Boston Symphony Orchestra Concert Programs, Season 118, 1998-1999

Home , Alison Hagley, Andre Previn, Anthony Dean Griffey, James Litton, Jo Vincent, Neil Shicoff

BOSTON SYMPHONY ORCHESTRA

S E I J I OZAWA TWENTY-FIFTH ANNIVERSARY SEASON

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f f a i. r s r \ i y. Seiji Ozawa, Music Director 25TH ANNIVERSARY SEASON Bernard Haitink, Principal Guest Conductor One Hundred and Eighteenth Season, 1998-99

Trustees of the Boston Symphony Orchestra, Inc.

R. Willis Leith, Jr., Chairman Nicholas T. Zervas, President

Peter A. Brooke, Vice-Chairman William J. Poorvu, Vice-Chairman and Treasurer Harvey Chet Krentzman, Vice-Chairman Ray Stata, Vice-Chairman

Harlan E. Anderson Deborah B. Davis Edna S. Kalman Vincent M. O'Reilly Gabriella Beranek Nina L. Doggett George Krupp Peter C. Read

James F. Cleary Nancy J. Fitzpatrick Mrs. August R. Meyer Hannah H. Schneider

John F. Cogan, Jr. Charles K. Gifford, Richard P. Morse Thomas G. Sternberg Julian Cohen ex-officio Mrs. Robert B. Stephen R. Weiner

William F. Connell Avram J. Goldberg Newman Margaret Williams-

William M. Crozier, Jr. Thelma E. Goldberg Robert P. O'Block, DeCelles, ex-officio Nader F. Darehshori Julian T. Houston ex-officio Life Trustees Vernon R. Alden Mrs. Edith L. Dabney Mrs. John L. Grandin Richard A. Smith

David B. Arnold, Jr. Nelson J. Darling, Jr. Mrs. George I. Kaplan John Hoyt Stookey

J. P. Barger Archie C. Epps George H. Kidder John L. Thorndike Leo L. Beranek Mrs. John H. Fitzpatrick Irving W Rabb Abram T. Collier Dean W. Freed Mrs. George Lee Sargent

Other Officers of the Corporation Thomas D. May and John Ex Rodgers, Assistant Treasurers Daniel R. Gustin, Clerk

Board of Overseers of the Boston Symphony Orchestra, Inc.

Robert P. O'Block, Chairman Molly Beals Millman, Secretary Phyllis Dohanian, Treasurer

Mrs. Herbert B. Abelow Mitchell L. Dong Martin S. Kaplan Gloria Moody Press

Helaine B. Allen Hugh Downs Susan Beth Kaplan Millard H. Pryor, Jr.

Joel B. Alvord Francis A. Doyle William M. Karlyn Patrick J. Purcell

Amanda Barbour Amis Goetz B. Eaton Steven E. Karol William D. Roddy, Jr.

Marjorie Arons-Barron William R. Elfers Nan Bennett Kay Edward I. Rudman Caroline Dwight Bain George M. Elvin Frances Demoulas Roger A. Saunders George W Berry Edward Eskandarian Kettenbach Carol Scheifele-Holmes Lynda Schubert Bodman Pamela D. Everhart David I. Kosowsky Elizabeth T. Selkowitz

Mark G. Borden J. Richard Fennell Dr. Arthur R. Kravitz Roger T Servison William L. Boyan Lawrence K. Fish Florence Ladd Ross E. Sherbrooke Jan Brett Thomas B. Fitzpatrick, Mrs. William D. L. Scott Singleton Robin A. Brown M.D. Larkin, Jr. Mrs. Micho Spring Samuel B. Bruskin Myrna H. Freedman Barbara Lee Jacquelynne M. Paul Buttenwieser A. Alan Friedberg Thomas H. Lee Stepanian

Dr. Edmund B. Cabot Dr. Arthur Gelb Alexander M. Levine Samuel Thorne, Jr.

Mrs. Marshall Nichols Mrs. Kenneth J. Edward Linde Bill Van Faasen

Carter Germeshausen Christopher J. Lindop Loet A. Velmans Earle M. Chiles Charles K. Gifford Edwin N. London Paul M. Verrochi

Mrs. James C. Collias Mark R. Goldweitz Frederick H. Lovejoy, Jr. Stephen R. Weber Eric D. Collins Michael Halperson Diane H. Lupean Robert S. Weil Martha H.W. John P. Hamill Barbara Jane Macon Robert A. Wells Crowninshield Daphne P. Hatsopoulos Barbara E. Maze Mrs. Joan D. Wheeler Diddy Cullinane Deborah M. Hauser Joseph C. McNay Reginald H. White Joan P. Curhan Ronald A. Homer Nathan R. Miller Margaret Williams- Tamara P. Davis Phyllis S. Hubbard Paul C. O'Brien DeCelles Mrs. Miguel de Braganca F. Donald Hudson Robert T. O'Connell Robin Wilson Betsy P. Demirjian Lola Jaffe Norio Ohga Kathryn A. Wong JoAnne Walton Mrs. Robert M. Jaffe Louis F. Orsatti Richard Wurtman, M.D.

Dickinson Charles H. Jenkins, Jr. Dr. Tina Young Harry Ellis Dickson Dr. Hisashi Kaneko Poussaint Overseers Emeriti

Mrs. Weston Adams Mrs. Haskell R. Robert K. Kraft Mrs. Peter van S. Rice Sandra Bakalar Gordon Benjamin H. Lacy John Ex Rodgers Bruce A. Beal Susan D. Hall Mrs. Hart D. Leavitt Mrs. Jerome Rosenfeld William M. Bulger Mrs. Richard D. Hill Laurence Lesser Angelica L. Russell

Mrs. Levin H. Susan M. Hilles Mrs. Charles P. Lyman Francis P. Sears, Jr. Campbell Glen H. Hiner Mrs. Harry L. Marks Mrs. Carl Shapiro Johns H. Congdon Marilyn Brachman Hanae Mori Mrs. Donald B. William H. Congleton Hoffman Patricia Morse Sinclair Phyllis Curtin H. Eugene Jones Mrs. Hiroshi H. Ralph Z. Sorenson

Harriett Eckstein Leonard Kaplan Nishino Mrs. Arthur I. Strang Peter H.B. Frelinghuysen Mrs. S. Charles Kasdon Andrall S. Pearson Louise Vosgerchian Mrs. Thomas Richard L. Kaye John A. Perkins Mrs. Thomas H.P. Galligan, Jr. Robert D. King David R. Pokross Whitney Mrs. James Garivaltis Mrs. Gordon F. Daphne Brooks Prout Mrs. Donald B. Wilson

Jordan Golding Kingsley Robert E. Remis Mrs. John J. Wilson

Business Leadership Association Board of Directors

William F. Connell, Chairman Leo L. Beranek, James F. Cleary, Charles K. Gifford, President and Harvey Chet Krentzman, Nader F. Darehsori, Vice-President Chairmen Emeriti

Lynda S. Bodman Lawrence K. Fish Michael J. Joyce Roger T. Servison

Robin A. Brown Nancy J. Fitzpatrick Christopher J. Lindop Malcolm L. Sherman

Diane Capstaff Bink Garrison J. Kent McHose Ray Stata Martha H.W John P. Hamill Joseph McNay Thomas Tierney

Crowninshield Steven E. Karol Robert J. Murray William Van Faasen

Francis A. Doyle Edmund Kelly Patrick J. Purcell Paul M. Verrochi William R. Elfers

Ex-Officio R. Willis Leith, Jr., Nicholas T. Zervas, Robert P. O'Block

Officers of the Boston Symphony Association of Volunteers Margaret Williams-DeCelles, President Eda Daniel, Secretary Diane Austin, Executive Vice-President/Boston Charles W Jack, Treasurer Judith M. Cook, Executive Vice-President/ Goetz B. Eaton, Nominating Committee Tanglewood Chairman

Mary Blair, Resource Nancy Ferguson, Fundraising Dee G. Schoenly, Membership Development Judith E. Mosse, Youth Education Betty C. Sweitzer, Hall Services Linda Clarke, Fundraising Michael Murphy, Development Beth Tobias, Adult Education Harry Methven, Tanglewood Doreen M. Reis, Public Relations

Seiji Ozawa and the Boston Symphony Orchestra: A 25-Year Partnership Now in his twenty-sixth season as the Boston Sym- phony Orchestra's music director, Seiji Ozawa this year surpasses Serge Koussevitzky as the longest- serving music director in BSO history. To celebrate Mr. Ozawa's twenty-fifth anniversary as music director, the BSO Archives has mounted an exhib-

it in the Cohen Wing display cases examining and illustrating not only many highlights of his tenure with the BSO, but also his education and early life, his experiences as a student at Tanglewood, and his appointment as the orchestra's thirteenth music director. In addition to items preserved in the BSO Archives, the exhibit also draws on materials lent by the Ozawa family.

Mark Volpe, Managing Director

J. Carey Bloomfield, Director of Development Caroline Smedvig, Director of Public Anthony Fogg, Artistic Administrator Relations and Marketing Marion Gardner-Saxe, Director of Human Resources Ray F. Wellbaum, Orchestra Manager Ellen Highstein, Director of Tanglewood Music Center Thomas D. May, Director of Finance and Business Affairs

ADMINISTRATIVE STAFF/ARTISTIC

Dennis Alves, Artistic Coordinator, Boston Pops • Faith Hunter, Executive Assistant to the Managing Director • Karen Leopardi, Artist Assistant/Secretary to the Music Director • Vincenzo Natale, Chauffeur/ Valet • Brian Van Sickle, Executive Assistant to the Manager of Tanglewood ^^H ADMINISTRATIVE STAFF/ PRODUCTION Christopher W. Ruigomez, Operations Manager, Boston Symphony Orchestra

Felicia A. Burrey, Chorus Manager • Nancy Cohen, Auditions Coordinator/Administrative Assistant, Orchestra Personnel • Jana Gimenez, Operations Coordinator/Assistant to the Conductor, Boston Pops * Diane Amelia Read, Production Coordinator

BOX OFFICE

Russell M. Hodsdon, Manager of Box Office

Mary J. Broussard, Clerk • Cary Eyges, Clerk • Lawrence Fraher, Clerk Kathleen Kennedy, Assistant Manager of Box Office • Arthur Ryan, Clerk

BUSINESS OFFICE

Sarah J. Harrington, Budget Manager Craig R. Kaplan, Controller Roberta Kennedy, Manager, Symphony Shop

Gerald Blum, Staff Accountant • Yaneris Briggs, Cash Accountant • Yuelei Chen, Senior Accountant • Christopher Fox, Budget Analyst • Michelle Green, Executive Assistant to the Director of Finance and Business Affairs • Scott Langill, Accounting Manager • John O'Callaghan, Payroll Accountant • Debra Reader, Payroll and Accounting Clerk * Sharon Sherman, Accounts Payable Supervisor DEVELOPMENT

Ellen-Marie Bonner, Director of Development Services and Research Daniel P. Breen, Director ofAdministration for Development Madelyne Cuddeback, Director of Corporate Programs Julie H. Diaz, Director of Major Gifts and Planned Giving

Kerri A. Aleksiewicz, Administrative Assistant, Tanglewood Development • Howard L. Breslau, Associate Director of Corporate Programs * Sally Dale, Manager of Development Operations and Stewardship • Rebecca Ehrhardt, Senior Major Gifts Officer • Sarah Fitzgerald, Supervisor of Gift Processing and Donor Records • Kate M. Gerlach, Major Gifts Officer • Megan Gillick, Assistant Director, Tanglewood Development • Robert Haggerty, Donor Relations Coordinator • Robin Ann Hamilton, Administrative Assistant/Office

Manager • Kristen Harding, Administrative Assistant to the Senior Major Gifts Officer • Deborah Hersey, Manager of Development Information Systems • Mary Hubbell, Development Research Assistant • Karen Jupi- ter, Administrative Assistant, Boston Symphony Annual Fund • Justin Kelly, Data Production Coordinator * Patricia Kramer, Assistant Director of Corporate Sponsorships • Marlene Luciano-Kerr, Administrative Assistant to the Associate Director of Development • Robert McGrath, Major Gifts Coordinator • Gerrit Petersen, Assistant Director of Foundation and Government Support • Cary Rosko, Administrative Assistant, Corporate Programs • George Saulnier, Gift Processing and Donor Records Assistant • Dean A. Schwartz, Planned Giving Officer • Julia C. Schwartz, Assistant Director, Boston Symphony Annual Fund • Mary E. Thomson, Assistant Director of Corporate Projects • Tracy Wilson, Director of Tanglewood Development EDUCATION AND COMMUNITY PROGRAMS/ARCHIVES

Myran Parker-Brass, Administrator of Youth Activities and Community Programs Bridget P. Carr, Archivist—Position endowed by Caroline Dwight Bain

Amy Brogna, Educational Activities Assistant • Helen J. Hammond, Coordinator of Education Programs FUNCTIONS OFFICE Cheryl Silvia Lopes, Function Manager Lesley Ann Cefalo, Assistant Function Manager Sid Guidicianne, Front of House Manager • Kerry Nee, Assistant to the Function Manager

HUMAN RESOURCES

Sabrina Learman, Human Resources Representative • Anna Walther, Benefits Manager

INFORMATION SYSTEMS MANAGEMENT Robert Bell, Manager of Information Systems

William Beckett, Information Systems Coordinator • Andrew Cordero, Special Projects Coordinator • Michael Pijoan, Assistant Manager of Information Systems

PUBLIC RELATIONS

Bernadette M. Horgan, Director of Media Relations

Susanna Bonta, Media Relations Coordinator • Caleb Cochran, Media Relations Assistant/Assistant to the Director of Public Relations and Marketing • Sean J. Kerrigan, Media Relations Associate • Whitney Wilcox, Administrative Assistant

PUBLICATIONS

Marc Mandel, Director of Program Publications Eleanor Hayes McGourty, Boston Pops Publications Coordinator/Marketing Copywriter

SALES, SUBSCRIPTION, AND MARKETING

Kim Noltemy, Director of Sales and Marketing Programs Helen N.H. Brady, Tourism & Group Sales Manager • Carolyn Cantin, Group Sales Coordinator • Doris Chung, Senior Graphic Designer • Susanna Concha, Senior Marketing Coordinator • Kelly D'Amato, Graphic Designer • Susan Dunham, SymphonyCharge Assistant • Mara Hazzard, Assistant Subscription Manager • B. Victoria Johnson, Subscription Representative • Josh Jourdan, Subscription Representative • Jason Lyon, Ticket Exchange/Customer Service Assistant, SymphonyCharge * Sarah L. Manoog, Marketing Manager • Michael Miller, SymphonyCharge Manager • Jennifer Montbach, Marketing Coordinator • Carol Ann Passarelli, Subscription Manager • John P. Ryan, Marketing Coordinator • Patrice William- son, Subscription Representative

SYMPHONY HALL OPERATIONS

Robert L. Gleason, Facilities Manager

H.R. Costa, Technical Supervisor • Michael Finlan, Switchboard Supervisor • Wilmoth A. Griffiths, Supervisor of Facilities Support Services * Catherine Lawlor, Administrative Assistant • John MacMinn, Supervisor of Building Maintenance • William D. McDonnell, Chief Steward • Cleveland Morrison, Stage Manager • Shawn Wilder, Mailroom Clerk

House Crew Charles F. Cassell, Jr. • Francis Castillo • Thomas Davenport • John Demick, Stage Coordinator • Michael Frazier • Hank Green • Juan Jimenez • William P. Morrill • Mark C. Rawson Security Christopher Bartlett • Matthew Connolly, Security Supervisor • Tyrone Tyrell Cleaning Crew Desmond Boland • Clifford Collins • Angelo Flores • Rudolph Lewis • Robert MacGilvray • Lindel Milton, Lead Cleaner

TANGLEWOOD MUSIC CENTER

Katherine A. Lempert, Manager of Student Affairs • Timothy Tsukamoto, Coordinator

TANGLEWOOD OPERATIONS

David P. Sturma, Facilities Manager

VOLUNTEER OFFICE

Patricia Krol, Director of Volunteer Services

Pauline McCance, Senior Administrative Assistant

4 BSO lived in Norton, Massachusetts, where Ellen, deeply involved in the theater, taught drama Seiji Ozawa Honored at Wheaton College, while Norman worked by French Government in his family's business in Providence. Last month, BSO Music Director Seiji Ozawa During World War II Norman was a naval was named a Chevalier de la Legion d'Hon- officer, serving as an aide to Admiral King, neur by French President Jacques Chirac, among other assignments. Meanwhile, Ellen recognizing not only Mr. Ozawa's work as held a responsible position with the Office a conductor but also his support of French of Strategic Services. Afterward, while Nor- composers, his devotion to the French pub- man commuted to Boston as an officer of the lic, and his work at the Paris Opera. In his United Shoe Company, Ellen taught in the letter to Mr. Ozawa, President Chirac further English Department. Later she wrote a high- wrote that "this prestigious distinction... re- ly respected history of Houghton Mifflin Com- wards the exceptional talent of a conductor pany, the distinguished Boston publisher. who, at the head of the world's greatest or- Late in the 1960s the Ballous retired to chestras, has commanded the respect of con- Dublin, New Hampshire, where they had a temporary composers and made Japanese summer home for many years. They were music known to the West." The honor was avid golfers at the Dublin Lake Club; after conferred on December 19, on which date Norman's death, Ellen donated a cup in his Mr. Ozawa led the Orchestre National de honor for a major golf tournament. A public- Paris in a special all-Gershwin program with spirited citizen who was intensely interested soloists Joshua Bell, Marcus Roberts, and in the theater and other cultural affairs, Ellen James Taylor. Mr. Ozawa's recent activities died in 1995. have also included performances of Verdi's Ernani at the Vienna State Opera, with so- AT&T and the National Endowment prano Michele Crider, tenor Neil Shicoff, and for the Arts Sponsor "The Language bass Robert Scandiuzzi in the principal roles. of the Twentieth Century" He returns to Symphony Hall next month Symphony Hall, home to the Boston Sym- for concerts featuring BSO principal flutist phony Orchestra since 1900, is where the Jacques Zoon, violinists Anne-Sophie Mutter orchestra has built its reputation as a cham- and James Ehnes, and his much-anticipated pion of new music, through world premieres, performances of Madama Butterfly, the first and through the American premieres of time he will be leading that opera outside some of this century's great musical works. of Japan. As we approach the centennial of Symphony Hall in the year 2000, the BSO continues The Norman V. and Ellen B. Ballou to revisit its musical legacy through "The Memorial Concert Language of the Twentieth Century," a spe- Friday, January 22, 1999 cial program sponsored by AT&T and the This week's Friday-afternoon concert has National Endowment for the Arts to survey been endowed by a generous grant from a some of the masterworks that have helped trust established by Norman V. Ballou and build the orchestra's reputation, and to in- his wife Ellen B. Ballou. The grant will en- troduce newly commissioned works from

dow one Friday-afternoon concert each win- today's leading composers. It was in Sym- ter season for many years to come. phony Hall that the BSO introduced Stra- Mr. and Mrs. Ballou lived in Providence, vinsky's Symphony of Psalms and Bartok's Rhode Island, for a part of their lives, major Concerto for Orchestra (both commissioned IH9 Wc attending BSO concerts there and in Bos- by Serge Koussevitzky), and played the world ton. Both were born in Providence and grad- premieres of important works emerg- by such

Wesleyan and Ellen from Wellesley. He did and Aaron Copland. It was also in Symphony graduate work at Oxford, she at Northwestern. Hall that audiences heard the American When they married in the early 1930s they premieres of Debussy's La Mer and Berg's

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Violin Concerto. Over the years, the BSO relevant, expanded consideration of books has commissioned and/or premiered more and recordings. The aim is twofold: to con- than 370 works since Symphony Hall opened tinue offering the sort of readable, informa- its doors nearly a century ago. During the tive notes our audiences have come to expect, 1998-99 season, the "Language of the Twen- and also to provide a broader range of view- tieth Century" series has so far included the points, writing styles, and general content. BSO's October performances of Sir Michael In this way we hope to make the BSO pro-

Tippett's The Rose Lake; its November per- gram book even more varied and interest- formances of Goffredo Petrassi's Concerto ing. Within the coming year we also look for Orchestra No. 5, a BSO 75th-anniversary forward to instituting some design changes commission introduced here in 1955; and aimed at improving readability, including a the world premiere last week of Natural His- wider range of illustrations and other graph- tory, a new work commissioned from com- ics. As we proceed, we would also appreci- poser Judith Weir. Additional performances ate your input. Please send your thoughts or include Benjamin Britten's Spring Symphony, suggestions to the BSO Publications Office, given its American premiere here in 1949 Symphony Hall, Boston, MA 02115. and being played this week; Stravinsky's Suite from Pulcinella, given its American premiere Boston Symphony Chamber Players here in 1922; and Hindemith's Konzertmusik at Jordan Hall, Sunday afternoon, for strings and brass, a BSO 50th-anniversary January 24, at 3 p.m. commission introduced here in 1931. The Andre Previn is guest pianist in Mozart's Boston Symphony Orchestra salutes AT&T Quintet in E-flat for piano and winds, K.452, and the National Endowment for the Arts for with the Boston Symphony Chamber Players its support in perpetuating the legacy of the at Jordan Hall at the New England Conser- Boston Symphony Orchestra and Symphony vatory on Sunday afternoon, January 24, at Hall. 3 p.m. Also on the program: the original chamber version of Wagner's Idyll A Note to our Readers: Siegfried and Schoenberg's Verklarte Nacht for string About the BSO Program Book sextet. Tickets at $27, $20, and $15 are avail- As we approach the Symphony Hall centen- able at the Jordan Hall box office on the day nial in the year 2000, Boston Symphony of the concert, or in advance at the Symphony audiences will be seeing some changes to Hall box office or by calling SymphonyCharge the orchestra's program book. Most of the at (617) 266-1200. program notes will continue to be by former BSO annotators Steven Ledbetter and Michael BSO Members in Concert Steinberg, and by BSO Director of Program Founded by BSO percussionist Frank Publications Marc Mandel. In addition, there Epstein and composed largely of BSO mu- will be notes by a number of people becom- sicians, Collage New Music, David Hoose, ing familiar to our audiences through the BSO's music director, performs music of Thomson, increasingly popular series of pre-concert Zuidam, Babbitt, Yannatos, Saariatto, and talks, such as Schumann specialist John Rehnquist with guest soprano Lucy Shelton Daverio, Russian-music specialist Harlow on Sunday, January 24, at 7 p.m. at the Robinson, and Helen Greenwald, who will C. Walsh Theatre, Suffolk University, 41 Tem- be writing about Madama Butterfly, Bartok, ple Street on Beacon Hill. Tickets are $15. and Zemlinsky. Other writers this season in- For more information call (617) 325-5200. clude the American-music specialist Walter Simmons and the Minneapolis-based com- In Case of Snow. . poser/critic Russell Piatt, who will focus on new and recent twentieth-century music. To find out the status of a Boston Symphony Also planned are special features comple- concert and options available to you in case menting specific program notes, offering of a snow emergency, BSO subscribers and perspectives by BSO members, or providing patrons may call a special Symphony Hall various kinds of information that should number. Patrons may dial (617) 638-9495 at prove useful to our readers, such as expla- any time for a recorded message regarding nations of musical terminology or, where the current status of a concert. CELEBRATING SEIJI OZAWA'S 25TH ANNIVERSARY WITH THE BOSTON SYMPHONY ORCHESTRA

With the 1998-99 season, Seiji Ozawa celebrates his twenty- fifth anniversary as music director of the Boston Symphony Orchestra. Since becoming the BSO's music director in 1973 he has devoted himself to the orchestra for twenty-five years, the longest tenure of any music director currently active with a major orchestra, and paralleled in BSO history only by the twenty-five-year tenure of the legendary Serge Koussevitzky. In recent years, numerous honors and achievements have un- derscored Mr. Ozawa's standing on the international music scene. Most recently, this past December, Mr. Ozawa was named a Chevalier de la Legion d'Honneur by French President Jacques Chirac, recognizing not only his work as a conductor, but also his support of French composers, his devotion to the French public, and his work at the Paris Opera. In December 1997 he was named "Musician of the Year" by Musical Amer- ica, the international directory of the performing arts. In February 1998, fulfilling a longtime ambition of uniting musicians across the globe, he closed the Opening Ceremonies at the Winter Olympics in Nagano, Japan, leading the "Ode to Joy" from Beethoven's Ninth Symphony with performers including six choruses—in Japan, Australia, China, Germany, South Africa, and the United States—linked by satellite. In 1994 he became the first recipient of Japan's Inouye Sho (the "Inouye Award," named after this century's preeminent Japanese novelist) recognizing lifetime achievement in the arts. 1994 also saw the inauguration of the new Seiji Ozawa Hall at Tanglewood, the BSO's summer home in western Massachusetts. At Tanglewood he has also played a key role as both teacher and administrator in the activities of the Tanglewood Music Center, the BSO's summer training academy for young professional musicians from all over the world. In 1992 Mr. Ozawa co-founded the Saito Kinen Festival—which he has brought to international prominence—in Matsumoto, Japan, in memory of his teacher at Tokyo's Toho School of Music, Hideo Saito, a central figure in the cultivation of Western music and musical technique in Japan. Also in 1992 he made his debut with the Metropolitan Opera in New York. Besides his concerts throughout the year with the Boston Symphony, he conducts the Berlin Philharmonic and Vienna Philharmonic on a regular basis, and appears also with the New Japan Philharmonic, the London Symphony, the Orchestre National de France, La Scala in Milan, and the Vienna Staatsoper. Besides his many Boston Sym- phony recordings, he has recorded with the Berlin Philharmonic, the Vienna Philhar- monic, the Saito Kinen Orchestra, the London Philharmonic, the Orchestre National de France, the Orchestre de Paris, the Philharmonia of London, the San Francisco Symphony, the Chicago Symphony, and the Toronto Symphony, among others. All of this has been in addition to his continuing work as music director of the Boston Symphony Orchestra. Throughout his twenty-five years in that position, Mr. Ozawa has maintained the orchestra's distinguished reputation both at home and abroad, with concerts in Symphony Hall, at Tanglewood, on tours to Europe, Japan, Hong Kong, China, and South America, and across the United States; a tour to Japan and China is scheduled for May 1999. Mr. Ozawa has upheld the BSO's commitment to new music through the frequent commissioning of new works, including a series of centennial commissions marking the orchestra's hundredth birthday in 1981 and a series of works celebrating the Tanglewood Music Center's fiftieth anniversary in 1990. In addition, he and the orchestra have recorded nearly 140 works, representing more than fifty different composers, on ten labels. Mr. Ozawa won his first Emmy award in 1976, for the BSO's PBS television series "Evening at Symphony." He received his second Emmy in September 1994, for Indivi- dual Achievement in Cultural Programming, for "DvoMk in Prague: A Celebration," with the Boston Symphony Orchestra, a concert subsequently released by Sony Classical in

8 both audio and video formats. Mr. Ozawa holds honorary doctor of music degrees from the University of Massachusetts, the New England Conservatory of Music, and Wheaton College in Norton, Massachusetts. Born in 1935 in Shenyang, China, Seiji Ozawa studied music from an early age and later graduated with first prizes in composition and conducting from Tokyo's Toho School of Music. In 1959 he won first prize at the International Competition of Orchestra Con- ductors held in Besangon, France. Charles Munch, then music director of the Boston Symphony, subsequently invited him to attend the Tanglewood Music Center, where he won the Koussevitzky Prize for outstanding student conductor in 1960. While working, with Herbert von Karajan in West Berlin, Mr. Ozawa came to the attention of Leonard Bernstein, who appointed him assistant conductor of the New York Philharmonic for the 1961-62 season. He made his first professional concert appearance in North America in January 1962, with the San Francisco Symphony. He was music director of the Chicago Symphony Orchestra's Ravinia Festival for five summers beginning in 1964, music director of the Toronto Symphony from 1965 to 1969, and music director of the San Francisco Symphony from 1970 to 1976, followed by a year as that orchestra's music adviser. He conducted the Boston Symphony Orchestra for the first time in 1964, at Tanglewood, and made his first Symphony Hall appearance with the orchestra in January 1968. He became an artistic director of Tanglewood in 1970 and began his tenure as music director of the BSO in 1973, following a year as music adviser. Today, some 80% of the BSO's members have been appointed by Seiji Ozawa. The Boston Symphony itself stands as eloquent tes- timony not only to his work in Boston, but to Mr. Ozawa's lifetime achievement in music. Mr. Ozawa's compact discs with the Boston Symphony Orchestra include, on Philips, the complete cycle of Mahler symphonies, music of Britten, Ravel, and Debussy with soprano Sylvia McNair, Richard Strauss's Elektra, Schoenberg's Gurrelieder, and Bartok's Concerto for Orchestra and complete Miraculous Mandarin. Among his EMI recordings is the recent, Grammy-winning "American Album" with Itzhak Perlman, including music for violin and orchestra by Bernstein, Barber, and Lukas Foss. Recordings on Deutsche Grammophon include Mendelssohn's complete incidental music to A Midsummer Nights Dream, violin concertos of Bartok and Moret with Anne-Sophie Mutter, and Liszt's piano concertos with Krystian Zimerman. Other recordings include Faure's Requiem, Berlioz's Requiem, Rachmaninoff's Third Piano Concerto with Evgeny Kissin, and Tchaikovsky's opera Pique Dame, on RCA Victor Red Seal; music for piano left-hand and orchestra by Ravel, Prokofiev, and Britten with Leon Fleisher, and Strauss's Don Quixote with Yo-Yo Ma, on Sony Classical; and Beethoven's five piano concertos and Choral Fantasy with Rudolf Serkin, on Telarc.

\Smm First Violins *Wendy Putnam J>

1 Malcolm Lowe J *Xin Ding J> Concertmaster Charles Munch chair, Violas fullyfunded in perpetuity Steven Ansell J1 Tamara Smirnova J> Associate Concertmaster Principal Charles S. chair, Helen Horner Mclntyre chair, Dana in perpetuity in endowed in perpetuity in 1976 endowed 1970

Nurit Bar-Josef J1 Assistant Principal Assistant Concertmaster Anne Stoneman chair, Robert L. Beal, and Enid L. and fullyfunded in perpetuity Bruce A. Beal chair, endowed in Ronald Wilkison perpetuity in 1 980 BOSTON SYMPHONY Lois and Harlan Anderson chair ORCHESTRA Assistant Concertmaster Robert Barnes 1998-99 Edward and Bertha C. Rose chair Burton Fine Bo Youp Hwang J> Joseph Pietropaolo John and Dorothy Wilson chair, Michael Zaretsky J1 Seiji Ozawa fullyfunded in perpetuity Marc Jeanneret J> Music Director Lucia Lin J> Forrest Foster Collier chair *Mark Ludwig J1 Ikuko Mizuno Helene R. Cahners-Kaplan Bernard Haitink Carolyn and George Rowland chair and Carol R. Goldberg chair Principal Guest Conductor Amnon Levy * Rachel Fagerburg J> LaCroix Family Fund Dorothy B. Arnold, Q. and David Jr., * Edward Gazouleas J> chair, fullyfunded in perpetuity 1 *Kazuko Matsusaka J" * Nancy Bracken J> Muriel C. Kasdon and Marjorie C. Paley chair Cellos

*Aza Raykhtsaum J1 Jules Eskin

Ruth and Carl J. Shapiro chair, Principal fullyfunded in perpetuity Philip R. Allen chair, endowed in perpetuity in 1 *Bonnie Bewick J> 969

David and Ingrid Kosowsky chair Martha Babcock J> *James Cooke J1 Assistant Principal Theodore W. and Evelyn Berenson Vernon and Marion Alden chair, Family chair endowed in perpetuity in 1977

1 * Victor Romanul J1 Sato Knudsen J Bessie Pappas chair Esther S. and Joseph M. Shapiro chair

*Catherine French J> Joel Moerschel Stephanie Morris Marryott and Sandra and David Bakalar chair

Franklin J. Marryott chair Luis Leguia

* Kelly Barr J> Robert Bradford Newman chair, Catherine and Paul fully funded in perpetuity Buttenwieser chair Carol Procter

Elita Kang J> Lillian and Nathan R. Miller chair Mary B. Saltonstall chair ^Ronald Feldman Richard C. and Ellen E. Paine chair, *Haldan Martinson J> fully funded in perpetuity *Jerome Patterson Second Violins Charles and JoAnne Dickinson chair Marylou Speaker Churchill *Jonathan Miller Principal Rosemary and Donald Hudson chair Carl Schoenhof Family chair, fully *Owen Young ^ funded in perpetuity John F. Cogan, Jr., and

Vyacheslav Uritsky J1 Mary L. Cornille chair, Assistant Principal fullyfunded in perpetuity Charlotte and Irving W. Rabb chair, *Andrew Pearce J* endowed in perpetuity in 1977 Gordon and Mary Eord Kingsley Ronald Knudsen Family chair Edgar and Shirley Grossman chair Joseph McGauley J> Basses Shirley and Richard Fennell chair J. Edwin Barker } Ronan Lefkowitz } Principal David H. and Edith C. Howie chair, Harold D. Hodgkinson chair, fullyfunded in perpetuity endowed in perpetuity in 1974 *Sheila Fiekowsky J1 Lawrence Wolfe *Jennie Shames J1 Assistant Principal ^Appointed by Seiji Ozawa Maria Nistazos Stata chair, *Valeria Vilker Kuchment J* * Participating in a system full) funded in perpetuity *Tatiana Dimitriades J1 of rotated seating Joseph Hearne $On sabbatical leave *Si-Jing Huang i> Leith Family chair, ° Substituting *Nicole Monahan J1 fully funded in perpetuity 10 John Salkowski Bass Clarinet Bass Trombone

chair 1 Joseph and Jan Brett Hearne Craig Nordstrom J> Douglas Yeo J * Robert Olson Farla and Harvey Chet Krentzman John Moors Cabot chair, chair, in perpetuity fully funded in perpetuity *James Orleans J> fullyfunded

*Todd Seeber J> Bassoons Tuba *John Stovall J1 Chester Schmitz Richard Svoboda J> *Dennis Roy J> Principal Margaret and William C. Rousseau in Edward A. Taft chair, endowed in chair, fullyfunded perpetuity Flutes perpetuity in 1974

' Jacques Zoon J> Timpani Roland Small J> Principal Everett Firth Richard Ranti J> Walter Piston chair, endowed Sylvia Shippen Wells chair, Associate Principal in perpetuity in 1970 endowed in perpetuity in 1974 Fenwick Smith J> Contrabassoon Myra and Robert Kraft chair, Percussion endowed in perpetuity in 1981 Gregg Henegar J> Thomas Gauger 1 Helen Rand Thayer chair Elizabeth Ostling J Peter and Anne Brooke chair, Associate Principal fullyfunded in perpetuity Marian Gray Lewis chair, Horns Frank Epstein in perpetuity fullyfunded Sommerville J> James Peter Andrew Lurie chair, Principal Horn fullyfunded in perpetuity Piccolo Helen Sagojf Slosberg/Edna J. William Hudgins J1 Geralyn Coticone J> S. Kalman chair, endowed Evelyn and C. Charles Marran chair, in perpetuity in 1974 Timothy Genis J> Assistant Timpanist endowed in perpetuity in 1979 Richard Sebring J> Mr. and Mrs. Edward H. Linde Associate Principal chair Oboes Margaret Andersen Congleton chair, fullyfunded in perpetuity Principal 1 Harp Daniel Katzen J Mildred B. Remis chair, endowed Elizabeth B. Storer chair Ann Hobson Pilot in perpetuity in 1975 Jay Wadenpfuhl J1 Principal Mark McEwen J> Willona Henderson Sinclair chair Richard Mackey J5 James and Tina Collias chair Jonathan Menkis J> Keisuke Wakao J> Librarians

Principal 1 Assistant Marshall Burlingame J Trumpets Elaine and Jerome Rosenfeld chair Principal ° Laura Ahlbeck Charles Schlueter J> Lia and William Poorvu chair Principal William Shisler English Horn Roger Louis Voisin chair, John Perkel J> endowed in perpetuity in 1977 Robert Sheena J> Peter Chapman J> Beranek chair, fullyfunded Assistant Conductors Ford H. Cooper chair in perpetuity Federico Cortese J> Thomas Rolfs J> Anna E. Finnerty chair Clarinets Acting Assistant Principal Nina L. and Eugene B. Doggett Ilan Volkov J> William R. Hudgins J> chair Principal Personnel Managers Ann S.M. Banks chair, endowed in perpetuity in 1977 Trombones Lynn G. Larsen J>

Ronald Barron Bruce M. Creditor J> Scott Andrews J> Principal Thomas and Dola Sternberg chair J. P. and Mary B. Barger chair, Thomas Martin J1 Stage Manager fullyfunded in perpetuity Associate Principal & E-flat clarinet Peter Riley Pfitzinger J> Bolter «h Stanton W. and Elisabeth K. Davis £ Norman Position endowed by chair, fullyfunded in perpetuity ° Darren Acosta Angelica L. Russell

: >'«*' *m ity » ®r *i_ 1

v.,

li BOSTON SYMPHONY ORCHESTRA

Seiji Ozawa, Music Director 25TH ANNIVERSARY SEASON Bernard Haitink, Principal Guest Conductor One Hundred and Eighteenth Season, 1998-99

Thursday, January 21, at 8 Friday, January 22, at 1:30 THE NORMAN V. AND ELLEN B. BALLOU MEMORIAL CONCERT Saturday, January 23, at 8

ANDRE PREVIN conducting

VAUGHAN Fantasia on a Theme of Thomas Tallis WILLIAMS

HAYDN Symphony No. 104 in D, London

Adagio — Allegro Andante Menuetto Allegro spiritoso

INTERMISSION

BRITTEN Spring Symphony, Opus 44, for soprano, alto, and tenor soli, mixed chorus, boys' choir, and orchestra (American premiere given by the Boston Symphony Orchestra on August 13, 1949)

Part I

Introduction: Shine out, fair Sun (Anonymous) Mixed Chorus The Merry Cuckoo (Edmund Spenser) Tenor Solo Spring, the Sweet Spring (Thomas Nashe) Soprano, Alto, and Tenor Soli, Mixed Chorus The Driving Boy (George Peele, John Clare) Soprano Solo and Boys' Choir The Morning Star (John Milton) Mixed Chorus

12 Part II

Welcome Maids of Honour (Robert Herrick) Alto Solo Waters Above (Henry Vaughan) Tenor Solo

Out on the Lawn I lie in Bed (WH. Auden) Alto Solo and Mixed Chorus

Part HI When Will my May come (Richard Barnefield) Tenor Solo Fair and Fair (George Peele) Soprano and Tenor Soli Sound the Flute (William Blake) Male Chorus, Female Chorus, and Boys' Choir

PartIV

Finale: London, to Thee I do present (Beaumont and Fletcher) Soprano, Alto, and Tenor Soli, Mixed Chorus, and Boys' Choir

DAME FELICITY LOTT, soprano THEODORA HANSLOWE, mezzo-soprano ANTHONY DEAN GRIFFEY, tenor TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor AMERICAN BOYCHOIR, JAMES LITTON, director

Text begins on page 38.

The performance of this work is sponsored by the National Endowment for the Arts as part of a program entitled "The Language of the Twentieth Century," supporting the performance of important works given their world or U.S. premieres by the BSO in Symphony Hall.

The evening concerts will end about 10:05 and the afternoon concert about 3:35.

RCA, Deutsche Grammophon, Philips, Telarc, Sony Classical /CBS Masterworks, Angel /EMI, London /Decca, Erato, Hyperion, and New World records Baldwin piano

Please be sure the electronic signal on your cellular telephone, watch, or pager is switched off during the concert.

. The program books for the Friday series are given in loving memory of Mrs. Hugh Bancroft by her daughters Mrs. A. Werk Cook and the late Mrs. William C. Cox.

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Ralph Vaughan Williams Fantasia on a Theme of Thomas Tallis

Ralph Vaughan Williams was born on October 12, 1872, at Down Ampney, Gloucestershire, England, and died in London on August 26, 1958. He composed the Tallis

Fantasia in 1910 and revised it (mostly by abridgment) in 1913 and 1919. The first performance took place, in Gloucester Cathedral on September 6, 1910, at a concert of the Three Choirs Festival, with the composer conducting the London Symphony Orchestra. It was the first composition by Vaughan Williams to be played by the Boston Symphony Orchestra, in October 1922 with Pierre Monteux conducting, subsequent BSO performances being given by Serge Koussevitzky, Richard Burgin, Monteux again, Milton Katims, William Steinberg (in the fall of 1972, marking the centenary of the composer's birth), Neville Marriner, Colin Davis (the most recent subscription performances, in April 1977), David Zinman, and Andre Previn (including a 1983 Tanglewood performance, and the most recent Tanglewood performance on July 24, 1998). The Fantasia is scored for solo string quartet and string orchestra divided into two groups, one large and the other consisting of two each offirst violins, second violins, violas, and cellos, plus one double bass.

From an early age Ralph (pronounced, British fashion, "Rafe") Vaughan Williams knew that he wanted to be a composer, but he was markedly dissatisfied with the state of composition in the British Isles. Following studies with Bruch in Berlin (1897) and Ravel in Paris (1908), designed to guarantee a professional finish to his technique, he recognized that he would have to find his creative path not by imitating foreign models but rather by inspiration arising from native resources. These included the rich English musical traditions of the Elizabethan and Jacobean periods and the wellspring of Eng- lish folk song, of which he became an accomplished and determined collector. Both in the realm of folk song and in the hymnody of the Anglican Church, Vaughan Williams found himself in deep sympathy with the common aspirations of ordinary people as ex- pressed in their music over the centuries. One of his most important early tasks was that of selecting tunes for the 1906 revision of The English Hymnal. At first glance, the idea of devoting two years of his life to editorial duties might seem to be a waste of time for a young composer, but for Vaughan Williams the experience had far-reaching conse- quences. He later remarked that two years' close association with some of the best and worst—tunes ever written had done him more good than any amount of academic study of fugue. He weeded out a good deal of saccharine Victoriana and replaced it with sturdy folksong melodies, tunes drawn from the nearly forgotten older heritage, and in a few cases (notably the celebrated Sine nomine to the text "For all the saints") with tunes of his own composition. Many of the melodies that he worked with so assidu- ously and lovingly stayed with him for years and had a significant effect on his own composition. One of these was a mysterious melody in the Phrygian mode (the scale that includes all the white notes from E to E on a piano keyboard) by the great sixteenth-century composer Thomas Tallis. He found in this melody some quality that

spoke to him with the utmost directness, and he used it as the basis of his first unquali- fied masterpiece.

The world premiere of the Fantasia took place at the beginning of a festival concert at Gloucester Cathedral, where 2,000 people had gathered to hear Elgar's Dream of Gerontius. Many of them—including some of the critics—were irritated at being forced to listen to a new work conducted by its composer, a thirty-eight-year-old giant with a

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Better sound through research>< rich shock of black hair. Most of the auditors, apparently, could discern no special quali- ties in the piece, which seemed to them drab compared to the brilliant scoring for large

orchestra in Elgar's masterpiece. But J. A. Fuller Maitland, writing for The Times, sensed the importance of the occasion and evaluated the score much as later writers have come

to rate it:

The work is wonderful because it seems to lift one into some unknown region of musical thought and feeling. Throughout its course one is never quite sure whether

one is listening to something very old or very new. . .The voices of the old church

musicians. . .are around one, and yet there is more besides, for their music is en- riched with all that modern art has done since. Debussy, too, is somewhere in the

picture and it is hard to tell how much of the complete freedom of tonality comes from the new French school and how much from the old English one. But that is

just what makes this Fantasia so delightful to listen to; it cannot be assigned to a

time or a school, but it is full of visions which have haunted the seers of all times.

Few agreed with Fuller Maitland in 1910; not until the '30s did the Tallis Fantasia become one of the most famous and frequently performed of modern English pieces.

The Tallis Fantasia is the work that introduced Vaughan Williams to the Boston Sym- phony Orchestra. When Serge Koussevitzky once asked him what work of his he would like to have the orchestra play, he chose the Fantasia because of warm praises of the BSO's string section that he had heard from his friend Gustav Hoist, who had visited Boston a few years previously. Archibald Davison, then the choral conductor at Harvard, recounted that the composer was seated in Symphony Hall during the performance, totally engrossed in Koussevitzky's reading of his score, quite unaware that he was at one end of a row of seats that had come partly unbolted from the floor. He rose and fell "with a decided bump" at each of the sforzandi in the score, with the result that the weight of his large and rather massive frame created an unintended see-saw effect that jolted a pair of Boston matrons at the other end of the row. Their indignation was not, however, matched by the rest of the audience, which received the Fantasia with the greatest warmth.

The idea of writing a "fantasia" came from the revival of English Renaissance music that was taking place in the early part of this century under the energetic leadership of Edmund H. Fellowes, who singlehandedly edited and published most of the repertory of the English madrigalists and lutenist song writers. A fantasia (often anglicized into "fantasy" or "fancy") was the most popular instrumental form, derived from the vocal style of the madrigal, in which the performers discourse upon a given musical idea, then

pass on to another snatch of theme and develop it for a time, and so on. Vaughan Wil- liams took the basic idea of the Elizabethan model, building his work in sections, each of which develops a given musical idea, but the relationships between his thematic ideas, derived from the underlying hymn tune, unify the work into an indivisible entity.

The score is rich and warm without ever becoming thick or opaque. Its lyricism is evocative, but never sentimental. Vaughan Williams seized upon the modal harmonies of the Renaissance as a way out of the crisis of chromatic harmony of late Romanticism, with the result that the chordal vocabulary remains quite simple, yet the sonorities remain fresh and new. The Fantasia elaborates Tallis's tune with endless inventiveness, building a veritable river of sound that reaches massive climaxes in the widespread chords for the divided strings, which alternate strikingly with the chamber music char- ^1 acter of the solo sections. It is, as Fuller Maitland recognized in 1910, one of those rare scores that sounds very old while remaining fresh and new—a true shaking of the vaBSm hands between composers across the distance of three centuries. JP —Steven Ledbetter

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18 Joseph Haydn Symphony No. 104 in D, London

Franz Joseph Haydn was born at Rohrau, Lower Austria, on March 31, 1782, and died in Vienna on May 31, 1809. Haydn wrote this symphony in 1795 and led its first performance on May 4 that year at the King's The- atre, Haymarket, London. Documentation for the first American performance of Haydn s Symphony No. 104 is lacking. Wilhelm Gericke led the first Boston Sym- phony performance in December 1884, subsequent BSO performances being given by Arthur Nikisch, Emil Paur, Karl Muck, Pierre Monteux, Serge Koussevitzky, Georges Enesco, Richard Burgin, Charles Munch, Robert Shaw, Joseph Silverstein, Christopher Hogwood, Andre Previn, and Jeffrey Tate (the most recent Tanglewood performance, on August 19, 1995, and the most recent subscription performances, in November 1995). The score calls for two each offlutes, oboes, clarinets, and bassoons, two horns, two trumpets, timpani, and strings.

Not often have an artist and his public been so wondrously and delightedly attuned to one another as were Haydn and his enchanted London audiences in the first half of the 1790s. For nearly thirty years, Haydn had worked for the Esterhazy family under conditions that were artistically stimulating but that also kept him in geographic isola- tion much of the time. His music the while circulated widely in printed and manuscript copies, and when, after the disbanding of the Esterhazys' musical establishment upon the death in September 1790 of old Prince Nicholas, Haydn became, so to speak, a free man, he was more famous than he knew.

Johann Peter Salomon lost not a moment in perceiving the chance that Haydn's sud- den availability offered. Salomon, born 1745 in Bonn, but actively and indeed exceed- ingly successful in London as violinist and impresario since 1781, happened to be on the continent when he heard of the death of Haydn's employer. He left at once for Vienna, where he simply presented himself at Haydn's apartment one December morning with the words, "I am Salomon from London and I have come to fetch you." His words and his splendid offer—£1,000 for an opera, six symphonies, and some miscella- neous pieces, plus a £200 guarantee for a benefit concert—persuaded, and within a matter of weeks the two were on their way.

The story is familiar—the farewell with Mozart at which both shed tears, the rough crossing from Calais to Dover ("But I fought it all off and came ashore without—excuse me—actually being sick," he wrote to his friend Marianne von Genzinger), the stunning success of his London concerts and the six new symphonies he wrote for them, the honorary degree at Oxford, the gentle love affair with Mrs. Rebecca Schroeter, the grief of Mozart's death. Haydn returned to Vienna in 1792, but a second visit to London was a foregone conclusion. The 1794-95 sojourn in England equaled the earlier one as a tri- umph.

The Symphony No. 104 is the last of the twelve he wrote for and introduced in Lon- don; indeed, it is his last symphony altogether. It is commonly known as "the London" which, given that the designation applies equally to eleven other symphonies, must be one of the most pointless of all musical nicknames. But the Germans outdo us in silli- ness. They call it the "Salomon" Symphony, but in fact Haydn's last three symphonies were written for concerts presented not by Salomon but by another violinist-impresario (and quite considerable composer), Giovanni Battista Viotti.

All the music at the concert at which this D major symphony was introduced was by

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Haydn, and the program included the seventh performance in about as many months of the work that had turned out the greatest hit of the second London visit, the Military Symphony. There were also some vocal numbers, and of one of the singers, a certain Madame Banti, Haydn noted in his diary—in English—that "she song very scanty." Of the event altogether, though, Haydn noted (back in German now) that "the whole company was thoroughly pleased and so was I. I made 4,000 gulden on this evening. Such a thing is possible only in England." The reviewer of the Morning Chronicle wrote: "It is with pleasure that we inform the public that genius is not so totally neglected as some are too often apt to confirm," commenting also on the "fullness, richness, and majesty, in all its parts" of Haydn's new symphony. Contemporary criticism is apt to stress the complexity, the sense of amplesse and abundance in Haydn's work. But his intoxicating intelligence and invention—and thus also his famous sense of humor—are tied as well and inextricably to his feeling for economy. (This is one of the ways in which Haydn differs from Mozart. Mozart could play Haydn's game, as, for example, in the finale to the E-flat piano concerto, K.449, but his natural inclination was toward the prodigal.)

It is Haydn's way to work with few, simple, striking, and malleable ideas. The purely formal fanfare that opens this D major symphony is an example. We hear it first in its most obvious, its most "natural" form. But it returns twice during the introduction, sub- tly transformed the first time and dramatically the second. And what rich returns Haydn derives from the sighing figure the violins introduce in the first measure after the fanfare! When, after that, minor gives way to major and Adagio to Allegro, a single theme virtually suffices to propel this densely and wittily worked movement along.

Melodies like the one at the beginning of the Andante earned Haydn his nineteenth- century reputation for innocence. Butter would indeed melt in the sweet mouth of the personage who speaks in the first four measures. But the poignant and accented B-flat in the next phrase is fair warning, and the extraordinary extensions when the opening phrase returns—the violin sound now edged with a bit of bassoon tone—persuade us that innocence is but a point of departure for adventures both subtle and deep. The most astonishing of these adventures—the mysterious cessation of motion on remote and mysterious harmonies and the touching speculations of the flute—is in its present form a late second thought of Haydn's.

The robust minuet is alive with amusing syncopations; the Trio, charmingly scored, is gently lyrical. Haydn provides ten measures of retransition to the reprise of the minuet, and that is a very rare feature in his music. The finale starts with a Croation folk song, presented in rustic style over a bagpipe-like drone. But the movement as a whole is full of city wisdom, about counterpoint and rapidly swirling dissonance. Its most re- markable feature is perhaps the contrasting theme, much slower and delicately harmo- nized, which Haydn uses to make the most breath-stoppingly surprising retransition into a recapitulation that ever occurred to him. —Michael Steinberg

Now Program Annotator of the San Francisco Symphony and the New York Philharmonic, Michael Steinberg was the Boston Symphony Orchestra's Director of Publications from 1976 to 1979. Oxford University Press has published two compilations of his program notes, including many written for the Boston Symphony. The first of these, now available in paperback, is The Symphony—A Listeners Guide. The second The Concerto—A Listeners Guide—is brand new.

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n BankBoston CELEBRITY SERIE< 1998 - 99 Performance Calendar Mark Morris Dance Group Mozarteum Orchestra and Yo-Yo Ma of Salzburg 18 Sunday, p.m. Saint Petersburg Guarneri String Quartet 25, 26, 27, 28 3 Thursday, 8 p.m. Symphony Hall Philharmonic Orchestra 4 Friday, 8 p.m. Friday, 8 p.m. 4 Sunday, 3 p.m. NEC's Jordan Hall Preservation Hall Jazz Band Family Matinee Symphony Hall 18 Sunday, 8 p.m. A Chanticleer Christmas Saturday, 2 p.m. Symphony Hall Saturday, 8 p.m. Gil Shaham 6 Sunday, 3 p.m. 16 Friday, 8 p.m. NEC's Jordan Hall Sunday, 3 p.m. Alvin Ailey NEC's Jordan Hall The Wang Theatre American Dance Theater Kendra Colton 20,21,22,23,24,25 John Williams Emerging Artists Series Midori Chamber Ensemble Tuesday, 8 p.m. 18 Sunday, 3 p.m. Friday, p.m. 1 Friday, 8 p.m. 26 8 Wednesday, 8 p.m. NEC's Jordan Hall NEC's Jordan Hall NEC's Jordan Hall Thursday, 8 p.m. Nakamatsu Friday, 8 p.m. Jon Polar Express/ Kodo Drummers 23 Friday, 8 p.m. Family Matinee Elijah's Angel 28 Sunday, 3 p.m. NEC's Jordan Hall Saturday, 2p.m. Symphony Hall Family Musik Saturday, 8 p.m. Vienna Choir Boys 12 Saturday, 2 p.m. Sunday, 3 p.m. 500th Celebration NEC's Jordan Hall The Wang Theatre 23 Friday, 8 p.m. Murray Perahia Symphony Hall Irina Muresanu Emerging Artists Series 21 Wednesday, 8 p.m. Dance Collective Symphony Hall Moiseyev Dance Company p.m. Emerging Artists Series 5 Friday, 8 10 Sunday, p.m. NEC's Jordan Hall 23,24 Friday, 8 p.m. 3 Evelyn Glennie Symphony Hall Saturday, 8 p.m. Brandenburg Ensemble 25 Sunday, 3 p.m. Tsai Performance Center NEC's Jordan Hall New York Philharmonic Sunday, 3 p.m. James Galway & Friends 15 Friday, 8 p.m. Symphony Hall Lincoln Center Jazz 25 Sunday, 3 p.m. Symphony Hall Orchestra with Victor Borge Symphony Hall Wynton Marsalis Mia Chung 12 Friday, 8 p.m. Emerging Artists Series Symphony Hall 28 Wednesday, 8 p.m. Symphony Hall 17 Sunday, 3 p.m. The Chieftains Garrick Ohlsson NEC's Jordan Hall Krystian Zimerman 14 Sunday, 8 p.m. 1 Sunday, 3 p.m. 30 Friday, 8 p.m. Andrea Marcovicci Symphony Hall Symphony Hall Symphony Hall 23 Saturday, 8 p.m. Thomas Hampson Kirov Orchestra NEC's Jordan Hall 20 Saturday, 8 p.m. 4 Wednesday, 8 p.m. Tap! NEC's Jordan Hall Symphony Hall Family Musik NHK Symphony Orchestra, What Makes It Great? Lorraine Hunt 30 Saturday, 2 p.m. Tokyo Saturday, 8 p.m. Tsai Performance Center with Patricia Schuman 1 Saturday, 8 p.m. NEC's Jordan Hall 26 Friday, 8 p.m. Tokyo String Quartet Symphony Hall NEC's Jordan Hall Nigel Kennedy Ensemble 30 Saturday, 8 p.m. What Makes It Great? with Saturday, 8 p.m. NEC's Jordan Hall Donald Byrd/The Group Brentano String Quartet Symphony Hall Train Renee Fleming Jazz 2 Sunday, 3 p.m. Sydney Symphony Orchestra 26, 27, 28 NEC's Jordan Hall 31 Sunday, 3 p.m. 13 Friday, 8 p.m. Friday, 8 p.m. Symphony Hall Mstislav Rostropovich Symphony Hall Saturday, 8 p.m. Sunday, 3 p.m. Brandeis Celebration American Ballet Theatre Emerson Majestic Theatre 22 Saturday, 8 p.m. 13, 14, 15 NEC's Jordan Hall Friday, 8 p.m. Radio Symphony Richard Goode Saturday, 8 p.m. Orchestra Berlin 28 Sunday, 3 p.m. Sunday, p.m. 3 Symphony Hall The Wang Theatre 3 Wednesday, 8 p.m. Symphony Hall Borromeo String Quartet Emerson String Quartet & Menahem Pressler Trio 15 Sunday, 3 p.m. & KLR Carnival of the Animals NEC's Jordan Hall Sunday, 3 p.m. Family Musik NEC's Jordan Hall 10 Saturday, 2 p.m. Caribbean Pan Fest: | NEC's Jordan Hall I Panazz Players and Ken Royal Concertgebouw "Professor" Philmore Orchestra Amsterdam Beaux Arts Trio

22 Sunday, 3 p.m. 10 Wednesday, 8 p.m. 1 Sunday, 3 p.m. Symphony Hall Symphony Hall NEC's Jordan Hall CALL CELEBRITYCHARGE AT 617-482-6661 FOR TICKETS TO ALL CELEBRITY SERIES EVENTS. The Celebrity Series of Boston, Inc., was founded in 1938 and incorporated as a not-for-profit organization in 1989. Benjamin Britten Spring Symphony, Opus 44, for soprano, alto, and tenor soli, mixed chorus, boys' chorus, and orchestra

Edward Benjamin Britten was born in Lowestoft, Suf- folk, England, on November 22, 1913, and died in Aldeburgh on December 4, 1976. He composed the Spring Symphony in the autumn and winter of 1948* 49, completing it in June of the latter year, though he had been planning it for two years before he actually started composing. The first performance took place at the Holland Festival in Amsterdam on July 9, 1949; Eduard van Beinum conducted the Concertgebouw Orchestra, the mixed chorus of the Dutch Radio, the Boys' Choir of the St. Willibrorduskerk in Rotterdam, and soloists Jo Vincent, Kathleen Ferrier, and Peter Pears. Serge Koussevitzky led the Boston Symphony Orchestra in the works American premiere on August 13, 1949, at Tanglewood, with soloists Frances Yeend, Eunice Alberts, and David Lloyd, the Festival Chorus, and a boys' chorus from Camp Mah-Kee-Nac. The only Boston Symphony performances since then were conducted by Andre Previn in November 1982, with soprano Kathleen Battle, mezzo-soprano Linda Finnie, tenor Philip Langridge, the Tanglewood Festival Chorus, John Oliver, conductor, and the Boston Boy Choir, Theo- dore Marier, director. In addition to soprano, alto, and tenor soloists, a mixed chorus, and a boys' chorus, the score calls for three flutes (third doubling alto flute and piccolo), two oboes and English horn, two clarinets and bass clarinet, two bassoons and contrabassoon, four horns, three trumpets, three trombones, tuba, cow horn, timpani, side drum, tenor drum, tambourine, cymbals, bass drum, gong, bells, block, xylophone, castanets, vibraphone, two harps, and strings.

Benjamin Britten spent several years in America, beginning in 1939, with the possible intention of immigrating permanently. It was in this country that he came to his artistic maturity, not only in the sense of composing such scores as Les Illuminations, the Sinfonia da Requiem, and the Michelangelo Sonnets here, but especially because he found himself thrown back on Europe and on his native England, largely through the happenstance of his picking up a copy of George Crabbe's poem The Borough, in which he found the subject of his first opera, Peter Grimes, and realized at the same time how much he needed the Suffolk coast where he had been born and where Crabbe's poem was set.

But his years in America brought him into contact with a number of future spokesmen for his music. One of the most important of these, as it turned out, happened almost by accident. Serge Koussevitzky performed the Sinfonia da Requiem with the Boston Sym- phony in January 1942. Britten had planned to return to England before that date, but the difficulty of obtaining passage during the war kept him here until March, so he was able to attend the Boston performances and to meet the conductor, who asked him why a composer with so obvious a natural feeling for drama had not written an opera. Britten explained the usual financial and technical reasons: it took a long time to compose something so elaborate as an opera, and he needed to support himself; moreover, even when it was finished, there was the problem of finding a performance. Yet, he told Kousse- vitzky, he had found a subject that interested him, from Crabbe's poem. Not long after,

Britten heard from the Koussevitzky Music Foundation that it would provide the money he would need to allow himself the time to write an opera. The result, of course, was Peter Grimes, the foundation and cornerstone of contemporary British opera, and one of the first and most successful of the Koussevitzky Foundation commissions. The opera

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24 was premiered with great success in Britain, then given its first American performance at Tanglewood on August 6, 1946, under Koussevitzky's protege Leonard Bernstein.

It is possible that Britten and Koussevitzky took the occasion of the composer's presence at Tanglewood to discuss the question of whether he would now compose a symphony for Boston. The earliest document suggesting that such a discussion has taken place comes from early the following year, but it is clear from the way Britten phrases his comments that "the Symphony position" is a matter that has been talked about before. The composer wrote to Koussevitzky on January 12, 1947, to tell him of the founding of the English Opera Group, of which he was one of the organizers and directors, and to explain that he was hard at work on his new opera (which happened to be his third, Albert Herring; the second, The Rape of Lucretia, had already been performed the preceding year):

. . . The opera plans also affect the Symphony position slightly. As you know, I am

desperately keen to do it for you, & I have elaborate & exciting ideas for it! But all the same I am keen not to do it in a hurry. I want it to be my biggest and best piece so far & after a short tour in Italy in April, I hope to get down to the Sym-

phony in early May. If it will be ready in time for the Berkshire Festival it is im-

possible to say. If all my ideas work out easily, perhaps; but if not, as I said, I am

particularly keen not to hurry it, as I want it to be good! I think the best thing is

to let you know how it progresses, & so that you can make your plans accordingly.

By-the-way, I am planning it for chorus and soloists, as I think you wanted; but it is a real symphony (the emphasis is on the orchestra) & consequently I am using Latin words.

The last sentence comes as a surprise! The Spring Symphony as it stands has Eng- lish words, and although the orchestra plays an important part throughout, I think it fair to say that the emphasis is on the voices. In any case, Britten did not finish the work in time for the 1947 Berkshire Festival—his estimate was off by a good two years. Part of the delay may well have come from what was evidently a change of plan. He had actually begun putting together a selection of Medieval Latin poems for the work, "but a re-reading of much English lyric verse and a particularly lovely Spring day in

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Serge Koussevitzky with Benjamin Britten in January 1942 when the Boston Symphony performed Britten's "Sinfonia da Requiem"'

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26 East Suffolk, the Suffolk of Constable and Gainsborough, made me change my mind." The work that emerged grew out of a personally selected and carefully crafted antholo- gy of English poetry relating to spring, to be turned into "a symphony not only dealing with Spring itself, but with the progress of Winter to Spring and the reawakening of the earth and life which that means."

These comments, which Britten printed in the Music Survey of Spring 1950 as a kind of brief program note to his work, go on to explain concisely how he ordered the poems to produce his symphony:

... It is in the traditional four movement shape of a symphony, but with the movements divided into shorter sections bound together by a similar mood or point of view. Thus after an introduction, which is a prayer, in Winter, for Spring to come, the first movements deal with the arrival of Spring, the cuckoo, the birds, the flowers, the sun and "May month's beauty"; the second movements paint the darker side of Spring—the fading violets, rain and night; the third is a series of dances, the love of young people; the fourth is a May-day Festival, a kind of bank holiday which ends with the great 13th Century traditional song "Sumer is i-cumen in," sung or rather shouted by the boys.

By November 19, 1948, Britten had made enough progress to write to Koussevitzky

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28 with the promising news that the work should be ready for performance by the Boston Symphony before the end of the 1948-49 season.

I am working hard on this and have sketched more than half of it—and am fairly pleased with the result. I am hopeful that it will be done in time for you to play the work in April.

I will let you have bulletins from time to time so that you can make your pro- grammes accordingly. I am sorry to be so difficult and so unwilling to commit

myself, but the work is one of the biggest and most serious that I have ever under-

taken and I do not want it to come out unless I am entirely satisfied with every semiquaver!

But delay in the form of illness intervened. The score was not ready in time for the spring, though Britten was prepared to deliver it for a Tanglewood performance that summer. Still, another difficulty made for a temporary coolness between composer and conductor. Britten knew that he would not be able to come to the Tanglewood performance; yet he was so eager to hear the work that he arranged for a performance at the

Holland Festival which, as it turned out, preceded the first performance by the man who had commissioned the piece and who would, normally, receive the honor of the premiere. On April 19, 1949, Britten wrote to Koussevitzky, attempting to pour oil on troubled waters:

Dear Dr. Koussevitzky, Ralph Hawkes [Britten's publisher] has just forwarded to me a copy of your let-

ter about the Spring Symphony. I am so very sorry that you feel as you do about the proposed Holland Festival performance, but I quite understand—and certainly my long silence has not in any way helped matters! The truth is, that with my illness, the work has become somewhat of a bogey—and there was nothing to write to you but doubts and miseries! But now it is finished, (although I still have plans

to add a new movement) I think I can be more cheerful about it. But the "doubts & miseries" are the reasons for my wanting to hear the work as soon as possible.

As you know I should have dearly loved to come to Tanglewood for your performance, but the fact of my commitments here (intensified by the illness) and my later

In Amsterdam for the first performance of the "Spring Symphony" on July 9, ^m 1 949: (from left) Benjamin Britten, soprano Jo Vincent, conductor Eduard van Beinum, mezzo-soprano Kathleen Ferrier, and tenor Peter Pears

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30 tour in U.S.A. preclude that, and I just have to agree to the Dutch performances

(otherwise it would be Spring 1950 at best before I heard it). But under the cir-

cumstances I absolutely understand if this will make you revise your Tanglewood

plans; but, with your permission, I should like to retain the proposed dedication, hoping to hear one day a performance of unequalled brilliance & understanding by yourself.

Koussevitzky did conduct the Spring Symphony a few weeks after the world premiere, but Britten never got a chance to hear his performance, because that was the only time he ever programmed the work. Still, the composer wrote a belated thank-you note on February 23, 1950 (so long delayed, he explained, because of a concert tour):

I was so happy that you had pleasure in presenting the Symphony at Tanglewood;

I should much have liked to have been present. We also had a good performance,

with much warmth of reception, in Amsterdam. . . Now, next month, is the premiere

in England, and it will be interesting to see how this novel kind of symphony fares in this rather conservative country!

The letter was also intended to express the composer's thanks at receiving an honorari- um for the score; he was surprised to learn that he was receiving it, but he assured

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32 Koussevitzky that he could put it to good use in shoring up a struggling music festival

which some friends & I run in my home town [this is now the world-famous Alde- burgh Festival], & which specialises in fine (if small) music. It is always desperately hard up, especially because the town—being almost washed away by the sea —is very poor. As many commentators have pointed out, Britten makes no attempt to make of the Spring Symphony a Mahler's Eighth, in which the choral and solo vocal forces join with the orchestra in the most elaborate and far-reaching processes of thematic or harmonic unification. Rather, it is more like Das Lied von der Erde, a song-symphony whose unity grows out of carefully balanced and organized diverse elements. As Britten indicated in his program note, the text is not simply a hodgepodge of spring poems (listeners who know any of the composer's song cycles know how careful and refined is his selection of texts). It begins with the chill of winter and a choral plea, "Shine out, fair sun." Each section of the orchestra is introduced individually as an interlude between the choral sections—first percussion, then strings, then woodwinds, and finally brass, each with different (but related) musical ideas emphasizing the intervals of the tritone and the semitone. After each has been introduced, a full orchestral outburst combining all the previously heard sections leads to a great choral outburst, which then dies away with lingering echoes of the interval of a minor third, A to F-sharp, in the soprano.

That minor third is the characteristic musical sound of the cuckoo's call. It keeps reappearing in the three trumpets that accompany the tenor's lively song "The merry

The composer leaves the Concertgebouw in Amsterdam following the first performance of the "Spring Symphony" 33 Week 13 cuckoo." Now Spring bursts onto the scene in a swinging, ostinato waltz pattern as chorus and soloists sing of all her attributes, momentarily interrupted by a cadenza of bird calls sung {ad lib.) by the soloists. The boys' chorus sings for the first time in the next movement, impersonating "The driving boy" singing a lively song, and continuing to whistle it while the soprano solo sings of his "fits of song/And whistle as he reels along." The boys are accompanied by woodwinds, tuba, and tambourine, the soprano by violins divided into four parts. Part I ends with Milton's "The Morning Star" with chorus, brass, and timpani suggesting the welcome dances of Spring.

By this point, one characteristic feature of Britten's scoring has begun to be clear: though he calls upon large forces for the work as a whole, each individual section features a carefully selected small ensemble—even, sometimes, virtually a chamber group —within that large orchestra. Britten's experience in composing The Rape of Lucretia and Albert Herring for a chamber orchestra of scarcely more than a dozen instruments showed him extraordinarily rich in ideas for coloristic variety even with a limited pal- ette. The presence of a large orchestra inspires him to similar feats of virtuosic timbre, but now enlarged to include the soloistic use of entire families of instruments as well as combinations of soloists.

Part II is the traditional "slow movement" of the symphony, built of poems of more

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34 contemplative and sober character. Splashes of delicate woodwind and harp color introduce the stanzas of the alto soloist's song, while divided violas, cellos, and basses provide a rich underpinning for the voice. The violins, which refrain from playing a single note in "Welcome, maids of honour," provide the sole accompanying forces in the tenor's song, their constant sixteenth-note triplets in unison offering a subdued background to the tenor's equally subdued raptures. The last section of Part II, a setting of the only contemporary poem in the score, four stanzas selected from a poem by Britten's friend W. H. Auden, is a complex and sultry movement alternating wordless singing by the chorus with the alto solo and an ever-changing orchestral character to suit each stanza: alto flute and bass clarinet in the first stanza suggest the cool, dark, windless night; oboes and bassoons are still pastoral in the second stanza; a nervous solo flute part, punctuated by wind and brass chords, is more unsettling; and the last stanza breaks out in heavy, warlike fanfares before ending, as it began, with the unaccompanied chorus.

Part III is direct and joyous. The tenor sings impetuously of his passion, accompanied by equally impetuous figures in the string section. The song leads directly into an Eliz- abethan text, the setting of which is more explicitly influenced by Elizabethan song (with its characteristic rhythmic freedom of phrases against a steady metrical pattern of 6/8) than anything else in the symphony. The third song of this part is built up of a series of lively duets between chorus tenor and bass (with the brasses), then chorus soprano and alto (with the woodwinds), then boys (with the strings), all singing against chattering rhythmic figures in the instruments, which take over for a brief coda.

Part IV is a single movement in a large ternary form. The final section is the only passage in the entire symphony in which all the forces—solo, orchestral, and choral—are performing simultaneously. Britten described the movement as a "May-day Festival," and he chose the comic monologue of the Maylord from Beaumont and Fletcher's 1610 farce The Knight of the Burning Pestle. The Maylord summons all to celebrate on be- half of each person's town or city. The series of absurd couplets describing the wonders of spring are set to music with a lively sense of rhythm and appropriate (or parodistic) orchestral color. At the end, everyone swings into a rollicking waltz (first adumbrated in the orchestra behind the tenor solo at the beginning of the movement), and the boys chime in with the old English spring song, "Soomer is icoomen in" (the spelling given here is Britten's phonetic spelling from the score). As the waltz dies away, the Maylord announces the end of the festivities—and of Britten's symphony. —Steven Ledbetter

Text for Britten's Spring Symphony begins on page 38.

35 Week 13 More . . .

Though both are out of print, Michael Kennedy's The Works of Ralph Vaughan Williams (Oxford) and R.V.W.: A Biography of Ralph Vaughan Williams (also Oxford), by Ursula Vaughan Williams, the composer's widow, remain crucial sources. James Day's 1961 Vaughan Williams in the Master Musicians series has recently been republished (Oxford University paperback). More recent additions to the literature include Jerrold Northrop Moore's Vaughan Williams: A Life in Photographs (Clarendon Press) and Paul Holmes's Vaughan Williams: His Life and Times (Omnibus Press paperback). Hugh Ottoway's article on Vaughan Williams from The New Grove Dictionary was included in The New Grove Twentieth- Century English Masters along with those on Elgar, Delius, Hoist, Walton, Tippett, and Britten (Norton paperback). Ralph Vaughan Williams: A Pictorial Biography by John Lunn and Ursula Vaughan Williams, published in 1971, is worth seeking (Oxford). The composer's own National Music and Other Essays provides a vivid self-portrait (Oxford). Among the many recordings of the Tallis Fantasia are two by Andre Previn, one with the Royal Philharmonic Orchestra on Telarc, the other with the Curtis Institute of Music Symphony Orchestra on EMI Classics. Both pair the Fan-

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36 tasia with Vaughan Williams's Symphony No. 5, the EMI disc also adding Previn's own Reflections for Orchestra. Other noteworthy recordings of the Fantasia include Adrian Boult's with the London Philharmonic (EMI), Bernard Haitink's also with the London Philharmonic (EMI), and Neville Marriner's with the Academy of St. Martin in the Fields (Philips).

The main resource for information on Haydn and his music is the massive, five-volume study Haydn: Chronology and Works by H.C. Robbins Landon; the London symphonies are treated in Volume III, "Haydn in England," which chronicles the years 1791-1795 (Indiana University Press). More accessible to most readers will be Jens Peter Larsen's Haydn article and Georg Feder's listing of Haydn's works in The New Grove Dictionary of Music and Musicians; these are available in a single convenient paperback volume as The New Grove Haydn (Norton). Another convenient introduction is provided by Rosemary Hughes's Haydn in the Master Musicians series (Littlefield paperback). Karl Geiringer's Haydn: A Creative Life in Music has been reprinted by University of California Press. (Geiringer also wrote important biographies of J.S. Bach and Johannes Brahms.) If you can track down a used copy, Laszlo Somfai's copiously illustrated Joseph Haydn: His Life in Contemporary Pictures provides a fascinating view of the composer's life, work, and times (Taplinger). Andre Previn has recorded Haydn's Symphony No. 104 with the Pittsburgh Symphony Orchestra (EMI Classics, with symphonies 94, Surprise, and 96, Miracle). Important sets of all twelve London symphonies include Colin Davis's with the Concertgebouw Orchestra of Amsterdam (Philips) and Eugen Jochum's with the London Philharmonic (Deutsche Grammophon). One can't be sure from the current Schwann catalogue whether Christopher Hogwood (with the Acad- emy of Ancient Music on L'Oiseau-Lyre) or Roy Goodman (with the Hanover Band on Hyperion) has yet reached the Symphony No. 104 in their period-instrument traversals of the Haydn symphonies. Other individual recordings worth investigating include Leo- nard Bernstein's with the New York Philharmonic (Sony Classical), Charles Mackerras's with the Orchestra of St. Luke's (Telarc), and Mogens Woldike's with the Vienna State Opera Orchestra (Vanguard Classics).

Though hard to find in this country, a good place to start on Benjamin Britten is Michael Kennedy's Britten in the Master Musicians series (Dent paperback). The most recent and complete biographical account of the composer's life is Humphrey Carpen- ter's Benjamin Britten (Scribner's). Peter Evans's The Music of Benjamin Britten, a thor- ough study of the composer's music, was revised for a 1996 paperback edition (Claren- don Press). The letters from Britten to Serge Koussevitzky quoted in Steven Ledbetter's program note on the Spring Symphony are located in the Koussevitzky Foundation Ar- chives at the Library of Congress. Letters From a Life: Selected Letters and Diaries of Benjamin Britten is a 1400-page compilation edited by Donald Mitchell and Philip Reed (University of California). The Cambridge Companion to Benjamin Britten, edited by Mervyn Cook, is due this year in the Cambridge Companion to Music series (Cam- bridge University paperback). Out of print but well worth seeking is the indispensable photographic survey Benjamin Britten: Pictures From a Life, 1913-1976, by Donald Mitchell and Hans Keller (Scribners). Andre Previn's EMI recording of the Spring Sym- phony with the London Symphony Orchestra and soloists Sheila Armstrong, Janet Baker, and Robert Tear is apparently out of print. Of those currently listed, try John Eliot Gardiner's with the Philharmonia Orchestra, soloists Alison Hagley, Catherine Robbin, and John Mark Ainsley, the Monteverdi Choir, and the Salisbury Cathedral Choristers (Deutsche Grammophon). —Marc Mandel

37 Week 13 BRITTEN, "Spring Symphony," Opus 44

PARTI INTRODUCTION

Shine out, fair sun, with all your heat, Show all your thousand-coloured light! Black winter freezes to his seat; The grey wolf howls he does so bite; Crookt age on three knees creeps the street; The boneless fish close quaking lies And eats for cold his aching feet; The stars in icicles arise: Shine out, and make this winter night Our beauty's spring, Our Prince of Light! —Anon. 16th century

THE MERRY CUCKOO The merry cuckoo, messenger of spring, His trumpet shrill hath thrice already sounded; That warns all lovers wait upon their king, Who now is coming forth with garlands crowned: With noise whereof the quire of birds resounded Their anthems sweet devised of love's praise, That all the woods their echoes back rebounded. As if they knew the meaning of their lays. But 'mongst them all, which did love's honour raise,

No word was heard of her that most it ought, But she his precept proudly disobeys, And does his idle message set at nought. Therefore O love, unless she turn to thee Ere cuckoo end, let her a rebel be. —Edmund Spenser

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38 —

SPRING

Spring, the sweet spring, is the year's pleasant king; Then blooms each thing, then maids dance in a ring, Cold doth not sting, the pretty birds do sing: Cuckoo, jug-jug, pu-we, to-witta-woo!

The palm and may make country houses gay, Lambs frisk and play, the shepherds pipe all day, And we hear aye birds tune this merry lay: Cuckoo, jug-jug, pu-we, to-witta-woo!

The fields breathe sweet, the daisies kiss our feet, Young lovers meet, old wives a-sunning sit; In every street these tunes our ears do greet: Cuckoo, jug-jug, pu-we, to-witta-woo! Spring, the sweet Spring! —Thomas Nashe

THE DRIVING BOY When as the rye reach to the chin, And chopcherry, chopcherry ripe within, Strawberries swimming in the cream, And school-boys playing in the stream; Then O, then O, then O, my true love said, Till that time come again, She could not live a maid. —George Peele

The driving boy, beside his team Of May-month's beauty now will dream, And cock his hat, and turn his eye On flower, and tree, and deepening sky; And oft burst loud in fits of song, And whistle as he reels along, Cracking his whip in starts of joy A happy, dirty, driving boy. —John Clare

THE MORNING STAR

Now the bright morning star, day's harbinger, Comes dancing from the East, and leads with her lis* The flowery May, who from her green lap throws The yellow cowslip, and the pale primrose.

Hail, bounteous May that doth inspire Mirth and youth, and warm desire, Woods and groves, are of they dressing, Hill and dale, doth boast thy blessing. Thus we salute thee with our early song, And welcome thee, and wish thee long. —John Milton

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

39 Week 13

s£&8fflnMMiMnfi&£ PART II WELCOME MAIDS OF HONOUR Welcome Maids of Honour, You doe bring In the Spring; And wait upon her.

She has Virgins many, Fresh and faire; Yet you are More sweet than any.

Y'are the Maiden Posies, And so grac'd, To be plac'd, 'Fore Damask Roses.

Yet though thus respected, By and by Ye doe lie, Poore Girles, neglected. —Robert Herrick

WATERS ABOVE Waters above! eternal springs! The dew, that silvers the Dove's wings! O welcome, welcome to the sad: Give dry dust drink; drink that makes glad! Many fair ev'nings, many flowers Sweeten'd with rich and gentle showers Have I enjoy'd, and down have run Many a fine and shining sun;

But never till this happy hour Was blest with such an evening-shower! —Henry Vaughan

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40 OUT ON THE LAWN I LIE IN BED

Out on the lawn I lie in bed, Vega conspicuous overhead In the windless night of June; Forests of green have done complete The day's activity; my feet Point to the rising moon.

Now North and South and East and West Those I love lie down to rest; The moon looks on them all: The healers and the brilliant talkers, The eccentrics and the silent walkers, The dumpy and the tall.

To gravity attentive, she Can notice nothing here; though we Whom hunger cannot move, From gardens where we feel secure Look up, and with a sigh endure The tyrannies of love:

And, gentle, do not care to know, Where Poland draws her Eastern bow, What violence is done; Nor ask what doubtful act allows Our freedom in this English house, Our picnics in the sun.

W.H. Auden

PART III WHEN WILL MY MAY COME

When will my May come, that I may embrace thee? When will the hour be of my soules joying?

If thou wilt come and dwell with me at home; My sheepcote shall be strowed with new green rushes; We'll haunt the trembling prickets as they roam About the fields, along the hawthorn bushes;

I have a piebald cur to hunt the hare: So we will live with dainty forest fare.

And when it pleaseth thee to walk abroad, (Abroad into the fields to take fresh aire:) The meads with Flora's treasures shall be strowed, (The mantled meadows and the fields so fair.) And by a silver well (with golden sands) I'll sit me down, and wash thine iv'ry hands.

But if thou wilt not pitie my complaint, My tears, nor vowes, nor oathes made to thy Beautie: What shall I do? But languish, die, or faint, Since thou doth scorne my tears, and soule's duetie: And tears contemned, vowes, and oathes must fail: For when tears cannot, nothing— can prevaile. Richard Barnefield Wm wSsr am 41 Week 13 IJalill m ra

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42 FAIR AND FAIR

Fair and fair, and twice so fair, As fair as any may be; The fairest shepherd on our green, A love for any lady. Fair and fair, and twice so fair, As fair as any may be; Thy love is fair for thee alone, And for no other lady. My love is fair, my love is gay, As fresh as bin the flowers in May; And of my love my roundelay, My merry, merry, merry, roundelay, Concludes with Cupid's curse: They that do change old love for new, Pray gods they change for worse.

Fair and fair, and twice so fair, As fair as any may be; The fairest shepherd on our green, A love for any lady. Fair and fair, and twice so fair, As fair as any may be; Thy love is fair for thee alone, And for no other lady. My love can pipe, my love can sing, My love can many a pretty thing, And of his lovely praises ring My merry, merry, merry, roundelays, Amen to Cupid's curse: They that do change old love for new, Pray gods they change for worse. —George Peele

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Now it's mute. Birds delight Day and night. Nightingale In the dale, Lark in sky Merrily, Merrily, merrily, to welcome in the year.

Little boy Full of joy. Little girl Sweet and small. Cock does crow So do you. Merry voice Infant noise Merrily, merrily, to welcome in the year.

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Here I am. Come and lick My white neck. Let me pull Your soft wool. Let me kiss Your soft face. Merrily, merrily, we welcome in the year. —William Blake

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44 PART IV FINALE

London, to thee I do present the merry month of May; Let each true subject be content to hear me what I say: With gilded staff and crossed scarf, the Maylord here I stand. Rejoice, O English hearts, rejoice! rejoice, O lovers dear! Rejoice, O City, town and country! rejoice, eke every shire! For now the fragrant flowers do spring and sprout in seemly sort, The little birds do sit and sing, the lambs do make fine sport; And now the birchen-tree doth bud, that makes the schoolboy cry;

The morris rings, while hobby-horse doth foot it feateously; The lords and ladies now abroad, for their disport and play, Do kiss sometimes upon the grass, and sometimes in the hay; Now butter with a leaf of sage is good to purge the blood; Fly Venus and phlebotomy, for they are neither good; Now little fish on tender stone begin to cast their bellies, And sluggish snails, that erst were mewed, do creep out of their shellies; The rumbling rivers now do warm, for little boys to paddle; The sturdy steed now goes to grass, and up they hang his saddle; The heavy hart, the bellowing buck, the rascal, and the pricket, Are now among the yeoman's peas, and leave the fearful thicket; And be like them, O you, I say, of this same noble town, And lift aloft your velvet heads, and slipping off your gown, With bells on legs, with napkins clean unto your shoulders tied, With scarfs and garters as you please, and "Hey for our town!" cried, March out, and show your willing minds, by twenty and by twenty, To Hogsdon or to Newington, where ale and cakes are plenty;

And let it ne'er be said for shame, that we the youths of London Lay thrumming of our caps at home, and left our custom undone. Up, then, I say, both young and old, both man and maid a-maying, With drums, and guns that bounce aloud, and merry tabor playing!

[Soomer is icoomen in, Loode sing cuckoo. Groweth sayd and bloweth mayd And springth the woode new; Sing cuckoo! Awe blayteth after lamb, Lowth after calve coo; Bullock stairteth, booke vairteth; Mirry sing cuckoo, Cuckoo, Cuckoo, Well singes thoo, cuckoo, Nay sweek thoo nayver noo.] —Anon. 13th century

Which to prolong, God save our King, and send his country peace,

And root out treason from the land! and so, my friends, I cease. —Beaumont and Fletcher

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46 Andre Previa One of America's best-known and versatile musicians, Andre Previn is familiar around the world as a conductor, an award-winning composer of orchestral, chamber, stage, and film scores, a pianist in chamber music and jazz, a prolific recording artist, and as author and television host. This past September Mr. Previn's first opera, A Streetcar Named Desire, had its world premiere at the San Francisco Opera with the composer conducting, followed in December by its release on Deutsche Grammophon compact discs and its telecast on PBS's "Great Performances" series. Also in December Mr. Previn was honored with a 1998 Kennedy Center Award for Lifetime Achieve- ment in the Arts and was named "Musician of the Year" by Musical America. As guest conductor of the world's major orchestras, Andre Previn appears each year in Europe with the Vienna Philharmonic, London Symphony, and Cologne Radio Symphony and in the United States with the Boston Symphony, the New York Philharmonic, and the Pittsburgh Symphony. He also appears in a series of three televised programs each season with the NHK Sym- phony in Tokyo. In 1993 Mr. Previn became conductor laureate of the London Symphony, where he was principal conductor for eleven years. In the past twenty-five years he has held chief artistic posts with the Los Angeles Philharmonic, Pittsburgh Symphony, Royal Philharmonic, London Symphony, and Houston Symphony, also touring with them worldwide. Besides leading subscription concerts with the Boston Symphony and New York Phil- harmonic, Mr. Previn also appears this season as piano soloist with Kurt Masur and the New York Philharmonic, and as pianist later this month with the Boston Symphony Chamber Players. In Vienna he appears in recital with Dame Kiri Te Kanawa, performs with the Emerson Quartet, and records with the Vienna Philharmonic. Other European engagements include a series of seventieth-birthday concerts with the London Symphony Orchestra, Kiri Te Kanawa, and violinist Anne-Sophie Mutter, and a series of concerts and television productions in Cologne. As a chamber music pianist, Mr. Previn has worked with such col- leagues as Emanuel Ax, Yo-Yo Ma, Gil Shaham, and the Emerson and Tokyo String Quar- tets. He has initiated chamber music programs with the players of every orchestra of which he has been music director. He also performs and teaches annually at the Curtis Institute of Music and the Tanglewood Music Center, conducting the student orchestras, working with student conductors and composers, and coaching chamber music. Mr. Previn has recently returned to one of his first loves—jazz—performing and recording with jazz bass legend Ray Brown, guitarist Mundell Lowe, and drummer Grady Tate, and touring recently to Japan, North America, and Europe with the Andre Previn Jazz Trio. His latest jazz recordings include an all-Gershwin release on Deutsche Grammophon featuring bassist David Finck with Mr. Previn at the piano. As a composer, Mr. Previn's most recent pieces include a violin sonata for Young Uck Kim, a piano/woodwind trio commissioned by the St. Luke's Chamber Ensemble, Sallie Chisum Remembers Billy the Kid (premiered in its orchestral version by Barbara Bonney with the BSO), a bassoon sonata to be premiered in 1999, and a violin work entitled Tango, Song, and Dance for Anne-Sophie Mutter. He is currently writing an orchestral piece for the Vienna Philharmonic on commission from the Mozarteum in Salzburg. Now an exclusive Deutsche Grammophon recording artist, Mr. Previn has made recordings of symphonic music, chamber music, and jazz for all the major labels, including complete cycles of works by Vaughan Williams, Elgar, Rachmaninoff, Shostakovich, and Prokofiev. His most recent releases include the horn and oboe concertos of Richard Strauss with the Vienna Philharmonic and the Korngold Symphony with the London Symphony Or- chestra. Mr. Previn's memoir for Doubleday, "No Minor Chords—My Early Days in Holly- wood," chronicles his years as composer, arranger, and orchestrator at the MGM Studios. In

1996 he was awarded a Knighthood (KBE) by Her Majesty Queen Elizabeth II. Andre Previn's most recent appearance with the BSO was at Tanglewood in August 1998. He has appeared regularly with the Boston Symphony Orchestra in Symphony Hall and at Tanglewood since his Tanglewood debut in 1977.

47 Dame Felicity Lott Making her Boston Symphony debut this week, Felicity Lott was born and educated in Cheltenham and studied at the Royal Acade- my of Music. She has established a close relationship with the Royal Opera House, Covent Garden, where her roles have included Anne Trulove in Stravinsky's The Rakes Progress, Blanche in Poulenc's Les Dialogues des Carmelites, Ellen Orford in Britten's Peter Grimes, Eva in Wagner's Die Meistersinger von Niirnberg, Countess Almaviva in Mozart's The Marriage of Figaro, and the Marschallin in Strauss's Der Rosenkavalier. Her many roles at the Glyndebourne Festival have included Anne Trulove, Pamina in The Magic Flute, Donna Elvira in Don Giovanni, Countess Almaviva, Octavian in Der Rosenkavalier, Christine in Strauss's Intermezzo, Countess Madeleine in Strauss's Capriccio, and the title role in Strauss's Ara- bella. Many of these performances were recorded for television. In Brussels she has sung the title role in Charpentier's Louise, the Marschallin in Der Rosenkavalier, and Countess Madeleine in Capriccio. In Paris she has sung Cleopatra in Handel's Giulio Cesare, Donna Elvira in Don Giovanni, Fiordiligi in Mozart's Cost fan tutte, Countess Madeleine, and the Marschallin. She has also appeared as Countess Almaviva and Countess Madeleine with Chicago Lyric Opera, as Countess Madeleine at the Maggio Musicale in Florence, and as the Marschallin in San Francisco and at the Semper Opera, Dresden, where she has also

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48 sung the title role of Strauss's Arabella. With the Bavarian State Opera in Munich her roles have included Christine in Intermezzo, Countess Almaviva, Countess Madeleine, and the Marschallin. Felicity Lott made her Metropolitan Opera debut as the Marschallin with Car- los Kleiber conducting; her La Scala debut was as Arabella, under the direction of Wolfgang Sawallisch. With the Vienna State Opera she has sung Arabella, Countess Madeleine, and the Marschallin under Carlos Kleiber, repeating the latter role, which has also been televised and released on video, when the company traveled to Japan. As a concert artist, Felicity Lott sings with all the major orchestras and festivals throughout Europe, and appears regularly in the BBC Promenade Concerts. She has sung with the Berlin Philharmonic, the Vien- na Philharmonic, the Concertgebouw Orchestra, the Chicago Symphony Orchestra, and at the Salzburg Festival. Besides her recitals throughout Great Britain, she has appeared as recitalist in Paris, Monte Carlo, Brussels, Amsterdam, Cologne, Berlin, Frankfurt, Geneva, Lisbon, Rome, Florence, La Scala, Hong Kong, New York, and Sydney, as well as at the Salzburg, Prague, Bergen, and Munich festivals and at the Konzerthaus and Musikverein in Vienna. Felicity Lott has recorded widely under such conductors as Solti, Haitink, Jansons, Marriner, Mackerras, and Jarvi. Her love of the song repertoire is reflected in her extensive recordings of Wolf, Schubert, Schumann, Strauss, and the masters of French melodies. She has recently recorded Fiordiligi in Cost fan tutte and Donna Elvira in Don Giovanni for Telarc, the Governess in Britten's The Turn of the Screw for Collins Classics, and the title role in Die lustige Witwe for EMI. Felicity Lott has been named a Chevalier dans l'Ordre des Arts et des Lettres by the French government. She was made a CBE in the 1990 New Year's Honours and in 1996 was created a Dame Commander of the British Empire.

Theodora Hanslowe American mezzo-soprano Theodora Hanslowe made her Metropoli- tan Opera debut in 1994 as Rosina in Rossini's The Barber of Seville, sang Stephano in Gounod's Romeo et Juliette at the Met in the 1995- 96 season, and returned to sing Rosina in 1997-98. In addition to her Boston Symphony debut this week in Britten's Spring Symphony under Andre Previn, highlights of her 1998-99 season include the role of Hansel in a new production of Humperdinck's Hansel and Gretel at New York City Opera, Rosina in The Barber of Seville with New Orleans Opera, Beethoven's Mass in C with Michael Tilson Thomas conducting the San Francisco Symphony, Bach's Mass in B minor with Boston Baroque, Mozart's Requiem with the Indianapolis Symphony, Bern- stein's Arias and Barcarolles on tour with the Chamber Music Society of Lincoln Center, and a gala concert with l'Opera de Montreal. In 1995-96 Ms. Hanslowe made three important debuts: jn the title role of Rossini's La Cenerentola with Florida Grand Opera, to which she returned the following season as Rosina; as Isabella in Rossini's Ultaliana in Algeri with Los Angeles Music Center Opera, and in the title role of Massenet's Cherubin with Opera de Monte-Carlo. She made her debut at the Teatro Colon in Buenos Aires in 1993 as the Composer in Strauss's Ariadne auf Naxos and her Carnegie Hall debut in the 1996-97 season singing Berlioz's Les Nuits d'ete with the Saint Louis Symphony, also appearing with that orchestra as Zerlina in Don Giovanni. She has sung Rosina in The Barber of Seville with Opera Theatre of St. Louis, the Festival de Musique de Strasbourg, Glimmerglass Opera, the Indianapolis Symphony under Raymond Leppard, Portland Opera, and the New Israeli Opera in Tel Aviv. She has sung La Cenerentola with l'Opera de Montreal, the Deutsche Staatsoper Dresden, the Deutsche Oper-am-Rhein Diisseldorf, and the Washington Summer Opera. She performed Dorabella in Mozart's Cost fan tutte with Boston Baroque in 1998. In 1997 Ms. Hanslowe sang the premiere of Peter Schickele's Suite from The Rivals with Cham- ber Music Northwest, and in 1998 she made her New York recital debut at Weill Recital Hall. She has performed Brahms's Viola Songs with the Chamber Music Society of Lincoln Center, Schubert's Rosamunde and Mendelssohn's Lobgesang Symphony with the Cincinnati Symphony, and Schoenberg's arrangement of Mahler's Das Lied von der Erde with members of the Stiddeutscher Rundfunk Stuttgart. Highlights of her 1996-97 season included a program of Mozart arias on tour with the Hanover Band throughout the United States and ap- HBbh EHiHIBBIIKIBEXHBh imummwnSrWFm 49 as/jfcH

pearances with the Indianapolis Symphony in a program of Monteverdi's 77 ritorno d'Ulisse in patria and the United States premiere of Britten's The Rescue of Penelope. A native of Ithaca, New York, Ms. Hanslowe received her bachelor of arts degree from Cornell Univer- sity and an artist diploma from Peabody Conservatory. She completed apprenticeship programs with Santa Fe Opera and Cincinnati Opera and was a 1992 recipient of the Richard F. Gold Career Grant and a Theodore Presser Study Grant.

Anthony Dean Griffey Making his Boston Symphony debut this week, American tenor Anthony Dean Griffey has been acclaimed for his appearances with leading opera theaters and symphony orchestras. This past Decem- ber, at San Francisco Opera, he created the role of Mitch in the world premiere of Andre Previn's A Streetcar Named Desire, which was also recorded by Deutsche Grammophon. Other engagements this season have included the chamber version of Mahler's Das Lied von der Erde with the Chamber Music Society of Lincoln Center and his New York City Opera debut as Lenny in Carlisle Floyd's Of Mice and Men, the role also of his debut with San Diego Opera. Later this season Mr. Griffey returns to the Metropolitan Opera for appearances as Sam Polk in Floyd's Susannah opposite Renee Fleming and Samuel Ramey. In addition to this week's Boston Symphony performances of Britten's Spring Symphony, he will also sing that work with Andre Previn and the NHK Symphony in Japan. Other appearances this season include Rachmaninoff's The Bells with Neeme Jarvi leading the Detroit Symphony, Handel's Messiah with the Philadelphia Orchestra, concert performances of the title role in Deems Taylor's Peter Ibbetson with the Seattle Symphony under Gerard Schwarz, and Beethoven's Ninth Symphony with the Baltimore Symphony. He also appears this season in recital throughout the United States. In 1997-98 Mr. Griffey made his major role debut at the Metropolitan Opera in an acclaimed performance of the title role in Britten's Peter Grimes. In August 1998 he returned to Lincoln Center for his first performance of the title role in Mozart's Idomeneo, with the Mostly Mozart Festival under Gerard Schwarz. Also last season he traveled to Japan for the televised performance of Beethoven's "Ode to Joy" led by Seiji Ozawa to conclude the opening ceremonies of the 1998 Winter Olympics, made his San Francisco Opera debut as the Fisherman in Rossini's Guillaume Tell, and appeared in Metropolitan Opera productions of Massenet's Manon, Verdi's Don Carlo, and Mussorgsky's Boris Godunov. Other concert appearances included Haydn's Creation with Sir Neville Marriner and the Baltimore Symphony, Beethoven's Ninth Symphony with Charles Dutoit and the Philadel- phia Orchestra, his debut with the Festival Internationale de Lanaudiere as Obadiah in Mendelssohn's Elijah, his first performances of Das Lied von der Erde with Chamber Music Northwest, and a recital at the Ravinia Festival accompanied by Christoph Eschenbach. At Tanglewood in 1996, while a Fellow at the Tanglewood Music Center, Mr. Griffey sang the title role of Peter Grimes with Seiji Ozawa conducting a TMC production marking the fiftieth anniversary of the opera's American premiere. That fall he joined Seiji Ozawa at the Saito Kinen Festival in Matsumoto, Japan, appearing as the Son in Poulenc's Les Mamelles de Tiresias, which was recorded by Philips. Having joined the Metropolitan Opera Young Artist Development Program at the beginning of the 1994-95 season, Mr. Griffey made his Metropolitan Opera debut in April 1995 as the First Knight in Parsifal, subsequently appearing at the Met in The Queen of Spades, Salome, Aida, and Billy Budd. He has also been seen as Sam Polk in Vancouver Opera's production of Susannah, as Lenny in Floyd's Of Mice and Men with Glimmerglass Opera, as Tom in Amy Beach's Cabildo with Great Performers at Lincoln Center, and as Thomas Wood in Conrad Susa's Black River with the Opera Theatre of Saint Louis. He has recorded Cabildo for Delos Records and can also be heard in Verdi's / Lombardi conducted by James Levine on London/Decca. A native of High Point, North Carolina, and the recipient of numerous awards and honors, Mr. Griffey holds degrees from Wingate University, the Eastman School of Music, and the Juilliard School.

50 Tanglewood Festival Chorus John Oliver, Conductor Organized in the spring of 1970, when founding conductor John Oliver became director of vocal and choral activities at the Tangle- wood Music Center, the Tanglewood Festival Chorus marked its twenty-fifth anniversary in April 1995. In December 1994, in its first performances overseas, the chorus joined Seiji Ozawa and the

Boston Symphony Orchestra for tour performances in Hong Kong « and Japan of music by Berlioz, including the Asian premiere of the

Messe solennelle . In February 1998, singing from the General As- sembly Hall of the United Nations in New York, the Tanglewood Festival Chorus represented the United States when Seiji Ozawa conducted the Winter Olympics Orchestra with six choruses on five continents, all linked by satellite, in the "Ode to Joy" from Beethoven's Ninth Symphony to close the Opening Ceremonies of the 1998 Winter Olympics. Co-sponsored by the Tanglewood Music Center and Boston University, and originally formed for performances at the Boston Symphony Orchestra's summer home, the chorus was soon playing a major role in the BSO's Symphony Hall season as well. Now the official chorus of the Boston Symphony Orchestra, the Tangle- wood Festival Chorus is made up of members who donate their services, performing in Bos- ton, New York, and at Tanglewood, working with Music Director Seiji Ozawa, Principal Guest Conductor Bernard Haitink, the Boston Pops, and such prominent guests as James Levine and Sir Simon Rattle. The chorus has also collaborated with Seiji Ozawa and the Boston Symphony Orchestra on numerous recordings, beginning with Berlioz's The Damnation of Faust for Deutsche Grammophon, a 1975 Grammy nominee for Best Choral Performance. Recordings with Seiji Ozawa and the Boston Symphony Orchestra on compact disc also include Berlioz's Requiem, Faure's Requiem, and Tchaikovsky's opera Pique Dame, on RCA Victor Red Seal; Strauss's Elektra, Mahler's Second, Third, and Eighth symphonies, Bartok's The Miraculous Mandarin, Schoenberg's Gurrelieder, and Debussy's La Damoiselle elue with Sylvia McNair, on Philips; Poulenc's Gloria and Stabat Mater with Kathleen Battle, and Men- delssohn's complete incidental music to A Midsummer Nights Dream, on Deutsche Grammo- phon; and Debussy's La Damoiselle elue with Frederica von Stade, on Sony Classical/CBS Masterworks. Also for Philips, the chorus has recorded Ravel's Daphnis et Chloe and Brahms's Alto Rhapsody and Nanie with the Boston Symphony Orchestra under Bernard Haitink's direction. They may also be heard on two Christmas albums with John Williams and the Bos- ton Pops Orchestra—"Joy to the World," on Sony Classical, and "We Wish You a Merry Christmas," on Philips—and the new RCA Victor album "Holiday Pops" with Keith Lock- hart and the Boston Pops Orchestra.

In addition to his work with the Tanglewood Festival Chorus, John Oliver was for many years conductor of the MIT Chamber Chorus and MIT Concert Choir, and a senior lecturer in music at MIT. Mr. Oliver founded the John Oliver Chorale in 1977. His first recording with that ensemble for Koch International includes three pieces written specifically for the Chorale—Bright Sheng's Two Folksongs from Chinhai, Martin Amlin's Times Caravan, and William Thomas McKinley's Four Text Settings—as well as four works of Elliott Carter. The Chorale's latest recording for Koch includes Carter's remaining choral works. Mr. Oliver's appearances as a guest conductor have included performances of Mozart's Requiem with the New Japan Philharmonic, and Mendelssohn's Elijah and Vaughan Williams's A Sea Symphony with the Berkshire Choral Institute. Mr. Oliver made his Boston Symphony Orchestra conducting debut at Tanglewood in August 1985, led subscription concerts for the first time in December 1985, and conducted the orchestra most recently in July 1998.

American Boychoir James Litton, Director Founded in Columbus, Ohio, in 1937, and now based in Princeton, New Jersey, the Ameri- can Boychoir marked its sixtieth anniversary last season with activities including a special alumni reunion concert in Columbus and a gala benefit concert in Princeton featuring trum-

51 pet player Wynton Marsalis. The Boychoir began its 1998-99 season with performances of Beethoven's Ninth Symphony with Kurt Masur and the New York Philharmonic. Later that same week, the Boychoir sang with the Berlin Philharmonic for the first time, in Mahler's Symphony No. 3. Additional highlights this season include Liszt's Dante Symphony and Beethoven's Missa Solemnis with the New York Philharmonic. While in Boston this week, the boys will also sing at Harvard University's Memorial Chapel in Cambridge. Later this season they will sing in a Family Series concert at Carnegie Hall and will tour the Ameri- can Southeast, New England, and throughout the Midwest. This summer they will perform in New York's Lincoln Center Festival. In addition to three major concerts at the Bermuda Festival, their 1997-98 season included the United States premieres of two major works: Tan Dun's Heaven Earth Mankind—Symphony 1997 with the Orchestra of St. Luke's and Yo-Yo Ma under the composer's direction, and Ofanim by Luciano Berio, featuring the Or- chestra della Toscana at Carnegie Hall, the latter work subsequently receiving an encore presentation at the Schleswig-Holstein Festival in Germany. Also last summer the Ameri- can Boychoir served as artists-in-residence at the AmericaFest International Singing Festi- val for Men and Boys at St. John's University in Minnesota, where they gave concerts and led workshops for choirs and directors from the United States and abroad. The American Boychoir has an extensive "Arts in Education" outreach program that targets schools and communities nationwide. In 1996 the group traveled to West Virginia for a three-week residency including workshops, assemblies, and concerts in venues across the state; a similar residency followed in Mississippi in February 1998. In their home state they have completed a two-year music education project involving students and teachers from New Brunswick, New Jersey, a project designed to revitalize the district's middle school music program and which culminated in joint concerts with New Brunswick students and the Princeton Cham- ber Symphony in New Brunswick. The Choir has appeared several times on NBC's "Today" and has been seen on PBS in the award-winning documentary "Journey of Butterfly," inspired by Cantor Charles Davidson's / Never Saw Another Butterfly, a 1968 composition written specifically for the American Boychoir. The ensemble can be heard on several of its own recordings, including Sing!, Carol, Hymn, and By Request. This year they will release a new recording on EMI/France of music by twentieth-century American composers. The choir is also featured in a live performance of Britten's War Requiem with Kurt Masur and the New York Philharmonic as well as on Jessye Norman's In the Spirit, Kathleen Battle's Grace, and the soundtrack of Rosie O'DonnelPs 1998 movie Wide Awake. With Seiji Ozawa and the Bos- ton Symphony Orchestra they have performed and recorded Tchaikovsky's The Nutcracker and Pique Dame and Mahler's Symphony No. 3. Their first Boston Symphony appearance (as the Columbus Boychoir) was in the American premiere under Erich Leinsdorf of Ben- jamin Britten's War Requiem at Tanglewood in July 1963. Their most recent appearance with the orchestra was in that same work, under Seiji Ozawa's direction in February 1995.

American Boychoir James A. Litton, Conductor

Treble I Justin Miller Jon Gustafson Christopher Boone Gregory E. Morse Eugene Herring Kristopher Byrd George Potulov Bryan Hobgood Christopher Chong Andrew Sparks Alex Huguet Henry Clapp Will Stowe Sean Luckey Alex Cook Samuel Thienemann Marco Antonio Melendez Alex Davis John Walsh Ehren Minnich Kurt Edward Doellinger Colin Worf Ned Milly Josh Lane Faber Jonathan Slawson Jack Gibson Treble II Gregory Stephans Matthew Johnson Benjamin Donati James M. Treadwell Matthew Lyman Jones Amadeus Durbin Trevor Wallace Adam W. Lockamy Mark Fields Bennett Wenger Michael Maliakel Devon Grant Oren Margolis Andrew Gustafson

52 Tanglewood Festival Chorus John Oliver, Conductor

Sopranos Tracey Fulgan David Norris Carol Amaya Irene Gilbride John R. Papirio Bree K. Arsenault Roberta Hewitt David Raish Sarah S. Brannen Annie Lee Brian R. Robinson Jennifer Wehr Brosky Gale Livingston Steve Rowan Susan Cavalieri Fumiko Ohara Peter L. Smith Catherine Cave Susan Quinn Pierce Martin S. Thomson Lorenzee Cole Catherine Playoust Kurt Walker Kelly Corcoran Barbara M. Puder Benjamin Antes Youngman Patricia Cox Marian Rambelle Sarah Dorfman Daniello Wendalene Rector Basses Ann M. Dwelley Kathleen Schardin Stephen Bloom Maura Finn Lisa Scott Screeton Bryan M. Cadel Laura C. Grande Rachel Shetler James W. Courtemanche Mary Hubbell Ada Park Snider Ulf Ekernas Eileen Katis Julie Steinhilber Jay Gregory Nancy Kurtz Mary B. Van Wormer Elliott Gyger

Joei J. Marshall Cindy Vredeveld Mark L. Haberman Jane Circle Morfill Marguerite Weidknecht Jeramie D. Hammond

Jenifer Lynn Munson Robert J. Henry Shannon O'Connor Tenors Youngmoo Kim Anna V.Q. Ross Robert Allard John Knowles

Melanie W. Salisbury Paul Allen Leo J. Lipis Suzanne Schwing John C. Barr David K. Lones Lynn Shane Richard A. Bissell Lynd Matt Joan P. Sherman Jeff Boice David Mazzotta Mary Beth Stevens Stephen Chrzan Daniel Meyer

Sarah J. Telford Andrew Crain Liam Moran Jim DeSelms Mark Noel Mezzo-sopranos Tom Dinger Stephen H. wades

Jennifer Anderson J. Stephen Groff Daniel Perry Maisy Bennett Mark H. Haddad Karl Josef Schoellkopf Janene Ordener Bostwick Michael Healan Tomas Schuman Ondine Brent John W. Hickman Cornell L. Stinson Abbe Dalton Clark Stanley Hudson Peter S. Strickland Sue Conte James R. Kauffman J. Michael Trogolo Ethel Crawford Larry Lee Bradley Turner Diane Droste David Lin Thomas C. Wang Barbara Naidich Ehrmann Ronald Lloyd Peter J. Wender Paula Folkman Henry Lussier Warren P. Ziegler Dorrie Freedman John Vincent Maclnnis

Felicia A. Burrey, Chorus Manager Frank Corliss, Rehearsal Pianist

Boston Symphony Orchestra concertmaster Malcolm Lowe performs on a Stradivarius violin loaned to the orchestra by Lisa, Nicole, and Wanda Reindorf in memory of their brother, Mark Reindorf.

53 B S O 2

BSO 2000, launched in the fall of 1996, is a- five-year campaign to raise $130 million for the Boston Symphony Orches- tra, the world's largest symphonic organization. The campaign's

objective is to carry the BSO's long-established role as a musical

leader and educator into the future and to secure its multifaceted mission ofperformance, outreach and education, and ofpro- viding unequaled concert space.

Of the $130-million goal, $85 million is earmarked to build and strengthen the BSO's endowment and to preserve its excep- Endowment tional facilities, including historic Symphony Hall and Tanglewood. The Boston Symphony Orchestra gratefully acknowledges these and Capital donorsfor their support. Gifts during the course of the Campaign, through Contributors October 23, 1998.

$5,000,000 and above

Mr. and Mrs. Julian Cohen

$2,500,000 to $4,999,999

Germeshausen Foundation Mr. and Mrs. Ray Stata

$1,000,000 to $2,499,999

Anonymous (5) Mrs. Stanton W. Davis

Mr. and Mrs. J. P. Barger Mr. and Mrs. John H. Fitzpatrick

Mr. John F. Cogan and Estate of Edith C. Howie Ms. Mary L. Cornille Mr. and Mrs. John Williams

$500,000 to $999,999

Anonymous (1) Mr. and Mrs. Lewis S. Dabney

Mr. and Mrs. David B. Arnold, Jr.* Mr. and Mrs. Harvey Chet

Estate of Norman V. and Rrentzman*

Ellen B. Ballou Mr. and Mrs. R. Willis Leith, Jr. Mr. and Mrs. Peter A. Brooke Mr. and Mrs. Edward H. Linde Catherine and Paul Buttenwieser Nancy Lurie Marks Foundation Dr. and Mrs. James C. Collias* NEC Corporation Mr. and Mrs. William H. Congleton Mrs. Robert B. Newman

*Includes a deferred gift

54 $500,000 to $999,999

Seiji and Vera Ozawa Mr. and Mrs. Thomas G. Sternberg*

Mr. and Mrs. William J. Poorvu Estate of G. Crandon Woolley

Mr. and Mrs. Carl J. Shapiro

$250,000 to $499,999

Anonymous (2) Susan Morse Hilles Thomas A. Pappas Charitable

Gabriella and Leo Beranek Estate of Arlene M. Jones Foundation

George and Roberta Berry Estate of Marcia H. Kalus Mr. and Mrs. Robert E. Remis* Estate of Virginia Mr. and Mrs. George H. Wellington Cabot Kidder Mr. and Mrs. Jerome Rosenfeld Helene Cahners-Kaplan and Mr. and Mrs. Gordon F. Carol R. Goldberg Kingsley Richard and Susan Smith Family Foundation Estate of Harold G. Colt Estate of Franklin J. Marryott Estate of Russell B. Stearns Connell Limited Partnership Mr. and Mrs. Nathan R Stephen and Dorothy Weber Dr. and Mrs. Arthur Gelb Miller

Mr. Joseph Hearne and The Morse Foundation Ms. Jan Brett

$100,000 to $249,999

Anonymous (3) Mr. and Mrs. John M. The Grainger Foundation Mr. and Mrs. Vernon R Connors, Jr. Estate of Marion A. Green

Alden Mr. and Mrs. Bigelow Dr. and Mrs. George Mr. and Mrs. Harlan E. Crocker, Jr. Hatsopoulos

Anderson* Dr. and Mrs. Nader William Randolph Hearst Prof, and Mrs. Rae D. Darehshori Foundation

Anderson* Mr. and Mrs. Charles C. Bayard and Julie Henry Dickinson III Mrs. Caroline Dwight Bain Estate of Martin Hoherman HwHIMrFHI Mr. Lawrence K. Barbour Mr. and Mrs. Eugene Mr. and Mrs. F. Donald ran Doggett Theodore and Evelyn Hudson* Mrs. Harry Dubbs Berenson Charitable Steve and Nan Kay Foundation Miss Anna E. Finnerty Dr. and Mrs. David Kosowsky iV Estate of Bartol Brinkler Mr. and Mrs. Dean W. Freed Dr. and Mrs. Arthur R Estate of Ruth Seamon Brush Friends of Armenian Kravitz Ms. Renee Burrows Culture Society Don Law Companies wBUmWwBB Cabot Family Charitable Mr. and Mrs. James G. Ms. Barbara Lee Trust Garivaltis* Mr. and Mrs. John A. qfiB Mr. and Mrs. F. Orri: James Cleary Gordon Fund MacLeod II Phyllis and Lee Coffey Fund Mr. and Mrs. Clark H. Estate of Clara J. Marum Ms. Alice Confortes Gowen Mrs. August Meyer

* Includes a deferred gift Continued on page 57

lUBMBJSJZ&mMikPC NORTHEAST INVESTMENT MANAGEMENT, INC. FORMERLY GUILD, MONRAD & OATES, INC.

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Fifty Congress Street Boston, Massachusetts 02109 Telephone: (617) 523-1320 or (800) 523-1320

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Bruce H. Monrad John K. Herbert, III Gordon C. Barrett Kimberly H. Latin Richard J. Semple

Beats and Measures.

Fitcorp provides the Fitcorp Benefit, an innovative mix of fitness and health promotion programs, to hundreds of Boston's leading corporations since 1979. Programs of award-winning performance and measureable results.

To learn more about the Fitcorp Benefit, call Michael Parent, Senior Vice President of Sales, at (617) 375-5600, xl!4. Rteorp

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56 American Airlines is proud to sponsor the arts in communities

throughout the United States so that artists of all ages have the opportunity and support to reach their dreams. Am6riCanAirfin©S American

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* Includes deferred gift '•':-' "•'. a C . .-..-.,.-v -

,_' >g?awi L'JJ' jKTot tfrin . 1 -

57 JSL B S O V A T I O N

The support of the corporate sponsors of the Boston Symphony Orchestra reflects the increasingly important

partnership between business and the arts. Their generosity is a gift to the community that allows the BSO to keep ticket prices at accessible levels, to tour nationally and internationally, and to present free concerts

to the Boston community. The Boston Symphony Orchestra is honored to be associated with these companies and gratefully acknowledges their contributions.

Corporate underwriters of $50,000 or more during the fiscal year ending August 3 1, 1998, listed by contribution level.

Fidelity Investments 9

At Fidelity Investments, we are proud of our partnership with the Boston Symphony Orchestra. Through our ongoing commitment, we are able to bring these wonderful musical performances to all who delight in hearing them. Fidelity will continue its long tradition of investing in our communities, and particularly our relation- James C. Curvey ship with this fine organization. President and COO Fidelity Investments

NEC has proudly supported the Boston Symphony Orchestra's tours throughout Asia, Europe, and North and South America since 1986. No matter where they perform, the Boston Sym- phony Orchestra musicians, together with Maestro Ozawa, impress audiences with their brilliant performances, and have

captured the hearts of music lovers all over the world. Dr. Hisashi Kaneko President NEC Corporation

& • John Hancock Funds $ A Global Investment Management Firm

At John Hancock Funds, we recognize the beauty and importance of the arts. John Hancock Funds is very happy to support one of our nation's most treasured cultural institutions, the Boston Symphony Orchestra. We extend our best wishes to all for another wonderful season. Edward J. Boudreau, Jr. Chairman and CEO John Hancock Funds

|& At BankBoston, we believe that the Arts BankBoston enhance the fabric of our society.. .helping to form and define new communities, while contributing to the vitality and growth of established communities. BankBoston is extremely proud of our partnership with the Boston Symphony Orchestra, one of the premier arts organizations in the world, and of our annual sponsorship of the Holiday Pops Series, which Charles K. Gifford Chairman and CEO remains a Boston tradition. BankBoston 58 B S O V A T I O N S

AT&T is once again delighted to be associated,

' AT&ll" w * tn tne Boston Symphony Orchestra. At AT&T, we believe in celebrating quality whether it's in technology or the arts. That's why we're proud to sponsor the Symphony's Language of the Twentieth Century-a series of retrospective works that will be performed over the next three years. It's all part of AT&T's commitment to Boston and to community organizations both Esther Silver-Parker great and growing. President AT&T Foundation

AmericanAirlines The Boston Symphony Orchestra and American Airlines have en- Something special in the air® joyed a partnership together for many years. Our commitment to the arts, cultural development, and the Boston community will continue to be a priority for us.

American Airlines is also proud to support the Pops and we look forward to many years of prosperity together.

James K. Carter Regional Sales Director New England Region American Airlines

As a longtime sponsor of the Free Lawn &TDK Passes for Children program at Tanglewood, TDK has shown its commitment to nurtur- ing an appreciation for art and culture among young people. This year, TDK is proud to extend its relationship with the BSO through an important new musical preservation project. Drawing on TDK's expertise in advanced recording media, the BSO will now be able to transfer fragile tapes of historic performances to Kuni Matsui TDK recordable compact discs so that they can be enjoyed for President generations to come. mTI nMnrrrrviilr^i ¥ TDK Electronics Corporation

IQI VOKIilf ryl

Four Seasons Hotel Boston has been very I^HhMkISmG proud to support the Boston Symphony TMlriiiWffirOi Four Seasons Hotel Orchestra over the last ten years. The Boston Symphony has established a tradi- Wsmm tion for presenting world class music while simultaneously bringing the magic of music to our city's children. HHBHEBR The Boston Symphony Orchestra truly is the cornerstone of the rich cultural life we enjoy. Four Seasons proudly acknowledges Robin A. Brown the impact the Boston Symphony Orchestra has had in enhancing General Manager the city, and we look forward to continuing our partnership in Four Seasons Hotel the years to come.

rtWMBRi B S O

Corporate support of the Boston Symphony Orchestra

is essential to the BSO's ability to maintain its lead- Business ership in the world of music and to maintain its high standards in performance, outreach and education, and in providing superlative concert space. Leadership The Boston Symphony Orchestra gratefully acknowledges these companies for their annual, capital, and sponsorship support as well as for gifts in kind. Association These gifts were made during the fiscal year ending August 31, 1998.

BEETHOVEN SOCIETY $500,000 and up

BankBoston Fidelity Investments NEC Corporation Charles K. Gifford Edward C. Johnson 3d Dr. Hisashi Kaneko

GOLD BATON $100,000 to $499,999

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60 CONDUCTOR'S CIRCLE $25,000 to $49,000 (cont.)

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CONCERTMASTER $15,000 to $24,999

Andersen Consulting LLP Community Newspaper Houghton Mifflin Company

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S. DiStasio Biogen, Inc. James Mellon Bank James L. Vincent Fleet Bank Robert Summersgill Leo R. Breitman Boston Capital Corporation The Ritz- Carlton P. Hamill Christopher W. Collins John Henri Boubee Herbert Collins The Gillette Company Stone & Webster Richard DeAgazio J. Alfred M. Zeien H. Kerner Smith John P. Manning Goldman, Sachs Co. & Thermo Electron Boston Edison Company Rid Bullerjahn Corporation Thomas May J. GTE Internetworking George N. Hatsopoulos Boston Herald George H. Conrades United Airlines Patrick Purcell J. Harcourt General Charitable John Tipping Boston Ventures Foundation Von Hoffman Press, Inc. Management, Inc. Richard A. Smith Robert A. Uhlenhop Martha H. W. Crowninshield Hewitt Associates Choate, Hall & Stewart Susan B. Thomson Samuel B. Bruskin Peter M. Palladino

PRINCIPAL PLAYER $10,000 to $14,999

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61 & .

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>mm NEXT PROGRAM. . .

Thursday, January 28, at 8 (CONCERT PREVIEW AT 7 IN SYMPHONY HALL) Friday, January 29, at 8 Saturday, January 30, at 8 (CONCERT PREVIEW AT 7 IN SYMPHONY HALL) Tuesday, February 2, at 8 (CONCERT PREVIEW AT 7 IN SYMPHONY HALL)

ROBERT SPANO conducting

LINDBERG Arena for orchestra (1994-95) (United States premiere)

BEETHOVEN Piano Concerto No. 2 in B-flat, Opus 19

Allegro con brio Adagio Rondo: Molto allegro ANDREAS HAEFLIGER

INTERMISSION

SIBELIUS The Swan of Tuonela, Legend from the Kalevala

ROBERT SHEENA, English horn

SIBELIUS Symphony No. 3 in C, Opus 52

Allegro moderato Andantino con moto, quasi allegretto Moderato — Allegro (ma non tanto)

Former BSO assistant conductor Robert Spano—now music director of the Brook- lyn Philharmonic and head of the Conducting Program at the Tanglewood Music Center—opens this program with the first music by the important contemporary Finnish composer Magnus Lindberg to be heard in a BSO concert. The concert's second half features two works by Lindberg's well-known compatriot Sibelius: The Swan of Tuonela, inspired by the Finnish national epic, the Kalevala; and the Sym- phony No. 3, with which Sibelius proved himself one of this centuiy's most original symphonists. In addition, Swiss pianist Andreas Haefliger returns to Symphony Hall as soloist in Beethoven's elegant and witty Piano Concerto No. 2.

Single tickets for all Boston Symphony Orchestra concerts throughout the season are available at the Symphony Hall box office, or by calling "SymphonyCharge" at (617) 266-1200, Monday through Saturday from 10 a.m. until 6 p.m., to charge tickets instantly on a major credit card, or to make a reservation and then send payment by check. Outside the 617 area code, call 1-800-274-8499. Please note that there is a $3 handling fee for each ticket ordered by phone.

68 ——

COMING CONCERTS . . .

Thursday 'C—January 28, 8-10* Thursday, February 4, at 10:30 a.m. Friday Evening—January 29, 8-10 (Open Rehearsal; Talk at 9:30) Saturday 'A'—January 30, 8-10* Thursday 'D'—February 4, 8-9:55 Tuesday 'B'—February 2, 8-10* Friday 'B'—February 5, 1:30-3:25° Saturday 'A' February 8-9:55* ROBERT SPANO conducting — 6, ANDREAS HAEFLIGER, piano SEIJI OZAWA conducting JACQUES ZOON, flute LINDBERG Arena (U.S. premiere) BEETHOVEN Piano Concerto No. 2 DEBUSSY Suite from Pelleas et SIBELIUS The Swan of Tuonela (arr. CONSTANT) Melisande SIBELIUS Symphony No. 3 MOZART Flute Concerto No. 1 in G STRAVINSKY Le Sacre du printemps FUNDING PROVIDED IN PART BY

Tuesday 'C—February 9, 8-9:50 SEIJI OZAWA conducting Hill ANNE-SOPHIE MUTTER, violin Massachusetts Cultural Council BEETHOVEN Violin Concerto STRAVINSKY Le Sacre du printemps

Friday Eve Saturday, February 20, 8-11:05

Thursday 'C Wednesday, February 24, 8-11:05 Saturday 'A—February 27, 8-11:05 SEIJI OZAWA conducting MAMM ARIA PAULA DELLIGATTI, soprano (Cio-Cio San) ZHENG CAO, mezzo-soprano (Suzuki) LUIS LIMA, tenor (Pinkerton) Best traditional Italian restaurant LUCIO GALLO, baritone (Sharpless) "This place is so refined and TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor elegant, yet so friendly, you'll feel Concert staging by DAVID KNEUSS like a close personal friend/' Set design by JOHN MICHAEL DEEGAN Boston Magazine, August 1998 and SARAH G. CONLY Costumes by HANAE MORI

"Everything, and I mean PUCCINI Madama Butterfly everything is great at this place for celebrating. Thursday 'A—February 25, 8-9:40 Friday 'A—February 26, 1:30-3:10° Don't let the name deter you - this is a serious restaurant SEIJI OZAWA conducting with fabulous food and JAMES EHNES, violin romantic decor." VIVALDI The Four Seasons Zagat Survey, 1998 STRAVINSKY Suite from Pulcinella

Programs and artists subject to change. One of America's top tables

two years m a row * Concert Preview at 7 in Symphony Hall Gourmet, October 1996/97 Friday Preview at 12:15 in Higginson Hall

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70 SYMPHONY HALL INFORMATION

FOR SYMPHONY HALL CONCERT AND TICKET INFORMATION, call (617) 266-1492. For Boston Symphony concert program information, call "C-O-N-C-E-R-T" (266-2378).

THE BOSTON SYMPHONY performs ten months a year, in Symphony Hall and at Tangle- wood. For information about any of the orchestra's activities, please call Symphony Hall, or write the Boston Symphony Orchestra, Symphony Hall, Boston, MA 02115.

THE BSO'S WEB SITE (http://www.bso.org) provides information on all of the orchestra's activities at Symphony Hall and at Tanglewood, and is updated regularly. In addition, tickets for BSO concerts can be purchased online through a secure credit card transaction.

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

IN THE EVENT OF A BUILDING EMERGENCY, patrons will be notified by an announce- ment from the stage. Should the building need to be evacuated, please exit via the nearest door, or according to instructions.

FOR SYMPHONY HALL RENTAL INFORMATION, call (617) 638-9241, or write the Function Manager, Symphony Hall, Boston, MA 02115.

THE BOX OFFICE is open from 10 a.m. until 6 p.m. Monday through Saturday; on concert evenings it remains open through intermission for BSO events or just past starting time for other events. In addition, the box office opens Sunday at 1 p.m. when there is a concert that afternoon or evening. Single tickets for all Boston Symphony subscription concerts are available at the box office. For most outside events at Symphony Hall, tickets are available three weeks before the concert at the box office or through SymphonyCharge.

TO PURCHASE BSO TICKETS: American Express, MasterCard, Visa, Diners Club, Discover, a personal check, and cash are accepted at the box office. To charge tickets instantly on a major credit card, or to make a reservation and then send payment by check, call "Symphony- Charge" at (617) 266-1200, Monday through Saturday from 10 a.m. until 6 p.m. Outside the 617 area code, phone 1-800-274-8499 (TIXX). As noted above, tickets can also be purchased online. There is a handling fee of $3 for each ticket ordered by phone or over the internet.

GROUP SALES: Groups may take advantage of advance ticket sales. For BSO concerts at Symphony Hall, groups of twenty-five or more may reserve tickets by telephone and take advantage of ticket discounts and flexible payment options. To place an order, or for more information, call Group Sales at (617) 638-9345.

FOR PATRONS WITH DISABILITIES, an access service center, accessible restrooms, and elevators are available inside the Cohen Wing entrance to Symphony Hall on Huntington Avenue. For more information, call VOICE (617) 266-1200 or TTD/TTY (617) 638-9289.

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

IN CONSIDERATION OF OUR PATRONS AND ARTISTS, children four years old or young- er will not be admitted to Boston Symphony Orchestra concerts.

TICKET RESALE: If for some reason you are unable to attend a Boston Symphony concert for which you hold a subscription ticket, you may make your ticket available for resale by calling (617) 266-1492 during business hours, or (617) 638-9426 at any time. 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 Seats available for Boston Symphony subscription concerts Tuesday and Thursday evenings, and Friday afternoons. The low price of these seats is assured through the Morse Rush Seat Fund. Rush Tickets are sold at $8 each, one to a customer, on Fridays as of 9 a.m. and Tuesdays and Thursdays as of 5 p.m. Please note that there are no Rush Tickets available on Friday or Saturday evenings.

PLEASE NOTE THAT SMOKING IS NOT PERMITTED ANYWHERE IN SYMPHONY HALL.

71 mill

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

LOST AND FOUND is located at the security desk at the stage door to Symphony Hall on St. Stephen Street.

FIRST AID FACILITIES for both men and women are available. On-call physicians attending concerts should leave their names and seat locations at the switchboard near the Massachu- setts Avenue entrance.

PARKING: The Prudential Center Garage offers discounted parking to any BSO patron with a ticket stub for evening performances. There are also two paid parking garages on Westland Avenue near Symphony Hall. Limited street parking is available. As a special benefit, guar- anteed pre-paid parking near Symphony Hall is available to subscribers who attend evening concerts. For more information, call the Subscription Office at (617) 266-7575.

ELEVATORS are located outside the Hatch and Cabot-Cahners rooms on the Massachusetts Avenue side of Symphony Hall, and in the Cohen Wing.

LADIES' ROOMS are located on the orchestra level, audience-left, at the stage end of the hall; on the first balcony, also audience-left, near the coatroom; and in the Cohen Wing.

MEN'S ROOMS are located on the orchestra level, audience-right, outside the Hatch Room near the elevator; on the first-balcony level, also audience-right near the elevator, outside the Cabot-Cahners Room; and in the Cohen Wing.

COATROOMS are located on the orchestra and first-balcony levels, audience-left, outside the Hatch and Cabot-Cahners rooms, and in the Cohen Wing. Please note that the BSO is not responsible for personal apparel or other property of patrons.

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

BOSTON SYMPHONY BROADCASTS: Friday-afternoon concerts of the Boston Symphony Orchestra are broadcast live in the Boston area by WGBH 89.7 FM. Saturday-evening concerts are broadcast live by WCRB 102.5 FM.

BSO FRIENDS: The Friends are donors to the Boston Symphony Orchestra Annual Fund. Friends receive BSO, the orchestra's newsletter, as well as priority ticket information and other benefits depending on their level of giving. For information, please call the Develop- ment Office at Symphony Hall weekdays between 9 and 5, (617) 638-9251. If you are already a Friend and you have changed your address, please inform us by sending your new and old addresses to the Development Office, Symphony Hall, Boston, MA 02115. Including your patron number will assure a quick and accurate change of address in our files.

BUSINESS FOR BSO: The BSO's Business Leadership Association program makes it possible for businesses to participate in the life of the Boston Symphony Orchestra through a variety of original and exciting programs, among them "Presidents at Pops," "A Company Christinas at Pops," and special-event underwriting. Benefits include corporate recognition in the BSO program book, access to the Beranek Room reception lounge, and priority ticket service. For further information, please call Howard Breslau, Associate Director of Corporate Programs, at (617) 638-9298.

THE SYMPHONY SHOP is located in the Cohen Wing at the West Entrance on Huntington Avenue and is open Wednesday, Thursday, and Friday from 11 a.m. until 4 p.m., Saturday from noon until 6 p.m., and from one hour before each concert through intermission. The Symphony Shop features exclusive BSO merchandise, including the Symphony Lap Robe, cal- endars, coffee mugs, posters, and an expanded line of BSO apparel and recordings. The Shop also carries children's books and musical-motif gift items. A selection of Symphony Shop merchandise is also available during concert hours outside the Cabot-Cahners Room. All pro- ceeds benefit the Boston Symphony Orchestra. For further information and telephone orders, please call (617) 638-9383.

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