TONIGHT the Boston Symphony Orchestra Begins Its 107Th Season

The Boston Symphony Orchestra Seiji Ozawa, Music Director

Opening Night Gala Tuesday, September 29, 1987

TONIGHT the Boston Symphony Orchestra begins its 107th season. We extend to you a very warm welcome on this happy occasion. Opening Night has become a Boston tradition under the auspices of the Boston Symphony Association of Volunteers. The benefits that accrue from the Volunteers' collective undertakings are vital to the orchestra's financial health. To enable this to take place in a setting of such artistic excitement is doubly rewarding. We thank each of you who join us tonight for making this possible. Once again, the Boston Symphony is proud to acknowledge the sponsorship of the Opening Night Gala by Bank of New England Corporation. This partnership between the Boston Symphony and one of New England's leading banking institutions establishes an exemplary leadership role in the corporate community, and we are deeply grateful for their continued support.

Sincerely,

Al. /CA.4.,

George H. Kidder President, Board of Trustees Boston Symphony Orchestra

Nelson J. Darling, Jr. Chairman, Board of Trustees Boston Symphony Orchestra arwAZAwseti Jenge a;J coAkelanti 40k, M. c9td ..qtromaky rly-iwizreeidr Oenaf eAk ?4k

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PARTY PLANNERS • CORPORATE GIFTS EXECUTIVE FUNCTIONS Opening Night 1987 Gala Committee Co-Chairmen Mrs. David G. Robinson Mrs. Arthur I. Strang Committee Mrs, Weston W. Adams Mrs. Ray A. Goldberg Mrs. Leo Beranek Mrs. James T. Jensen Mrs. Gregory A. Daoust Mrs. Edward Kenerson Mrs. Eugene B. Doggett Mrs, David Maddox Phyllis Dohanian Mrs. Nancy Rice Mchtss Mr. Goetz Eaton Mrs. James C. Mullen Mrs. Edmund C. Fitzmaurice Mrs. Robert Newman Mrs. Thomas Gardiner Mrs. Jerome Rosenfeld Mr. Mark Tishler, Jr.

Hosts and Hostesses Mr. Robert A. Barron, Jr. Mrs. Harris Fahnestock Mr. Anthony Faunce Mr. Thomas Gardiner Mr. and Mrs. Daniel Hosage Mr. and Mrs. Charles A. Hubbard Mrs. R. Douglas Hall III Mrs. Richard Johnson Mr. and Mrs. August R. Meyer Mrs. George Lee Sargent Mrs. Florence T. Whimey Benefactors

Mrs. Weston W. Adams Mr. & Mrs. William Elfin Mrs. Frank G. Allen Mr. & Mrs. Alexander Ellis Mr. & Mrs. Philip K. Allen Mrs. Harris Fahncstock Prof. Rae & Ovistina Anderson Mr. & Mrs. John H. Fitzpatrick Mrs. & Mrs. David B. Arnold, Jr. James & Mary Flanagan Elliot R. Aronson Mr. & Mrs. Leon Forrester Sandra & David Bakalar Mr. & Mrs. R. Patrick Forster Mr. & Mrs. Sherman Baker Dr. Gerald S. Foster Mr. & Mrs. J.P. Barger Mr. & Mrs. Daniel Frank Robert A. Barton, Jr. Mr. & Mrs. Gerhard Freche Mr. & Mrs. Ralph Berger Mr. & Mrs. Robert Freiburghouse Mr. & Mrs. John M. Bradley Mr. & Mrs. Thomas Gardiner Mrs. Ralph Bradley Mr. & Mrs. Avram J. Goldberg Joseph J. Brooks Dr. & Mrs. Ray A. Goldberg Mr. & Mrs. George V. Buehler Mr. & Mrs. Jordan L. Golding Mrs. John M. Cabot Mr. & Mrs. Mark P. Goldwein Mr. & Mrs. Thomas D. Cabot Ina & Haskell Gordon Helene R. Cahners Mr. & Mrs. John H. Gottschalk, Jr. Rosalie Caplan Mr. & Mrs. Curt Gowdy Tony & Sally Capodilupo Mr. & Mrs. Milton G. Green Susan M. Carter Mr. & Mrs. Nathan Greenberg James & Barbara Cleary Edward & Barbara Guzovsky Mr. & Mrs. John F. Cogan, Jr. Mr. & Mrs. R. Douglas Hall, III Bertram Cohen Mr. & Mrs. Robert T. Hamlin Mr & Mrs. Abram T. Collier John Hancock Financial Services Mrs. A. Week Cook Mr. & Mrs. Robert G. Hargrove Robert & Joyce M. Corrigan Mr. & Mrs. Francis W. Hatch Creative Gourmets Limited Daniel P. Hays Alex & Brit d'Arbeloff Mary Frances Henry Mr. & Mrs. Nelson). Darling, Jr. Mr. & Mrs. Charles Hindmarsh Mr. & Mrs. Charles H. Davis, II Mr. Ronald A. Homer Mr. & Mrs. Michael H. Davis Mr. & Mrs. Geo. B. Home Mr. & Mrs. David de Sieyes Mr. & Mrs. Charles A. Hubbard Dr. & Mrs. Charles Dickinson Mr. & Mrs. George Isenberg Mr. & Mrs. Eugene B. Doggett Mr. & Mrs. Richard I. Johnson Phyllis Dohanian Mr. & Mrs. Roland]. Joyce Mr. & Mrs. Joseph M. Durkin Mr. & Mrs. George H. Kidder Mr. & Mrs. Goetz B. Eaton Mr. & Mrs. Gordon F Kingsley Dr. David I. Kosowsky Mr. & Mrs. Richard A. Remis Farla and Harvey Chet [(seminal.' Mr. & Mrs. Robert E. Remis Mr. & Mrs. Kenneth M. Kurson William P Remis Mrs. James F. Lawrence Mr. & Mrs. Eugene J. Ribalcol Mr. & Mrs. R. Willis Leith Mr. & Mrs. David G. Robinson Mr. & Mrs. Albert 1. Levine Mr. & Mrs. H. Wayman Rogers, Jr. Mr. & Mrs. Allyn Levy Miriam Rogers Dr. Roderick Lewin Mr. & Mrs. Manuel Rosenberg Mr. & Mrs. Theodore Libby Leonard Rosenblatt Mr. & Mrs. Charles P Lyman Mr. & Mrs. Jerome Rosenfeld Mr. & Mrs. M.E. McKibben, Jr. Mr. & Mrs. Melvin A. Ross Mr. & Mrs. August R. Meyer Thomas A. Rosse Mr. & Mrs. Adolph F Monosson Mr. & Mrs. William C. Rousseau Sandra 0. Moose Mr. & Mrs. Louis Rudolph Richard P. & Claire W. Morse Mr. & Mrs. Alberti. Sandler Morse Shoe, Inc. Mrs. George Lee Sargent Nancy Rice Morss Mr. & Mrs. Roger A. Saunders Mr. & Mrs. William B. Moses, Jr. Dr. & Mrs. Raymond H. Schneider Mr. & Mrs. David G. Mugar Angelo Sena Mr. & Mrs. Philip J. Murphy Mr. & Mrs. George C. Seybok Thomas L Myette, Jr. Mr. & Mrs. Murray Shocker Neiman-Marcus Mrs. Donald B. Sinclair Neiman-Marcus InCircle Mr. John J. Spinola, WBZ-TV Mr. & Mrs. Melvin B. Nessel Ray & Maria Scats Mrs. Robert B. Newman Sally A. Stegeman Mr. & Mrs. Robert P. O'Block Miriam & Sidney Stoneman Mrs. Andrew J. Palmer Mr. & Mrs. Arthur I. Strang Prof. & Mrs. Andrall E. Pearson Nancy & Mark Tishler Richard D. Pedone Juliana & William E Thompson William & Lea Poorvu Robert A. Vogt Helen C. Powell Eliot Wadsworth Mrs. Albert E. Prarley Margaret A. Williams Mr. & Mrs. Irving W. Rabb Mr. & Mrs. Ralph B. Williams Dr. Jane M. Rabb Mrs. John]. Wilson Peter & Suzanne Read Audrey & Melvin Wintman Mr. & Mrs. Henry S. Reeder, Jr. Mr. & Mrs. Erwin N. Ziner Mrs. Harry Remis Anonymous Mr. & Mrs. Peter R. Remis

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443 Albany Street Boston, Massachusetts 02118 357-9392 The Opening Night 1987 Committee gratefully acknowledges the following donors for their generous support:

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Wines donated by Moet-Hennessy U.S. Domain Chandon Sparkling Wine Blanc de Blancs Simi Chardonriay 1983 Simi Cabernet 1981

With special thanks to the Volunteer Oficef and the entire staff of the Boston Symphony Orchestra.

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exclusive caterer The Great Hall The French Library Museum of Science World 'frade Center 31 Mtweip &reel Boston. MA 02135 617-783-5555 BOSTON SYMPHONY ORCHESTRA $tin ozAwa. Mu Dvats•

t:: —1/4. Seiji Ozawa, Music Director Carl St. Clair and Pascal Verrot, Assistant Conductors One Hundred and Seventh Season, 1987-88 Trustees of the Boston Symphony Orchestra, Inc. Leo L Beranek, Honorary Chairman George H. Kidder, President Nelson J. Darling, Jr., Chainwan J.P. Barger, Vice-Chairman Mrs. John M. Bradley, 14re-C6airwran Williams. Pocom, We-Chairman and Treasurer Archie C. Epps, Vice-Chairman Vernon R. Alden Mrs. Eugene B. Doggett Roderick M. MacDougall David B. Arnold, Jr. Mrs. John H. Fitzpatrick Mrs. August R. Meyer Mrs. Norman L. Cahners Amin' J. Goldberg David G. Mugar William M. Crozier, Jr. Mrs. John L Crranclin Mrs. George R. Rowland Mrs. Lewis S. Dabney Francis W. Hatch, Jr. Richard A. Smith Mrs. Michael H. Davis Harvey Chet Krenaman Ray Seam Trustees Emeriti Philip K. Allen E. Matron Jennings. jr. Irving W. Rabb Allen G. Barry Edward M. Kennedy Paul C. Reardon Richard P. Chapman Albert L Nickerson Mrs. George L. Sargent Abram T. Collier John T. Noonan Sidney Stoneman George H.A. °owes, Jr. Thomas D. Perry, Jr. John Hoy( Stookey Mrs. Harris Fahnestock John L Thomdike Other Officers of the Corporation John Ex Rodgers, Assistant Treasurer Jay B. Wailes, Assistant Thausrer Daniel R. Gustin, Cleni Administration of the Boston Symphony Orchestra, Inc. Kenneth Haas. Managing Director Daniel R. Gustin, Auistant Managing Dinraor and Manager of Tanglewood Michael G. McDonough, Director of Finance and Business Affairs Anne H. Parsons, Orchestra Manager Costa Pihvachi, Artistic Administrator Caroline Smedvig, Director of Promotion Josiah Stevenson, Director of Development Robert Bell, Data Prorating Manager Marc Mandel, Publication:Coordinator Helen P. Bridge, Director of Volunteers Julie-Anne Miner. Supervisor of Madelyne Codola Cuddebeck, Director Fund Accounting of Corporate Development Richard Omer. Administrator of Vera Gold, Assistant Director of Promotion Tartglevood Musk Center Patricia E Halligan. Nancy E. Phillips, Media and Personnel Administrator Production Manager, Nancy A. Kay. Director of Sala Boston Symphony Orchestra John M. Keenum, Director of Charles Ranson. Manager of Box Office Foundation Support Joyce M. Serivia, Assistant Director Steven Ledbetter, Musicologist & of Development Program Annotator Susan E Tomlin, Dinaor of Annual Giving Michelle R. Leonard, Budget Manager John G. Wekh, Controller Programs copyright 4'1987 Boston Symphony Orchestra. Inc.

Board of Overseers of the Boston Symphony Orchestra, Inc.

Avrarn J. Goldberg

Mrs. Carl Koch John E Cogan, Jr. Mrs. R. Douglas Hall III Vite•adirlear Irres•Codmeas Smwory

Mrs. Weston W. Adams Jordan L. Golding Mrs. Robert B. Newman Martin Allen Mark R. Goldweitz Mrs. Hiroshi Nishino Mrs. David Bakalar Haskell R. Gordon Vincent M. O'Reilly Mrs. Richard Bennink Joseph M. Henson Stephen Paine, Sr. Mrs. Samuel W. Badman Arnold Hiatt Andrall E. Pearson William M. Bulger Susan M. Hines Daphne Brooks Prout Mary Louise Cabot Glen H. Hiner Peter C. Read Mrs. C. Thomas Clagett. Jr. Mrs. Marilyn B. Hoffman Robert E. Rernis James F. Cleary Ronald A. Homer John Ex Rodgers Julian Cohen Anna Faith Jones Mrs. Jerome Rosenfeld Mrs. Nat Cole H. Eugene Jones Mrs. William C. Rousseau William H. Conglecon Mrs. Bila T. Kalman Mrs. William H. Ryan Walter J. Connolly, Jr. Mrs. S. Charles Kasdon Roger A. Saunders Mrs. A. Week Cook Howard Kaufman Mrs. Raymond H. Schneider Albert C. Comelio Richard L. Kaye Mark L. Selkowitz Phyllis Curtis Robert D. King Malcolm L. Sherman A.V. d'Arbeloff Robert K. Kraft Mrs. Donald B. Sinclair Mrs. Eugene B. Doggett John P LaWare W. Davies Sohier. Jr. Phyllis Dohanian Mrs. Hart D. Leavirt Ira Stepanian Harriett Eckstein R. Willis Leith, Jr. Mrs. Arthur I. Strang Edward Eskandarian Laurence Lesser Mark Tishler, Jr. Katherine Fanning Stephen IL Levy Luise Vosgenchian John A. Fibiger Frederick H. Lovejoy, Jr. Mrs. An Wang Peter M. Flanigan Mrs. Charles P Lyman Roger D. Wellington Gerhard M. Freche Mrs. Harry L Marks Mrs. Thomas H.P. Whitney Dean Freed C. Charles Marran Mrs. Donald B. Wilson Peter H.B. Frelinghuysen Hanae Mori Mts. John J. Wilson Mrs. James G. Garivaltis Richard P Morse Brunetta Wolfman Mrs. Ray A. Goldberg Mrs. Thomas S. Morse Nicholas T. Zervas E. James Morton

Overseers Emeriti

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

Symphony Hall Operations Robert L Gleason, Fat:lilies Manager Cheryl Silvia, Function Manager James E. Whitaker, Howe Manager Earl G. Buker. Cbief Engineer Cleveland Morrison, Stage Manager Franklin Smith, Snkerviwr ef Howe Crew Warmth A. Griffiths, At:it:ant Supervisor of MUM Crew William D. McDonnell, Chief Steward

Officers of the Boston Symphony Association of Volunteers

Mrs. Eugene B. Doggett -Nankai Phyllis Dohanian Ms. Helen Doyle Barnum lice-Prendent Serrehroy Mr. Goetz B. Eaton Mrs. Seabury T. Short, Jr. Tenures Nosammitx avower's Vice-Presidents Mrs. Ray A. Goklberg, Footdrahnig Projects Mrs. Jeffrey Millman. AltstImr.ibip Ms. Kathleen Heck. Development Services Mrs. Harry E Sweitzer, Jr., Pablir Mrs. James T. Jensen, Hall Service: Relation Mrs. Eugene Leibowim. Tangltwood Mrs. Thomas Walker, Regions Mrs. Robert L. Singleton, Tanglavood Ms. Margaret Williams. loath Arriving: and Adnli Education Chairmen of Regions Mrs. Claire E. Bessette Ms. Linda Fenton Mrs. Hugo A. Mujica Mrs. Thomas M. Berger III Mrs. Daniel Hosage Mrs. G. William Newton Mrs. John T. Boatwright Ms. Prudence A. Law Mrs. Ralph Seferian Mrs. Gilman W. Conant Mrs. Robert Miller Mrs. Richard E. Thayer Mrs. James Cooke Mrs. FT. Whitney

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Second Violins Maria Dime fordo earloud by Marylou Speaker Churchill fable Moan Caller Faiwtiaytk Uriuky Vyacheslav aw dart awed irPflig r: AaK their BOSTON SYMPHONY Ronald Knudsen ORCHESTRA Edgar tad Aldo Granada chair 1987-88 Joseph McCauley ward Moss First Violins • Michael Vitale Makohn Lowe •Harvey Seigel Castenamtier 'Jerome Rosen akartit Malmo tbair 'Sheila Fickowsky Tamara Smimova-§ajfar 'Gerald Elias Mau CAMIVINWiff Ronan Lefkowia Wes Maur Mtharryt Asir Max Hobart 'Nancy Bracken Assithist Copareaueorr •Jennie Shames !Wolf- Beal. oat ' Aza Raykhrsaum Ewe L. mid Brave A eeal Asir 'Lucia Lin Bo Youp Hwang 'Valeria Vilker Kuchment Mriat Auitreat Garntwreaur Edlitaral ova &ta• C. Rost their oBonnie Bewick Max Winder 'Tariana Dimitriatles Pm dad 1.1.why Wth011f chair. 'James Cooke fall) faradd is prrtelatty Gottfried Wilfinger Fanym Faun. Carus dui. Violas Fredy Ostrovsky $Burtou Finc aid fluid B. Arad. ijr., Q. G6arks S. Dana Alm rt:.,au)faaird is perpmety Patricia McCarty Arrive Powwow Moor. •Perholwiimj; is • spina of refold fatly Amid aa properair) wanes train, reek firirtg Ronald Wilkison :Ow milkotir•I /rent. 45ainquaring.1987-88 Rubin Barnes Oboes Trombones Jerome Lipson Alfred Genovese Ronald Barron Joseph Piccropaolo Mint Principal Okra JP and Mary B. Barr dun. Michael Zaretsky Madrid B. Minn chair Idiyinnold in perprinny Mare Jeannette Wayne Rapier Norman Bolter Betty Benthin • Mark Ludwig English Horn Bass Trombone Laurence Thorstenberg Douglas Yeo • Ftoberto Diaz Strand (hair. Cellos filly Amid is popentity Tuba Jules Eskin Clarinets Chester Schmitz Pklip R. Alkr. char, Angara and William C. Harold Wright RONAVOti Iherir Martha Babcock Ann S-M. Elaik chair sinew. and Mains Milne chair Thomas Martin Mischa Nicland Timpani Wm. S. and Joni& Al. Shapiro rbeir Peter Hadcodc Everett Firth 841, amid Joel Moersthel Sylria Minns WM awn, Sandra and and Baloakir cbair Bass Clarinet Percussion Robert Ripley Craig Nordstrom Luis Legu la Charles Smith Par& and Hinny ant Parr and Annr Brooke ebair R640/ Norogam (hair &minim chair Carol Procter Arthur Press Lillisa and Nadia, It. Miller chair Miami Tinpanig Bassoons Parr Andrrir Lam Ann Ronald Feldman Sherman Walt •Jerome Patterson Thomas Gauger Eland A. Taft (ban Frank Epstein •Jonathan Miller Roland Small 'Saco Knudsen *Matthew Ruggiero Harp Basses SDonald Bravo Ann HobsonPilot Edwin Barker yaw. llnaferan Sinclair chair Harold D. ?WOMA! AM' Contrabassoon Lawrence Wolfe Richard Plaster Mani: Hinaroi Scala rinnr, folly Add is perprtino Horns Personnel Manager Joseph Hearne Charles Kavalovski Harry Shapiro Bela Wurtzler Helm Soot Albers timer Ands Pommel Monaco John Salkowski Richard Sebring • Robert Olson Marvin Andrnny Cantina dwir Librarians •James Orleans Daniel 1Catzen Marshall Burlingame Jay Wadenpfuhl William Shisler Flutes Richard Mackey James Harper Doriot Anthony Dwyer Jonathan Menkis Woke Pinar r.ban Stage Manager •enwick Smith Pommy oh:4w a by Myra and Raw Kraft chair Trumpets /towhee Lloyd Clasen Leone Buyse Charles Schlueter Alfred Robison Rfgrr Loris nisi, chair Piccolo Peter Chapman Lois Schaefer Ford IL Cnoprr (ban Ereow and C awl*, Mom". chair Timothy Morrison

Seiji Ozawa Seiji Ozawa made his first Symphony Hall appearance with the Boston Symphony Orches- tra in January 1968; he had previously appeared with the orchestra for four summers at Tangle- wood, where he became an artistic adviser in 1970. For the 1972-73 season he was the orchestra's musk adviser. Since becoming music director of the Boston Symphony Orchestra in 1973, Mr. Ozawa has strengthened the orchestra's reputation internationally as well as at home, leading concerts in Europe, Japan, and throughout the United Stares. In March 1979 he and the orchestra traveled to China for a significant musical and cultural exchange entail- ing coaching, study, and discussion sessions with Chinese musicians, as well as concert performances. That same year, the orchestra made its This is Seiji Ozawa's fifteenth year as music first tour devoted exclusively to appearances at director of the Boston Symphony Orchestra. the major European music festivals. In 1981 The thirteenth conductor to hold that position Mr. Ozawa and the orchestra celebrated the since the orchestra was founded in 1881, Mr. Boston Symphony's centennial with a fourteen- Ozawa became the BSO's music director in city American tour and an international tour to 1973. Born in 1935 in Shenyang, China, to Japan, France, Germany, Austria, and England. Japanese parents, Mr. Ozawa studied both They returned to Europe for an eleven-concert Western and Oriental music as a child, later tour in the fall of 1984, and to Japan for a graduating from Tokyo's Toho School of Music three-week tour in February 1986, the orches- with first prizes in composition and conducting. tra's third visit to that country under Mr. In 1959 he won first prize at the International Ozawa's direction. Mr. Ozawa has also Competition of Orchestra Conductors held in reaffirmed the orchestra's commitment to new Besancon, France, and was invited to Tangle- musk with the recent program of twelve centen- wood by Charles Munch, then music director of nial commissions, and with a new program, the Boston Symphony and a judge at the com- initiated last year, to include such composers as petition. In 1960 he won the Tanglewood Music Peter Lieberson and Hans Werner Henze. Center's highest honor, the Kousseviczky Prize Mr. Ozawa pursues an active international for outstanding student conductor. career, appearing regularly with the Berlin Phil- While working with Herbert von Karajan in harmonic, the Orchestre de Paris, the French West Berlin, Mr. Ozawa came to the attention National Radio Orchestra, the Vienna Philhar- of Leonard Bernstein. He accompanied Mr. monic, the Philharmonia of London, and the Bernstein on the New York Philharmonic's New Japan Philharmonic. His operatic credits 1961 tour of Japan and was made an assistant include Salzburg, London's Royal Opera at conductor of that orchestra for the 1961-62 Covent Garden, La Scala in Milan, the Vienna season. In January 1962 he made his first pro- Staatsoper, and the Paris Opera, where he con- fessional concert appearance in North America, ducted the world premiere of Olivier Messiaen's with the San Francisco Symphony. Mr. Ozawa opera St. Francis of Assisi in November 1983. was music director of the Ravinia Festival for Mr. Ozawa led the American premiere of five summers beginning in 1964, music director excerpts from that work in Boston and New of the Toronto Symphony Orchestra from 1965 York in April 1986. to 1969, and music director of the San Francisco Seiji Ozawa has recorded with the Boston Symphony from 1970 to 1976, followed by a Symphony Orchestra for Philips, Tclarc, CBS, year as that orchestra's music adviser. Deutsche Grammophon, Angel/EMI, New World, Hyperion, Erato, and RCA records. His Serkin for Telarc, orchestral works by Strauss, award-winning recordings include Berlioz's Stravinsky, and Hoist, BSO centenniai commis- ROIllit0 et Juliette on DG, Mahler's Symphony sions by Roger Sessions, Andrzej Panufnik, Peter No. 8, the Symphony of a Thousand, and Schoen- Lieberson, John Harbison, and Oily Wilson, berg's Grerrefirder, both on Philips, and, also on Franz Liszt's two piano concertos and Totentanz DG, the Berg and Stravinsky violin concertos with pianist Krystian Zimerman for Deutsche with ltzhak Perlman, with whom he has also Grammophon, and, as pan of a Mahler cycle recorded the violin concertos of Earl Kim and for Philips records, Mahler's Symphony No. 2, Robert Starer for Angel/EMI. With Mstislav Resurreaum, with Kiti Te Kanawa and Rostropovich he has recorded the Dvoi'al. c Cello Marilyn Home. Concerto and Tchaikovsky's Variations on a Mr. Ozawa holds honorary doctor of music Rococo Theme for bare. Other recordings, on degrees from the Universiry of Massachusetts, CBS, include music of Berlioz and Debussy with the New England Conservatory of Music, and memo-soprano Frederica von Stacie, the Men- Wheaton College in Norton, Massachusetts. He delssohn Violin Concerto with Isaac Stern, and has won an Emmy for the Boston Symphony Don Quixote Strauss's and the Schoenberg/Monn Orchestra's "Evening at Symphony" PBS tele- Cello Concerto with Yo-Yo Ma. He has also vision series. recorded the complete cycle of Beethoven piano concertos and the Choral Fantasy with Rudolf

A Brief History of the Boston Symphony Orchestra

Now in its 107th season, the Boston Symphony For many years, philanthropist, Civil War Orchestra continues to uphold the vision of its veteran, and amateur musician Henry Lee founder Henry Lee Higginson and to broaden Higginson dreamed of founding a great and the international reputation it has established in permanent orchestra in his home town of recent decades. Under the leadership of Music Boston. His vision approached reality in the Director Seiji Ozawa, the orchestra has per- spring of 1881, and on October 22 that year the formed throughout the United States, as well as Boston Symphony Orchestra's inaugural concert in Europe, Japan, and China, and it reaches took place under the direction of conductor audiences numbering in the millions through its Georg Henschel. For nearly twenty years sym- performances on radio, television, and record- phony concerts were held in the Old Boston ings. It plays an active role in commissioning Musk Hall; Symphony Hall, the orchestra's new works from today's most important com- present home, and one of the world's most posers, and its summer season at Tanglewood is highly regarded concert halls, was opened in regarded as one of the most important music 1900. Henschel was succeeded by a series of festivals in the world. The orchestra's virtuosity German-born and -trained conductors— is reflected in the concert and recording activities Wilhelm Gericke, Arthur Nikisch, Emil Paur, of the Boston Symphony Chamber Players—the and Max Fiedler—culminating in the appoint- world's only permanent chamber ensemble ment of the legendary Karl Muck, who served made up of a major symphony orchestra's prin- two tenures as music director, 1906-08 and cipal players—and the activities of the Boston 1912-18. Meanwhile, in July 1885, the musi- Pops have established an international standard cians of the Boston Symphony had given their for the performance of tighter kinds of musk. In first "Promenade" concert, offering both music addition, during the Tanglewood season, the and refreshments, and fulfilling Major 13SO sponsors one of the world's most impor- Higginson's wish to give "concerts of a lighter tant training grounds for young musicians, the kind of music." These concerts, soon to be given Tanglewood Musk Center, which celebrates its in the springtime and renamed first "Popular" fiftieth anniversary in 1990. and then "Pops," fast became a tradition. . Ilub Mail .ivertising

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Call (617) HUB-MAIL or (800) HUB-MAIL During the orchestra's first decades there were the repertory, and, like his two predecessors, striking moves toward expansion. In 1915 the made many recordings for RCA; in addition, orchestra made its first transcontinental trip, many concerts were televised under his playing thirteen concerts at the Panama-Pacific direction. Mr. Leinsdorf was also an energetic Exposition in San Francisco. Recording, begun director of the Tanglewood Music Center, and with RCA in the pioneering days of 1917, con- under his leadership a full-tuition fellowship tinued with increasing frequency, as did radio program was established. Also during these broadcasts of concerts. The character of the years, in 1964, the Boston Symphony Chamber Boston Symphony was greatly changed in 1918, Players were founded. when Henri Rabaud was engaged as conductor; William Steinberg succeeded Leinsdorf in he was succeeded the following season by Pierre 1969. He conducted several American and Monteux. These appointments marked the world premieres, made recordings for Deutsche beginning of a French-oriented tradition which Grarnmophon and RCA, appeared regularly on would be maintained, even during the Russian- television, led the 1971 European tour, and born Serge Koussevitzky's time, with the directed concerts on the east coast, in the south, employment of many French-trained musicians. and in the mid-west. The Koussevitzky era began in 1924. His Seiji Ozawa, an artistic director of the Tangle- extraordinary musicianship and electric person- wood Festival since 1970, became the orches- ality proved so enduring that he served an un- tra's thirteenth music director in the fall of precedented term of twenty-five years. 1973, following a year as music adviser. Now in In 1936 Koussevitzky led the orchestra's first his fifteenth year as music director, Mr. Ozawa concerts in the Berkshires, and a year lacer he has continued to solidify the orchestra's reputa- and the players took up annual summer resi- tion at home and abroad, and he has reaffirmed dence at Tanglewood. Koussevitzky passionately the orchestra's commitment to new music shared Major Higginson's dream of ''a good through his program of centennial commissions honest school for musicians," and in 1940 that and a recently initiated program including such dream was realized with the founding at prominent composers as Peter Lieberson and Tanglewood of the Berkshire Music Center Hans Werner Henze. Under his direction the (now called the Tanglewood Music Center). orchestra has also expanded its recording activi- Expansion continued in other areas as well. In ties to include releases on the Philips, Telarc, 1929 the free Esplanade concerts on the Charles CBS, Angcl/EM1, Hyperion, New World, and River in Boston were inaugurated by Arthur Erato labels. Fiedler, who had been a member of the orches- From its earliest days, the Boston Symphony tra since 1915 and who in 1930 became the Orchestra has stood for imagination, enterprise, eighteenth conductor of the Boston Pops, a post and the highest attainable standards. Today, the he would hold for half a century, to be suc- Boston Symphony Orchestra, Inc., presents ceeded by John Williams in 1980. The Boston more than 250 concerts annually. Attended by a Pops celebrated its hundredth birthday in 1985 live audience of nearly 1.5 million, the orchestra's under Mr. Williams's baton. performances are heard by a vast national and Charles Munch followed Koussevitzky as international audience. Its annual budget has music director in 1949. Munch continued grown from Higginson's projected $115,000 to Koussevitzky's practice of supporting concern- more than $20 million, and its preeminent posi- porary composers and introduced much music tion in the world of music is due not only to the from the French repertory to this country. Dur- support of its audiences but also to grants from ing his tenure the orchestra toured abroad for the federal and state governments, and to the the first rime and its continuing series of Youth generosity of many foundations, businesses, and Concerts was initiated. Erich Leinsdorf began his individuals. It is an ensemble that has richly seven-year term as music director in 1962. Mr. fulfilled Higginson's vision of a great and per- Leinsdorf presented numerous premieres, re- manent orchestra in Boston. stored many forgotten and neglected works to YEAR IN AND YEAR OUT, IT'S STILL A SOUND INVESTMENT We're pleased and proud to support opening night of the Boston Symphony Orchestra's 107th season. Congratulations to this wonderful institution which continues to show a remarkable rate of return with each successive year.

in NEw ENGLAND CORPORATION

BOSTON SYMPHONY ORCHESTRA

Seiji Ozawa, Music Director Carl St. Clair anti Pascal Vertu, 'litigant Conductors One Hundred and Seventh Season, 1987-88

OPENING NIGHT 1987 SPONSORED BY BANK OF NEW ENGLAND CORPORATION Tuesday, September 29, at 6:30 SEIJI OZAWA conducting BERNSTEIN Chicheater Psalms Psalm 108, verse 2; Psalm 100, entire Psalm 23, entire; Psalm 2, verses 1-4 Psalm 131, entire; Psalm 133, verse 1 RAYMOND JOURDAN, boy alto TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor Solo quartet (Alumni of the Tanglewood Music Center Fellowship Program): GuiPing Deng, soprano Karen Lykes, mezzo-soprano Rockland Osgood, tenor Perry Ward, baritone

SCHUBERT Symphony in B minor, D.759, Unfinished Allegro moderato Andante con mow

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STRAUSS Four Last Songs holding September Beim Schlafengehen lm Abendrot JESSYE NORMAN, soprano

Please withhold applause until after the last song.

Opening Night 1987 is a project of the Boston Symphony Association of Volunteers. RCA, Deutsche Grammophon. Philips, Telare, CBS, EMI/Angel, New World, Erato, and Hyperion records Baldwin piano Leonard Bernstein Chichester Psalms

Leonard Bernstein was born in Lawrence, Massachusetts, on August 15, 1918, and currently fives in New York and Fairfield, Connecticut. The Chichester Psalms were composed on a commission from the Pity Reg: Wailer Hussey, Dean of Chichester Cathedral, Sussex, for its 190 festival. The score was completed in Fairfield on May 7, 1965, and first performed by the New York Philharmonic in Philharmonic Hall that July 15 with the Camerata Singers, Abraham Kaplan, conductor, and John Bogart, alto. The first performance of the work as the composer conceived it, with all-male chorus (the treble parts performed by boys), took place at Chichester that July 3I. All previous BSO performances of the Chichester Psalms have been under the direction of Seiji Ozawa: in 1973 at Tangle wood, in September and October 1974 at Symphony Hall, and this past July at Tanglewood. The score calls for an orchestra consisting of three trumpets, three trombones, a large and varied percussion ensemble (glockenspiel, xylophone, chime in B-fiat, cymbals, suspended cymbal, tambourine, triangle, rasps, whip, wood block, three temple blocks, timpani, snare drum, bass drum, and three bongo drums), harp, and strings. The Chichester Psalms was Leonard Bernstein's first composition after the Third Symphony, Kaddish (composed for the Boston Symphony Orchestra's seventy-fifth anniversary, though not completed until 1963, eight years after chat event). Both works add to the orchestra a chorus singing texts in Hebrew. But where the Kaddish Symphony is a work often at the edge of despair, the Chichester Psalms is serene and affirmative. It is also for the most pan strongly tonal, the result of months of work during a sabbatical leave from Bernstein's post as music director of the New York Philharmonic, during which time he wrote a great deal of twelve-tone music, but finally discarded it. "It just wasn't my music; it wasn't honest." Following an introductory phrase that dramatically outlines the interval of the seventh (in a figure that will frame both the first and last movements of the work), the orchestra begins a vigorous 7/4 dance, prompting the chorus' joyous outburst of praise to Psalm 100. The second movement is, for the most part, a serene, lyrical setting of Psalm 23, featuring a boy soloist (or countertenor) accompanied by the harp to represent David, the shepherd-psalmist. The sopranos of the chorus repeat the song, but the men's voices violently interrupt it with verses from Psalm 2 recalling the warfare of nation against nation. The upper voices return with the song of tranquil faith, though the tension of suppressed violence is never far away. The orchestra introduces the last movement with an extended prelude built on the opening figure of the first movement. Suddenly the orchestra becomes hushed and the chorus enters with a song of comfort (the 10/4 meter, divided into 2+3+2+3, produces a wonderful rocking effect of utter tranquility). Unaccompanied, the chorus sings a chorale-like version of the opening figure to the psalmist's plea for peace, and the orchestra quietly adds its "Amen." —Steven Ledbetter I Psalm 108, vs. 2: Utah, hancvel, v'chinor! Awake, psaltery and harp! A-irah shahar! I will rouse the dawn! Psalm 100, entire: Hariu l'Adonai kol haarets. Make a joyful noise unto the Lord all ye lands. Iv'du et Adonai b'simha. Serve the Lord with gladness. Bo-u rfan-v birnanah. Come before his presence with singing. D'u hi At:tonal Hu Elohim. Know ye that the Lord, He is God. Hu asanu, v'lo anahnu. It is He that hath made us, and not we ourselves. Amo v'rson mark°. We are His people and the sheep of His pasture. Bo•u sh'arav b'todah, Enter into His gates with thanksgiving, Harseiturav bit'hilah, And into His courts with praise. Hodu lo, bechu sh'mo, Be thankful unto Him, and bless His name. Ki toy Adonai, l'olam has'do, For the Lord is good, His mercy is everlasting. V'ad dor vador emunato. And His truth endureth to all generations.

II Psalm 23, entire: Maui to-i, lo ehsar. The Lord is my shepherd, I shall not want. Bin'ot deshe yarbitseini, He maketh me to lie down in green pastures, Al mei m'nuhoc ynahaleini, He leaded' me beside the still waters, Narshi y'shovev, He restorcch my soul, YanIcini b'ma'aglei tseclek, He leadeth me in the paths of righteousness, L'ma'an sh'rno. For His name's sake. Gam ki eilech Yea, though I walk B'gei tsalrnavet, Through the valley of the shadow of death, Lo ira ra, I will fear no evil, Ki Atah iniadi. For Thou art with me. Shiv't'cha umishan'techa Thy rod and Thy staff Hemah y'nahamuni. They comfort me. Tiaroch l'fanai shukhan Thou preparest a cable before me Neged csorrai In the presence of mine enemies, Dishanta vashemen roshi Thou annointest my head with oil, Cosi r'vayah. My cup rumeth over. Ada toy vahesed Surely goodness and mercy Yird'funi kol y'mei hayai Shall follow me all the days of my tile, V'shav'ti b'veit Adonai And I will dwell in the house of the Lord L'orech yamim. Forever. Psalm 2, vs. 1-4: lamah rag'shu goyim Why do the nations rage, Ul'umim yett'gu rik? And the people imagine a vain thing? Yit'yacs'vu malchei arcs, The kings of the earth set themselves, V'reartim nos'du yahad And the rulers rake counsel together Al Adonai v'al m'shiho. Against the Lord and against His anointed. Nnatkah et mos'roteimo, Saying, let us break their bonds asunder, Yoshev bashamayim He that sirteth in the heavens Yis'hak, Adonai Shall laugh, and the Lord Yil'ag lamo! Shall have them in derision! III Psalm 131, entire: Adonai, Adonai, Lord, Lord, Logavah libi, My heart is not haughty, V'Io ramu cinai, Nor mine eyes lofty, V'Io hilachti Neither do I exercise myself Big'dolot uv'nitlact In great matters or in things Mimeni. Too wonderful for me to understand. Im to shiviti Surely I have calmed V'domam'ti, And quieted myself, Nafshi k'gamul aki imo, As a child that is weaned of his mother, Kagarnul alai naf shi. My soul is even as a weaned child. Yahel Yis'rael el Adonai Let Israel hope in the Lord Me'atah v'ad otam. From henceforth and forever. Psalm 133, vs. 1: Hineh mah toy, Behold how good, Umah And how pleasant it is, Shevet ahim For brethren to dwell Gam yaha.d. Together in unity.

Franz Schubert Symphony in B minor, D.759, Unfinished . Franz Peter Schubert was born in Liechtental, a suburb of Vienna, on January 31, 1797, and died in Vienna on November 79, 1828. The score of the two movements of his unfinished B minor symphony is dated October 30, 1822. A scherzo exists in fairly complete piano sketch, and the first nine measures of the scherzo, fully scored, are on the reverse of the last page of the second movement. An additional page of score, containing eleven measures, recently turned up in Vienna. The first performance of the Unfinished was given under the direction ofJohann von Herbeck in Vienna on December 17, 1865, with the last movement of Schubert s Symphony No, 3 in D, D.200, appended as an incongruous finale. Theodore Thomas gave the first American performance at a Thomas Symphony Soiree at Steinway Hall, New York, on October 26, 1867, and Carl Zerrabn conducted the first Boston performance at a concert of the Orchestral Union on February 26, 1868. Georg Henschel conducted the first Boston Symphony performances on February 10 and 11, 1882, during the orchestra'sfirst season, and it has also been given in 1350 concerts by Wilhelm Gericke, Arthur Nikiscb, Emil Paso; Karl Muck, Max Fiedler, Henry &Avid, Pierre Monteux, Serge 1Coursevitzky, George Szell, Victor de Sabana, Charles Munch, Carl Schuricht, Robert Shaw, Erich Leinsdorf Leopold Stokowski, Gunther Schaller, Eugen fathom, Joseph Silverstein, Mriislav Rostropovich, and Seiji Ozawa. Sir Colin Davis conducted the most recent subscription performances in December 1982; Kitt., Master led the most recent Tanglewoed performance in August 1985. The score of the Unfinished calls for tun oath offluter, oboes, clarinets. bassoons, horns, and troopers, three trombones, timpani, and strings. The symphony has long ken identified as "No. 8," but it is numbered "7" in rhe 1978 revised edition of Otto Each Deutsch's Schubert Thematic Catalog. Schubert's most popular symphony is also the most mysterious—and it was the last of his eight symphonies to reach performance. The fact of its incompleteness, combined with the expressiveness of the two movements that were finished, gave rise to endless speculation: Why would a composer abandon a work after so splendid a beginning? Schubert finished the two complete movements in 1822 and sketched a third, even to the point of orchestrating the first twenty bars. But then he gave it up. And by the time he died in 1828 the manuscript was no longer in his possession; it remained concealed for more than thirty-five years. The rediscovery and first performance of the Unfinished in 1865 was a revelation to all present—and it has never lacked for performances since that day. The riddle of the Unfinished Symphony may be less mysterious when we learn that, following the completion of his Symphony No. 6 in C major, D.589. in February 1818, Schubert left a number of works incomplete, among them two attempts at symphonies that never grew larger than sketches or fragments. (One of these, a symphony in E minor/major, has been completed by several different people, including Felix Weingartner and, most recently, Brian Newbould; both realizations have been published and performed.) At some point after composing six symphonies (which, delightful as they are, remain part of a different musical mentality), Schubert completely changed his view of the expressive and technical requirements of a symphony. Surely encounters with Beethoven's music left him dissatisfied with the kind of work he had written earlier. His magnificent fluency and improvisatory skill no longer sufficed. The whole function and point of the symphony as a musical form needed rethinking. The fact that a majority of the uncompleted works are in minor keys suggests, coo, that Schubert had difficulty finding a suitable ending to such works—especially after the example of such symphonies as Beethoven's Fifth, which seemed to struggle from C minor to its triumphant condusion in C major. How many such solutions could there be? In this light, Schubert's failure to finish even the scherzo may have been a kind of despair: unable to conceive an appropriate finale for the symphonic structure he had started, he simply dropped the work totally when he realized that its completion was beyond him. The history of the manuscript is tied up with Schubert's friends Anselm and Josef Hiittenbrenner of Graz. Anselm had been a fellow-student of Schubert's in the composition classes of Antonio Salieri in 1815. They remained warm friends, even after Anselm returned to Graz in 1821, while Josef, whose view of Schubert verged on idolatry. remained in Vienna. In April 1823 the Styrian Musical Society in Graz awarded Schubert a Diploma of Honor, probably engineered by Anselm. When the diploma was actually delivered to Schubert in September, he responded with a letter of thanks and the promise to send "one of my symphonies in full score." In the end, it was a torso— just two movements—of the B minor symphony that he gave to Josef for transmission to Anselm. Schubert had already finished the manuscript of the two existing movements on October 30, 1822; by the following autumn he was ready to admit that the symphony was not going to be finished. At the same time he evidently wanted to fulfill his promise promptly, so he sent an incomplete piece to Graz. By 1865 the existence of the symphony was an open secret. All of Schubert's other symphonies (inducting the long-overlooked C major work appropriately known as the Great) had been performed, and admirers of Schubert scoured Vienna, looking for lost pieces and finding many. Johann von Herbeck persuaded Anselm to part with the manuscript for a performance (partly by promising also to play one of Anselrn's own pieces); the originality of the score, composed more than forty years earlier and never heard except in its composer's imagination, captured all hearers. The two movements that Schubert left are rich in his characteristic melodic expressiveness, bold in harmonic adventure, warm in orchestral color. The first movement contained an idea of such pungency that no less a musician than Johannes Brahms, who edited Schubert's symphonies for the Breitkopf edition of his complete works at the end of the nineteenth century, couldn't believe that Schubert intended it; he edited it our of existence! The movement opens with a mysterious whisper in the low strings, soon made still darker by the soft tremolo of the violins' melody over the plucked ostinato in the basses. Soon oboe and clarinet sing a keening, lonely melody. At first the listener might take this for a slow, minor-key introduction co a symphony, but it soon becomes apparent that this is the very body of the work—an entirely new kind of symphonic mood. The opening ideas build to an emphatic climax and drop out, leaving bassoons and horns holding a single note, which suddenly melts into a chord that brings a second theme of ineffable yearning. There follow a series of dramatic outbursts and a dying away in the new key when suddenly oboes, clarinets, bassoons, and horns sing out a sustained unison B (over a plucked descending line in the strings) designed to lead back to the repeat of the exposition (the first time) or on to the development (the second time). It is here that Schubert startled Brahms. Just before the phrase resolves, Schubert wrote an F. harp chord, the dominant in B minor, an utterly conventional harmony which required the second bassoon and the first horn to change their pitch to the new chord. But then Schubert decided to intensify the harmony by sustaining the long-held B through the dominant chord (making a dissonance against it), and he rewrote the second bassoon and first horn parts. Brahms didn't believe him; he "corrected" the parts for his edition, and it has been copied in almost every edition (and performance) since then. The present performance goes back to Schubert's final intention and the pungent dissonance just before the resolution (the same thing happens again, at the similar spot that introduces the coda, near the end of the movement). The development is based largely on the dark opening theme, convened to a sighing lament and later to a powerful dramatic outburst. After so much attention in the development, Schubert dispenses with it at the beginning of the recapitulation, starting instead with the violins' tremolo and the plucked bass notes. The second movement brings in a bright E major, striking after the darkness of B minor. Here, especially, the wonderful flexibility of Schubert's harmony leads us on a poignant musical journey chat ends in mystery, with a sudden final skewing to a distant harmonic horizon left unexplained (though if Schubert had found a way to complete the score, the harmonic adventure would certainty have been clarified before the end). When Schubert died so prematurely, the poet Grillparzer noted, "Music has here entombed a rich treasure, but still fairer hopes." Schubert never achieved his fairer hopes with the B minor symphony, but scarcely a richer treasure can be found anywhere. —S. L. Richard Strauss Fehr Lail Songs Richard Georg Strauss was born in Munich on June 11, 1864, and died in Garmisch-Partenkirchen, Bavaria, on September 8, 1949. These songs were written in 1948 in the following order: Im Abendrot (May 6), •rilhling (July 18), Beim Schlafengehen (August 4), and September (September 20). Kirsters Flagstad sang the first performance on May 22, 1950, at the Royal Albert Hall, London, with Wilhelm Furewhngler conducting the Phil- harmonia Orchestra. The only previous Burton Symphony performance of the Four Last Songs was conducted by Seiji Ozawa with soloist Leontyne Price at Tanglewood in July 1983, although Montserrat Cabalk sang them with Zubin Mebta and the New York Philharmonic at Tanglewood in August 1979 while the BSO war on tour in Europe. The instrumentation varies from song to song, but the whole set calls for three flutes (one doubling piccolo) and an additional piccolo, two oboes and English horn, two clarinets and bass clarinet, three bassoons (one doubling contrabassoon), four horns, three trumpets, three trombones, bass tuba, harp, celesta, timpani, and strings. Richard Strauss had just turned 80 when World War II finally came to an end, and there seemed to be little for him to do in the musical world as it was constituted. His final opera, the luminous Capriccio, had been produced three years before. He composed a few small orchestral works, including the delicious Duet-Concertino for darinet and bassoon with strings and harp (to be heard here later in the season), and a handful of tiny works including two easy pieces for violin written for his favorite young exponent of that instrument, his teenage grandson Christian. But the one-time bad boy of German modernist music, whose orchestral tone poems made extraordinary new demands on the technique of players and whose operas Salome and Elektra brought scandal at every performance, had long since mellowed and become, for many young musicians, not a stand old man, but a backward-looking one, writing conservative music that, to many, seemed out of place in the mid-century. Yet Strauss had a final masterpiece in him, and it took the form, appropriately enough, of a set of songs. The appropriateness lies in the fact that his earliest works were songs, and he first achieved renown with the Opus 10 lieder. He continued writing in that genre for many years especially for his wife, the soprano Pauline de Ahna, for whose voice he had imagined many of his songs and even perhaps operatic roles. They were in the fifty- fourth year of a difficult but enduring marriage when Strauss happened upon a poem by Eichendortf, lm Abendrot. Eichendorff was one of the great masters of German lyric poetry, and his work had been set by any number of earlier composers, but Strauss had never composed a song to his words. lm Abendrot seemed too much to the point nor to make an immediate impression: it describes an old couple who have endured joy and sorrow, hand in hand, and who now feel a weariness that may portend death. The composer cook 1m Abendrot as a personal vision for himself and Pauline, and he set it to music that was clearly to be his farewell to the world. But he also wanted to make a group of songs. While he was vacationing in Switzerland in 1948, an admirer sent him a selection of poems by Hermann Hesse, who had been awarded the Nobel Prize for literature two years earlier. Here Strauss found what he was looking for. He set three of Hesse's poems which, with 1m Abendrot, comprise his musical testament. A year after completing the songs he died a peaceful death (commenting to his daughter-in-law Alice that the experience was very much as he had composed it sixty years earlier in Death and Transfiguration). He did not live to hear the premiere of the "Four Last Songs," the title of which (and the performing order) was supplied by Strauss's publisher and longtime friend Ernst Roth. For a composer who made his reputation on music of extraordinary complexity and busyness, the Four Last Songs clearly represent a mellowing, a simplification, a directness that recommends the set even to listeners who find Strauss's earlier work not much to their taste. The orchestra is luminous throughout, and the soprano (no other voice is thinkable in these songs, written as a final tribute to Pauline) soars and vocalizes in the ecstasy of unconstrained lyricism. Three of the texts deal with evening, nightfall, or autumn—all images connected with our sense of mortality. Strauss composes music of autumnal warmth that echoes the poems; words and music alike draw the listener in. And for the listener who knows Strauss's earlier music, there is a special poignancy when the singer asks at the end, "lit dies etwa der Tod?" ("Is this perhaps death?"), and the answer comes in the distant melody on the horn (the instrument of Strauss's father), sounding a theme composed six decades earlier for Death and Transfiguration. —SI.

Vier letzte Lieder Four Last Songs

Fruhling Spring In dammrigcn Grtiften In dusk-dim vaults Traurnte ich fang I've long dreamed Von deinen Biumen und blauen Ltiften, of your trees and blue skies, Von deinem Duft und Vogelsang. of your fragrance and bird-song. Nun liegst du ersthlossen Now you lie disclosed, In Gleis und Zier, glittering, adorned, Von Licht ubergossen bathed in light Wie ein Wunder vor mir. likt a miracle before me. Du kennst tali& wieder, You know me once again, Du lockst mich zart, you beckon to me tenderly, Es zittert durch all mcinc Glieder your blessed presence Deine selige Gegenwart! sets all my limbs trembling! —Hermann Hesse

September September Der Gallen trauert, The garden mourns, Kiihl sinkt in die Blumen der Regen. the cooling rain falls upon the flowers. Der Sommer schauert The summer shudders, Still seinem Ende entgegen. silently facing his end. Golden tropft Blatt urn Blatt Leaf after golden leaf drops down Nieder vom hohen Akazienbaum. from the high acacia tree. Sommer lichelt erstaunt und matt Summer, surprised and weak, In den sterbenden Garrentraum. smiles at the fading garden-dream. Lange noch bei den Rosen Yet he lingers still, Bleibt cr stchn, schnt sich each Ruh. among the roses, yearning for rest. Langsam tut et die {grosser) Slowly he closed his (large) Mikigeword'nen Augen zu. wearied ryes. —Hermann Hem

Beim Schlafengehen Before Sleeping Nun der Tag mich mild gemacht, Now the day has made me weary: Soli mein sehnliches Verlangen let the starry night gather up Freundlich die gestirme Nacht my ardent longings, lovingly, Wie ein miides Kind empfangen. as it would a tired child. Hande, lass( von ahem Tun, Hands, leave off all your toil, Stim virgiss du ants Denken, mind, put aside all your thoughts: Alle meine Sinne nun all my senses long Wollen sich in Schlummer senken. to settle, now, into slumber. Und die Seek unbewachr, And the soul, unencumbered, Will in freien Fliigen schweben, wants to soar in free flight Urn im Zauberlereis der Nachr into night's magic realm, Tief und tausendfach zu leben. to live deeply, a thousandfold. —Hermann Heim

Im Abendroc In Evening's Glow Wir sind dutch Not und Freude Through pain and joy Gegangen Hand in Hand: we've traveled hand in hand; Vom Wandem ruhen win {beide) let's {both} rest from wandering, now, Nun iiberm stillen Land. above the quiet land. Rings sich die Tiler neigen, Around us the valleys are waning, Es dunkelt schon die Luft, already the sky is darkening, Zwei Lerchen nun noch steigen yet, still, two larks, dream-seeking, Nachtraumend in den Duft. soar upward into the air. Trio her und lass sie schwirren, Step close and let them fly, Bald ist es Schlafenszeit, it's nearly time for sleep: Doss win uns night verirren lest we lose our way In dieser Einsamkeit. in this solitude. 0 weiter, stiller Friede! 0 spacious, silent peace, So tief im Abendroc. so deep in evening's glow! Wie sind wir wandermiide- How travel-weary we are— 1st dies etwa der Tod? is this perhaps death? —Josef von Eicher:dart

German was set to music by Richard Strauss copyright Booscy & Hawkes, Inc., 01950, renewed 1977, and reprinted here by permission. English translations by Mare Mandel. More . . . Joan Peyser's article on Leonard Bernstein in The New Grove Dictionary of American Music is an excellent compact introduction to Bernstein's life and works. The same author's recent full-scale biography, Bernstein (William Morrow), has a great deal of information, but it is weakened by the author's unfortunate insistence on potted pop psychoanalysis. The composer himself has led two different recordings of the Chichester Psalms; the first, made with the New York Philharmonic and the Camerata Singers, remains available (Columbia, coupled with the ballet Facsimile), but it has been surpassed in energy and brilliant sound by the newer reading with the Israel Philharmonic and the Vienna Youth Choir (DG, coupled with thefererniah Symphony). Schubert is the subject of a biography by Maurice J. E. Brown (Da Capo) and of a whole series of publications by Otto Erich Deutsch, whose very name—or initial, anyway—symbolizes Schubert research through the "D." numbers of his chronological catalogue of the composer's works. An accurate score of the Unfinished, copies of the surviving sketches, and an anthology of interesting historical and critical articles about the work arc conveniently gathered in Martin Chusid's volume Schubert Symphony in B minor ("Unfinished") in the Norton Critical Scores series (Norton, available in paperback). The Unfinished has, of course, been recorded as frequently as almost any symphony in the repertory. Sir Colin Davis conducts the Boston Symphony Orchestra with selections from Rosamunde (Philips, available on CD). Seiji Ozawa's recording with the Chicago Sym- phony is still available on LP (RCA, coupled with the Beethoven Fifth). The same pairing in classic 1950 performances by Wilhelm Furnvingler with the Berlin Philhar- monic has recently been issued on CD (Angel). Other recommended performances include those of Otristoph von Dohnanyi with the Cleveland Orchestra (Telarc, coupled with Beethoven's Eighth) and Ivan Fischer with the Budapest Festival Orchestra (Hun- garoton, coupled with Schuben's Third), both available on compact disc. A "complete" Unfinished Symphony in Brian Newbould's version has been recorded by Neville Marriner with the Academy of St. Martin-in-the-Fields and makes for fascinating, if not entirely convincing, listening (Philips). The big biography of Richard Strauss is Norman Del Mar's, which gives equal space to the composer's life and music (three volumes, Cornell University Press; available in paperback); the songs receive detailed consideration in Volume III. Michael Kennedy's account of the composer's life and works for the Master Musicians series is excellent (Littlefield paperback), and the symposium Richard Strauss: The Man and his Music, edited by Alan Walker, is worth looking into (Barnes and Noble). Kennedy has also provided the Strauss article in The New Grove. Jessye Norman has recorded the Four Last Songs with Kurt Masur and the Leipzig Gewandhaus Orchestra (Philips, coupled with ocher orchestral songs by Strauss). Another luminous recent recording is that by Lucia Popp with the London Philharmonic under Klaus Tennstedt (Angel, coupled with Death and Transfiguration). The world premiere performance by Kirsten Flagstad and the Philharmonia Orchestra under Wilhelm Furrwingler has been reissued on a monaural LP (Turnabout, coupled with Schumann's Dichterliebe). Elisabeth Schwarakopf essayed the songs twice for recordings, both times with memorable results, but she was in younger and fresher voice in the earlier version, available only as a monaural recording, with Otto Ackerman and the Philharmonia Orchestra (Angel, coupled with music from Capriccio). —S. L. Jessye Norman Following her debut concert on her tour of Japan in November 1985, Jessyc Norman received forty-seven minutes of continuous applause. Born in Augusta, Georgia, Ms. Norman made her operatic debut in December 1969 at the Deutsche Oper, Berlin, as Elisabeth in Tam:ha:ism. Two years later, at the Berlin Fes- tival, she sang the Countess in Mozart's Le none di Figaro. Countless invitations for concert, recital, and television appearances followed. During the 1970s she toured extensively, in the United States, South America, Australia, Canada, and most of Europe. This led to further invitations and regular appearances at various festivals, including Tanglewood, Edinburgh, Flanders, Aix-en-Provence, and Salzburg, where she gave an unprecedented three concerts during the summer of 1986. In 1982 Ms. Norman won not only the prestigious Musical America "Musician of the Year" Award, but also honorary doctorates of music from Howard University and the Boston Conservatory. In 1984 the French government invested her with the title Commandeur de l'Ordre des Arts a des Lams. In 1983 the National Museum of Natural History in Paris honored her by naming an orchid after her. After several years devoted primarily to concerts and recitals, Ms. Norman returned to the opera stage with Strauss's Ariadne auf Naxos at the Hamburg State Opera, followed by Kam at Aix-en-Provence, and Jocasta and Purcell's Dido with the Philadelphia Opera. Her Metropolitan Opera debut in Berlioz's Les Troyer,: opened the Met's 100th- anniversary season in 1983; she has since sung Jocasta in Stravinsky's Oedipus Rex, . Strauss's Ariadne, Elisabeth in Tamrhamser, and Madame Lidoine in Dialogues of the Carmelites there. The 1984-85 season brought her return to Aix-en-Provence also as Ariadne, the role of her Vienna State Opera debut in the autumn of 1985. In February 1986 she gave a sold-out all-Strauss recital with James Levine at the Metropolitan Opera House. In January 1985 Ms. Norman sang at the internationally televised inaugural cere- monies for President Reagan; in April 1986 she performed for Queen Elizabeth's sixtieth- birthday celebration at the Royal Opera House, Covent Garden. The French Govern- ment chose her to sing 1,4 Marseillaim in Paris as part of the French salute to the Statue of Liberty centennial celebrations, a performance televised nationally by ABC-TV. Ms. Norman's diverse discography has won numerous awards, induding the prestigious Gramophone award for her Philips recording of Strauss's Four Last Songs. She recently sang Sieglinde in recording sessions for Die Wallaire, the first installment of a new Deutsche Grammophon/Metropolican Opera Ring cycle under James Levine. In addition to her longstanding association with Philips, she has recorded for EMI/Angel, CBS Masterworks, Erato, and Deutsche Grammophon. Ms. Norman's teachers have included Carolyn Grant at Howard University in Washington, D.C., Alice Duschak at Baltimore's Peabody Conservatory, and Pierre Bernac and Elizabeth Mannion at the University of Michigan. Ms. Norman has been a frequent guest with the Boston Symphony Orchestra since her Tanglewood debut in 1972 and may be heard on the Boston Symphony recording of Schoenberg's Gurmlieder under Seiji Ozawa. Her most recent performance with the orchestra took place at Tanglewood this past August, when she sang three Strauss songs and the final scene from Salome. Tanglewood Festival Chorus John Oliver, Conductor Now in its eighteenth year, the Tanglewood Festival Chorus was organized in the spring of 1970 when founding conductor John Oliver became director of vocal and choral activities at the Tanglewood Music Center. Co-sponsored by the Tanglewood Music Center and Boston University, and originally formed for performances at the Boston Symphony's summer home, the chorus was soon playing a major role in the orchestra's Sym- phony Hall season as well. Now the official chorus of the Boston Symphony Orchestra, the Tanglewood Festival Chorus is made up of members who donate their services, performing in Boston, New York, and at Tanglewood, and working with Music Director Seiji Ozawa, John Williams and the Boston Pops, and such prominent guests as Leonard Bernstein, Kurt Masur, and Charles Dutoit. The Tanglewood Festival Chorus has collaborated with Seiji Ozawa and the Boston Symphony Orchestra on numerous recordings, beginning with Berlioz's The Damnation of Faust for Deutsche Grammophon, a 1975 Grammy nominee for best choral performance. An album of a rap/Pella twentieth-century American music, recorded at the invitation of Deutsche Grammophon, was a 1979 Grammy nominee. Recordings with Ozawa and the orchestra available on compact disc include Schoenberg's Gurrelieder and Mahler's Symphony No. 8, the Symphony of a Moreland, both on Philips, and Beethoven's Choral Fantasy with pianist Rudolf Serkin, on Tclarc. Last season the chorus recorded Mahler's Symphony No. 2, RtikrITC14071, with Ozawa and the orchestra, with soloists Kiri Te Kanawa and Marilyn Home, for future release also on Philips. The chorus may also be heard in Debussy's La Damoiselle Rue with the orchestra and mezzo- soprano Frederica von Stacie on CBS, on the Philips album "We Wish You a Merry Christmas" with John Williams and the Boston Pops, and on a Nonesuch recording of music by Luigi Dallapiccola and Kurt Weill conducted by John Oliver. In addition to his work with the Tanglewood Festival Chorus, John Oliver is conductor of the MIT Choral Society, a senior lecturer in music at MIT, and conductor of the John Oliver Chorale, now in its eleventh season. The Chorale gives an annual concert series in Boston and has recorded for Northeastern and New World records. Mr. Oliver made his Boston symphony Orchestra conducting debut at Tanglewood in 1985 and led performances of Bach's B minor Mass at Symphony Hall in December chat year.

Raymond Jourdan A native of Cambridge, Massachusetts, fourteen-year-old Raymond Jourdan entered the eighth grade at the Boston Archdiocesan Choir School at St. Paul's Church in Cambridge this fall. An accomplished pianist and recorder player, he has studied music with Theodore Marier and John Dunn. As a member of the Boston Boy Choir, Raymond has sung in Boston Symphony Orchestra performances of Benjamin Britten's War Requiem and the Bach Si. Matthew Passion. Also with the Boston Boy Choir he has sung in Opera Company of Boston productions of Puccini's To ea and Peter Maxwell Davies's Taverner. Tanglewood Festival Chorus John Oliver, Conductor

Sopranos Catherine Diamond David A. Redgrave Margaret Aquino Sara Dorfman (lades Ross Ingrid Bartinique Mary F. Ellis Ronald Severson Michele M. Bergonzi Paula Folkman Terence Stephenson Ellen N. Brown Irene Gilbride Charles L Wilson Susan Cavalieri Janice Hegernan R. Spencer Wright Donna Hewitt-Didham Lorenzec Cole Basses Joanne L ColeIla Jennifer Ann Hruska Margo Connor Leah Jansizian Peter Crowell Anderson Mary A. V. Crimmins Eve Kornhauset Peter T. Anderson Helen M. Eberle-Daly Dorothy W. Love Eddie Andrews Lou Ann David April Merriam J, Barrington Bates Chnsrine P. Duquette Ellen D. Rothbcrg William S. Biedron Amy G. Harris Deborah Ann Ryba John E Cavallaro Lois Hearn Amy Sheridan James W. Co' untmanche Alice Honner-Whire Ada Park Snider Doug Dittman Kristin E. Hughes Julie Steinhilber Jay S. Gregory Christine Jaronski Nancy Stockwell-Alpert Roger Grodsky Carol Kira Judith Tierney Mark L Haberman Lydia A. Kowalski Constance L Tumburke Mirsuhiro Kawase Sarah Jane liberman Hazel von Maack Timothy Lanagan Carol McKeen Berry Karol Wilson Lee B. Leach Patricia Mary Mitchell Steven Ledbetter H. Diane Norris Tenors David K. Lanes Fumiko Ohara Anronc Aquino James A. Lopata Nancy Lee Parton John C. Barr Gregory Mancusi-Ungaro Jamie Redgrave Donato Bracco Gary J. Merken Charlotte C. Russell William A. Bridges, Jr. Stephen H. Owades Lisa Saunier Reginald Oldham Vladimir Roudenko Genevieve Schmidt Timothy E. Fosket A. Michael Ruderman Ca J. Shaw Michael P. Gallagher Robert Sthaffel Joan Pemice Sherman William E. Good Frank R. Sherman Diane M. Stickler David M. Halloran Roch Skelton Bernadette Yao Dean Armstrong Hanson Peter S. Strickland Chinny Yue George W. Harper AndrewTi dd John W. Hickman Cliff Webb Mezzo-sopranos Fred G. Hoffman Peter J. Wender Maisy Bennett Richard P Howell Pieter Conrad White Karen Bergmann Stanley Hudson Howard Wilcox Christine Billings James R. Kauffman Deborah Bouranis John Vincent MatInnis Barbara Clemens Sean Mooney Arnalee Cohen David R. Norris Ethel Crawford Dwight E. Porter

Sarah Harrington, Manager Martin Amlin, Assistant to the Conductor Symphony Hall Information...

FOR SYMPHONY HAIL CONCERT AND TICKET RESALE: If for some reason you are TICKET INFORMATION, all (617) unable to attend a Boston Symphony concert for 266-1492. For Boston Symphony concert which you hold a ticket, you may make your program information, call "C-O-N-C-E-R-T." ticket available for resale by calling the switch- THE BOSTON SYMPHONY performs ten board. This helps bring needed revenue to the months a year, in Symphony Hall and at orchestra and makes your seat available to Tanglcwood. For information about any of the someone who wants to attend the concert. A orchestra's activities, please call Symphony Hall, mailed receipt will acknowledge your tax- or write the Boston Symphony Orchestra, Sym- deductible contribution. phony Hall, Boston, MA 02115. SMOKING IS NOT PERMITTED in any part FOR SYMPHONY HALL RENTAL INFOR- of the Symphony Hall auditorium or in the MATION, call (617) 266-1492, or write the surrounding corridors. It is permitted only in the Function Manager, Symphony Hall, Boston, Cabot-Cahners and Hatch rooms, and in the MA 02115. main lobby on Massachusetts Avenue. THE BOX OFFICE is open from 10 a.m. until CAMERA AND RECORDING EQUIP- 6 p.m. Monday through Saturday; on concert MENT may not be brought into Symphony evenings, it remains open through intermission Hall during concerts. for BSO events or just past scarring-rime for FIRST AID FACILITIES for both men and other events. In addition, the box office opens women are available in the Cohen Annex near Sunday at 1 p.m. when there is a concert that the Symphony Hall West Entrance on Hunt- afternoon or evening. Single tickets for all ington Avenue. On-call physicians attending Boston Symphony subscription concerts become concerts should leave their names and sear loca- once a _oriel hat &pat. available at the box office tions at the switchboard near the Massachusetts For outside events at Symphony Hall, tickets Avenue entrance. will be available three weeks before the concert. No phone orders will be accepted for these WHEELCHAIR ACCESS to Symphony Hall is events. available at the West Entrance to the Cohen TO PURCHASE BSO TICKEIS: American Annex. Express, MasterCard, Visa, a personal diedc, and AN ELEVATOR is located outside the Hatch cash are accepted at the box office. To charge and Cabot-Cahners rooms on the Massachusetts tickets instantly on a major credit card, or to Avenue side of the building. make a reservation and then send payment by check, call "Symphony-Charge" at (617) LADIES' ROOMS are located on the orchestra 266-1200, Monday through Saturday from level, audience-left, at the stage end of the hall, 10 a.m. until 6 p.m. or Sunday from 1 p.m. until and on the first-balcony level, audience-right, 6 p.m. There is a handling fee of $1.25 for each outside the Cabot-Cahners Room near the ticket ordered by phone. elevator. THE SYMPHONY SHOP is located in the MEN'S ROOMS are located on the orchestra Huntington Avenue stairwell near the Cohen level, audience-right, outside the Hatch Room Annex and is open from one hour before each near the elevator, and on the first-balcony level, concert through intermission. The shop carries audience-left, outside the Cabot-Cahners Room BSO and musical-motif merchandise and gift near the coatroom. items such as calendars, appointment books, drinking glasses, holiday ornaments, children's COATROOMS are located on the orchestra and books, and BSO and Pops recordings. All pro- first-balcony levels, audience-left, outside the ceeds benefit the Boston Symphony Orchestra. Hatch and Cabot-Cahners rooms. The BSO is For merchandise information, please call not responsible for personal apparel or other 267-2692. property of patrons. 1987 OPENING NIGHT GALA MENU

Simi Chardonnay 1983 Seafood Rollatini with Pesto and 7bmato Coulis

Simi Cabernet 1981 Herbed Roast of Veal Vegetable Melange and Pepper Conserve

Polenta and Cheese Timbale Saute of Spinach, Fennel and Carrot

Fresh Greens with Warm Gorgonzola and 7basted _French Bread

Chocolate Fig Cake with Gianduja Glaze

Danish Roast Comae; ka