m *$m Boston Symphony Orchestra
SEIJI OZAWA, Music Director ^M }&MM
"SaH*?. tag®
rA'O. .v*
105th Season 1985-86
<>
&S*i Outof the wood comes the TnnnzimHiiuiiiuiiiQcto of the world's first
barrel-blended • «4s8i»«r-"- *&$ 12 year-old Canadian whisky.
.vw^'
as tnev a Barrel-Blending is the final process ot blending selected wmsKies into oak barrels to marry prior to bottling. Imported in bottle by Hiram Walker Importers Inc., Detroit Ml © 7985. Seiji Ozawa, Music Director One Hundred and Fifth Season, 1985-86
Trustees of the Boston Symphony Orchestra, Inc.
Leo L. Beranek, Chairman Nelson J. Darling, Jr., President
J.P. Barger, Vice-Chairman Mrs. John M. Bradley, Vice-Chairman
George H. Kidder, Vice-Chairman William J. Poorvu, Treasurer Mrs. George L. Sargent, Vice-Chairman
Vernon R. Alden Archie C. Epps Mrs. August R. Meyer David B. Arnold, Jr. Mrs. John H. Fitzpatrick E. James Morton Mrs. Norman L. Cahners Mrs. John L. Grandin David G. Mugar George H.A. Clowes, Jr. Francis W Hatch, Jr. Thomas D. Perry, Jr. William M. Crozier, Jr. Harvey Chet Krentzman Mrs. George R. Rowland Mrs. Lewis S. Dabney Roderick M. MacDougall Richard A. Smith Mrs. Michael H. Davis John Hoyt Stookey Trustees Emeriti
Philip K. Allen E. Morton Jennings, Jr. John T. Noonan Allen G. Barry Edward M. Kennedy Irving W. Rabb Richard P. Chapman Edward G. Murray Paul C. Reardon Abram T. Collier Albert L. Nickerson Sidney Stoneman Mrs. Harris Fahnestock John L. Thorndike Officers of the Corporation
Thomas W Morris, Vice-President, Special Projects and Planning
John Ex Rodgers, Assistant Treasurer Theodore A. Vlahos, Assistant Treasurer Jay B. Wailes, Assistant Treasurer Daniel R. Gustin, Clerk Mary Glenn Goldman, Assistant Clerk
Administration of the Boston Symphony Orchestra, Inc.
Daniel R. Gustin, Acting General Manager
Anne H. Parsons, Orchestra Manager Costa Pilavachi, Artistic Administrator Caroline Smedvig, Director of Promotion Josiah Stevenson, Director of Development Theodore A. Vlahos, Director of Business Affairs Arlene Germain, Financial Analyst Marc Mandel, Publications Coordinator Charles Gilroy, Chief Accountant Richard Ortner, Administrator of Vera Gold, Assistant Director of Promotion Tanglewood Music Center Patricia Halligan, Personnel Administrator Charles Rawson, Manager of Box Office Nancy A. Kay, Director of Sales Eric Sanders, Director of Corporate John M. Keenum, Director of Development Foundation Support Joyce M. Serwitz, Assistant Director Nancy Knutsen, Production Manager of Development Anita R. Kurland, Administrator of Diane Greer Smart, Director of Volunteers Youth Activities Nancy E. Tanen, Media/Special Projects Steven Ledbetter, Musicologist & Administrator Program Annotator
Programs copyright ©1986 Boston Symphony Orchestra, Inc. Cover photo by Christian Steiner Board of Overseers of the Boston Symphony Orchestra, Inc.
Harvey Chet Krentzman Chairman
Avram J. Goldberg Mrs. Carl Koch Vice-Chairman Vice-Chairman
Ray Stata Mrs. Gordon F. Kingsley Vice-Chairman Secretary
John Q. Adams Mrs. Thomas Gardiner Mrs. Hiroshi Nishino Mrs. Weston W. Adams Mrs. James G. Garivaltis Vincent M. O'Reilly Martin Allen Mrs. Ray A. Goldberg Stephen Paine, Sr. Mrs. David Bakalar Jordan L. Golding John A. Perkins Bruce A. Beal Joseph M. Henson Peter C. Read Peter A. Brooke Arnold Hiatt Robert E. Remis Mary Louise Cabot Mrs. Richard D. Hill Mrs. Peter van S. Rice Mrs. C. Thomas Clagett, Jr. Susan M. Hilles David Rockefeller, Jr. James F. Cleary Glen H. Hiner John Ex Rodgers John F. Cogan, Jr. Mrs. Marilyn Brachman Hoffman Mrs. Jerome Rosenfeld Mrs. Nat Cole Mrs. Bela T. Kalman Mrs. William C. Rousseau William H. Congleton Mrs. S. Charles Kasdon Mrs. William H. Ryan Arthur P. Contas Richard L. Kaye Gene Shalit Mrs. A. Werk Cook Robert D. King Mark L. Selkowitz Phyllis Curtin John Kittredge Malcolm L. Sherman A.V. d'Arbeloff Robert K. Kraft W. Davies Sohier, Jr.
Mrs. Michael H. Davis John P. LaWare Ralph Z. Sorenson
Mrs. Eugene B. Doggett Mrs. James F. Lawrence Mrs. Arthur I. Strang Harriett Eckstein Laurence Lesser William F Thompson Mrs. Alexander Ellis R. Willis Leith, Jr. Luise Vosgerchian Katherine Fanning Mrs. Charles P. Lyman Mrs. An Wang John A. Fibiger Mrs. Harry L. Marks Roger D. Wellington Kenneth G. Fisher Hanae Mori Mrs. Thomas H.P Whitney Gerhard M. Freche Richard P. Morse Mrs. Donald B. Wilson Peter H.B. Frelinghuysen Mrs. Thomas S. Morse Brunetta Wolfman
Mrs. Thomas J. Galligan Mrs. Robert B. Newman Nicholas T. Zervas
Overseers Emeriti
Mrs. Frank G. Allen Paul Fromm Mrs. Stephen V.C. Morris
Hazen H. Ayer Mrs. Louis I. Kane David R. Pokross David W. Bernstein Leonard Kaplan Mrs. Richard H. Thompson Benjamin H. Lacy
Symphony Hall Operations
Cheryl Silvia Tribbett, Function Manager James E. Whitaker, House Manager
Earl G. Buker, Chief Engineer Cleveland Morrison, Stage Manager Franklin Smith, Supervisor of House Crew
Wilmoth A. Griffiths, Assistant Supervisor of House Crew William D. McDonnell, Chief Steward Officers of the Boston Symphony Association of Volunteers
Mrs. Michael H. Davis President Mrs. R. Douglas Hall III Mrs. Carl Koch Executive Vice-President Treasurer Mrs. Harry F. Sweitzer, Jr. Mrs. Gilman W. Conant Secretary Nominating Chairman
Vice-Presidents
Mrs. Eugene B. Doggett, Development Services Mrs. BelaT. Kalman, Youth Activities Ms. Phyllis Dohanian, Fundraising Projects Mrs. Hart D. Leavitt, Regions Mrs. Craig W. Fisher, Tanglewood Mrs. August R. Meyer, Membership Mrs. Mark Selkowitz, Tanglewood Ms. Ellen M. Massey, Public Relations
Chairmen of Regions
Mrs. Thomas M. Berger Ms. Prudence A. Law Mrs. FL. Whitney Mrs. Charles A. Hubbard Mrs. Robert B. Newman Mrs. Thomas H.P. Whitney Mrs. Herbert S. Judd, Jr. John H. Stookey Mrs. Norman Wilson Mrs. Thomas Walker Nantucket Island, Massachusetts SPACIOUS CAPE-STYLE RESIDENCE: Offering beautiful views of Nan- tucket Sound, this 9-rdom residence is situated on xh landscaped acre bounded by hedges and fences. Outstanding appointments include beamed cathedral ceiling and brick fireplace in the living room, and family room with brick fireplace and sliding glass doors opening to a deck. Property includes a right-of-way to Nantucket Sound and 750 ± feet ofbeachfront. $700,000 (furnished) $675,000 (unfurnished) Brochure #BS05-159 Exclusive Local Affiliate Broker; DENBY REAL ESTATE 4 Federal Street, Nantucket, MA 02554. Tel: 617/228-2522
St. George, Maine OCEANSIDE CAPE: This outstanding 8-room residence, constructed in 1980, boasts fine appointments and wonderful ocean views from most rooms. Situated on 13 ± acres of lawns and woodland, the property includes 200 ± feet of shore frontage on the Atlantic. 2 Fireplaces and deck overlook- ing the Atlantic. 2-car attached garage. $295,000 Brochure #BS010-74 Exclusive Local Affiliate Broker: C.R. DE ROCHEMONT, REALTOR 104 Pleasant St., Rockland, ME 04841. Tel: 207/594-6632 Pre-Concert Supper Series
Subscribers to the BSO evening concerts are invited to attend one or all of the outstanding supper series programs offered during the BSO 1985-86 season. Sponsored by the Boston Symphony Association of Volunteers, "Supper Pierre Boulez and the Talks" (formerly "Pre-Symphony Suppers") Ensemble Intercontemporain at combine dinner and an informative talk by a Symphony Hall BSO member. "Supper Concerts" (formerly "Chamber Preludes") give concertgoers the In addition to their two subscription concerts opportunity to hear members of the Boston while the BSO is touring Japan, Pierre Boulez Symphony perform chamber music in the inti- internationally acclaimed Ensemble and his mate setting of the Cabot-Cahners Room. Intercontemporain will present the Boston Supper Concerts for the rest of the season will premiere of Boulez's Repons in two non-sub- take place at 6 p.m. on 13, 15, 18, 20, and scription concerts, Monday and Tuesday, 24 22 March, and 24 April. The one-hour con- and 25 February at 8 p.m. Repons was com- certs, which are followed by supper in the three distinct elements: an instru- posed for Cohen Annex, feature works by composers mental group of 24 musicians, a group of six whose symphonic music is scheduled on that solo instruments, and a 4X digital signal pro- evening's BSO concert. Single tickets for both cessor. Since the first performance in 1981, series are available at $16.50. The price of the work has been revised and refined under dinner is included. For reservations and fur- the auspices of IRCAM (the Institute de ther information, please call the Volunteer Recherche et Coordination Acoustique/ Office at 266-1492, ext. 177. Musique). Because of the spatial demands of Repons, more than half of Symphony Hall's seats will be removed to accommodate plat- forms, speakers, and the solo instruments, BSO Tickets Through thus reducing the seating capacity to only CHARGIT 1300 for each performance. Tickets, priced at Tickets for Boston Symphony Orchestra con- $5 and $10, are now on sale at the Symphony certs are now available through CHARGIT by Hall box office. calling 542-3600. CHARGIT offers 24-hour service and accepts Visa, Mastercard, and Remember Someone Special American Express. Tickets go on sale 28 days before each concert. The Boston Symphony Orchestra has created a Remembrance Fund through which you may recognize special occasions (such as birth- days, anniversaries, and weddings) or memo- Symphony Hall Tours rialize friends and loved ones who eared about Tours of Symphony Hall are available Mon- our orchestra. To honor someone in this way, days through Thursdays at 9 a.m. and 4:30 and have a remembrance card sent in your p.m., Saturdays at 1 p.m., and occasionally at name, please include with your contribution other hours. Organized by the Boston Sym- the individual's name and address and the phony Association of Volunteers, these tours occasion you wish remembered. Contributions are conducted by trained volunteer guides and of $10 or more may be sent to the Develop- cover the history of the Boston Symphony ment Office, Symphony Hall, Boston, MA Orchestra and of Symphony Hall, including 02115 and will be applied to the Boston Sym- its architecture and acoustics. A $25 per phony Annual Fund. group donation to the BSO is requested. For the weekday-afternoon and Saturday tours, With Thanks there is a $50 security charge. Groups must consist of at least ten persons and cannot We wish to give special thanks to the National exceed twenty-five per guide. For appoint- Endowment for the Arts and the Massachu- ments, which must be made at least ten days setts Council on the Arts and Humanities for in advance, or additional information, please their continued support of the Boston Sym- contact the Volunteer Office, Symphony Hall, phony Orchestra. Boston, MA 02115, (617) 266-1492, ext. 178. How to conduct yourself on Friday night.
Aficionados of classical music can enjoy the Boston Symphony Orchestra every Friday night at 9 o'clock on WCRB 102. 5 FM. Sponsored in part by Honeywell.
Honeywell Special Parking for $12 Million National Campaign BSO Subscribers for the Tanglewood Music Center Guaranteed pre-paid parking is available to Boston Symphony Orchestra subscribers at A Fiftieth Anniversary Campaign for the the underground parking facilities of The Tanglewood Music Center was announced by First Church of Christ, Scientist, directly the Boston Symphony Orchestra this summer. across from Symphony Hall on Massachusetts The campaign goal is $12 million, which will Avenue. This benefit is available for the be used to endow student fellowships and fac- remainder of their series only to subscribers ulty positions and renovate the Theatre-Con- who attend performances on Tuesday, Thurs- cert Hall, which was designed by Eliel and day, and Saturday evenings. For further infor- Eero Saarinen in 1941. Funds will also be mation, please call Symphony Hall at used to increase operating support for the 266-1492 and ask for "Parking Boston Symphony Orchestra's world- Reservations." renowned summer music academy. The target for completion of the campaign is 1990, the fiftieth anniversary of the founding of the Tanglewood Music Center by Serge Koussevitzky and the Boston Symphony. If BSO Business & Professional you would like to contribute, or for further Leadership Program information, please call John Keenum, Director of Foundation Support, at 266-1492, support of the has more than Corporate BSO ext. 139. tripled in the past three years, with the result that nearly 400 companies are contributing more than $1 million annually to the orches- tra. This has been accomplished through the Friday Luncheon Series activities of the BSO Business & Professional Leadership Program, which was founded in Subscribers to the Friday series may enjoy 1980 by area executives in recognition of the luncheon and an informative talk by attending BSO's significant contribution to the corpo- the popular Friday Luncheons. The Boston rate community. The program is overseen by a Symphony Association of Volunteers contin- committee including business leaders from ues its sponsorship of these events by combin- companies throughout New England, making ing the former "Stage Door Lectures" and it possible for businesses to participate in the "Behind the Scenes Luncheons" into one life of the Boston Symphony Orchestra series. Attend any combination of four for through some of the most original and excit- $45, or a single luncheon for $12. Remaining ing programs of their kind in America: "Presi- programs feature Luise Vosgerchian, Walter dents at Pops," "A Company Christmas at W. Naumberg Professor of Music at Harvard Pops," the BSO Corporate Enrichment Pro- University, on "Aesthetic Distancing in the gram, leadership dinners held in Symphony Twentieth Century" (28 February) and Hall, and special-event underwriting. Contri- "Music and Movement: The Element of Dance butions for membership begin at $1,000. For in Music" (28 March), and BSO Artistic further information on how your company or Administrator Costa Pilavachi on "Pro- professional partnership can join this pro- gramming the Boston Symphony Orchestra" gram, contact Eric Sanders in the BSO Cor- (18 April). For reservations, please call the porate Development Office, (617) 266-1492. Volunteer Office at 266-1492, ext. 177. Seiji Ozawa
Symphony Orchestra, a post he relin- quished at the end of the 1968-69 season.
Seiji Ozawa first conducted the Boston Symphony in Symphony Hall in January 1968; he had previously appeared with the orchestra for four summers at Tanglewood, where he became an artistic director in 1970. In December 1970 he began his inau- gural season as conductor and music director of the San Francisco Symphony Orchestra. The music directorship of the Boston Symphony followed in 1973, and Mr. Ozawa resigned his San Francisco posi- tion in the spring of 1976, serving as music advisor there for the 1976-77 season.
As music director of the Boston Sym- phony Orchestra, Mr. Ozawa has strength- The 1985-86 season is Seiji Ozawa's thir- ened the orchestra's reputation inter- teenth as music director of the Boston Sym- nationally as well as at home, beginning phony Orchestra. In the fall of 1973 he with the BSO's 1976 European tour and, in became the orchestra's thirteenth music March 1978, a nine-city tour of Japan. At director since it was founded in 1881. the invitation of the Chinese government, Born in 1935 in Shenyang, China, to Mr. Ozawa then spent a week working with Japanese parents, Mr. Ozawa studied both the Peking Central Philharmonic Orches- Western and Oriental music as a child and tra; a year later, in March 1979, he returned later graduated from Tokyo's Toho School to China with the entire Boston Symphony of Music with first prizes in composition for a significant musical and cultural and conducting. In the fall of 1959 he won exchange entailing coaching, study, and first prize at the International Competition discussion sessions with Chinese musi- of Orchestra Conductors, Besancon, cians, as well as concert performances. Also France. Charles Munch, then music in 1979, Mr. Ozawa led the orchestra on its director of the Boston Symphony and a first tour devoted exclusively to appear- judge at the competition, invited him to ances at the major music festivals of Tanglewood, where in 1960 he won the Europe. Seiji Ozawa and the Boston Sym- Koussevitzky Prize for outstanding student phony celebrated the orchestra's one-hun- conductor, the highest honor awarded by dredth birthday with a fourteen-city the Berkshire Music Center (now the American tour in March 1981 and an inter- Tanglewood Music Center). national tour to Japan, France, Germany, Austria, and England in October/November While working with Herbert von Karajan that same year. In August/September 1984, in West Berlin, Mr. Ozawa came to the Mr. Ozawa led the orchestra in a two-and- attention of Leonard Bernstein, whom he one-half-week, eleven-concert tour which accompanied on the New York Philhar- included appearances at the music festivals monic's spring 1961 Japan tour, and he was of Edinburgh, London, Salzburg, Lucerne, made an assistant conductor of that orches- and Berlin, as well as performances in tra for the 1961-62 season. His first profes- Munich, Hamburg, and Amsterdam. This sional concert appearance in North February he returns with the orchestra to America came in January 1962 with the San Japan for a three-week tour. Francisco Symphony Orchestra. He was music director of the Ravinia Festival for Mr. Ozawa pursues an active interna- five summers beginning in 1964, and music tional career. He appears regularly with the director for four seasons of the Toronto Berlin Philharmonic, the Orchestre de
8 Paris, the French National Radio Orches- music of Ravel, Berlioz, and Debussy with tra, the Vienna Philharmonic, the Philhar- mezzo-soprano Frederica von Stade and monia of London, and the New Japan the Mendelssohn Violin Concerto with Philharmonic. His operatic credits include Isaac Stern; in addition, he has recorded Salzburg, London's Royal Opera at Covent the Schoenberg/Monn Cello Concerto and Garden, La Scala in Milan, and the Paris Strauss's Don Quixote with cellist Yo-Yo Ma Opera, where he conducted the world for future release. For Telarc, he has premiere of Olivier Messiaen's opera recorded the complete cycle of Beethoven St. Francis of Assist in November 1983. piano concertos and the Choral Fantasy Messiaen's opera was subsequently with Rudolf Serkin. Mr. Ozawa and the awarded the Grand Prix de la Critique 1984 orchestra have recorded five of the works in the category of French world premieres. commissioned by the BSO for its centen- Mr. Ozawa will lead the Boston Symphony nial: Roger Sessions's Pulitzer Prize-win- Orchestra in the American premiere of ning Concerto for Orchestra and Andrzej scenes from St. Francis of Assisi in April Panufnik's Sinfo?iia Votiva are available on 1986 in Boston and New York. Hyperion; Peter Lieberson's Piano Con- certo with soloist Peter Serkin, John Seiji Ozawa has won an Emmy for the Harbison's Symphony No. 1, and Oily Boston Symphony Orchestra's "Evening at Wilson's Sinfonia have been taped for New Symphony" television series. His award- World records. For Angel/EMI, he and the winning recordings include Berlioz's orchestra have recorded Stravinsky's Fire- Romeo et Juliette, Schoenberg's Gurrelieder, bird and, with soloist Itzhak Perlman, the and the Berg and Stravinsky violin concer- violin concertos of Earl Kim and Robert tos with Itzhak Perlman. Other recordings Starer. with the orchestra include, for Philips, Richard Strauss's Also sprach Zarathustra Mr. Ozawa holds honorary Doctor of and Fin Heldenleben, Stravinsky's he Sacre Music degrees from the University of Mas- du printemps, Hoist's The Planets, and sachusetts, the New England Conservatory Mahler's Symphony No. 8, the Symphony of of Music, and Wheaton College in Norton, a Thousand. For CBS, he has recorded Massachusetts. WANTED HELP
i""\
In. THE SULLIVAN AND COGLIANO COMPANIES
Your one source for recruitment of Rely on S & C's temp force to temporary and permanent personnel reduce labor costs and paperwork, for over 400 job categories: improve productivity, and keep permanent staff lean as work loads TECHNICAL OFFICE EDP expand. FINANCIAL MEDICAL SALES INDUSTRIAL MARKETING Call on our permanent placement firms for fast, confidential, and cost-effective Serving New England's best firms, recruitment of key personnel. large and small, since 1966.
Corporate Headquarters: 196 Bear Hill Road, Waltham, MA 02154 (617) 890-7890 Boston Braintree Burlington Framingham Norwood Salem Waltham Merrimack, NH "Our people make the difference!"
A.
I Diamonds are a pearl's bestfriend. DeScenza
A. 5mm pearls with 2 diamonds total . 10 ct., $130. B. 7 mm pearls with 2 diamonds total .24 ct., $225. C. 9 mm pearls with 2 diamonds total .44 ct., $745. Subject to prior sale.
387 Washington St. , Boston, 542-7975 Route 9, Framingham (formerly the Chateau de Ville) 620-0090
10 Violas Bass Clarinet Burton Fine Craig Nordstrom Charles S. Dana chair Patricia McCarty Bassoons Anne Stoneman chair Sherman Walt Ronald Wilkison Edward A. Taft chair Robert Barnes Roland Small Jerome Lipson Matthew Ruggiero Bernard Kadinoff Contrabassoon Joseph Pietropaolo Richard Plaster Michael Zaretsky Marc Jeanneret Music Directorship endowed by Horns John Moors Cabot Betty Benthin Charles Kavalovski Mark Ludwig Helen Sagojf Slosberg chair BOSTON SYMPHONY Richard Sebring Cellos Daniel Katzen ORCHESTRA Jules Eskin Jay Wadenpfuhl 1985-86 Philip R. Allen chair Richard Mackey Martha Babcock Jonathan Menkis Vernon and Marion Alden chair First Violins Mischa Nieland Trumpets Malcolm Lowe Esther S. and Joseph M. Shapiro chair Concertmaster Charles Schlueter Charles Munch chair Jerome Patterson Roger Louis Voisin chair Max Hobart *Robert Ripley Andre Come Acting Associate Concertmaster Luis Leguia Ford H. Cooper chair Helen Horner Mclnhjre chair Carol Procter Charles Daval Cecylia Arzewski Ronald Feldman Peter Chapman Acting Assistant Concertmaster fJoel Moerschel Robert L. Beat, and Sandra and David Bakalar chair Trombones Enid and Bruce A. Beat chair Bo Youp Hwang * Jonathan Miller Ronald Barron J.P. and Mary B. Barger chair Edward and Bertha C. Rose chair *Sato Knudsen Max Winder Norman Bolter John and Dorothy Wilson chair Basses Bass Trombone Harry Dickson Edwin Barker Douglas Yeo Forrest Foster Collier chair Harold D. Hodgkinson chair Gottfried Wilfinger Lawrence Wolfe Tuba Maria Stata chair Fredy Ostrovsky Chester Schmitz Leo Panasevich Joseph Hearne Margaret and William C. Carolyn and George Rowland chair Bela Wurtzler Rousseau chair Sheldon Rotenberg Leslie Martin Muriel C. Kasdon and John Salkowski Timpani Marjorie C. Paley chair John Barwicki Everett Firth Alfred Schneider Sylvia Shippen Wells chair *Robert Olson Raymond Sird Ikuko Mizuno *James Orleans Percussion Amnon Levy Charles Smith Flutes Peter and Anne Brooke chair Doriot Anthony Dwyer Arthur Press Second Violins Walter Piston chair Assistant Timpanist Marylou Speaker Churchill Fenwick Smith Thomas Gauger Fahnestock chair Myra and Robert Kraft chair Vyacheslav Uritsky Leone Buyse Frank Epstein Charlotte and Irving W. Rabb chair Ronald Knudsen Piccolo Harp Joseph McGauley Lois Schaefer Ann Hobson Pilot Willona Henderson Sinclair chair Leonard Moss Evelyn and C. Charles Marran chair *Michael Vitale Oboes *Harvey Seigel Ralph Gomberg * Jerome Rosen Mildred B. Remis chair *Sheila Piekowsky Wayne Rapier Personnel Managers *Gerald Elias Alfred Genovese William Moyer Ronan Lefkowitz Harry Shapiro *Nancy Bracken English Horn *Joel Smirnoff Laurence Thorstenberg Librarians *Jennie Shames Phyllis Knight Beranek chair Marshall Burlingame *Nisanne Lowe William Shisler *Aza Raykhtsaum Clarinets James Harper Harold Wright *Lucia Lin Ann S.M. Banks chair Stage Manager * Participating in a system of rotated Thomas Martin Position endowed by seating within each string section. Peter Hadcock Angelica Lloyd Clagett f On sabbatical leave. E-flat Clarinet Alfred Robison
11 References furnished request
Aspen Music Festival Liberace Burt Bacharach Panayis Lyras David Bar-Man Marian McPartland Leonard Bernstein Zubin Mehta Bolcom and Morris Metropolitan Opera Jorge Bolet Mitchell-Ruff Duo Boston Pops Orchestra Seiji Ozawa Boston Symphony Orchestra Philadelphia Orchestra Brevard Music Center Andre Previn Dave Brubeck Ravinia Festival David Buechner Santiago Rodriguez Chicago Symphony Orchestra George Shearing Cincinnati May Festival Abbey Simon Cincinnati Symphony Orchestra Georg Solti Aaron Copland Tanglewood Music Center Denver Symphony Orchestra Michael Tilson Thomas Ferrante and Teicher Beveridge Webster Natalie Hinderas Earl Wild Interlochen Arts Academy and John Williams National Music Camp Wolf Trap Foundation for Billy Joel the Performing Arts Gilbert Kalish Yehudi Wyner Ruth Laredo Over 200 others Baldwin*
12 1
Add 100 years to her life.
Around where every piece is person- the turn of the ally selected by someone who century people knows what to look for. And ;
J ; were just learn- j where. We re Harper and ing to appreciate Faye. Conveniently Art Nouveau located in the heart of
; jewels. The finest Boston s financial district. were handmade. And few as beautifully as this two-color gold necklace ^^ Harper ; from France. It s as special as the ; &Faye person you ll give it to. See it and other ; JEWELERS rare and unusual 60 Federal Street pieces of jewelry Boston, MA 02110 423-9190
French Circa 7 1900 Subject to prior sale 'Tax-free income from Nuveen. Now that's music to my ears."
I
|Aa|li
For more complete information on the Nuveen Tax-Exempt Bond Fund, including
charges and expenses, call your broker or adviser for a prospectus. Read it carefully before you invest or send money Or call 800-221-4276. ||| | jlfgg
America's Tax-Free Investment. —
A Brief History of the Boston Symphony Orchestra
For many years, philanthropist, Civil War personality proved so enduring that he veteran, and amateur musician Henry Lee served an unprecedented term of twenty- Higginson dreamed of founding a great and five years. permanent orchestra in his home town of In 1936, Koussevitzky led the orchestra's Boston. His vision approached reality in first concerts in the Berkshires, and a year the spring of 1881, and on 22 October that later he and the players took up annual year the Boston Symphony Orchestra's summer residence at Tanglewood. inaugural concert took place under the Koussevitzky passionately shared Major direction of conductor Georg Henschel. For Higginson's dream of "a good honest nearly twenty years, symphony concerts school for musicians," and in 1940 that were held in the old Boston Music Hall; dream was realized with the founding at Symphony Hall, the orchestra's present Tanglewood of the Berkshire Music Center home, and one of the world's most highly (now called the Tanglewood Music Center), regarded concert halls, was opened in 1900. a unique summer music academy for young Henschel was succeeded by a series of artists. German-born and -trained conductors Wilhelm Gericke, Arthur Nikisch, Emil Expansion continued in other areas as Paur, and Max Fiedler—culminating in the well. In 1929 the free Esplanade concerts appointment of the legendary Karl Muck, on the Charles River in Boston were inau- who served two tenures as music director, gurated by Arthur Fiedler, who had been a 1906-08 and 1912-18. Meanwhile, in July member of the orchestra since 1915 and 1885, the musicians of the Boston Sym- who in 1930 became the eighteenth conduc- phony had given their first "Promenade" tor of the Boston Pops, a post he would concert, offering both music and refresh- hold for half a century, to be succeeded by ments, and fulfilling Major Higginson's John Williams in 1980. The Boston Pops wish to give "concerts of a lighter kind of celebrated its hundredth birthday in 1985 music." These concerts, soon to be given in under Mr. Williams's baton. the springtime and renamed first "Popu- Charles Munch followed Koussevitzky as lar" and then "Pops," fast became a music director in 1949. Munch continued tradition. Koussevitzky's practice of supporting con-
During the orchestra's first decades, temporary composers and introduced much there were striking moves toward expan- music from the French repertory to this sion. In 1915, the orchestra made its first transcontinental trip, playing thirteen con- certs at the Panama-Pacific Exposition in San Francisco. Recording, begun with RCA in the pioneering days of 1917, continued with increasing frequency, as did radio broadcasts of concerts. The character of the Boston Symphony was greatly changed in 1918, when Henri Rabaud was engaged as conductor; he was succeeded the following season by Pierre Monteux. These appoint- ments marked the beginning of a French- oriented tradition which would be main- tained, even during the Russian-born Serge Koussevitzky's time, with the employment of many French-trained musicians.
The Koussevitzky era began in 1924. His extraordinary musicianship and electric Henry Lee Higginson
13 .
Batonpoised,
the expectant hush . . a rising crescendo signals the renewal ofaproud and cherished tradition.
We salute Mr. Seiji Ozawa and the Members ofthe Boston Symphony Orchestra with our best wishesfor a triumphant one hundred fifth season.
Jordan Marsh A Unit of Allied Stores.
14 country. During his tenure, the orchestra abroad, and his program of centennial com- toured abroad for the first time, and its missions—from Sandor Balassa, Leonard continuing series of Youth Concerts was ini- Bernstein, John Corigliano, Peter Maxwell tiated. Erich Leinsdorf began his seven- Davies, John Harbison, Leon Kirchner, year term as music director in 1962. Peter Lieberson, Donald Martino, Andrzej Leinsdorf presented numerous premieres, Panufnik, Roger Sessions, Sir Michael restored many forgotten and neglected Tippett, and Oily Wilson—on the occasion works to the repertory, and, like his two of the orchestra's hundredth birthday has predecessors, made many recordings for reaffirmed the orchestra's commitment to RCA; in addition, many concerts were tele- new music. Under his direction, the orches- vised under his direction. Leinsdorf was tra has also expanded its recording activi- also an energetic director of the Tangle- ties to include releases on the Philips, wood Music Center, and under his lead- Telarc, CBS, Angel/EMI, Hyperion, and ership a full-tuition fellowship program was New World labels. established. Also during these years, the Boston Symphony Chamber Players were From its earliest days, the Boston Sym- founded, in 1964; they are the world's only phony Orchestra has stood for imagination, permanent chamber ensemble made up of a enterprise, and the highest attainable stan- major symphony orchestra's principal dards. Today, the Boston Symphony players. Orchestra, Inc., presents more than 250 concerts annually. Attended by a live audi- William Steinberg succeeded Leinsdorf ence of nearly 1.5 million, the orchestra's in 1969. conducted several American He performances are heard by a vast national and world premieres, made recordings for and international audience through the Deutsche Grammophon and RCA, media of radio, television, and recordings. appeared regularly on television, led the Its annual budget has grown from 1971 European tour, and directed concerts Higginson's projected $115,000 to more on the east coast, in the south, and in the than $20 million, and its preeminent posi- mid-west. tion in the world of music is due not only to Seiji Ozawa, an artistic director of the the support of its audiences but also to Tanglewood Festival since 1970, became grants from the federal and state govern- the orchestra's thirteenth music director in ments, and to the generosity of many foun- the fall of 1973, following a year as music dations, businesses, and individuals. It is adviser. Now in his thirteenth year as music an ensemble that has richly fulfilled director, Mr. Ozawa has continued to solid- Higginson's vision of a great and perma- ify the orchestra's reputation at home and nent orchestra in Boston.
The first photograph, actually a collage, of the Boston Symphony Orchestra under Georg Henschel, taken 1882
15 A UNIQUE EVENT IN CONTEMPORARY CULTURE
ENSEMBLE INTERCONTEMPORAIN PIERRE BOULEZ CONDUCTOR
WITH rPIERRE BOULEZH PIERRE-LAURENT AIMARD, piano REPONS by PIERRE BOULEZ ALAIN NEVEUX, piano and electric organ Assistant: Andrew Gerzso
MARIE-CLAIRE JAMET, harp Technical realization IRCAM MICHEL CERUTTI, cimbalom Ticket prices: $5 and $10 at VINCENT BAUER, vibraphone Symphony Hall Box Office DANIEL CIAMPOLINI, xylophone 266-1492 and glockenspiel
THESE CONCERTS ARE MADE POSSIBLE BY THE SUPPORT OF THE MASSACHUSETTS COUNCIL ON THE ARTS AND HUMANITIES BOSTON SYMPHONY ORCHESTRA
Seiji Ozawa, Music Director
One Hundred and Fifth Season, 1985-86
Thursday, 6 February at 8 ^=^- Friday, 7 February at 2 Saturday, 8 February at 8
SEIJI OZAWA conducting
MAHLER Symphony No. 3
First Part
I. Kraftig. Entschieden. (Forceful. Decisive.)
Second Part
II. Tempo di Menuetto. Sehr massig. Ja nicht eilen! Grazioso. (In minuet tempo. Very moderato. Don't hurry! Graceful.)
III. Comodo. Scherzando. Ohne Hast. (Easygoing. Jesting. Without haste.)
IV. Sehr langsam. Misterioso. Durchaus ppp. (Very slow. Mysterious, ppp throughout.) Words by Nietzsche.
V. Lustig im Tempo und keck im Ausdruck. (Cheerful in tempo and jaunty in expression.) Words from Des Knaben Wunderhorn. VI. Langsam. Ruhevoll. Empfunden. (Slow. Peaceful. Deeply felt.)
JAN DeGAETANI, mezzo-soprano WOMEN OF THE TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor BOSTON BOY CHOIR, THEODORE MARIER, director
Jan DeGaetani's appearances this week have been funded by income from the Ethan Ayer Fund.
There will be no intermission.
Thursday's and Saturday's concerts will end about 9:40 and Friday's about 3:40. Philips, Telarc, CBS, Deutsche Grammophon, Angel/EMI, New World, Hyperion, and RCA records Baldwin piano
Please be sure the electronic signal on your watch or pager is switched off during the concert.
The program books for the Friday series are given in loving memory of Mrs. Hugh Bancroft by her daughters Mrs. A. Werk Cook and the late Mrs. William C. Cox.
17 Week 14 Architecture reminds me of frozen music'
Ganteaume & McMullen, Inc.
Architects • Engineers
99 Chauncy Street *Boston •617-423-7450
The Fox & Hounds Restaurant
THERE IS Originally Established 1937 A Small Club Opposite MONEY IN The Public Garden. YOUR HOUSE.
With our remarkable 13.00%* Home Equity Loan (13.19% A.RR.), your house can get you money for tuition, home improvement, vacations, or Hounds for any reason. Borrow from $5000 up to 80% of the equity you have in your home. Reservations and Information
*Plus 1 point 13.19% Annual Percentage Rate. Example: if (617)426-0555 you were to borrow $10,000 tor 15 years, you would have 180 monthly payments at $126.52 per month. Total pay- ment $22,773.60, total finance charge (including points) The Boston Park Plaza $12,873.60. Total amount of 1st mortgage and Home Equity Loan may not exceed 80% of appraised value of property. Hotel & Towers Bank may increase the rate of the loan after three years. Originally The Hotel Statler ^IstHmericanBank • • •• 11 offices in Boston and South Shore • 436-1500 The Boston Globe The Boston Herald (*3 Equal Housing Lender Member FDIC/DIFM
18 —
Gustav Mahler Symphony No. 3
Gustav Mahler was born in Kalischt (Kaliste) near the Moravian border of Bohemia on 7 July 1860 and died in Vienna on 18 May 1911. He did the main work on the Third Symphony in the sum- mers of 1895, when he composed the sec- ond through sixth movements, and 1896,
when he added the first. Two songs, Ablosung im Sommer (Relief in Summer) and Das himmlische Leben (Life in Heaven), provide source material for some of the symphony, and they go back to about 1890 and February 1892, respectively. Mahler made final revisions in May 1899. The symphony was intro- duced piecemeal. Arthur Nikisch con- ducted the second movement, then presented as Blumenstiick (Flower Piece), with the Berlin Philharmonic on 9 November 1896. Felix Weingartner gave the second, third, and sixth movements with the Royal Orchestra, Berlin, on 9 March 1897. With L. Geller-Wolter singing the alto solos, Mahler himself conducted the first complete performance at the Festival of the Allgemeiner Deutscher Musikverein in Krefeld on 9 June 1902, and the score was published that year by Josef Weinberger in Vienna. Ernst Kunwald introduced the Third Symphony in the United States at the Cincinnati May Festival, 9 May 1914. Richard Burgin conducted the first movement only at the Boston Symphony concerts of 18, 19, and 20 March 1943. On 19 and 20 January 1962, Burgin gave the complete work with the Chorus pro Musica, Alfred Nash Patterson, conductor, and Florence Kopleff, contralto. Erich Leinsdorf led BSO performances of the Mahler Third in September and October 1966 with the New England Conservatory Chorus, Lorna Cooke deVaron, conduc- tor, and the Boston Boychoir, John Oliver, conductor, and mezzo-soprano Shirley Verrett. In 1977 Seiji Ozawa led Symphony Hall performances with contralto Birgit Finnil'd, the New England Conservatory Chorus, and the Boston Boy Choir, Theodore Marier, director. Ozawa also led a Tanglewood performance in August 1977, again with Finnila and the Boston Boy Choir, but with the Tanglewood Festival Chorus, John Oliver, conductor. The orchestra's most recent Symphony Hall performances, in February 1982, were directed by Claudio Abbado with mezzo-soprano Hanna Schwarz, the women of the Tanglewood Festival Chorus, John Oliver, conductor, and the Boston Boy Choir, Theodore Marier, director. The same choral forces took part in the most recent Tanglewood performance, which ended the 1983 season, but with Ozawa conducting and Jessye Norman, soprano, as the soloist. The score calls for four flutes (two doubling piccolo), four oboes (one doubling English horn), three clarinets (one doubling bass clarinet) and two high clarinets in E-flat, four bassoons (one doubling contrabassoon), eight horns, four trumpets, posthorn, four trombones, bass- and contrabass-tuba, two harps, strings, and percussion including kettle- drums, glockenspiel, snare drum, triangle, tambourine, bass drum, suspended cymbals, cymbal attached to the bass drum, tam-tam, and birch brush.
"Any ass can see that," said Brahms when someone pointed out the resemblance of the big tune in the finale of his First Symphony to the one in Beethoven's Ninth. It is not recorded what Mahler said when someone—and someone must have—remarked on his beginning the Third Symphony with the Brahms First, as it were. That, too, any ass can
see, and we know what Mahler thought of such asses (cf. his song about the ass, the cuckoo, and the nightingale Lob des hohen Verstandes [Praise of Lofty Intellect] —
19 Week 14 composed in June 1896, midway through his work on the Third Symphony).* Mahler was neither forgetful nor a plagiarist, and more than forty years ago Donald Francis Tovey asserted the view then considered heterodox that "we cannot fall back upon the device of classifying Mahler as one of the conductor-composers who have drifted into composition through the urge to display their vast memories as experienced conductors." No, this beginning is allusion and reference, both to a particular monument of the symphonic tradition and to a type of triumphal song. Mahler lived ambivalently in tradition, wanting at the same time to be a part of it and, in Henry-Louis de La Grange's word, to
"insult" it. The Third, the biggest of his symphonies as well as the most extraordinary in proportions and design, is the most massive of his insults.
When Mahler visited Sibelius in 1907—he was then near to completing his Eighth Symphony—the two composers argued about "the essence of symphony," Mahler rejecting his colleague's creed of severity, style, and logic by countering with "No, a symphony must be like the world. It must embrace everything." Twelve years earlier, while actually at work on the Third, he had remarked that to "call it a symphony is really incorrect, as it does not follow the usual form. The term 'symphony'—to me this means creating a world with all the technical means available."
^Brahms, who looked at the score of Mahler's Second Symphony and found its scherzo to be a piece "bordering on genius," saw none of the Third. Mahler at this period always paid a summer visit to Brahms at Bad Ischl, close enough to his own house at Steinbach for a
pleasant bicycle trip. "Von Zeit zu Zeit seh' ich den alten gem" ("From time to time I enjoy seeing the old man"), said Mahler, quoting Goethe's Mephistopheles on the subject of his visits to the Lord. "Gloomy and hating life," the old man was nonetheless friendly to Mahler, though impossible to draw out on music or any other subject of intellectual content. That he asked to have one of Mahler's scores sent to him was an amazing departure from his usual reserve.
"There's no passion in the human soul. But finds its food in music."
George Lillo
Join us before or after the Symphony at the Bristol Lounge, overlooking the Public Garden at Four Seasons Hotel. Also serving lunch, dinner and afternoon tea. The encore is over, but the music plays on. For Four Seasons Place FourSeasons Hotel Condominium Sales Information, BOSTON please call 617-338-4444. 200 Boylston Street Boston, Massachusetts 02116 (617) 338-4400
20 The completion of the Second Symphony the previous summer had given him confi- dence: he was sure of being "in perfect control" of his technique. Now, in the summer of 1895, escaped for some months from his duties as principal conductor at the Hamburg Opera, installed in his new one-room cabin in Steinbach on the Attersee some twenty miles east of Salzburg, with his sister Justine and his friend Natalie Bauer-Lechner to look after him (this most crucially meant silencing crows, waterbirds, children, and whistling farmhands), Mahler set out to make a pantheistic world to which he gave the overall title The Happy Life—A Midsummer Night's Dream (adding "not after Shake- speare, critics and Shakespeare mavens please note"). Before he wrote any music, he worked out a scenario in five sections, entitled What the forest tells me, What the trees tell me, What twilight tells me ("strings only" he noted), What the cuckoo tells me (scherzo), and What the child tells me. He changed all that five times during the summer as the music began to take shape in his mind and, with a rapidity that astonished him, on paper as well. The Happy Life disappeared, to be replaced for a while by the Neitzschean Gay Science (first My Gay Science). The trees, the twilight, and the cuckoo were all taken out, their places taken by flowers, animals, and morning bells. He added What the night tells me and saw that he wanted to begin with the triumphal entry of summer, which would include an element of something Dionysiac and even frightening. In less than three weeks he composed what are now the second, third, fourth, and fifth movements. He went on to the Adagio and, by the time his composing vacation came to an end on 20 August, he had made an outline of the first movement and composed two independent songs, Lied des Verfolgten in Turm (Song of the Prisoner in the Tower) and Wo die schonen Trompeten blasen (Where the beautiful trumpets sound). It was the richest summer of his life.
*7
/OLc^ U ( fit, (&4$ *tt&U± u^
Mm
A September 1895 letter from Mahler to Natalie Bauer-Lechner with proposed titles for the Third Symphony's originally seven movements: I. Procession of Dionysus, or, Summer marches in. II. What the flowers in the meadow tell me. III. What the animals in the forest tell me. IV. What the night tells me (mankind). V. What the morning bells tell me (the angels). VI. What love tells me. VII. What the child tells me.
21 In June 1896 he was back at Steinbach. He had made some progress scoring the new symphony and he had complicated his life by an intense and stormy affair with a young, superlatively gifted dramatic soprano newly come to the Hamburg Opera, Anna von Mildenburg. He also discovered when he got to Steinbach that he had forgotten to bring the sketches of the first movement, and it was while waiting for them that he composed his little bouquet for critics, Lob des hohen Verstandes. In due course the sketches arrived, and Mahler, as he worked on them, gradually realized that the Awakening of Pan* and the Triumphal March of Summer wanted to be one movement instead of two.
He also saw, rather to his alarm, that the first movement was growing hugely, that it
would be more than half an hour long, and that it was also getting louder and louder. He deleted his finale, What the child tells me, which was the Life in Heaven song of 1892, putting it to work a few years later to serve as finale to the Fourth Symphony. That necessitated rewriting the last pages of the Adagio, which was now the last movement, but essentially the work was under control by the beginning of August. The Gay Science was still part of the title at the beginning of the summer, coupled with what had become
A Midsummer Noon 's Dream, but in the eighth and last of Mahler's scenarios, dated 6 August 1896, the superscription is simply A Midsummer Noon's Dream with the following titles given to the individual movements:
First Part: Pan awakes. Summer comes marching in (Bacchic procession).
Second Part: What the flowers in the meadow tell me
What the animals in the forest tell me What humanity tells me
What the angels tell me What love tells me
'Mahler was responsive to omens, and when a letter from Anna von Mildenburg arrived with PAN stamped prominently on the envelope, he was all set to take it as a preternatural endorsement of his plan for the symphony. The rush dissipated when he looked again and saw that the letters were followed by the number 30, the whole standing for Post Amt Nummer 30, Post Office Number 30.
Experience Makes t Founded 1893 the Difference A privaf, nonprofit day school for children jrrHfrrr with physical handicaps, Handicapped learning disabilities/ Children and medical conditions. 241 St. Botolph Street We can service voitr* Boston, MA 02115 printing needs-wbich 617/536-9632 # supports our vocational training Carl W. Mores* Ed.D. Superintendent
22
I :
At the premiere, the program page showed no titles at all, only tempo and generic indications (see below). "Beginning with Beethoven" wrote Mahler to the critic Max Kalbeck that year, "there is no modern music without its underlying program.—But no music is worth anything if you first have to tell the listener what experience lies behind it, respectively what he is supposed to experience in it.—And so yet again: pereat every program!—You just have to bring along ears and a heart and—not least—willingly surrender to the rhapsodist. Some residue of mystery always remains, even for the creator."
Writing at about the same time to the conductor Josef Krug-Waldsee, Mahler elaborated:
Those titles were an attempt on my part to provide non-musicians with some- thing to hold on to, and with a signpost for the intellectual, or better, the expressive content of the single movements and of their relationships to each
other and to the whole. That it didn't work (as, in fact, it could never work) and that it led only to misinterpretations of the most horrendous sort became painfully clear all too quickly. It's the same disaster that had overtaken me on previous and similar occasions, and now I have once and for all given up
Tonkflnstler-Versaniinlimg zu Krefeld.
IV. Konzert Montog, den 9. Juni, Abends 8 Uh in der Stadlhalle.
Program m Symphonie No. 3 in 2 Abtheiiungen fur grosses Orchcster, All-Sola Frm Gustav Mahler. Hater Lefian-g &m KoBJip«*t«B I. Abtbeilimg. I. No. Emfe-MiTog unci I. Satx, II. Abtheilung. No. f. Tempo di Menuelio. No. $, Hondo. No. 4. A If solo. attaccu No. 5. Frauen- und Knabcncbor mil AH-Soto attacca No. C. Adagio. Nucli flcr I. AtrtftrtlttBg florttt pint- Pa«*e sla(f. Alt-Sofo: Frau L. G«l)er«WoIter. Program page from the first performance of Mahler's Third Symphony 23 Performance Understanding Accountability Seal Harbor, Maine Oceanfront Osterville/Wianno Restored Carriage House Estate Water Views, Private Beach & Boat Mooring >.8 Ac. Peninsula, Main Residence, Guesthouse Boathouse, Sandy Beach. Protected Pastoral Setting & Pond. $750,000 Dock & $795,000 Additional Land Available Ledyard Farm - Wenham, Massachusetts The c.1748 Cabot-Endicott House Unique Opportunity for Magnificent Hilltop Site The Finest House in Salem Plus Carriage Abuts U.S. Equestrian Team Conservation Land House. Shop Bldg. & Beautiful Gardens. $625,000 Specializing in Distinctive Properties Exclusively ^LandVest^ Headquarters 14 Kilby Street, Boston. Massachusetts 02109 Telephone (617) 723-1800. BOS TELEX 294-116 24 . commenting, analyzing, all such expediences of whatever sort. These titles . . will surely say something to you after you know the score. You will draw intimations from them about how I imagined the steady intensification of feeling, from the indistinct, unbending, elemental existence (of the forces of nature) to the tender formation of the human heart, which in turn points toward and reaches a region beyond itself (God). Please express that in your own language, without quoting those extremely inadequate titles, and that way you will have acted in my spirit. I am very grateful that you asked me [about the titles], for it is by no means inconsequen- tial to me and for the future of my work how it is introduced into "public life." Words a program annotator quotes at his peril. But the climate has changed in these eighty-five years and today's audience is very much inclined to come to Mahler with that willingness to surrender for which he hoped. We do well to ignore the "Titan" claptrap Mahler imposed on his First Symphony years after its composition. When, however, we look at the titles in the Third Symphony, we are, even though they were finally rejected, looking at an attempt, or a series of attempts, to put into few words the material, the world of ideas, emotions, and associations that lay behind the choices Mahler made as he composed. We, too, can draw intimations from them, and then remove them as scaffolding we no longer need. And with that, let us turn to a brief look at the musical object Mahler left us. The first movement accounts for roughly one third of the symphony's length. Starting with magnificent gaiety, it falls at once into a mood of tragedy—seesawing chords of low horns and bassoons, the drumbeats of a funeral procession, cries and outrage. Mysterious twitterings follow, the suggestion of a distant quick march, and a grandly rhetorical recitative for the trombone. Against all that, Mahler poses a series of quick marches (the realizations of what he had adumbrated earlier for just a few seconds), the sorts of tunes you can't believe you haven't known all your life and the sort that used to cause critics to complain of Mahler's "banality," elaborated and scored with an astounding combination of delicacy and exuberance. Their swagger is rewarded by a collision with catastrophe, and the whole movement—for all its outsize dimensions as classical a sonata form as Mahler ever made—is the conflict of the dark and the bright elements, culminating in the victory of the latter. Two other points might be made. One concerns Mahler's fascination, not ignored in our century, with things happening "out of time." The piccolo rushing the imitations of the violins' little fanfares is not berserk: she is merely following Mahler's direction to play "without regard for the beat." That is playful, but the same device is turned to dramatic effect when, at the end of a steadily accelerating development, the snare drums cut across the oom-pah of the cellos and basses with a slower march tempo of their own, thus preparing the way for the eight horns in unison to blast the recapitulation into being. The other thing is to point out that several of the themes heard near the beginning will be transformed into the mate- rials of the last three movements—fascinating especially when you recall that the first movement was written after the others.* In the division of the work Mahler finally adopted, the first movement is the entire first section. What follows is, except for the finale, a series of shorter character pieces, beginning with the Blumenstuck, the first music he composed for this sym- phony. It is a delicately sentimental minuet with access, in its contrasting section, to slightly sinister sources of energy. Curiously, it anticipates music not heard in the symphony at all, that is to say, the scurrying runs from the Life in Heaven song that *In the Fourth Symphony, too, Mahler artfully creates the illusion that the music he composed between 1899 and 1901 leads inevitably to a finale that had existed since 1892. 25 Week 14 We invite you to join us before or after Symphony for a fine dining experience. We're so close you can almost hear the music. Lunch - 11:30 - 3 pm Dinner - 5 - 11 pm CAFE AMALFI ITALIAN RESTAURANT SPECIAL FUNCTIONS and 8-10 WESTLAND AVENUE LARGE GROUPS ACCOMMODATED BOSTON, MASS./ 536-6396 RESERVATIONS RECOMMENDED Weknowa good investment whenwe hear one. ill*, *' Let's all support the BSO. Tucker, Anthony & R.L.Day, Inc. Serving investors in 34 offices in the U.S. and abroad. Since 1892. One Beacon Street, Boston (617) 725-2000. Tucker Anthony CC*. COMPANY 26 was dropped from this design and finally made its way into the Fourth Symphony. Some time after he finished the music, Mahler noted with surprise that the bass part is pizzicato throughout. In the last measure, Wagner's Parsifal flower maidens make a ghostly appearance in Mahler's Upper Austrian pastoral. In the third movement, Mahler draws on his song Abl'osung im Sommer (Relief in Summer), whose text tells of waiting for Lady Nightingale to start singing as soon as the cuckoo is through. The marvel here is the landscape with posthorn, not only the lovely melody itself, but the way it is introduced: the magic transformation of the very "present" trumpet into distant posthorn, the gradual change of the posthorn's melody from fanfare to song, the interlude for flutes, and, as Arnold Schoenberg points out, the accompaniment "at first with the divided high violins, then, even more beautiful if possible with the horns." After the brief return of this idyll and ; before the snappy coda, Mahler makes spine-chilling reference to the "Great Sum- mons" music in the Second Symphony's finale. Low strings rock to and fro, the harps accenting a few of their notes, the seesawing horn chords from the first pages return, and a human voice intones the Midnight Song from Friedrich Nietzsche's Thus spoke Zarathustra (see page 29). Each of its eleven lines is to be imagined as coming between the strokes of midnight. Pianississimo throughout, warns Mahler. The harmony is almost as static as the dynamics, being frozen in all but a few measures to a pedal D (the beginning and end, which frame that D in its own dominant, A, are exceptions, and so is the setting with solo violin of "Lust tiefer noch als EwigkeiV ["Joy deeper still than heartbreak"]). From here, the music moves forward without a break, and as abruptly and drastically as it changed from the scherzo to Nietzsche's midnight, so does it change from that darkness to the bells and angels of the fifth movement. The text comes from Des knaben Wunderhorn (The Boy's Magic Hor?i), though the interjections of li Du sollst ja nicht weinen" ("But you mustn't weep") are Mahler's own.* A three- part chorus of women's voices carries most of the text, though the contralto returns to take the part of the sinner. The boys' chorus, confined at first to bell noises, joins later in the exhortation "Liebe nur Gott" ("Only love God")f and for the final stanza. This movement, too, foreshadows the Life in Heaven that will not, in fact, occur until the Fourth Symphony: the solemnly archaic chords first heard at "/c/i hab ubertreten die Zehen Gebot" ("I have trespassed against the Ten Commandments") will be associated in the later work with details of the domestic arrangement in that mystical, sweetly scurrile picture of heaven. Violins drop out of the orchestra for this softly sonorous movement. The delicate balance between the regions of F (the quick marches of the first movement, and the third and fifth movements) and D (the dirges in the first movement, the Nietzsche song, and, by extension, the minuet, which is in A major) is *Dcs Knaben Wunderhorn, published in three volumes between 1805 and 1808, widely read, discussed, criticized, and imitated, is a collection of German folk poetry, compiled in nation- alist and Romantic fervor by two poets in their twenties, Clemens Brentano and Achim von Arnim. That, at least, is what it purports to be: in fact, the two indulged themselves freely in paraphrases, additions, and deletions, fixing things up so as to give them a more antique and authentic ring, even contributing poems of their own. Mahler, often approaching verses with the same freedom with which Brentano and Arnim treated the originals, turned to this anthology many times: indeed, the Nietzsche movement in this symphony is Mahler's only solo song not on a Wunderhorn text beween the Songs of a Wayfarer of 1884 and the Songs on the Death of Children of 1902. fThis is a characteristic alteration of Mahler's. The original repeats the "und bete zu Gott" ("and pray to God") of the preceding line. 27 Week 14 — — now and finally resolved in favor of D. Mahler perceived that the decision to end the symphony with an Adagio was one of the most special he made. * "In Adagio movements," he explained to Natalie Bauer-Lechner, "everything is resolved in quiet. The Ixion wheel of outward appearances is at last brought to a standstill. In fast movements—minuets, Allegros, even Andantes nowadays—everything is motion, change, flux. Therefore I have ended my Second and Third symphonies, contrary to custom . . . with Adagios—the higher form as distinguished from the lower." A noble thought, but, not uniquely in Mahler, there is some gap between theory and reality. The Adagio makes its way at the last to a sure and grand conquest, but during its course—and this is a movement, like the first, on a very large scale Ixion's naming wheel can hardly be conceived of as standing still. In his opening melody, Mahler invites association with the slow movement of Beethoven's last quartet, Opus 135. Soon, though, the music is caught in "motion, change, flux," and before the final triumph, it encounters again the catastrophe that interrupted the first movement. The Adagio's original title, What love tells me, refers to Christian love ""agape"-—and Mahler's drafts carry the superscription: "Behold my wounds! Let not one soul be lost." The performance directions, too, seem to speak to the issue of spirituality, for Mahler enjoins that the immense final bars with their thundering kettledrums be played "not with brute strength, [but] with rich, noble tone"f and the last measure "not be cut off sharply," so that there is some softness to the edge between sound and silence at the end of this most riskily and gloriously comprehen- sive of Mahler's "worlds." —Michael Steinberg Now Artistic Adviser of the San Francisco Symphony, Michael Steinberg was the Boston Symphony Orchestra's Director of Publications from 1976 to 1979. *He had been anticipated by Tchaikovsky's Pathetique Symphony of 1893, but Bruckner's Ninth, which was in any event not originally intended to end with its great Adagio, was still work-in-progress in summer 1896. fMahler writes "gresafh'gtf," which suggests a range of meaning in the area of "satisfied" and "saturated." trips For A Southeast Asian Treat Successful business are music to my ears. Garber Travel has been orchestrating travel plans for some of the finest companies in MANDALAY New England and BURMESE RESTAURANT we've never missed a beat. Call me at 734-2100. I know we can work in perfect harmony. Boston • 329 Huntington Avenue • 247-2111 (£—* A~Z^_ Cambridge • 143 First Street • 876-2111 Main Office: 1406 Beacon St., Reservation Suggested Brookline. 28 J i Mensch! Gib Aeht! Oh man, give heed! Was spricht die tiefe Mitternacht? What does deep midnight say? Ich schlief! I slept! Aus tiefem Traum bin ich erwaeht! From a deep dream have I waked! Die Welt ist tief! The world is deep, Und tiefer als der Tag gedacht! And deeper than the day had thought! Tief ist ihrWeh! Deep is its pain! Lust tiefer noch als Herzeleid! Joy deeper still than heartbreak! Weh spricht: Vergeh! Pain speaks: Vanish! Doch alle Lust will Ewigkeit! But all joy seeks eternity, Will tiefe, tiefe Ewigkeit! Seeks deep, deep eternity. —Friedrich Nietzsche Es sungen drei Engel einen siissen Gesang, Three angels were singing a sweet song: Mit Freuden es selig im Himmel klang, With joy it resounded blissfully in heaven. Sie jauchzten frohlich auch dabei, At the same time they happily shouted with j°y Dass Petrus sei von Siinden frei. That Peter was absolved from sin. Denn als der Herr Jesus zu Tische sass, For as Lord Jesus sat at table, Mit seinen zwolf Jiingern das Abendmal ass, Eating supper with his twelve apostles, So sprach der Herr Jesus: "Was stehst So spoke Lord Jesus: "Why are you du denn trier? standing here? Wenn ich dich anseh', so weinest du mir." When I look at you, you weep." "Und sollt ich nicht weinen, du giitiger "And should I not weep, you kind Gott! God! Du sollst ja nicht weinen! No, you mustn't weep. Ich hab ubertreten die Zehen Gebot; I have trespassed against the Ten Commandments. Ich gehe und weine ja bitterlich, I go and weep, and bitterly. Du sollst ja nicht weinen! No, you mustn't weep. Ach komm und erbarme dich iiber mich!" Ah, come and have mercy on me!" "Hast du denn ubertreten die Zehen Gebot, "If you have trespassed against the Ten Commandments, So fall auf die Knie und bete zu Gott, Then fall on your knees and pray to God, Liebe nur Gott in alle Zeit Love only God for ever, So wirst du erlangen die himmlische Freud." And you will attain heavenly joy." Die himmlische Freud ist eine selige Stadt, Heavenly joy is a blessed city, Die himmlische Freud, die kein End mehr hat; Heavenly joy, that has no end. Die himmlische Freud war Petro bereit Heavenly joy was prepared for Peter Durch Jesum und alien zur Seligkeit. By Jesus and for the salvation of all. —from Des Knaben Wunderhorn 29 Week 14 . -Louis Vuitton. A. commitment to qualiQuality, % Beyond the famous that make each trunk, suitcase 'Monogram" canvas, Louis Vuitton and bag an outstanding example represents a unique concept in of durability, strength and re- luggage and accessories. finement. A rare attention to detail: An Expert advice: Selecting lug- authentic Louis Vuitton is identi- gage is not an easy task. Each fied by each small detail: hand- model (suitcase, travel bag or made handles, naturally oak-tan- accessory) must be chosen, or ned leather, patented pick-proof even custom-made, taking into locks, leather linings. . consideration both its form A commitment to quality: and function. At Louis Vuitton, With skill and imagination, our the staff is trained to offer the master craftsmen best direction and choose the materials assistance. V «f -tJfc' Discover Louis Vuitton at this exclusive Louis Vuitton store. Copley Place 100 Huntington Avenue Boston, MA 02116 (617) 437-6519 LOUIS VUITTON MAUETIER A PARIS MAISON FONDEE EN 1854 30 . More . . The best place to start reading about Gustav Mahler is Paul Banks's superbly insightful article in The New Grove. Next, a little larger, is the splendid short study by Michael Kennedy in the Master Musicians series (Littlefield paperback). Still going by increasing size, we come to Kurt Blaukopf s biography, a readable jour- nalistic account (London), and Egon Gartenberg's, which is especially good on the Viennese milieu if somewhat trivial on the music (Schirmer paperback). Henry-Louis de La Grange's Mahler is an extremely detailed biographical study and will prob- ably, when completed with a second volume, be the standard reference for the facts of Mahler's life. It was most welcome news when the third and last volume of Donald Mitchell's perceptive and detailed study of the music was published last year. At last we have a completed view of the composer's work on a truly Mahlerian scale in a study that is informed by a strong musical intelligence and thorough familiarity with the sources. The Third Symphony is discussed in the second volume, Gustav Mahler: The Wunderhorn Years (University of California; available in paperback). Alma Mahler's autobiography And the Bridge Is Love (Harcourt Brace Jovanovich) and her Gustav Mahler: Memories and Letters (University of Washington paperback) offer essential source material, but they must be treated with caution and considerable skepticism. The most recent edition of the latter book provides important correc- tions by Donald Mitchell and Knud Martner. Martner has edited Gustav Mahler: Selected Letters (Parrar, Straus and Giroux), which contains all of the letters pub- lished earlier in Alma Mahler's less than reliable collection plus a good many more, though it is still a far cry from the complete edition of Mahler letters we need. Of the currently available Mahler Thirds on record, the following are all particularly recommended: James Levine and the Chicago Symphony Orchestra and Chorus with Marilyn Home (RCA); Claudio Abbado and the Vienna Philharmonic and State Opera Chorus with Jessye Norman (DG); Georg Solti and the Chicago Symphony Orchestra and Chorus with Helga Dernesch (London); and Klaus Tennstedt and the London Philharmonic Orchestra and Chorus with Ortrun Wenkel (Angel). The first three of these are also available as compact discs. It is a shame that Nonesuch has deleted the superb older recording by Jascha Horenstein with the London Sym- phony Orchestra, the Ambrosian Singers, and Norma Procter; that reading deserves to be kept permanently available and is worth searching out. —S.L. 31 Week 14 For everyone who ever wished they could play beautiful music. \MIBFM97 Boston's easy listening radio station. 32 — Jan DeGaetani composers on both sides of the Atlantic Elliott Carter, Peter Maxwell Davies, George Crumb, Jacob Druckman, William Schuman, Harrison Birtwistle, George Rochberg, and Richard Wernick, to name but a few. Since her first Boston Symphony Orchestra appear- ances, in Ravel's L'Enfant et les sortileges in October 1974, Ms. DeGaetani has also per- formed music of Berlioz, Beethoven, Dvorak, Mendelssohn, and Bach with the orchestra. Her appearances at Tanglewood include recital performances with pianist Gilbert Kalish, and she is a frequent guest artist with the Boston Symphony Chamber Players. Mezzo-soprano Jan DeGaetani is at home in the vocal literature of many eras, from early music through art song and Lieder of the nineteenth and early-twentieth centuries to new works written for her by leading com- posers of our time. In her annual tours Thcj throughout the United States and abroad, Ms. DeGaetani appears in recital, chamber music, oratorio, opera, and with many of the Fine; Art of world's major symphony orchestras, includ- ing the Boston Symphony, Philadelphia Orchestra, Chicago Symphony, Los Angeles Refinishing Philharmonic, New York Philharmonic, San Francisco Symphony, the BBC Symphony Orchestra, the Concertgebouw Orchestra of Wayne Towle, Inc. is greater Amsterdam, and the Berlin Philharmonic. Boston's acknowledged expert in the Her many recordings of thirteenth- to twen- restoration and preservation of in- tieth-century repertory have won universal terior and exterior architectural praise and numerous awards. With pianist woodwork. Comprehensive paint- Gilbert Kalish, Jan DeGaetani has recorded ing and fine period detailing services songs by Schubert, Schumann, Brahms, Fos- available. Historic, contem- ter, Wolf, Debussy, Chausson, Mussorgsky, porary, and custom Tchaikovsky, Ives, Rachmaninoff, Ravel, and finishes are our Schoenberg. Two of her albums were singled speciality. out by High Fidelity magazine as among the best in the history of long-playing records. Born in Ohio, Jan DeGaetani is a graduate estimates: of the Juilliard School, where she studied 738-9121 with Sergius Kagen; she is now professor of voice at the Eastman School of Music and artist-in-residence at the Aspen Music Fes- tival. Ms. DeGaetani won early recognition as an outstanding performer of the music of this century and, in a profound and continuing commitment, has presented and recorded a >?t* /fl 33 Simply ilfiiiJS" Stated. mmmsM: » mat MJaLjfc^i'~ . &*:W' 0/7 tf?e inside, where it counts, we engineered the most sophisticated and powerful technology available today. On the outside, we designed a control panel that's straightforward and easy to use. That's it Because, at NAD, the music is the most important feature. Featured above on the right is the NAD 7140 AM/FM Stereo Receiver. Industrial design by Reinhold Weiss Design, Chicago NAD '-;_.-•'_•.- ^SWrS&'le '-.••••-. M AN UNCOMMON COMPANY. NAD(USA) INC. • 675 CANTON STREET • NORWOOD, MA 02062, U.S.A. Tanglewood Festival Chorus John Oliver, Conductor Grammy nominee for best choral perform- ance. The chorus may also be heard on the Philips releases of Schoenberg's Gurrelieder, taped live during Boston Symphony perform- ances and named best choral recording of 1979 by Gramophone magazine, and Mahler's Symphony No. 8, the Symphony of a Thou- sand; both of these have been newly issued on compact discs. The Tanglewood Festival Cho- rus under John Oliver also includes regular performances of a cappella repertory in its schedule; their album of a cappella twentieth- century American choral music, recorded at the invitation of Deutsche Grammophon, received a Grammy nomination for best choral performance of 1979. The most recent recordings by Mr. Oliver and the chorus include music of Luigi Dallapiccola and Kurt Co-sponsored by the Tanglewood Music Weill for Nonesuch, Beethoven's Choral Fan- Center and Boston University, and now in tasy with Serji Ozawa, Rudolf Serkin, and the its sixteenth year, the Tanglewood Festival Boston Symphony Orchestra for Telarc (a Chorus was organized in the spring of 1970 compact disc), and Debussy's La Damoiselle when founding conductor John Oliver elue with the orchestra and mezzo-soprano became director of vocal and choral activi- Frederica von Stade for CBS. The chorus has ties at the Tanglewood Music Center. Origi- also recorded a Christmas album, "We Wish nally formed for performances at the You A Merry Christmas," with John Williams Boston Symphony Orchestra's summer and the Boston Pops for Philips. home, the chorus was soon playing a major role in the orchestra's Symphony Hall sea- In addition to his work with the Tangle- son as well. Now the official chorus of the wood Festival Chorus, John Oliver is con- orchestra, the Tanglewood Festival Chorus ductor of the MIT Choral Society, a senior is regarded by conductors, press, and pub- lecturer in music at MIT, and conductor of lic as one of the great orchestra choruses the John Oliver Chorale. Since its inception of the world. The members of the chorus nine years ago, the John Oliver Chorale has donate their services, and they perform built an impressive repertoire ranging from regularly with the Boston Symphony masterpieces by Bach, Beethoven, Mozart, Orchestra in Boston, New York, and at and Stravinsky to less frequently per- Tanglewood, working with Music Director formed works by Carissimi, Bruckner, Ives, Serji Ozawa, John Williams and the Boston Martin, and Dallapiccola. The Chorale has Pops, and such prominent guests as Sir recorded Charles Ives's The Celestial Coun- Colin Davis, Leonard Bernstein, and Klaus try and Charles Loeffler's Psalm 137 for Tennstedt. In April 1984, the chorus Northeastern records and Donald Mar- received international attention for its par- tino's Seven Pious Pieces for New World ticipation in the world premiere perform- Records. Newly available from North- ances under Sir Colin Davis of Sir Michael eastern records is the Chorale's album Tippett's The Mask of Time, commissioned "Christmas Antiphonies," featuring by the Boston Symphony Orchestra for its polychoral works of Schiitz, Scheidt, centennial in 1981. Praetorius, Bax, and Daniel Pinkham. The Tanglewood Festival Chorus has col- laborated with Serji Ozawa and the Boston Symphony Orchestra on numerous record- ings, beginning with Berlioz's The Damnation of Faust for Deutsche Grammophon, a 1975 35 CJ&? JEWELERS We are specialists in custom design and restoration work in platinum and gold* All work is done on the premises* 43 CENTRAL STREET WELLESLEY, MASSACHUSETTS 237-2730 $t TSototykn^stnumnf* SAVE 20% Gershwin Rhapsody In Blue" Michael filson Thomas CBS Records A charming 19th Century Townhouse Reg. 11.29 NOW 8.99 serving superb continental cuisine in contemporary informal elegance. lunch ana dinner with a variety Mozart "Divertimento, K.563" Offering offresh seafood specials daily, and our Yo Yo Ma after theatre cafe menu till midnight. CBS Records Reg. 11.29 NOW 8.99 Serving Lunch: 12:00-2:30 weekdays Dinner: 6:00-10:30 Sun-Thurs. 6:00-12:00 Fri. -Sat. Brunch: 11:00-3:00 Sun. HARVARD cocmwsm SOCIETY vafip reservations: 266-3030 99 St. Botolph Street Available at Harvard Square, M.I.T. Student Center, Children's behind the Colonnade Hotel Medical Center and One Federal St., Boston. Charge, Coop, Valet Parking Mastercard, Visa and American Express welcome. 36 Women of the Tanglewood Festival Chorus John Oliver, Conductor Sopranos Mezzo-sopranos Margaret Aquino Maisy Bennett Michele M. Bergonzi Christine Billings Susan Cavalieri Arnalee Cohen Bonita Ciambotti Ethel Crawford Joanne L. Colella Catherine Diamond Margo Connor Sara Dorfman Mary A. V. Crimmins Kitty DuVernois Helen Eberle Daly Evelyn M. Eshleman-Kern Lou Ann David Paula Folkman Jeanne Duffy Dorrie Fuchs Christine P. Duquette Irene Gilbride Amy G. Harris Thelma Hayes Cecile A. Hastie Donna Hewitt-Didham Lois Hearn Leah Jansizian Lisa Heisterkamp Angeline Lakis & Christine Jaronski Suzanne D. Link Frances V. Kadinoff April Merriam Lydia A. Kowalski Ellen D. Rothberg Patricia Mitchell Linda Kay Smith Heidemarie Miiller Ada Park Snider H. Diane Norris Julie Steinhilber Fumiko Ohara Judith Tierney Nancy Lee Patton Julia Poirier Charlotte C. Russell Priest Lisa Saunier Sarah Harrington, Manager Bernadette Yao Martin Amlin, Rehearsal pianist For rates and information on * BOSTON advertising in the SYMPHONY Boston Symphony, ORCHESTRA Boston Pops, SEIJI OZAWA and Musk Dirtctor l"X ., n* Tanglewood program books please contact: 5 STEVE GANAK AD REPS 51 CHURCH STREET (617)-542-6913 BOSTON, MASS. 02116 37 .. iMs§ %, W- rr'' && c 'ii;ii:$-* ^iflsay Anytime you invest you're going out on a limb. The trick is knowing which limb togo out on. " There are a lot of ways to invest your money these days. And though some appear to be strong and firmly rooted at first, closer inspection reveals they're risky and won't carry much weight. So call our Personal Financial Management Group at 1-800- SHAWMUT. You'll find we select investments as strong as oak. ^pk Shawmut Financial Management 1 Ell V ^Bf™ Division Look to us for direction. 38 Boston Boy Choir Theodore Marier, Director Now in its twenty-second year, the Boston 1984 and, at Tanglewood last summer, Boy Choir has been acclaimed from Maine to Bach's St. Matthew Passion and Carl Orff's California and throughout Europe, where Carmina burana. The Boston Boy Choir has the ensemble toured in 1972. The choir lists recorded Berlioz's Damnation of Faust for frequent appearances with the Boston Sym- Deutsche Grammophon and Mahler's Eighth phony Orchestra among its performances, Symphony for Philips with the BSO under including Berlioz's Damnation of Faust, Seiji Ozawa, and members of the chorus Mendelssohn's Elijah, and Mahler's Eighth recently participated in a recording of Kurt Symphony, as well as stagings at Tangle- Weill's Recordare with John Oliver and the wood of Puccini's Tosca and scenes from Tanglewood Festival Chorus for Nonesuch. Mussorgsky's Boris Godunov, all under the The Boston Boy Choir is in residence at direction of Seiji Ozawa. In addition, the St. Paul's Church in Cambridge, Massachu- group has performed music of Monteverdi, setts, where Theodore Marier was named Wagner, Mahler, Liszt, and Britten with the first music director of the Boston Arch- orchestra under such guest conductors as diocesan Choir School in 1963. Mr. Marier, Andre Previn and Kurt Masur. The choir's recognized as both an outstanding conduc- most recent BSO performances have tor and a distinguished church musician, included Arthur Honegger's Jeanne d'Arc an was organist and choir director of St. Paul's bucher in Boston and New York in December before founding the choir. Audi ANNIS PORSCHE 4- AUDI, INC. New England's #1 Volume Dealer ___ Route 9, Natick f KM (617) 237-5759 39 Classical, rock and all that jazz sound better on audio systems by ADS. ¥~ 1011 k r . For proof see an ADS dealer. For information call (617) 658- 5100. Or write to Analog & Digital Systems, 425 Progress Way, Wilmington, MA 01887. Audio Apart. The Boston Symphony Orchestra gratefully acknowledges the following corporations and professional organizations for their generous and valuable support during the past or current fiscal year. (* denotes support of at least $2,500; capitalization denotes support of at least $5,000; names which are both capitalized and underscored within the Business Leaders' listing comprise the Business Honor Roll.) 1985-86 Business Honor Roll ($10,000 + ) ADD Inc Architects Stanley H. Kaplan Educational Philip M. Briggs Centers, Ltd. Advanced Management Susan B. Kaplan Associates, Inc. Kikkoman Corporation Harvey Chet Krentzman Katsumi Mogi Allied-Signal, Inc. Liberty Mutual Insurance Companies Paul M. Montrone Melvin B. Bradshaw Analog Devices, Inc. Lotus Development Corporation Ray Stata Mitchell D. Kapor Bank of Boston Manufacturers Life Insurance Company William L. Brown E. Sydney Jackson Bank of New England McKinsey & Company, Inc. Peter H. McCormick Robert P. O'Block BayBanks, Inc. Mobil Chemical Corporation William M. Crozier, Jr. Rawleigh Warner, Jr. Boston Edison Company Morse Shoe, Inc. Stephen J. Sweeney Manuel Rosenberg The Boston Globe/ New England Mutual Life Affiliated Publications Insurance Company William O. Taylor Edward E. Phillips Cahners Publishing Company, Inc New England Telephone Company Norman L. Cahners Gerhard M. Freche Country Curtains Peat, Marwick, Mitchell & Co. Jane P. Fitzpatrick Robert D. Happ Creative Gourmets, Ltd. Pneumo Corporation Stephen E. Elmont Gerard A. Fulham Digital Equipment Corporation The Prince Company, Inc. Kenneth H. Olsen Joseph P. Pellegrino Dynatech Corporation Raytheon Company J. P. Barger Thomas L. Phillips Exxon Corporation The Red Lion Inn Stephen Stamas John H. Fitzpatrick GTE Electrical Products State Street Bank & Trust Company Dean T. Langford William S. Edgerly General Cinema Corporation Teradyne, Inc. Richard A. Smith Alexander V. d'Arbeloff General Electric Company WCRB/Charles River Broadcasting, Inc. John F. Welch, Jr. Richard L. Kaye The Gillette Company WCVB-TV 5 Colman M. Mockler, Jr. S. James Coppersmith John Hancock Mutual Life Wang Laboratories, Inc. Insurance Company An Wang E. James Morton Weston/Loblaw Companies Ltd. Honeywell Richard Currie Warren G. Sprague Zayre Corporation Maurice Segall 41 Bourne & Mercier, performing art. i Baume & Mercier bracelet watch in 14 karat gold with diamond bezel, $4,300. Andfrom our collection, a 14 karat gold and diamond necklace, $2,495. Bravo! (I) Baume & Mercier GENEVE A Fine Jeweler Since 1822 Convenient locations in the greater Boston metropolitan area. (617) 262-7854 © Fine Jewelers Guild, Inc. 1985 Business Leaders ($1,000 + ) Accountants Interalia Design Associates Electrical/HVAC Judith Brown Caro ARTHUR ANDERSEN & CO. Guzovsky Electrical William F. Meagher *LEA Group Corporation Edward Guzovsky COOPERS & LYBRAND Eugene R. Eisenberg Vincent M. O'Reilly Banking *p.h. mechanical corporation Paul A. Hayes Charles E. DiPesa & Co. BANK OF BOSTON R&D ELECTRICAL CO., INC. William F. DiPesa William L. Brown Richard D. Pedone ERNST & WHINNEY BANK OF NEW ENGLAND James G. Maguire Peter H. McCormick KMG Main Hurdman BAYBANKS, INC. Electronics William A. Larrenaga William M. Crozier, Jr. Alden Electronics, Inc. PEAT, MARWICK, Chase Manhattan Corporation John M. Alden MITCHELL & CO. Robert M. Jorgensen Bose Corporation Robert D. Happ CITICORP/CITIBANK Amar G. Bose TOUCHE ROSS & CO. Clark Coggeshall C & K Components, Inc. James T. McBride Framingham Trust Company Charles A. Coolidge, Jr. ARTHUR YOUNG & COMPANY William A. Anastos The Mitre Corporation Thomas P. McDermott Mutual Bank Robert R. Everett Keith G. Willoughby *Parlex Corporation Advertising/Public Relations * Patriot Bancorporation Herbert W Pollack Harold Cabot & Co., Inc. Thomas R. Heaslip * Signal Technology Corporation James I. Summers Rockland Trust Company William E.Cook *Berk and Company, Inc. John F Spence, Jr. Kenneth A. Berk SHAWMUT BANK OF BOSTON THE COMMUNIQUE GROUP, INC. Energy William F. Craig James H. Kurland ATLANTIC RICHFIELD STATE STREET BANK & *Hill, Holliday, Connors, FOUNDATION TRUST COMPANY William F. Kieschnick Cosmopulos, Inc. William S. Edgerly Jack Connors, Jr. CABOT CORPORATION Corp. Kenyon & Eckhardt, Inc. *UST FOUNDATION James V. Sidell Thomas J. Mahoney Ruth C. Scheer NEWSOME & COMPANY Building/Contracting EXXON CORPORATION Stephen Stamas Peter Farwell National Lumber Company Young & Rubicam Louis L. Kaitz MOBIL CHEMICAL CORPORATION Alexander Kroll *Perini Corporation Rawleigh Warner, Jr. David B. Perini Aerospace *JF White Contracting *Yankee Companies, Inc. *Northrop Corporation Company Paul J. Montle Thomas V. Jones Thomas J White PNEUMO CORPORATION Communication/Displays Engineering Gerard A. Fulham *Giltspur Exhibits/Boston Stone & Webster Engineering Corporation Apparel Thomas E. Knott, Jr. *Harbor Greenery William F. Allen, Jr. *Knapp King-Size Corporation Diane Valle Winthrop A. Short William Carter Company Education Entertainment/Media Manson H. Carter *Bentley College GENERAL CINEMA Gregory H. Adamian CORPORATION Architecture/Design STANLEY H. KAPLAN Richard A. Smith ADD INC ARCHITECTS EDUCATIONAL CENTER National Amusements, Inc. Philip M. Briggs Susan B. Kaplan Sumner M. Redstone 43 . Investment Real Estate Management, Brokerage and Consulting Services Since 1898 Donald L. Saunders, President & Chief Executive Officer SAUNDERS & ASSOCIATES 20 Park Plaza • Boston • MA • 021 16 Beautiful Books (617)426-4000 and Classic Recordings Exclusive Agent for the Statler Office Building Copley Place 437-0700 Nursing and Retirement Homes for those who appreciate the difference . . Two superb nursing and retirement homes where we cater to the individual personalities and preferences of our guests in a truly elegant fashion. Each home isprofessionally staffed to meet nursing care needs, yet feels and functions like a fine hotel. Oakwood—601 Summer Street Elmhurst—743 Main Street Manchester-by-the Sea, MA 01944 Melrose, MA 02176 (617) 526-4653 (617) 662-7500 Please feel free to visit or call for further information. Two of twenty-eight long-term care facilities throughout Massachusetts that are owned and managed by Beverly Enterprises. We are committed to quality of life. 44 Between the two of us, no one can offer you better private banking services. Put our strength to work for BANKOF BOSTON Call Dean Ridlon, Managing Director, Private Banking Group at (617) 434-530 ANDOVER • BOSTON (FINANCIAL DISTRICT & BACK BAY) • BURLINGTON • HAVERHILL MARBLEHEAD • PITTSFIELD • SPRINGFIELD • WELLESLEY HILLS • WORCESTER © 1985 The First National Bank of Boston. \f Carleton-Willard Village is an exceptional continuing care retirement community. Gracious independent living accommodations and fully licensed, long-term health care facilities exist in a traditional New England environment. 100 Old Billerica Rd. Bedford, MA 01730 (617) 275-8700 Owned and operated by Carleton-Willard Homes, Inc., a non-profit corporation Finance/Venture Capital MORSE SHOE, INC. THE RED LION INN Manuel Rosenberg John H. Fitzpatrick *Farrell, Healer & Company Richard Farrell THE SPENCER * Sheraton Boston THE FIRST BOSTON COMPANIES, INC. Hotel & Towers CORPORATION C. Charles Marran Gary Sieland George L. Shinn STRIDE RITE Sonesta International Hotels Corporation Kaufman & Company CORPORATION Paul Sonnabend Sumner Kaufman Arnold S. Hiatt THE WESTIN HOTEL *Narragansett Capital Furnishings/'Housewares Bodo Lemke Corporation COUNTRY CURTAINS Arthur D. Little Insurance Jane P. Fitzpatrick Pioneer Financial *A.I.M. Insurance Agency, Inc. Hitchcock Chair Company Richard E. Bolton James A. Radley Thomas H. Glennon *TA Associates Arkwright-Boston Insurance Jofran Sales, Inc. Peter A. Brooke Frederick J. Bumpus Robert D. Roy *Cameron & Colby Co., Inc. Food Service/Industry High Technology Graves D. Hewitt ARCHER DANIELS Allied Corporation "Consolidated Group, Inc. MIDLAND COMPANY Edward L. Hennessy, Jr. Woolsey S. Conover Dwayne 0. Andreas Analytical Systems "Frank B. Hall & Company of Azar Nut Company Engineering Corporation Massachusetts Edward Azar Michael B. Rukin Colby Hewitt, Jr. JOHN HANCOCK MUTUAL Boston Showcase Company "Computer Partners, Inc. LIFE INSURANCE COMPANY Jason Starr Paul J. Crowley E. James Morton CREATIVE GOURMETS, LTD. *Data Packaging Corporation Otto Morningstar Fred S. James & Co. Stephen E. Elmont *Encore Computer Corporation of New England, Inc. Dunkin' Donuts, Inc. Kenneth G. Fisher P. Joseph McCarthy Robert M. Rosenberg General Eastern Instruments Johnson & Higgins * Johnson, O'Hare Co., Inc. Corporation Robert A. Cameron Harry O'Hare Pieter R. Wiederhold LIBERTY MUTUAL KIKKOMAN CORPORATION * Helix Technology Corporation INSURANCE COMPANIES Katsumi Mogi Frank Gabron Melvin B. Bradshaw *0'Donnell-Usen Fisheries Hycor, Inc. MANUFACTURERS LIFE Corporation Joseph Hyman INSURANCE COMPANY Arnold S. Wolf E. Sydney Jackson Interactive Data Corporation THE PRINCE COMPANY, INC. John Rutherfurd NEW ENGLAND MUTUAL Joseph P. Pellegrino POLAROID CORPORATION LIFE INSURANCE COMPANY * Roberts and Associates Edward E. Phillips William J. McCune, Jr. Richard J. Kunzig RAYTHEON COMPANY Prudential Life Insurance Silenus Wines, Inc. Company of America Thomas L. Phillips B. Hangstefer James Robert J. Scales THE SIGNAL COMPANIES, INC. *The Taylor Wine Company, Inc. Sullivan Risk Management Paul M. Montrone Michael J. Doyle Group WESTON/LOBLAW John Herbert Sullivan Hotel/Restaurant COMPANIES LTD. Sun Life Assurance Company Richard Currie Boston Park Plaza of Canada Hotel & Towers David D. Horn Roger A. Saunders "Charles H. Watkins & Footwear *The Hampshire House Company, Inc. Chelsea Industries, Inc. Thomas A. Kershaw Richard P. Nyquist Ronald G. Casty * Howard Johnson Company * Mercury International G. Michael Hostage Investments Trading Corporation Mildred's Chowder House *ABD Securities Corporation Irving A. Wiseman James E. Mulcahy Theodor Schmidt-Scheuber 45 m*s£ Elegant suppers 5:30-12:00, Mon.-Thurs.; 5:30-8:00, Fri. and Sat. Boston's classic 4-star restaurant at the Dave McKenna, resident pianist . At the Copley Plaza Hotel. Valet parking. 267-5300. Copley Plaza Hotel. Valet parking. 267-5300. MORE MUSIC FORYOUR MONEY. Whether you're looking for an opera or an oratorio, a ballet or a baroque trumpet fanfare, you're sure to find what you want at the Classical Record Center at Barnes & Noble. When it comes to classical music, you always get more for your money at Barnes & Noble. Classical Record Center at Barnes & Noble 395 Washington Street (at Downtown Crossing) BARNES Mon.-Fri., 9:30-6:30 Sat., 9:30-6:00 &NOBLE Sun., 12:00-6:00 46 Amoskeag Company Jason M. Cortell & Kenett Corporation Joseph B. Ely II Associates, Inc. Julius Kendall Jason M. Cortell Bear, Stearns & Company *Leach & Garner Company Stuart Zerner General Electric Consulting Philip F. Leach Services Corporation *E.F Hutton & Company, Inc. L.E. Mason Company James J. O'Brien, Jr. S. Paul Crabtree Harvey B. Berman Goldman, Sachs & Company Kazmaier Associates, Inc. Ludlow Corporation Stephen B. Kay Richard W. Kazmaier, Jr. Arthur Cohen HCW, Inc. *Killingsworth Associates, Inc. Monsanto Company William R. Killingsworth John M. Plukas John P. Dushney COMPANY, INC. "Kensington Investment McKINSEY& NEW ENGLAND BUSINESS Company Robert P. O'Block SERVICE, INC. Alan E. Lewis Nelson Communications, Inc. Richard H. Rhoads Bruce D. Nelson LOOMIS SAYLES & * Plymouth Rubber Company, Inc. COMPANY Rath & Strong, Inc. Maurice J. Hamilburg Robert L. Kemp Arnold 0. Putnam * Rand-Whitney Corporation Moseley, Hallgarten, The Wyatt Company Robert Kraft Estabrook & Weeden, Inc. Michael H. Davis Superior Pet Products, Inc. S. Moseley Fred Richard J. Phelps *Putnam Mutual Funds, Inc. Tech Pak, Inc. Lawrence J. Lasser William F. Rogers, Jr. Manufacturing/Industry *Tucker, Anthony & Termiflex Corporation R.L.Day, Inc. Acushnet Company William E.Fletcher Gerald Segel John T. Ludes *Towle Manufacturing Company *Woodstock Corporation Alles Corporation Leonard Florence Frank B. Condon Stephen S. Berman *Trina, Inc. Ames Safety Envelope Legal Thomas L. Easton Company H.K. Webster Company, Inc. Cargill, Masterman & Culbert Robert H. Arnold Thomas E. Cargill, Jr. Dean K. Webster *Avondale Industries, Inc. Dickerman Law Offices Webster Spring Company, Inc. William F. Connell Lola Dickerman A.M. Levine Checon Corporation Gadsby & Hannah Donald E. Conaway *Wellman, Inc. Harry R. Hauser Arthur 0. Wellman, Jr. Dennison Manufacturing •Goldstein & Manello Company Richard J. Snyder Nelson S. Gifford HERRICK & SMITH Econocorp, Inc. Shepard M. Remis Richard G. Lee *Nissenbaum Law Offices ERVING PAPER MILLS Media Gerald L. Nissenbaum Charles B. Housen THE BOSTON GLOBE/ Sherburne, Powers & Needham *Flexcon Company, Inc. AFFILIATED Daniel Needham, Jr. Mark R. Ungerer PUBLICATIONS William 0. Taylor Management/Financial GENERAL ELECTRIC Consulting COMPANY *The Boston Herald ADVANCED MANAGEMENT John F. Welch, Jr. Patrick J. Purcell ASSOCIATES, INC. GENERAL ELECTRIC WBZ-TV 4 Harvey Chet Krentzman COMPANY/LYNN Thomas L. Goodgame Frank E. BLP Associates Pickering WCIB-FM Bernard L. Plansky THE GILLETTE COMPANY Lawrence K. Justice *Bain & Company Colman M. Mockler, Jr. WCRB/CHARLES RIVER William W. Bain, Jr. *Harvard Folding Box Co., Inc. BROADCASTING, INC. THE BOSTON Melvin A. Ross Richard L. Kaye CONSULTING GROUP Kendall Company WCVB-TV 5 Arthur P. Contas J. Dale Sherratt S. James Coppersmith 47 'I Introduce Your Children To Boston Symphony Youth Concerts spy Artistic Director GIVE YOUR CHILDREN TWO Remaining tickets available for Elementary School concert: Saturday, March 8, 1986 — 10:30 AM Saturday, 3, — 10:30 MUSICAL AFTERNOONS AT May 1986 AM and High School concert: SYMPHONY NEXT SPRING Thursday, May 1,1986 — 10:15 AM Saturday Series "B" — 2:00 PM March 8, 1986 May 3, 1986 TWO-CONCERT SERIES - $10.50 Please return this form along with check payable to: BOSTON SYMPHONY ORCHESTRA, Youth Concerts Subscription Office, Symphony Hall, Boston, MA 02115 Enclosed is: $ for tickets to Sat. "B" Series. NAME SCHOOL. ADDRESS. Give Your Children— CITY STATE. ZIP. the Gift of Music DAY PHONE EVENING PHONE. Subscribe Today!! Single tickets, if available, are $5.75 each and may be purchased through the Youth Activities Office 3 weeks before the concert. For additional information, call 266-1492. Sorry, no pre-school children admitted. 48 *WNEV-TV 7 Real Estate/Development *Neiman-Marcus William D. Roddy Seymour L. Yanoff *Boston Financial Technology * Group, Inc. Purity Supreme, Inc. Musical Instruments Fred N. Pratt, Jr. Frank P. Giacomazzi *Baldwin Piano & Organ Combined Properties, Inc. Saks Fifth Avenue Company Stanton L. Black Ronald J. Hoffman R.S. Harrison *John M. Corcoran & Co. Shaw's Supermarkets Avedis Zildjian Company John M. Corcoran Stanton W Davis Armand Zildjian *Corcoran, Mullins, Jennison, Inc. THE STOP & SHOP Joseph E. Corcoran COMPANIES, INC. Personnel J. Goldberg *The Flatley Company Avram Dumont Kiradjieff & Moriarty Thomas J. Flatley ZAYRE CORPORATION Edward J. Kiradjieff * Fowler, Goedecke, Ellis & Maurice Segall *Emerson Personnel, Inc. O'Connor Warren Science/Medical Rhoda William J. O'Connor Services *Charles River Breeding *TAD Technical Historic Mill Properties Laboratories, Inc. Corporation Bert Paley David J. McGrath, Jr. Henry L. Foster *Meredith & Grew, Incorporated *Compu-Chem Laboratories, Inc. George M. Lovejoy, Jr. Printing/Graphic Design Claude L. Buller Northland Investment *Bowne of Boston, Inc. Damon Corporation Corporation Albert G. Mather David I. Kosowsky Robert A. Danziger *Bradford & Bigelow, Inc. *HCA Foundation *Provident Financial Services, Inc. John D. Galligan Hospital Corporation of Robert W Brady Customforms, Inc. America David A. Granoff Ryan, Elliott & Coughlin Donald E. Strange John Ryan DANIELS PRINTING Services COMPANY Benjamin Schore Company *Victor Grillo & Associates Lee S. Daniels Benjamin Schore Victor N. Grillo *Label Art, Inc. *Winthrop Securities Co., Inc. David C. Hewitt J. William Flynn Travel/Transportation *United Lithograph, Inc. *Heritage Travel, Inc. Leonard A. Bernheimer Retail Donald R. Sohn *Weymouth Design, Inc. Child World, Inc. THE TRANS-LEASE GROUP Michael E. Weymouth Dennis H. Barron John J. McCarthy, Jr. FILENE'S Publishing Utilities Michael J. Babcock *ADCO Publishing Company, Inc. BOSTON EDISON Herman, Inc. Samuel D. Gorfinkle COMPANY Bernard A. Herman Stephen J. Sweeney Addison-Wesley Publishing Company Hills Department Stores EASTERN GAS & FUEL Donald R. Hammonds Stephen A. Goldberger ASSOCIATES CAHNERS PUBLISHING * Jordan Marsh Company William J. Pruyn COMPANY, INC. Elliot Stone New England Electric System Norman L. Cahners Karten's Jewelers Guy W Nichols HOUGHTON MIFFLIN Joel Karten NEW ENGLAND COMPANY Marshall's, Inc. TELEPHONE COMPANY Marlowe G. Teig Frank H. Brenton Gerhard M. Freche 49 ^*** ce G eV\eO "^co- °^ \e^- nN^A *C^>^ \o 50 m The following Members of the MASSACHUSETTS Massachusetts High Technology MGH TECHNOLOGY Council support the BSO through COUNCL the BSO Business & Professional i I Leadership Program: » y r ft* AT&T DYNATECH LOTUS DEVELOPMENT Peter Cassels CORPORATION CORPORATION ANALOG DEVICES, INC. J. P. Barger Mitchell D. Kapor Ray Stata *EG&G, Inc. *M/A-COM, Inc. *The Analytic Sciences Dean W Freed Vessarios G. Chigas Corporation *Epsilon Data Management, *Masscomp I Arthur Gelb * Inc. August P. Klein I APOLLO COMPUTER, Thomas 0. Jones Massachusetts High 1 1 *£*« INC. The Foxboro Company Technology Council, Inc. Thomas A. Vanderslice Earle W Pitt Howard P. Foley Aritech Corporation GTE ELECTRICAL MILLIPORE James A. Synk PRODUCTS CORPORATION *Augat, Inc. Dean T. Langford John G. Mulvany Roger D. Wellington GenRad Foundation *Orion Research Incorporated BBF Corporation Linda B. Smoker Alexander Jenkins III Boruch B. Frusztajer *Haemonetics, Inc. * PRIME COMPUTER, INC. Barry Wright Corporation John F. White Ralph Z. Sorenson Joe M. Henson Harbridge House, Inc. * Printed Circuit Corporation BOLT BERANEK AND George Rabstejnek NEWMAN INC. Peter Sarmanian Hewlett-Packard Company Stephen R. Levy SofTech, Inc. Alexander R. Rankin *Compugraphic Corporation HONEYWELL Justus Lowe, Jr. Carl E. Dantas Warren G. Sprague *Sprague Electric Company Computervision Corporation John L. Sprague Martin Allen IBM CORPORATION *Tech/Ops, Inc. Paul J. Palmer Corning Glass Works Marvin G. Schorr Foundation Impact Systems, Inc. TERADYNE, INC. Richard B. Bessey Melvin D. Platte Alexander V. d'Arbeloff *Cullinet Software, Inc. Instron Corporation Harold Thermo Electron Corporation John J. Cullinane Hindman George N. *Dennison Computer *Ionics, Incorporated Hatsopoulos Supplies, Inc. Arthur L. Goldstein WANG LABORATORIES, Charles L. Reed, Jr. *Arthur D. Little, Inc. INC. DIGITAL EQUIPMENT John F Magee An Wang CORPORATION "XRE Corporation Kenneth H. Olsen John K. Grady 51 HJ/Yiat (fetter uxu/ to start t/i& daw? ^ouxlscm^, musio, a cam^artaA/& companion/, a reasoned'assessment oftA& ataassnea>&, asens&aftn^a^eatAerhatt^rnsy, andtAen— more-masio. 4 J y(mertca/&most? /istened'to-^r<^ranv of c/assical, treian^ianal and'c&ntem/wrw^ mitsio, is bresenteeleaera c/aajrctm/seven/ ti/lnaon cm stations tftn^&u^ and is Aeard/'in/ tA& ^Boston area in/ a^ranj/rom &7i& &a/6ot&. 52 Coining Concerts . . . From Thursday, 13 February, through Satur- day, 1 March, the Boston Symphony Orchestra will be on tour in Japan. WITH performance will Our Thursday '10'—27 February, 8-10 please you. Friday 'B'—28 February, 2-4 Saturday 'B'—1 March, 8-10 ENSEMBLE INTERCONTEMPORAIN : ORUM ASSOCIATES INC PIERRE BOULEZ, conductor REAL ESTATE OF DISTINCTION IN Varese Octandre BROOKLINE AND NEWTON Carter Penthode (617)232/0323 Holler Resonance Donatoni Tema Schoenberg Chamber Symphony No. 1 Wednesday, 12 March at 7:30 Open Rehearsal Steven Ledbetter will discuss the program at 6:45 in the Cohen Annex Thursday '10'—13 March, 8-9:55 Friday 'A'—14 March, 2-3:55 Saturday 'A'—15 March, 8-9:55 Tuesday 'C—18 March, 8-9:55 **^ CHRISTOPH ESCHENBACH, conductor ' 'Here 's the setting and pianist foryour next All-Mozart Symphony No. 35, Haffner Program Piano Concerto No. 23 corporate meeting. in A, K.488 Symphony No. 41, Jupiter The moment your guests arrive at the beautiful Black Point Inn, they will know they occupy a special niche Thursday 'A'—20 March, 8-9:55 in your organization. The Inn's unique coastal location allows busy Friday 'B'—21 March, 2-3:55 people to retreat from time and Saturday 'B'—22 March, 8-9:55 schedules. It is a place to cross paths, CHRISTOPH ESCHENBACH, conductor share ideas and reward successes. We offer complete conference facil- Zimmermann Photoptosis ities with a full inventory of audio Schoenberg Verkl'drte Nacht visual equipment. Recreational activ- Schumann Symphony No. 2 ities include an 18 hole PGA golf course, 14 tennis courts, heated pool, sailing, sandy beaches and four star subject to cuisine. All just minutes from Programs change. Portland's Jetport. BUCK POINT INN On the ocean Box A, Prouts Neck, Maine 04074 (207)883-4126 53 Ill Mi •JBLimited WHERE IS THE TIMBERLAND MY UNCLE LEFT ME? HUNGRY WHAT? . . . BUT I DON'T EVEN SEE A HUNGRY HORSE, MONTANA! A gift of land can be a double blessing. The responsibility for long- distance management can be an overwhelming burden. The Boston Symphony Orchestra can show you how to exchange that land for a lifetime of income from a trust. It's easy it avoids taxes . . . and trips to Hungry Horse. For information about using a gift of real property to create a trust providing you with an income for life, please contact Jane Bradley Chairman, Planned Gifts Boston Symphony Orchestra Telephone: (617) 266-1492, xl32 54 Symphony Hall Information . . . FOR SYMPHONY HALL CONCERT AND make your ticket available for resale by call- TICKET INFORMATION, call (617) ing the switchboard. This helps bring 266-1492. For Boston Symphony concert needed revenue to the orchestra and makes program information, call "C-O-N-C-E-R-T" your seat available to someone who wants to attend the concert. A mailed receipt will THE BOSTON SYMPHONY performs ten acknowledge your tax-deductible months a year, in Symphony Hall and at contribution. Tanglewood. For information about any of the orchestra's activities, please call Sym- RUSH SEATS: There are a limited number phony Hall, or write the Boston Symphony of Rush Tickets available for the Friday- Orchestra, Symphony Hall, Boston, MA afternoon and Saturday-evening Boston 02115. Symphony concerts (subscription concerts only). The continued low price of the Satur- THE EUNICE S. AND JULIAN COHEN day tickets is assured through the gener- ANNEX, adjacent to Symphony Hall on osity of two anonymous donors. The Rush Huntington Avenue, may be entered by the Tickets are sold at $5.00 each, one to a Symphony Hall West Entrance on Hunt- customer, at the Symphony Hall West ington Avenue. Entrance on Fridays beginning 9 a.m. and FOR SYMPHONY HALL RENTAL Saturdays beginning 5 p.m. INFORMATION, call (617) 266-1492, or LATECOMERS will be seated by the write the Function Manager, Symphony ushers during the first convenient pause in Hall, Boston, MA 02115. the program. Those who wish to leave THE BOX OFFICE is open from 10 a.m. before the end of the concert are asked to until 6 p.m. Monday through Saturday; on do so between program pieces in order not concert evenings, it remains open through to disturb other patrons. intermission for BSO events or just past SMOKING IS NOT PERMITTED in any starting-time for other events. In addition, part of the Symphony Hall auditorium or in the box office opens Sunday at 1 p.m. when the surrounding corridors. It is permitted there is a concert that afternoon or evening. only in the Cabot-Cahners and Hatch Single tickets for all Boston Symphony rooms, and in the main lobby on Massachu- concerts go on sale twenty-eight days setts Avenue. before a given concert once a series has begun, and phone reservations will be accepted. For outside events at Symphony Hall, tickets will be available three weeks before the concert. No phone orders will be Rental apartments accepted for these events. for people who'd rather hear French horns THE SYMPHONY SHOP is located in the rnS. Enjoy easy living within Huntington Avenue stairwell near the than Car ho easy reach of Symphony Hall. Cohen Annex and is open from one hour New in-town apartments before each concert through intermission. with doorman, harbor The shop carries all-new BSO and musical- views, all luxuries, health motif merchandise and gift items such as club, calendars, appointment books, drinking land 2 glasses, holiday ornaments, children's bedrooms and books, and BSO and Pops recordings. All penthouse duplex apartments. proceeds benefit the Boston Symphony Orchestra. For merchandise information, please call 267-2692. THE DEVONSHIRE One Devonshire Place. (Between Washington TICKET RESALE: If for some reason you ^<^ I = I and Devonshire Streets, off State Street) Boston. are unable to attend a Boston Symphony Renting Office Open 7 Days. Tel: (617) 720-3410. Park free in our indoor garage concert for which you hold a ticket, you may while inspecting models. 55 CAMERA AND RECORDING EQUIP- tra are heard by delayed broadcast in many MENT may not be brought into Symphony parts of the United States and Canada, as Hall during concerts. well as internationally, through the Boston Symphony Transcription Trust. In addi- FIRST AID FACILITIES for both men tion, Friday-afternoon concerts are broad- and women are available in the Cohen cast live by WGBH-FM (Boston 89.7); Annex near the Symphony Hall West Saturday-evening concerts are broadcast Entrance on Huntington Avenue. On-call live by both WGBH-FM and WCRB-FM physicians attending concerts should leave (Boston 102.5). Live broadcasts may also be their names and seat locations at the heard on several other public radio stations switchboard near the Massachusetts Ave- throughout New England and New York. If nue entrance. Boston Symphony concerts are not heard WHEELCHAIR ACCESS to Symphony regularly in your home area and you would Hall is available at the West Entrance to like them to be, please call WCRB Produc- the Cohen Annex. tions at (617) 893-7080. WCRB will be glad to work with you and try to get the BSO on AN ELEVATOR is located outside the the air in your area. Hatch and Cabot-Cahners rooms on the Massachusetts Avenue side of the building. BSO FRIENDS: The Friends are annual donors to the Boston Symphony Orchestra. LADIES' ROOMS are located on the Friends receive BSO, the orchestra's news- orchestra level, audience-left, at the stage letter, as well as priority ticket information end of the hall, and on the first-balcony and other benefits depending on their level level, audience-right, outside the Cabot- of giving. For information, please call the Cahners Room near the elevator. Development Office at Symphony Hall MEN'S ROOMS are located on the orches- weekdays between 9 and 5. If you are tra level, audience-right, outside the Hatch already a Friend and you have changed Room near the elevator, and on the first- your address, please send your new address balcony level, audience-left, outside the with your newsletter label to the Develop- Cabot-Cahners Room near the coatroom. ment Office, Symphony Hall, Boston, MA 02115. Including the mailing label will COATROOMS are located on the orchestra assure a quick and accurate change of and first-balcony levels, audience-left, out- address in our files. side the Hatch and Cabot-Cahners rooms. The BSO is not responsible for personal BUSINESS FOR BSO: The BSO's Busi- apparel or other property of patrons. ness & Professional Leadership program makes it possible for businesses to partici- LOUNGES AND BAR SERVICE: There pate in the life of the Boston Symphony are two lounges in Symphony Hall. The Orchestra through a variety of original and Hatch Room on the orchestra level and the exciting programs, among them "Presi- Cabot-Cahners Room on the first-balcony dents at Pops," "A Company Christmas at level serve drinks starting one hour before Pops," and special-event underwriting. each performance. For the Friday-after- Benefits include corporate recognition in noon concerts, both rooms open at 12:15, the BSO program book, access to the with sandwiches available until concert Higginson Room reception lounge, and time. priority ticket service. For further informa- BOSTON SYMPHONY BROADCASTS: tion, please call the BSO Corporate Concerts of the Boston Symphony Orches- Development Office at (617) 266-1492. 56 1985 BENEDICTINE &A., 80 PROOF IMPORTED FROM FRANCE. JULIUS WILE SONS * CO.. LAKE SUCCESS. NY TO SEND A GIFT OF B&B LIQUEUR ANYWHERE IN THE U.S. CALL 1 -800-238-4373 VOID WHERE PROHIBITED tenuta S. Anna ESTATE BOTTLED r ],M * %. TAS.ANNV ! TENUTA SANNA , *%m\ RABOSO DI LONCON THE ITALIAN RENAISSANCE Fine wines imported from Italy by Pastene Pastene Wine & Spirits Co., Inc., Somerville, MA 02143