joan L. Karol Manufacturer's Representative Hollingsworth & Vose Company Printing Paul R. Cahn Associates, Inc. Gordon W. Moran BOWNE OF BOSTON, INC. Paul R. Cahn The Kendall Company Donald J. Cannava *R & S Sales Associates J. Dale Sherratt *Bradford & Bigelow, Inc. Robert Stein The Kenett Corporation John D. Galligan Julius Kendall Courier Corporation Manufacturing/Industry LEACH & GARNER COMPANY Alden French, Jr. Alles Corporation Philip F. Leach Customforms, Inc. Stephen S. Berman NEW ENGLAND BUSINESS David A. Granoff Ausimont SERVICE, INC. DANIELS PRINTING COMPANY Leonard Rosenblatt Richard H. Rhoads Lee S. Daniels

Avedis Zildjian Company New England Door Corporation *Espo Litho Company, Inc. Armand Zildjian Robert C. Frank David Fromer *Barry Wright Corporation Princess House, Inc. George H. Dean Company Ralph Z. Sorenson Robert Haig G. Earle Michaud

The Biltrite Corporation RAND-WHITNEY CORPORATION GRAFACON, INCORPORATED

Stanley J. Bernstein Robert K. Kraft H. Wayman Rogers, Jr.

53 COPLEY CONCERTO

First Movement Allegro

Shopping at Neiman-Marcus and 100 trend-setting specialty shops.

Second Movement Andante

Dining at 9 unique restaurants, with even more at the Westin and Marriott hotels.

Third Movement Allegro Vivace

Entertainment at a 9-screen cinema. Copley Place has music and dancing, too.

COPLEY PlACEs

in Boston's Back Bay

®1260211 3ub Mail Design Pak, Inc. Out Of Town Ticket Agency Walter Bemheimer II Paul G. Grady Sheldon Cohen

:tek graphix corporation FILENE'S *Victor Grillo & Associates R. Patrick Forster Jerry M. Socol Victor N. Grillo

LABEL ART, INC. *Hills Department Stores Software/Information Services J. William Flynn Stephen A. Goldberger CULLINET SOFTWARE, INC. yiassaehusetts Envelope Company J. Baker, Inc. John J. Cullinane Steven Grossman Sherman N. Baker Data Architects, Inc. JORDAN MARSH COMPANY MERCHANTS PRESS Martin Cooperstein Douglas Clott Elliot Stone Interactive Data Corporation Kappy's Liquors Publishing John M. Rutherford, Jr. Ralph Kaplan Addison Wesley Publishing Phoenix Technologies Ltd. Karten's Jewelers .ompany, Inc. Neil J Colvin Joel Karten Donald R. Hammonds Stohn Associates, Inc. THE MALL AT CHESTNUT HILL CAHNERS PUBLISHING Alexander C. Stohn, Jr. :;OMPANY Jay Veevers Saul Goldweitz NEIMAN-MARCUS Travel/Transportation iOUGHTOX MIFFLIN COMPANY William D. Roddy *Crown Motors Allen M. Click Harold T. Miller *Purity Supreme, Inc. Frank P. Giacomazzi HERITAGE TRAVEL, INC. jittle, BrowTi and Company Donald R. Sohn Arthur H. Thomhill *Saks Fifth Avenue Ronald Hoffman LILY TRUCK LEASING fankee Publishing Incorporated CORPORATION Rob Trowbridge Sears, Roebuck & Co. S. David Whipkey John A. Simourian leal Estate/Development THE STOP & SHOP New England Lincoln-Mercury Jenjamin Schore Company COMPANIES, INC. Dealers Association

Benjamin Schore Avram J. Goldberg J. P. Lynch

;!ombined Properties Inc. Table Toppers Inc. THE TRANS-LEASE GROUP Stanton L. Black Constance Isenberg John J. McCarthy, Jr. )emeter Realty Trust ZAYRE CORPORATION Utilities George P. Demeter Maurice Segall AT&T 'he Flatley Company Marc Rosen Thomas J. Flatley Science/Medical BOSTON EDISON COMPANY lilon Development Corporation Cambridge BioScience Stephen J. Sweeney Haim S. Eliachar Gerald F. Buck EASTERN GAS & FUEL listoric Mill Properties, Inc. CHARLES RIVER ASSOCIATES Bert Paley LABORATORIES, INC. William J. Pruyn ohn M. Corcoran & Company L. Foster Henry Massachusetts Electric & Gas Assoc. John M. Corcoran *CompuChem Laboratories, Inc. Ron O'Meara 'he Legatt McCall Companies Claude L. Buller New England Electric System William F. McCall Costar Corporation Paul J. Sullivan lEREDITH & GREW, INC. Richard Morningstar George M. Lovejoy NEW ENGLAND TELEPHONE DAMON CORPORATION COMPANY Jorthland Investment Corporation David I. Kosowsky Gerhard M. Freche Robert A. Danziger *J.A. Webster, Inc. 'able Talk Realty John A. Webster, Jr. Chris Cocaine Lectro-Med, Inc. 'rammell Crow Company Allan Kaye Buzz DeMartino letail Services

)EMOULAS SUPERMARKETS, Meyers Parking, Prudential Center NC. Garage T.A. Demoulas Frank Newcomb

55 Painting Specialists Color Consultants Comprehensive Care for

-Y- 5fc Dancers ^ Instrumentalists sK Vocalists c:>^ Edward K. Perry JtQT infornaatkra caS Company Fi*blk ReJa^iis at

848^^3 n BrtHiks Drive Braintree, Massachusetts 02184 For aa appoiatmest, FERPORMIMQ ARTS „kforlt2493 Telephone 617-536-7873 MEDICIME CLimC

AT BRAINTREE HOSPITAL Rkhard N. Norris, M.G. Director The Bi)slon aimp.mv lh.it painted Trinity Church, \euptirt. R I

56 ^^ v^'Jr' Coming Concerts . . . For rates and BOSTON Thursday 'C—October 8, 8-9:55 information on SYMPHONY ^ORCHESTRA Friday 'B'—October 9, 2-3:55 advertising in the Tuesday 'C—October 13, 8-9:55 Boston Symphony, ^m. SEIJI OZAWA conducting MALCOLM LOWE, violin Boston Pops, V ^' HAYDN Symphony No. 94, Surprise and BRUCH Violin Concerto No. 1 Tanglewood program books SCHUMANN Symphony No. 2 please contact: Thursday 'A'—October 15, 8-9:50 STEVE GANAK AD REPS Friday 'A'—October 16, 2-3:50 Saturday 'B'—October 17, 8-9:50 (617)-542-6913 SEIJI OZAWA, conductor MURRAY PERAHIA, piano HENZE Symphony No. 7 (Boston premiere) BEETHOVEN Piano Concerto No. 5, Emperor

Friday Eve—October 23, 8-9:55 Saturday 'A'—October 24, 8-9:55 SEIJI OZAWA, conductor MALCOLM LOWE, violin An HAYDN Symphony No. 94, Surprise BRUCH Violin Concerto No. 1 Authentic SCHUMANN Symphony No. 2

Grill! Thursday 'C—October 29, 8-9:50 Friday 'B'—October 30, 2-3:50 With Saturday 'B'—October 31, 8-9:50 Aged Steaks Fresh Fish Tuesday 'B'—November 3, 8-9:50 Plump Poultry Native Shellfish CARL ST. CLAIR conducting CECILE LICAD, piano Grilled on woods and charcoals of DVORAK Carnival Overture Sassafras Mesquite HUSA Music for Prague 1968 Apple Hickory (Boston premiere of symphony orchestra version) Lunch Dinner RAV^EL Piano Concerto in G Rapsodie espagnole 11:30 to 5:00 to RAVEL

2:30 p. m 11:00 p.m. Wednesday, November 11 at 7:30 Open Rehearsal Marc Mandel will discuss the program at 6:45 in the Cohen Annex. Thursday 'A'—November 12, 8-9:50 Friday 'A'—November 13, 8-9:50 Saturday 'A'—November 14, 8-9:50 Tuesday 'C—November 17, 8-9:50 YURI TEMIRKANOV conducting BooleS LIADOV Kikimora TCHAIKOVSKY Suite No. 4, Mozartiana OF • BOSTON DVORAK Symphony No. 8 In Boston's Back Bay Hilton. Indoor Parking. Phone (617) BOODLES Programs subject to change.

57 SHREVE,CRUMP ^LOW JEWELERS SINCE 1800

As always, only the finest from Shreve's.

330 BOYLSTON ST., BOSTON, MASS. 02U6 (617) 267-9100 'THE MALL AT CHESTNUT HILL •SOUTH SHORE PLAZA

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Froviding . . .• Intimate atmosphere of a small apartment building • Luxuriously appointed lounge and library • Elegant dinir^ — lunch and dinner served daily • Limousine, housekeeping, social programs, and exercise programs • Privacy and companionship, freedom and security • 24-hour attendant — a safe and supportive environment for those 70 and better.

Call The Georgian at 524-7228 for an appointment or additional information.

A Prime Living Inc. Residence, 332 Jamaicaway, Boston, MA 02 130, (617)524-7228

58 .

Symphony Hall Information . .

FOR SYMPHONY HALL CONCERT AND merchandise and gift items such as calen- TICKET INFORMATION, call (617) dars, appointment books, drinking glasses, 266-1492. For Boston Symphony concert holiday ornaments, children's books, and program information, call "C-0-N-C-E-R-T" BSO and Pops recordings. All proceeds benefit the Boston Symphony Orchestra. THE BOSTON SYMPHONY performs ten For merchandise information, please call months a year, in Symphony Hall and at 267-2692. Tanglewood. For information about any of the orchestra's activities, please call Sym- TICKET RESALE: If for some reason you phony Hall, or write the Boston Symphony are unable to attend a Boston Sjnnphony Orchestra, Symphony Hall, Boston, MA concert for which you hold a ticket, you may 02115. make your ticket available for resale by call- ing the switchboard. This helps bring THE EUNICE S. AND JULIAN COHEN needed revenue to the orchestra and makes ANNEX, adjacent to Symphony Hall on your seat available to someone who wants to Huntington Avenue, may be entered by the attend the concert. A mailed receipt will Symphony Hall West Entrance on Hunt- acknowledge your tax-deductible ington Avenue. contribution. FOR SYMPHONY HALL RENTAL RUSH SEATS: There are a limited number INFORMATION, call (617) 266-1492, or of Rush Tickets available for the Friday- write the Function Manager, Symphony afternoon and Saturday-evening Boston Hall, Boston, MA 02115. Symphony concerts (subscription concerts THE BOX OFFICE is open from 10 a.m. only). The continued low price of the Satur- until 6 p.m. Monday through Saturday; on day tickets is assured through the gener- concert evenings, it remains open through osity of two anonymous donors. The Rush intermission for BSO events or just past Tickets are sold at $5.50 each, one to a starting-time for other events. In addition, customer, at the Symphony Hall West the box office opens Sunday at 1 p.m. when Entrance on Fridays beginning 9 a.m. and there is a concert that afternoon or evening. Saturdays beginning 5 p.m. Single tickets for all Boston Symphony LATECOMERS will be seated by the subscription concerts become available at ushers during the first convenient pause in the box office once a series has begun. For the program. Those who wish to leave outside events at Symphony Hall, tickets will be available three weeks before the con- cert. No phone orders will be accepted for these events. TO PURCHASE BSO TICKETS: American Express, MasterCard, Visa, a personal check, and cash are accepted at the box office. To charge tickets instantly on a major credit card, or to make a reservation and then send payment by check, call "Symphony-Charge" at (617) 266-1200, Monday through Satur- day from 10 a.m. until 6 p.m. or Sunday from 1 p.m. until 6 p.m. There is a handling fee of $1.25 for each ticket ordered by phone.

THE SYMPHONY SHOP is located in the Huntington Avenue stairwell near the Cohen Annex and is open from one hour before each concert through intermission. The shop carries BSO and musical-motif

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

60 To get a jump on the market, Hen- "Ittooka drie's planned to increase production capacity by 80%. And that required a significant increase in financing. stick to beat Hendrie's was considering private funding of a $2V2 million Industrial Rev- ice gants. the cream And enue Bond. But BayBanks recom- a bankerwho believed mended taking the issue to the public in\^twewere doingT market to lock in a favorable fixed cost of funds. Working as the liaison between -Robert White, President Hendrie's Inc. Hendrie's and investment bankers, BayBanks helped package the issue and provided the letter of credit to bring the issue to public market. Money, ideas, services. BayBanks

provides Hendrie's with all of these through one Corporate Financial Officer. Backed by a team of experts, he coordi- nates every aspect of the relationship from secured and unsecured lines of credit to equipment leasing.

^^We feel the market is there for quality. It's Robert White remembers when Hendrie's ice cream was famous all the given us a tremendous way from Milton Village to East Milton. edge over our Now, Hendrie's sells millions of gallons of ice cream and over 180,000,000 stick competitors? novelties a year Like Hendrie's, BayBanks also ago, ice cream was a sleepy, Years believes there's a market for quality. provincial business. Then one day We're a $6 billion network of corporate the conglomerates saw a big opportunity financial experts committed to provid- in their grocer's freezer. Unable to out- ing businesses the most involved, spend the new competitors, Hendrie's innovative, and comprehensive service decided to outthink them. in New England. "Who would believe ice We're known as a leader in personal cream snacks on a stick banking service. You'll find BayBanks is a leader in banking service for business would appeal to a as well. Ask Robert White. Or any of our sophisticated market? many other corporate customers. BayBanks!'

Robert decided to target on-the-go adults with high-quality ice cream snacks on a stick, tying many of his new BayBanks^ novelties to well-known candy products such as Nestle® Crunch® Corporate Banking Network -^ i]K\sm^ WHITE-ZINFANPHU j!

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