110th Season 19 9 0-91

Boston Symphony Orchestra

Seiji Ozawa, Music Director Only the Few Will Own an Audemars

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330 BOYLSTON ST., BOSTON, MASS. 02116 (617) 267-9100 • 1-800-225-7088 THE MALL AT CHESTNUT HILL • SOUTH SHORE PLAZA »< 4fVH

Seiji Ozawa, Music Director Grant Llewellyn and Robert Spano, Assistant Conductors One Hundred and Tenth Season, 1990-91

Trustees of the Boston Symphony Orchestra, Inc.

Nelson J. Darling, Jr., Chairman Emeritus

J. P. Barger, Chairman George H. Kidder, President Mrs. Lewis S. Dabney, Vice-Chairman Archie C. Epps, Vice-Chairman Mrs. John H. Fitzpatrick, Vice-Chairman William J. Poorvu, Vice-Chairman and Treasurer

David B. Arnold, Jr. Avram J. Goldberg Mrs. August R. Meyer Peter A. Brooke Mrs. R. Douglas Hall III Mrs. Robert B. Newman James F. Cleary Francis W. Hatch Peter C. Read John F. Cogan, Jr. Julian T. Houston Richard A. Smith Julian Cohen Mrs. Bela T. Kalman Ray Stata

William M. Crozier, Jr. Mrs. George I. Kaplan William F. Thompson Mrs. Michael H. Davis Harvey Chet Krentzman Nicholas T. Zervas Mrs. Eugene B. Doggett R. Willis Leith, Jr. Trustees Emeriti Vernon R. Alden Mrs. Harris Fahnestock Mrs. George R. Rowland Philip K. Allen Mrs. John L. Grandin Mrs. George Lee Sargent Allen G. Barry E. Morton Jennings, Jr. Sidney Stoneman Leo L. Beranek Albert L. Nickerson John Hoyt Stookey Mrs. John M. Bradley Thomas D. Perry, Jr. John L. Thorndike Abram T. Collier Irving W. Rabb Other Officers of the Corporation

John Ex Rodgers, Assistant Treasurer Michael G. McDonough, Assistant Treasurer Daniel R. Gustin, Clerk

Administration

Kenneth Haas, Managing Director Daniel R. Gustin, Assistant Managing Director and Manager of Tanglewood

Michael G. McDonough, Director of Finance and Business Affairs Evans Mirageas, Artistic Administrator Anne H. Parsons, Orchestra Manager Caroline Smedvig, Director of Public Relations and Marketing Josiah Stevenson, Director of Development

Robert Bell, Manager of Steven Ledbetter, Musicologist & Information Systems Program Annotator Peter N. Cerundolo, Director of Michelle R. Leonard, Media and Production Corporate Development Manager, Boston Symphony Orchestra Madelyne Cuddeback, Director of Marc Mandel, Publications Coordinator Corporate Sponsorships John C. Marksbury, Director of Patricia Forbes Halligan, Personnel Foundation and Government Support Administrator Julie-Anne Miner, Manager of Fund Sarah J. Harrington, Budget Manager Reporting Margaret Hillyard-Lazenby, Richard Ortner, Administrator of Director of Volunteers Tanglewood Music Center Russell M. Hodsdon, Manager of Box Office Scott Schillin, Assistant Manager, Bernadette M. Horgan, Public Relations Pops and Youth Activities Coordinator Joyce M. Serwitz, Director of Major Gifts/ Craig R. Kaplan, Controller Assistant Director of Development Nancy A. Kay, Director of Sales & Cheryl L. Silvia, Function Manager Marketing Manager Susan E. Tomlin, Director ofAnnual Giving Patricia Krol, Coordinator of Youth Activities

Programs copyright ©1991 Boston Symphony Orchestra, Inc. Cover by Jaycole Advertising, Inc. i ^^m

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Board of Overseers of the Boston Symphony Orchestra, Inc.

John F. Cogan, Jr., Chairman Mrs. Ray A. Goldberg, Vice-Chairman Mrs. R. Douglas Hall III, Secretary

Mrs. Herbert B. Abelow Haskell R. Gordon Mrs. Thomas S. Morse Harlan Anderson Steven Grossman Richard P. Morse Mrs. David Bakalar John P. Hamill E. James Morton Bruce A. Beal Daphne P. Hatsopoulos David G. Mugar Mrs. Leo L. Beranek Joe M. Henson David S. Nelson Lynda Schubert Bodman Mrs. Marilyn Brachman Hoffman Mrs. Hiroshi H. Nishino Donald C. Bowersock, Jr. Ronald A. Homer Robert P. O'Block William M. Bulger Lola Jaffe Paul C. O'Brien Mrs. Levin H. Campbell Anna Faith Jones Vincent M. O'Reilly Earle M. Chiles H. Eugene Jones Andrall E. Pearson Mrs. C. Thomas Clagett, Jr. Susan B. Kaplan John A. Perkins James F. Cleary Mrs. S. Charles Kasdon Daphne Brooks Prout William H. Congleton Richard L. Kaye Millard H. Pryor, Jr. William F. Connell Robert D. King Keizo Saji Walter J. Connolly, Jr. Mrs. Gordon F. Kingsley Roger A. Saunders S. James Coppersmith Allen Z. Kluchman Mrs. Raymond H. Schneider Albert C. Cornelio Koji Kobayashi Mark L. Selkowitz Phyllis Curtin Mrs. Carl Koch Malcolm L. Sherman

Alex V. d'Arbeloff David I. Kosowsky Mrs. Donald B. Sinclair Phyllis Dohanian Robert K. Kraft W. Davies Sohier, Jr. Hugh Downs George Krupp Ralph Z. Sorenson Goetz B. Eaton Mrs. Hart D. Leavitt Ira Stepanian

Edward Eskandarian Laurence Lesser Mrs. Arthur I. Strang Katherine Fanning Stephen R. Levy Mark Tishler, Jr. Peter M. Flanigan Frederick H. Lovejoy, Jr. Roger D. Wellington Dean Freed Mrs. Charles P. Lyman Robert A. Wells Eugene M. Freedman Mrs. Harry L. Marks Mrs. Thomas H.P. Whitney Peter H.B. Frelinghuysen C. Charles Marran Margaret Williams-DeCelles Mrs. James Garivaltis Nathan R. Miller Mrs. John J. Wilson Mark R. Goldweitz

Overseers Emeriti

Mrs. Weston W. Adams Mrs. Louis I. Kane Mrs. Peter van S. Rice Mrs. Frank G. Allen Leonard Kaplan Mrs. Jerome Rosenfeld Mrs. Richard Bennink Benjamin H. Lacy Mrs. William C. Rousseau Mary Louise Cabot Mrs. James F. Lawrence Francis P. Sears, Jr. Johns H. Congdon Hanae Mori Mrs. Edward S. Stimpson Mrs. Thomas J. Galligan Mrs. Stephen V.C. Morris Luise Vosgerchian Mrs. Richard D. Hill Stephen Paine, Sr. Mrs. Donald B. Wilson Susan M. Hilles David R. Pokross

Symphony Hall Operations

Robert L. Gleason, Facilities Manager James E. Whitaker, House Manager

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

I 2 Officers of the Boston Symphony Association of Volunteers

Susan D. Hall, President Thelma E. Goldberg, Executive Vice-President Joan Erhard, Secretary Patricia A. Maddox, Treasurer Betty Sweitzer, Nominating Chairman

Vice-Presidents

Helen Doyle, Hall Services Marilyn Larkin, Tanglewood Goetz B. Eaton, Fundraising Patricia A. Newton, Regions Paul S. Green, Resources Development Carol Scheifele-Holmes, Public Relations Charles W. Jack, Adult Education F. Preston Wilson, Development Pat Jensen, Membership Pat Woolley, Youth Activities Maureen Hickey, Tanglewood

Chairmen of Regions

Krista Kamborian Baldini Helen Lahage Beverly J. Pieper Judy Clark Ginny Martens Patricia L. Tambone Joan Erhard Paula Murphy Arline Ziner Bettina Harrison Pamela S. Nugent

Business and Professional Leadership Association Board of Directors

Harvey Chet Krentzman, Chairman James F. Cleary, BPLA President Members

J. P. Barger Thelma E. Goldberg Malcolm L. Sherman Leo L. Beranek Joe M. Henson Ray Stata William F. Connell George H. Kidder Stephen J. Sweeney Nelson J. Darling, Jr. Vincent M. O'Reilly Roger D. Wellington

Boston Symphony Orchestra concerts are funded in part by the National Endowment for the Arts and the Massachusetts Cultural Council, a state agency.

Celebrating the 90th Anniversary of Symphony Hall

On display in the first-floor Huntington Avenue corridor of the Cohen Wing is an archival exhibit celebrating the 90th anniversary of Symphony Hall. In addition to newspaper accounts of the building's opening in 1900, the exhibit includes period photographs and a tribute to acoustician Wallace Clement Sabine. Articles on various aspects of Symphony Hall will be featured in the BSO program book throughout the season. The cover shows part of an architect's rendering of Symphony Hall, with lettering for "The Boston Music Hall" visible above what was originally the main entrance on Huntington Avenue. The new building was never so named, however, since the old Music Hall, where the BSO performed until Symphony Hall opened in 1900, was not torn down as planned. ^\;^m.

A SALUTE TO THE BOSTON SYMPHONY & BOSTON POPS

MARCH 1-3

- Salute to Symphony kick-off at Faneuil Hall Marketplace, Friday, March 1 , 1 lam 2pm

Hear special performances and meet BSO family members and WCRB personalities.

LISTEN TO WCRB 102.5 FM

FRIDAY, MARCH 1 - SUNDAY, MARCH 3

Listen to acclaimed Boston Symphony and Boston Pops performances, along with celebrity interviews.

VISIT SYMPHONY HALL

SATURDAY, MARCH 2, 10AM TO 3PM

Come to the Symphony Hall Open House, a day of free activities for the entire family!

SALUTE TO

Q)ymphon0

19 9 1

WATCH WCVB TV CHANNEL 5

SUNDAY, MARCH 2, 6:30-8PM

Seiji Ozawa and John Williams will be featured in a live Boston Symphony

telecast, with hosts Natalie Jacobson, Chet Curtis, and Frank Avruch.

PLEDGE TO SALUTE TO SYMPHONY 1991

Call (617) 262-8700 or 1-800-325-9400. In return for your generosity we will send you a special BSO incentive gift! NYNEX Corporate Sponsor cert of their 1990-91 subscription season at BSO Jordan Hall on Sunday, March 10, at 3 p.m. The program includes the world premiere of a "Salute to Symphony" 1991 new work by Yehudi Wyner for brass trio and Takes Place This Weekend percussion, Aaron Copland's Elegies for violin and viola and Duo for flute and piano, to be "Salute to Symphony," the BSO's annual com- performed in memory of the composer, and munity outreach and fundraising event, takes Schubert's String Quintet in C, D.956. Tickets place this weekend, March 1-3. Festivities are $16, $12, and $9 and may be purchased in begin on Friday, March 1, with a special kick- advance at the Symphony Hall box office or by off event at the Quincy Market Rotunda at calling SymphonyCharge at (617) 266-1200. Faneuil Hall Marketplace from 11 a.m. to 2 They will be available on the day of the concert p.m. WCRB continues its twenty-first year of at the Jordan Hall box office. "Salute" participation throughout the weekend, featuring Boston Symphony and Boston Pops An Evening of Bel Canto performances and celebrity interviews. The at Symphony Hall, third annual "Salute" Open House takes place Monday, March 11, at 8:15 p.m. on Saturday, March 2, from 10 a.m. to 3 p.m. The Boston Opera Association is pleased to Sponsored by NYNEX, this day of free activi- present a gala operatic evening with soprano ties and performances for the entire commu- June Anderson and tenor Alfredo Kraus per- nity will include tours of Symphony Hall and forming Fille the new Cohen Wing, performances on Sym- excerpts from Donizetti's La du regiment Lucia di phony Hall's famous organ, a concert ticket and Lammermoor, Gounod's Romeo et Juliette, and Thomas' Hamlet, with raffle sponsored by NYNEX, instrument dem- Julius Rudel conducting of the onstrations, and the opportunity to meet with members Boston Orchestra musicians closely associated with the BSO. Symphony on Monday, March 11, at 8:15 p.m. Tickets for this Refreshments will be available throughout special performance, which is not available on the day. On Sunday, March 3, WCVB-TV any BSO subscription series, are Channel 5 marks its fifteenth year of "Salute" $50, $40, $30, and $16, available at the Symphony Hall participation with a five telecast from 6:30 to box office or by calling SymphonyCharge at 8 p.m. featuring the BSO, Seiji Ozawa, John 266-1200, Williams, and guest conductor Marin Alsop. (617) Monday through Saturday from 10 a.m. until 6 p.m. limited of The program will include music of Shostako- A number Gala Tickets including cocktails at 5:30 vich, Bernstein, Copland, and Williams. For and black-tie dinner at 6:15 at the Ritz-Carlton the third consecutive year, NYNEX is corpo- Hotel are available through the rate sponsor of "Salute to Symphony." Boston Opera Association by calling 482-2840. Donors to "Salute to Symphony" 1991 may (617) choose from a number of exclusive incentive Recognize Someone Special: gifts, including the "Salute" compact disc (this Name a BSO Concert year featuring an all-French program of his- toric BSO broadcast performances led by What finer way to honor someone or commem- Charles Munch, commemorating the 100th orate a very special occasion! For a $25,000 anniversary of his birth), a limited-edition contribution to the Boston Symphony Annual "Salute" t-shirt, and a BSO mug. In addition, Fund, you may name a BSO concert as a trib- a contribution of $50 or more will make you a ute to, or in memory of, an individual you des- Friend of the orchestra, entitling you to a vari- ignate. In addition, you will become a Patron ety of benefits. Members of the Boston Sym- of the Higginson Society, the orchestra's circle phony Association of Volunteers will be of its most generous benefactors. The benefits answering phones in the Cabot-Cahners Room of naming a concert also include a private to accept pledges at 262-8700 or 1-800-325- champagne reception, complimentary tickets 9400 throughout the weekend. for the concert, and prominent acknowledg- ment in the program book, including a bio- Boston Symphony Chamber Players at graphical appreciation about the honoree. For Jordan Hall, Sunday, March 10, at 3 p.m. further information about naming a BSO con- The Boston Symphony Chamber Players, with cert, please call Susan E. Tomlin, Director of pianist Gilbert Kalish, perform the final con- Annual Giving, at (617) 638-9274. References furnished on request

Armenta Adams David Korevaar American Ballet Theater Garah Landes Michael Barrett Michael Lankester John Bayless Elyane Laussade Leonard Bernstein Marion McPartland William Bolcom John Nauman Jorge Bolet Seiji Ozawa Boston Pops Orchestra Luciano Pavarotti Boston Symphony Alexander Peskanov Chamber Players Andre Previn Boston Symphony Steve Reich Orchestra Santiago Rodriguez Boston University School George Shearing of Music Bright Sheng Brooklyn Philharmonic Leonard Shure Dave Brubeck Abbey Simon Aaron Copland Stephen Sondheim John Corigliano Herbert Stessin Phyllis Curtin Tanglewood Music Rian de Waal Center Michael Feinstein Nelita True Lukas Foss Craig Urquhart Philip Glass Earl Wild Karl Haas John Williams John F. Kennedy Center Yehudi Wyner for Performing Arts and 200 others BALDWIN OF BOSTON

98 Boylston, Boston, MA 02116, (617) 482-2525 Pooled Income Funds March 15, at 8 p.m. at the Chapel Gallery of the Second Church in Newton, and on Sunday, If you are interested in gaining income during March 17, at 2:30 p.m. at the Peabody your lifetime, giving income to a loved one, Museum in Salem. The performers include receiving an immediate income tax deduction, BSO members Geralyn Coticone, flute, Burton and helping to endow the future of the Boston Fine, viola, and Jonathan Miller, cello, with Symphony Orchestra, you may want to con- violinist Arturo Delmoni. Tickets are $12 sider one of the BSO's life income arrange- ($10 students and seniors). For reservations or ments. Gifts of cash or securities are invested further information, call (617) 527-8662. and managed to realize specific investment and Max Hobart leads the Civic Symphony income objectives. You or your beneficiary Orchestra on Sunday, March 17, at 3 p.m. at receive quarterly payments based upon the Jordan Hall. The program includes the first arrangement you select and the amount of Boston performance of Svoboda's Overture of your contribution. After the last income distri- the Season, the world premiere of Mennin's bution is made, the remaining principal of your Aria for String Orchestra, Bartok's Violin Con- gift is transferred to the Boston Symphony certo No. 1 with soloist John M. Williams, and Orchestra's Endowment Fund. If you or Mendelssohn's Symphony No. 5, Reformation. someone you know is interested in learning Tickets are $12 and $8, with reduced price more about this gift planning program, please tickets for students and seniors available the call or write Joyce M. Serwitz, Director of day of the concert. For further information, Major Gifts, Boston Symphony Orchestra, call (617) 566-2219. Symphony Hall, Boston, MA 02115, telephone 638-9273. (617) Art Exhibits in the Cabot-Cahners Room

BSO Members in Concert For the seventeenth year, a variety of Boston- area galleries, museums, schools, and non-profit Ronald Feldman conducts the Berkshire Sym- artists' organizations are exhibiting their work in phony on Saturday, March 2, at 8 p.m. in the Cabot-Cahners Room on the first-balcony Chapin Hall at Williams College in Williams- level of Symphony Hall. On display through town. The program includes Mozart's Sym- March 18 are works from Comenos Fine Art of phony No. 31, Paris, the world premiere of Boston. This will be followed by works from the Elizabeth Vercoe's Rhapsody for Violin and Marlborough Gallery (March 18-April 16) and Orchestra, with soloist Timothy Baker, Saint- the Levinson/Kane Gallery (April 16-May 13). Saens' Introduction and Rondo capriccioso, These exhibits are sponsored by the Boston Sym- also featuring Mr. Baker, and Haydn's Sinfo- phony Association of Volunteers, and a portion nia concertante for violin, cello, oboe, and bas- of each sale benefits the orchestra. Please con- soon. Tickets are $5, general admission. For tact the Volunteer Office at (617) 638-9390, for more information, call (413) 597-2127. further information. Ronald Knudsen leads the Newton Sym- phony Orchestra in Mozart's Symphony No. Books for the Beranek Room 41, Jupiter, and the Brahms Second Piano Concerto with pianist Anthony di Bonaventura The BSO is seeking used books about music on Sunday, March 3, at 8 p.m. at Aquinas and musical topics to fill the shelves of Sym- Junior College, 15 Walnut Park in Newton. phony Hall's new Beranek Room. All books Tickets are $14 and $12. Call (617) 965-2555 will be labeled with a BSO bookplate indicating for further information. the name of the donor. If you have a book or The Boston Artists' Ensemble performs books you would like to give to the orchestra Mozart's Flute Quartet in D, K.285, Kodaly's for this purpose, please call Noni Cooper, Duo for violin and cello, and Beethoven's G Assistant Director of Annual Giving, at (617) major string trio, Opus 9, No. 1, on Friday, 266-1492. SENIOR LIVING NEVER LOOKED BETTER

Come See For Yourself You're invited to experience the excitement of The Village at Duxbury, an extraordinary senior living community based on hospitality. Visit the spacious model apartment at the Information Center and learn of the advantages of our unique continuum of health care community.

For a 4 -color brochure or to arrange a private visit, call Mrs. Henson at The Village at Duxbury, (617) 934-9744 or at 1-800-696-9744 (in MA only). f The Village at Duxbury 286 Kings Town Way, Duxbury, MA 02332 (617) 934-9744 or 1-800-696-9744 (in MA only) The Village at Duxbury is sponsored by Welch Duxbury Development Corporation, an affiliate of Welch Healthcare & Retirement Group, Inc. and the FIDUX Group, Inc., a limited partner, and an affiliate of Fidelity o Investments Seiji Ozawa

Seiji Ozawa was named music director of the Boston Sym- phony Orchestra in 1973 following a year as the orchestra's music adviser; he is now in his eighteenth year as the BSO's music director. With the Boston Symphony Orchestra he has led concerts in Europe, Japan, and throughout the United States; in March 1979 he and the orchestra made an historic visit to China for a significant musical exchange entailing coaching, study, and discussion sessions with Chi- nese musicians, as well as concert performances, becoming the first American performing ensemble to visit China since the establishment of diplomatic relations. This spring Mr. Ozawa will lead the orchestra on a seven-city North American tour; a tour to seven European cities will follow the 1991 Tanglewood season.

Mr. Ozawa pursues an active international career, appearing regularly with the Berlin Philharmonic, the Orchestre de Paris, the French National Orchestra, the Vienna Philharmonic, the Philharmonia of London, and the New Japan Philharmonic. Recent appearances conducting opera have included La Scala, Salzburg, the Vienna Staatsoper, and the Paris Opera; he has also conducted at Covent Garden. In 1983, at the Paris Opera, he conducted the world premiere of Olivier Messiaen's St. Francis of Assist.

Mr. Ozawa has a distinguished list of recorded performances to his credit, with the Boston Symphony Orchestra, the Berlin Philharmonic, the London Philharmonic, the Philharmonia of London, the Orchestre National, the Orchestre de Paris, the Saito Kinen Orchestra, the Chicago Symphony Orchestra, the San Francisco Symphony, and the Toronto Symphony Orchestra, among others. His recordings appear on the CBS, Deutsche Grammophon, EMI/Angel, Erato, Hyperion, New World, Philips, RCA, and Telarc labels.

Born in 1935 in Shenyang, China, to Japanese parents, Seiji Ozawa studied West- ern music as a child and later graduated with first prizes in composition and conduct- ing from Tokyo's Toho School of Music, where he was a student of Hideo Saito. In 1959 he won first prize at the International Competition of Orchestra Conductors held in Besancon, France, and was invited to Tanglewood by Charles Munch, then music director of the Boston Symphony Orchestra and a judge at the competition. In 1960 he won the Tanglewood Music Center's highest honor, the Koussevitzky Prize for outstanding student conductor.

While a student of Herbert von Karajan in West Berlin, Mr. Ozawa came to the attention of Leonard Bernstein. He accompanied Mr. Bernstein on the New York Philharmonic's 1961 tour of Japan and was made an assistant conductor of that orchestra for the 1961-62 season. In January 1962 he made his first professional concert appearance in North America, with the San Francisco Symphony. Mr. Ozawa was music director of the Chicago Symphony Orchestra's Ravinia Festival for five summers beginning in 1964, music director of the Toronto Symphony Orchestra from 1965 to 1969, and music director of the San Francisco Symphony from 1970 to 1976, followed by a year as that orchestra's music adviser. In 1970 he was named an artistic director of the Boston Symphony Orchestra's Tanglewood Festival.

Seiji Ozawa has won an Emmy for the Boston Symphony Orchestra's "Evening at Symphony" PBS television series. He holds honorary doctor of music degrees from the University of Massachusetts, the New England Conservatory of Music, and Wheaton College in Norton, Massachusetts. Leo Panasevich Carolyn and George Rowland chair Sheldon Rotenberg Muriel C. Kasdon and Marjorie C. Paley chair Alfred Schneider Raymond Sird Ikuko Mizuno Amnon Levy

Second Violins Music Directorship endowed by Marylou Speaker Churchill John Moors Cabot Fahnestock chair Vyacheslav Uritsky BOSTON SYMPHONY Charlotte and Irving W. Rabb chair ORCHESTRA Ronald Knudsen Edgar and Shirley Grossman chair 1990-91 Joseph McGauley First Violins Leonard Moss Malcolm Lowe *Harvey Seigel Concertmaster *Jerome Rosen Charles Munch chair * Sheila Fiekowsky Tamara Smirnova-Sajfar Ronan Lefkowitz Associate Concertmaster * Helen Horner Mclntyre chair Nancy Bracken Max Hobart * Jennie Shames Assistant Concertmaster *Aza Raykhtsaum Robert L. Beal, and *Valeria Vilker Kuchment Enid L. and Bruce A. Beal chair Lucia Lin *Bonnie Bewick Acting Assistant Concertmaster *Tatiana Dimitriades Edward and Bertha C. Rose chair *James Cooke Bo Youp Hwang *Si-Jing Huang Acting Assistant Concertmaster John and Dorothy Wilson chair, fully funded in perpetuity Violas Max Winder Burton Fine Forrest Foster Collier chair Charles 8. Dana chair Fredy Ostrovsky Patricia McCarty Dorothy Q. and David B. Arnold, Jr., Anne Stoneman chair, chair, fully funded in perpetuity fully funded in perpetuity Gottfried Wilfinger ^Ronald Wilkison Lois and Harlan Anderson chair Robert Barnes * Participating in a system of rotated seating within each string section %0n sabbatical leave

10 Jerome Lipson Piccolo Trombones Joseph Pietropaolo Geralyn Coticone Ronald Barron Michael Zaretsky Evelyn and C. Charles Marran chair J. P. and Mary B. Barger chair, funded in perpetuity Marc Jeanneret fully Oboes Norman Bolter *Mark Ludwig Alfred Genovese * Rachel Fagerburg Mildred B. Remis chair Bass Trombone * Edward Gazouleas Wayne Rapier Douglas Yeo Keisuke Wakao Cellos Tuba Jules Eskin English Horn Chester Schmitz Philip R. Allen chair Laurence Thorstenberg Margaret and William C. Martha Babcock Beranek chair, Rousseau chair Vernon and Marion Alden chair fully funded in perpetuity Sato Knudsen Clarinets Timpani Esther S. and Joseph M. Shapiro chair Everett Firth Joel Moerschel Harold Wright Sylvia Shippen Wells chair Sandra and David Bakalar chair Ann S.M. Banks chair * Thomas Martin Robert Ripley Percussion Richard C. and Ellen E. Paine chair, fully funded in perpetuity Bass Clarinet Arthur Press Luis Leguia Craig Nordstrom Assistant Timpanist Peter Andrew Lurie chair Robert Bradford Newman chair Farla and Harvey Chet tCarol Procter Krentzman chair Thomas Ganger Peter and Anne Brooke chair Lillian and Nathan R. Miller chair Frank Epstein *Ronald Feldman Bassoons Charles and JoAnne Dickinson chair William Hudgins Richard Svoboda * Jerome Patterson Edward A. Taft chair * Jonathan Miller Roland Small Harp Richard Ranti Ann Hobson Pilot Basses Willona Henderson Sinclair chair Edwin Barker Contrabassoon Sarah Schuster Ericsson Harold D. Hodgkinson chair Richard Plaster Lawrence Wolfe Helen Rand Thayer chair Maria Nistazos Stata chair, fully funded in perpetuity Joseph Hearne Horns Leith Family chair Charles Kavalovski Bela Wurtzler Helen Sagoff Slosberg chair John Salkowski Richard Sebring Margaret Andersen *Robert Olson Congleton chair Daniel Katzen Personnel Managers *James Orleans Elizabeth B. Storer chair Lynn Larsen *Todd Seeber Jay Wadenpfuhl Harry Shapiro *John Stovall Richard Mackey Jonathan Menkis Librarians Flutes Marshall Burlingame Trumpets William Shisler Walter Piston chair Charles Schlueter James Harper Leone Buyse Roger Louis Voisin chair Acting Principal Flute Peter Chapman Stage Manager Ford H. Cooper chair Marian Gray Lewis chair Position endowed by Fenwick Smith Timothy Morrison Angelica Lloyd Clagett Myra and Robert Kraft chair Steven Emery Alfred Robison

11 Great Artists. Great Art.

;v} £0«;,V Angel ~igiw swtforsj BOSTON SYMPHONY ORCHESTRA

Seiji Ozawa, Music Director Grant Llewellyn and Robert Spano, Assistant Conductors One Hundred and Tenth Season, 1990-91

Thursday, February 28, at 8

Friday, March 1, at 2

Saturday, March 2, at 8

SIMON RATTLE conducting

MOZART Incidental music to the play Thamos, King of Egypt, K.345(336a) Maestoso (Chorus of Priests and Sun-Virgins: "Schon weichet dir, Sonne") Maestoso —Allegro Andante Allegro —Allegretto —Andante Allegro vivace assai Adagio maestoso— Allegro vivace — Moderato (Chorus of Priests and Sun-Virgins: "Gottheit iiber alle machtig") [Allegro] Andante moderato— Allegro (High Priest and Chorus: 'Thr Kinder des Staubes")

LYNNE DAWSON, soprano ELISE ROSS, soprano DONALD KAASCH, tenor JAMES PATTERSON, bass TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor

INTERMISSION

ADAMS Harmonium, for chorus and orchestra Settings of texts by John Donne and Emily Dickinson

1. Negative Love (John Donne) 2. Because I Could Not Stop For Death (Emily Dickinson) 3. Wild Nights (Emily Dickinson) TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor

The evening concerts will end about 9:50 and the afternoon concert about 3:50. RCA, Deutsche Grammophon, Philips, Telarc, Sony Classical/CBS Masterworks, EMI/Angel, New World, Erato, and Hyperion records Baldwin piano

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. 13 Week 18 :

77te (Boston Opera Association Presents

W l^d Canto w SpcctacuCar

with special guests

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= — -Jm June Anderson Alfredo Kraus soprano tenor

and Members of the Boston Symphony Orchestra Julius Rudel, conductor

Monday, March 11, 1991 at 8:15pm Symphony Hall

Gala Tickets at $500, $350, $200 are limited and may only be purchased from the Boston Opera Association at (617) 482-2840

Tickets at $50, $40, $30, and $16 may be purchased at the Symphony Hall Box Office or through SymphonyCharge at (617) 266-1200, Monday-Saturday 10am until 6pm

This event is not available on any Boston Symphony Orchestra subscription series.

Program subject to change No exchanges or refunds

14 Wolfgang Amade Mozart Incidental music to Thamos, King of Egypt, K.345(336a)

Johannes Chrysostomus Wolfgang Gottlieb Mozart, who began calling himself Wolfgang Amadeo about 1 770 and Wolfgang Amade about 1 777, was born in * JUH Salzburg, Austria, on January 27, 1756, and died * *%£ m* in Vienna on December 5, 1791. The history of his M - jM incidental music to the play Thamos, Konig in n & w Agypten, stretches from 1773 almost to the end of ^H. ''^Bstf^MB his life; it is discussed more fully below. In any J case, part of this music, in an early form, was first f heard in Vienna's Karntnerthor Theater on April 4, IB ; ^g ,;:ilili 1 though the music did not achieve its ^USa I "^ 774, final HW6li|i L t9 HEHB '^^H W'. *ffi*|gB form until some years later. These are the first per- ^pS-^H :;^W BlBSilIM formances by the Boston Symphony Orchestra. The

;-*':" : ;'j. - score calls for mixed chorus with a substantial bass

: f : ^•ft-;- S! j^Sf HfcnK ': -H^H solo and four choral soloists and an orchestra con- sisting offlutes, oboes, bassoons, horns, and trumpets in pairs, timpani, three trom- bones, and strings.

Mozart was a true man of the theater, but only once in his life did he compose inci- dental music for a non-musical play; that occurred when he was only seventeen years old, and by default at that! The play in question is a tedious "heroic drama" entitled Thamos, King of Egypt, by Tobias Philipp, Baron von Gebler. Those familiar with the Masonic music of Mozart's last year, including his final opera, The Magic Flute, may suspect that a play on an Egyptian subject created in Vienna in the last quarter of the eighteenth century was designed to promote the ideas of the Freemasons, who traced their order back to ancient Egypt. Indeed, Gebler was involved, more than a decade later, in Mozart's installation into the order of Freemasonry, and his play about Thamos emphasizes the opposition of light and darkness in terms that are remarkably similar to those of Schikaneder's libretto for the later opera.

But there the comparisons end. The Magic Flute remains one of the treasures of the operatic repertory, while Thamos — as a play— has been thoroughly and justly for- gotten. No doubt we would never hear the incidental music written for the score if not for the accident that the older composers, fellow Masons, Gluck among them, whom Gebler first approached to write his music, declined the assignment. Finally, in des- peration, it seems, Gebler turned to the talented seventeen-year-old Mozart, who was just then visiting Vienna with his father. Mozart composed at least the first two cho- ruses (Nos. 1 and 6) in 1773, and perhaps some of the other music as well. Later on, though, he revised them. A study of the paper on which the autograph score is writ- ten shows that Mozart wrote the bulk of what now comprises the Thamos score in 1776, when the troupe of actor Johann Bohm came to Salzburg and presented the play there. Bohm was in Salzburg again in the spring of 1779 and the winter of 1779-80, at which time Mozart may have made the final adjustments to his score. In fact, it seems as if he recopied the choruses, which had been the first part to be com- posed, for these are clearly written in a handwriting of a later period than that of the entr'actes. And for this 1779 production, he composed the last chorus, which has a text added by Andreas Schachtner.

The fact that Mozart put so much effort into music for a play that was mostly pedestrian fustian and high-flown nonsense suggests that he was more than a little proud of the score — and with good reason. It soars far above the trivial mood-painting of many incidental scores to provide a series of well-constructed symphonic move- ments of considerable force and variety. Evidently hoping for a Vienna performance,

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Tiffany & Co. Mozart seems to have asked his father to send him the music to Thamos and then written to thank him, on February 15, 1783, for its arrival, though by this time he was already disillusioned in his hopes (the curious mixture of the French word

musique with the normal "music" [i.e., "Musik" in German] in the letter is easily explained; Mozart uses "musique" when referring to the score or performing parts, while "music" is the generic and abstract term):

Mon tres cher Pere! Heartfelt thanks for the musique you have sent me! I am extremely sorry that I shall not be able to use the musique to Thamos! As this

piece did not find favor, it is now among the pieces which are rejected here and

are no longer performed. If it were to be performed again that would be solely on

account of the music, and that is unlikely— it is certainly a pity!

Mozart did have one opportunity to hear his music again. Bohm may have given up producing Thamos, but he, too, clearly had a high opinion of Mozart's music, and he

adapted the score to fit another play, Lanassa, by Karl Martin Plumicke, adding Mozart's Symphony No. 26 in E-flat, K.184(161a), as an overture. This he performed in western Germany for many years. Mozart saw a performance with his music when he went to Frankfurt for the Imperial coronation in September 1790.

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18 As one might expect from a composer so attuned to the color and rhythm of the theater, Mozart's orchestral entr'actes reflect the character of the scenes they follow or precede, while the choruses are designed for the moments of spectacle in the show.

It is difficult to appreciate the music fully without knowing the play into which it fits, yet the play is so ludicrously complicated (virtually everyone has assumed some kind of false identity, so that it is a major chore just to get the characters straight!) that it is hardly worth the effort. But a brief outline of the plot, linked to Mozart's musi- cal numbers, may be of service.

There is a power struggle in ancient Egypt over the succession to the throne. When, nearly twenty years earlier, the rightful ruler Menes was deposed by Ramesses, he chose to avoid civil war and withdrew into the Temple of the Sun at Heliopolis, there to become a priest; Menes is believed dead, and he himself thinks his daughter Tharsis is no longer alive. As the play begins, Ramesses has died, and his son Thamos, a virtuous youth not involved in his father's ill-gained ascent to the throne, is about to be crowned king of Egypt. The chorus of Priests and Virgins (No. 1, Chorus, Maestoso, C major) sings in praise of the sun; Mozart offers contrasts of harmony and key to suggest the opposition of the forces of light and of darkness.

The ambitious prince Pheron is determined to gain the throne himself, by whatever means are necessary. He knows that Tharsis is still alive, concealed among the temple virgins, and, as a first step in his plot, he conspires with their guardian, his aunt Mirza, to have her acclaimed as the rightful sovereign, thus keeping Thamos from the throne. There follows the Entr'acte (No. 2, Maestoso — Allegro, C minor), a stormy full-scale symphonic allegro movement filled with chromatic passages. Leopold Mozart wrote a note on the score explaining that this music is heard after "the decision taken by Pheron and Mirza to place Pheron on the throne."

In Act II, Tharsis, concealed under the name Sais, confesses to a friend her love for Thamos, but Mirza works to convince Sais that Thamos loves another and to con-

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19 vince Thamos that Sais loves Pheron. The noble Thamos refuses to believe hints that Pheron is a traitor. The Entr'acte (No. 3, Andante, E-flat major) begins as a contin- uation of the play's depiction of Thamos' noble character, especially in a flowing- mel- ody in the solo oboe whose clear and simple accompaniment (and the key of E-flat) seems to foreshadow the color and mood of TTie Magic Flute. Tense, chromatic pas- sages heard as contrast to this material depict, according to Leopold Mozart, the false character of Pheron.

In the third act, Thamos, still trusting the traitor, names Pheron as his commander-in-chief. Pheron takes into his confidence the supposed priest, who is actually Menes; Menes thus learns that his daughter Tharsis is alive and that Pheron intends to use her in his plot to claim the throne. Mirza falsely informs Tharsis that Thamos has chosen her to become Pheron' s queen and forces her to swear an oath to secrecy. The fourth act begins with an orchestral introduction (No. 4, Allegro, G minor) that turns into a melodrama (a speech over music, with many changes of tempo cued to the spoken text) in which Tharsis debates her decision with herself. Mozart's score depicts the changing moods of her monologue. She begins in doubt, but self-disgust at what she has done prompts her to vow that she will remain a Vir- gin of the Sun all her life. Thamos overhears her and regrets her hasty act; thus

Tharsis learns that he loves only her, but it is too late to change what she has prom- ised. Pheron's treachery is beginning to be unraveled.

The fourth act ended, according to Leopold Mozart, "in general confusion," and this sense of doom-laden events drawing to a crisis fills the next Entr'acte (No. 5, Allegro vivace assai, D minor), a movement filled with stormy syncopations and accented offbeats; here we find in germination the future composer of Don Giovanni. The movement resolves into the major at the end for the opening of the final act.

The coronation of Thamos is about to take place. A splendid chorus (No. 6, Ada- gio maestoso — Allegro vivace, D major) celebrates the new ruler and assures him of his subjects' loyalty. As the chorus ends, gentler music accompanies the preparation of the incense for the coronation. The priest is about to crown Thamos when Mirza intervenes, declaring that Tharsis, next in line to the throne from her (supposedly) deceased father, is alive. She must decide who will rule. Tharsis renounces her claim, proclaiming Thamos as king. Pheron arouses his partisans to fight on his behalf. Just as he draws his sword, the high priest tears off his priestly robes to reveal underneath them the battle armor worn by Menes. Mirza kills herself; Pheron, while being taken prisoner, blasphemes against the gods and is struck dead (No. 7a, [Allegro], D minor; this dramatic music is not part of the final version of the score, but was evi- dently used in one of the earlier productions, no doubt when the role of Pheron was taken by a famous actor who would be given a scenery-chewing monologue leading to his death). Menes, choosing to remain as high priest, releases Tharsis from her vow of virginity and crowns her with Thamos as the new ruler of Egypt. All join in praise of the divine power and of the new monarchy (No. 7, Andante moderato — Allegro, D minor — D major).

— Steven Ledbetter

20 No. 1 CHORUS OF PRIESTS AND SUN-VIRGINS Schon weichet dir, Sonne, des Lichtes Already Night, light's enemy, gives way Feindin, die Nacht! to you, Sun, Schon wird von Agypten dir neues Opfer Already from Egypt a new offering is gebracht: brought to you. Erhore die Wunsche! Dein ewig Hear our prayer! May your eternal dauernder Lauf course Fuhr' heitere Tage zu Thamos' Volkern bring happy days to the people of herauf! Thamos!

TWO PRIESTS Der munter'n Jugend To cheerful youth Gib Lenksamkeit, Tugend, grant obedience and virtue, Den Mannern Mut! to the men, courage! Nach tapfer'n Taten After brave deeds Weisheit zum Raten, give them wisdom in counsel, Allen gib Vaterlands Blut! and to all give love of their country!

BOTH CHORUSES

Erhore die Wunsche . . . Hear our prayer!

SUN-VIRGINS Agyptens Tochter May Egypt's daughters Sei'n ihrer Geschlechter, be an ornament to their families Der Gatten Zier! and their husbands! Vergmigt, im Stillen Content, quietly Pflicht zu erfiillen, fulfilling their duty, Bliihend und jahrvoll wie wir! blooming and full of years like us!

BOTH CHORUSES

Erhore die Wunsche . . . Hear our prayer!

PRIESTS Gekront vom Siege Crowned with victory, Schreck' Thamos im Kriege may Thamos, in victory, strike terror Der Feinde Reich! into our enemies!

SUN-VIRGINS Fuhr' uns durch Triebe Lead us through trials Sorgender Liebe of caring love, Konig und Vater zugleich! King and father!

PRIESTS AND VIRGINS Schon weichet dir, Sonne Already Night, light's enemy,

21 Week 18 No. 6 CHORUS OF PRIESTS AND VIRGINS

Gottheit uber alle machtig! Godhead mighty above all! Immer neu und immer prachtig! Ever new, ever splendid! Dich verehrt Agyptens Reich. The land of Egypt worships you. Steigend, ohne je zu fallen, Rising, without ever falling,

Sei's das erste Reich aus alien, may it be the first of all kingdoms, Nur ihm selbst an Grosse gleich! like only itself in greatness!

PRIESTS Von des Mittags heiBem Sande From the hot sands of midday Bis zum fernen Meeresstrande to the farthest ocean shore, Wolkt sich Opferrauch empor. sacrificial incense arises in clouds. Fruh schon tonen uns're Lieder, Early on our songs resound, Hymnen bringt der Abend wieder, evening brings our hymns back again, Nie verstummet unser Chor. never does our chorus grow silent.

SUN-VIRGINS Wie in weiter Tempel Hallen As in the great temple's halls Unter der Trompeten Schallen mid the trumpet's peal comes Sanfter Floten Zauberklang: the magic tone of the gentle flute, So mengt sich, Osiris' Sonne! so, sons of Osiris, does our song Unser Lied in eure Tone, blend with yours, Sonne! dir ein Lobgesang. to you, Sun, a song of praise.

TANGLEWOOD FESTIVAL CHORUS AUDITIONS 1991 Summer Season at Tanglewood

The Tanglewood Festival Chorus, John Oliver, conductor, has openings in all sections for its 1991 summer season with the Boston Symphony Orchestra at Tanglewood. Among the works to be performed with the Boston Symphony Orchestra under Music Director Seiji Ozawa will be Mahler's Symphony No. 2, Resurrection, Brahms' s A German Requiem — both to be performed on concerts dedicated to the memory of Leonard Bernstein — and a semi-staged production of Mozart's opera Idomeneo. The chorus will also perform Bach's Cantatas 26 and 149 with guest conductor Helmuth Rilling, and Beethoven's Ninth Symphony with the Cleveland Orchestra and its Music Director, Christoph von Dohnanyi. In addition, there will be a Friday-evening Prelude concert of choral works under the direction of John Oliver.

Auditions will be held on Wednesday, March 6, at 6 p.m. at Symphony Hall, 301 Massachusetts Avenue in Boston. All materials will be pro- vided. Please call (617) 638-9310 to schedule an audition or for further information.

22 PRIEST Was der Mund des Fursten schworet, What the prince's words promise,

VIRGIN Was von seinem Volk er horet, What he has heard his people request,

PRIESTS AND VIRGINS Sei zu beider wohl der Grand! may they be the basis of blessings for both.

PRIEST Er uns hold, He, gracious to us,

VIRGIN Treu wir dem Throne; We, faithful to the throne;

PRIEST Vatersorgen, Paternal care,

VIRGIN Lieb' zum Lohne, our love in return,

PRIESTS AND VIRGINS 1st der wechselweise Bund. this is our mutual bond.

CHORUS OF PRIESTS AND VIRGINS Gottheit iiber alle machtig! usw. Godhead mighty above all! etc.

No. 7 HIGH PRIEST Ihr Kinder des Staubes, erzittert und You children of dust, tremble and quake bebet, Bevor ihr euch wider die Gotter before you rise up against the gods! erhebet! Rachender Dormer verteidiget sie Avenging thunderbolts protect them Wider des Frevlers vergebene Muh! from the vain attack of the blasphemer!

CHORUS Wir Kinder des Staubes erzittern und We children of dust tremble and quake beben Und neigen die Haupter zu Erd'; and bow our heads to the earth; Den Gottern zu fronen sei unser May our sole endeavor be to serve the Bestreben, gods, Was immer ihr RatschluB begehrt. whatever they may desire. Hochste Gottheit, milde Sonne, Highest divinity, gentle sun, Hor Agyptens frommes Flehn: hear Egypt's pious prayer: Schutz des Konigs neue Krone, Protect the King's new crown,

LaB sie immer aufrecht stehn! keep it always safe.

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24 John Adams Harmonium

John Coolidge Adams was born in Worcester, Mas- sachusetts, on February 15, 1947, and is living in San Francisco. Harmonium was commissioned by the San Francisco Symphony to celebrate the inau- gural season of Louise M. Davies Symphony Hall. The work is dedicated to Edo de Waart, who sug- gested the piece and who led the premiere on April 15, 1981. These are the first performances by the Boston Symphony Orchestra. The score calls for mixed chorus in various subdivisions, four flutes (three doubling piccolo), three oboes, three clarinets (one doubling bass clarinet), three bassoons (one doubling contrabassoon), four horns, four trumpets, three trombones and tuba, percussion (glockenspiel, crotales, two marimbas, metallophone, bass drum, tubular bells, suspended cymbal, sizzle cymbal, crash cymbals, xylophone, triangle, medium and large tom-toms, anvil, cowbells, and tambourine), harp, celesta, piano (doubling synthesizer), and strings. The duration is about thirty-five minutes.

A native of Massachusetts, John Adams grew up here and achieved his "musical awakening into consciousness" in Symphony Hall, sometime in the 1950s, when an elderly female relative or friend of the family gave him a ticket to a concert. "I sat in about the 8th row; Richard Burgin conducted, and the very first orchestral sound I heard was a double string orchestra, that incredible G minor chord that opens Vaughan Williams's Tallis Fantasy. It was a primal experience!" Adams learned to play the clarinet and went on to study at Harvard, where he received his B.A. and M.A. degrees in 1969 and 1971, and where he studied primarily with Leon Kirchner.

"My music was always fairly tonal, but then it was expressionistic in a way that is hard to define." He was also active as a conductor at Harvard, where he became director of the Bach Society. He played his clarinet professionally, too, including occa- sions when he played with the Boston Symphony Orchestra as a substitute clarinetist. He was also a member of the orchestra in the American premiere of Schoenberg's Moses und Aron, which Sarah Caldwell conducted at the Boston Opera Company.

After graduation from Harvard, Adams moved to San Francisco, where he has taught since 1972 at the San Francisco Conservatory of Music. He became head of the composition department there and also directed the school's New Music Ensem- ble, for which he commissioned more than forty new works.

John Adams became involved with the San Francisco Symphony when he worked with the orchestra's music director Edo de Waart to implement a series of concerts entitled "New and Unusual Music," which began in 1980. The series received national attention and became the model for a Composer-in-Residence program operating with a number of American orchestras, in which a composer forms an extended relation- ship with an ensemble, assisting the music director in choosing for performance new music by other composers and writing new pieces to be given their premieres by the host orchestra. John Adams himself was selected for a residency with the San Fran- cisco Symphony which eventually extended to three years, during which time he com- posed Harmonium.

John Adams' music includes works for traditional instruments as well as electronic music. His work in one medium has sometimes helped shape his views of another. As a student he composed ensemble pieces for traditional instruments, but he soon began

25 Week 18 • ".l-' v *>'i - - «*-

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/\^'v ffe f: working with electronics, which allowed him to experience the sound directly— as he was composing— in its precise, full sonority (a luxury not normally granted to com- posers for instruments, unless they happen to be writing for a single instrument that they can play themselves). Electronic music often relies more on timbre and pulse than on, say, melody, as a shaping force. The experience of working with that medium affected what Adams wanted to hear when he was writing for instruments as well — his ear and his imagination were newly sensitized to the power of sonority, of timbre, of instrumental color.

During the 1970s Adams became interested in the kind of music sometimes described by the term "minimalist," and sometimes called "process music" or simply

(as the Dutch call it) "repetitive music," based in overlapping repeated patterns and steady pulses. Many composers have worked with minimalist ideas in recent years, coming at them from different directions, whether by way of Indian classical music (like Philip Glass) or through the influence of an inveterate experimenter such as John Cage. John Adams encountered minimalist ideas directly in a performance that he conducted at the San Francisco Conservatory, sometime in the mid-1970s, of a work by Steve Reich. "I saw some possibilities in that, in developing on this extremely simple music, building much more complex structures, a much richer harmonic pal- ette. The 'minimalist' qualities that I began to use were the insistent pulse and the

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28 I repetitive nature of the building up of structures. My first piece that qualifies as mini- malist was Phrygian Gates, a large work for solo piano — that was a rather strict, severe composition, a lot of pre-compositional decisions were made; things have loos- ened up more recently." Were there any influences from Oriental rhythmic ideas? "No, despite the fact that I've lived in California all these years, I am still terribly European-oriented, my cultural sympathies still lie with German music."

After Phrygian Gates, Adams continued the process of "loosening up," of getting away from the strict patterning of his earlier minimalist music, of making his music continually richer and more varied. In many works by other minimalist composers, the changes in patterns of repetition come so gradually that the listener is scarcely aware of them; only after a number of minutes does one suddenly realize that the pattern is

now strikingly different — only it isn't possible to pinpoint exactly where the change occurred. This sort of thing does happen in Adams' music, but more often there are quite sudden and striking changes, not just the kind that seem to occur in some sort of trance state. This has been increasingly true of his work since Shaker Loops (per-

formed by the Boston Symphony in 1984). Indeed, in the last decade it has become necessary to ask at what point minimalist music of great variety ceases to be "mini- malist" any more. No composer has played a larger role in enriching the possibilities of the "minimalist" approach than Adams, who in orchestral works large and small as well as two operas, Nixon in China and his brand-new one, The Death of Klinghoffer, which receives its world premiere in Brussels in mid-March, has produced vibrant music of great energy and lyric power.

Harmonium is one of the earliest of Adams' really big works following upon his

development of the techniques he used in Phrygian Gates and Shaker Loops, and it was his first work to include a text to be sung, thus bringing entirely different con- cerns to bear. The chorus often functions as a part of the orchestra (in the opening section, for instance, in which the singers reiterate a single syllable, "no," in a rapid,

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29 Without ^tbu, This Is The Whole Picture. This year, there is an $ 1 1 million difference educational and youth programs, and to attract between what the BSO will earn — and what the world's finest musicians and guest artists. we must spend to make our music. Make your generous gift to the Annual Your gift to the Boston Symphony Annual Fund — and become a Friend of the Boston Fund will help us make up that difference. Symphony Orchestra today. Because without It will help us continue to fund outreach, you, the picture begins to fade. r ~i Yes, I want to keep great music alive.

I'd like to become a Friend of the BSO for the 1990-91 season. (Friends' benefits

begin at $50.) Enclosed is my check for $ payable to the Boston Symphony Annual Fund.

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30 gentle pulsation starting on a single pitch, D). Gradually the pitch world expands out- ward from that center as, equally gradually, the syllable "no" becomes "ne" which turns out to be the first syllable of "never" — and once that becomes clear, the chorus sings John Donne's words in a clear, homophonic setting supported by a much- elaborated accompaniment that plays wonderful tricks on the ear's sense of where the

beat is. In fact, different layers of the chorus and orchestra all operate at different speeds in a rich profusion of sound. Repeated notes and small melodic cells, simple lyric melodies in long phrases, piled-up chords that sometimes resemble the sounds of a close-harmony pop group like the Hi-Lo's, overlapping entrances of patterns in dif- ferent lengths — these are the principal elements of Harmonium. What is amazing about the work is the variety of sound and color that can come from these simple materials so expertly interwoven.

The most articulate guide to Harmonium can be found in the composer's own pref-

ace to the published score (printed below) , which describes the genesis of the musical gestures and the relationship of the three poems that make up its text.

— Steven Ledbetter

Harmonium began with a simple, totally formed mental image: that of a single tone emerging out of a vast, empty space and, by means of a gentle unfolding, evolving into a rich, pulsating fabric of sound. This wordless "preverbal" creation scene

describes the opening of the piece, and it was fixed in my mind's eye long before I had even made the decision whether or not to use a text. Some time passed before I was able to get beyond this initial image. I had an intuition of what the work would feel like, but I could not locate the poetic voice to give it shape. When I finally did settle on a text for the piece I was frankly rather surprised by the oddity of my choice. At almost the same time I happened upon an obscure poem with the irresistible title "Negative Love" by the seventeenth-century English poet John Donne and two poems by the nineteenth-century American Emily Dickinson which, together with the Donne poem, suggested a completed unity of form and meaning.

In other works written about the same time as Harmonium {Common Tones in Simple Time for orchestra, Shaker Loops for strings, and Phrygian Gates for piano) much of the musical interest came about as a result of a balance between harmonic stability and the invention and variety of the sound "surface." Large, harmonically stable key areas, often governed by a single mode or even a single chord, were brought to life and impelled forward by an inner pulse and by a constantly evolving wave-like manipulation of the surface texture. (An early version for string quartet of

Shaker Loops was, in fact, appropriately titled Wavemaker.) Melody, when it did

occur, was seldom a generator of form, as it is in almost all other tonal music. Rather it was born out of the ongoing harmonic and rhythmic flow of the continuum. One

could even go so far as to call it an aspect of the music's texture. Nevertheless, it is by no means absent or unimportant in Harmonium.

With harmonic rhythms (i.e. the rate of changes between harmonies) radically slowed down, modulation took on a new and exciting meaning and I found that, when properly handled, it could accomplish the effect of a kind of celestial gear shifting. A successful performance of any one of these pieces should give the feeling of travelling— sometimes soaring, sometimes barely crawling, but nonetheless always moving forward over vast stretches of imaginary terrain. Changes in harmony, nor- mally a matter of measure to measure articulation in most tonal music (at least in the western world), become a different matter when used in this manner: I found, for example, that I could use harmonic change in two very different ways: One way was to bring in a new key area almost on the sly, stretching the ambiguity out over such a

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V-VV 9 %,* * p* #/* # P* #,-* * p* # V length of time that the listener would hardly notice that a change had taken place (you find yourself in a new landscape but you don't know how you got there). Another approach was to introduce a sudden change of key for all the available power of sur-

prise and heightened emotional tension that it might provide, as in the successive shifts of key (which I call "gates") in "Wild Nights," abrupt transitions that act like a continuously accelerating centrifuge.

Of course Harmonium is different from all my other works because it has a text. In the Dickinson poems an internal structure is already apparent, and I took advantage of the unhurried cinematographic unfolding of imagery in "Because I Could Not Stop for Death" to once again utilize the power of changes of key (and in this case changes of mode as well). The "placing" of the speaker — in a slowly moving carriage while the sights and sounds of her life gradually pass her by— created an irresistible momentum for a slow, disembodied rhythmic continuum.

"Negative Love," on the other hand, presented different problems both on the inter- pretive as well as the imaginary level. What attracted me to the poem was its evasive-

ness: Every time I read it, it seemed to mean something different. The poem is really about the humility of love, and my response was to see it as a kind of vector, an arrow pointing heavenward. Thus the opening of "Negative Love" with its rippling

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33 waves of orchestral and choral sound sets in motion a musical structure that builds continuously and inexorably to a harmonic culmination point some ten minutes later.

Throughout the movement the music is in a constant state of agitation. The tempo is always quickening, the amplitude growing louder and the overall density gaining power and mass until it reaches its peak on the words

If any who deciphers best What we know not, our selves, can know,

Let him teach me that nothing . . .

At this point the entire mass shifts smoothly back to the opening tempo and opening atmosphere.

If "Negative Love" is a meditation on love and "Because I Could Not Stop for Death" a sequence of tableau-type images about the arrest of time, "Wild Nights"

embraces both of the former themes with a poetic intensity that is at once violent and sexual and full of that longing for forgetfulness which is at the core of all Dickinson's works. Her goal is far from being some kind of Apollonian serenity of self-realization, her Eden is the sea, the universal archetype of the Unconscious, an immense, noctur- nal ocean of feeling where the slow, creaking funeral carriage of the earlier poem now yields to the gentle, unimpeded "rowing" of the final image. — John Adams

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34 Negative Love or The Nothing

I never stoop'd so low, as they Which on an eye, cheek, lip, can prey. Seldom to them, which soar no higher Than virtue or the mind to admire. For sense, and understanding may Know what gives fuel to their fire: My love, though silly, is more brave, For may I miss, whene'er I crave, If I know yet, what I would have.

If that be simply perfectest Which can by no way be express 'd But Negatives, my love is so. To All, which all love, I say no. If any who deciphers best, What we know not, our selves, can know, Let him teach me that nothing; this As yet my ease and comfort is, Though I speed not, I cannot miss. — John Donne

Because I could not stop for Death, He kindly stopped for me; The carriage held but just ourselves And Immortality.

We slowly drove, he knew no haste, And I had put away My labor, and my leisure too, For his civility.

We passed the school where children played At wrestling in a ring; We passed the fields of gazing grain, We passed the setting sun.

We paused before a house that seemed A swelling of the ground: Wild Nights -Wild Nights! The roof was scarcely visible, Were I with thee The cornice but a mound. Wild Nights should be Our Luxury! Since then 'tis centuries; but each Feels shorter than the day Futile — the winds — I first surmised the horses' heads To a Heart in port — Were toward eternity. Done with the Compass — —Emily Dickinson Done with the Chart! Rowing in Eden — Ah, the sea! Might I but moor — Tonight In thee!

Emily Dickinson

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Stanley Sadie's fine Mozart article in The New Grove has been published separately by Norton (available in paperback); Sadie is also the author of Mozart (Grossman, also paperback), a convenient brief life-and-works survey with nice pictures. Alfred Einstein's classic Mozart: The Man, The Music is still worth knowing (Oxford paper- back). Wolfgang Hildesheimer's Mozart (Farrar Straus Giroux, available also as a Vintage paperback), though frustrating to read since it is built up out of many short sections dealing primarily with Mozart's character, personality, and genius, provides a stimulating point of view for readers who have not followed the recent specialist liter- ature on the composer. Just published in anticipation of this year's many commemo- rations of the 200th anniversary of the composer's death, The Mozart Compendium: A Guide to Mozart's Life and Music, edited by H.C. Robbins Landon (Schirmer Books), is a first-rate single-volume reference work for the Mozart lover, filled with an

extraordinary range of information, including things it might never have occurred to you to look up, but which you'll be delighted to know. A distinguished roster of spe- cialists writes about the historical background of Mozart's life, the musical world in which Mozart lived, his social milieu and personality, his opinions on everything from religion and reading matter to sex and other composers. In addition, there are entries for all of Mozart's works with basic information regarding their composition, perform- ance, publication, location of manuscripts, and special features (such as nicknames or borrowed tunes). Finally, a discussion of the reception of Mozart's music, perform- ance practices, myths and legends about Mozart, Mozart in literature, and an evalua- tion of the biographies, analytical studies, and editions of Mozart's music caps a remarkable book. I know nothing quite like this for any other composer: detailed and scholarly for the specialist, wide-ranging, yet accessible for the general music-lover.

Though it is not listed in the American record catalogues at the moment, there is a recording of the Thamos music performed by the Concertgebouw Orchestra under the direction of Nikolaus Harnoncourt (Teldec). An older recording that emanated from Salzburg, with Leopold Hager conducting the Mozarteum Orchestra and the Salzburg Chamber Choir, has long since been unavailable (DG).

Ingram D. Marshall's short article on John Adams in The New Grove Dictionary of American Music offers a useful guide. Adams' music has become available in consider- able measure in recent years. Harmonium has been recorded by Edo de Waart and the San Francisco Symphony Orchestra and Chorus, the forces of the premiere (ECM). The early works on record include Shaker Loops in its original version for string septet, superbly recorded by the Ridge Quartet supplemented by three other players under the composer's direction (New Albion LP), coupled with his solo piano work Phrygian Gates, played by Mack McCray. Edo de Waart has recorded the full orchestral version of Shaker Loops with the strings of the San Francisco Symphony Orchestra (Philips, coupled with Steve Reich's Variations for Winds, Strings, and Keyboard). Among Adams' larger and more recent works, there are Harmonielehre for full orchestra, also performed by the San Francisco Symphony under de Waart (Nonesuch), the rowdy Grand Pianola, for chamber orchestra and soloists, recorded by the Solisti New York under the direction of Ransom Wilson, with soloists Ursula Oppens and Alan Feinberg (Angel), the complete opera Nixon in China, with de Waart conducting the Orchestra of St. Luke's and the original cast (Nonesuch, also available on videotape), and the poignant setting of Walt Whitman's description of his experience in a Civil War hospital, The Wound-Dresser, for baritone and orchestra, coupled with Fearful Symmetries for orchestra; the composer conducts the St. Paul Chamber Orchestra, with Sanford Sylvan in the Whitman piece (Nonesuch). -S.L.

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Evidently, once you've looked beyond the obvious, it is difficult to see anything less. Simon Rattle Since winning the John Player International Conductor's Competi- tion in 1974 at age nineteen, Simon Rattle has achieved extraordi- nary acclaim even while pursuing unusual and challenging twentieth-century repertory and limiting his appearances to a hand- ful of orchestras and opera companies. Born in Liverpool in 1955, the youngest child of musical parents, Mr. Rattle studied piano and percussion; he made his first professional appearance at eleven, as percussionist with the Royal Liverpool Philharmonic and the National Youth Orchestra with Pierre Boulez. Five years later he switched to conducting, as a student of John Carewe. As a winner of the John Player Competition he became assistant conductor of the Bournemouth Sym- phony Orchestra and the Bournemouth Sinfonietta for three years. He made his Glynde- bourne debut at twenty and appeared with the Philharmonia Orchestra at London's Royal Festival Hall two years later. In 1978 he was appointed associate conductor of the Royal Liverpool Philharmonic and the BBC Scottish Orchestra, positions he held until his appointment in the summer of 1980 as principal conductor and music director of the City of Birmingham Symphony Orchestra, his current position. Mr. Rattle made his North American debut at twenty-four with the Los Angeles Philharmonic, of which he is cur- rently principal guest conductor. He has also been artistic director of the London Choral Society, principal guest conductor of the Rotterdam Philharmonic, and artistic director of London's South Bank Festival. Mr. Rattle also appears regularly with the London Sinfo- nietta and the Philharmonia. Engagements as a guest conductor have brought him to Boston, Chicago, Cleveland, Montreal, San Francisco, and Toronto; he has also been heard with major orchestras in Germany, Scandinavia, Holland, and Israel and recently began a long-term guest-conducting arrangement with the Berlin Philharmonic. As an opera con- ductor, he has conducted acclaimed productions at Glyndebourne (including the first Brit- ish production of Porgy and Bess, which he subsequently recorded), Scottish Opera, English National Opera, Los Angeles Opera, and Covent Garden. Mr. Rattle focuses most of his time and energy on his work with the City of Birmingham Symphony Orchestra; in his work with that ensemble and the London Sinfonietta he has earned a reputation as an innovative and daring programmer, and as a champion of twentieth-century music. An exclusive Angel/EMI artist, he has recorded music of Janacek, Weill, Rachmaninoff, Mahler, Schoenberg, Nielsen, Messiaen, and Stravinsky; his discography with the Philhar- monia, Los Angeles, and Birmingham orchestras numbers some thirty releases. In addi- tion, he and the City of Birmingham Symphony Orchestra have made a number of televi- sion documentaries for BBC and Central Independent Television. Also a scholar of literature, Mr. Rattle gave up his conducting responsibilities in 1980-81 to study English and American literature at Oxford University. In Queen Elizabeth's 1987 New Year's Hon- ours he was made a C.B.E. for his services to music. That same year marked the publica- tion by Faber and Faber of Nicholas Kenyon's Simon Rattle: The Making of a Conductor. Mr. Rattle's previous Boston Symphony appearances have included two subscription pro- grams in November 1983 and two programs in March 1987.

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40 Lynne Dawson A native of York, England, soprano Lynne Dawson studied at the Guildhall School of Music and Drama in London and at the Britten-Pears School with Sir Peter Pears. Her career began in the early music movement with concerts both in England and on inter- national tours. During the past few years she has been increasingly in demand as a soloist for concert and opera appearances. Ms. Dawson works regularly with such conductors as Trevor Pinnock, John Eliot Gardiner, Christopher Hogwood, Roger Norrington, Jeffrey Tate, and Carlo Maria Giulini. She has also appeared in concert with Andrew Davis, Sir Charles Mackerras, and Vladimir Ashkenazy. In 1989 she made her debut recital at the Wigmore Hall in London. Ms. Daw- son's recent concert appearances have included OrfPs Carmina burana with Herbert Blom- stedt and the San Francisco Symphony, which was recorded for Decca, and Haydn's The Seasons with Franz Welser-Moest and the London Philharmonic. This season's concert appearances include Bach's B minor Mass at La Scala and the Mozart Requiem in Rome, both under Giulini, and Mozart's C minor Mass with the English Chamber Orchestra under Jeffrey Tate. Ms. Dawson's recent performances on the operatic stage have included Zdenka in Strauss's Arabella for Radio France, Sandrina in a new production of Mozart's Lafinta giardiniera for the Lausanne Opera, Purcell's The Fairy Queen at the 1989 Aix- en-Provence Festival, Constanze in Mozart's Die Entfuhrung aus dem Serail at the Sadler's Wells Theatre in London, and Fiordiligi in Mozart's Cost fan tutte in Naples. Future operatic appearances include Pamina in Die Zauberftote at the Vienna Staatsoper and Teresa in Berlioz's Benvenuto Cellini with Netherlands Opera. Ms. Dawson's record- ings include Bach's B minor Mass and Monteverdi's Orfeo with John Eliot Gardiner on DG Archiv; Mozart's C minor Mass with Christopher Hogwood on Decca; Purcell's Timon of Athens and Dioclesian and Gluck's Iphigenie en Aulide also under Gardiner, on Erato; Handel's Jephtha and Saul, under Gardiner on Philips; and Mozart's Requiem under Giulini on CBS. Future recordings include Constanze in Entfuhrung under Hogwood for Decca and Donna Elvira in Don Giovanni under Norrington for EMI. Ms. Dawson is making her Boston Symphony Orchestra debut at these concerts.

Elise Ross | Soprano Elise Ross is widely acclaimed throughout Europe for her interpretations of twentieth-century music. She began her career singing music by Luciano Berio, giving the premiere of his music- i theater piece Passagio in Rome and touring his chamber music with the London Sinfonietta. She then went on to appear as a solo- ist in such major European music festivals as Warsaw, the Maggio Musicale Fiorentino, Venice's Biennale, and the Holland Festival. Among her most noted interpretations have been Schoenberg's Pierrot Lunaire, which she is scheduled to perform at Tanglewood this summer, and the role of Marie in Berg's Wozzeck. She has recorded Kurt Weill's The Seven Deadly Sins for EMI records and for BBC Television, in addition to staged performances at London's Royal Festival Hall. Ms. Ross has sung the role of Cherubino in Mozart's Le nozze di Figaro for Opera 80 and Opera North in the United Kingdom and for Long Beach Opera in the United States. Most recently she appeared as Marie in the Los Angeles Music Center Opera's production of Wozzeck. In 1991 she sings her first Melisande in Debussy's Pelleas et Melisande in concert in London; she is scheduled to sing that role with Netherlands Opera in 1993. She will tour Pierrot Lunaire with members of the City of Birmingham Symphony Orchestra as part of their United States tour in 1992. Ms. Ross is making her first Boston Symphony Orchestra appearances at these concerts.

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42 Donald Kaasch Tenor Donald Kaasch's recent credits include his acclaimed por- trayal of American poet Edgar Allan Poe in the Lyric Opera of Chicago production of Argento's The Voyage of Edgar Allan Poe. He has appeared in Europe in the Opera de Paris/Bastille's inau- gural production of Berlioz's Les Troyens, as well as at the Theatre des Champs-Elysees, the Theatre du Capitole in Toulouse, and the Teatro Communale in Florence. In the United States he has appeared regularly with the Metropolitan Opera and the Lyric Opera of Chicago, as well as with Washington Opera, Seattle Opera, and Florentine Opera. Mr. Kaasch's repertoire includes most of the Mozart tenor roles, as well as roles by Donizetti, Rossini, Berlioz, Gluck, Berg, and contemporary composers. In concert he has appeared with the Chicago Symphony Orchestra in Boris Godunov under Claudio Abbado, Rachmaninoff's The Bells, and Ned Rorem's An American Oratorio, and with the Flemish Opera Orchestra in Rossini's Stabat mater. Future engagements include appearances at the Metropolitan Opera in the title role of Mozart's La clemenza di Tito under James Levine, in Don Giovanni, and as the Steuer- mann in Der fliegende Hollander; the title role of Mitridate with Jeffrey Tate and Wozzeck with Daniel Barenboim and Patrice Chereau, both at the Theatre du Chatelet in Paris; Idamante in Idomeneo at the Bastille; Tancredi with Marilyn Home at Salzburg; La favor- ita and Anna Bolena at the Theatre de la Monnaie in Brussels; and Mozart's Requiem in Nantes. Mr. Kaasch is making his Boston Symphony debut with this week's concerts.

James Patterson During the 1990-91 season, acclaimed bass James Patterson returns to San Francisco Opera as Nettuno in Monteverdi's R ritorno d'Ulisse in patria and is heard as the Commendatore in Opera Hamilton's production of Don Giovanni. He makes his Bos- ton Symphony debut with this week's concerts, and is a soloist in Verdi's Requiem with the Amarillo Symphony. Last season he reprised his role as the Commendatore in the Peter Sellars produc- tion of Don Giovanni; that production was videotaped in Vienna and was seen recently on PBS's "Great Performances" series. Other performances during the 1989-90 season included appear- ances as Basilio in The Barber of Seville with Canadian Opera, Sarastro in The Magic Flute with Kentucky Opera, Lodovico in Otello with Canadian Opera, and Fafner in the San Francisco Opera production of Wagner's Ring. Other San Francisco Opera appearances have included Trulove in Stravinsky's The Rake's Progress, Titurel in Parsifal, the Old Con- vict in Lady Macbeth of Mtsensk, Sparafucile in Rigoletto, and the King in Aida, as well as roles in Lear, Der Rosenkavalier, Werther, and Un ballo in maschera. He has also per- formed with the Greater Miami Opera, Orlando Opera, Lyric Opera of Chicago, Vancouver Opera, and New Orleans Opera, and has sung the role of Fafner in Seattle Opera's Ring production. Mr. Patterson is also acclaimed as a soloist with orchestra, having appeared in Verdi's Requiem and Bach's St. Matthew Passion with Robert Shaw in San Francisco's "Festival of Masses," as well as with the Montreal Symphony, the Minnesota Orchestra, the Pacific Symphony, and the San Jose Symphony. In the summer of 1981 Mr. Patter- son was an Apprentice Artist with Santa Fe Opera. He was also a member of San Fran- cisco Opera's Merola Program, where, after winning the Promising Young Artists Award in the Chicago regional auditions, he performed the roles of Sarastro and Sparafucile, singing the latter role with Western Opera Theater throughout the United States. He then joined the San Francisco Opera as an Adler Fellow. A native of Toronto, Mr. Patterson received both his bachelor's and master's degrees from the University of Michigan.

43 Tanglewood Festival Chorus John Oliver, Conductor

The Tanglewood Festival Chorus was organized in the spring of 1970, when founding conductor John Oliver became director of vocal and choral activities at the Tanglewood Music Center; the chorus celebrated its twentieth anniversary last season. Co-sponsored by the Tanglewood Music Center and Boston Univer- sity, and originally formed for performances at the Boston Sym- phony Orchestra's summer home, the chorus was soon playing a major role in the BSO's Symphony Hall season as well. Now the official chorus of the Boston Symphony Orchestra, the Tanglewood Festival Chorus is made up of members who donate their services, performing in Boston, New York, and at Tanglewood, working with Music Director Seiji Ozawa, John Williams and the Boston Pops, and such prominent guest conductors as Ber- nard Haitink, Roger Norrington, and Simon Rattle. In addition, the chorus has collabo- rated with Seiji Ozawa and the Boston Symphony Orchestra on numerous recordings, beginning with Berlioz's The Damnation of Faust for Deutsche Grammophon, a 1975 Grammy nominee for Best Choral Performance. An album of a cappella twentieth-century American music recorded at the invitation of Deutsche Grammophon was a 1979 Grammy nominee. Recordings with Seiji Ozawa and the Boston Symphony Orchestra currently available on compact disc include Strauss 's Elektra, Mahler's Second and Eighth sympho- nies, and Schoenberg's Ghtrrelieder, on Philips; Beethoven's Choral Fantasy with Rudolf Serkin, on Telarc; Poulenc's Gloria and Stabat mater with Kathleen Battle, on Deutsche Grammophon; and Debussy's La Damoiselle elue with Frederica von Stade, on CBS Mas- terworks. The chorus's most recent release, on Philips, is Ravel's Daphnis et Chloe, with the Boston Symphony Orchestra under the direction of Bernard Haitink. They may also be heard on the Philips album "We Wish You a Merry Christmas" with John Williams and the Boston Pops Orchestra. In June 1989 the Tanglewood Festival Chorus helped close a month-long International Choral Festival based in Toronto, performing music by Tallis, Ives, Brahms, and Gabrieli under John Oliver's direction and participating in the festival's closing performance, the Verdi Requiem with the Toronto Symphony under the direction of Charles Dutoit.

In addition to his work with the Tanglewood Festival Chorus, John Oliver is conduc- tor of the MIT Chamber Chorus and MIT Concert Choir, a senior lecturer in music at MIT, and conductor of the John Oliver Chorale, now in its fourteenth season. Mr. Oliver made his Boston Symphony conducting debut at Tanglewood in 1985.

ALTORS B Beacon Street, BrookTine, MA 02146 • (617)738-5700

44 Tanglewood Festival Chorus John Oliver, Conductor

Sopranos Paula Folkman Hyung Goo Kim Dorrie A. Edward Kiradjieff Annette Anfinrud Freedman Gilbride David E. Meharry Margaret Aquino Irene Toni Gustus Larry Mynatt Ingrid Bartinique Hewitt-Didham David Norris Deborah Bennett Donna Diane Hoffman Daniel O'Brien Joanne Colella Boag Evelyn Eshelman Kern David Raish Sarah S. Brannen Dorothy W. Love Brian Robinson Susan Cavalieri April David Rose Bonita Ciambotti Merriam Sheryl Monkelien Ronald Severson Jane R. Circle Barry Singer Deborah Grace Coleman Roslyn Pedlar Susan Quinn Pierce Patricia Cox Avis See-Tho Basses Mary A.V. Crimmins Rachel Shetler Sara Dorfman Eddie Andrews Linda Kay Smith Christine P. Duquette Kirk H. Chao Ada Snider Carol Furneaux George Chase Julie Steinhilber Amy G. Harris Mel Conway Dianne M. Terp Christine Jaronski James W. Courtemanche Judith Tierney Malinda Julien Edward E. Dahl L. Turnburke Sarah Jane Liberman Constance Robert Engel Christine Lillian Wallace Barbara S. MacDonald Stephen Falbel Sue Wilcox Jan Elizabeth Norvelle Mark Haberman Pumiko Ohara David K. Kim Tenors Christine Payne John Knowles Sarah J. Robinson Brad W. Amidon Timothy Lanagan Charlotte C. Russell Antone Aquino Steven Ledbetter Lisa Saunier John C. Barr Andris Levensteins Genevieve Schmidt William A. Bridges, Jr. H. Brady Macosko Pamela Schweppe Kenneth R. Burger Gregory Mancusi-Ungaro Joan Pernice Sherman Andrew 0. Crain Stephen H. Owades Deborah L. Speer Wayne Curtis Donald Robert Peck Jennifer Wehr Keith Daniel Michael J. Prichard Tricia Wells Reginald Didham Michael Ruderman J. Todd Fernandez Paul Sanner Mezzo-sopranos Michael P. Gallagher Frank R. Sherman Maisy Bennett J. Stephen Groff Timothy Shetler Betty B. Blume David M. Halloran Roch Skelton Nancy Brockway George W. Harper Peter S. Strickland Sharon Carter David Mack Henderson Paul R. Tessier Barbara Clemens John W. Hickman Bradley S. Turner Diane Droste Stanley Hudson Thomas C. Wang Barbara Naidich Ehrmann Warren D. Hutchison Terry L. Ward Maria E. Favorito James R. Kauffman Peter Wender

Virginia S. Hecker, Manager Frank Corliss and Shiela Kibbe, Rehearsal Pianists

45 Dear Patron of the Orchestra:

For many years the Boston Sym- phony Orchestra has been known as the "aristocrat of American orchestras." There is indeed a distinctive "BSO sound" that has earned worldwide acclaim and has attracted the greatest musicians to audition for membership in the orchestra.

An important ingredient in the creation of this unique sound is having the finest musical instruments on the BSO's stage. However, the cost of many of these instruments

(especially in the string sections) has become staggeringly high, and it is incumbent upon the Symphony to take steps to assure that musicians in key positions who do not themselves own great instruments have access to them for use in the orchestra.

Two recent initiatives have been taken to address this concern: First, in 1988, the Boston Safe Deposit and Trust Company stepped forward with a creative loan program that is making it possible for players to borrow at one and a half percent below prime to purchase instruments.

Second, last fall, the incentive of a Kresge Foundation challenge grant helped launch our effort to raise a fund of $1 million for the Orchestra to draw upon from time to time to purchase instruments for use by the players. The BSO in this case would retain ownership.

Donations of both outright gifts and instruments are being sought to establish the BSO's Instrument Acquisition Fund. Fine pianos, period instruments, special bows, heirloom violins, etc. all make ideal gifts. Opportunities for naming instruments and for other forms of donor recognition may be available according to the wishes of the donor.

If you are interested in this program please contact me or Joyce Serwitz in the orchestra's Development Office at (617) 638-9273. Your support will help make a difference that will be music to our ears!

George H. Kidder President

46 BUSINESS Business and Professional Leadership Association

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

CORPORATE SPONSORSHIPS $25,000 and above

Digital Equipment Corporation Boston Pops Orchestra Public Television Broadcasts NEC Boston Symphony Orchestra North American Tour 1991 Boston Symphony Orchestra European Tour 1991

NYNEX Corporation WCVB-TV, Channel 5 Boston and WCRB 102.5 FM Salute to Symphony 1990

The Boston Company Opening Night At Symphony 1990

BayBanks, Inc. Opening Night at Pops 1990

Lexus A Division of Toyota Motor Sales U.S.A., Inc. Tanglewood Opening Night 1990

TDK Electronics Corporation Tanglewood Tickets for Children 1990

Bank of Boston Country Curtains and The Red Lion Inn BSO Single Concert Sponsors 1990

For information on these and other corporate funding opportunities, contact Madelyne Cuddeback, BSO Director of Corporate Sponsorships, Symphony Hall, Boston, MA 02115, (617) 638-9254.

47 i You Can't Afford NOT To Live Here

... a gracious full-service RENTAL Retirement Community

The Georgian is a unique rental community designed for gracious living. The Georgian offers seniors all the comforts and privacy of an individual apartment home combined with the hospitality and service of the finest residential hotel, as well as an Assisted Living Program.

Unlike most other communities, The Georgian is based on a rental plan with no entrance payment required, thus preserving residents' assets. Our philosophy is to promote and encourage a fulfilling and gracious lifestyle in a caring and secure environment.

332 Jamaicaway Boston, MA 02130

Call Louise Maclntyre at 617-524-7228

48 A TRADITION OF FINANCIALCOUNSEL OLDER THAN THE U.S. DOLLAR. State Street has been providing quality financial service since 1792.

That's two years longer than the dollar has been the official currency of the United States. During that time, we have managed the assets of some of New England's wealthiest families. And provided investment advice and performance tailored to each client's individual goals and needs. Today our Personal Trust Division can extend that service to you. We've been helping people manage their money for almost 200 years. And you can only stay in business that long by offering advice of the highest quality. Let us help you get the highest performance from your assets. To enjoy today and to pass on to future generations. For more information contact Peter Talbot at 617-654-3227. State Street. Known for quality?

®

State Street Bank and Trust Company, wholly-owned subsidiary of State Street Boston Corporation, 225 Franklin Street, Boston, MA 02101. Offices in Boston, New York, Los Angeles, London, Munich, Brussels, Tokyo, Sydney, Hong Kong. Member FDIC. Copyright State Street Boston Corporation, 1989.

I "i % -' i €!

Carleton-WiMard Village is an exceptional continuing care rati rement commu nity 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 "W^O ^ Homes, Inc., a non-profit corporation 1990-91 Business Honor Roll ($10,000 and Above)

Advanced Management Associates Grafacon, Inc. Harvey Chet Krentzman H. Wayman Rogers, Jr.

Analog Devices, Inc. GTE Products Corporation Ray Stata Dean T. Langford

AT&T Network Systems Hill, Holliday, Connors, Cosmopulos, Inc. John F. McKinnon Jack Connors, Jr.

Bank of Boston The Henley Group Ira Stepanian Paul M. Montrone

Barter Connections Houghton Mifflin Company Kenneth C. Barron Nader F. Darehshori

BayBanks, Inc. IBM Corporation William M. Crozier, Jr. Paul J. Palmer

Bingham, Dana & Gould John Hancock Mutual Life Insurance Company Joseph Hunt E. James Morton

Bolt Beranek & Newman Lawner Reingold Britton & Partners Stephen R. Levy Michael H. Reingold

The Boston Company Lexus Christopher M. Condron A Division of Toyota Motor Sales, U.S.A., Inc. Boston Edison Company J. Davis Ulingworth Stephen J. Sweeney Liberty Mutual Insurance Group The Boston Globe Gary L. Countryman

William 0. Taylor Loomis-Sayles & Company, Inc. Boston Herald Charles J. Finlayson Patrick J. Purcell McKinsey & Company Bull HN Information Systems, Inc. Robert P. O'Block Roland D. Pampel Morse Shoe, Inc. Cahners Publishing Company Manuel Rosenberg Ron Segel NEC Corporation Connell Limited Partnership Tadahiro Sekimoto William F. Connell NEC Deutschland GmbH Coopers & Lybrand Masao Takahashi William K. O'Brien Nestle-Hills Brothers Coffee Company Country Curtains Ned Dean Jane P. Fitzpatrick The New England Deloitte & Touche Edward E. Phillips James T. McBride New England Telephone Company Digital Equipment Corporation Paul C. O'Brien Kenneth G. Olsen Northern Telecom, Inc. Dynatech Corporation Brian Davis J. P. Barger

Eastern Enterprises Nynex Corporation Robert W. Weinig William C. Ferguson

EG&G, Inc. PaineWebber, Inc. John M. Kucharski James F. Cleary

The First Boston Corporation KPMG Peat Marwick Malcolm MacColl Robert D. Happ

General Cinema Corporation Polaroid Corporation Richard A. Smith I.M. Booth

The Gillette Company Prudential-Bache Capital Funding Alfred M. Zeien David F. Remington

49 1990-91 Business Honor Roll (continued)

Raytheon Company TDK Electronics Corporation Thomas L. Phillips Takashi Tsujii The Red Lion Inn USTrust John H. Fitzpatriek James V. Sidell Shawmut Bank, N.A. WCRB-102.5 FM John P. Hamill Richard L. Kaye

The Stop & Shop Foundation WCVB-TV, Channel 5 Boston Avram J. Goldberg S. James Coppersmith

Discover Privacy and Serenity at Windemere in the Berkshires. Only 2Vi Hours from Boston.

The people who buy a country home at Windemere have a desire for privacy. Each is custom built on five or more secluded acres. Windemere people can also be active: minutes away are skiing, golf and tennis. They can also swim or sail in Windemere's own 100 acre lake. At day's end, they can come home and swim in their own private indoor pool (see photo) and then enjoy gourmet dining in nearby Lenox. Interested? Call 413-229-8330 for a private inspection or brochure.

This ad is not an offering to sell. Complete terms are in an offering plan available from sponsor. © Windemere Lake Corporation 1990

Southfield, Massachusetts 01259/413-229-8330

50 BUSINESS AND PROFESSIONAL LEADERSHIP ASSOCIATION

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

Accountants Banking Lindenmeyr Munroe ARTHUR ANDERSEN & CO. BANK OF BOSTON NESTLE-HILLS BROTHERS William F. Meagher Ira Stepanian COFFEE COMPANY Ned Dean * Charles E. DiPesa & Company *Bank of New England William F. DiPesa Corporation O'Donnell-Usen Fisheries COOPERS & LYBRAND Lawrence K. Fish Arnold S. Wolf William K. O'Brien BAYBANKS, INC. Welch's DELOITTE & TOUCHE William M. Crozier, Jr. Everett N. Baldwin James T. McBride THE BOSTON COMPANY ERNST & YOUNG Christopher M. Condron, Jr. Education Thomas M. Lankford Cambridge Trust Company BENTLEY COLLEGE KMPG PEAT MARWICK Lewis H. Clark Gregory Adamian Robert D. Happ CITICORP/CITIBANK Walter E. Mercer Electrical/HVAC * Theodore S. Samet & Company Theodore S. Samet First National Bank of Chicago *p.h. mechanical Corporation Richard Spencer Paul A. Hayes Tofias, Fleishman, Shapiro & Co., P.C. * Rockland Trust Company *R & D Electrical Company, Inc. Allan Tofias John F. Spence, Jr. Richard D. Pedone SHAWMUT BANK, N.A. Advertising/Public Relations John P. Hamill Electronics *Arnold Advertising * State Street Bank & Alden Electronics, Inc. Edward Eskandarian Trust Company Joseph Girouard Elysee Public Relations William S. Edgerly *Analytical Systems Tanya Keller Dowd USTRUST Engineering Corporation HILL, HOLLIDAY, CONNORS, James V. Sidell Michael B. Rukin COSMOPULOS, INC. Wainwright Bank & Trust Company PARLEX CORPORATION Jack Connors, Jr. John M. Plukas Herbert W. Pollack *Ingalls, Quinn & Johnson Bink Garrison Energy LAWNER REINGOLD B uilding/C ontracting CABOT CORPORATION BRITTON & PARTNERS *Harvey Industries, Inc. Samuel W. Bodman Michael H. Reingold Frederick Bigony

J.F. White Contracting Company Aerospace Engineering Philip Bonanno * Northrop Corporation *GZA GeoEnvironmental Lee Kennedy Co., Inc. Kent Kresa Technologies, Inc. Lee M. Kennedy Donald T. Goldberg Architects *Moliterno Stone Sales, Inc. The Thompson & Lichtner * Kenneth A. Castellucci Cambridge Seven Associates Company, Inc. Charles Redman * National Lumber Company John D. Stelling *LEA Group Louis L. Kaitz Eugene R. Eisenberg PERINI CORPORATION Entertainment/Media David B. Perini Automotive GENERAL CINEMA CORPORATION Richard A. Smith *J.N. Phillips Glass Consumer Goods/Distributors National Amusements, Inc. Company, Inc. Sumner M. Redstone Alan L. Rosenfeld BARTER CONNECTIONS Lexus Kenneth C. Barron Environmental A Division of Toyota Motor FAIRWINDS GOURMET COFFEE Sales U.S.A., Inc. COMPANY Jason M. Cortell & Associates J. Davis Ulingworth Michael J. Sullivan Jason M. Cortell

51 HOTEL MERIDIEN

What would you have for dinner in Paris tonight?

V>4ome find out at Julien. Authentic contemporary French cuisine. Where each

meal is created from superb native ingredients, a surprising combination of rare spices and one unique element: the fine art of French cooking.

Please join us for dinner. Four course prix fixe menu. Reservations recommended. Free parking.

Serving lunch and dinner.

Le Meridien, 250 Franklin Street, Boston 617 451-1900

THE TASTE YOU USED TO TAKE FOR GRANTED

If biting into an apple is something you haven't been able to do for a while, call us. Implant Dentistry, with over 20 years of scientific and clinical experience, can now give you the next best thing to your own natural teeth. If you want to bite into an apple, smile with confidence, and have great looking teeth NEW ENGLAND 651-1344. call (508) IMPLANT DENTISTRY

New England Implant Dentistry • Michael R. Nicolazzo, D.M.D.

20 North Main Street, Suite 260 • Sherborn, Massachusetts 01770

52 Finance/Venture Capital ANALOG DEVICES, INC. PRIME COMPUTER, INC. Ray Stata John Shields *3i Corporation Geoffrey N. Taylor *Aritech Corp. * Printed Circuit Corporation James A. Synk Peter Sarmanian Carson Limited Partnership Herbert Carver Automatic Data Processing RAYTHEON COMPANY THE FIRST BOSTON Arthur S. Kranseler Thomas L. Phillips CORPORATION BOLT BERANEK AND SofTech, Inc. Malcolm MacColl NEWMAN, INC. Justus Lowe, Jr. GE CAPITAL CORPORATE Stephen R. Levy *TASC FINANCE GROUP BULL HN INFORMATION Arthur Gelb Richard A. Goglia SYSTEMS, INC. TDK ELECTRONICS KRUPP COMPANIES Roland D. Pampel CORPORATION George Krupp Takashi Tsujii *Cerberus Technologies, Inc. Food Service/Industry George J. Grabowski THERMO ELECTRON CORPORATION Costar Corporation Au Bon Pain George N. Hatsopoulos Otto Morningstar Louis I. Kane XRE Corporation * CSC PARTNERS, INC. Boston Showcase Company John K. Grady Jason E. Stan- Paul J. Crowley

Johnson O'Hare Co., Inc. DIGITAL EQUIPMENT Hotels/Restaurants Harry O'Hare CORPORATION 57 Park Plaza Hotel Kenneth G. Olsen Nicholas L. Vinios Footwear DYNATECH CORPORATION *Back Bay Hilton Converse, Inc. J. P. Barger Carol Summerfield Gilbert Ford EG&G, INC. *Boston Marriott Copley Place J. Baker, Inc. John M. Kucharski Jurgen Giesbert Sherman N. Baker EMC CORPORATION Christo's Restaurant *Jones & Vining, Inc. Richard J. Egan Christopher Tsaganis Sven A. Vaule, Jr. Helix Technology Corporation THE RED LION INN MORSE SHOE, INC. Robert J. Lepofsky John H. Fitzpatrick Manuel Rosenberg * Sheraton Boston Hotel & Towers * Reebok International Ltd. THE HENLEY GROUP Steve Foster Paul Fireman Paul M. Montrone *Sonesta International *The Rockport Corporation HEWLETT PACKARD COMPANY Hotels Corporation Anthony Tiberii Ben L. Holmes Paul Sonnabend THE STRIDE RITE IBM CORPORATION *The Westin Hotel, Copley Place CORPORATION Paul J. Palmer David King Arnold S. Hiatt *Intermetrics Inc. Furnishings/Housewares Joseph A. Saponaro Industrial Distributors IONICS, ARLEY MERCHANDISE INC. *Alles Corporation Arthur L. Goldstein CORPORATION Stephen S. Berman

David I. Riemer * Lotus Development Corporation Brush Fibers, Inc. Jim P. Manzi BBF Corporation Ian P. Moss Boruch B. Frusztajer *M/A-Com, Inc. * Eastern Refractories Company Robert H. Glaudel COUNTRY CURTAINS David S. Feinzig Jane P. Fitzpatrick MILLIPORE CORPORATION Millard Metal Service Center

: John A. Gilmartin Jofran Sales, Inc. Donald Millard, Jr. Robert D. Roy *The MITRE Corporation Charles A. Zraket Insurance Graphic Design NEC CORPORATION *American Title Insurance Company CLARK/LINSKY DESIGN Tadahiro Sekimoto Terry E. Cook Robert H. Linsky NEC DEUTSCHLAND GmbH *Arkwright INDEPENDENT DESIGN Masao Takahasi Enzo Rebula Patrick White *Orion Research, Inc. Caddell & Byers High Technology/Electronics Alexander Jenkins III John Dolan

Alden Products Company POLAROID CORPORATION CAMERON & COLBY CO., INC. Betsy Alden I.M. Booth Lawrence S. Doyle

53 you art cordially invited to sample, our Symphony Menu

at The Cafe (Promenade ~3ho olonna

O S milK TON

7or "Reservations Call, 617-424-7000

"Reducedparing rates zufien dining at "Ike Colonnade for Symphony "Patrons. Wjifl

The. Colonnade Hotel is located at 120 Huntington Avenue, 'Boston

We Would Like To Buy From You ROY K. EYGES INC

Buying & Selling Since 1941

Estate Jewelry • Period Jewelry Diamonds • Colored Stones • Antique Silver Sterling Silver • Flatware (Assorted Patterns) Hollow Ware • Bric-a-Brack • Art Objects

Buyers and Appraisers of Jewelry, Silver and Antiques Members of the Appraisers Association of America 247-8400

Hours: Monday-Saturday 10am-5pm 38 Newbury Street, 2nd floor, Boston

54 Charles H. Watkins & Company PAINEWEBBER CAPITAL Management/Financial/Consulting Paul D. Bertrand MARKETS ADVANCED MANAGEMENT Chubb Group of Insurance Cos. Joseph F. Patton ASSOCIATES John Gillespie SALOMON INC. Harvey Chet Krentzman FRANK B. HALL & CO. OF John V. Carberry *Arthur D. Little, Inc. MASSACHUSETTS, INC. *Spaulding Investment Company John Magee William F. Newell C.H. Spaulding *Bain & Company, Inc. International Insurance Group William W. Bain * State Street Development Perkins John Management Corp. THE BOSTON CONSULTING JOHN HANCOCK MUTUAL John R. Gallagher III GROUP LIFE INSURANCE COMPANY Jonathan L. Isaacs TUCKER ANTHONY, INC. E. James Morton John Goldsmith Cordell Associates, Inc. Johnson & Higgins of James B. Hangstefer Whitman & Evans, Art Investments Massachusetts, Inc. * Corporate Decisions Eric F. Mourlot Robert A. Cameron David J. Morrison *Woodstock Corporation Keystone Provident Life *Haynes Management, Inc. Nelson J. Darling, Jr. Insurance Company G. Arnold Haynes Robert G. Sharp Legal Index Group Lexington Insurance Company David G. Robinson Kevin H. Kelley BINGHAM, DANA & GOULD Irma Mann Strategic Marketing Joseph Hunt LIBERTY MUTUAL INSURANCE Irma Mann Stearns GROUP *Choate, Hall & Stewart Lochridge & Company, Inc. Gary L. Countryman Robert Gargill Richard K. Lochridge THE ENGLAND NEW Dickerman Law Offices MCKINSEY & COMPANY Edward E. Phillips Lola Dickerman Robert P. O'Bloek SAFETY INSURANCE COMPANY *Fish & Richardson The Pioneer Group, Inc. Richard B. Simches Robert E. Hillman John F. Cogan, Jr. Sedgwick James of * Gaston & Snow PRUDENTIAL-BACHE New England, Inc. Richard J. Santagati CAPITAL FUNDING P. Joseph McCarthy GOLDSTEIN & MANELLO David F. Remington Sullivan Risk Management Group Richard J. Snyder *Rath & Strong John H. Sullivan Dan Ciampa Sun Life Assurance Company GOODWTN, PROCTER AND HOAR Robert * Towers Perrin of Canada B. Fraser J. Russell Southworth David D. Horn *Hemenway & Barnes *William M. Mercer, Inc. John J. Madden Chester D. Clark Investments Hubbard & Ferris *The Wyatt Company Baring International Investment, Ltd. Charles A. Hubbard Paul R. Daoust John F. McNamara *Joyce & Joyce Yankelovich Clancy Shulman Bear Stearns & Company, Inc. Thomas J. Joyce Kevin Clancy Keith H. Kretschmer *Lynch, Brewer, Hoffman & Sands Essex Investment Management Owen B. Lynch Manufacturer's Representatives Company, Inc. MINTZ, LEVIN, COHN, FERRIS, *Ben Mac Enterprises Joseph C. McNay GLOVSKY & POPEO, P.C. Larry Benhardt FIDELITY INVESTMENTS/ Francis X. Meaney Thomas McAuliffe FIDELITY FOUNDATION Nissenbaum Law Offices Kitchen, & Kutchin, Inc. Goldman, Sachs & Company Gerald L. Nissenbaum Melvin Kutchin Martin C. Murrer *Paul R. Cahn Associates, Inc. KAUFMAN & COMPANY * Nutter, McClennen & Fish Paul R. Cahn Sumner Kaufman Michael J. Bohnen Kidder, Peabody & Co. PALMER & DODGE Manufacturing/Industry John G. Higgins Robert E. Sullivan *AGFA Corporation LOOMIS-SAYLES & COMPANY, *Rackemann, Sawyer & Brewster Ken Draeger [NO Stephen Carr Anderson *AMCEL Corporation Charles J. Finlayson Sarrouf, Tarricone & Flemming Lloyd Gordon Merrill Lynch & Co., Inc. Camille F. Sarrouf *Avedis Zildjian Company Paul Fehrenbach Weiss, Angoff, Coltin, Koski & Armand Zildjian PAINEWEBBER, INC. Wolf, P.C. The Biltrite Corporation James F. Cleary Dudley A. Weiss Stanley J. Bernstein

55 Tv/iat 6etter axu^ t& start? t/i& dan?

Qoird song&, music?, as camforta/H& companion,

a reasoned assessment/ cftAe (dcw/&/iew&} a/sens&cfta^useatAer&a/terns/, andtAen — moresmusio.

^

^

y(meriea/&most/ usten^to-^ro^ranv of / classical, tnxaitiafial and'contem^HsV^ar^ musio,

Morningfero- musuw

is Presentedeaern/ dcufcfromseven ti/lnoon anstxitian&<^tA&&u^

and is Aeard in tA& vooston area/ anWm^tyjJn.

^yrasit&from' &aiiot& and Q6cu^BanA&^, and'i>tf fflauetodi/.

56 • > '...n>*»

HHHHHHi

Boston Acoustics, Inc. Textron, Inc. *The Flatley Company Frank Reed B.F. Dolan Thomas J. Flatley

: C.R. Bard, Inc. Wire Belt Company of America Heafitz Development Company | Robert H. McCaffrey F. Wade Greer Lewis Heafitz Century Manufacturing Company Hilon Development Corporation Media Joseph Tiberio Joan Eliachar THE BOSTON GLOBE Chelsea Industries, Inc. *John M. Corcoran & Company William 0. Taylor Ronald G. Casty John M. Corcoran BOSTON HERALD CONNELL LIMITED PARTNERSHIP Keller Co., Inc. Patrick J. Purcell William F. Connell Joseph P. Keller PEOPLE MAGAZINE Dennison Manufacturing Company *Leggat McCall Properties, Inc. Peter Krieger Nelson G. Gifford Dennis F. Callahan 102.5 ERVING PAPER MILLS WCRB- FM Nordblom Company Richard L. Kaye Charles B. Housen Roger P. Nordblom WCVB-TV, CHANNEL 5 BOSTON FLEXcon Company, Inc. Northland Investment Corporation S. James Coppersmith Mark R. Ungerer Robert A. Danziger Georgia-Pacific Corp. *Trammell Crow Company Personnel Maurice W. Kring Arthur DeMartino SERVICES THE GILLETTE COMPANY TAD TECHNICAL Urban Investment & Development Alfred M. Zeien CORPORATION Rudy K. Umscheid GTE PRODUCTS CORPORATION David J. McGrath, Jr. *Windsor Building Associates Dean T. Langford Mona F. Freedman HARVARD FOLDING BOX Printing COMPANY, INC. *Bowne of Boston, Inc. Retail Melvin A. Ross Donald J. Cannava *Channel Home Centers, Inc. H.K. Webster Company, Inc. Customforms, Inc. Malcolm L. Sherman Dean K. Webster David A. Granoff FILENE'S HMK Enterprises, Inc. DANIELS PRINTING COMPANY David P. Mullen Joan L. Karol Lee S. Daniels *Jordan Marsh Company Hudson Lock, Inc. *Espo Litho Co., Inc. Richard F. Van Pelt Norman Stavisky David M. Fromer Karten's Jewelers Industrial Filter and Equipment George H. Dean Company Joel Karten Corporation Earl Michaud Lancome Paris Donald R. Patnode GRAFACON, INC. Steve Morse Kendall Company H. Wayman Rogers, Jr. *Neiman Marcus J. Dale Sherratt William D. Roddy LEACH & GARNER COMPANY Publishing Out of Town News, Inc. Philip F. Leach Addison-Wesley Publishing Company, Sheldon Cohen Leggett & Piatt, Inc. Inc. *Saks Fifth Avenue Alexander M. Levine Warren R. Stone Alison Strieder Mayher NEW ENGLAND BUSINESS CAHNERS PUBLISHING COMPANY The Stop & Shop Companies, Inc. SERVICE, INC. Ron Segel Lewis Schaeneman Richard H. Rhoads MIFFLIN HOUGHTON COMPANY Tiffany & Co. Parks Corporation Nader F. Darehshori Anthony D. Ostrom Lee Davidson Little, Brown & Company TJX COMPANIES Pierce Aluminum Kevin L. Dolan Ben Cammarata Robert W. Pierce

Rand-Whitney Corporation Real Estate/Development Science/Medical Robert Kraft * Boston Capital Partners Baldpate Hospital, Inc. Statler Tissue Company Christopher W. Collins Lucille M. Batal Leonard Sugerman Herbert F. Collins Blake & Blake Genealogists Richard J. DeAgazio Superior Brands, Inc. Richard A. Blake, Jr. Richard J. Phelps John P. Manning CHARLES RIVER Tech Pak, Inc. *Combined Properties, Inc. LABORATORIES, INC. Stanton L. Black J. William Flynn Henry L. Foster

57 H^^M ,

TRUMP

Willis Plane Is Filed

Wei GiwKbu A Seat On This One.

ifc

IfThis Plane Is Filed

Well Give Kbu A Seat On This One.

If This Plane Is Hlled

We're Having One Heck Of A Day.

At The Thimp Shuttle, we have the largest fleet of back-up planes in the shuttle business. Which means if our 8:00 flight fills up, you'll still get a seat on our 8:00 flight. So fly The Thimp Shuttle to Boston or

Washington. We'll make sure you get on the flight you want. No matter how many planes it takes.

s" For more information call your professional travel agent or 1-800-247 8786. For information on Trump Pak small package service, call 1-800-869 8472 © 1990 The Trump Shuttle. Inc. 58 CompuChem Corporation Software/Information Services AT&T NETWORK SYSTEMS Verkerk John F. McKinnon Gerard Kees * International Data Group J.A. WEBSTER, INC. Patrick J. McGovern *Cellular One Charles Hoffman John A. Webster *Phoenix Technologies Foundation Portsmouth Regional Hospital Neil Colvin NEW ENGLAND TELEPHONE William J. Schuler COMPANY Travel/Transportation Paul C. O'Brien Services * Crimson Travel Service/ NORTHERN TELECOM, INC. Don Law Productions Thomas Cook Brian Davis Don Law David Paresky NYNEX CORPORATION EASTERN ENTERPRISES * Heritage Travel, Inc. William C. Ferguson Robert W. Weinig Donald R. Sohn

riltspur Exhibits/Boston Thomas E. Knott Tele c ommunic ations Utilities

Shaughnessy & Ahern Co. AT&T BOSTON EDISON COMPANY John J. Shaughnessy Robert Babbitt Stephen J. Sweeney

Wild Acre Inns, Inc. *AT&T New England Electric System Bernard S. Yudowitz Glenn Swift Joan T. Bok

- Tower Records **- has the largest selection of Classical, Opera and 'Baroque music in 'Boston.

(Located 3 blocks from Symphony Matt)

WUllR RttMMMfl Mass. Ave. At Newbury In Back Bay ^. Hynes Convention Center/ICA (J) Stop on the Greenline

59 Next Program . . .

Thursday, March 14, at 8 Friday, March 15, at 2 Saturday, March 16, at 8 Tuesday, March 19, at 8

CHRISTOF PERICK conducting

WAGNER Siegfried Idyll

MOZART Violin Concerto No. 5 in A, K.219

Allegro aperto Adagio Tempo di menuetto— Allegro — Tempo di menuetto THOMAS ZEHETMAIR

INTERMISSION

STRAUSS Le Bourgeois Gentilhomme, Orchestral suite, Opus 60

Overture to Act I ( Jourdain the Bourgeois) Minuet The Fencing-Master Entrance and Dance of the Tailors The Minuet of Lully Courante Entrance of Cleonte (after Lully) Prelude to Act II (Dorantes and Dorimene, Count and Marchioness) The Dinner (Table Music and Dance of the Kitchen Boy)

Single tickets for all Boston Symphony Orchestra concerts throughout the season are available at the Symphony Hall box office, or by calling "Symphony-Charge" at (617) 266-1200, Monday through Saturday from 10 a.m. until 6 p.m., to charge tickets instantly on a major credit card, or to make a reservation and then send payment by check. Please note that there is a $1.75 handling fee for each ticket ordered by phone.

60 Coming Concerts . . .

Thursday 'A' -March 14, 8-9:45 Thursday, April 4, at 10:30 a.m. Friday 'B'- March 15, 2-3:45 Open Rehearsal Saturday 'B'- March 16, 8-9:45 Marc Mandel will discuss the program Tuesday 'C- March 19, 8-9:45 at 9:30 in Symphony Hall. CHRISTOF PERICK conducting Thursday 'B' -April 4, 8-9:50 Friday 'B'- April 5, 2-3:50 THOMAS ZEHETMAIR, violin Saturday 'B' -April 6, 8-9:50 WAGNER Siegfried Idyll conducting MOZART Violin Concerto No. 5 ROGER NORRINGTON soprano in A, K.219 JEANNE OMMERLE, STRAUSS Le Bourgeois gentilhomme, D'ANNA FORTUNATO, mezzo-soprano Suite JEFFREY THOMAS, tenor NATHANIEL WATSON, baritone TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor Thursday 'B' -March 21, 8-9:35 Friday 'A -March 22, 2-3:35 MOZART Ave, verum corpus Saturday A' -March 23, 8-9:35 HAYDN Mass in B-flat, Tuesday 'C- March 26, 8-9:35 Harmoniemesse Symphony No. 41, Jupiter HEINZ WALLBERG conducting MOZART BRUCKNER Symphony No. 8 Wednesday, April 10, at 7:30 p.m. Open Rehearsal Thursday 'C -March 28, 8-9:45 Marc Mandel will discuss the program Friday 'B'- March 29, 2-3:45 at 6:30 in Symphony Hall. Saturday 'B' -March 30, 8-9:45 Thursday 'D' -April 11, 8-9:55 Tuesday 'B' -April 2, 8-9:45 Friday 'A' -April 12, 2-3:55 MAREK JANOWSKI conducting Saturday 'A -April 13, 8-9:55 BEETHOVEN Symphony No. 4 SEIJI OZAWA conducting piano SCHUBERT Symphony in B minor, KRYSTIAN ZIMERMAN, Unfinished BEETHOVEN Piano Concerto No. 5, WAGNER "Good Friday Spell" from Emperor Parsifal BERLIOZ Symphonie fantastique

Programs and artists subject to change.

WHERE TO ACQUIRE GOOD TASTE WHEN YOU'RE NOT AT THE SYMPHONY.

Next time, before you go to the symphony, have dinner at Newbury's Steak House. You'll find char-broiled steaks, fresh seafood and chicken, a great salad bar, and ever greater prices. Plus discounted parking. All less than a ten minute walk away. MEWBURY'S 94 Massachusetts Ave. (corner of Newbury St. 536-0184 • Serving noon to midnight —STEAK HOUSE—

61 A seat in Symphony Hall — a gift for all seasons.

© JBLimited

Your tax deductible contribution of $6,000 will endow and name a seat in Symphony Hall, forever associating that certain some- one with one of the world's great symphony orchestras.

For further information about named and memorial gift oppor- tunities at Symphony, please call or write:

Joyce M. Serwitz Boston Symphony Orchestra Boston, Massachusetts 02115 Telephone (617) 638-9273 MMtftt^HttiilMMMBtW^VfLfiCtaM

Symphony Hall Information

FOR SYMPHONY HALL CONCERT AND THE SYMPHONY SHOP is located in the TICKET INFORMATION, call (617) 266- Cohen Wing at the West Entrance on Hunting- 1492. For Boston Symphony concert program ton Avenue and is open Tuesday, Thursday, and information, call "C-O-N-C-E-RrT" (266-2378). Friday from 11 a.m. until 3 p.m., Saturday from 1 p.m. until 6 p.m., and from one hour before THE BOSTON SYMPHONY performs ten each concert through intermission. The shop car- months a year, in Symphony Hall and at Tan- ries BSO and musical-motif merchandise and glewood. For information about any of the gift items such as calendars, clothing, appoint- orchestra's activities, please call Symphony ment books, drinking glasses, holiday ornaments, Hall, or write the Boston Symphony Orches- children's books, and BSO and Pops recordings. tra, Symphony Hall, Boston, MA 02115. A selection of Symphony Shop merchandise is also available during concert hours outside THE NEWLY REFURBISHED EUNICE S. BSO the Cabot-Cahners in the Massachusetts AND JULIAN COHEN WING, adjacent to Room Symphony Hall on Huntington Avenue, may be Avenue corridor. All proceeds benefit the Boston entered by the Symphony Hall West Entrance Symphony Orchestra. For merchandise informa- on Huntington Avenue. tion, please caU (617) 267-2692.

FOR SYMPHONY HALL RENTAL INFOR- TICKET RESALE: If for some reason you MATION, call (617) 638-9240, or write the are unable to attend a Boston Symphony con- Function Manager, Symphony Hall, Boston, cert for which you hold a ticket, you may make MA 02115. your ticket available for resale by calling the switchboard. This helps bring needed revenue THE BOX OFFICE is open from 10 a.m. to the orchestra and makes your seat available until 6 p.m. Monday through Saturday; on con- to someone who wants to attend the concert. A cert evenings it remains open through intermis- mailed receipt will acknowledge your tax-deduct- sion for BSO events or just past starting-time ible contribution. for other events. In addition, the box office opens Sunday at 1 p.m. when there is a con- RUSH SEATS: There are a limited number of cert that afternoon or evening. Single tickets Rush Seats available for the Friday-afternoon, for all Boston Symphony subscription concerts Tuesday-evening, and Saturday-evening Boston are available at the box office. For outside Symphony concerts (subscription concerts only). events at Symphony Hall, tickets are available The low price of these seats is assured through three weeks before the concert. No phone the Morse Rush Seat Fund. The tickets for Rush orders will be accepted for these events. Seats are sold at $6 each, one to a customer, on Fridays as of 9 a.m. and Saturdays and Tues- TO PURCHASE TICKETS: American BSO days as of 5 p.m. Express, MasterCard, Visa, a personal check, and cash are accepted at the box office. To PARKING: The Prudential Center Garage charge tickets instantly on a major credit card, offers a discount to any BSO patron with a or to make a reservation and then send pay- ticket stub for that evening's performance. ment by check, call "Symphony-Charge" at There are also two paid parking garages on (617) 266-1200, Monday through Saturday Westland Avenue near Symphony Hall. from 10 a.m. until 6 p.m. There is a handling Limited street parking is available. As a spe- fee of $1.75 for each ticket ordered by phone. cial benefit, guaranteed pre-paid parking near Symphony Hall is available to subscribers who GROUP SALES: Groups may take advantage of attend evening concerts on Tuesday, Thursday, advance ticket sales. For BSO concerts at Sym- Friday, or Saturday. For more information, phony Hall, groups of twenty-five or more may call the Subscription Office at (617) 266-7575. reserve tickets by telephone and take advantage of ticket discounts and flexible payment options. LATECOMERS will be seated by the ushers To place an order, or for more information, call during the first convenient pause in the pro- Group Sales at (617) 638-9345. gram. Those who wish to leave before the end IN CONSIDERATION of our patrons and of the concert are asked to do so between pro- artists, children under four will not be admit- gram pieces in order not to disturb other ted to Boston Symphony Orchestra concerts. patrons.

63 SMOKING IS NOT PERMITTED in any Cahners Room on the first-balcony level serve part of the Symphony Hall auditorium or in drinks starting one hour before each perform- the surrounding corridors; it is permitted only ance. For the Friday-afternoon concerts, both in the Hatch Room and in the main lobby on rooms open at 12:15, with sandwiches available Massachusetts Avenue. Please note that until concert time. smoking is no longer permitted in the Cabot- BOSTON SYMPHONY BROADCASTS: Con- Cahners Room. certs of the Boston Symphony Orchestra are CAMERA AND RECORDING EQUIPMENT heard by delayed broadcast in many parts of the may not be brought into Symphony Hall dur- United States and Canada, as well as interna- ing concerts. tionally, through the Boston Symphony Tran- scription Trust. In FIRST AID FACILITIES for both men and addition, Friday-afternoon concerts are broadcast live (Bos- women are available. On-call physicians attend- by WGBH-FM ton Saturday-evening ing concerts should leave their names and seat 89.7); concerts are broad- cast live both locations at the switchboard near the Massa- by WGBH-FM and WCRB-FM (Boston chusetts Avenue entrance. 102.5). Live broadcasts may also be heard on several other public radio stations WHEELCHAIR ACCESS to Symphony Hall throughout New England and New York. is available via the Cohen Wing, at the West Entrance. Wheelchair-accessible restrooms are BSO FRIENDS: The Friends are annual donors to the Boston Symphony Orchestra. located in the main corridor of the West Friends receive the orchestra's newslet- Entrance, and in the first-balcony passageway BSO, between Symphony Hall and the Cohen Wing. ter, as well as priority ticket information and other benefits depending on their level of giv- are located outside the Hatch ELEVATORS ing. For information, please call the Develop- and Cabot-Cahners rooms on the Massachu- ment Office at Symphony Hall weekdays setts Avenue side of Symphony Hall, and in between 9 and 5, (617) 638-9251. If you are the Cohen Wing. already a Friend and you have changed your LADIES' ROOMS are located on the orches- address, please send your new address with tra level, audience-left, at the stage end of the your newsletter label to the Development Office, hall, on both sides of the first balcony, and in Symphony Hall, Boston, MA 02115. Including the Cohen Wing. the mailing label will assure a quick and accu- rate change of address in our files. MEN'S ROOMS are located on the orchestra level, audience-right, outside the Hatch Room BUSINESS FOR BSO: The BSO's Business near the elevator, on the first-balcony level, & Professional Leadership program makes it audience-left, outside the Cabot-Cahners Room possible for businesses to participate in the life near the coatroom, and in the Cohen Wing. of the Boston Symphony Orchestra through a variety of original and exciting programs, COATROOMS are located on the orchestra and among them "Presidents at Pops," "A Com- first-balcony levels, audience-left, outside the pany Christmas at Pops," and special-event Hatch and Cabot-Cahners rooms, and in the underwriting. Benefits include corporate recog- Cohen Wing. The BSO is not responsible for nition in the BSO program book, access to the personal apparel or other property of patrons. Higginson Room reception lounge, and priority LOUNGES AND BAR SERVICE: There are ticket service. For further information, please two lounges in Symphony Hall. The Hatch call the BSO Corporate Development Office at Room on the orchestra level and the Cabot- (617) 638-9250.

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