OSTON SYMPHONY

SEIJI OZAWA, Music Director

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' % { SYMPHONY \ I ORCHESTRA/ \ / V 103rd Season 1983-84 Savor the sense of Remy

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Imported by Remy Martin Amerique, Inc., N.Y. 17 Sole U.S.A. Distributor, Premiere Wine Merchants Inc., N.Y 80 Proof. REMY MARTIN 1 VS.O.P COGNAC. SINCE. Seiji Ozawa, Music Director

Sir , Principal Guest Conductor

Joseph Silverstein, Assistant Conductor

One Hundred and Third Season, 1983-84

Trustees of the Boston Symphony Orchestra, Inc.

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

Vernon R. Alden Archie C. Epps III Thomas D. Perry, Jr.

David B. Arnold, Jr. Mrs. John H. Fitzpatrick William J. Poorvu

J.P. Barger Mrs. John L. Grandin Irving W. Rabb Mrs. John M. Bradley E. James Morton Mrs. George R. Rowland Mrs. Norman L. Cahners David G. Mugar Mrs. George Lee Sargent

George H.A. Clowes, Jr. Albert L. Nickerson William A. Selke

Mrs. Lewis S. Dabney John Hoyt Stookey

Trustees Emeriti

Abram T. Collier, Chairman of the Board Emeritus

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

Richard P. Chapman Edward G. Murray John L. Thorndike John T. Noonan

Administration of the Boston Symphony Orchestra, Inc.

Thomas W Morris - General Manager

William Bernell - Artistic Administrator

Daniel R. Gustin - Assistant Manager

B.J. Krintzman - Director ofPlanning

Anne H. Parsons - Orchestra Manager

Caroline Smedvig - Director ofPromotion

Josiah Stevenson - Director ofDevelopment

Theodore A. Vlahos - Director ofBusiness Affairs

Arlene Germain - Financial Analyst Richard Ortner - Administrator of

Charles Gilroy - ChiefAccountant Berkshire Music Center

Vera Gold - Promotion Coordinator Charles Rawson - Manager ofBox Office Patricia Halligan - Personnel Administrator Eric Sanders - Director ofCorporate Development

Nancy A. Kay - Director ofSales Joyce M. Serwitz - Assistant Director ofDevelopment

Nancy Knutsen - Production Assistant Cheryl L. Silvia - Symphony Hall Function Manager

Anita R. Kurland - Administrator of James E. Whitaker - Hall Manager, Symphony Hall

Youth Activities Katherine Whitty - Coordinator ofBoston Council

Steven Ledbetter Marc Mandel Jean Miller MacKenzie Director ofPublications Editorial Coordinator Print Production Coordinator

Programs copyright ©1983 Boston Symphony Orchestra, Inc. Cover photo by Walter H. Scott Board of Overseers of the Boston Symphony Orchestra, Inc.

William J. Poorvu Chairman

William M. Crozier, Jr. Harvey C. Krentzman Vice-Chairman Vice-Chairman

Mrs. Gordon F. Kingsley Secretary

John Q. Adams Avram J. Goldberg Mrs. Thomas Spurr Morse Mrs. Weston W Adams Mrs. Ray A. Goldberg Mrs. Robert B. Newman Martin Allen Haskell R. Gordon Mrs. Hiroshi Nishino

Hazen H. Ayer Mrs. R. Douglas Hall III Vincent M. O'Reilly

Bruce A. Beal Mrs. Richard E. Hartwell Stephen Paine, Sr.

Mrs. Richard Bennink Francis W Hatch, Jr. John A. Perkins

Mrs. Edward J. Bertozzi, Jr. Mrs. Richard D. Hill David R. Pokross

Peter A. Brooke Ms. Susan M. Hilles Mrs. Curtis Prout William M. Bulger Mrs. Marilyn Brachman Hoffman Ms. Eleanor Radin

Mary Louise Cabot Mrs. Bela T. Kalman Peter C. Read

Julian Cohen Mrs. S. Charles Kasdon Mrs. Peter van S. Rice

Mrs. Nat King Cole Richard L. Kaye David Rockefeller, Jr.

Arthur P. Contas Mrs. F. Corning Kenly, Jr. Mrs. Jerome Rosenfeld Mrs. A. Werk Cook John Kittredge Mrs. William C. Rousseau

Phyllis Curtin Mrs. Carl Koch Mark L. Seikowitz

Victoria L. Danberg Robert K. Kraft Malcolm L. Sherman

A.V. d'Arbeloff Mrs. E. Anthony Kutten Donald B. Sinclair

D.V. d'Arbeloff John P. LaWare Richard A. Smith

Mrs. Michael H. Davis Mrs. James F. Lawrence Ralph Z. Sorenson

William S. Edgerly Laurence Lesser Peter J. Sprague

Mrs. Alexander Ellis, Jr. Mrs. Charles P. Lyman Ray Stata

Frank L. Farwell Mrs. Harry L. Marks Mrs. Arthur I. Strang John A. Fibiger C. Charles Marran Mrs. Richard H. Thompson

Kenneth G. Fisher Mrs. August R. Meyer Mark Tishler, Jr.

Gerhard M. Freche J. William Middendorf II Ms. Luise Vosgerchian Peter H.B. Frelinghuysen Paul M. Montrone Roger D. Wellington

Mrs. Thomas J. Galligan, Jr. Mrs. Hanae Mori Mrs. Donald B. Wilson

Mrs. Thomas Gardiner Mrs. Stephen V.C. Morris John J. Wilson

Mrs. James G. Garivaltis Richard P. Morse Nicholas T. Zervas

Overseers Emeriti Mrs. Frank G. Allen Paul Fromm

David W Bernstein Carlton P. Fuller Leonard Kaplan Giving is an art in itsele

When you make financial contributions to the arts or to any other non-profit organi- zation, Bank of New can bring important benefits to your philanthropy.

Bank of New England is an expert at financial planning for people who make substantial gifts to charity. We will show you how you can make con- tributions, save on taxes, and at the same time, continue to provide yourself with income from those gifts. There's an art to making the most of your contri- butions, for yourself as well as for your favorite charity. So when you want expert financial guid- ance in making charitable gifts, look to the light.

Investment Services

i BANKOF NEW ENGLAND' , Boston, MA 02109, (617) 973-1872

© Bank of New England Corporation, 1983 ^^ ^^^ m» Over 100 companycomnanv sponsorssnonsors will join John Williams and the Boston Pops on June 12, 1984 for "Presidents at Pops" - a festive, exciting benefit saluting New POPS England businesses. A very special program book is planned to commemorate the performance It will provide the opportunity for businesses to place an advertisement which will have high visibility among the business leaders present. Reserve space now for your business; an effective way Busifl^SS to advertise and to help support the Boston Symphony. t +/>c5 flipBSOSaW^ Contact Eric Sanders, BSO Director of Corporate * nc Development (617-266-1492); Lew Dabney, Yankee Publishing Krentzman, 19 1984 (542-8321); Chet Advanced June ^' Management Associates (332-3141); Vin O'Reilly,

Coopers& Lybrand (574-5000) ; or Mai Sherman, Zayre Stores (620-5000).

1984 "Presidents at Pops" Sponsors

ABD Securities Corp. Filene's O'Donnell-Usen ADCO Publishing, Inc First Boston Corp. Fisheries Corp. Affiliated Publications Framingham Trust Co. Packaging Industries Analog Devices Frank B. Hall & Co. Parlex Corp. Augat, Inc. Gadsby& Hannah Peat-Marwick-Mitchell Bank of Boston General Cinema Corp. Plymouth Rubber Co. Bank of New England General Eastern Pneumo Corp. Barry Wright Corp. Instrument Corp. Prime Computer BayBanks, Inc. Gillette Company Printed Circuit Corp. Bell Manufacturing Co. GTE Products Corp. Rath & Strong Bentley College Guzovsky Electrical Corp. Raytheon Company Blyth-Eastman-Paine-Webber Haemonetics Corp. Shawm ut Bank of Boston Bolt, Beranekand Newman HCW Oil & Gas Signal Technology Corp. Boston Consulting Group Helix Technology Corp. Signal Companies Boston Edison Co. Heritage Travel Simplex Time Recorder Co. Boston Park Plaza Herrick& Smith Sonesta International Hotels Buckley & Scott Hill& Knowlton Spencer Companies Burgess & Leith Honeywell Corp. State Street Bank Cameron & Colby Houghton Mifflin Co. Stop & Shop Co. Charles River Breeding Labs Howard Johnson Co. Stride Rite Corp. Citicorp (USA) IBM Corp. Systems Engineering Clark-Franklin-Kingston Press John Hancock Mutual TAD Technical Services Computer Partners Life Insurance Towle Manufacturing Coopers & Lybrand Johnson, O'Hare Co. Touche Ross & Co. Country Curtains Jones & Vining Trans Lease Group Creative Gourmets, Ltd. Kenyon & Ecknardt Trans National Group Services Cullinet Software, Inc. Knapp King Size Trina, Inc Daniels Printing Co. Label Art, Inc. Tucker, Anthony, & R. L. Day Data Packaging Leach & Garner Co. Wang Laboratories Digital Equipment Corp. Lee Shops WBZ-TV Dunkin' Donuts Liberty Mutual Insurance Co. WCIB-FM Dynatech Corp. Mercury International WNEV-TV E.F. Hutton& Co. Narragansett Capital Corp. Westin Hotel Eastern Gas & Fuel New England Business Service Woodstock Corp. Econocorp New England Mutual Yankee Oil & Gas Epsilon Data Life Insurance Zayre Corporation Ernst & Whinney New England Telephone Farrell, Healer & Co. Newsome & Company BSO

"Behind the Scenes" Luncheon at Symphony Hall

Recently appointed BSO Director of Development Josiah Stevenson is the featured speaker at the next "Behind the Scenes" luncheon, to be held on Friday, 13 April in the

Cohen Annex of Symphony Hall. This is the last of a four-luncheon series sponsored by the Council of the Boston Symphony Orchestra. You may purchase drinks at the bar when the doors open at 11:45 a.m.; the buffet lunch and talk begin at 12:15 p.m. A limited number of single tickets are available at $14.50; please phone the Friends' Office at 266-1348 for reservations or further information.

"The Orchestra Book" Answers Your Questions

What BSO member is a former NASA research chemist? What current members played under ? Who joined his father as an orchestra member this season? "The Orchestra Book," newly published by the Council of the Boston Symphony Orchestra, has the answers to these questions, as well as hundreds of interesting facts

about all 101 members of the orchestra and a photograph of each. A convenient stage-

seating diagram with the names of the players and their chair positions is also included.

"The Orchestra Book" is available for purchase during concerts at the Junior Council

Mint Counter, at the Subscription Office, or at the Friends' Office, all located in the Avenue corridor of Symphony Hall. To order by mail, please send $6 per book, plus $2 postage and handling (for one or two books; $3 for three or more books) to The Council Office, Boston Symphony Orchestra, Symphony Hall, Boston, MA 02115. Make your check payable to "Boston Symphony Orchestra," and act now to receive your

copy of this attractive, 72-page limited edition while the supply lasts!

WGBH Intermission Features on the Air

WGBH radio personality Ron Delia Chiesa conducts interviews with Boston Symphony staff and orchestra members throughout the 1983-84 season. These interviews are aired as intermission features during the Friday-afternoon and Saturday-night BSO concerts broadcast live by WGBH-FM-89.7. Coming up: BSO Business & Professional Leadership Committee Chairman Harvey Chet Krentzman on 6 and 7 April; BSO Orchestra Manager Anne Parsons on 13 and 14 April; and BSO Assistant Manager Daniel Gustin on 20 and 21 April.

BSO Guest Artists on "Morning Pro Musica"

Robert J. Lurtsema continues his series of interviews with Boston Symphony Orchestra guest artists on WGBH-FM-89.7's Morning Pro Musica. Hakan Hagegard, making his BSO debut in Berlioz's UEnfance du Christ in the season's final concerts, will be interviewed on Tuesday morning, 17 April at 11. mmsmmmmm

Even the Easter Bunny Loves Symphony Sweets!

The Junior Council of the Boston Symphony Orchestra recommends a departure from the usual chocolate Easter Eggs—try the Symphony Sweets instead. The Mint, the Bark, and the recently introduced Symphony Hall Tin filled with 36 Symphony Mints make perfect holiday gifts or a special treat for yourself and your family on Easter Sunday, 22 April.

The Symphony Bark is a miniature bar of dark, rich, chocolate stuffed with whole toasted almonds. The Symphony Mint is an exclusive formulation of dark sweet chocolate laced with creme de menthe. Both are embossed with the BSO colophon and are individually wrapped in gold foil. These products are made expressly for the BSO by Harbor Sweets of Marblehead.

The Symphony Mint is available in the following quantities: Tasters, 3 pieces at $2.00;

Hostess Box, 12 pieces at $6.00; Gift Box, 30 pieces at $12.00; and the filled Symphony

Tin, 36 pieces at $18.00. The Tin is also available without Mints for $7.00. Symphony Bark Tasters offer 2 pieces for $3.00; a Hostess Box of the Symphony Bark includes 8 pieces for $10.00.

All of these items are available at the Junior Council counter in the Massachusetts Avenue corridor of Symphony Hall near the elevator. They are also available by mail order (forms can be found at the counter), or you may order directly from Harbor Sweets of Marblehead by calling (617) 745-7648 and charging it to your MasterCard or Visa.

"A Company Christmas at Pops": An Exciting New Program

Give your company an early Christmas present by treating your management, employees, customers, vendors, and friends to a special evening at Pops featuring a unique holiday

program on Monday, 17 December 1984. This program will be available to only 130

businesses and professional organizations at $2,000 per company and will include a total of sixteen table and balcony seats complete with holiday drinks and a gourmet picnic

supper. A special program book will also be produced for this event.

For information on "A Company Christmas at Pops," please call James F. Cleary, Managing Director, Blyth Eastman Paine Webber Inc. at 423-8331; Chet Krentzman, President, Advanced Management Associates, 332-3141; Malcolm Sherman, President, Zayre Stores, 620-5000; or Eric Sanders, BSO Director of Corporate Development, 266-1492.

1984-85 BSO Subscription Information

Information for the Boston Symphony Orchestra's 1984-85 season will be available in

mid-April. Current subscribers will receive full program and renewal information at that time. Non-subscribers may request program and subscription information by writing to the Subscription Office, Symphony Hall, Boston, MA 02115.

With Thanks

We wish to give special thanks to the National Endowment for the Arts and the Massachusetts Council on the Arts and Humanities for their continued support of the Boston Symphony Orchestra. In the program book for the Boston Symphony concerts of 15, 16, and 17 April, we wrote that our guest conductor, Adam Fischer, had recorded the five-movement version of the

Mahler First Symphony with the Hungarian State Orchestra. In fact, that recording is under the direction not of Adam Fischer, but of his brother Ivan, also a conductor.

BSO Members in Concert

BSO violinist Ronald Knudsen, who is music director of the Newton Symphony Orchestra, conducts the Newton Symphony Chamber Orchestra at a Gala Benefit Concert for the Newton Symphony on Saturday evening, 14 April at 8 p.m. at Slosberg Hall on the Brandeis University campus in Waltham. Renowned duo- Yvette and Josette Roman will perform the Saint-Saens Carnival ofthe Animals with WBZ-TV's Joyce Kulhawik narrating the Ogden Nash verses. Also on the program will be Mozart's Concerto in E-flat for two , K.365, and Gershwin's arranged for two pianos. This gala occasion will include a champagne and patisserie reception for $25 per person (sponsors may make a $50 tax-deductible contribution). For reservations, please call 965-2555.

The North Shore Philharmonic, whose music director is BSO violinist Max Hobart, gives the final concert of its 1983-84 season on Sunday afternoon, 15 April at 3 p.m. at Lynn City Hall Auditorium. The program includes Beethoven's Ninth Symphony with soloists and the Combined North Shore Chorus.

Joseph Silverstein is the violin soloist in Mendelssohn's with the Youth Concert Orchestra of the New England Conservatory Extension Division under Benjamin Zander at Symphony Hall on Sunday, 15 April at 3 p.m. Also on the program: Mahler's Symphony No. 4, with soloist Cheryl Cobb. Tickets are $5.

Ronald Knudsen leads the final concert of this year's Brockton Symphony Orchestra season on Sunday evening, 29 April at 7:30 p.m. at the Brockton High School audi- torium. Violinist Peter Zazofsky will perform the Mendelssohn Violin Concerto and join violinist-conductor Knudsen for the Bach Concerto in D minor for two violins. Also on the program is music of Faure and Liszt. Single tickets are $7, available at the door. For further information, please call 583-6786.

The Civic Symphony of Boston under its music director Max Hobart closes its 1983-84 season at on Sunday evening, 29 April at 8 p.m. with William Schuman's New England Triptych, Griflfes's Poem for flute and orchestra with soloist Julie Darling, and the Brahms First Concerto with soloist Frederick Moyer. Single seats are

$6.50, $5, and $3.50, available at the Jordan HaU box office, 536-2412.

Art Exhibits in the Cabot-Cahners Room

The Boston Symphony Orchestra is pleased that a variety of Boston-area schools, museums, non-profit artists' organizations, and commercial galleries are once again displaying their work in the Cabot-Cahners Room this season. During the next few months, the following organizations will be represented:

2 April-8 April Special exhibit devoted to Sir 8 April- 7 May Pucker-Safrai Gallery

7 Seiji Ozawa

The 1983-84 season is Seiji Ozawa's eleventh season. His first professional concert as music director of the Boston Symphony appearance in North America came in Janu-

Orchestra. In the fall of 1973 he became the ary 1962 with the orchestra's thirteenth music director since it Orchestra. He was music director of the was founded in 1881. Chicago Symphony's for five summers beginning in 1964, and music Born in 1935 in Shenyang, China, to director for four seasons of the Toronto Sym- Japanese parents, Mr. Ozawa studied both phony Orchestra, a post he relinquished at the Western and Oriental music as a child and end of the 1968-69 season. later graduated from Tokyo's Toho School of

Music with first prizes in composition and con- Seiji Ozawa first conducted the Boston Sym- ducting. In the fall of 1959 he won first prize phony in Symphony Hall in January 1968; he at the International Competition of Orchestra had previously appeared with the orchestra for Conductors, Besancon, . Charles four summers at , where he Munch, then music director of the Boston became an artistic director in 1970. In Symphony and a judge at the competition, December 1970 he began his inaugural season invited him to Tanglewood for the summer as conductor and music director of the San following, and he there won the Berkshire Francisco Symphony Orchestra. The music Music Center's highest honor, the directorship of the Boston Symphony followed Koussevitzky Prize for outstanding student in 1973, and Mr. Ozawa resigned his San conductor. Francisco position in the spring of 1976, serv- ing as music advisor there for the 1976-77 While working with in season. West Berlin, Mr. Ozawa came to the attention of , whom he accompanied As music director of the Boston Symphony on the 's spring 1961 Orchestra, Mr. Ozawa has strengthened the Japan tour, and he was made an assistant orchestra's reputation internationally as well conductor of that orchestra for the 1961-62 as at home, leading concerts on the BSO's 1976 European tour and, in March 1978, on a Symphony" television series. His award-win- nine-city tour of Japan. At the invitation of the ning recordings include Berlioz's Romeo et Chinese government, Mr. Ozawa then spent a Juliette, Schoenberg's Gurrelieder, and the week working with the Peking Central Philhar- Berg and Stravinsky violin concertos with

monic Orchestra; a year later, in March 1979, . Other recordings with the he returned to China with the entire Boston orchestra include, for Philips, Richard Symphony for a significant musical and Strauss's Also sprach Zarathustra and Ein cultural exchange entailing coaching, study, Heldenleben, Stravinsky's Le Sacre du and discussion sessions with Chinese musi- printemps, Hoist's The Planets, and Mahler's cians, as well as concert performances. Also in Symphony No. 8, the Symphony ofa Thou- 1979, Mr. Ozawa led the orchestra on its first sand; for CBS, a Ravel collaboration with tour devoted exclusively to appearances at the mezzo- and the major music festivals of Europe. Most Mendelssohn Violin Concerto with ; recently, Seiji Ozawa and the Boston Sym- and, for Telarc, Vivaldi's Four Seasons with phony celebrated the orchestra's one-hun- violin soloist Joseph Silverstein, and music of dredth birthday with a fourteen-city American Beethoven—the Fifth Symphony, the Egmont tour in March 1981 and an international tour Overture, and, with soloist Rudolf Serkin, the to Japan, France, Germany, Austria, and Eng- Third, Fourth, and Fifth piano concertos and land in October/ November that same year. the Choral Fantasy. Mr. Ozawa has recorded Mr. Ozawa pursues an active international 's Pulitzer Prize-winning Con- career. He appears regularly with the Berlin certo for Orchestra and Andrzej Panufnik's Philharmonic, the Orchestre de Paris, the Sinfonia Votiva, both works commissioned by

French National Radio Orchestra, the Vienna the Boston Symphony Orchestra for its cen- Philharmonic, the Philharmonia of , tennial, for Hyperion records. He and the and the New Japan Philharmonic, and his orchestra have also recorded Stravinsky's operatic credits include Salzburg, London's Firebird and, with soloist Itzhak Perlman, the Covent Garden, in , and the violin concertos of Earl Kim and Robert Starer Paris , where he conducted the world for Angel/EMI. Mr. Ozawa holds honorary premiere of Olivier Messiaen's opera St. Fran- Doctor of Music degrees from the University cis ofAssist in November 1983. Mr. Ozawa of Massachusetts and the New England Con- has won an Emmy for the BSO's "Evening at servatory of Music. ''" 33ScX

References ^^aismgy

j| ~ .^^^^^k. furnished on request ^

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Aspen Music School and Festival Gilbert Kalish Dickran Atamian Ruth Laredo Burt Bacharach Liberace David Bar-Illan Panayis Lyras Berkshire Music Center Marian McPartland and Festival at Tanglewood Leonard Bernstein Jorge Bolet Seiji Ozawa Orchestra Boston Symphony Orchestra Andre Previn Brevard Music Center Ravinia Festival Dave Brubeck Santiago Rodriguez Chicago Symphony Orchestra George Shearing Cincinnati May Festival Abbey Simon Cincinnati Symphony Orchestra Aaron Copland Beveridge Webster Denver Symphony Orchestra Earl Wild Ferrante and Teicher John Williams Interlochen Arts Academy and Wolf Trap Foundation for the National Music Camp Performing Arts Byron Janis Yehudi Wyner Billy Joel Over 200 others Raldwfn

an Pasquale Cardillo Burton Fine Peter Hadcock Clarinet Charles S. Dana chair E-jlat Patricia McCarty Clarinet Mrs. David Stoneman chair Craig Nordstrom Ronald Wilkison Robert Barnes Bassoons Jerome Lipson Sherman Walt Edward A. Taft chair Bernard Kadinoff Roland Small Joseph Pietropaolo Matthew Ruggiero Michael Zaretsky Music Directorship endowed by Marc Jeanneret Contrabassoon John Moors Cabot Betty Benthin Richard Plaster * Brown SYMPHONY Lila Horns BOSTON * Mark Ludwig ORCHESTRA Charles Kavalovski Helen SagoffSlosberg chair Cellos 1983/84 Richard Sebring Jules Eskin Daniel Katzen First Violins Philip R. Allen chair Joseph Silverstein Martha Babcock Richard Mackey Concertmaster Vernon and Marion Alden chair Jay Wadenpfuhl Charles Munch chair Mischa Nieland Trumpets Emanuel Borok Esther S. and Joseph M. Shapiro chair Concertmaster Charles Schlueter Assistant Jerome Patterson Helen Horner Mclntyre chair Roger Louis Voisin chair * Robert Ripley Max Hobart Andre Come Luis Leguia Robert L. Beal, and Charles Daval and Bruce A. Beal chair Procter Enid Carol Timothy Morrison Cecylia Arzewski * Ronald Feldman and Bertha C. Rose chair Edward * Joel Moerschel Trombones Bo Youp Hwang * Jonathan Miller Ronald Barron John and Dorothy Wilson chair J.P and Mary B. Barger chair * Sato Knudsen Max Winder Norman Bolter Harry Dickson Basses Gordon Hallberg chair Forrest Foster Collier Edwin Barker Tuba Gottfried Wilfinger Harold D. Hodgkinson chair Chester Schmitz Ostrovsky Fredy Lawrence Wolfe Margaret and William C. Leo Panasevich Maria Stata chair Rousseau chair George Rowland chair Joseph Hearne Carolyn and Timpani Sheldon Rotenberg Bela Wurtzler Everett Firth Alfred Schneider Leslie Martin Sylvia Shippen Wells chair Raymond Sird John Salkowski Ikuko Mizuno John Barwicki Percussion Amnon Levy * Robert Olson Charles Smith * James Orleans Arthur Press Violins Second Assistant Timpanist Speaker Churchill Marylou Flutes Thomas Gauger Fahnestock chair Doriot Anthony Dwyer Frank Epstein Vyacheslav Uritsky Walter Piston chair Charlotte and Irving W. Rabb chair Fenwick Smith Harp Ronald Knudsen Myra and Robert Kraft chair Ann Hobson Pilot Joseph McGauley Sinclair chair Leone Buyse Willona Henderson Leonard Moss Laszlo Nagy Piccolo Personnel Managers * Michael Vitale Lois Schaefer William Moyer * Harvey Seigel Evelyn and C. Charles Marran chair Harry Shapiro * Jerome Rosen Oboes * Sheila Fiekowsky Librarians * Ralph Gomberg Gerald Elias Victor Alpert Mildred B. Remis chair * Ronan Lefkowitz Wayne Rapier William Shisler * Nancy Bracken Harper Alfred Genovese James * Joel Smirnoff * Jennie Shames English Horn Stage Manager * Position endowed by Nisanne Lowe Laurence Thorstenberg Angelica Lloyd Clagett * Aza Raykhtsaum Phyllis Knight Beranek chair Alfred Robison * Nancy Mathis DiNovo Clarinets Stage Coordinator * Participating in a system ofrotated Harold Wright Cleveland Morrison seating within each string section. Ann S.M. Banks chair A Brief History of the Boston Symphony Orchestra

For many years, philanthropist, Civil War 1915, the orchestra made its first transconti- veteran, and amateur musician Henry Lee nental trip, playing thirteen concerts at the Higginson dreamed of founding a great and Panama-Pacific Exposition in San Francisco permanent orchestra in his home town of Recording, begun with RCA in the pioneering

Boston. His vision approached reality in the days of 1917, continued with increasing fre- spring of 1881, and on 22 October that year quency, as did radio broadcasts of concerts. the Boston Symphony Orchestra's inaugural The character of the Boston Symphony was concert took place under the direction of con- greatly changed in 1918, when ductor Georg Henschel. For nearly twenty was engaged as conductor; he was succeeded years, symphony concerts were held in the old the following season by Pierre Monteux. These Boston Music Hall; Symphony Hall, the appointments marked the beginning of a orchestra's present home, and one of the French-oriented tradition which would be world's most highly regarded concert halls, maintained, even during the Russian-born was opened in 1900. Henschel was succeeded Serge Koussevitzky's time, with the employ- by a series of German-born and -trained con- ment of many French-trained musicians. ductors—, , The Koussevitzky era began in 1924. His , and — culminating in extraordinary musicianship and electric per- the appointment of the legendary , sonality proved so enduring that he served an who served two tenures as music director, unprecedented term of twenty-five years. In 1906-08 and 1912-18. Meanwhile, in July 1936, Koussevitzky led the orchestra's first 1885, the musicians of the Boston Symphony concerts in the Berkshires, and a year later he had given their first "Promenade" concert, and the players took up annual summer resi- offering both music and refreshments, and dence at Tanglewood. Koussevitzky passion- fulfilling Major Higginson's wish to give ately shared Major Higginson's dream of "a "concerts of a lighter kind of music." These good honest school for musicians," and in concerts, soon to be given in the springtime 1940 that dream was realized with the found- and renamed first "Popular" and then ing at Tanglewood of the Berkshire Music "Pops," fast became a tradition. Center, a unique summer music academy for

During the orchestra's first decades, there young artists. Expansion continued in other were striking moves toward expansion. In areas as well. In 1929 the free Esplanade concerts on the Charles River in Boston were

inaugurated by Arthur Fiedler,, who had been^, member of the orchestra since 1915 and who

in 1930 became the eighteenth conductor of the Boston Pops, a post he would hold for half a century, to be succeeded by John Williams in 1980.

Charles Munch followed Koussevitzky as music director in 1949. Munch continued Koussevitzky's practice of supporting contem- porary composers and introduced much music

from the French repertory to this country.

During his tenure, the orchestra toured abroad

for the first time, and its continuing series of

Youth Concerts was initiated. ^ began his seven-year term as music director in

12 —

1962. Leinsdorf presented numerous pre- Corigliano, , John mieres, restored many forgotten and neglected Harbison, Leon Kirchner, Peter Lieberson, works to the repertory, and, like his two prede- Donald Martino, Andrzej Panufnik, Roger cessors, made many recordings for RCA; in Sessions, Sir Michael Tippett, and Oily addition, many concerts were televised under Wilson—on the occasion of the orchestra's his direction. Leinsdorf was also an energetic hundredth birthday has reaffirmed the orches- director of the Berkshire Music Center, and tra's commitment to new music. Under his under his leadership a full-tuition fellowship direction, the orchestra has also expanded its program was established. Also during these recording activities to include releases on the years, the Boston Symphony Chamber Players Philips, Telarc, CBS, and Hyperion labels. were founded, in 1964; they are the world's From its earliest days, the Boston Sym- only permanent chamber ensemble made up of phony Orchestra has stood for imagination, a major symphony orchestra's principal play- enterprise, and the highest attainable stand- ers. succeeded Leinsdorf in ards. Today, the Boston Symphony Orchestra, 1969. He conducted several American and Inc., presents more than 250 concerts world premieres, made recordings for annually. Attended by a live audience of near- and RCA, appeared ly 1.5 million, the orchestra's performances regularly on television, led the 1971 European are heard by a vast national and international tour, and directed concerts on the east coast, audience through the media of radio, tele- in the south, and in the mid-west. vision, and recordings. Its annual budget has Seiji Ozawa, an artistic director of the grown from Higginson's projected $115,000

Berkshire Festival since 1970, became the to more than $16 million. Its preeminent posi- orchestra's thirteenth music director in the fall tion in the world of music is due not only to the of 1973, following a year as music advisor. support of its audiences but also to grants from Now in his eleventh year as music director, the federal and state governments, and to the Mr. Ozawa has continued to solidify the generosity of many foundations, businesses, orchestra's reputation at home and abroad, and individuals. It is an ensemble that has and his program of centennial commissions richly fulfilled Higginson's vision of a great from Sandor Balassa, Leonard Bernstein, John and permanent orchestra in Boston.

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

13 .

BOSTON SYMPHONY ORCHESTRA

Seiji Ozawa, Music Director

Sir Colin Davis, Principal Guest Conductor

Joseph Silverstein, Assistant Conductor

One Hundred and Third Season, 1983-84

Thursday, 5 April at 8 Friday, 6 April at 2 Saturday, 7 April at 8

SIR COLIN DAVIS

TIPPETT The Mask of Time, for voices and instruments (world premiere; 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)

Part One

1 Presence ( solo and chorus)

2. Creation of the World by Music (Soprano, mezzo-soprano, tenor, and

baritone soloists)

3. Jungle (Soloists and chorus) 4. The Ice-cap moves South-North (Chorus)

5. Dream of the Paradise Garden (Soloists and chamber choir)

INTERMISSION

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.

14 gf^

Part Two

6. The Triumph of Life (Soloists and chorus)

7. Mirror of Whitening Light (Chorus) 8. Hiroshima, mon amour (Soprano and chorus) 9. Three Songs:

I. The Severed Head (Soloists and chorus)

II. The Beleaguered Friends (Mezzo-soprano and chorus)

III. The Young Actor Steps Out (Tenor and chorus)

10. The singing will never be done (Soloists and chorus: wordless)

FAYE ROBINSON, soprano , mezzo-soprano ROBERT TEAR, tenor JOHN CHEEK, bass-baritone TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor

Thursday's and Saturday's concerts will end about 10:10 and Friday's about 4:10.

Philips, Telarc, CBS, Deutsche Grammophon, Angel/EMI, Hyperion, and RCA records Baldwin piano

15 Week 20 '". ?

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Sir Michael Tippett The Mask of Time, for voices and instruments

Michael Kemp Tippett — knighted by Queen Elizabeth II in 1966 — was born in London on 2 January 1905 and now lives in Wiltshire, England. He com- posed The Mask of Time on a commis- sion from the Boston Symphony Orchestra for its centennial. He began composition early in 1980, though there was evidently at least some general plan worked out in part before that. The score was completed in 1983. Tippett wrote his own text, which draws directly and indirectlyfrom many

sources. The score is dedicated to Meirion Bowen and bears the French

inscription "Parce que c'etait lui; parce " ^£ que c'etait moi. These are the first per- formances. The score calls for soprano, mezzo-soprano, tenor, and baritone soloists, a mixed chorus large enough to be subdivided into six real parts and occasionally into eight parts, a smaller chorus drawn out of the larger, and a large orchestra consisting of three flutes (all doubling piccolo), two oboes and English horn, two clarinets and bass clarinet, two bassoons and contrabassoon, six horns, three trumpets, three trombones and tuba, timpani, an enormous percussion ensemble subdivided into two groups (Group I: xylophone, marimba, vibraphone, glockenspiel, tubular bells, claves, castanets, bamboo wind chimes, suspended cymbal, clash cymbals, large

triangle, and thunder sheet; Group II: snare drum, tenor drum, three tom-toms, tuned drums, bass drum, two wood blocks, large wood block, high and low anvils, tam- bourine, large tam-tam, large gong, small high-pitched gong, four tuned gongs, two thin, high-pitched cymbals, suspended cymbal, and maracas), harp, piano, electronic organ, and strings.

From A Child ofOur Time, the first work that established his reputation widely, Michael Tippett has been one of those rare composers whose work involves a synthesis of ideas and fundamental human concerns. Though he has written many abstract composi- tions for chamber ensembles or full orchestra, the core of his work to this point has comprised the A Child ofOur Time and his four , , , and . To these may now be added the score that by any criterion must be counted as a synthesis and a summation of all that has gone before, The Mask of Time.

Tippett's interest in the deepest philosophical questions and his ethical concerns are rooted in experiences going back to his earliest years. His parents were not musical, but they both were active supporters of non- Establishment views. The composer's mother, in particular, went to prison for her work as a suffragette. They did not quite know what to do with their son's musical interests, so except for piano lessons he had no real musical training until after he announced that he intended to become a composer. It was only more or less by accident that his parents learned that a suitable course of action would be to send their son to the in London; accordingly he began his studies there in the summer of 1923.

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The Tanglewood Festival Chorus, John Oliver, Conductor, has openings in all sections for its 1984 summer season with the Boston Symphony Orchestra at Tanglewood. Works to be performed are the Beethoven

Choral Fantas y. Berlioz's Beatrice and Benedict , and Mahler's Symphony No. 2 with Music Director Seiji Ozawa; Beethoven's Symphony No. 9 with and a Prelude program featuring the music of Shostakovich, Berlioz, and Men- delssohn with Chorus Conductor John Oliver. Chorus members live in the Boston area and travel to Tanglewood for performances. Open auditions will be held Wednesday, April 11 at 6:45 pm at Symphony Hall, 301 Massachusetts Ave., Boston. No appointment is necessary. For further information, please call the Chorus Office at (617) 266-3513. m

18 —

While still a student, Tippett began conducting a choral group in Oxted. The close acquaintance with the English madrigal tradition that this experience made possible for him was to have a considerable effect on his future interest in contrapuntal part-writing with independent and flexible rhythms. As a latecomer to composition, Tippett might have been impatient and eager to start turning out scores, but he had the sense to recognize that he required further study and technical polishing. And he seems to have sensed intuitively that his musical approach would be primarily contrapuntal. Thus, even after leaving the RCM in 1928, he returned in 1930 to spend two more years studying Bach- style fugue and sixteenth-century counterpoint with R.O. Morris, the doyen of British teachers of those subjects.

After completing his work with Morris, Tippett was asked to take charge of music at a work-camp in an economically depressed area of Yorkshire, where unemployment was particularly high. His experiences in the work-camp confirmed and extended the basically left-wing views he had inherited from his parents, and he became more radically involved in political movements. Hiking in northern England, he was horrified to see under- nourished children who were overlooked by many in the "well-fed South." It was a period when many English intellectuals flirted more or less seriously with Communism. Tippett briefly joined the party in 1935 but resigned when he was unable to convert his party branch to Trotskyism. Thereafter he detached himself from political involvement, but he remained a committed pacifist (and like his mother before him, he served time in prison during the Second World War—for maintaining those beliefs). In the meantime he was composing some of the first pieces in which he was willing to recognize an artistic maturity

(all of his earlier compositions have been withdrawn). These early works include the String

Michael Tippett and Colin Davis at a recording session

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20 Quartet No. 1, Piano Sonata No. 1, and the Concerto for Double String Orchestra, all composed between 1935 and 1939. He had also made a friend of the poet T.S. Eliot, whose influence was to be crucial in his work to come.

It was an external event that inspired the composition of Tippett's first masterpiece. In 1938 a young Polish Jew, made desperate by Nazi persecution, had shot a German diplomat. The Nazis responded to this event with pogroms of the Jews all over central Europe. Tippett shared the horror that this response aroused and began considering ways of responding in music. He prepared a "sketch for a modern oratorio" and asked his

friend T.S. Eliot to turn it into a libretto. Eliot told him that the sketch already constituted the essence of a libretto and that he should finish the work himself, so that the music would express the words and dominate in the overall effect. Tippett followed Eliot's advice

then and has continued to do so with all of his later operas and other large-scale vocal works. In none of these cases did he fancy himself an original poet: rather he sought from his voracious reading to gather a wide range of images that could express his message directly and powerfully in musical terms. He had recently read Jung, and that author's ideas and images have played a powerful role in Tippett's work from that day on.

A Child ofOur Time proved to be prophetic of Tippett's mature style in a musical as well as a conceptual sense. In planning a modern oratorio after the plan of Handel's and the Bach Passions, Tippett sought for some music to serve as an equivalent

to the chorales in the Bach works, music that was communal in spirit and expressed the sentiments of the entire human family. At that time he encountered the Negro spiritual

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22 and realized that this was precisely what he was looking for. It was his first exercise in what might be termed "inter-cultural borrowing," something that was to become more

and more a feature of his later works. His music is filled with references to the blues, the melodic inflections of , the harmonic cross-relations of his great English predecessor , and many others—he hears them all as diverse versions of the same gesture, and in employing them in his own music, he has at the same time reaffirmed the unity of our musical responses over the centuries. Thus his work has been uniquely "inclusive" and responsive to ever new experiences.

A Child ofOur Time was the first high-water mark of a period in which Tippett's music was marked by invention and richly expressive melodic elaboration. For several years he continued in this vein of elaborate lyricism, culminating in his first opera, The Midsummer

Marriage, a work that was largely misunderstood at its premiere in 1955 and not properly evaluated until a revival at Covent Garden a number of years later under the direction of Colin Davis. To be sure, Tippett's libretto, filled with symbols drawn from Jungian psychology and various mythologies, did not make matters easy for an audience that expected something in the way of realistic theater. But no one ever doubted that the composer had plumbed a particularly lavish vein of lyricism in his score.

The next opera, though, took a sharp turn from what was by then regarded as Tippett's style (although the change had been foreshadowed in his Second Symphony). King Priam

(1958-61), an opera set during the Trojan War, dealt with "the mysterious nature of human choice." Here Tippett broke up the large operatic orchestra into smaller parts and treated the voice largely in a declamatory rather than a lyrical style. The textures are spare, and the orchestra, instead of providing a lush bed of more-or-less unified sound, becomes the source of a wide variety of smaller groupings.

The energy and assertiveness of King Priam affected Tippett's work for several years to come. The Knot Garden (1966-70) is even more compact. It is a return to a kind of

Sir Michael Tippett conducts the Boston Symphony Orchestra in 'A Child ofOur Time" at Tanglewood on 5 August 1978, with soloists Alexander Stevenson, Benita

Valente (both standing, to Tippett's left), Lili Chookasian, and Norman Bailey.

23 Week 20 symbolic opera, like The Midsummer Marriage, in that it involves the inner life of seven different individuals and has virtually no external plot. It is constructed of short scenes linked by the cinematic technique of sudden dissolve. The effect of the whole comes from the sum of the parts. In this respect, perhaps, it foreshadows the very diverse "scenes" that comprise The Mask of Time, though the principle of organization in the later work is essentially chronological.

In recent years Tippett's music has again returned, at least in part, to the lyricism of old. This was certainly true of the Triple Concerto (1978-79), the most recent of Tippett's works to be performed here, and it is true of The Mask of Time, which in a«very real sense sums up a half-century of experience in composition.

Laid out in two large parts subdivided into ten movements (which sometimes continue directly from one into the next), the work asks the basic questions regarding the origin and goal of our species and the very cosmos. The composer's statement of the question—and his answer—comes in a series of "scenes" involving literal, mythological, or symbolic representations of of the cosmos, the appearance of the human species, the development of society and of the technology with which we might well annihilate ourselves. At all stages of existence, human beings have had to confront their own mortality; successive movements, especially in Part Two, treat of death and man's inhumanity to man, and finally of man's yearning for an understanding of and union with the transcendental. Words are incapable of expressing that ultimate goal— it comes here only in pure tone in the wordless chorus of the final movement.

Like most of Tippett's work, The Mask ofTime is inclusive in its musical language. Brief quotations from Handel's Messiah ("Surely") and from , as well as references to many of Tippett's own recent works, abound. But they are part of a musical world-view that encompasses many different dialects and languages and integrates all cultures, periods, and lifestyles. The scope of The Mask ofTime is far larger than anything he has attempted before, but the humanity of the composer remains its fundamental feature.

—Steven Ledbetter

A Note by the Composer

Sir Michael Tippett has provided a briefcommentary before each scene in the accompanying libretto. He also prepared the following statement as an introduction to the libretto of this remarkable work:

The Mask ofTime is explicitly concerned with the transcendental. It deals with those fundamental matters that bear upon man, his relationship with Time, his place in the world as we know it and in the mysterious universe at large. But it subscribes to no particular liturgy or standard theory, Biblical or otherwise, about the creation of the world and the destiny of mankind.

Our century has acquired such vastly extended notions of space and time that I feel it would be an error to rely on past conceptions of the ontological and the transcendental.

Thus the work I have written is neither a setting of the Mass, nor an oratorio, nor even an adaptation of the sort we find in late Romantic works like Delius's A Mass ofLife or

Mahler's Eighth Symphony. Inescapably, I have had to accommodate a plurality of co- existing viewpoints. At best, my composition offers fragments or scenes from a possible

24 "epiphany" for today. The forces used in each scene or fragment are heterogeneous: hence my description "for voices and instruments."

The text for The Mask ofTime is compounded of metaphors drawn from many sources. These are swallowed up within the music, so the libretto should not be read as "litera- ture." Direct quotations from copyright material are acknowledged at the beginning of the libretto, where I have also mentioned a few of the sources upon which I have drawn in constructing the text.

The work is in two parts, which are separated by an interval in performance. Part One is more obviously mythological, Part Two potentially more historical. Part One starts with the "creation" of the cosmos and moves chronologically, more or less, towards the emergence of human civilization and an earthly paradise (or at least the basis for one in settled human societies). Part Two is discontinuous and focuses upon the individual in history.

The titles to each movement are intended to indicate the main concerns, at different stages, within a composition that is planned and presented as a multiple panorama of experience. In the libretto I have added a few explanatory sentences at the start of each movement.

There are, however, certain pervasive themes which are worth noting in advance. One is the notion of the fixed, the unchanging in nature: and related to this, the plight and status of the individual in a cosmos which, on one level, is thought to be ever-expanding, and on another, contains fixed and recurrent patterns and procedures. Arising from this is our present need for a new basis for affirmation—what can we now praise, what can we affirm?

In some contexts in the work I have utilized the idea of reversal, a term that has many overtones and connotations. (I have encountered it in the I-Ching, in Heraclitus, in Jung—who preferred the Greek-derived enantrochromia—and in modern physics, e.g. the mechanics of the pendulum or the satellite that reverses its course; I have also found "reversal psychology" suggestive.)

An abiding theme in the work is the polarity between knowledge obtained through intellectual processes (the knowledge of scientists) and that obtained from deep inner sensibilities (the knowledge of creative artists). Sometimes in their divinations of the future, these different sources of knowledge coincide and complement each other.

Finally, regarding the title of the composition, the word "Mask" is used in the tradition of the Renaissance Masque, which was a theatrical display or pageant with a great diversity of ingredients, but embodying some lofty notions that come eventually into the foreground. Each aeon of time is allowed its scene in this work: and by using the alternative spelling of "Mask," I have deliberately suggested a contemporary ironic ambiguity.

Michael Tippett

Copyright ®1983 Schott & Co., Ltd., London. Reprinted by permission.

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Just as he began composing rather late, Tippett has only belatedly come into his own as a subject of musical biography and extended analysis. Michael Tippett: A Symposium on his 60th Birthday, edited by Ian Kemp (Faber), contains a number of interesting things. Kemp also wrote the useful article in The New Grove. In the last few years there has been a flurry of books about the composer. First came Eric Walter White's Tippett and His

Operas (Barrie & Jenkins), which deals with all four operas and A Child ofOur Time; it is not profound in analytical detail, but the discussion is a useful guide to the listener encountering the operas for the first time. It is enriched by numerous letters between White and Tippett dating from the actual period of composition. More recently two short books have attempted to cover the entire span of Tippett's output. David Matthews's

Michael Tippett: An Introductory Study is brief and rather elementary (Faber paper- back). Meirion Bowen's Michael Tippett (in a welcome new series called "The Contempo- rary Composers" from Robson Books) has much useful information and comes from the critic who has been most closely associated with the composer and his work in recent years (and who happens to be the dedicatee of The Mask of Time). The volume also contains a chronological list of the composer's works with information regarding pre- mieres, length, and location of manuscripts. Two collections of Tippett's essays and BBC radio talks reveal a great deal about the man and his outlook: Moving Into Aquarius (Paladin paperback) and Music ofthe Angels —Essays and Sketchbooks ofMichael Tippett, edited by Meirion Bowers (Eulenburg paperback).

Most of Tippett's major works have, by now, been recorded, though the parlous condition of the classical record industry has caused a great many of the records to disappear from the catalog. The first three of the four string quartets have been recorded on a single disc by the Lindsay String Quartet (Oiseau-Lyre), while another single disc contains the three piano sonatas performed by Paul Crossley (Philips). All four of Tippett's symphonies have been recorded, the First, Second, and Third all by Colin Davis and the London Symphony Orchestra (the First on Philips, coupled with the Suite for the Birthday ofPrince Charles; the Second on Argo; the Third, with soprano , on Philips). The Fourth Symphony was commissioned by the Chicago Symphony Orchestra and has been recorded by that orchestra with Sir Georg Solti (London, coupled with the Suite for the Birthday ofPrince Charles).

Colin Davis recorded A Child ofOur Time with the BBC Singers, the BBC Choral Society, the BBC Symphony Orchestra and Chorus, and soloists , , Richard Cassilly, and John Shirley-Quirk (Philips). Colin Davis was also the conductor of the complete recordings of Tippett's first opera, The Midsummer Marriage, and of his third opera, The Knot Garden, in both cases with the personnel of productions he directed at House, Covent Garden (Philips). More recently David Atherton has recorded Tippett's second opera, King Priam, with the (London). The most recent stage work, The Ice Break, remains unrecorded.

Tippett himself conducts the recording of his oratorio The Vision ofSt. Augustine, with the London Symphony Orchestra and Chorus and bass-baritone John Shirley-Quirk (RCA; coupled with his early Fantasia on a Theme of Handel for piano and orchestra with Margaret Kitchin as the soloist). Colin Davis has recorded the Concerto for Orchestra with the London Symphony (Philips; coupled with the Four Ritual Dances from The Midsum- mer Marriage, played by the orchestra of the , Covent Garden) and Tippett's most recent orchestral score, the Triple Concerto (heard here in January 1982), with the London Symphony Orchestra and soloists Gyorgy Pauk, violin, Nobuko Imai, 27 Week 20 ''.::-.<.•• 1

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Smaller works on record include a fascinatingly varied disc of Tippett's choral music madrigals, liturgical works, and folk song arrangements—sung by the Schola Cantorum of Oxford conducted by Nicholas Cleobury (Oiseau-Lyre) and a piece composed for young musicians, Shires Suite, performed by the Leicestershire Chorale conducted by Peter Fletcher (Unicorn). Songs for Dov, an outgrowth of The Knot Garden, are sung by Robert Tear with the London Sinfonietta under the direction of David Atherton (Argo). sings four different works for voice and piano or : Boyhood's End, Songs for Achilles (an outgrowth of King Priam), Songs for Ariel (for a production of ), and The Heart's Assurance (Oiseau-Lyre).

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30 Sir Colin Davis

Idomeneo; Sir Michael Tippett's Midsummer Marriage, The Knot Garden, and The Ice Break; Wagner's Ring cycle, Berlioz's Les Troyens, and 's Peter Grimes. Sir Colin made his debut at New York's in 1967 with a new production of Peter Grimes, and he has returned there for Pelleas et Melisande and

Wozzeck. The first British conductor ever to appear at Bayreuth, he opened the 1977 fes-

tival there with Wagner's Tannhduser, a pro- duction filmed by Unitel.

Sir Colin records regularly with the Amster- dam , the Boston Symphony, the London Symphony, and the Royal Opera House orchestras. Among his many recordings for Philips are Mozart's Le nozze di Figaro, Knighted in 1980, Sir Colin Davis is principal Don Giovanni, Coslfan tutte, and Die guest conductor of the Boston Symphony Entfiihrung aus dem Serail; Puccini's Orchestra, music director of the Royal Opera, and La boheme; Verdi's Covent Garden, and principal guest conductor and // trovatore; Britten's Peter Grimes; sym- of the London Symphony Orchestra. He has phonic and operatic works by Tippett; a been decorated by the governments of Britain, Berlioz cycle for which he has received the France, and , and his European engage- Grosse Deutscher Schallplattenpreis; and, with ments include regular concerts with the the Boston Symphony, the complete sym- Amsterdam Concertgebouw, the Berlin Phil- phonies of Sibelius, for which he was awarded harmonic, and the Orchestre de Paris. Since the Sibelius Medal by the Helsinki Sibelius his American debut in 1960 with the Minne- Society. Recent releases include the Tippett apolis Symphony, Sir Colin has appeared with Triple Concerto for violin, viola, and cello with the orchestras of New York, Philadelphia, Los the London Symphony Orchestra, the Angeles, Cleveland, and Boston, where he has Mussorgsky/Ravel Pictures at an Exhibition conducted the BSO annually since 1967, and with the Concertgebouw Orchestra, Mahler's where he became the BSO's principal guest Das von der Erde with Jessye Norman, conductor in 1972. In September 1983 he Jon Vickers, and the London Symphony became principal conductor of the Bavarian Orchestra, and, with the Boston Symphony Radio Symphony Orchestra in Munich. Orchestra, Debussy's and Trois From 1959 to 1965, Sir Colin was music Nocturnes. director of Sadler's Wells (now English National) Opera. He made his Covent Garden debut with the Royal Ballet in 1960, and his operatic conducting debut there came in 1965. He was principal conductor of the BBC Symphony Orchestra until 1971, at which time he became music director of the Royal Opera. New productions he has led at Covent Garden include Mozart's Le nozze di Figaro, Don Giovanni, , and

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32 Faye Robinson

Sacra, and Beethoven's Missa Solemnis in Frankfurt, Toronto, and Pittsburgh. In July she participates in the London premiere of Sir Michael Tippett's The Mask ofTime with the BBC Symphony Orchestra under the direction of . Ms. Robinson's highly suc- cessful debut at the Aix-en-Provence Festival

in 1974 has led to return engagements in each successive season. She has also performed at the music festivals of Caramoor, Blossom, Saratoga, Chautauqua, Aspen, Ambler, and

Israel.

Ms. Robinson's operatic appearances have been highlighted by performances in the major musical centers of Europe and the United States. She has sung leading roles with the opera companies of Vienna, Paris, Hamburg, Houston-born soprano Faye Robinson made Frankfurt, Cologne, Munich, Diisseldorf, the her Boston Symphony debut in performances Teatro Colon in Buenos Aires, New Orleans, of Beethoven's Ninth Symphony under Sir and Philadelphia, and with the New York City Colin Davis in April 1979. During the 1980-81 Opera. Recent engagements have included season she sang performances of Mahler's in Madrid, in Bor- Eighth Symphony under Seiji Ozawa's deaux, Romeo et Juliette and La boheme at direction in Symphony Hall, , the Paris Opera, and all four heroines in Les and at Tanglewood and also recorded that Contes d'Hoffinann with the Calgary Opera. work with the orchestra for Philips. She She returned to the Frankfurt Opera this sea- returned here for performances of son for La traviata and Die Entfuhrung aus Beethoven's Ninth at the beginning of the dem Serail. Ms. Robinson's highly acclaimed Boston Symphony's 100th anniversary season Munich Opera debut as Constanze in Die in October 1981, and she appeared most Entfuhrung was the last opera production to recently for a performance of Beethoven's be led by the late Karl Bohm; she made her Choral Fantasy the October following. One of San Diego Opera debut this past February with the foremost concert artists today, Ms. Robin- her first appearances as Donna Anna in Don son has sung with virtually every major Giovanni. orchestra, among them the Concertgebouw, the New York Philharmonic, the , the Chicago Symphony, the , the Los Angeles Philhar- monic, and the National Symphony of Wash- ington, D.C. She recently performed the final scene of 's Daphne with the Cleveland Orchestra under Erich Leinsdorf and with the National Orchestral Association at Carnegie. Also this season she has sung Messiah with the Houston Symphony, Bach's Ascension and Easter with Musica

33 il^Hi Yvonne Minton

Pierrot Lunaire, 's Le Marteau sans maitre, Les Nuits d'ete, Schoenberg's Gurrelieder, Elgar's , and The Dream ofGerontius. She has recently recorded the role of Brangane in with Leonard Bernstein and the Bavar-

ian Radio Orchestra. Ms. Minton is also an

accomplished recitalist, having given recitals in such leading European centers as Hamburg, Paris, and Geneva. Ms. Minton appeared for

the first time with the Boston Symphony Orchestra in November 1980, in perform-

ances under Seiji Ozawa of Bartok's Duke Bluebeard's Castle. She also sang with Mr. Ozawa and the orchestra in a performance of Beethoven's Ninth Symphony in London in November 1981 during the orchestra's Cen- year. Born in , Australia, mezzo-soprano tennial Tour to Europe that Yvonne Minton went to Europe in 1961 and won the Prize at s'Hertogen- bosch in Holland. Soon after settling in Lon- don she was engaged by the Royal Opera House, Covent Garden, and her many suc- cesses there have included the roles of Orfeo, n Sextus in La clemenza di Tito, Dido in Les Troyens, Kundry, Brangane, Fricka, and Octavian in , the role with which she made her Metropolitan Opera debut "SEASONS... in 1972-73. Ms. Minton is in demand on both AT THE sides of the Atlantic and sings at all the major BOSTONIAN HOTEL, European opera houses, in addition to the MAY WELL BE Bayreuth and Salzburg festivals. She has been THE BEST RESTAURANT a regular guest with the Cologne Opera, where IN BOSTON." her most popular roles have included Sextus The TAB and Orfeo, and also with the Paris Opera, August 24, 1983 where she sang the role of Countess Geschwitz

in the first complete production of Berg's under Pierre Boulez, subsequently recorded for Deutsche Grammaphon. Ms. Minton devotes nearly as much time to concert engagements as to opera, and she has appeared regularly with such leading conduc- AT THE BOSTONIAN HOTEL tors as Sir Colin Davis, Sir Georg Solti, Pierre OVERLOOKING FANEUIL HALL MARKETPLACE TELEPHONE 523-4119 Boulez, and . Her many recordings include , , A la carte weekend brunch, 11:30-3:00. Der Rosenkavalier, La clemenza di Tito, The Valet parking available. Reservations suggested. Damnation ofFaust, Beatrice et Benedict, the Verdi , ,

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36 Robert Tear

recording artist, Mr. Tear has made well over

two hundred and fifty records for every major company, ranging from Bach cantatas and numerous recital records to Victorian ballads with his friends and Andre Previn, the three important Britten song

cycles, and all the major choral works, includ- ing a recent recording of Britten's War Requiem under . He may also be heard as Monostatos in Die Zauberflote, and he has recorded Schubert's Die Winterreise with Philip Ledger.

Mr. Tear's 1982-83 season included three productions at Covent Garden, various BBC Television recordings, and a special program of his own recorded in Cardiff. Last summer he toured Europe with the Julian Bream

Tenor Robert Tear was born and educated in Consort. He has made highly successful visits , leaving to become a choral scholar at to the Geneva Opera to sing Herod in Bejart's Kings College, Cambridge. Since 1961, when production of Salome and to Brussels Opera to he left Cambridge, he has demonstrated his sing in Idomeneo. He recently visited New great talent as one of the world's leading ten- York and Chicago to sing with Mehta and ors, having appeared within eight years with Solti; future projects include returns to the such conductors as Leonard Bernstein, Carlo opera houses of Paris, Geneva, and Brussels. Maria Giulini, and Herbert von Karajan. His He now also conducts a few concerts each repertoire is very varied, ranging from year, having recently taken up the baton. Mr.

Monteverdi and Dowland to Stravinsky and Tear first appeared with the Boston Symphony Tippett. A frequent visitor to the musical cen- Orchestra in Bach's St. Matthew Passion in ters of Europe and the United States, Mr. Tear April 1976. He has returned for Haydn's The is especially well-known in Paris, where he has Seasons, at Symphony Hall in November sung Loge in Das Rheingold under Sir Georg 1977 and at Tanglewood the following August. Solti, and where he took part in the complete production of Berg's Lulu under Pierre Boulez in 1979. He is a regular guest with such leading United States orchestras as Boston, Chicago, Los Angeles, and New York, partici- pating in the televised performances of Beethoven's Ninth Symphony which marked

Giulini's first concerts as music director of the . A regular guest in

many of Europe's major opera houses, he is particularly well-known at Covent Garden, where he made his debut in 1970 and where,

by 1986, he will have appeared for sixteen successive seasons, in roles such as Lensky under Solti, Orlofsky in Fledermaus under Mehta, Tom Rakewell in The Rake's Progress A Boston Tradition under Sir Colin Davis, and Jupiter in Handel's 41 UNION STREET 227-2750 Semele conducted by Mackerras. A successful

37 JOIN THE FUN!

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

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

Telephone (617) 266-1492

38 John Cheek

Symphony and Messiah with the Philadelphia, Penderecki's St. Luke Passion in Cleveland, and Boston Concert Opera performances in

the title role of Boito's Mejistofele. This spring he makes his Paris Opera debut as Count Walter in Verdi's Luisa Miller and his New York recital debut with at the piano. He recently sang Berlioz's Damnation ofFaust with the . Since his first Boston Symphony appearances, Mr. Cheek has rejoined the orchestra in Symphony Hall and at Tanglewood for music of Mozart, Haydn, Rachmaninoff, Paine, Beethoven, and Stravinsky, most recently for Haydn's Nelson Mass and Stravinsky's at Tanglewood in 1982. He was a soloist in Beethoven's Choral Fantasy on the Centennial Concert Celebration in October 1981 and in Born in North Carolina, bass-baritone John Beethoven's Ninth Symphony on the Boston Cheek received his bachelor of music degree Common and in Symphony Hall that same from the North Carolina School of Arts and month. subsequently earned the Diploma of Merit at the Accademia Musicale Chigiana under the tutelage of Gino Bechi. Following service in the U.S. Army, during which time he was a featured soloist with the U.S. Army Chorus,

Mr. Cheek made his official professional debut in August 1975, and he has since appeared with nearly every major symphony orchestra in the United States. Mr. Cheek made his Boston Symphony debut under Leonard Bernstein in the opening concert of the 1977 Tanglewood season, sang in the New York A Different Ooutheasf- Asian Ipeat Philharmonic's 1977 opening-night gala per- formance of Parsifal, Act II, under Erich Leinsdorf, and made his Metropolitan Opera debut in 1977-78 in Pelleas et Melisande. He T^MANDALAY has subsequently been heard in Metropolitan BURMESE RESTAURANT Opera productions of , , II trovatore, Luisa Miller, Don Carlo, La Gioconda, La boheme, Les top Pre and After Troyens, and Fidelio, and recent festival I neatre leasts appearances have included Tanglewood, Rav- inia, Blossom, Meadow Brook, and Ambler. Recent seasons have brought Mr. Cheek's de- 329 Huntington Avenue, Boston. 247-2111 but with the New Orleans Opera in perform- Two Blocks West of Symphony Hall - Reservations Suggested ances of Marion, Magic Flute, and Macbeth, a Beethoven Ninth with the San Francisco

39 Tanglewood Festival Chorus

John Oliver, conductor

very different sort of discipline from perform- ance with orchestra, and ranging in musical content from Baroque to contemporary. In the spring of 1977, John Oliver and the chorus were extended an unprecedented invitation by Deutsche Grammophon to record a program of a cappella twentieth-century American choral music; this record received a Grammy nomination for best choral performance in 1979. The latest recording by Mr. Oliver and the chorus has just been issued by Nonesuch and includes music of Luigi Dallapiccola and

Kurt Weill. In addition, the chorus is featured in Debussy's Trois Nocturnes with the Boston Symphony Orchestra under Sir Colin Davis on a recent release by Philips.

The Tanglewood Festival Chorus has collab- Co-sponsored by the Berkshire Music Center orated with the Boston Symphony Orchestra and , the Tanglewood Fes- on numerous other recordings for Deutsche tival Chorus was organized in the spring of Grammophon, New World, and Philips. For 1970 when John Oliver became director of the chorus' first appearance on records, in vocal and choral activities at the Berkshire Berlioz's Damnation ofFaust, John Oliver Music Center. Originally formed for perform- and Seiji Ozawa received a Grammy nomina- ances at the Boston Symphony Orchestra's tion for best choral performance of 1975. The summer home, the chorus was soon playing a Tanglewood Festival Chorus may be heard on major role in the orchestra's Symphony Hall the Philips releases of Schoenberg's Gurre- season as well. Under the direction of conduc- lieder, taped live during Boston Symphony tor John Oliver, the Tanglewood Festival Cho- performances and named best choral record- rus is regarded by conductors, press, and ing of 1979 by Gramophone magazine, and public as one of the great orchestra choruses Mahler's Symphony No. 8, the Symphony of of the world. The members of the chorus a Thousand. Other recordings with the donate their services, and they perform regu- orchestra include music of Ravel, Liszt, and larly with the Boston Symphony Orchestra in Roger Sessions, and the chorus has also Boston, New York, and at Tanglewood, work- recorded with John Williams and the Boston ing with Music Director Seiji Ozawa, Principal Pops. Sir Davis, Guest Conductor Colin John In addition to his work with the Tanglewood Williams and the Boston Pops, and such prom- Festival Chorus, John Oliver is conductor of inent guests as Leonard Bernstein, Claudio the MIT Choral Society, a senior lecturer in Abbado, Klaus Tennstedt, Mstislav Rostropo- music at MIT, and conductor of the John vich, Andre Previn, Eugene Ormandy, and Oliver Chorale, now in its seventh season, and Gunther Schuller. with which he has recorded Donald Martino's Unlike most other orchestra choruses, the Seven Pious Pieces for New World records. Tanglewood Festival Chorus under John Oliver also includes regular performances of a cap- pella repertory in its schedule, requiring a

40 Tanglewood Festival Chorus John Oliver, Conductor

Sopranos Catherine Diamond David E. Meharry Margaret Aquino Sara Dorfman Dwight Porter Ingrid Bartinique Kitty DuVernois David A. Redgrave

Christine F. W. Brigandi Mary F. Ellis Barry Singer Cathy E. Carberry Evelyn M. Eshleman-Kern Michael W. Spence Susan Cavalieri Paula Folkman Terence Stephenson Nancy H. Chittim Dorrie Freedman Don Patrick Sturdy Bonita Ciambotti Dorrie Fuchs Joel Suldan Joanne L. Colella Irene Gilbride Mark Wilson Margo Connor Thelma Hayes R. Spencer Wright Lou Ann David Donna Hewitt- Didham Basses Helen M. Eberle Leah Jansizian Peter T. Anderson Susan Rose Edelman Nancy E. Larsen David J. Ashton Rebecca Shellman Flewelling Suzanne D. Link J. Barrington Bates Ellen M. Foley Alison Loeb Richard Bentley Cecile Ann Hastie Dorothy W. Love Aubrey Botsford Lisa Heisterkamp April Merriam David H. Bowles Lois Himml M. Ovian Daniel E. Brooks Lisa Hoitsma Ann L. Pinto J. James W Courtemanche Alice Honner-White Deborah Ann Ryba Douglas A. Dittman Gailanne Cummings Hubbard Barbara Schmid James Greening Paula J. Jacobson Linda Kay Smith Mark L. Haberman Christine Jaronski Christina St. Clair John Knowles Frances V. Kadinoff Julie Steinhilber Ray Komow Eve Kornhauser Judith Tierney G. Paul Kowal Lydia A. Kowalski JoAnne Warburton Timothy Lanagan Maura L. H. Lynch Natasha M. Wei Kenneth L. Lawley Ida McManis Lee B. Leach Gail Marsh Antone Aquino Steven Ledbetter Patricia Mitchell E. Lawrence Baker David K. Lones Maureen T. M. Monroe Ralph A. Bassett Sandy Macfarlane Diana Noyes Donato Bracco Robert S. McLellan Fumiko Ohara William A. Bridges, Jr. Rene A. Miville Christine M. Pacheco Paul Clark Stephen H. Owades Nancy Lee Patton Paul R. Cohill Brian E. Patton Jennifer M. Pigg Albert R. Demers Martin R. Pierce Denise-Ann Jeanine Pineau Dana Robert Dicken Nathaniel Pulsifer Julia Poirier Reginald Didham Jules Rosenberg Charlotte C. Russell Priest C. Paul Dredge Vladimir Roudenko Lisa Saunier William E. Good Robert Schaffel Genevieve Schmidt J. Stephen Groff Frank R. Sherman Joan Pernice Sherman Dean Armstrong Hanson Peter S. Strickland Carole J. Stevenson George Harper Joel Wachman Caroline A. Woodwell Wayne S. Henderson Pieter Conrad White Mezzo- John W. Hickman Maisy Bennett Fred G. Hoffman Christine Billings Stanley Hudson Rebecca Chamberlain John C. Karris

Arnalee Cohen Edward J. Kiradjieff Barbara A. Cooper Henry Lussier

Ethel Crawford John V. Maclnnis, Jr. Mary A. V. Crimmins F. Brian McConville

Sarah Harrington, Manager Susan Almasi, Rehearsal pianist

41 SIR COLIN DAVIS AND THE BOSTON SYMPHONY ORCHESTRA AN EIGHTEEN-YEAR REPERTORY LIST

Sir Colin Davis first conducted the Boston Symphony Orchestra in February 1967 in a program of Berlioz, Stravinsky, and Dvorak. Since that appearance, he has conducted the BSO annually, becoming the orchestra's Principal Guest Conductor in 1972. While he will be returning to conduct the Boston Symphony, his commitments as Music Director of the Royal Opera, Covent Garden, and as Principal Conductor of the Bavarian Radio Symphony Orchestra in Munich will preclude future visits to Boston on an annual basis.

We are fortunate that it is under Sir Colin's leadership that the BSO presents the world premiere of The Mask ofTime by Sir Michael Tippett, a composer long championed by Sir Colin not only in Boston but throughout the world. On the occasion of this important premiere, we salute and thank Sir Colin for the many magnificent performances he has given us. The following is a complete list of repertoire he has conducted with the BSO since the 1966-67 season.

Season

ARNE, THOMAS AUGUSTINE (orch. ROBT. BOCKHOLT) Rule Brittania 1974-1975

BARTOK, BELA

Piano Concerto No. 1 1980-81 , piano

BEETHOVEN, LUDWIG VAN

Symphony No. 1 in C, Op. 21 TWD 1976 Symphony No. 2 in D, Op. 36 1972-73 Symphony No. 3 in E-flat, Op. 55, Eroica TWD 1972; 1972-73 Symphony No. 7 in A, Op. 92 TWD 1976 Symphony No. 9 in D minor, Op. 125 1978-79 FAYE ROBINSON, soprano; PATRICIA PAYNE, mezzo- soprano; NEIL ROSENSHEIN, tenor; ROBERT LLOYD, bass- baritone; TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor

Piano Concerto No. 2 in B-flat, Op. 19 1972-73 , piano

Piano Concerto No. 4 in G, Op. 58 TWD 1972 GINA BACHAUER, piano

Piano Concerto No. 5 in E-flat, Op. 73, Emperor 1973-74 CHRISTOPH ESCHENBACH, piano Coriolan Overture, Op. 62 1972-73; 1973-74; TWD 1976 Leonore Overture No. 2 1973-74 Mass in C, Op. 86 1976-77 BENITA VALENTE, soprano; JAN DeGAETANI, mezzo- soprano; RYLAND DAVIES, tenor; MICHAEL DEVLIN, bass; TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor 42 Missa Solemnis in D, Op. 123 TERESA CAHILL, soprano; ANNA REYNOLDS, ; 1975-76 ERIC TAPPY, tenor; ROBERT LLOYD, bass-baritone; TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor SUSAN DAVENNY WYNER, soprano; ANNA REYNOLDS, TWD 1976 contralto; ERIC TAPPY, tenor; MARIUS RINTZLER, bass; TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor

BENNETT, RICHARD RODNEY

Symphony No. 1 1968-69

BERG, ALBAN Three Pieces for Orchestra, Op. 6 1982-83

BERLIOZ, HECTOR Overture to Beatrice et Benedict TWD 1973 "Minuet of the Will-o'-the-Wisps," "Ballet of the Sylphs," and Rakbczy March from La Damnation de , Op. 24 Overture to Les Francs-juges, Op. 3 TWD 1972; 1972-73; 1980-81 King Lear Overture, Op. 4 1966-67; 1977-78 Les Nuits d'ete, Op. 7 1972-73 JANET BAKER, mezzo-soprano

Sara la baigneuse NEW ENGLAND CONSERVATORY CHORUS, LORNA 1974-75 COOKE deVARON, conductor TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, TWD 1980 conductor , Op. 14 TWD 1980 , for tenor soloist and three choruses, with orchestra and organ, Op. 22 , tenor; TANGLEWOOD FESTIVAL TWD 1972 CHORUS, JOHN OLIVER, conductor; ALBANY ALL SAINTS CATHEDRAL CHOIR OF MEN AND BOYS, LLOYD E. CAST, JR., director; GIRLS FROM INDIAN HILL SCHOOL, JEROME ROSEN, director; BERJ ZAMKOCHIAN, organ KENNETH RIEGEL, tenor; TANGLEWOOD FESTIVAL 1972-73 CHORUS, JOHN OLIVER, conductor; ST. PAUL'S SCHOOL BOY CHOIR, THEODORE MARIER, director; BERJ ZAMKOCHIAN, organ

Tristia NEW ENGLAND CONSERVATORY CHORUS, LORNA 1974-75 COOKE deVARON, conductor TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, TWD 1980 conductor

"Hail to the Queen" from Les Troyens 1974-75 "Royal Hunt and Storm" from Les Troyens NEW ENGLAND CONSERVATORY CHORUS, LORNA 1974-75 COOKE deVARON, conductor TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, TWD 1980 conductor

Waverley, Grand overture, Op. 1 1974-75 '"••'.''

£77ie seasons/ come and^^^faces c/uinpe/,

/resA ideas/ are exfe/ored, o/aW" ones are/rv-&xamined,

and traditions/ endure.

Jftlorniny 3romusieaandtAc ($os/xms

continue tAeir fany^standinp as&mzation/

out/is tAe7^K^Hdar^ature "u^won/kram/isica"

— a series ^conihersations coitA/ tAi& season '^featured

so/oists, conductors and composers;.

jfiornin^J^ro^ musiea, uutA/ ffudert^.^irtsentay,

i& broadcast eoeruda^^from ssihen untdn&on/

on/ s/zrfionss oftAe' {£u/die Stadia jVetuwr/t/

and is Aeard'uv tAe (^Boston/ area on W&&9C, 89.7JK,

44 FORTHOSE WHO HAVE THE MEANS, WE HAVE THE WAYS.

vm cmm

For a personal appointment,

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BIZET, GEORGES Symphony in C 1981-82

BRAHMS, JOHANNES Symphony No. 2 in D, Op. 73 TWD 1973; 1973-74; 1979-80; 1980-81

Symphony No. 3 in F, Op. 90 1968-69; TWD 1972; 1972-73; 1982-83

Symphony No. 4 in E minor, Op. 98 1976-77 Violin Concerto in D, Op. 77 1978-79 , violin

BRUCH, MAX Fantasia on Scottish Folk Melodies for violin, 1977-78 with orchestra and harp

JOSEPH SILVERSTEIN, violin

DEBUSSY, CLAUDE — Poeme dans'e 1981-82 La Mer, Three symphonic sketches 1981-82 Trois Nocturnes TWD 1980; 1981-82 Women of the TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor

DVORAK, ANTONIN Symphony No. 7 in D minor, Op. 70 1966-67; TWD 1971; 1971-72; 1981-82

Symphonic Variations, Op. 78 1977-78

ELGAR, EDWARD

Symphony No. 1 in A-flat, Op. 55 1969-70; TWD 1971 Violin Concerto in B minor, Op. 6 1972-73 JOSEPH SILVERSTEIN, violin

Introduction and Allegro for strings, Op. 47 TWD 1971; 1972-73 Serenade in E minor for strings, Op. 20 1974-75 Variations on an Original Theme, Op. 36, Enigma 1972-73; 1976-77 Cockaigne Overture (In London Town), Op. 40 1977-78

Pomp and Circumstance, March No. 1 , in D 1974-75 The Dream ofGerontius (words by Cardinal Newman), for 1982-83

mezzo-soprano, tenor, and bass soloists, chorus, and orchestra, Op. 38 STUART BURROWS, tenor (Gerontius); JESSYE NORMAN, soprano (The Angel); JOHN SHIRLEY-QUIRK, bass-baritone (The Priest and The Angel of the Agony); TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor

GERHARD, ROBERTO Symphony No. 4, New York 1974-75

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I m. and the Cotting School has a lot to give handicapped children. We offer a 12-year day schooj program for physically handicapped children with normal intellectual capability.

Included in school services are both vocational and college preparatory training, transportation (in Boston), medical, dental, and vision care, speech and physical therapy, social development programs, lunch, testing, recreation and summer camping. Without any cost whatsoever to parents. Right now. we have openings for handicapped children. Please pass the

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Cotting School for Handicapped Children a private. non-proM. nonsectanan. Ch. 766-approved institution supported primarily by gifts, grants, legacies and bequests.

46 HANDEL, GEORGE FRIDERIC Messiah, A Sacred Oratorio BENITA VALENTE, soprano; HELEN WATTS, contralto; TWD 1973 RYLAND DAVIES, tenor; STAFFORD DEAN, bass; TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor SUSAN DAVENNY WYNER, soprano; QUIVAR, 1976-77 mezzo-soprano; NEIL ROSENSHEIN, tenor; JOHN SHIRLEY- QUIRK, bass-baritone; TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor

HAYDN, FRANZ JOSEPH Symphony No. 84 in E-flat TWD 1973; 1973-74 Symphony No. 87 in A 1973-74 Symphony No. 99 in E-flat 1968-69 Symphony No. 103 in E-flat, Drum Roll 1975-76

IVES, CHARLES (orch. WM. SCHUMAN) Variations on America 1974-75

MAHLER, GUSTAV Symphony No. 4 in G TWD 1971 JUDITH RASKIN, soprano Das Lied von der Erde 1974-75 JANET BAKER, mezzo-soprano; RICHARD CASSILLY, tenor

Songs on texts from Des Knaben Wunderhorn JESSYE NORMAN, soprano; JOHN SHIRLEY-QUIRK, 1978-79 bass-baritone , contralto; JOHN SHIRLEY- TWD 1980 QUIRK, bass-baritone

MARTIN, FRANK Petite Symphonie concertante for harp, harpsichord, 1983-84 piano, and two string orchestras ANN HOBSON PILOT, harp; MARK KROLL, harpsichord; FREDERICK MOYER, piano

MENDELSSOHN, FELIX Symphony No. 4 in A, Op. 90, Italian 1974-75 Incidental music for Shakespeare's A Midsummer Night's 1975-76 Dream, Op. 61

MOZART, WOLFGANG AMADE Symphony No. 29 in A, K.201 (186a) 1974-75 Symphony No. 32 in G, K.318 1974-75 Symphony No. 33 in B-flat, K.319 1983-84 Symphony No. 34 in C, K.338 1978-79 Symphony No. 36 in C, K.425, Linz 1977-78; TWD 1980 Symphony No. 38 in D, K.504, Prague TWD 1973 Symphony No. 39 in E-flat, K.543 TWD 1971; 1972-73

47 .

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48 Clarinet Concerto in A, K.622 1972-73 HAROLD WRIGHT, clarinet

Concerto for Flute and Harp, K.299 (297c) 1982-83 DORIOT ANTHONY DWYER, flute; ANN HOBSON PILOT, harp

Piano Concerto No. 12 in A, K.414 PETER FRANKL, piano 1975-76 , piano 1980-81

Piano Concerto No. 22 in E-flat, K.482 1971-72 STEPHEN BISHOP, piano

Piano Concerto No. 25 in C, K.503 TWD 1971; 1971-72 STEPHEN BISHOP, piano

Piano Concerto No. 26 in D, K.537, Coronation 1969-70 INGRID HAEBLER, piano

Piano Concerto No. 27 in B-flat, K.595 1982-83 , piano

Violin Concerto No. 3 in G, K.216 TWD 1973 JOSEPH SILVERSTEIN, violin

Serenade No. 6 in D, K.239, Serenata notturna 1980-81

March in E-flat from Act I of La clemenza di Tito, K.621 1981-82 Overture to Idomeneo, Re di Creta, K.366 1969-70

March in D from Act I of Idomeneo, Re di Creta, K.366 1973-74 Minuet in C, K.409 1972-73; 1975-76

Concert aria, "Bella miafiamma . . . Resta, o cara," K.528 1973-74 JESSYE NORMAN, soprano

Scene, "Ch'io mi scordi di te," with Rondo, "Non temer 1973-74 amato bene,^ for soprano, with piano obbligato, K.505 JESSYE NORMAN, soprano; ROBERT LEVIN, piano Masonic Funeral Music, K.477 (479a) 1982-83 Kyrie in D minor, K.341 TWD 1971; 1971-72 TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor

Mass in C, K.317, Coronation TWD 1973 BENITA VALENTE, soprano; HELEN WATTS, contralto; RYLAND DAVIES, tenor; STAFFORD DEAN, bass; TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor

Requiem in D minor, K.626 BENITA VALENTE, soprano; BEVERLY WOLFF, mezzo- TWD 1971 soprano; KENNETH RIEGEL, tenor; ROBERT HALE, bass; TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor BENITA VALENTE, soprano; D'ANNA FORTUNATO, mezzo- 1971-72 soprano; KENNETH RIEGEL, tenor; ROBERT HALE, bass; TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor , soprano; KATHERINE CIESINSKI, TWD 1980 mezzo-soprano; KENNETH RIEGEL, tenor; JOHN SHIRLEY- QUIRK, bass-baritone; TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor

49 MAKE SURE EVERY PERFORMANCE Dine YOU ATTEND ENDS at the garden ON A HIGH NOTE. before or after symphony End your evenings at one of

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50 1 1

RAVEL, MAURICE Rapsodie espagnole 1980-81

SCHUBERT, FRANZ Symphony No. 3 in D, D.200 1975-76; TWD 1980 Symphony No. 4 in C minor, D.417, Tragic 1983-84 Symphony No. 5 in B-flat, D.485 1980-81 Symphony No. 6 in C, D.589 1980-81

Symphony No. 7 in B minor (old No. 8), D.759, Unfinished 1982-83

Symphony No. 8 in C (old No. 9), D.944, The Great 1979-80; TWD 1980

Marche militaire, D.733 (orch. Ernest Guiraud) 1981-82 Incidental music from Rosamunde, D.797 1981-82 Overture to Rosamunde [Die Zauberharfe, D.644] 1982-83 Mass No. 2inG,D.167 TWD 1971 JUDITH RASKIN, soprano; VAHAN KHANZADIAN, tenor; ROBERT HALE, bass; TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor

SCHUMANN, ROBERT Piano Concerto in A minor, Op. 54 MICHAEL ROLL, piano 1973-74 , piano 1979-80

SIBELIUS, JEAN

Symphony No. 1 in E minor, Op. 39 1973-74; 1975-76 Symphony No. 2 in D, Op. 43 1975-76; TWD 1976 Symphony No. 3 in C, Op. 52 1972-73; 1976-77 Symphony No. 4 in A minor, Op. 63 1973-74; 1976-77 Symphony No. 5 in E-flat, Op. 82 1974-75 Symphony No. 6, Op. 104 1975-76 Symphony No. 7, Op. 105, in one movement 1974-75; 1979-80

Violin Concerto in D minor, Op. 47 TWD 1976; 1976-77 MIRIAM FRIED, violin En Saga, Symphonic poem, Op. 9 1978-79

Karelia Suite, Op. 1 1978-79

March from the Karelia Suite, Op. 1 1976-77 Pohjola's Daughter, Symphonic fantasy, Op. 49 1979-80 The Swan ofTuonela, Legend from the Kalevala, 1976-77 Op. 22, No. 3 Tapiola, Tone poem for orchestra, Op. 112 1972-73; 1975-76; TWD 1976

STEFFE, WM. (orch. MORTON GOULD) Battle Hymn ofthe Republic 1974-75

STRAVINSKY, IGOR Apollo, Ballet in two scenes, for string orchestra 1974-75 Concerto in E-flat for chamber orchestra, Dumbarton Oaks 1973-74 Octet for wind instruments 1974-75 Orpheus, Ballet in three scenes 1973-74

51 Yourinsurance agent will always be there, but will you recognize him?

Can you remember the name of the person who handles your insurance? Many of the people who sell business insurance change jobs quite often. You may be working with someone familiar one month, and then with a total stranger the next. At Brewer & Lord, we think continuity is an important part of the insurance relationship. Every

account is supervised by one of our partners. This gives you the advantage of working with some- one who understands your busi-

ness. Not just initially, but year after year. Since 1859, we've provided our clients with the consistent service they deserve. With Brewer & Lord, you'll not only recognize your insurance agent, you'll know him as someone you can depend on.

Brewer & Lord New England finds security in our experience.

MAIN OFFICE: 40 Broad Street. Boston. MA 02109 Tel. (617) 426-0830 BRANCHES: Acton, Framingham. Bedford (Gail Aviation Insurance)* Falmouth (Lawrence and Motta) Personal & Business Fire/Casualry/Surety/Marine/Aulo/Homeowners/ Risk Management & Engineering Services/Life & Employee Benefits Persephone, Melodrama in three parts (Poem by Andre Gide) 1976-77 ANNE HAENEN, soprano; ALEXANDER STEVENSON, tenor; NEW ENGLAND CONSERVATORY CHORUS, LORNA COOKE deVARON, conductor; BOSTON ARCHDIOCESAN CHOIR, THEODORE MARIER, choirmaster

Scherzo a la russe 1969-70 Symphony in Three Movements 1966-67 Symphony ofPsalms 1976-77 TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor

TCHAIKOVSKY, PYOTR ILYICH Symphony No. 4 in F minor, Op. 36 1969-70 Romeo and Juliet, Overture-Fantasy after Shakespeare 1978-79

TIPPETT, MICHAEL Symphony No. 2 1969-70 Symphony No. 3 1973-74 Symphony No. 4 1978-79

Concerto for Violin, Viola, Cello, and Orchestra 1981-82

GYORGY PAUK, violin; NOBUKO IMAI, viola; RALPH KIRSHBAUM, cello

Fantasia concertante on a Theme of Corelli 1971-72 A Child ofOur Time, oratorio for soloists, chorus, 1977-78 and orchestra TERESA ZYLIS-GARA, soprano; LILI CHOOKASIAN, contralto; ALEXANDER STEVENSON, tenor; NORMAN BAILEY, baritone; TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor

The Mask of Time, for voices and instruments (world 1983-84 premiere; commissioned by the Boston Symphony Orchestra

for its centennial) FAYE ROBINSON, soprano; YVONNE MINTON, mezzo- soprano; ROBERT TEAR, tenor; JOHN CHEEK, bass-baritone; TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor

VERDI, GIUSEPPE Quattro pezzi sacri (Four Sacred Pieces) TWD 1972 TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor; JOAN HELLER, soprano

WAGNER, RICHARD Overture to The Flying Dutchman TWD 1972; 1972-73 "'s Rhine Journey," "Forest Murmurs," and 1975-76 "Siegfried's Funeral March" from Der Ring des Nibelungen Prelude and Love-death from Tristan und Isolde TWD 1972; 1972-73 JESSYE NORMAN, soprano Songs to five poems by Mathilde Wesendonck TWD 1972; 1972-73 JESSYE NORMAN, soprano

53 Singleness of Purpose

In most trust companies, commercial banking constitutes the

principal business, while the trust department is assigned a role of lesser importance.

Fiduciary Trust Company feels strongly that the problems of

trusteeship require full time, not part time, effort; that they call for nothing less than complete attention.

In consequence, Fiduciary Trust Company, true to its name,

devotes all of its activities to its fiduciary obligations.

By thus restricting our activities, we are in a position to provide the constant care and undivided attention necessary for the successful management of trust funds.

FIDUCIARY BOSTON TRUSTEES

Fiduciary Trust Company 175 Federal Street, Boston, Massachusetts 02110 Telephone (617) 482-5270

54 WOOD, HENRY Cello Concerto TWD1971 ZARA NELSOVA, cello

VAUGHAN WILLIAMS, RALPH Symphony No. 4 in F minor 1973-74 Symphony No. 6 in E minor 1982-83 Fantasia on Greensleeves 1974-75

Fantasia on a Theme by Thomas Tallis 1976-77

WALTON, WILLIAM

Symphony No. 1 1978-79

r ~\

Let lis WHITE orchestrate all at Stoc your financial a condominium community arrangements. A "summer" home for every season.

. . . from the summer sounds of Tanglewood through fall's brilliant Mutual Bank foliage and winter's beckoning

Franklin slopes . . . into the subtle clean 45 St. Boston MA 02110 fragrance ofspring, your home at 482-7510 969-7500 (Boston) (Newton) White Pines can be ready and Member FDtC waitingfor you.

Year-round luxury. Reserving now for 1984 occupancy. Please writefor more information or call for an appointment.

Post Office Box 949 Dept. Stockbridge. MA 01262/413 637 1140 or Rein holt Realty 413 637 1251 or 298 3664

55 SAFE&SOUND

You want to know and need to know that them. All of which Security Deposit provides. your personal and family valuables and papers Plus a great many other security services availa- are fully protected 24 hours a day, seven days a ble nowhere else- including insurance, 12- week. hour-a-day accessibility, bonded pickup and Fully protected. Not only from theft and delivery, even private conference and viewing prying eyes, but also from extremes of tempera- facilities. ture and humidity. Call us at (617) 338-6393. Or write us. And you need to know that you can get at No matter what you want to protect, we'll these valuables conveniently, when you want keep it Safe & Sound.

A PRIVATE SAFE DEPOSIT CENTER Security Deposit Corporation One Milk Street Boston, MA 02109

56 The Boston Symphony Orchestra gratefully acknowledges the following corpora- tions and professional organizations for their generous and important support in the past or current fiscal year. (* denotes support of at least $2,500; capitalized names denote support of at least $5,000; underscored capitalized names within the Business Leaders' listing comprise the Business Honor Roll.)

1983-84 Business Honor Roll ($10,000 + )

Advanced Management Associates, Inc. Dynatech Corporation Harvey Chet Krentzman J.P Barger

American Telephone & Telegraph Company Gillette Company

Charles L. Brown Colman M. Mockler, Jr.

Analog Devices, Inc. John Hancock Mutual Life Insurance Company Ray Stata E. James Morton Bank of Boston Liberty Mutual Insurance Company William L. Brown Melvin B. Bradshaw Bank of New England Mobil Chemical Corporation

Roderick M. MacDougall Rawleigh Warner, Jr.

BayBanks, Inc. New England Mutual Life Insurance Company

William M. Crozier, Jr. Edward E. Phillips Boston Consulting Group, Inc. New England Telephone Company

Arthur P. Contas Gerry Freche Boston Edison Company Raytheon Company

Thomas J. Galligan, Jr. Thomas L. Phillips Boston Globe/Affiliated Publications Red Lion Inn William 0. Taylor John H. Fitzpatrick Cahners Publishing Company, Inc. The Signal Companies Norman Cahners Michael H. Dingman

Commercial Union Assurance Companies WCRB/Charles River Broadcasting, Inc. Howard H. Ward Richard L. Kaye Country Curtains WCVB-TV 5 Mrs. John Fitzpatrick S. James Coppersmith Devonshire Associates Wang Laboratories Weston Howland Dr. An Wang Digital Equipment Corporation Wm. Underwood Company Kenneth H. Olsen James D. Wells

Business Leaders ($1,000+ )

Accountants Advertising/ RR.

COOPERS & LYBRAND *Giltspur Exhibits /Boston

Vincent M. O'Reilly Thomas E. Knott, Jr. * Ernst & Whinney *Kenyon & Eckhardt

James G. Maguire Thomas J. Mahoney *Peat, Marwick, Mitchell & Company *Newsome & Company Herbert E. Morse Peter G. Osgood

TOUCHE ROSS & COMPANY Aerospace James T. McBride Northrop Corporation Joseph Yamron

57 A new tradition in Cambridge salutes the fine tradition of the Boston Symphony Orchestra.

THE RESIDENCES AT CHARLES SQUARE Harvard Square, Cambridge

86 overview condominium residences Scheduled for occupancy late 1984 617-542-7500

We travel the world to select the most exquisite jewelry from the most gifted artisans.

You can make your selection at Karten 's in Copley Place. We'll be happy to show you fine jewelry and watches in your choice of styles, your price range. Each item from our international collection is a gift of beauty and lasting value. 4^W£*s!a Use your Kartell's charge or any major credit card. Copley Place, 2nd level.

At malls in Burlington, Braintree, Natick, North Dartmouth, Swansea, Mall of New Hampshire. Nashua and Fox Run Mall.

58 PNEUMO CORPORATION SIGNAL TECHNOLOGY CORPORATION Gerard A. Fulham William Cook

Banking Energy BANK OF BOSTON ATLANTIC RICHFIELD COMPANY L. Brown William Robert 0. Anderson ENGLAND BANK OF NEW * Buckley & Scott MacDougall Roderick M. Charles H. Downey BAYBANKS, INC. HatofTs William M. Crozier, Jr. Sidney Hatoff Boston Five Cents Savings Bank HCW Oil & Gas Robert Spiller J. John M. Plukas *Citicorp/Citibank MOBIL CHEMICAL CORPORATION Clarke Coggeshall Rawleigh Warner, Jr. Framingham Trust Company * Yankee Oil & Gas, Inc. William A. Anastos Graham E. Jones * Patriot Bancorporation

Allyn L. Levy Finance

SHAWMUT BANK OF BOSTON Chase Econometric /Interactive Corporation William F. Craig Carl G. Wolf

STATE STREET BANK & TRUST COMPANY *Farrell, Healer & Company, Inc. William S. Edgerly Richard Farrell * United State Trust Company The First Boston Corporation James V. Sidell George L. Shinn

Clothing * Kaufman & Company Sumner Kaufman *Knapp King-Size Corporation * Leach & Garner Winthrop A. Short Philip Leach William Carter Company *Narragansett Capital Corporation Leo J. Feuer Arthur D. Little Consulting/ Management *TA Associates ADVANCED MANAGEMENT ASSOCIATES, INC. Peter A. Brooke Harvey Chet Krentzman BOSTON CONSULTING GROUP, INC. Food/ Hotel/ Restaurant

Arthur P. Contas Boston Showcase Company DEVONSHIRE ASSOCIATES Jason Starr Weston Howland * Creative Gourmets Limited * Forum Corporation Stephen E. Elmont

John Humphrey *Dunkin' Donuts, Inc. LEA Group Robert M. Rosenberg Eugene Eisenberg * Howard Johnson Company

Arthur D. Little, Inc. Howard B. Johnson

John F. Magee * Johnson, O'Hare Company, Inc. Russell Reynolds Associates, Inc. Harry O'Hare Jack Vernon OCEAN SPRAY CRANBERRIES, INC.

Education Harold Thorkilsen *0'Donnell-Usen Fisheries, Corporation *Bentley College Irving Usen Gregory H. Adamian RED LION INN STANLEY H. KAPLAN EDUCATIONAL CENTER John H. Fitzpatrick Susan B. Kaplan Shaw's Supermarkets Electronics Stanton Davis

*Parlex Corporation Sonesta International Hotels Corporation Herbert W. Pollack Paul Sonnabend 59 ^JjS

The impeccably made salad is ofequal importance to me as the impeccably made bed.

THE COPLEY PLAZ The Grande Dame ofBoston.

Operated by Hotels ofDistinction, Inc., Copley Square, Boston, Massachusetts 02116. Reservations: tollfree, 800-225-7654, oryour agent.

60 THE STOP & SHOP COMPANIES, INC. Massachusetts High Technology Council, Inc.

Avram J. Goldberg Howard P. Foley WM. UNDERWOOD COMPANY * Polaroid Corporation

James D. Wells William J. McCune, Jr. * Furnishings/ Housewares Prime Computer, Inc. Joe M. Henson COUNTRY CURTAINS * Printed Circuit Corporation Jane P. Fitzpatrick Peter Sarmanian Health Care/ Medicine RAYTHEON COMPANY *Haemonetics Corporation Thomas L. Phillips

Gordon F. Kingsley Systems Engineering & Manufacturing Corporation Steven High Technology/ Computers Baker Teledyne ANALOG DEVICES Engineering Services Fred C. Bailey Ray Stata Thermo Electron Corporation The Analytic Sciences Corporation Dr. George N. Hatsopoulos Dr. Arthur Gelb Transitron Electric Corporation Analytical Systems Engineering Corporation David Bakalar Michael B. Rukin WANG LABORATORIES, Aritech INC. Dr. An Wang James A. Synk * Western Electric Fund AUGAT, INC. Donald E. Procknow Roger Welllington

*Bolt, Beranek & Newman, Inc. Stephen Levy Insurance

*Computer Partners, Inc. Arkwright-Boston Insurance

Paul J. Crowley Frederick J. Bumpus *Cullinet Software, Inc. COMMERCIAL UNION ASSURANCE COMPANIES

John J. Cullinane Howard H. Ward

*Data Packaging Corporation *Frank B. Hall & Company of Massachusetts, Inc. Otto Morningstar John B. Pepper DIGITAL JOHN I EQUIPMENT CORPORATION HANCOCK MUTUAL LIFE INSURANCE COMPANY Kenneth H. Olsen E. James Morton DYNATECH CORPORATION LIBERTY MUTUAL- INSURANCE t COMPANY J.R Barger Melvin B. Bradshaw |*Epsilon Data Management, Inc. NEW ENGLAND MUTUAL LIFE INSURANCE COMPANY Thomas 0. Jones Edward E. Phillips

I The Foxboro Company PRUDENTIAL INSURANCE COMPANY OF AMERICA

Bruce D. Hainsworth Robert J. Scales

GTE Sun Life ! ELECTRICAL PRODUCTS Assurance Company of Canada John C. Avallon John D. McNeil

*GenRad, Inc. William R. Thurston Investments 1 Henco Software Amoskeag Company Henry Cochran Joseph B. Ely

!* Honeywell Information Systems *Blyth Eastman Paine Webber Incorporated William R. Smart James F. Cleary TBM Corporation *Burr, Egan, Deleage & Company Bradford Towle Craig L. Burr

| Instron Corporation *E.F. Hutton & Company, Inc. Harold Hindman S. Paul Crabtree LFE Corporation Loomis Sayles & Company Herbert Roth, Jr. Robert L. Kemp

61 Win HHH^HKiinSH

62 Moseley, Hallgarten, Estabrook & Weeden, Inc. TAD Technical Services Corporation

Fred S. Moseley David McGrath Northland Investment Corporation TOWLE MANUFACTURING COMPANY Robert A. Danziger Leonard Florence The Putnam Advisory Company, Inc. THE SIGNAL COMPANIES John A. Sommers Michael H. Dingman TUCKER, ANTHONY & R.L. DAY, INC. * Barry Wright Corporation

R. Willis Leith, Jr. Ralph Z. Sorenson * Woodstock Corporation Media Frank B. Condon General Cinema Corporation Legal Richard A. Smith Cesari & McKenna WBZ-TV 4 Robert A. Cesari Thomas Goodgame Gadsby & Hannah WCRB/CHARLES RIVER BROADCASTING, INC. Harry Hauser Richard L. Kaye HERRICK & SMITH WCVB-TV 5 Malcolm D. Perkins S. James Coppersmith

I. Stephen Samuels, PC. WNEV-TV 7/NEW ENGLAND TELEVISION

I. Stephen Samuels Seymour L. Yanoff

Leisure Musical Instruments

* Heritage Travel Avedis Zildjian Company Donald Sohn Armand Zildjian Trans National Group Services, Inc. BALDWIN PIANO & ORGAN COMPANY Alan E. Lewis R.S. Harrison

Manufacturing Printing/ Publishing INC. ALPHA INDUSTRIES, *ADCO Publishing Company, Inc. Andrew S. Kariotis Samuel Gorfinkle Bell Manufacturing Company BOSTON GLOBE/ AFFILIATED PUBLICATIONS Irving W Bell William 0. Taylor Bird Companies Boston Herald C.K. Breiteneicher Joseph Robert E. Page CABOT CORPORATION FOUNDATION, INC. CAHNERS PUBLISHING COMPANY, INC. Ruth C. Scheer Norman Cahners Crane & Company CLARK-FRANKLIN-KINGSTON PRESS Bruce Crane Lawrence Dress Econocorp, Inc. * Daniels Printing Company Richard G. Lee Lee Daniels Gans Tire Company, Inc. Houghton Mifflin Company David Gans Marlowe G. Teig GILLETTE COMPANY * Label Art, Inc. Colman M. Mockler, Jr. Leonard J. Peterson * Marks International, Inc. Harry Marks Retailing

Millard Metal Service Center, Inc. Armen Dohanian Rugs Donald Millard Armen Dohanian New England Millwork Distributors, Inc. *Wm. Filene's & Sons Company Samuel H. Gurvitz Merwin Kaminstein Norton Company *Lee Shops, Inc. Donald R. Melville Arthur Klein

Plymouth Rubber Company, Inc. LINCOLN-MERCURY DEALERS ASSOCIATION

Maurice J. Hamilburg Al Kalish 63 Horn Special pre- theatre dinner available &

INVESTMENT COUNSEL

International Portfolio Management "hdaxtrSJacques

Individuals -Trusts 'Pension Funds

Continental Cuisine Tel. (617) 720-0079 on the Charles , Boston, MA 02109 10 Emerson Place Boston 742-5480

At Last. »4$v && A superb steak and seafood house in the classical tradition. Afull menufor pre-theatre diners supplemented by a Two years ago Decorators' Clearing House ventured into a "Unique Concept for Fashionable Bostonians" .... discounting the posh furniture and accessories normally sold thru Interior supper menufrom 10:30 to Decorators and Architects. These selections were seasoned with Fine Art. 12featuring tighter THAT WAS GOOD! foods for One year ago Decorators' Clearing House moved. The "Concept" was honed as was the quality of the offerings. DCH later diners. Sunday brunch became the "In Place" for a sophisticated clientele who recognize the pieces from the pages of Architectural Digest front 11 to 3. Intimate bar or from costly trips to New York Decorator Showrooms. The resources were expanded to include furniture from exclusive collections not previously shown in this area. The discounts and lounge. Berkeley Street (and they are better than ever!) are secondary to the convenience of not waiting months for delivery. The aware clientele at Stuart. appreciate the selectivity of the Fine Art and realize that Cad 54Z-2Z55 really Fine Art can not and should not be discounted! THAT WAS BETTER! reservations. Major credit for This year Decorators' Clearing House, DCH, is adding more space and continues to hone "The Concept" with the cards accepted. introduction of DCH DESIGN LTD. in response to requests for design assistance, not only to incorporate DCH's fabulous offerings, but, also, to provide The Total Design Package. For information, call 965-6668. THAT IS BEST! Decorators' Clearing House 1029 Chestnut Street Newton Upper Falls, Ma. 965-6363

Mon. - Sat. 9:30 am - 5:30 pm MasterCard/VISA/ American Express

64 Marshall's Inc. THE SPENCER COMPANIES, INC. Frank H. Benton C. Charles Marran ZAYRE CORPORATION STRIDE RITE CORPORATION Maurice Segall Arnold S. Hiatt

Transportation Science The Trans-Lease Group *Charles River Breeding Laboratories, Inc. John F. McCarthy, Jr. Henry L. Foster, D.V.M. Damon Corporation Utilities

Dr. David I. Kowosky AMERICAN TELEPHONE & TELEGRAPH Ionics, Inc. COMPANY Arthur L. Goldstein Charles L. Brown BOSTON EDISON COMPANY Shoes Thomas J. Galligan, Jr.

*Jones & Vining, Inc. * Eastern Gas & Fuel Associates

Sven Vaule, Jr. William J. Pruyn * Mercury International Trading Corporation NEW ENGLAND TELEPHONE Irving Wiseman Gerry Freche

Why You Should Spend as Much Time Selecting a £t^otofpfuT^st^ur^HH Volvo Garage As You Did Selecting Your Volvo:

iou spent good time and thought selecting (your Volvo. It wasn't a simple decision. (An emotional reaction. Ego gratification. It was a sensible, common sense solution. Now, you should spend some time and thought selecting the correct Volvo garage. A garage that has the same dedication to workmanship and quality as Volvo itself.

Cinderella Carriage Company is the quality, common sense place to have your Volvo serviced. It is one of the finest, most modern repair shops in New England. And, according to Boston Magazine, the best place in Greater Boston to have your Volvo serviced. A charming 19th Century Townhouse It's simple. Cinderella believes in the best people and the serving superb continental cuisine most modern technology. We do it right. In fact, our quality control insures that our repairs are 98% in contemporary informal elegance. perfect (and in a business where 75% is great Offering lunch and dinner with a variety , we're aiming for 100%!) of fresh seafood specials daily, and our Cinderella Carriage uses an extremely advanced after theatre cafe menu till midnight. computerized inventory control, computer diagnostics, the service team approach, a tough system of quality control, and a true personal dedication to our customers. Serving - It all adds up to quality, common sense service. Lunch: 12:00-2:30 weekdays Dinner: 6:00-10:30 Sun.-Thurs. 6:00-12:00 Fri.-Sat. Brunch: 11:00-3:00 Sat. & Sun. Cinderella Carriage00 reservations: 266-3030 "A little magic and lots of common sense.' 47 Smith Place, Cambridge 99 St. Botolph Street Just one minute from Fresh Fond Circle. behind the Colonnade Hotel Phone 876-1781

65 -,.' 1SMP

WE SPECIALIZE INN COMFORT.

To stay at the Wellesley Inn is to surround yourself with all the comforts of home and more. From our 70 regally appointed rooms to delectable food in one of our three restaurants, the Wellesley Inn is the select place to stay at affordable prices. We also specialize in weddings and confer- ences. Our function staff will help you select a room that's just right for you, from a small party to a Grand Ballroom affair The Wellesley Inn complete with all the trimmings. We're On The Square just 15 minutes from downtown Boston. 576 Washington Street, Wellesley, MA 02181 Telephone (617) 235-0180

"WHEN NURSING CARE BECOMES A CONSIDERATION"

Mayo Health Facilities has Residents are welcome to developed a unique alternative enjoy all of these services on a to retirement housing at the short term basis through the foot of the Blue Hills in Milton, new RESPITE CARE program. Massachusetts, offering skilled The Milton Adult Day Care nursing care in an estate Center is also an integral part setting. The Milton Health of the Milton facility. Adult Care Facility combines all the Day Care is the new trend in benefit from our experience in health care, offering to its' the development of luxury clients complete health and apartments and elegant social services. A special hotels in addition to 20 years Alzheimer's program is avail- of quality nursing care. able during the day schedule. The new Milton facility offers Your questions and personal to its' resident's a warm and visit are welcome. We invite caring atmosphere with 1 8th you to visit seven days a week Century appointments. Total care is avail- from 9:00 a.m. to 5:00 p.m. Please call able including supportive, preventative, Marion Bibbey at 333-0600 for further rehabilitative, religious and social services information. MAYO HEALTH FACILITIES a division of The Flatley Company Division Office Milton Mayo Health Facilities Milton Health Care Facility 150 Wood Road, Braintree, MA 02 184 1200 Brush Hill Road, Milton, MA 02 186 333-0600 848-2000 Locations at: Boston Fall River Framingham Milton Norwood Randolph

66 The Boston Symphony Orchestra gratefully acknowledges the following founda-

tions for their generous support. These valuable gifts are greatly appreciated.

The Lassor & Fanny Agoos Charity Fund Helen & Leo Mayer Charitable Trust Anthony Advocate Foundation William Inglis Morse Trust Frank M. Bernard Foundation, Inc. Mydans Foundation Theodore H. Barth Foundation The Nehemias Gorin Foundation The Adelaide Breed Bayrd Foundation Thomas Anthony Pappas Charity Foundation

Bezalel Foundation, Inc. Parker Charitable Foundation

Cabot Family Charitable Trust Permanent Charities Fund of Boston, Inc. Calvert Trust Olive Higgins Prouty Foundation

The Clowes Fund, Inc. A.C. Ratshesky Foundation Eastman Charitable Foundation Sasco Foundation Eaton Foundation Schrafft Charitable Trust

Orville W. Forte Charitable Foundation, Inc. George and Beatrice Sherman Family Charitable Foster Charitable Trust Trust

The Fuller Foundation, Inc. Sandra & Richard Silverman Foundation

George F. & Sybil H. Fuller Foundation The Seth Sprague Educational and Charitable The Charles Robert Gens Foundation Foundation

Kenneth J. Germeshausen Charitable Trust Stearns Charitable Trust

Elizabeth Grant Trust The Stone Charitable Foundation, Inc. Greylock Foundation Gertrude W. & Edward M. Swartz Charitable Reuben A. & Lizzie Grossman Foundation Trust Hayden Charitable Trust Webster Charitable Foundation, Inc.

The Howard Johnson Foundation Edwin S. Webster Foundation Hunt Foundation Carl A. Weyerhaeuser Trust

The John A. and Ruth E. Long Foundation Albert 0. Wilson Foundation, Inc.

MacPherson Fund, Inc.

"HE SWLER BUIIDINC 5;#f 20 Park Plaza, Boston, MA 021 16 JAPANESE*

Prime office space offering FRENCH CUISINE

first class amenities Lunch daily 12 - 2 in a classic setting. Dinner daily 5:30 - 9 220 Huntington Saunders & Associates, AMO Ave., Boston, MA Exclusive Leasing and Managing Agents (Acrossfrom Symphony Hall) (617) 426-0720 247-2662 Real Estate Since 1898 Free parking at Mid-Town Hotel Garage

67 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

68 Coming Concerts . . .

Thursday, 12 April—8-10 SEIJI OZAWA conducting Lieberson Piano Concerto (commissioned by the Boston Symphony

Orchestra for its centennial) PETER SERKIN Shostakovich Symphony No. 10

5" 16" x 11" x Wednesday, 11 April at 7:30 Open Rehearsal s 9625 N Steven Ledbetter will discuss the program Musette Bag $190 at 6:45 in the Cohen Annex. Friday, 13 April— 2-3:55 This roomy Glove Leather bag Saturday, 14 April—8-9:55 is favored by models, dancers, SEIJI OZAWA conducting travelers and photographers. Brahms Violin Concerto make it in: Black, British We ISAAC STERN Tan, Mocha and Tabac. Shostakovich Symphony No 10 You can order it by mail or phone, and we will ship it to you from our factory at no Thursday, 19 April—8-10:05 extra cost. Friday, 20 AprU— 2-4:05 Saturday, 21 April—8-10:05 The CoacK Store SEIJI OZAWA conducting

75-B Newbury Street, Boston, Mass. 02 1 16 Berlioz UEnfance du Christ 536-2777 V (617) KATHERINE CIESINSKI, mezzo-soprano , tenor HAKAN HAGEGARD, baritone THOMAS STEWART, baritone S. MARK ALIAPOULIOS, baritone NEW ENGLAND CONSERVATORY CHORUS, LORNA COOKE deVARON, conductor

£mr pr^-o'dvinnrT... DAVidS Programs subject to change. 269 NEWBURY STREET

LUNCH Mon thru Sat.

DINNER Sun- Sat. til 11.00

I I 1 I ( <>< K I Ml SIU\I(I Valet parking 262-4810 '^ All Major Credit Cards Accepted V ( DAVrCS / 1 Block from HYNES AudHortum ) 100 years offashion

Celebrating our Centenary in 1984, we are pleased to announce our opening in Copley Place.

Now the Jaeger International Collection is at two locations, to serve you twice as well.

Jaeger International Shop Jaeger International Shop Copley Place The Mall at Chestnut Hill 100 Huntington Avenue Newton, MA 02167 Boston, MA 02116 (617) 527-1785 (617)953-0440 Ladies' & Gentlemen's Sportswear Ladies' Sportswear Only vAeGER. LONDON

JAEGER SALUTES THE BOSTON SYMPHONY ORCHESTRA Symphony Hall Information . . .

FOR SYMPHONY HALL CONCERT AND concerts (subscription concerts only). The

TICKET INFORMATION, call (617) continued low price of the Saturday tickets is 266-1492. For Boston Symphony concert pro- assured through the generosity of two anony-

gram information, call "C-O-N-C-E-R-T." mous donors. The Rush Tickets are sold at $4.50 each, one to a customer, at the Sym- THE BOSTON SYMPHONY performs ten phony Hall West Entrance on Fridays begin- months a year, in Symphony Hall and at ning 9 a.m. and Saturdays beginning 5 p.m. Tanglewood. For information about any of the orchestra's activities, please call Symphony LATECOMERS will be seated by the ushers

Hall, or write the Boston Symphony Orches- during the first convenient pause in the pro- tra, Symphony Hall, Boston, MA 02115. gram. Those who wish to leave before the end of the concert are asked to do so between THE EUNICE S. AND JULIAN COHEN program pieces in order not to disturb other ANNEX, adjacent to Symphony Hall on patrons. Huntington Avenue, may be entered by the Symphony Hall West Entrance on Huntington SMOKING IS NOT PERMITTED in any part Avenue. of the Symphony Hall auditorium or in the FOR SYMPHONY HALL RENTAL INFOR- surrounding corridors. It is permitted only in the Cabot-Cahners and Hatch rooms, and in MATION, call (617) 266-1492, or write the the main lobby on Massachusetts Avenue. Hall Manager, Symphony Hall, Boston, MA 02115. CAMERA AND RECORDING EQUIPMENT may not be brought into Symphony Hall dur- THE BOX OFFICE is open from 10 a.m. until ing concerts. 6 p.m. Monday through Saturday; on concert evenings, it remains open through intermission FIRST AID FACILITIES for both men and for BSO events or just past starting-time for women are available in the Cohen Annex near other events. In addition, the box office opens the Symphony Hall West Entrance on Hunt-

Sunday at 1 p.m. when there is a concert that ington Avenue. On-call physicians attending afternoon or evening. Single tickets for all concerts should leave their names and seat Boston Symphony concerts go on sale twenty- locations at the switchboard near the Massa- eight days before a given concert once a series chusetts Avenue entrance.

has begun, and phone reservations will be accepted. For outside events at Symphony

Hall, tickets will be available three weeks before the concert. No phone orders will be accepted for these events.

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

RUSH SEATS: There are a limited number of Rush Tickets available for the Friday-after- noon and Saturday-evening Boston Symphony

71 WHEELCHAIR ACCESS to Symphony Hall is BOSTON SYMPHONY BROADCASTS: Con- available at the West Entrance to the Cohen certs of the Boston Symphony Orchestra are Annex. heard by delayed broadcast in many parts of the United States and Canada, as well as AN ELEVATOR is located outside the Hatch internationally, through the Boston Symphony and Cabot-Cahners rooms on the Massachu- Transcription Trust. In addition, Friday after- setts Avenue side of the building. noon concerts are broadcast live by WGBH- FM (Boston 89.7), WMEA-FM (Portland are located on the orches- LADIES' ROOMS 90.1), WAMC-FM (Albany 90.3), WMEH- of the tra level, audience-left, at the stage end FM (Bangor 90.9), and WMEM-FM (Presque level, hall, and on the first-balcony audience- Isle 106.1). Live Saturday-evening broadcasts right, outside the Cabot-Cahners Room near are carried by WGBH-FM, WCRB-FM the elevator. (Boston 102.5), WFCR-FM (Amherst 88.5), and WPBH-FM (Hartford 90.5). If Boston MEN'S ROOMS are located on the orchestra Symphony concerts are not heard regularly in level, audience-right, outside the Hatch Room your home area and you would like them to near the elevator, and on the first-balcony be, please call WCRB Productions at (617) level, audience-left, outside the Cabot-Cahners 893-7080. WCRB will be glad to work with Room near the coatroom. you and try to get the BSO on the air in your area. COATROOMS are located on the orchestra and first-balcony levels, audience-left, outside BSO FRIENDS: The Friends are supporters of the Hatch and Cabot-Cahners rooms. The the Boston Symphony, active in all of its en- deavors. Friends receive BSO, the orchestra's BSO is not responsible for personal apparel or other property of patrons. newsletter, as well as priority ticket informa- tion. For information, please call the Friends' LOUNGES AND BAR SERVICE: There are Office at Symphony Hall weekdays between 9 two lounges in Symphony Hall. The Hatch and 5. If you are already a Friend and would Room on the orchestra level and the Cabot- like to change your address, please send your Cahners Room on the first-balcony level serve new address with your newsletter label to the drinks starting one hour before each perfor- Development Office, Symphony Hall, Boston, mance. For the Friday-afternoon concerts, MA 02115. Including the mailing label will both rooms open at 12:15, with sandwiches assure a quick and accurate change of address

available until concert time. in our files.

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