BOSTON SYMPHONY ORCHESTRA SEIJI OZAWA Music Director

lOTtli Season 1987-88 g 1987 80 FYoof. Imported from France by Regal Brands, Inc., New York, N.Y

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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.

Nelson J. Darling, Jr., Chairman George H. Kidder, President

Mrs. John M. Bradley, Vice-Chairman J. P. Barge r, Vice-Chairman

Archie C. Epps, Vice-Chairman William J. Poorvu, Vice-Chairman and Treasurer

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 Mrs. Harris Fahnestock Ir\ang W. Rabb Allen G. Barry E. Morton Jennings, Jr. Paul C. Reardon Leo L. Beranek Edward M. Kennedy Mrs. George L. Sargent Richard P. Chapman Albert L. Nickerson Sidney Stoneman Abram T. Collier Thomas D. Perry, Jr. John Hoyt Stookey George H.A. Clowes, Jr. John L. Thorndike 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 John C. Marksbury, Director of Madelyne Codola Cuddeback, Director Foundation and Government Support of Corporate Development Julie-Anne Miner, Supervisor of Vera Gold, Assistant Director of Promotion Fund Accounting Patricia F. Halligan, Personnel Administrator Richard Ortner, Administrator of Russell M. Hodsdon, Manager of Box Office Tanglewood Music Center Craig R. Kaplan, Controller Nancy E. Phillips, Media and Nancy A. Kay, Director of Sales Production Manager, John M. Keenum, Director of Tanglewood Boston Symphony Orchestra Music Center Development Scott Schillin, Assistant Manager, Patricia Krol, Coordinator of Pops and Youth Activities Youth Activities Joyce M. Serwitz, Assistant Director Steven Ledbetter, Musicologist & of Development Program Annotator Susan E. Tomlin, Director of Annual Giving Michelle R. Leonard, Budget Manager

Programs copyright ®1988 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 Yice-Chairman \ice-Chairman Secretary

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

Walter J. Connolly, Jr. Howard Kaufman Roger A. Saunders Mrs. A. Werk Cook Richard L. Kaye Mrs. Raymond H. Schneider Albert C. Cornelio Robert D. King Mark L. Selkowitz Phyllis Curtin Robert K. Kraft Malcolm L. Sherman Alex V. d'Arbeloff John P. LaWare Mrs. Donald B. Sinclair Mrs. Eugene B. Doggett Mrs. Hart D. Leavitt W. Davies Sohier, Jr. Phyllis Dohanian R. Willis Leith, Jr. Ira Stepanian Harriett Eckstein Laurence Lesser Mrs. Arthur L Strang Edward Eskandarian Stephen R. Levy William F. Thompson Katherine Fanning Frederick H. Lovejoy, Jr. Mark Tishler, Jr. John A. Fibiger Mrs. Charles P. Lyman Luise Vosgerchian Peter M. Flanigan Mrs. Harry L. Marks Mrs. An Wang Gerhard M. Freche C. Charles Marran Roger D. Wellington Dean Freed Hanae Mori Mrs. Thomas H.P. Whitney Peter H.B. Frelinghuysen Richard P. Morse Mrs. Donald B. Wilson Mrs. James G. Garivaltis Mrs. Thomas S. Morse Mrs. John J. Wilson Mrs. Ray A. Goldberg E. James Morton Brunetta Wolfman Jordan L. Golding Nicholas T. Zervas

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. Whitaker, House Manager

Cleveland Morrison, Stage Manager Franklin Smith, Supervisor of House Crew Wilmoth A. Griffiths, Assistant Supervisor of House Crew William D. McDonnell, Chief Steward H.R. Costa, Lighting 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. F.T. Whitney

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1 NORTHAMPTON \ The New England Deaconess Association A nonprofit, charitable organization Sunday, July 31, is 7:30 p.m. The weekend is BSO open to Friends of the BSO who have donated a minimum of $50; space is limited to 48 people on a first-come, first-served basis. The cost of the weekend $400 per person, double "Presidents at Pops" Slated for June 8 — occupancy ($520 per person for single occu- The seventh annual "Presidents at Pops," this pancy)—includes a $50 tax-deductible contri- year featuring John Williams and the Boston bution to the BSO and covers transportation, Pops Orchestra in "A Night of New Orleans lodging, meals (excluding breakfast), and con- Jazz," will take place Wednesday evening, cert tickets. For further information please June 8. Roger D. Wellington, Chairman and call the Volunteer Office at Symphony Hall, CEO of Augat, Inc., is chairman of the 1988 266-1492, ext. 177. "Presidents at Pops" committee, with Walter

J. Connolly, Chairman, Bank of New England Corporation, serving as committee vice-chair- Symphony Spotlight man. More than 100 of the area's leading busi- This is one in a series of biographical sketches nesses will participate in this gala event in that focus on some of the generous individuals support of the BSO. On Monday, May 9, the who have endowed chairs in the Boston Sym- senior executives of the participating organi- phony Orchestra. Their backgrounds are var- zations will be honored at the Leadership Din- ied, but each felt a special commitment to the ner, a formal dinner dance held at Symphony Boston Symphony Orchestra. Hall. A limited number of "Presidents at Pops" sponsorships are still available. The The Fahnestock Chair full package includes two tickets to the $5,000 Frances Jeffery Fahnestock has traveled exten- Leadership Dinner and 20 floor and balcony sively on five continents, often with her daugh- seats for the "Presidents at Pops" concert, ters, particularly to European music festivals. with cocktails dinner. Half pack- complete and Mrs. Fahnestock studied piano under Bustini ages are also available. For further informa- in Rome, majored in music at Vassar, and stud- tion please call Julia Le\y, Corporate BSO ied with Paul Hoffman in Chicago and Heinrich Development, 266-1492. Gebhard in Boston. In 1939 she married Harris Fahnestock, who died in 1970, and purchased her first BSO subscription, seats V25 and 26 Friends Weekend at Tanglewood on the orchestra floor, which she still holds Friends of the BSO have the opportunity to today. A member of the first BSO Council of travel to Tanglewood by chartered bus for Friends, Mrs. Fahnestock has planned many three days of outstanding music the weekend successful special events at SjTnphony over the of Friday, July 29, through Sunday, July 31. years, chairing the first BSO Ball and leading Performances include Gunther Herbig con- Friends of the orchestra on four European ducting the Boston Symphony Orchestra in a tours with the BSO. She was the first female program featuring the Prokofiev Piano Con- vice-president of any major orchestra and certo No. 2 with soloist Mikhail Rudy, BSO ser\'ed as a BSO Trustee from 1969 to 1984. Assistant Conductor Pascal Verrot leading Now Trustee Emeritus of the Boston Sym- music of Rossini, Vivaldi, Bach, and Men- phony Orchestra, Mrs. Fahnestock is also Vice- delssohn, with BSO principals Malcolm Lowe President of the World Affairs Council and and Alfred Genovese as soloists, and a very Chairman of the Ambassador's Council, a Trus- special Shed recital by flutist James Galway. tee of the Wang Center, a member of the Corpo- The Friends will stay at the Red Lion Inn, ration of Massachusetts General Hospital, and with transportation provided by Greyhound a past president of the National Society of the Bus. Dinner Friday night will be at the Red Colonial Dames of America in the Com- Lion Inn, lunch on Saturday at beautiful monwealth of Massachusetts. Mrs. Fahnestock Seranak, and dinner Saturday night at the is extremely pleased to have endowed the Tanglewood Tent Club. Sunday luncheon at orchestra position held by the BSO's princi- Blantyre will precede the 2:30 p.m. concert. pal second violinist, Marv'lou Speaker Anticipated arrival time back in Boston on Churchill. References furnished request

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

Qfl Baldwin' BSO Members in Concert Music Director Ronald Knudsen leads the Newton Symphony Orchestra in Mozart's The John Oliver Chorale performs music of Piano Concerto No. 25 in C, K.503, with soloist Elliott Carter and Aaron Copland, and the pre- Randall Hodgkinson and the Tchaikovsky miere performance of Time's Caravan by Mar- Symphony No. 5 on Sunday, May 8, at 8 p.m. at tin Amlin, on Saturday, April 23, at 8 p.m. at Aquinas Junior College in Newton Comer. Jordan Hall at the New England Conservatory Tickets are $12; for further information, call of Music. Tickets are $13, $10, and $7; for 965-2555. further information, call 965-0906. BSO assistant principal flutist Leone Buyse Attention, Longtime Subscribers! performs music of Bach, Vivaldi, Handel, Telemann, Mozart, Saint-Saens, Caplet, On Tuesday, May 10, the Boston Symphony Faure, and Jolivet with soprano Judith Balo Orchestra will hold a luncheon in honor of Goff and organist Karen Laycock Leonard on those concertgoers who have been attending Sunday, April 24, at 3 p.m. at St. Paul's BSO performances for 50 years or more. Invi- Church in Brookline. Donations will benefit tations to this event will be mailed next the Nancy Plummer Faxon Scholarship Fund month; meanwhile, in order to insure a com- of Mu Phi Epsilon. For further information, plete mailing list, the Development Office is please call 653-7511. trying to identify longtime patrons, including Music Director Max Hobart conducts the those who are no longer able to attend Sym- Civic Symphony Orchestra in Berlioz's Roman phony Hall concerts. If you know of a long- Carnival Overture, the Ritual Images of time BSO concertgoer, or if you yourself fall Yannatos, Kodaly's Hdry Janos Suite, and, into this category and have not responded to with soloist David Kim, the Tchaikovsky the Development Office's letters of July 1987 Violin Concerto, on Sunday, April 24, at 3 or January 1988, please contact Margaret p.m. at Jordan Hall. Tickets are $10 and $7; Warner at 266-1492, ext. 137. She will add for further information, call 437-0231. your name to the mailing list of those who will Music Director Ronald Feldman leads the receive invitations to the luncheon. New England Philharmonic (formerly the Mystic Valley Orchestra) in the Brahms Sym- Art Exhibits in the Cabot-Cahners Room phony No. 3, Sibelius's Karelia Suite, and For the fourteenth year, a variety of Boston- Hodman s Apollonian Rainbow on Sunday, area galleries, museums, schools, and non- April 24, at 3 p.m. at Harvard University's profit artists' organizations are exhibiting Paine Hall, and on Sunday, May 1, at 3 p.m. at their work in the Cabot-Cahners Room on the Dwight Hall at Framingham State College. first-balcony level of Symphony Hall. On dis- Tickets are $7 ($5 students, seniors, and spe- play through April 11 are works from the Mas- cial needs); for further information, call sachusetts College of Art. Other organizations 868-1222. to be represented during the coming months Music Director Max Hobart leads the North are Northeastern University (April 11-May 9), Shore Philharmonic in Dukas's Fanfare to La Howard Yerzerski Gallery of Andover (May 9- Peri, the Beethoven Piano Concerto No. 3 June 6), and the Boston Society of Architects with soloist Navah Perlman, and Mahler's (June 6-July 4). These exhibits are sponsored Symphony No. 1 on Sunday, May 1, at 7:30 by the Boston Symphony Association of Vol- p.m. at Salem High School Auditorium. unteers, and a portion of each sale benefits the Music Director Harry Ellis Dickson con- orchestra. Please contact the Volunteer Office ducts the Boston Classical Orchestra in at 266-1492, ext. 177, for further details. Schubert's Marche militaire, selections from Mendelssohn's Midsummer Night's Dream With Thanks music, Weber's Clarinet Concerto No. 1 with soloist Paulette Bowes, and Schubert's Sym- We wish to give special thanks to the National phony No. 3 at Faneuil Hall on Wednesday, Endowment for the Arts and the Massachu- May 4, and Friday, May 6, at 8 p.m. Tickets setts Council on the Arts and Humanities for are $18 and $12 ($8 students and seniors); for their continued support of the Boston Sym- further information, call 426-2387. phony Orchestra. Seiji Ozawa

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

Seiji Ozawa made his first S^inphony Hall appearance with the Boston S\tii- 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 orchestras 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 S\Tiiphouy 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 1S81. That same year, the orchestra made its first Mr. Ozawa became the BSOs music director tour devoted exclusively to appearances at in 1973. Bom in 1935 in Shenyang. China, to the major European music festivals. In Japanese parents. Mr. Ozawa studied both 19S1 Mr. Ozawa and the orchestra cele- Western and Oriental music as a child, later brated the Boston S^inphony's centennial graduating from Tok^'o's Toho School of \vith a fourteen-city American tour and an Music ^vith 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 imited to Tanglewood by Charles Munch, tour in February' 1986. the orchestra's third then music director of the Boston S^Tuphony \'isit 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 Kousse^'itzk^" Prize for outstand- with the recent program of twelve centen- ing student conductor. nial commissions, and %vith a new program, initiated last year, to include such com- AMiile 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 S^^nphony. 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 Oliver Francisco SjTiiphony from 1970 to 1976, Messiaen's opera Si. Francis ofAssisi 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 Gurrelieder, 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 of Starer for EMI/Angel. With Mstislav Mr. Ozawa holds honorary doctor Rostropovich he has recorded the Dvorak music degrees from the University of Mas- Cello Concerto and Tchaikovsky's Variations sachusetts, the New England Conservatory in Norton, on a Rococo Theme for Erato. Other record- of Music, and Wheaton College for ings, on CBS, include music of Berlioz and Massachusetts. He has won an Emmy Debussy with mezzo-soprano Frederica von the Boston Symphony Orchestra's "Eve- Stade, the Mendelssohn Violin Concerto with ning at Symphony" PBS television series.

LISTEN 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.

The art of music can not exist without

the art of listening.

For a free concert calendar, call or write:

New England W Conservatory

290 Huntington Avenue Boston, Massachusetts 02115

(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 1987-88 Edgar and Shirley Grossman chair Joseph McGauley First Violins Leonard Moss Malcolm Lowe *Michael Vitale Concertmaster *Harvey Seigel Charles Munch chair *Jerome Rosen Tamara Smirnova-Sajfar *Sheila Fiekowsky Associate Concertmaster *Gerald Elias Helen Horner Mclntyre chair Max Hobart Ronan Lefkowitz Assistant Concertmaster *Nancy Bracken Robert L. Beal, and * Jennie Shames Enid L. and Bruce A. Beal chair *Aza Raykhtsaum Lucia Lin *Valeria Vilker Kuchment Assistant Concertmaster Edward and Bertha C. Rose chair *Bonnie Bewick Bo Youp Hwang *Tatiana Dimitriades John and Dorothy Wilson chair, * James Cooke fully funded in perpetuity Winder Max Violas Forrest Foster Collier chair Gottfried Wilfinger ^Burton Fine Charles S. Dana chair Fredy Ostrovsky Patricia McCarty Dorothy Q. and David B. Arnold, Jr., Anne Stonem,an chair, chair, fully funded in perpetuity fully funded in perpetuity

*Participating in a system of rotated seating within each siring section tOn sabbatical leave ^Substituting, 1987-88

10

II 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 Timothy Morrison Mare Jeanneret Oboes Betty Benthin Alfred Genovese Trombones *Mark Ludwig Acting Principal Oboe Ronald Barron *Roberto Diaz Mildred B. Remis chair Wajoie 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 Babcoek fully funded in perpetuity Vernon and Marion Alden chair Tuba Mischa Nieland Esther S. and Joseph M. Shapiro chair Clarinets Chester Schmitz Margaret and William Joel Harold Wright C. Moerschel Rousseau chair Sandra and David Bakalar chair Ann S.M. Banks chair Thomas Martin Robert Ripley Timpani Luis Legnia 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 * Jonathan Miller Krentzman chair Arthur Press *Sato Knudsen Assistant Timpanist Peter Andrew Lurie chair Bassoons Thomas Ganger Sherman Walt Basses Edward A. Taft chair Frank Epstein Edwin Barker Roland Small Harold D. Hodgkinson chair Harp ^Matthew Ruggiero Lawrence Wolfe Ann Hobson Pilot §Donald Bravo Maria Nistazos Stata chair, Willona Henderson Sinclair chair fully funded in perpetuity Joseph Hearne Contrabassoon Personnel Managers Bela Wurtzler Richard Plaster Lynn Larsen John Salkowski Harry Shapiro *Robert Olson Horns *James Orleans Librarians Charles Kavalovski Marshall Burlingame Helen Sagoff Slosberg chair William Shisler Flutes Richard Sebring Margaret James Harper Doriot Anthony Dwyer Andersen Congleton chair Walter Piston chair Daniel Katzen Fenwick Smith Jay Wadenpfuhl Stage Manager Position endowed by Myra and Robert Kraft chair Richard Mackey Angelica Lloyd Clagett Leone Buyse Jonathan Menkis Alfred Robison Marian Gray Lewis chair

11 V .; •1^.»

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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-

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

13 .

American Paintings. Boston School

"Figure" by Dennis Miller Bunker (1861-1890) American, Charcoal on Paper, 1890, Study for Murals AT White Law Ried House (commissioned by McKim, Meade & White) Exhibited at Museum of Fine Arts, Boston in 1943. Sight Size: 18" X lyk" SELECT PAINTINGS BY

Helen Ccx)lidge Adams 1917- ALDROT HirraRD 1886-1972 EDITH SCXTTT 1877-1978 Ceoroe Ames Aldrich 1872-1941 Laura Ccximrs Hills 1860-1952 Prosper L. Senat 1852-1925 Marion Bcwd Allen 1862-1941 Charles Hokkrauer 1875-1957 GlenSheffer 1881-1948 Renynolds Beal 1866-1951 Winslow Homer 1836-1910 Walter Granville Smith 1870-1938

Cecilia Beaux 1855-1942 William J. Kaula 1871-1953 W. LESTER Stevens 1888-1969 Frank W. BENStw 1862-1941 Lee Lufkin Kaula 1865-1957 MaudStumm

John Appleton Brown 1844-1902 LeonKroll 1884-1974 Harry Sutton, J R 1879-1984 Howard Chandler Christy 1873-1952 JohnLaFarc^e 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

John J. Ennekinc; 1841-1916 Jeanette McMullin Ross Turner 1847-1915 George Pearse Ennis 1884-1936 George Loftus Noyes 1864-1959 Eugene Vail 1857-1934 Jacob Epstein 1880-1959 Charles Hovey Pepper 1864-1950 E. Amrroise Werster 1869-1935 William Mark Fisher 1841-1923 Parkers. Perkins 1862-1942 James ARBtirr McNeil Whistler 1834-1903 Arthur D. Fuller 1889-1966 LiLLA Cabot Perry 1848-1933 John Whorf 1903-1959 Charles Dana GiasoN 1867-1944 Jane Peterson 1876-1965 Arthur B. Wilder 1857-1949 Arthur Clifton Goodwin 1864-1922 Maurice Prendergast 1859-1924 Charles Allen Winter 1869-1942 Walter GREAVES 1846-1930 Gretchen Rogers 1881-1967 ARTHUR William Woelfle 1873-l%9 Henry Hensche 1901- Orlando RouLAND 1871-1945 Charles Woodbury 1864-1940 Joseph Sai.ks 1887-

The Comenos Antique Gallery At Paine Furniture.

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14 certs at the Panama- Pacific Exposition in predecessors, made many recordings for San Francisco. Recording, begun with RCA RCA; in addition, many concerts were tele- in the pioneering days of 1917, continued vised under his direction. Mr. Leinsdorf with increasing frequency, as did radio was also an energetic director of the broadcasts of concerts. The character of the Tanglewood Music Center, and under his Boston Symphony was greatly changed in leadership a full-tuition fellowship program 1918, when Henri Rabaud was engaged as was established. Also during these years, in conductor; he was succeeded the following 1964, the Boston Symphony Chamber Play- season by Pierre Monteux. These appoint- ers were founded. ments marked the beginning of a French- William Steinberg succeeded Leinsdorf oriented tradition which would be main- in 1969. He conducted several American tained, even during the Russian-born Serge and world premieres, made recordings for Koussevitzky's time, with the employment Deutsche Grammophon and RCA, of many French-trained musicians. appeared regularly on television, led the The Koussevitzky era began in 1924. His 1971 European tour, and directed concerts extraordinary musicianship and electric on the east coast, in the south, and in the personality proved so enduring that he mid-west. served an unprecedented term of twenty- Seiji Ozawa, an artistic director of the five years. Tanglewood Festival since 1970, became In 1936 Koussevitzky led the orchestra's the orchestra's thirteenth music director in in the Berkshires, and a year first concerts the fall of 1973, following a year as music later he and the players took up annual adviser. Now in his fifteenth year as music summer residence at Tanglewood. director, Mr. Ozawa has continued to solid- passionately Koussevitzky shared Major ify the orchestra's reputation at home and Higginson's dream of "a good honest abroad, and he has reaffirmed the orches- in that school for musicians," and 1940 tra's commitment to new music through his dream was realized with the founding at program of centennial commissions and a Tanglewood of the Berkshire Music Center recently initiated program including such (now called the Tanglewood Music Center). prominent composers as Peter Lieberson Expansion continued in other areas as and Hans Werner Henze. Under his well. In 1929 the free Esplanade concerts direction the orchestra has also expanded on the Charles River in Boston were inau- its recording activities to include releases gurated by Arthur Fiedler, who had been a on the Philips, Telarc, CBS, EMI/Angel, member of the orchestra since 1915 and Hyperion, New World, and Erato labels. who in 1930 became the eighteenth conduc- From its earliest days, the Boston Sym- tor of the Boston Pops, a post he would phony Orchestra has stood for imagination, hold for half a century, to be succeeded by enterprise, and the highest attainable stan- John Williams in 1980. The Boston Pops dards. Today, the Boston Symphony celebrated its hundredth birthday in 1985 Orchestra, Inc., presents more than 250 under Mr. Williams's baton. concerts annually. Attended by a live audi- Charles Munch followed Koussevitzky as ence of nearly 1.5 million, the orchestra's music director in 1949. Munch continued performances are heard by a vast national Koussevitzky's practice of supporting con- and international audience. Its annual bud- temporary composers and introduced much get has grown from Higginson's projected music from the French repertory to this $115,000 to more than $20 million, and its country. During his tenure the orchestra preeminent position in the world of music is toured abroad for the first time and its due not only to the support of its audiences continuing series of Youth Concerts was ini- but also to grants from the federal and tiated. Erich Leinsdorf began his seven- state governments, and to the generosity of year term as music director in 1962. Mr. many foundations, businesses, and individ- Leinsdorf presented numerous premieres, uals. It is an ensemble that has richly restored many forgotten and neglected fulfilled Higginson's vision of a great and works to the repertory, and, like his two permanent orchestra in Boston.

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Seiji Ozawa, Music Director BOSTON SYMPHONY Carl St. Clair and Pascal Verrot, .ORCHESTRA Assistant Conductors Stljl OZAW'A^ 1987-88 Muitc One Hundred and Seventh Season, Director

Thursday, April 7, at 8 Friday, April 8, at 2 Saturday, April 9, at 8

Tuesday, April 12, at 8 Sponsored by Bank of Boston

SEIJI OZAWA conducting

SESSIONS Concerto for 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)

INTERMISSION

The program continues on page 19.

The evening concerts will end about 10 and the afternoon concert about 4. RCA, Deutsche Grammophon, Philips, Telarc, CBS, EMI/Angel, Erato, New World, and Hyperion records Baldwin piano SHREVECRUMP ^LOW JEWELERS SINCE 1800

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Symphony Hall. Boston, MA 02115 MENDELSSOHN Symphony No. 2 in B-flat, Opus 52, Lobgesang, A symphony-cantata to words from Holy Scripture

1. Sinfonia Maestoso con moto—Allegro—Maestoso con moto come I Allegretto un poco agitato Adagio religioso 2. Allegro moderato maestoso—Allegro di molto (Alles, was Odem hat, lobe den Herrn) Molto piu moderato ma con fuoco (Lobe den Herrn, meine Seele) 3. Recitativo (Saget es, die ihr erloset seid durch den Herrn) Allegro moderato (Er zahlet unsre Tranen in der Zeit der Not) 4. Chor. A tempo moderato (Sagt es, die ihr erloset seid) 5. Andante (Ich harrete des Herrn) 6. Allegro un poco agitato—Allegro assai agitato—Tempo I moderato (Stricke des Todes hatten uns umfangen)

7. Allegro maestoso e molto vivace (Die Nacht ist vergangen) 8. Choral. Andante con moto—Un poco piu moderato (Nun danket alle Gott) 9. Andante sostenuto assai (Drum sing' ich mit meinem Liede ewig dein Lob) 10. Allegro non troppo—Piu vivace—Maestoso come I (Ihr Volker, bringet her dem Herrn Ehre und Macht!)

EDITH WIENS, soprano KAREN LYKES, mezzo-soprano JACQUE TRUSSEL, tenor TANGLEWOOD FESTIVAL. CHORUS, JOHN OLIVER, conductor

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

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20 Roger Sessions Concerto for Orchestra

Roger Huntington Sessions was born in Brooklyn, New York, on December 28, 1896, and died in ^^^^HP Princeton, New Jersey, on March 16, 1985. The w^^ Concerto for Orchestra, composed on a commission from the Boston Symphony Orchestra for its centen- bwt nial, was started in 1979 and completed on August 16, 1981; it is the composer's last completed work. The title page bears the following inscription: "Con-

^^^." '^ -• 'ai^&B. certo for Orchestra composed in celebration of the one-hundredth anniversary of the Boston Sym- phony Orchestra," and the published score contains the dedication, 'Ho Seiji Ozawa, also in memory of all of his illustrious predecessors who built and maintained the Boston Symphony Orchestra. " The ^^^ first performances took place on October 23 and 24, 1981, in the actual week of the orchestra's centennial, on a program with Beethoven's Ninth Symphony. Seiji Ozawa conducted those performances as well as repetitions in January 1982 and the Tanglewood, New York, and Washington, D.C. premieres later that year. The work received the Pulitzer Prize for 1982. The score calls for two flutes and piccolo, two oboes and English horn, two clarinets, E-flat clarinet, and bass clarinet, two bassoons and contrabassoon, four horns, three trumpets, three trombones, tuba, timpani, xylophone, cymbals, whip, snare drum, glockenspiel, Chinese drum, military drum, tambourine, triangle, tam-tam, tenor drum, wood block, harp, and strings.

Roger Sessions may have been born in Brooklyn, but his family's roots and his own sense of "home" were New England. He entered Har\^ard College at the age of fourteen and began subscribing to the concerts of the Boston Symphony Orchestra which, as he remarks in his own program note for the Concerto for Orchestra (reproduced below), had a continuing influence on his conception of orchestral sound. Already in those vears he had made his commitment to music. Piano lessons, begun with his mother at age four, had led to his first composition at twelve and an opera, Lancelot and Elaine, the following year. It was then that he broke the news to his parents that he had decided to be a composer.

I suppose they were a little anxious about such a decision and so, surrep- titiously, they asked the advice of a lot of musicians, including Humperdinck, who was in New York at the time. My father was going to see Puccini, but didn't

succeed. I heard, years later in Italy, that Puccini had told a story of having been asked to see the music of a young boy in America and to advise his parents

whether he ought to go on with it. He paced the floor all night and decided he

couldn't take that responsibility, so he called off the appointment. I don't know

whether it was I or not, but I assume it was, because Puccini did call off the appointment.

But the general reports were encouraging, and Sessions studied some harmony during the summer before his entrance into Hansard, passed the harmony exam, and enrolled in Archibald Davison's counterpoint course. During his junior year. Har- vard composer Edward Burlingame Hill strongly encouraged Sessions to plan on further studies in Europe with Ravel after graduation. But the year was 1914, and Europe was soon clearly out of the question. So he went, instead, to Yale, where he worked with Horatio Parker; there he wrote the first movement of a symphony as his thesis and won the major composition prize. After leaving Yale, he began to teach at Smith College, intending to complete his symphony there. The later movements gave

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22 5

him more difficulty, and, realizing that he needed more teaching, he began to work his way through Cherubini's Counterpoint and d'Indy's Cours de Composition. But the most fateful connection was with Ernest Bloch, who had recently arrived in the United States. Sessions wrote to him in New York, asking for his advice on the unfinished symphony.

I went down to see Bloch in a state of terrific enthusiasm; he treated me quite roughly. He sat me down at the piano and made me play the first movement of my symphony, and then he stood behind me and shouted the names of all the composers that I was influenced by. It happened that I knew that I was influ-

enced by those composers so that, although I was a little disconcerted, I wasn't

really fazed by it. It finally got so that I joined in with him just to show him what the situation really was. Then he sat me down afterward and said, "Look, after all, every young man is influenced by other composers. But the important thing is that you must be there too. Now, you must make a big resolution: give up the symphony and work very hard for two years. And in two years you'll be able to do anything you want."

In order to get me started we analyzed the first eight measures of Opus 2, No. 1 of Beethoven, the F minor Sonata. And I must say that these ten or twenty minutes or however long it took to go through this were about the most impor- tant thing in my whole musical education, because of the way Bloch went at this.

There was nothing very startling about it; but just showing how one thing led to another, how these harmonies, simple as they were, built up to an important rhythmic point, how the bass line went up the scale, how the motifs got shorter as the climax is approached—all this made sense for the first time. And I really, literally, thought to myself, "All that harmony that I studied does make sense after all."

Sessions spent two more years teaching at Smith and taking occasional lessons with Bloch. Then, in 1921, he became Bloch's assistant at the Cleveland Institute of

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23 Music. It was about that time that Stravinsky's Petrushka and Rite of Spring were published. Those two scores, and the works of Bloch, strongly influenced the style of Sessions's earliest major work, the one that is still most frequently performed and recorded: The Black Maskers, composed originally as incidental music for a produc- tion of Leonid Andreyev's expressionist drama at Smith College, and later expanded into an orchestral suite. The Black Maskers established the young composer's reputation and was largely responsible for the first of a series of grants and prizes that allowed him to live and work for the next several years in Florence, Paris, and Berlin. In the meantime he had composed his First Symphony (a totally different work from the score he had shown to Bloch), which was given its premiere in Boston by Serge Koussevitzky in 1927. His name lent prestige to the Copland-Sessions concerts, a wide-ranging series of concerts of new music held in New York and London for a few years beginning in 1928. And when he returned to the United States in 1933, he began a distinguished teaching career, spent mostly (except for seven years at the University of California at Berkeley) at Princeton University from 1935 until his retirement in 1965; he continued teaching at Juilliard until shortly before his death. Given the reputations and range of the students who studied with him—Milton Babbitt,

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24 Edward Cone, Peter Maxwell Davies, David Diamond, Vivian Fine, Miriam Gideon, John Harbison, Andrew Imbrie, Earl Kim, Leon Kirchner, Fred Lerdahl, Donald Martino, Hugo Weisgall, and Ellen Taaffe Zwilich among them—it is clearly not hyperbole to claim Sessions as the most important American teacher of composition of the last half-century. And given his own electric response to Bloch's comments on the Beethoven sonata so long ago, it is not at all surprising to find him using the same approach, opening up his students' perceptions with detailed study of a Beethoven sonata, a Haydn string quartet, or a Bach organ piece. In his last years at Juilliard, he also offered a semester-long course devoted to the intensive study of a single, favorite composition. One such work was Beethoven's Ninth Symphony, so he was particularly pleased that his Concerto for Orchestra had its world premiere on a program shared with the Beethoven work.

At the beginning of his career, Sessions's music showed most clearly the influence of Stravinsky, which put him on one side of the "great divide" of twentieth-century composition. But very gradually, over a period of years, his work approached the twelve-tone system, which he finally adopted in his late fifties (rather to his own surprise). And yet it is important to remember that the choice of "system" is less significant than the musical intelligence behind it. His music has always been dense and highly active, filled with such a rich lode of detail that it cannot possibly be taken in at first hearing. Sessions himself has addressed this aspect of his work in an essay disarmingly titled "How a 'Difficult' Composer Gets That Way." After recall- ing a remark of Einstein's to the effect that everything should be as simple as it can be, but not simpler, he confesses:

I would prefer by far to write music which has something fresh to reveal at each new hearing than music which is completely self-evident the first time, and though it may remain pleasing makes no essential contribution thereafter.

Roger Sessions (at left) with BSO Music Director Seiji Ozawa and the late BSO radio broadcast producer Jordan Whitelaw during rehearsals for Sessio7is's Concerto for Orchestra in October 1981

25 Week 21 Naturally I do not try to write either kind—how can one? I try only to put into each work as much of myself as possible. It is very hard to put into words what

this means. One is fully identified with the work, possessed by it, living in the

world which makes the work for one, and trying to bring it into being. When one

is finished, one loses this particular sense of identity. One's work becomes, as it were, an objective fact.

John Harbison speaks to this point in his thoughtful article on Sessions in The New Grove Dictionary of American Music, when he says that the difficulties in Sessions's music "are not the result of calculations or intellectual schemes, but of a complex and spontaneous mind." At the same time. Sessions has always sought "the long line," a carefully planned continuity of musical gesture, built of complex inter- actions of tension and release that run from the beginning of the piece to the end,

subordinating each detail, however attractive or striking it may be, to the shape and effect of the whole.

Sessions is one of those rare composers who had more and more to say as time went on. His early reputation, though substantial, was based on an extraordinarily small oeuvre. But after completing his Sonata for unaccompanied violin (1953), his first work to make extended use of twelve-tone principles, he continued to turn out

26 one or two major compositions a year until near the end of his life. No fewer than seven of his nine symphonies were composed after the age of sixty; the Third Symphony, earliest in this series, was commissioned by the Boston Symphony Orchestra for its seventy-fifth anniversary. During the last quarter-century of his life, he also completed the opera Montezuma (which he had begun in 1947, but did not finish until 1963) and composed his Third Piano Sonata, a concerto for violin, cello, and orchestra, a Rhapsody for orchestra, and the hour-long cantata ^lien Lilacs Last in the Dooryard Bloom'd, as well as numerous smaller works. He spent his last years working on a comic opera. The Emperor's New Clothes, which was to have a libretto by Andrew Porter.

In his last years Sessions was honored with special frequency. In 1968-69 he was the Charles Eliot Norton Lecturer at Hansard. Having been overlooked by the Pulitzer Prize committee for many years, he was finally, and justifiably, awarded a belated special citation for lifetime achievement in 1974. In the spring of 1977 the Boston Symphony Orchestra bestowed on him its Horblit Award, designed to recognize major career achievement, when he was here for performances and a recording of his cantata When Lilacs Last in the Dooryard Bloom'd. And he crowned his career with his last completed work, the Concerto for Orchestra, which received the 1982 Pulitzer Prize.

Though the Concerto for Orchestra sadly proved to be Sessions's final work, it in no way hints at a farewell to life. As John Harbison wrote in The New Grove Dictionary of American Music, "At 84 he had written a work of physical vigor and elegant proportions, whose final valedictory pages strike a new tone: ceremonial, generous—a comrade beginning a new journey." The title of the work conjures up one of the most famous of all the pieces given its world premiere by the Boston Symphony Orchestra, Bartok's Concerto for Orchestra, but Sessions's approach is markedly different from Bartok's; he uses the massed ensemble far less frequently, treating the orchestra instead as a large collection of virtuosic soloists who weave a colorful, complex tapestry as individuals and families of instruments. Moreover, the strings play a far less predominant role than we might expect in a work with this title; perhaps Sessions simply wanted to redress decades—and even centuries—of imbalance. The piece is cast in three movements with a traditional pattern of tempos, fast-slow-fast, but runs essentially without break from one to the next (though a clearly perceptible "fall" brings each movement to its end as it links to the next).

Sessions himself wrote a brief program note for the Concerto for Orchestra at the time of the first performance. His comments make no attempt to analyze the piece in depth, but simply guide the listener in pursuing some of the connotations of the music, such as the "alternately playful and lyrical" character of the first movement. He is concerned neither with poetic images nor with intricate twelve-tone analysis, but with listeners' immediate reaction to the direct experience of listening:

This piece represents, first of all, an expression of gratitude for all that the

Boston Symphony Orchestra has meant to me since I first heard it almost exactly seventy years ago. At that time I was fourteen years old, and for four seasons I was not only a subscriber and regular attendant at the Saturday- evening concerts, but often attended the Friday-afternoon ones as well. These were my first experiences of orchestral music, aside from two or three operatic performances which I had heard. Later, beginning in 1927, the Boston Sym- phony gave me a number of memorable performances of my own music, two of which were world premieres. I have often said that the orchestral sound of the Boston Symphony as I first heard it impressed itself on my musical memory and strongly affected my own style of orchestral writing.

In this Concerto I wished to pay tribute not only to the orchestra as a whole but also to its various groups. Thus, in the first section, alternately playful and lyrical, the woodwinds play a very prominent role; this is followed by a slow

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28 section, introduced by a passage on the trumpet which rises from a low B through nearly two octaves to a high A-flat. In this part, a solemn Largo, the brass instruments play the main role, beginning with the trombone, answered in turn by the horn and the trumpet. A contrasting middle section extends the register by introducing the high woodwinds and more movement. After a climax the music of the previous Largo returns and gradually reaches the largest of the climaxes, which subsides as the trombones once more sound the A and G-sharp with which the movement began. A trumpet call, a little like the one which introduced the first of the three sections, introduces the final section, which is festive in character. A short concluding statement, three phrases long, brings the piece to a quiet end. —Roger Sessions

A few further comments might be appended to this straightforward and purposely brief outline. Sessions was always a slow starter when creating a new piece. He might spend months working out the opening bars. It was as if he needed to live in the musical world of a given piece, to understand the interactions of melody and harmony, the implications of the first ideas. Once these were fully established and clear in his mind, the remainder of the work flowed with considerable fluency.

Things happen fast in Sessions's music. Several ideas appear in quick succession, moods change, colors alter. The briefest idea may turn out to generate large stretches of musical material, but often in a way that seems more "intuitive" than "strict." The composer himself was not much interested in attempts at detailed twelve-tone analysis (which, in the long run, is more frequently addressed to other composers than to listeners in the concert hall). But rhythms, colors, and basic shapes can be singled out as forming the essential materials of the piece.

The very first gesture is a sassy, soaring fanfare in the strings and upper woodwinds

variants of which (both rising and falling) will be heard throughout the piece. Indeed, almost at once, the trombones respond with a downward-tending reply. A very characteristic figure, at once theme and punctuation, appears soon after in the slow alternation of B and A, high up in the xylophone and piccolo, like a measured trill; this is one of the easiest gestures in the score to hear, and it recurs in many different guises. rrm ,fmrr i | | /

On this first occasion it is accompanied by a somewhat different fanfare-like figure in the English horn and E-fiat clarinet, a fanfare with a characteristic zigzag shape to its melodic line.

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This figure, too, will feature prominently, in both rising and falling directions,

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Throughout the history of symphonic music, the brass instruments have been so often used to produce brilliance and weight that it is striking to hear them in a more lyric mood, as they appear in Sessions's slow movement. It is the woodwinds that increase the activity, in sinuous lines, seconded by the strings. Only at the climax of the movement do the brasses—particularly the trombones—provide the heft that we normally associate with that family of instruments. Following this climax, the sound dies away suddenly for the briefest of echoes of the opening (the trombone's A and G-sharp mentioned by the composer).

Suddenly the trumpets inject an impertinent fanfare.

Though its shape is not exactly the same, it recalls the very opening of the Concerto and introduces the "festive" finale, filled with an intricate play of tiny motives and themes. The various orchestral families jump into the game more readily now, seizing and yielding leadership with abandon. A climactic statement of descending fanfares for the full orchestra brings on the close: in the slow tempo of the middle movement, the full orchestra sings three climactic, summarizing statements, and the Concerto dies away on a sustained chord in horns, tuba, clarinet, and oboe, a hushed chord, eloquent and evocative. —Steven Ledbetter

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Julv 13. 8 PM July 14. 8 PM Julv 17, 3 PM LEONnXE PRICE. Soloist HORACIO GUTIERREZ. Piano BEETHO\TN SPECTACULAR Hbrks by Mozart, Gershwin, Copland Appalachian Spring Symphony No. 6 (Pastorale) and Debussy's "La Mer. Brahms Piano Concerto No. 2 Wellington's Victory-Battle Symphony with concert band Julv 20. 8 PM Julv 21. 8 PM and live cannons. VLADIMIR FELTSMAN, Piano CHORUS PRO MUSICA Prokofiev Piano Concerto No. 2 E.sther Hinds. Janice Taylor, Gary July 24, 3 PM Mussorgsky/ Ravel "Pictures at Lakes, Kevin Langan, Soloists MIDORI. Violin an Exhibition" Mozart Concerto for Flute TCHAIKOVSKY SPECTACULAR and Harp "Romeo and Juliet," Julv 27. 8 PM Mahler "Das Klagende Lied" Overture and Fantasia GERARD SCHWARTZ, Violin Concerto Conductor Julv 28, 8 PM 1812 Overture YEFIM BRONFMAN, Piano JEAN-PIERRE RAMPAL, Beethoven Piano Concerto No. 3 Conductor and Flute Soloist July 31, 8 PM Brahms Symphoity No. 2 Bach Flute Concerto in JOHN DANKWORTH, D Major Conductor

August 3, 8 PM Mozart Flute Concerto No. 1 CLEO LAINE, Vocalist ANDREW DAVIS, Conductor Franck Sympkoraj in D Minor In Concert CHRISTOPHER PARKENING, Guitar August 4, 8 PM August 7, 3 PM Rodrigo Fantasia para un ANDREW DA\'IS, Conductor MICHAEL LANKESTER, Gentilhombre JOSHUA BELL, Violin Conductor Bizet Symphony in C Mozart Violin Concerto No. 5 THE CANADIAN BRASS Falla 'Three Cornered Hat," Strauss Don Juan In Concert Three Dances

Great Woods is located off of Rt. 495 in Mansfield Massachusetts, within 40 minutes of Boston, Worcester and Providence. Felix Mendelssohn Symphony No. 2 in B-flat, Opus 52, Lobgesang

Jakob Ludwig Felix Mendelssohn was born in Ham-

burg on February 3, 1809, and died in Leipzig on November 4, 1847. Bartholdy was the name of his maternal uncle, Jakob, who had changed his own name from Salomon and taken on Bartholdy from the previous owner of a piece of real estate he bought in Berlin. It was he who most insistently urged the family's conversion to Lutheranism; the name Bar- tholdy was added to Mendelssohn—to distinguish the Protestant Mendelssohns from the Jewish ones— when Felix's father actually took that step in 1822, the children having been baptized as early as 1816.

Mendelssohn composed the Lobgesang (Hymn of Praise) for a festival celebrating the 400th anniver- sary of Gutenberg's invention of movable type, held in ^l. Thomas's Church in Leipzig in June 1840; Mendelssohn himself conducted. But the piece as we know it is somewhat expanded from what was heard there. The first American performance took place in New York on February 22, 1845, with the Philhar- monic Society conducted by George Loder. The only previous performance by the Boston Symphony Orchestra took place in Pittsburgh on May 19, 1890; Arthur Nikisch conducted, with the Mozart Club, but only one soloist, ''Mme. Steinbach Jahns, " is listed in the orchestra's performance file, so it seems unlikely that the entire work was heard on that occasion. The score calls for three solo voices—two sopranos and a tenor—plus mixed chorus, and an orchestra consisting of flutes, oboes, clarinets, and bassoons in pairs, four horns, two trumpets, three trombones, timpani, organ (in the choral move- ments only), and strings.

The early history of the Lobgesang—also, and confusingly, known as Men- delssohn's Symphony No. 2 (published as such both with and without the choral finale)—is somewhat mysterious. First of all, though, it is worth emphasizing that the "No. 2" has nothing to do with the work's chronological sequence in Men- delssohn's symphonies. It was composed eight years after the Reformation

Symphony (No. 5), seven after the Italian Symphony (No. 4), and a decade after he had sketched the Scottish Symphony (No. 3), though the latter did not reach its final form until after Mendelssohn had composed and performed the Lobgesang. Many of Mendelssohn's works—including the Italian and Reformation symphonies—were not published in his lifetime, so the numbering system gives a very misleading picture of when various pieces were composed. In the matter of its conception, if not completion, the Lobgesang is the very last of Mendelssohn's symphonies.

The work began as part of a festival held in the city of Leipzig to honor Johannes Gutenberg on the 400th anniversary of the invention of printing from movable type. It enjoyed a marked success at the premiere. Robert Schumann reviewed the concert in glowing terms:

The whole [piecel stimulated enthusiasm, and certainly the work, particularly in the choral movements, is to be accounted one of [Mendelssohn's] freshest and

most charming creations. . . . We shall not emphasize details; and yet—that duet, interrupted by the chorus, Ich harrete des Herrn [No, 5], after which there broke forth in the audience a whispering which counts for more in the church than loud applause in the concert-hall. It was like a glimpse into a heaven of Raphael's madonnas' eyes.

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140 Broadway New York, NY 10005 Carleton-VVJilard 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. CARLFION'WILLARD VDXME 100 Old Billerica Rd. Bedford, MA 01730 (617) 275-8700 Owned and operated by Carieton-Willard Homes, Inc., a non-profit corpKwation About a month later, Mendelssohn wrote to his good friend Karl Klingemann describing the event, referring to the Lobgesang as "no oratorio, but, as I called it in

German, 'eine Symphonie fur Chor und Orchester' . . . three symphonic movements followed by 12 [sic] choral and solo sections." On November 18, Mendelssohn wrote again to Klingemann, describing some changes he has made in the work:

Strange, that when I first conceived the idea I wrote to Berlin that I wanted to

write a symphony with chorus; afterwards, I didn't have the courage for it,

because the three movements were too long for an introduction, and yet I always had the feeling that there was something lacking in the mere introduction. Now the symphonic movements will come in according to the old plan, and then the piece will come out ... I do not believe that it will really lend itself to performances, and yet I love it so much.

It appears, then, that Mendelssohn originally wanted a choral symphony (no doubt inspired, in the first instance, by Beethoven's Ninth) for the Gutenberg festival, but that he settled for a choral work with a "mere introduction." Later he returned to his "old plan" and combined the choral work with three orchestral movements. On the basis of this and other evidence, Eric Werner assumes that Mendelssohn had already begun a symphony in B-flat, intended at the outset to be purely orchestral, when the commission for the Gutenberg festival came up. In this view, Mendelssohn would have chosen to make the opening theme of the first movement an element in a symphonic-choral cycle (possibly revising the existing scherzo—the second movement—so as to insert the cyclic theme as a contrapuntal accompaniment). But he evidently backed off from completing this version of the work for the festival and only returned to it later.

In any case, Mendelssohn was clearly fond of the piece. He must have been gratified, then, that, during his own lifetime and for many years thereafter, it was enormously popular—quite possibly his most frequently performed symphonic

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36 work. In the last century, though, the Lobgesang has fallen into what might charita- bly be described as near-oblivion. A chance to hear the work again provides us with a touchstone for musical taste in the 1840s and some indication of how it has changed in a century and a half.

Though Mendelssohn may have planned the work as an analogue to Beethoven's Ninth, he was far too perceptive not to realize how difficult it would be to match the Beethoven work. But in the end, the proportions of his symphony are so unlike those of the Beethoven work—Mendelssohn's choral finale far outweighs the rest of the symphony in length—that it bears only the most superficial relationship to its putative model. In the end, Mendelssohn accepted Klingemann's proposal for what to call the piece: a "symphony-cantata," all in all a more apt description.

The first movement begins with a majestic proclamation from the trombones, a tune that we shall eventually hear allied to the words, "Let everything that breathes praise the Lord," from Psalm 150. This theme will bear the brunt of the development in the first movement. The Allegretto dances lyrically along in a rocking 6/8 time, sometimes taking on the character of a graceful waltz; its middle section transforms the opening theme of the first movement into the 6/8 meter. The Adagio religioso is sweet in that sometimes sugary way that Mendelssohn can have when he wants to be lyrical and serious at the same time, but there are delicate touches of orchestral color.

Following the three movements of the "Sinfonia," the cantata proper begins with a vigorous statement of the work's principal theme, first in the orchestra, and then in a choral fugue on the opening words of Psalm 150. The work continues in solo and choral passages that are beautifully colored (the woodwinds, for example, in the soprano solo with women's voices that concludes No. 2, or the delicacy of touch in the chorus of No. 4). By far the best-known part of the score is the soprano duet with chorus. No. 5, which has been performed by church choirs from Mendelssohn's day to ours—and it was this passage that Schumann chose to highlight in his review. But Schumann probably did not hear the most expressively powerful part of the score, Mendelssohn's memorable afterthought, composed after a sleepless night, in which the tenor repeatedly asks, "Watchman, will the night soon pass?" Only at the very end of the movement does the soprano announce, "The night has passed," a thrilling moment, leading to a substantial chorus in the bright key of D major. Then an a cappella harmonization of the familiar chorale "Now thank we all our God" contin- ues, for the chorale's second stanza, in an attractive piece of pseudo-Bach, with the chorus singing the lines of the chorale in octaves while the orchestra surrounds and embellishes the lines with steady sixteenth-note figurations. Following a flowing duet for tenor and soprano, Mendelssohn ends his cantata with—naturally—an elaborate final chorus planned on a grand scale and closing with a last reminiscence of the opening theme. —S.L.

Text and translation begin on page 38.

37 Week 21 No. 1. SIXFOXIA

No. 2. CHORUS: Allegro moderato maestoso

Alles. was Odem hat. lobe den Herm! Let everj-thing that breathes praise the Lord: Halleluja. lobe den Herml HaUelujah. praise the Lord!

Allegro di molto

Lobt den Herm mit Saitenspiel. Praise the Lord with the string instruments, lobt ihn mit eurem Liede! praise him with your song! Und alles Fleisch lobe seinen heiligen And let all flesh praise his holy Xamen. name. Alles. was Odem hat. lobe den Herm. Let everything that breathes praise the Lord. SOPRANO SOLl> AXD WOMEX'S CHORUS: Molto piu moderato ma eon fuoeo

Lobe den Herm. meine Seele. und was in Praise the Lord, my soul, and all within me. mir ist. seinen heUigen X'amen! praise his holy name. Lobe den Herm. meine Seele. und vergiss Praise the Lord, my soul, and forget es nieht. was er dir Gutes getani not the good things he has done!

Xo. 3. TEXOR SOLO: Recitative

Saget es. die ihr erloset seid durch den Declare that you are redeemed through the Herm, Lord. die er aus der Xot errettet hat. who saved mvoo from mvour distress, aus schwerer Trubsal. aus Sehmaeh und from deep sadness, from shame and Banden. bondage, die ihr gefangen im Dunkel waret. you who were captives in the darkness. alle. die er erlost hat aus der X'ot. all whom he has redeemed from distress. Sag:et es! Danket ihm und ruhmet seine Tell it forth! Thank him and praise his Gute! goodness!

Allegro moderato

Er zahlet unsre Tranen in der Zeit der X'ot. He numbers our tears in time of distress er trostet die Betrubten mit seinem Wort- he comforts the sorrowing with his word.

No. 4. CHORUS: A tempo moderato

Sagt es. die ihr erloset seid Tell it forth that you are redeemed Von dem Herm aus aller Trubsal. by the Lord from all sorrow. Er zahlet unsre Tranen in der Zeit der X'ot. He numbers our tears in the time of distress.

Xo. 5. SOPRAXO SOLI AXD CHORUS: Andante

Ich harrete des Herm. I waited for the Lord. und er neigte sich zu mir and he inclined unto me und horte mein Flehn. and heard my prayer. Wohl dem. der seine Hofifnung setzt Blessed is the man that puts his trust in auf den Herm! the Lord! Wohl dem. der seine Hofihung setzt Blessed is the man who puts his hope in him! auf ihn!

38 No. 6. TENOR SOLO: Allegro un poco agitato

Stricke des Todes hatten uns umfangen, Bonds of death had closed around us, und Angst der HoUe hatte uns getroffen, and sorrows of hell had struck us, wir wandelten in Finsternis. we wandered in darkness. Er aber spricht: Wache auf! But he speaks: Awake! Waehe auf, der du schlafst, Awake, you who sleep, stehe auf von den Toten, arise from the dead, ich will dich erleuchten! I will light your way.

Allegro assai agitato

Wir riefen in der Finsternis: We cried out in the darkness: Hiiter, ist die Nacht bald hin? watchman, will the night soon pass?

Tempo I moderato

Der Hiiter aber sprach: But the watchman said: Wenn dier Morgen sehon kommt, Even if the morning comes soon, so wird es doch Nacht sein; yet it will be night again; wenn ihr schon fraget, and if you enquire, so werdet ihr doch wieder kommen you will come back once more und wieder fragen: and enquire again: Hiiter, ist die Nacht bald hin? watchman, will the night soon pass? SOPRANO SOLO

Die Nacht ist vergangen. The night has passed away.

No. 7. CHORUS: Allegro maestoso e molto vivace

Die Nacht ist vergangen, The night has passed away der Tag aber herbeigekommen. and the day has come. So lasst uns ablegen die Werke der So let us cast off the works of the Finsternis darkness und anlegen die Waffen des Lichts and put on the armor of light, und ergreifen die Waffen des Lichts! and take up the armor of light. Die Nacht ist vergangen. The night has passed away.

—Please turn the page quietly, and only after the music has stopped. —

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Yes, ril help keep great music alive. Consider me a Friend of the BSO for the 1987-88 season. (Friends' benefits begin at $50.) Enclosed is my gift of $ to the Boston Symphony Annual Fund. '' ,!'':. ^Tf-,.,: -^':- V Name Tel. Boston Address Symphony ATmual- City State Zip '' Fund*

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40 No. 8. CHORALE: Andante eon moto

Nun danket alle Gott Now let us all thank God mit Herzen, Mund und Handen, with heart, mouth, and hands, der sich in aller Not who, in all adversity, will gnadig zu uns wenden, turns graciously to us, der so viel Gutes tut; and does so many good things; von Kindesbeinen an from childhood on uns hielt in seiner Hut he has kept us in his care, und alien wohlgetan. and done good to all. Lob, Ehr' und Preis sei Gott, Glory, honor, and praise to God dem Vater und dem Sohne the Father and the Son, und seinem heiFgen Geist and to the Holy Spirit im hoehsten Himmelsthrone. on heaven's highest throne. Lob dem dreiein'gen Gott, Praise to God, the three-in-one, der Nacht und Dunkel schied who separated night and darkness von Licht und Morgenrot, from light and dawn; ihm danket unser Lied. let our song thank him.

No. 9. TENOR AND SOPRANO SOLL Andante sostenuto assai

Drum sing' ich mit meinem Liede Therefore with my song I sing ewig dein Lob, du treuer Gott! ever thy praise, thou one true God. Und danke dir fiir alles Gute, das du an And thank you for all good things, that mir getan! you have done for me. Und wandl' ich in Nacht und And though I wander in night and tiefem Dunkel, deep darkness, und die Feinde umher stelien mir nach: and enemies beset me all around: so rufe ich an den Namen des Herrn, yet I call upon the name of the Lord, und er errettet mich nach seiner Giite. and he saves me with his goodness. Drum sing' ich mit meinem Liede Therefore with my song, I sing ewig dein Lob, du treuer Gott! your praise eternally, one true God. Und wandl' ich in Nacht, And though I wander in the night, so ruf ich deinen Namen an, yet I call upon thy name ewig, du treuer Gott! forever, thou only God!

No. 10. FINAL CHORUS: Allegro non troppo

Ihr Volker, bringet her dem Herrn Ye peoples, offer to the Lord Ehre und Macht! glory and might! Ihr Konige, bringet her dem Herrn Ye kings, offer to the Lord Ehre und Macht! glory and might! Der Himmel bringe her dem Herrn Heaven, offer to the Lord Ehre und Macht! glory and might! Die Erde bringe her dem Herrn Earth, offer to the Lord Ehre und Macht! glory and might!

Piu vivace

Alles danke dem Herrn! Let all give thanks to the Lord! Danket dem Herrn und riihmt seinen Thank the Lord and praise his name Namen und preiset seine Herrlichkeit! and extol his majesty!

Maestoso come I

Alles, was Odem hat, lobe den Herrn, Let everything that breathes praise the Lord. Halleluja, lobe den Herrn! Hallelujah, praise the Lord!

41 More . . .

John Harbison's article on Roger Sessions in The New Grove Dictionary of American Music is an excellent brief introduction to the man and his work. A marvelously personal view of Sessions that gets beyond the stern facade that most viewers have felt in the man (probably caused by his shyness as much as anything) can be obtained from Andrea Olmstead's Conversations with Roger Sessions, the fruit of years of tape- recorded interviews. Though not all of Sessions's works are discussed in the book, there are interesting insights on many pieces, and much else. Olmstead has also written a more purely academic book, Roger Sessions and his Music (UMI Research Press), heavily indebted to the Sessions interviews as well as secondary sources; it discusses virtually all of Sessions's works, one by one, in some detail, but is better suited to reference than casual reading. Edward T. Cone's long interview with Ses- sions in Perspectives on American Composers (Norton paperback), from which some of the quotations in the program note are taken, is extremely interesting. The same volume contains a discussion of Sessions's music, necessarily much more technical, by Andrew Imbrie ("Roger Sessions: In Honor of his Sixty-Fifth Birthday") and a

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42 lengthy statement by Sessions himself on what the proper education for a composer should be ("To the Editor"). The lectures given at Harvard when Sessions held the Charles Eliot Norton professorship there in 1968-69 are published as Questions About Music (Norton paperback). A substantial collection of other Sessions essays on a variety of topics has been edited by Edward T. Cone (Princeton, available in paper- back). I am also particularly indebted to David Fuentes for allowing me to read his Brandeis dissertation, Dramatic Strategy in Sessions' Concerto for Orchestra, which has strongly informed my view of the piece; the study will soon be available from University Microfilms.

The Concerto for Orchestra has been recorded by Seiji Ozawa and the Boston Symphony Orchestra (Hyperion, coupled with another BSO Centennial commission, Andzrei Panufnik's Sinfonia Votiva [Symphony No. 8]). Other Sessions works on recommended recordings: the suite from The Black Maskers is available in a perform- ance by the Eastman-Rochester Orchestra under Howard Hanson (Mercury, with works by Barber and Ginastera). His Symphony No. 3, commissioned for the BSO's seventy-fifth anniversary, was recorded by the Royal Philharmonic Orchestra under Igor Buketoff; it has long been unavailable, but recently CRI, continuing its laudable (and almost unique) policy of licensing reissues of important contemporary music recordings that other companies have decided to drop, brought it out again (along with the Lees Concerto for String Quartet and Orchestra). The cantata When Lilacs Last in the Dooryard Bloom'd was recorded by the Boston Symphony Orchestra under Seiji Ozawa following performances here in 1977; the performers included Esther Hinds, Florence Quivar, Dominic Cossa, and the Tanglewood Festival Cho- rus, John Oliver, conductor (New World; it will soon appear on a compact disc). Two other superb recordings of important Sessions compositions contain the Violin Concerto, played by Paul Zukofsky with Gunther Schuller conducting the French Radio Orchestra (CRI), and the Eighth Symphony and the Rhapsody for Orchestra, Fredrik Prausnitz conducting the New Philharmonia Orchestra (Argo, with works by Wallingford Riegger and Thea Musgrave). And just last year the Rhapsody appeared on a new recording with both the Fourth and Fifth symphonies in strong performances from the Columbus Symphony Orchestra conducted by Christian Badea (New World, available on compact disc).

Karl-Heinz Kohler's Mendelssohn article in The New Grove is the best place to start; it has been reprinted in The New Grove Early Romantic Masters 2, which also includes the Grove articles on Weber and Berlioz (Norton paperback). Philip Radcliffe's Mendelssohn in the Master Musicians series (Littlefield paperback) is a good introductory life-and-works treatment, though now somewhat outdated. Eric Werner's Mendelssohn: a New Image of the Composer and his Age is the most recent serious biography, especially good on the period, often trivial on the music. Men- delssohn's own letters are delightful, but the published versions are frightfully bowdlerized; a much-needed new critical edition is in the works. The superb record- ing by Claudio Abbado with the London Symphony Orchestra and Chorus and soloists Elizabeth Connell, Karita Mattila, and Hans-Peter Blochwitz is available on CD only as part of a set of four compact discs containing all five symphonies and a selection of popular overtures (DG). For just the Lobgesang, there is a version by Riceardo Chailly with the London Philharmonic Orchestra and Chorus with soloists Margaret Price, Sally Burgess, and Siegfried Jerusalem (Philips). —S.L.

43 Week 21 F II L E IJ E Edith Wiens

Originally from Canada, lyric soprano Edith Wiens has made appearances in recital, orchestral, and operatic engagements with such distinguished conductors as James Conlon, Andrew Davis, Sir Colin Davis, Charles Dutoit, Christoph Eschenbach, Bernard Haitink, Nikolaus Har- noncourt, Kurt Masur, Seiji Ozawa, Krzysztof Penderecki, Gennady Rozhdestvensky, Klaus Tennstedt, and Michael Tilson Thomas. During the 1987-88 season, Ms. Wiens has appeared with the London Philharmonic in Mendelssohn's Midsummer Night's Dream music and Grieg's Peer Gynt. She sang Donna Anna in Mozart's Don Giovanni with the Concertgebouw Orchestra under Nikolaus Harnoncourt in Amsterdam, where she will appear in recital in November 1988. In North America, she will travel to the National Arts Centre to appear as the Countess in Mozart's Le nozze di Figaro. During the 1988-89 season, she will make her debut with the New York Philhar- monic, under Klaus Tennstedt, in performances of Haydn's The Creation. In addi- tion, she sings Mahler's Symphony No. 2, Resurrection, with the Houston Symphony and in Paris with Semyon Bychkov conducting, and Bach's St. Matthew Passion with the Detroit Symphony. Ms. Wiens's 1986-87 season included Carnegie Hall appear- ances with Seiji Ozawa and the Boston Symphony Orchestra and with Helmuth Rilling and the National Arts Centre Orchestra. She sang the Brahms German Requiem with both the Cleveland Orchestra under Kurt Masur and the Cincinnati Symphony under Jesus Lopez-Cobos, and Mahler's Ruckert Lieder with the Detroit Symphony under Gunther Herbig. A regular soloist with the Berlin Philharmonic, she has also appeared recently in concerts in Paris, Geneva, Hamburg, and Munich. Initially a concert singer, Edith Wiens now has many operatic roles to her credit. She sang the role of Donna Anna in the 1985-86 Glyndebourne production of Don Giovanni under Bernard Haitink in Hong Kong and at the Glyndebourne Festival, and she has appeared as Mozart's Countess at the Teatro Colon in Buenos Aires. Current recording projects have included Grieg's Peer Gynt with the Gewandhaus Orchestra of Leipzig and Kurt Masur, Mendelssohn's Midsummer Night's Dream music with the London Philharmonic, Mozart's C minor Mass with the London Philharmonic conducted by Franz Welser-Moest, and Beethoven's Missa Solemnis with the Czech Philharmonic and Erich Leinsdorf. Ms. Wiens made her Boston Symphony Orchestra debut at Tanglewood in August 1984 with Mahler's Symphony No. 2, which she has also sung in Europe with the orchestra under Seiji Ozawa's direction. Her most recent BSO performances were in the same work, at Boston and at Carnegie Hall, in December 1986.

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46 Karen Lykes

Mezzo-soprano Karen Lykes has appeared as a soloist with the Handel & Haydn Society, the Baltimore Choral Arts Society, the Cantari Singers of Columbus (Ohio), the Pro Arte Chamber Orchestra, and the Boston Premiere Ensem- ble. A frequent performer of contemporary music, she has performed with Alea HI, Musical Elements, Collage, Dino- saur Annex Music Ensemble, and Composers in Red Sneakers, both in Boston and in New York. This year she jmm- ^^^H sang the role of Mrs. Grose in Britten's The Turn of the ^^ ^^H Screw with Boston Lyric Opera and the role of Mary in Berlioz's L'Enfance du Christ with the Montgomery Cham- ber Orchestra in Maryland. She was also featured in The Wife of Martin Guerre, a new opera by Roger Ames developed under a grant from Opera for the Eighties. Since 1980, Ms. Lykes has been the alto soloist in the American VocalArts Quintet, a prizewinner in the 1987 Concert Artists Guild International Competition, She is also a member of the Holy Cross Chamber Players. Twice a finalist in the New England Metropolitan Opera Auditions, she has been the recipient of a vocal fellowship to the Tanglewood Music Center, and she has studied Lieder at the Franz-Schubert-Institut in Austria on a scholarship from the Alban Berg Founda- tion, winning the Franz Schubert Prize for Excellence in Interpretation of the Lied and performing over Austrian National Radio. A native of Arkansas, Ms. Lykes holds degrees from the University of Maryland and Boston University. She is a member of the music faculties at Anna Maria College and Clark University, and she teaches musical theater at the Boston University Summer Theater Institute. Ms. Lykes was a quartet soloist in the opening night performance of Leonard Bernstein's Chichester Psalms under the direction of Seiji Ozawa at the beginning of this season.

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1 na'est.ment .management expertise of our subsidiarv. Boston Safe Deposit and trust co.mpany. 0\'er the past five ytars. we\t performed well by standard industry indices. Still, our reputation has been built by professionals who know^ its gauging performance against personal objectives that A subsidiarv of really counts. Shearson Lehman THE BOSTON COMPANY Brothers Inc. TELEPHONE l-SOOCALL BOS Boston Safe Deposit and Tnist Company An American (1-800-225-5267 EXT. 341) FOR Express company Member FDIC A COMPLETE DESCRIPTION. AND ENJOY THE ADV\NTAGES OF BEING A PRIVILEGED CLIENT. Jacque Trussel

One of America's most accomplished singing actors, tenor Jacque Trussel has sung with leading opera houses and orchestras throughout North America and Europe. During the 1986-87 season he appeared as Aiwa in Berg's Lulu with the Bavarian State Opera in Munich, as Alexei in Prokofiev's The Gambler at Florence's Maggio Musicale, and, in his debut with English National Opera, as Sergei in a new production of Shostakovich's Lady Macbeth of Mtsensk, which was televised by the BBC. During the 1987-88 season, Mr. Trussel returned to Lyric Opera of Chicago as Aiwa in Lulu and to Florence for his first performance in the title role of Britten's Peter Grimes, in a new production by Jean- Pierre Ponnelle. His concert engagements include the present series of Men- delssohn's Symphony No. 2, Lobgesang, in Boston, and a concert version of / pagliacci with the Quad City Symphony. Mr. Trussel is a champion of both contem- porary works and neglected masterpieces of the past. During the 1985-86 season he appeared with San Francisco Opera as Edmund in Aribert Reimann's Lear, a role he first portrayed in the acclaimed 1981 American premiere with the same company. At the composer's request, Mr. Trussel created the role of Caliban in the world premiere of Lee Hoiby's The Tempest with Des Moines Opera. Other premiere performances have included Saint-Saens' Henry VIII with San Diego Opera and Houston Grand Opera, the world premieres of Carlisle Floyd's Bilby's Doll and Thomas Pasatieri's The Seagull, and the American premiere of Ralph Vaughan Williams's Hugh the Drover. Mr. Trussel has sung Don Jose in Carmen with leading opera houses, including a new New York City Opera production telecast "Live From Lincoln Center," Welsh National Opera, where he has repeated his portrayal over successive seasons, and on the CBC's national broadcast of Vancouver Opera's production. Other new productions have included Der Freischutz, L'amore dei tre re, Tosca, and The Student Prince with New York City Opera, L'incoronazione di Poppea with Long Beach Opera, Madama Butterfly with Vancouver Opera, and The Queen of Spades in the inaugural season of Charleston's Spoleto Festival USA, at the Spoleto Festival in Italy, Houston Grand Opera, and the National Arts Centre in Ottawa. Appear- ances as Sergei in Lady Macbeth of Mtsensk have brought him to Lyric Opera of Chicago, the Spoleto Festival USA, and Spoleto, Italy. His performances in lighter repertoire have included the role of Gaylord Ravenal in Showboat on a nationwide tour with Houston Grand Opera and Danilo in The Merry Widow with Houston Grand Opera and San Diego Opera. In addition to his busy operatic schedule, Mr. Trussel has appeared with many of the world's finest orchestras, including the Chicago Symphony, the Philadelphia Orchestra, the Concertgebouw Orchestra of Amsterdam, the San Francisco Symphony, and the Saint Louis Symphony. He made his Boston Symphony Orchestra debut at Tanglewood in 1981 as Grigory in scenes from Mussorgsky's Boris Godunov and appeared as the Drum Major in Berg's Wozzeck under Seiji Ozawa's direction at Symphony Hall in April 1987.

49 The John Oliver Chorale & Orchestra present

ov. 1 ^^?, Elliott Carter Jordan Hall at CO Harmony of the Morning New England Conservatory Emblems Tickets$7, $10, $13. 5 V> Heart Not so Heavy as Mine ($2 discount for Musicians Wrestle Everywhere students/seniors) \ cO" ''•^'V/VERSXR'* Martin Amlin Available at Time's Caravan Jordan Hall Box Office or through Concert Charge Saturday Aaron Copland (497-1118). April 23, 1988 In the Beginning For more information, 8:00 pm call 965-0906.

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50 Tanglewood Festival Chorus John Oliver, Conductor

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 F^Si«^ '9i V v'^Bl 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 Damna- tion 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 Mr. Ozawa and the orchestra available on compact disc include Schoenberg'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 Mr. Ozawa and the orchestra, with soloists Kiri Te Kanawa and Marilyn Home, newly available also on Philips. Earlier this season the chorus recorded Poulenc's Stabat Mater and Gloria with Mr. Ozawa, the orchestra, and soprano Kathleen Battle for Deutsche Grammophon. 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 Sj-mphony Hall in December that year.

51 this is a musical cheer

May the melody never end,

iopdan niapsli

52 Tanglewood Festival Chorus John Oliver, Conductor

Sopranos Kitty DuVernois John Vincent Maclnnis Margaret Aquino Mary F. Ellis F. Brian McConville Ingrid Bartinique Evelyn M. Eshleman-Kern David Meharry Michelle M. Bergonzi Margot Fein Gary L. Miner Bonita Ciambotti Irene Gilbride David R. Norris Joanne L. Colella Toni Gustus David Raish Margo Connor Thelma Hayes David A. Redgrave Mary A. V. Crimmins Janice Hegeman Charles Ross Lou Ann David Donna Hewitt-Didham Paul Scharf Sara Dorfman Dorothy W Love Ronald Severson Christine P. Duquette April Merriam Michael W Spence Amy G. Harris Ellen Rothberg Terence Stephenson Lois Hearn Avis Wong See-Tho Charles L. Wilson Lisa Heisterkamp Amy Sheridan R. Spencer Wright Alice Honner-White Ada Park Snider Basses Christine Jaronski Julie Steinhilber Peter T. Anderson Frances V. Kadinoff Dianne Terp Eddie Andrews Lydia A. Kowalski Judith Tierney Darin S. Anquoe Holly MacEwen Krafka Constance L. Turnburke John Sarah Jane Liberman Marguerite Weidknecht Cavallaro Mel Conway Mary Jo Licero Betty Karol Wilson James Courtemanche Patricia Mary Mitchell W Tenors Edward E. Dahl. H. Diane Norris Antone Aquino Fumiko Ohara John Duffy John C. Barr Jay S. Gregory Nancy Lee Patton Donato Bracco Mark L. Haberman Jamie Redgrave William A. Bridges, Jr. Steven Ledbetter Charlotte C. Russell Keith Daniel David Lones Genevieve Schmidt James A. Pamela Schweppe Reginald Didham Lopata Robert Vincent Doran Gregory Mancusi-Ungaro Carrol J. Shaw Timothy E. Fosket Stephen H. Owades Joan Pernice Sherman Michael P. Gallagher John Fitz Rogers Deborah L. Stanton William E. Good Peter Rothstein Diane M. Stickles Wendy Lee Tedmon David M. Halloran A. Michael Ruderman Andrew Hamilton David Sanford Altos Dean Armstrong Hanson Robert Schaffel Debra A. Basile George Harper Matthew Soroka Maisy Bennett John W Hickman Peter S. Strickland Karen Bergmann Fred G. Hoffman Thomas C. Wang Sharon Carter Richard P. Howell Cliff Webb Barbara Clemens Stanley Hudson Laurence West Arnalee Cohen Warren D. Hutchison Pieter Conrad White Ethel Crawford James R. Kauffman

Catherine Diamond Edward J. Kiradjieff

Januth Hayashi, Manager Martin Amlin, Assistant to the Conductor

53 BALLY

The Boston Home ifoTmerly The Boston Home for Incurables)

Est: 1881

Seeks Your Support for Another Century

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

54 The Boston Symphony Orchestra wishes to acknowledge this distinguished group of corporations and professional organizations for their outstanding and exemplary response in support of the orchestra's needs during the past or current fiscal year.

1987-88 Business Honor Roll ($10,000 and Above)

ADD Inc Architects HBM/Creamer, Inc. Philip M. Briggs Edward Eskandarian Advanced Management Associates, Inc. J. Bildner & Sons Harvey Chet Krentzman James L. Bildner Analog Devices, Inc. John Hancock Mutual Life Insurance Ray Stata E. James Morton Insurance Companies Bank of Boston Liberty Mutual William L. Brown Melvin B. Bradshaw The Mall at Chestnut Hill Bank of New England Veevers Peter H. McCormick Jay McKinsey & Company BayBanks, Inc. Robert O'Block William M. Crozier, Jr. Merchants Press Boston Edison Company Douglas Clott Stephen J. Sweeney Moet-Hennessy U.S. Corporation The Boston Globe/Affiliated Publications Ambassador Evan G. Galbraith William O. Taylor Morse Shoe, Inc. Bowne of Boston, Inc. Manuel Rosenberg Donald J. Connava Nabisco Brands, Inc. Coopers & Lybrand Charles J. Chapman Vincent M. O'Reilly Neiman-Marcus Country Curtains William D. Roddy Jane P. Fitzpatrick The New England Creative Gourmets, Ltd. Edward E. Phillips E. Elmont Stephen New England Telephone Company Digital Equipment Corporation Gerhard M. Freche Kenneth G. Olsen PaineWebber, Inc. Dynatech Corporation James F. Cleary J. P. Barger R&D Electrical Company Eastern Gas & Fuel Associates Richard P. Pedone William J. Pruyn Rand-Whitney Corporation EMC^ Corporation Robert K. Kraft Richard J. Egan Raytheon Company Ernst & Whinney Thomas L. Phillips Thomas M. Lankford The Red Lion Inn Fidelity Investments John H. Fitzpatrick Anne-Marie Soulliere Shawmut Bank of Boston Filene's William F Craig Jerry M. Socol Stanley H. Kaplan Educational Center The First Boston Corporation Susan B. Kaplan Mark S. Ferber State Street Bank & Trust Company General Cinema Corporation William S. Edgerly Richard A. Smith The Stop & Shop Companies, Inc. General Electric Plastics Business Group Avram J. Goldberg Glen H. Hiner TA Associates Peter A. Brooke The Gillette Company Colman M. Mockler, Jr. Teradyne, Inc. Alexander V. d Arbeloff Goldstein & Manello UST Corporation Richard J. Snyder James Y Sidell Grafacon, Incorporated WCRB/Charles River Broadcasting, Inc. H. Wayman Rogers, Jr. Richard L. Kaye GTE Electrical Products Zayre Corporation Dean T. Langford Maurice Segall

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56 The Boston Symphony Orchestra gratefully acknowledges these Business and Professional Leadership Program members for their generous and valuable support totaling $1,250 and above during the past fiscal year. Names that are both capitalized and underscored in the Business Leaders listing constitute the Business Honor Roll denoting support of $10,000 and above. Capitalization denotes support of $5,000-$9,999, and an asterisk indicates support of $2,500-$4,999.

Business Leaders ($1,250 and above) Accountants Banking Boston Sand & Gravel Company Dean M. Boylan ARTHUR ANDERSEN & COMPANY BANK OF BOSTON William F. Meagher William L. Brown Chain Construction Corporation Howard J. Mintz ARTHUR YOUNG & COMPANY BANK OF NEW ENGLAND Thomas P. McDermott Peter H. McCormick Harvey Industries, Inc. Robert K. Moprison *Charles E. DiPesa & Company BAYBANKS, INC. William F. DiPesa William M. Crozier, Jr. *JF. White Contracting Philip Bonanno COOPERS & LYBRAND * Boston Safe Deposit Vincent M. O'Reilly & Trust Company Lee Kennedy Co., Inc. ERNST &WHINNEY James N. von Germeten Lee M. Kennedy Thomas M. Lankford Cambridge Trust Company National Lumber Company Lewis Clark Louis L. Kaitz PEAT, MARWICK, H. MAIN & COMPANY *Chase Manhattan Bank *Perini Construction Robert D. Happ William N. MacDonald David B. Perini PRICE WATERHOUSE Chase Manhattan Corp.

Kenton J. Siechitano Robert M. Jorgensen Consumer Goods/Distributors

*Theodore S. Samet & Company CITICORP/CITIBANK Almaden Vineyard Theodore S. Samet Walter E. Mercer Louis de Santis Tofias, Fleishman, *Eastern Corporate Federal Credit *August A. Busch & Co. Shapiro & Company Union Chris Stevens Allan Tofias Jane M. Sansone Chiquita Brands TOUCHE ROSS & COMPANY First Mutual of Boston Baron M. Hartley Keith G. Willoughby James T. Me Bride Fairwinds Gourmet Coffee First National Bank of Chicago Pauline Elkin Advertising/Public Relations Robert E. Gallery MOET-HENNESSY *BMC Strategies, Inc. *Framingham Trust Company U.S. CORPORATION Bruce M. McCarthy William A. Anastos Ambassador Evan G. Galbraith THE COMMUNIQUE GROUP, INC. NeWorld Bank James H. Kurland NABISCO BRANDS, INC. James M. Oates Charles J. Chapman HBM/CREAMER, INC. * Patriot Baneorporation Edward Eskandarian The Taylor Wine Company, Inc. Thomas R. Heaslip Michael J. Doyle Heller Breene Design & Advertising Provident Financial Services, Inc. Cheryl Heller United Liquors, Ltd. Robert W. Brady Michael Tye HILL AND KNOWLTON, INC. *Rockland Trust Company Peter A. Farwell John F. Spence, Jr. Displays/Flowers *Hill, Holliday, Connors, SHAWMUT BANK OF BOSTON Cosmopulos, Inc. Carol's Cloths William F. Craig Jack Connors, Jr. Carol Burgler STATE STREET BANK & TRUST Exhibits/Boston Aerospace COMPANY *Giltspur Thomas E. Knott, Jr. *Northrop Corporation William S. Edgerly *Harbor Greenery Thomas V. Jones UST CORPORATION Diane Valle PNEUMO ABEX CORPORATION James V. Sidell Norman J. Ryker *Yankee Bank for Finance & Savings Education Richard N. Morash Architecture/Design BENTLEY COLLEGE ADD INC ARCHITECTS Gregory H. Adamian Philip M. Briggs Building/Contracting STANLEY H. KAPLAN LEA GROUP *A.J. Lane & Company, Inc. EDUCATIONAL CENTER Eugene R. Eisenberg Andrew J. Lane Susan B. Kaplan

57 the 7th Annual PRESIDENTS

The B50 Salutes Business with A Night of New Orleans Jazz Junes, 1988

As the leader of your company, you can give your management team, your customers or clients, your vendors, or possibly your other business friends a very special summer treat - and at the same time show your support of the Boston Symphony Orchestra.

Presidents at Pops 1988 is available to 110 businesses and professional organizations on a first-come, first-served basis. For 55,000 your company wWl receive 20 tickets to this event, which includes pre-concert cocktails and hors d'oeu\Tes, a gourmet picnic supper, and a special Boston Pops concert, conducted by John Williams, designed to delight the corporate guests on this evening. The President or CEO of each

sponsor company is also invited to attend a ver\' special black-tie dinner dance in May on the floor of Symphony Hall - a unique and elegant experience.

If you would like more information about Presidents at Pops, June 8, 1988, call Roger Wellington, Chairman of the Board & CEO, Augat (543-4300) Ray Stata, President, Analog Devices (329-4700) Har\ey Chet Krentzman, President, Advanced Management Associates (332-3141)

Patrick J. Purcell, President, The Boston Herald (426-3000) Madelyne Cuddeback, BSO Corporate Development (266-1492, xl38)

58 nectrical/HVAC FARRELL, HEALER & COMPANY Graphic Design Harry J. Healer, Jr. Inc. *Clark/Linsky Design, Inc. ,. Rudolph Electrical Company, Louis Rudolph THE FIRST BOSTON Robert H. Linsky CORPORATION Diane Fassino/Design .h. mechanical corporation Mark S. Ferber Diane Fassino Paul A. Hayes VENTURE ELECTRICAL COMPANY, INC. HAMBRECHT & QUIST •QiU Fishman and Associates l&D PARTNERS Richard D. Pedone Gill Fishman Robert M. Morrill Williams Graphics 'he Thompson & Lichtner Co., Inc. Investors in Industry Walter F. Williams John D. Stalling Ivan N. Montchiloff High Technology/Electronics llectronics KAUFMAN & COMPANY ANALOG DEVICES, INC. Jden Electronics, Inc. Sumner Kaufman Ray Stata John M. Alden TA ASSOCIATES APOLLO COMPUTER, INC. .XAL^^riCAL SYSTEMS Peter A. Brooke INGINEERING CORPORATION Thomas A. Vandersliee *Aritech Corporation Michael B. Rukin Food Service/Industry Corporation James A. Synk 'he Mitre *Boston Showcase Company A. Zraket AT&T Charles Jason Starr CORPORATION Marc Rosen »ARLEX Cordel Associates Herbert W. Pollack AT, James B. Hangstefer AUG INC. Roger D. Wellington lignal Technology Corporation Creative Capers E.Cook William Paul Schatz BBF Corp. Boruch B. Frusztajer nergy CREATIVE GOURMETS, LTD. Stephen E. Elmont BOLT BERANEK & NEWMAN, INC. :abot corporation Stephen R. Levy foundation, inc. Gourmet Caterers, Inc. COMPUGRAPHIC CORPORATION Ruth C. Scheer Robert Wiggins Carl E. Dantas J. BILDNER&SONS ngineering James L. Bildner COMPUTER PARTNERS Paul J. Crowley Jeneral Systems Company, Inc. * John Sexton and Company Donald S. Feigenbaum R.C. Judge DIGITAL EQUIPMENT CORPORATION roldberg-Zoino & Associates, Inc. JOHNSON O'HARE COMPANY, INC. Kenneth G. Olsen Donald T. Goldberg Harry O'Hare Dynamics Research Corporation itone & Webster Engineering orporation Albert Rand Footwear William F. Allen, Jr. DYNATECH CORPORATION •Jones & Vining, Inc. he Thompson & Lichtner Company, J. P. Barger Sven A. Vaule, Jr. nc. EG&G, Inc. John D. Stelling MORSE SHOE, INC. Dean W Freed Manuel Rosenberg EMC2 CORPORATION Intertainment/Media Corporation The Rockport Richard J. Egan GENERAL CINEMA Stanley Kravetz GENERAL COMPUTER COMPANY ORPORATION STRIDE RITE CORPORATION Kevin G. Curran Richard A. Smith Arnold S. Hiatt *General Eastern Instruments ew Boston Garden Corporation Corporation William D. Hassett Furnishings/Housewares Pieter R. Wiederhold 'he New England Patriots ARLEY MERCHANDISING HELIX TECHNOLOGY Patrick J. Sullivan CORPORATION CORPORATION SA Cinemas David I. Riemer Frank Gabron A. Alan Friedberg COUNTRY CURTAINS THE HENLEY GROUP 'inance/Venture Capital Jane P. Fitzpatrick Paul M. Montrone

attery Ventures L.P. HITCHCOCK CHAIR COMPANY HONEYWELL BULL Robert G. Barrett Thomas H. Glennon Warren G. Sprague

oston Financial Group, Inc. The Jofran Group IBM CORPORATION Harold A. Howell Robert D. Roy Paul J. Palmer 'arson Limited Linenworks Instron Corporation Herbert Carver Gail Cohen Harold Hindman

59 NEW ENGLAND CLAMBAKES No Group Too Large or Too Small

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60 Ionics, Inc. Sally Ling's Restaurants Essex Investment Management, Inc. Arthur L. Goldstein Sally Ling Liu Joseph C. McNay Loral Hycor, Inc. *Sheraton Boston Hotel & Towers FIDELITY INVESTMENTS Joseph Hyman Robert McEleney Anne-Marie Soulliere M/A-COM, Inc. *Sonesta International Hotels GOLDMAN, SACHS & COMPANY Vessarios G. Chigas Corporation Stephen B. Kay Paul Sonnabend MASSCOMP •Interact Management, Inc. August P. Klein THE WESTIN HOTEL Stephen Parker MILLIPORE CORPORATION Bodo Lemke KENSINGTON INVESTMENT John A. Gilmartin COMPANY Insurance Alan E. Lewis Orion Research Incorporated *Arkwright Mutual Insurance Company Alexander Jenkins III * Kidder, Peabody & Company, Inc. Frederick J. Bumpus PRIME COMPUTER, INC. John G. Higgins *Atlantic Benefit Group Joe M. Henson Loomis Sayles & Company Brian McNally PRINTED CIRCUIT Robert L. Kemp CAMERON & COLBY CO., INC. CORPORATION MORGAN STANLEY & COMPANY Lawrence Doyle Peter Sarmanian Jack Wadsworth *Charles H. Watkins & Company, Inc. RAYTHEON COMPANY PAINEWEBBER, INC. Richard P. Nyquist Thomas L. Phillips James F. Cleary *Consolidated Group, Inc. SofTech, Inc. *The Putnam Management Woolsey S. Conover Justus Lowe, Jr. Company, Inc. FRANK B. HALL & COMPANY OF Lawrence J. Lasser STELLAR COMPUTER MASSACHUSETTS J. William Poduska SALOMON INC. Colby Hewitt, Jr. Joseph P. Lombard TASC *Fred S. James & Company of New Arthur Gelb *State Street Development Company England, Inc. John R. Gallagher III Tech/Ops, Inc. P. Joseph McCarthy Marvin G. Schorr JOHN HANCOCK MUTUAL LIFE TUCKER, ANTHONY & R.L. DAY, INC. TERADYNE, INC. INSURANCE COMPANY Gerald Segel Alexander V. d'Arbeloff E. James Morton Wainwright Capital Thermo Electron Corporation * Johnson & Higgins John M. Plukas George N. Hatsopoulos Robert A. Cameron XRE Corporation Kendall Insurance, Inc. *Woodstock Corporation B. John K. Grady Kennett Kendall, Jr. Frank Condon LIBERTY MUTUAL INSURANCE Legal Hotels/Restaurants COMPANIES BINGHAM, DANA & GOULD Melvin B. Bradshaw Back Bay Hilton Everett H. Parker William Morton THE NEW ENGLAND Dickerman Law Offices Edward E. Phillips Boston Marriott Copley Place Lola Dickerman Alain Piallat Robert D. Gordon Adjusters, Inc. *Edwards & Angell Boston Park Plaza Hotel & Towers Robert D. Gordon Deming E. Sherman Roger A. Saunders Sun Life Assurance of Canada *Fish & Richardson Bostonian Hotel David D. Horn John N. Williams Timothy P. Kirwan *Gadsby & Hannah Charly's Saloon Investments Harry Hauser Charles Sarkis Baring America Asset Management GOLDSTEIN & MANELLO Company, Inc. Christo's Restaurant Richard J. Snyder Christopher Tsaganis Stephen Cutler *Mintz, Levin, Cohn, Ferris, Glovsky & POUR SEASONS HOTEL Baring International Investment, Ltd. Popeo, PC. Hans Willimann John F McNamara Francis X. Meaney The Hampshire House BEAR STEARNS & COMPANY, INC. Nissenbaum Law Offices Thomas A. Kershaw Keith H. Kretschmer Gerald L. Nissenbaum

Mildred's Chowder House Burr, Egan, Deleage & Company *Nutter, McClennen & Fish James E. Mulcahy Craig L. Burr John K.R Stone III THE RED LION INN E.R HUTTON & COMPANY, INC. PALMER & DODGE John H. Fitzpatrick S. Paul Crabtree Robert E. Sullivan

61 Ill

Sherburne, Powers & Needham *R & S Sales Associates The Kenett Corporation Daniel Needham, Jr. Robert Stein Julius Kendall

Weiss, Angoff, Coltin, Koski & LEACH & GARNER COMPANY Manufacturing/Industry Wolf, RC. Philip F. Leach Dudley A. Weiss Alles Corporation NEW ENGLAND BUSINESS Stephen S. Berman SERVICE, INC. Management/Financial/Consulting Ausimont Richard H. Rhoads Leonard Rosenblatt Acuity Management & Investment *New England Door Corporation

Murray J. Swindell Avedis Zildjian Company Robert C. Frank Armand Zildjian ADVANCED MANAGEMENT Princess House, Inc. ASSOCIATES, INC. * Barry Wright Corporation Robert Haig Harvey Chet Krentzman Ralph Z. Sorenson RAND-WHITNEY CORPORATIOl ARTHUR D. LITTLE, INC. The Biltrite Corporation Robert K. Kraft Stanley J. Bernstein John F. Magee *Spraguc Electric Company Bain& Co., Inc. *Century Manufacturing & Tywood John L. Sprague Corporation William Bain *Termiflex Corporation Joseph Tiberio THE BOSTON CONSULTING William E. Fletcher GROUP *Chelsea Industries, Inc. Towle Manufacturing Company Ronald G. Casty Arthur P. Contas Paul Dunphy CONNELL LIMITED The Forum Corporation PARTNERSHIP TRINA, INC. John W. Humphrey Thomas L. Easton William F Connell Harry Axelrod Consultants, Inc. Webster Spring Company, Inc. *C.R. Bard, Inc. Harry Axelrod A.M. Levine Robert McCaffrey *Haynes Management Wire Belt Company of America Dennison Manufacturing Company G. Arnold Haynes F Wade Greer, Jr. Nelson G. Gifford HCA Management Company ERVING PAPER MILLS Media Donald E. Strange Charles B. Housen THE BOSTON GLOBE/ Irma S. Mann, Strategic Marketing *FLEXcon Company, Inc. AFFILIATED PUBLICATIONS Irma S. Mann Mark R. Ungerer William 0. Taylor *Interact Management Gamewell Corporation THE BOSTON HERALD Stephen Parker Martin Reiss Patrick J. Purcell Jason M. Cortell & Associates, Inc. GENERAL ELECTRIC COMPANY/ WBZ-TV 4 Jason M. Cortell LYNN John J. Spinola KAZMAIER ASSOCIATES, INC. Frank E. Pickering WCRB/CHARLES RIVER Richard W Kazmaier, Jr. GENERAL ELECTRIC PLASTICS BROADCASTING, INC. Keller Company, Inc. BUSINESS GROUP Richard L. Kaye Robert R. Keller Glen H. Hiner WCVB-TV 5 Inc. Lochridge & Company, GENERAL LATEX & CHEMICAL S. James Coppersmith Richard K. Lochridge CORPORATION McKINSEY & COMPANY Robert W. MacPherson Personnel Robert O'Block * Georgia- Pacific Corporation *John Leonard Personnel Linda J. Poldoian Mitchell & Company Maurice W King Carol B. Coles THE GILLETTE COMPANY *Robert Kleven & Company, Inc. Robert Kleven *Rath & Strong, Inc. Colman M. Mockler, Jr. TAD TECHNICAL SERVICES Arthur O. Putnam GTE ELECTRICAL PRODUCTS CORPORATION Robert Boyer Dean T. Langford David J. McGrath, Jr. Robert Boyer *Harvard Folding Box Company, Inc. William M. Mercer-Meindinger- Melvin A. Ross Printing Hansen, Inc. H.K. Webster Company, Inc. BOWNE OF BOSTON, INC.

Chester D. Clark Dean K. Webster Donald J. Cannava

The Wyatt Company The HMK Group of Companies * Bradford & Bigelow, Inc. Michael H. Davis Joan L. Karol John D. Galligan Hollingsworth & Vose Company Courier Corporation Manufacturer's Representative Gordon W Moran Alden French, Jr.

Paul R. Cahn Associates, Inc. The Kendall Company Customforms, Inc.

Paul R. Cahn J. Dale Sherratt David A. Granoff

62 .%•> .-^-r-

DANIELS PRINTING COMPANY Table Talk Realty Lectro-Med, Inc. Lee S. Daniels Chris Cocaine Allan Kaye

*Espo Litho Company, Inc. *Trammell Crow Company Services David Fromer Buzz DeMartino Meyers Parking, Prudential Center H. Dean Company George Retail Garage Michaud G. Earle DEMOULAS SUPERMARKETS, Frank Newcomb GRAFACON, INCORPORATED INC. Out Of Town Ticket Agency Rogers, Jr. H. Wayman T.A. Demoulas Sheldon Cohen Mail Hub Design Pak, Inc. •Victor Grillo & Associates Walter Bernheimer II Paul G. Grady Victor N. Grillo ITEK GRAPHIX CORPORATION FILENE'S Software/Information Services R. Patrick Forster Jerry M. Socol SOFTWARE, INC. INC. CULLINET LABEL ART, *Hills Department Stores John J. Cullinane J. William Flynn Stephen A. Goldberger Data Architects, Inc. MASSACHUSETTS ENVELOPE J. Baker, Inc. Martin Cooperstein COMPANY Sherman N. Baker Grossman Interactive Data Corporation Steven JORDAN MARSH COMPANY John M. Rutherford, Jr. MERCHANTS PRESS Elliot Stone Douglas Clott Phoenix Technologies Ltd. Kappy's Liquors Neil J. Colvin Publishing Ralph Kaplan Stohn Associates, Inc. Karten's Jewelers Addison Wesley Publishing Alexander C. Stohn, Jr. Company, Inc. Joel Karten Donald R. Hammonds THE MALL AT CHESTNUT HILL Travel/Transportation CAHNERS PUBLISHING Jay Veevers *Crown Motors COMPANY NEIMAN-MARCUS Allen M. Click Saul Goldweitz William D. Roddy HERITAGE TRAVEL, INC. Donald R. Sohn HOUGHTON MIFFLIN COMPANY * Purity Supreme, Inc. Harold T. Miller Frank P. Giacomazzi LILY TRUCK LEASING Little, Brown and Company *Saks Fifth Avenue CORPORATION Arthur H. Thornhill Ronald Hoffman John A. Simourian Yankee Publishing Incorporated Sears, Roebuck & Co. New England Lincoln-Mercury Rob Trowbridge S. David Whipkey Dealers Association J.P Lynch STOP & SHOP Real Estate/Development THE COMPANIES, INC. THE TRANS-LEASE GROUP Benjamin Schore Company Avram J. Goldberg John J. McCarthy, Jr. Benjamin Schore Table Toppers Inc. Utilities 'Combined Properties Inc. Constance Isenberg Stanton L. Black AT&T ZAYRE CORPORATION Demeter Realty Trust Marc Rosen Maurice Segall George P. Demeter BOSTON EDISON COMPANY

Stephen J. Sweeney *First Winthrop Corporation Science/Medical Arthur J. Halleran, Jr. Baldpate, Inc. EASTERN GAS & FUEL *The Flatley Company Lucille M. Batal ASSOCIATES William J. Pruyn Thomas J. Flatley Cambridge BioScience Hilon Development Corporation Gerald F. Buck Massachusetts Electric & Gas Assoc. Haim S. Eliachar CHARLES RIVER Ron O'Meara Historic Mill Properties, Inc. LABORATORIES, INC. New England Electric System Bert Paley Henry L. Foster Paul J. Sullivan

*John M. Corcoran & Company *CompuChem Laboratories, Inc. NEW ENGLAND TELEPHONE John M. Corcoran Claude L. Buller COMPANY Gerhard M. Freche The Legatt McCall Companies Costar Corporation William F. McCall Richard Morningstar MEREDITH & GREW, INC. DAMON CORPORATION George M. Lovejoy David I. Kosowsky

Northland Investment Corporation *J.A. Webster, Inc. Robert A. Danziger John A. Webster, Jr.

R9. Inside Stories

MusicAmerica host Ron Delia Chiesa takes you "Inside the BSO"

a series of special intermission features with members of the Boston

Symphony Orchestra and the people behind the scenes at Symphony Hall.

Inside the BSO

Fridays at 2pm

Saturdays at 8pm

WGBH89.7FM

aA Coining Concerts . . .

Thursday 'D'—April 14, 8-10 An Friday 'A'—April 15, 2-4 Saturday 'A'—April 16, 8-10 Authentic SEIJl OZAWA conducting ANNE-SOPHIE MUTTER, violin Grill! BEETHOVEN Violin Concerto TAKEMITSU Dream/Window With (Boston premiere) Aged Steaks Fresh Fish STRAUSS Death and Transfiguration Plump Poultry Native Shellfish

Thursday 'B'—April 21, 8-9:55 Grilled on woods and charcoals of Friday Eve—April 22, 8-9:55 Sassafras Mesquite Saturday 'B'—April 23, 8-9:55 Apple Hickory Tuesday 'C—April 26, 8-9:55 SEIJI OZAWA conducting Lunch Dinner BRIGITTE FASSBAENDER, mezzo-soprano 11:30 to 5:00 to THOMAS ALLEN, baritone 2:30 p.m. 11:00 p.m. MOZART Symphony No. 41, Jupiter MAHLER Songs from Des Knaben Wunderhorn

Programs subject to change. BocdleS

OF • BOSTON In Boston's Back Bay Hilton. Indoor Parking. Phone (617) BOODLES

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

ar. OUR THIRTIETH YEAR

K\CHmUM}iX,mc.® JEWELERS

. . . invites you to view our collection of handcrafted fine gold and platinum jewelry. We specialize in

custom design and restoration. All work is done on the premises by our master goldsmiths. Choose from our selection of fine quality stones or incorporate your own into a contemporary or

traditional design to suit your taste . . .

43 CENTRAL STREET • WELLESLEY, MASSACHUSETTS 237-2730

Decisions for a spring 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.

The result . . . a menu of scope and originahty.

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

ULIEN

Reservations for Lunch or Dinner: 617-451-1900

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

66 Symphony Hall Information . . .

FOR SYMPHONY IIALL 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 Symphony 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

67 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: SMOKING IS NOT PERMITTED in any Concerts of the Boston Symphony Orches- Hall auditorium or in part of the Symphony 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 rooms, and in the main lobby 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 by 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 FRIENDS: The Friends are annual Hall is available at the West Entrance to BSO Orchestra. the Cohen Annex. donors to the Boston Symphony 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 Office Hall LADIES' ROOMS are located on the Development at Symphony weekdays between 9 and 5. If you are orchestra level, audience-left, at the stage already a Friend and you have changed end of the hall, and on the first-balcony address, please send your new address level, audience-right, outside the Cabot- your with your newsletter label to the Develop- Cahners Room near the elevator. 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 Room near the elevator, and on the first- 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.

68 To get a jump on the market, Hen-

drie's planned to increase production "IttDoka 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- the ice cream 0ants.And enue Bond. But BayBanks recom- a bankerwho believed mended taking the issue to the public inwiiatwe were 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- grocer's freezer. Unable to out- in their 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 Ba/Banks' novelties to well-known candy products such as Nestle® Crunch® Corporate Banking Network white-zinfanuel

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