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The Mall At Chestnut Hill 617-965-5555 l£S» i^B IK Ua<4 H^bh w39§R i 1 Carl St. Clair and Pascal Verrot, Slllr Assistant Conductors EX? m One Hundred and Eighth Season, 1988-89 nHH 1 1 s« • 1 Trustees of the Boston Symphony Orchestra, Inc. tin H5m Nelson J. Darling, Jr., Chairman George H. Kidder, President 1 J. P. Barger, Vice-Chairman Mrs. Lewis S. Dabney, Vice-Chairman «B Brl Archie C. Epps, Vice-Chairman William J. Poorvu, Vice-Chairman and Treasurer . 1 »>1 1 Vernon R. Alden Mrs. Eugene B. Doggett Mrs. Robert B. Newman I David B. Arnold, Jr. Mrs. John H. Fitzpatrick Peter C. Read I - v-j Mrs. Norman L. Cahners Avram J. Goldberg Richard A. Smith James F. Cleary Mrs. John L. Grandin Ray Stata Julian Cohen Francis W. Hatch, Jr. William F. Thompson William M. Crozier, Jr. Harvey Chet Krentzman Nicholas T. Zervas * ; Mrs. Michael H. Davis Mrs. August R. Meyer M Trustees Emeriti Philip K. Allen E. Morton Jennings, Jr. Mrs. George R. Rowland Allen G. Barry Edward M. Kennedy Mrs. George Lee Sargent Leo L. Beranek Albert L. Nickerson Sidney Stoneman Mrs. John M. Bradley Thomas D. Perry, Jr. John Hoyt Stookey Abram T. Collier Irving W Rabb John L. Thorndike "1 *> V Mrs. Harris Fahnestock „* Other Officers of the Corporation John Ex Rodgers, Assistant Treasurer Jay B. Wailes, Assistant Treasurer Daniel R. Gustin, Clerk Administration of the Boston Symphony Orchestra, Inc. Kenneth Haas, Managing Director Daniel R. Gustin, Assistant Managing Director and Manager of Tanglewood Michael G. McDonough, Director of Finance and Business Affairs Anne H. Parsons, Orchestra Manager Costa Pilavachi, Artistic Administrator Caroline Smedvig, Director of Promotion Josiah Stevenson, Director of Development Robert Bell, Data Processing Manager Marc Mandel, Publications Coordinator Helen P. Bridge, Director of Volunteers John C. Marksbury, Director of Madelyne Codola Cuddeback, Director Foundation and Government Support m of Corporate Development Julie-Anne Miner, Supervisor of Patricia F. Halligan, Personnel Administrator Fund Accounting Russell M. Hodsdon, Manager of Box Office Richard Ortner, Administrator of Craig R. Kaplan, Controller Tanglewood Music Center Nancy A. Kay, Director of Sales Scott Schillin, Assistant Manager, John M. Keenum, Director of Pops and Youth Activities 1 Tanglewood Music Center Development Joyce M. Serwitz, Assistant Director Patricia Krol, Coordinator of Youth Activities of Development Steven Ledbetter, Musicologist & Cheryl L. Silvia, Function Manager Program Annotator Susan E. Tomlin, Director of Annual Giving Michelle R. Leonard, Budget Manager m WSmL Programs copyright ®1989 Boston Symphony Orchestra, Inc. EflH Cover by Diane Fassino/Design hHh9 If Board of Overseers of the Boston Symphony Orchestra, Inc. Avram J. Goldberg, Chairman John F. Cogan, Jr., Vice-Chairman Mrs. R. Douglas Hall III, Secretary Martin Allen Haskell R. Gordon E. James Morton Mrs. David Bakalar Steven Grossman David G. Mugar Bruce A. Beal Joe M. Henson Mrs. Hiroshi H. Nishino Mrs. Richard Bennink Susan M. Hilles Robert P. O'Block Mrs. Leo L. Beranek Glen H. Hiner Vincent M. O'Reilly Lynda Schubert Bodman Ronald A. Homer Walter H. Palmer Donald C. Bowersock, Jr. Julian T. Houston Andrall E. Pearson Peter A. Brooke Lola Jaffe John A. Perkins William M. Bulger Anna Faith Jones Daphne Brooks Prout Mrs. Levin H. Campbell H. Eugene Jones Robert E. Remis Earle M. Chiles Mrs. Bela T. Kalman John Ex Rodgers Mrs. C. Thomas Clagett, Jr. Susan B. Kaplan Mrs. William H. Ryan James F. Cleary Mrs. S. Charles Kasdon Keizo Saji Mrs. Nat Cole Howard Kaufman Roger A. Saunders William H. Congleton Robert D. King Mrs. Raymond H. Schneider Walter J. Connolly, Jr. Mrs. Gordon F Kingsley Mark L. Selkowitz Albert C. Cornelio Mrs. Carl Koch Malcolm L. Sherman Phyllis Curtin Robert K. Kraft Mrs. Donald B. Sinclair AlexV. d'Arbeloff Mrs. Hart D. Leavitt W Davies Sohier, Jr. Mrs. Eugene B. Doggett R. Willis Leith, Jr. Ralph Z. Sorenson Phyllis Dohanian Laurence Lesser Ira Stepanian Harriett M. Eckstein Stephen R. Levy Mrs. Arthur I. Strang Edward Eskandarian Frederick H. Lovejoy, Jr. Mark Tishler, Jr. Katherine Fanning Mrs. Charles P. Lyman Luise Vosgerchian Peter M. Flanigan Mrs. Harry L. Marks Mrs. An Wang Henry L. Foster C. Charles Marran Robert A. Wells Dean Freed Nathan R. Miller Mrs. Thomas H.P. Whitney Peter H.B. Frelinghuysen Hanae Mori Mrs. John J. Wilson Jordan L. Golding Mrs. Thomas S. Morse Brunetta R. Wolfman Mark R. Goldweitz Overseers Emeriti Mrs. Frank G. Allen Leonard Kaplan David R. Pokross Hazen H. Ayer Benjamin H. Lacy Mrs. Peter van S. Rice Mary Louise Cabot Mrs. James F Lawrence Mrs. Jerome Rosenfeld Mrs. Thomas J. Galligan Mrs. Stephen V.C. Morris Mrs. Richard H. Thompson Mrs. Richard D. Hill Stephen Paine, Sr. Mrs. Donald B. Wilson Mrs. Louis I. Kane 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 H I m Officers of the Boston Symphony Association of Volunteers Mrs. Eugene B. Doggett, President Phyllis Dohanian, Executive Vice-President Ms. Helen Doyle, Secretary Mr. Goetz B. Eaton, Treasurer Mrs. Florence T. Whitney, Nominating Chairman Vice-Presidents Mrs. Nathaniel Bates, Hall Services Mrs. David Robinson, Fundraising Projects Ms. Kathleen Heck, Development Services Mrs. Harry F. Sweitzer, Jr., Public Relations Mrs. William D. Larkin, Tanglewood Mrs. Thomas S. Walker, Regions Mrs. Anthony Massimiano, Tanglewood Ms. Margaret Williams, Youth Activities Mrs. Jeffrey Millman, Membership and Adult Education Chairmen of Regions Mrs. Russell R. Bessette Mrs. Robert Miller Mrs. Ralph Seferian Mrs. James Cooke Mrs. Hugo A. Mujica Mrs. Anthony A. Tambone pvaf Mrs. Linda Fenton Mrs. G. William Newton Mrs. Richard E. Thayer Mrs. Harvey B. Gold Mrs. Jay B. Pieper Mr. F. Preston Wilson Mrs. Daniel Hosage KB fool I 31 • -^*' ^M I ; VAL- OUR THIRTY- FIRST YEAR I m JUCflAM UMJiX.mc JEWELERS * I H . . invites you to view our collection of handcrafted fine gold and platinum jewelry. We specialize in custom design and restoration. All work is done on the premises by our master goldsmiths. Choose from our selection of fine quality stones or incorporate your own into a contemporary or traditional design to suit your taste . . . «t 43 CENTRAL STREET • WELLESLEY, MASSACHUSETTS • 237-2730 * * * * * * * v ) * ^r£ \* */x v ^ 4 ; « * V^ •'*. * V/^* «f^ -* * * * t '7 * * * *X* * *„ 46 * * vv* * Quality Nursing Care and Rehabilitation Services V-' v in an * *v * ^> Elegant Setting. KIM LIVING CENTERS ? * u- * Cape Heritage Sandwich MA 508-888-8222 Cape Regency Centerville MA 508-778-1835 Easton Lincoln North Easton MA 508-238-7053 Lafayette North Kingstown RI 401-295-8816 Mayflower Plymouth MA 508-746-4343 Northbridge Northbridge MA 508-234-4641 Northwood 4ff MH Lowell MA 508-458-8773 Oakwood Newport RI 401-849-6600 South County North Kingstown RI 401-294-4545 Woodlawn Everett MA 617-387-6560 1 * *? * • * * /* »x**' WwtM wlift wttk BSO and Fuguing Tune, and the opening Adagio from Shostakovich's Symphony No. 8. Recorded by RCA between 1945 and 1950, the BfitflB* Ronald Feldman Named selections have been newly remastered for this Assistant Conductor of album. The works by Cowell, Hanson, and Boston Pops Orchestra Strauss have been previously available only in John Williams recently limited LP pressings; the Mozart and announced the appoint- Tchaikovsky, originally issued on 78s, have ment of Ronald Feldman been unavailable for many years; and the as Assistant Conductor Shostakovich has never been available in any rasqjMM of the Boston Pops format. Quantities are extremely limited. To Orchestra. A member of place your order, please call the Volunteer the Boston Symphony Office at (617) 266-1492, ext. 247. Orchestra's cello section since 1967, Mr. Feldman "Bernstein at 70!" to Air on PBS's mi has appeared as guest "Great Performances" on WGBH n conductor with the Boston Pops Orchestra at Sunday, March 19, at 8 p.m. Symphony Hall and at Tanglewood; in Decem- Relive the excitement and the emotion of last ber he led three of the Christmas Pops perform- summer's Gala Birthday Performance cele- ances. Mr. Feldman is currently conductor of brating Leonard Bernstein's 70th birthday at the Boston new music ensemble Extension Tanglewood when PBS presents "Bernstein Works. Formerly music director and conduc- at 70!" on its "Great Performances" series. %' tor of the Worcester Symphony Orchestra, he The two-and-one-half-hour program will be was also music director and conductor for five televised in stereo on Sunday, March 19, at seasons of the New England Philharmonic 8 p.m. by WGBH-Channel 2 in Boston (check (formerly the Mystic Valley Orchestra). He local listings for the date and time in other has also appeared as guest conductor with the areas). "Bernstein at 70!" has already been Pro Arte Chamber Orchestra, the Springfield seen by millions of viewers in more than Symphony, and the MIT Experimental Studio. twenty countries worldwide; this is the pro- ffln m ^mWW References furnished 1 on request I Leonard Bernstein Michael Feinstein Thomas Schumacher Bolcom and Morris Ferrante and Teicher Kathryn Selby Jorge Bolet Philip Glass George Shearing Boston Pops Orchestra Dick Hyman Bobby Short Boston Symphony Interlochen Arts Academy Leonard Shure Orchestra and National Music Camp Abbey Simon Brevard Music Center Markowski and Cedrone Georg Solti Dave Brubeck Marian McPartland Stephen Sondheim Chicago Symphony Zubin Mehta Tanglewood Music Center Orchestra Mitchell-Ruff Duo Beveridge Webster - Cincinnati Symphony Seiji Ozawa Earl Wild Orchestra Luciano Pavarotti John Williams Aaron Copland Alexander Peskanov Wolf Trap Foundation for Ivan Davis Philadelphia Orchestra the Performing Arts Denver Symphony Andre Previn Yehudi Wyner Orchestra Santiago Rodriguez Over 200 others - Baldwin TODAY'S STANDARD OF MUSICAL EXCELLENCE. 6 .j*-4-* \^ 1rag Wm ment from Tchaikovsky's Fifth Symphony Symphony Spotlight with the Boston Symphony Orchestra as con- This is one in a series of biographical ducted by Mr. Bernstein on the final concert of sketches that focus on some of the generous sKPP last summer's Tanglewood season. Don't miss individuals who have endowed chairs in the "Bernstein at 70!" on PBS's "Great Perform- Boston Symphony Orchestra. Their ances," Sunday, March 19, at 8 p.m. backgrounds are varied, but each felt a special commitment to the Boston Symphony imatm BSO Members in Concert Orchestra. Max Hobart conducts the North Shore Philhar- Lillian and Nathan R. Miller Chair monic Orchestra on Sunday, March 19, at 7:30 p.m. at Salem High School Auditorium. The Classical music has been a major source of program includes Copland's Quiet City, the comfort and pleasure for Nathan R. Miller world premiere of Donald Leclair's Episode for throughout his life. He and his wife, Lillian, - m Woodwind Quintet and Orchestra, Warlock's have one married daughter and two grand- v> Capriol Suite, and the Symphony No. 1 of daughters. Mr. and Mrs. Miller share a strong 8 ^ Sibelius. commitment to music and the universal joy it BSO principal trombone Ronald Barron pre- can bring to people of all ages and walks of sents a Boston University School for the Arts life. Mr. Miller established the prestigious faculty recital on Wednesday, March 29, at 8 Nathan R. Miller Properties in 1960. He is p.m. at BU's Tsai Performance Center, 685 also chairman of the board of Agassiz Village, Commonwealth Avenue; assisting artists a summer program serving the needs of inner include BSO principal trumpet Charles city and suburban children, including the Schlueter, the Boston University Wind Ensem- physically handicapped. Nathan Miller con- ble, and pianist Frederick Wanger. The pro- siders Seiji Ozawa to be one of the master gram will include music of Hindemith, Weber, conductors in the world; in 1976 he estab- Herbert Clarke, Arthur Pryor, and others; lished the Seiji Ozawa Endowed Guarantor admission is free. Fellowship at the Tanglewood Music Center in Harry Ellis Dickson conducts the Boston honor of the BSO music director. The Millers' Classical Orchestra in an all-Mozart program endowed chair in the BSO's cello section is including the overture to Cost fan tutte, the occupied by Carol Procter. Violin Concerto No. 5 in A, K.219, with BSO associate concertmaster Tamara Smirnova- American Premiere Exhibit of Sajfar as soloist, and the Symphony No. 38, Paintings by Charles Roussel in Prague, on Wednesday, March 29, and Friday, Symphony Hall, March 13-April 10 March 31, at 8 p.m. at Faneuil Hall. Tickets are The Boston Symphony Orchestra is proud to $18 and $12 ($8 students and seniors). For present the first American showing of paintings more information, call 426-2387. by French artist Charles Roussel (1861-1936) Collage New Music, with guest conductor in the Cabot-Cahners Room from March 13 Charles Fussell, concludes its sixteenth season through April 10. Part of the American pre- with "Short Circuits: An Electronic Program," miere exhibit of Roussel's works at Vose Gal- at the Longy School of Music in Cambridge, leries, the Symphony Hall exhibit is presented Monday, April 3, at 8 p.m. The program in conjunction with the French Cultural Serv- includes music of Ronald Perera, James ices and Vose Galleries. Cousin of composer Dashow, Morton Subotnick, and Maurice Albert Roussel, Charles Roussel is considered Ravel, the Dashow work in its American pre- France's foremost artistic interpreter of the miere, the Perera and Subotnick works in their coast of Normandy. Later this month, the Boston premiere. Tickets are $10 general ad- Boston Symphony Orchestra will perform mission ($5 students and seniors). For more Albert Roussel's Symphony No. 4 under the information, call 437-0231. direction of guest conductor Charles Dutoit. Members of the Roussel family will attend one With Thanks of the concerts. In addition, Donna Heinley of We wish to give special thanks to the National Vose Galleries, curator of the exhibit, will Endowment for the Arts and the Massachu- speak at the Thursday-night "Supper Talk" on setts Council on the Arts and Humanities for March 23. Tickets to the talk are available at their continued support of the Boston Sym- $21 per person from the Volunteer Office, phony Orchestra. (617) 266-1492, ext. 177. — I A little praise for a big accomplishment i^^F congratulations to the Boston Symphony on their 108th season! Living the good life. Jordan marsh EST. 1851 MASSACHUSETTS CONNECTICUT RHODE ISLAND NEW HAMPSHIRE MAINE NEW YORK VV Seiji Ozawa Born in 1935 in Shenyang, China, to Japanese parents, Seiji Ozawa studied Western music as a child and later graduated with first prizes in composition and conducting from Tokyo's Toho School of Music, where he was a student of Hideo Saito. In 1959 he won first prize at the Interna- tional Competition of Orchestra Conductors held in Besan- con, 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 i&nsB 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 >2ffl 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 was named music director of the Boston Symphony Orchestra in 1973 i&m following a year as the orchestra's music adviser; he is now in his sixteenth year as ' H music director of the Boston Symphony Orchestra. 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 Chinese musicians, as well as concert performances, becoming the first American performing ensemble to visit China since the establishment of diplomatic relations. In December 1988 he and the orchestra gave eleven concerts during a two-week, ten-city tour to England, the Netherlands, France, Germany, Austria, and Belgium. 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 Philhar- 8BSI monic. His operatic credits include appearances at Salzburg, London's Royal Opera at Covent Garden, La Scala in Milan, and the Paris Opera, where in 1983 he conducted the world premiere of Olivier Messiaen's St. Francis ofAssisi, a perform- ance recently issued on compact disc. Mr. Ozawa has a distinguished list of recorded performances to his credit, with the Boston Symphony Orchestra, the Berlin Philharmonic, the London Philhar- monic, the Philharmonia of London, the Orchestre National, the Orchestre de Paris, the Chicago Symphony Orchestra, the San Francisco Symphony, and the Toronto mSr Symphony Orchestra, among others. His recordings appear on the CBS, Deutsche Grammophon, EMI/Angel, Erato, Hyperion, New World, Philips, RCA, and Telarc labels. mr. Seiji Ozawa 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 Music Directorship endowed by Second Violins John Moors Cabot Marylou Speaker Churchill Fahnestock chair BOSTON SYMPHONY Vyacheslav Uritsky ORCHESTRA Charlotte and Irving W. Rabb chair Ronald Knudsen 1988-89 Edgar and Shirley Grossman chair Joseph McGauley First Violins Leonard Moss Malcolm Lowe Concertmaster *Michael Vitale Charles Munch chair *Harvey Seigel Tamara Smirnova-Sajfar *Jerome Rosen Associate Concertmaster * Sheila Fiekowsky Helen Horner Mclntyre chair Ronan Lefkowitz Max Hobart Assistant Concertmaster *Nancy Bracken Robert L. Beat, and *Jennie Shames Enid L. and Bruce A. Beal chair *Aza Raykhtsaum Lucia Lin *Valeria Vilker Kuchment Assistant Concertmaster * Bonnie Bewick Edward and Bertha C. Rose chair Bo Youp Hwang *Tatiana Dimitriades * John and Dorothy Wilson chair, James Cooke fully funded in perpetuity Max Winder Violas Forrest Foster Collier chair Burton Fine Fredy Ostrovsky Charles S. Dana chair Dorothy and David B. Arnold, Jr., Q. Patricia McCarty chair, fully funded in perpetuity Anne Stoneman chair, Gottfried Wilfinger fully funded in perpetuity Ronald Wilkison *Participating in a system of rotated seating within each string section %On sabbatical leave ^Orchestra Fellow, Music Assistance Fund; also supported by a grant from Aetna Life & Casualty Company :1L $r* I i fin 10 H39 Robert Barnes Oboes Trombones Jerome Lipson Alfred Genovese Ronald Barron Joseph Pietropaolo Acting Principal Oboe J.P. and Mary B. Barger chair, Michael Zaretsky Mildred B. Remis chair fully funded in perpetuity Wayne Rapier Norman Bolter Mare Jeanneret Betty Benthin English Horn Bass Trombone *Mark Ludwig ^Laurence Thorstenberg Douglas Yeo *Roberto Diaz Beranek chair, fully funded in perpetuity Cellos Tuba JJules Eskin Clarinets Chester Schmitz Philip R. Allen chair Margaret and William C. Harold Wright Rousseau chair Martha Babcock Ann S.M. Banks chair Vernon and Marion Alden chair Thomas Martin Sato Knudsen Peter Hadcock Timpani Esther S. and Joseph M. Shapiro chair E-flat Clarinet Everett Firth Joel Moerschel Sylvia Shippen Wells chair Sandra and David Bakalar chair Bass Clarinet Robert Ripley Craig Nordstrom Percussion Luis Leguia Farla and Harvey Chet Charles Smith Robert Bradford Newman chair Krentzman chair Peter and Anne Brooke chair Carol Procter Arthur Press Lillian and Nathan R. Miller chair Bassoons Assistant Timpanist Ronald Feldman Peter Andrew Lurie chair Sherman Walt *Jerome Thomas Gauger Patterson Edward A. Taft chair *Jonathan Miller Roland Small Frank Epstein §Owen Young Matthew Ruggiero Basses Harp Edwin Barker Contrabassoon Ann Hobson Pilot Harold D. Hodgkinson chair Richard Plaster Willona Henderson Sinclair chair Lawrence Wolfe Maria Nistazos Stata chair, fully funded in perpetuity Horns Joseph Hearne Charles Kavalovski Bela Wurtzler Helen Sagoff Slosberg chair Richard Sebring John Salkowski Margaret Andersen Congleton chair * • *• I *Robert Olson Daniel Katzen Personnel Managers *James Orleans Jay Wadenpfuhl Lynn Larsen ids! *Todd Seeber Richard Mackey Harry Shapiro B SB* * John Stovall Jonathan Menkis Librarians Flutes 58 ^H Marshall Burlingame Doriot Anthony Dwyer Trumpets William Shisler Walter Piston chair Charles Schlueter Fenwick James Harper Smith Roger Louis Voisin chair nManvfi Myra and Robert Kraft chair I Peter Chapman Stage Manager Leone Buyse Ford H. Cooper chair Position endowed Marian Gray Lewis chair by Timothy Morrison Angelica Lloyd Clagett Piccolo Steven Emery Alfred Robison HflB Lois Schaefer HMH Evelyn and C. Charles Marran chair 11 Bra Developed by The Cohen Companies. To appreciate the value of the homes we've built, you must look at the ones we didn't. Others might have crammed in more residences where we built terraces and roof gardens. And in so doing, would have devalued one of the great gifts ever bestowed on a homesite: the premier view of the Charles River and Boston, from the , premier address on the Cambridge waterfront THE ESPLANADE On the Charles at the Longfellow Bridge, Cambridge 577-9977 Jfc"- H I I BHB? One-bedroom homes from $227,500; two-bedroom, $365,000; three-bedroom, $610,000. Includes private landscaped terraces and balconies, roof gardens, floor-to-ceiling bay windows, indoor parking individually keyed security system, 24-hour concierge and staff, valet guest parking, and residents-only health club, indoor pool, and function/conference room. The Esplanade is currently under construction. For an appointment to visit, call the Sales Office, One Main Street, East Cambridge, at (617) 577-9977. T 12 I Know Your Orchestra The Boston Symphony program book will feature biographies of orchestra members on a regular basis throughout the season. Jerome Lipson Born in Boston in 1916, violist Jerome Lipson began violin m lessons when he was nine and graduated from Boston Latin School, where his classmate Leonard Bernstein was his accom- panist. After studying viola with Georges Fourel, he was a scholarship student for four years at the Curtis Institute in Philadelphia, where his teachers were Max Aronoff and Louis Bailly. At age nineteen, while home on vacation, Mr. Lipson persevered in his determination to play for Serge Koussevitzky, ^_^i- I "walking in on him" at Symphony Hall; the conductor encour- i , pi 1 aged him to try joining the BSO one day. A charter member of FF\ iniflP* the Tanglewood Music Center in 1940, Mr. Lipson was principal nW violist of the TMC Orchestra under Koussevitzky for its first three summers; there he also studied chamber music with Gregor Piatigorsky and Paul Hindemith. Then followed m thirty-nine months in the United States Army Air Force with assignments as Airport Traffic Controller, violist in the AAF show "Winged Victory," solo violist with the AAF Symphony Orchestra under Felix Slatkin, and member of the Glen Miller Band. Mr. Lipson joined the Boston Symphony Orchestra in 1946, six months after leaving the service. A founding member of the Stockbridge String Quartet, he was also solo violist of the Zimbler Sinfonietta on its tour to South America. Mr. Lipson is proud to have represented his colleagues as a member of the BSO Players Committee for more than twenty-five years. • I w. PUT YOURWORK OF I a^aH * luJB! m/ i I ART IN AWORK OF ART. fl I <<« The Old Cambridge Company can create framing treatments for your most cherished possessions which are themselves works of art. We can encase, preserve, and artistically display virtually anything. We understand that whatever your artwork may be — a valuable artifact or a treasured child's drawing — it's very* special to you. Working within your budget, we'll advise you on how to achieve the best results. We'll always give you more than one option. Of course, we offer more than expert framing and displaying. We can also assist you with restoration, |^ photo-documentation, on-site consultation, and installation. All at remark- ^1 m ably competitive prices. So, when you look at your art, have • r » f m it look its best. Call or visit us today. Descriptive brochure available on request. mm Roland St., Charlestown, 56 MA 02129 (^CftYtflGttTv 617-623-5200 Ample Parking 13 www Perfect Harmony ttrZ- F ' The BSO— pulling together in perfect harmony. Just the way you work with your Private Banker at BayBanks. Together we can custom-tailor a financial plan that's in tune with your goals and your lifestyle. Your Private Banker is your personal liaison with the entire BayBanks network for all the services you need. Plus, you'll receive special privileges as a Private Banking client. For the complete story, call 617-556-6350. It will be music to your ears. BayBanks mWATEBANKING Members FDIC I 14 - Robert Olson Born in Lake City, Minnesota, bass player Robert Olson stud- ied at the University of Minnesota with Ray Fitch and Robert Jamieson. After a brief tenure with the Minneapolis Symphony wttH and four summers with the Santa Fe Opera Company he moved }:':* y ,—- * i to Boston, where he became a member of the Boston Symphony K "'•'*i' Orchestra's bass section in 1967. Mr. Olson has been a member of the Incredible String Quartet, the St. Paul Chamber Orchestra, and the Kansas City Philharmonic; in addition to playing the bass, he also enjoys playing classical guitar. J&mmB&n >.«-l Charles Smith Percussionist Charles Smith has had a perfect attendance record with the Boston Symphony Orchestra for more than forty-six years. Born in Newark, New Jersey, Mr. Smith stud- ied at the Juilliard School of Music with Alfred Friese, Saul Goodman, Gene Krupa, and William Dorn. A faculty member at the Boston University School for the Arts, he has numbered many professional musicians among his former students, and he has lectured on percussion at numerous institutions. The composer of "Background Music for Family Arguments," Mr. Smith enjoys researching the history of percussion instru- ments and collecting rare instruments. Prior to joining the Boston Symphony Orchestra in 1943, he logged 600 performances of the opera Porgy and ^1 Bess in an orchestra conducted by Alexander Smallens; he was hired directly from that show by Serge Koussevitzky. Mr. Smith's family is a musical one: his wife is a former concertmaster of the Wellesley Symphony and his daughter is a professional pianist. Ronald Wilkison Ronald Wilkison grew up in Sacramento, California, where he began violin lessons as a fourth-grader under the tutelage of Jim Adair. While in his teens, he was chosen as a Fellow of the American Federation of Musicians and was sent to the Con- gress of Strings for further study. Mr. Wilkison joined the United States Army when he was eighteen, serving for five Mi years; he played in the Army Band's Strolling Strings in Washington, including performances at White House dinners. Before joining the Boston Symphony Orchestra as a violinist in 1971 he was a member of the Baltimore Symphony and the Temple Institute String Quartet. Mr. Wilkison switched to the Boston Symphony Orchestra's viola section at the beginning of the 1982-83 season. MB Jus Mm 15 H Without You, This Is The Whole Picture, This year, there is a $9 million difference educational and youth programs, and to attract between what the BSO will earn—and what we the world's finest musicians and guest artists. 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 ~l Yes, I want to keep great music alive. I'd like to become a Friend of the BSO for the 1988-89 season. (Friends' benefits begin at $50.) Enclosed is my check for $ payable to the Boston i^Sfe*"!" Symphony Annual Fund. "^WlW^f N ame. .Tel.. Address. City .State. .Zip. Please send your contribution to: Susan E. Tbmlin, Director of Annual Giving, Boston Symphony Orchestra, Symphony Hall, Boston, MA 02115, (617) 266-1492. I Gifts to the Annual Fund are tax-deductible to the full extent allowed by law. KEEP GREAT MUSIC ALIVE 3fl 16 I dm M BOSTON SYMPHONY ORCHESTRA PC Seiji Ozawa, Music Director raw Carl St. Clair and Pascal Verrot, Assistant Conductors One Hundred and Eighth Season, 1988-89 1 !fc*£i &=^± Thursday, March 16, at 8 1 mxare! Friday, March 17, at 2 Saturday, March 18, at 8 Tuesday, March 21, at 8 HELMUTH RILLING conducting HAYDN Die Jahreszeiten (The Seasons), with text by Gottfried van Swieten, after the poem by James Thomson Spring Summer INTERMISSION Autumn Winter I SYLVIA McNAIR, soprano THOMAS RANDLE, tenor MARK PEDROTTI, baritone TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor The appearance of this week's soloists is funded in part by income from the Ethan Ayer Fund. Text and translation for The Seasons begin on page 36. The evening concerts will end about 10:30 and the afternoon concert about 4:30. RCA, Deutsche Grammophon, Philips, Telarc, CBS, EMI/Angel, Erato, New World, and Hyperion records. Baldwin piano Fortepiano by R.J. Regier, Freeport, Maine Please be sure the electronic signal on your watch or pager is switched off '•''••v^SPwiw during the concert. The program books for the Friday series are given in loving memory of Mrs. Hugh Bancroft rails by her daughters Mrs. A. Werk Cook and the late Mrs. William C. Cox. ma ?m . With Boston Coach, getting there and back is as pleasurable as the performance. I Call a professionally driven Boston Coach sedan for getting to the theater or the airport, for business or pleasure. It's Boston's new convenient, reliable alternative-without traffic, parking or weather worries * J B For reservations call 617-387-7676 or 1-800-672-7676 out of state Gift Certificates Available BOSTON COACH I — Franz Joseph Haydn Die Jahreszeiten (The Seasons) Franz Joseph Haydn was born in Rohrau, Lower Austria, on March 31, 1732, and died in Vienna on May 31, 1809. He composed Die Jahreszeiten (The Seasons) in 1799 and 1800, using a text derived from four poems by James Thomson adapted and translated into German by Baron Gottfried van Swieten. The first performance took place at the Schwarzenburg Palace in Vienna on April 24, 1801. \ A partial performance took place in Boston on December 13, 1851, under the auspices of the Sacred Harmonic Society. The indefatigable B.J. Lang, vs who made a career out of filling in gaps in Boston's ei musical life, conducted the piece for the first time in Boston in all four parts" with a chorus of 250 voices and a full orchestra on March 31, 1866. Only excerpts—individual arias and duets from The Seasons were performed in Boston Symphony Orchestra concerts before 1905. After that year, no music from the work was ^ heard in these concerts until Erich Leinsdorf conducted the first complete performances on January 1, 2, and 5, 1965, with soloists Helen Boatwright, Charles Bressler, and Thomas Paul, and the chorus of the Handel and Haydn Society. BSO performances IS *B were given on three later occasions, all under the direction of Seiji Ozawa: at Tangle- wood in 1972, with Phyllis Curtin, Seth McCoy, Robert Hale, and the Tanglewood < Festival Chorus, John Oliver, conductor; then in November 1977 and at Tanglewood in . t . :. August 1978, with Phyllis Bryn-Julson, Robert Tear, John Shirley-Quirk, and the New England Conservatory Chorus, Lorna Cooke deVaron, conductor. In addition to the three soloists (soprano, tenor, and bass) and a mixed chorus, the score calls for two flutes (one doubling piccolo), two oboes, two clarinets, two bassoons and contrabassoon, three I horns, three trumpets, three trombones, timpani, triangle, tambourine, and strings, with piano continuo, to be played here on a fortepiano (a modern copy of the type of piano Sal used in the performances of Haydn's day). The continuo pianist at these performances is Shirley Mathews. The people of the eighteenth century lived much closer to nature than most of us. 1 I Even the largest cities were small then. Most people lived in rural areas, where the cycle of the year, mandating proper times for tillage, sewing, or harvest, affected them directly. The natural world was so much a part of the human experience that it " was often taken for granted. It appeared rather slowly in literature and art. Who 1 rA. would bother to write about something that everyone saw every day? The gradual s - I I change in attitude is marked by tiny events. The poet Petrarch, for example, climbed !9 a mountain in April 1336, just to see the view from the top; he is apparently the first man to have done so—or at least the first to have written about it. Yet even as he stood looking in amazement at the panorama spread before him, his next action var. £»?S revealed that he still straddled the worlds of late Medieval and early Renaissance *'. thought. Standing on the mountaintop, Petrarch opened a volume of Augustine's Confessions for a sobering and uplifting commentary on his experience. A related but rather different view developed among eighteenth-century writers, who drew their ideas from a first-century Greek treatise, On the Sublime, attributed to one Longinus. Longinus compared the effects obtained by writers of profound emotion and serious thought with the awe that arises from viewing some of the lar- gest, most powerful, or least accessible natural objects of human experience—stars, volcanoes, the mighty ocean. His book, much admired in the eighteenth century, led 19 Week 19 — to earnest literary cultivation of wonder and even terror in the contemplation of nature, an approach that strongly influenced the romantics of the early nineteenth century. One of the literary works that marked the growing interest in the natural world and perhaps the best-known poem written in English in the entire eighteenth cen- tury—was The Seasons by James Thomson (1700-48). Written in blank verse, it was published in parts over a period of years ("Winter" in 1726, "Summer" in 1727, "Spring" in 1728, and "Autumn" in 1730). The reponse was immediate. The author continued to revise and expand his work for much of the rest of his life. "Winter," for example, grew from 405 lines at publication to 1,069 in a 1746 revision. It remained immensely popular well into the next century. The Seasons is filled with images and anecdotes of the countryside, of seasonal activities, changes of weather, and the effect of those changes on the life of the inhabitants. In its final version it became something of a hodgepodge, but that did not affect its popularity in the least. By mid-century it had been translated into German by B.H. Brockes, whose writing is most familiar to music lovers from his own treatment of the Passion set by Handel and drawn upon by Bach for some passages in the St. John Passion. Both the Brockes translation and Thomson's original were known to Baron Gottfried van Swieten, the prime mover in the creation of Haydn's Seasons. It was he who urged, pressed, bad- gered, bedeviled, and provoked Haydn to undertake the project, just as he had done (though with much less resistance on the composer's part) in the composition of The Creation. The Baron, an old acquaintance of both Haydn's and Mozart's, was a musical enthusiast actively engaged in the revival of Bach and Handel for over a decade before he became involved with the librettos for Haydn's two late oratorios. Himself PLAY TO YOUR AL From boardrooms to classrooms, in video or film, we use humor, drama and documentary styles to make corporate communications and television programs that strike a responsive chord. 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Exclusive stores: Copley Place, 100 Huntington Avenue, Boston, MA 02116 (617) 437-6519 At Saks Fifth Avenue, Prudential Center, Boston, MA 02199 (617) 262-8500 MAISON FONDEE EN 1854 JKa at Neiman Marcus [>'* N°5 CHANEL PARFUM I mm an amateur composer of symphonies and opera-comiques, van Swieten knew Haydn and Mozart well. Mozart, new to Vienna in 1782, became acquainted with a number of Handel's oratorios, then hardly known outside of England, through informal "sings" at the Baron's home. From 1788, van Swieten organized a series of oratorio Wmm performances, with Handel's works providing the core repertory, through a group of musically-minded aristocrats that he founded under the name of "Gesellschaft der Associierten" ("Society of Associates"), who paid the bills for the performances of oratorios in the town palaces of the various members. This society provided the organizational framework that led to the composition of Haydn's oratorios—the mm vocal version of The Seven Last Words of Our Saviour on the Cross, The Creation, and The Seasons. Even as Haydn readied the first public performance of The Creation in March 1799 $K&£5fl (it had been launched at a private performance eleven months earlier), van Swieten urged on him a new libretto, again adapted from an English source. Haydn expressed reluctance, contending that he was too old, too tired, and not in glowing *>-r good health. The Baron refused to take no for an answer. Eventually Haydn agreed to compose The Seasons. Van Swieten handed Haydn a libretto adapted from Thom- son by way of Brockes, through very freely adjusted to accord with his own particu- K'j/* lar sentiments of religious Pietism. Naturally most of Thomson's poetry—in an elegant style of Latinate diction then quite new and all the rage—was lost in the translation, replaced all too often by van Swieten's prosaic lines. The Baron selected episodes that seemed suitable for music, dropped a great deal, and invented a little. When he gave his handiwork to the composer, van Swieten sent along with it an extended series of suggestions as to how each passage might be set to music. This would seem to be the height of hubris, but we must remember that van Swieten enjoyed a fine technical grasp of music (though he was not in any way original as a J3j0 DM Baron Gottfried van Swieten (1730-1803) 21 Week 19 mm. '.«.;'., A WORLD OF STYLE 22 9n composer himself), and Haydn evidently appreciated his suggestions, accepting many of them. (The Baron had done exactly the same thing two years earlier with the Wsk text for The Creation.) Over the years van Swieten's libretto has come in for a good deal of criticism. Its Mrrifcn very first critic—and perhaps most damning—was the composer himself. On several mm •», occasions Haydn expressed concern at distinctly prosaic elements in the text, such ,v as the platitudinous praise of industrious activity at the beginning of "Autumn." He told his biographer Griesinger that "he had been an industrious man all his life, but it had never occurred to him to set industry to music." More problematic though were the many picturesque images that van Swieten wanted Haydn to "illustrate" with music. The composer spoke rather bitterly about this on several occasions, particularly highlighting a passage of croaking frogs as "franzosischer Quark''' ("Frenchified trash")— "French" probably because the Baron produced a passage from an opera by Gretry that contained this effect, in the hope that Haydn would imitate it. Haydn's remark was actually quoted in a review of The Seasons and led to some coolness between the composer and his aristocratic librettist. Despite Haydn's disclaimers, it is hard to believe that he was entirely sincere in his complaints about the opportunities the text gave him to demonstrate his genius 1 at "Thonmalerei' '' ("tone-painting"), as this technique was called in his day. For one thing, Haydn had eagerly grasped every opportunity that had been offered in The Creation for such illustration, from the roar of "the tawny lion" to the delicacy of "the light and flaky snow." The examples of tone-painting in The Seasons are no less delightful and imaginative. But some critics had objected to the whole idea; they had lamented the pictorial touches in The Creation as imperfections in what was, in all other respects, a masterpiece. I suspect Haydn's public comment about the frogs in The Seasons was more an attempt to disarm the critics—"See? Haydn doesn't really like them either!"—than a reflection of his own deeply felt sentiments. Haydn's art The Boston Home (formerly The Boston Home for Incurables) Est: 188! Seeks Your Support for Another Century KMHSBK Write for Centennial Brochure: The Boston Home, Inc. John Bigelow, Treasurer 2049-2061 Dorchester Avenue Robert B. Minturn, Jr ., Assistant Treasurer Boston, Massachusetts 02124 617/825-3905 23 had always managed to tread a fine line between abstraction and concreteness, nowhere more delightfully than in the two great oratorios. It is clear, in any case, that Haydn had a great deal of trouble composing The Seasons. He had never been a fast composer. The astonishing fluency of a Mozart, who could write an entire symphony in four days when necessary, was not his. He thought long and hard how to treat the various sections, from the largest scale of the piece down to the smallest detail. No doubt he sketched and reworked his ideas at least as much as he had with The Creation, though fewer sketches actually survive to document the process. Moreover, Haydn was now four years older than he had been when composing The Creation, and he was frequently sick. Yet he was clearly deter- mined to compose a work that could stand next to The Creation, then widely regarded as the greatest single piece of music ever written. Despite Haydn's claims that he drove himself almost past bearing in his work on The Seasons, to the detriment of his health, the completed work provides a remarka- vH ble summation of the past even as it anticipates the future. The Seasons may lack the simple narrative thrust of The Creation and the elevated poetic diction derived from Genesis and Paradise Lost, but Haydn's music is, without question, rich compensa- tion. Where The Creation told a linear tale, moving straight from God's summoning of the first light to Adam and Eve in the garden, The Seasons provides a series of largely unrelated genre scenes and moralizing commentary, divided into four sec- tions, each with its own particular character. The musical numbers that make up these diverse types of music are all fairly short, but Haydn carefully balanced them for contrast and assembled them into coherent larger groupings. 24 . Br"- IpP! The libretto for TTie Seasons encompasses an entire year. It is both a literal calen- dar year with all the activities that entails in country life and, less obviously, a metaphorical representation of the span of human life. Appropriately, Haydn's music is wonderfully inclusive, ranging in style from severe contrapuntal elabora- tion to light melodies infused with the character of folk tunes. There is bright music designed to accompany dancing and drinking, languorous music for the heat of summer, vigorous music for the rollicking sounds of the hunt (reflecting Haydn's own experiences following the hounds during his younger days in Esterhazy serv- ice). His imagination remained at top form in the invention of musical analogues to the natural world, in the use of expressive orchestral colors to create mood, in the varied solutions to the problems of form. Spring Each of the four sections begins with an orchestral tone-painting. "Spring" opens > with an impressive depiction of the transition from winter's cold and chill to the joys . 1 I I < •> of the gentler season. The first four bars of the score offer an astonishingly stark I representation of the winter through four descending notes, ending in a bare open fifth. The bulk of this introduction is a first-movement sonata form in G minor (with the more delicate secondary theme in B-flat suggesting perhaps the "light and flaky snow"), but the recapitulation leads to an extended, inconclusive ending, with gra- dual lightening of the orchestration and a turn toward the major mode. 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At the beginning of the orchestral introduction, the main theme included a prominent upward leap of a minor sixth, which strongly reinforces the sense of the minor key: Vivace fSfc; ife '7 7 $SE3 hW^$ ft Each of the three soloists begins with an upward leap of a sixth, but the interval is a half-step larger, a major sixth, creating a corresponding sense of expansiveness: SIMON LUKAS r t l s^ n r ET-Hh^aN K^H^f Seht wie der stre- nge Win- ter flieht Seht, wie vom schrof- fen Fels der Schnee HANNE r s m i i p r jj Seht, wie von Su- den her This introductory movement leads directly to No. 2, the opening chorus, its proper completion, where the new season is welcomed by the chorus in the major mode anticipated since the soloists first entered. mm The business of springtime, of course, is planting. As Thomson described it, Joyous th'impatient Husbandman perceives Relenting Nature, and his lusty Steers Drives from their Stalls, to where the well-us'd Plow Lies in the Furrow loosen'd from the Frost. There, unrefusing to the harness'd Yoke, They lend their Shoulder, and begin their Toil, Chear'd by the simple Song, and soaring Lark. Van Swieten's libretto turns the husbandman's "simple Song" into whistling as he plows. He suggested that at this point Haydn should introduce an aria from a f**^ ,i** THE COLLEGE CLUB Offers Elegant Function Facilities WEDDINGS, RECEPTIONS, PRIVATE LUNCHES, DINNERS, TEAS, COCKTAIL PARTIES, CONCERTS, LECTURES boston 44 Commonwealth Avenue 54 chauncy street jTjWjlMdct 542-7444 H BPS Boston 021 16 wellesley 53 central street (617)536-9510 235-7444 Tuxedo rentals and sales since 1914. m& — popular current opera (much as Mozart did in a scene in Don Giovanni). Haydn rejected the proposal in its literal sense, but accepted it in spirit. Evidently his farmer prefers symphony concerts to operatic performances. The music he whistles at work comes from one of the most famous of all Haydn's compositions, the Surprise Symphony. The result is a pure delight, justifiably one of the most popular numbers in the entire score. The prayer that follows soon after (No. 6) is a heartfelt expression of thanks for the blessings of the new season. Haydn offers fresh combinations of performers here with the three soloists joining the chorus, itself heard as a four-part mixed ensemble but also with just the women's voices for a particularly bright sonority. This leads into a fugato that can hardly be anything but an homage to Mozart, quoting as it does a passage in his Requiem. MOZART k $v'iS>S>M 3z Quam o- lim A- bra- hae pro- mi-msi- sti HAYDN 4 ' i~+ — ' —wi-^-i d d wr — ^m m Uns spries- set U- ber- fluss und dei- ner Gu- te After a recitative, "Spring" closes with a large-scale number, a general expression of joy in the season and praise to God. The opening section, in A major, is almost operatic in its structure, and contains the first of those delightful tone-paintings that show the leaping of the young lambs, the fluttering of the fish, the swarming of the bees. The biggest surprise here, though, is the sudden change of key for the final Tanglewood Festival Chorus Auditions 1989 Summer Season at Tanglewood The Tanglewood Festival Chorus, John Oliver, conductor, has openings in all sections for its 1989 summer season with the Boston Symphony Orches- tra at Tanglewood. Among the works to be performed are Schubert's Mass in E-flat under the direction of guest conductor Charles Dutoit; a semi- staged production of Honegger's Jeanne d'Arc au bucher, with actress Marthe Keller as Joan, under the direction of Seiji Ozawa; and, also under Mr. Ozawa's direction, a concert performance of Bizet's Carmen with soprano Jessye Norman and tenor Neil Shicoff. There will also be a Friday- evening Weekend Prelude program of choral works by Brahms and Copland under the direction of John Oliver. In addition, the Tanglewood Festival Chorus, John Oliver, conductor, has been invited to close the month-long International Choral Festival in Toronto this June. The only American chorus invited to participate, the Tanglewood Festival Chorus will present an afternoon concert of music by Tallis, Ives, Brahms, and Gabrieli under John Oliver's direction on Friday, June 30, and take part in the Festival's closing performance—Verdi's Requiem with the Toronto Symphony under the direction of Charles Dutoit—that same evening. Open auditions will be held on Wednesday, March 22, at 6 p.m. in the Cohen Wing of Symphony Hall, 301 Massachusetts Avenue, Boston. No appointment is necessary; all materials for the audition will be provided. For further information, please call the Chorus Office at (617) 266-3513. 28 section. This was, in fact, one of van Swieten's suggestions to the composer: "I think that a key remarkably different from that of the preceding Song of Joy would create a good effect and would greatly bring into prominence the solemn and devotional aspect of the [choral] cry." Haydn agreed, and lifted the music from A to B-flat for the invocations to God and the powerful closing fugue. Summer "Summer" begins with the early light of pre-dawn, a brief orchestral passage introducing the soloists, who describe the transition from night to day. The oboe offers its interpretation of "the day's herald" crowing at the approach of sunrise, calling the farmer to his work. The horn call of No. 10 begins with the actual notes used as a summons in Austrian villages at dawn to call the peasants to their fields. Now Haydn presents a full-scale musical depiction of the sunrise (No. 11), a daunt- ing prospect because he was competing with one of his own most famous inspira- tions, the great first sunrise in The Creation. The mood here, though, is rather different, because this sunrise is a familiar though welcome sight to the folk of the countryside, and they hail its appearance and rejoice in a taxing exhibition of vocal display. To express the dispiriting heat of a midsummer's day, Haydn composes a sequence of movements in slow tempos (a challenge he had already met with astonishing invention in The Seven Last Words). But at the end of the day, the soprano feels new vigor following lassitude (No. 15). Suddenly a summer storm comes on. Storm scenes have been part of dramatic music for centuries, but the conventions of repre- senting them change rapidly with the change of musical style. Haydn scholar H.C. — EH Robbins Landon considers No. 17 to be the first "modern" storm scene "that is, the first to use a really large orchestra and to make it evoke the terrors of thunder and lightning." In this respect, Haydn anticipates Beethoven's Pastoral Symphony, Berlioz, Wagner, and many other later composers. With the power of the storm finally spent, the countryside comes to life again in the sounds of nature—the quail n • v &F7XM The Redoutensaal in Vienna, where the first public performance of "The Seasons" took place on May 29, 1801 KH he Privileged Client's nvestments. ,". is ..;. • The Boston Company has a simple approach to personal investment banking: Serve every client as if that client were our only CLIENT. to that end, we offer the investment management expertise of our subsidiary. Boston Safe Deposit and Trust Company * Over the past five years, we've performed well by standard industry indices. Still, our reputation has been built by professionals who know it's gauging performance against personal objectives that A subsidiary of really counts. Shearson Lehman THE BOSTON COMPANY Brothers Inc. TELEPHONE 1-800CALL BOS Boston Safe Deposit and Trust Company An American (1-800-225-5267 Ext. 341) for Express company Member FDIC. a complete description. And enjoy the advantages of being a privileged client. I — ML Si Mr Mfc, calling its mate, the chirping of crickets, the song of the frogs (this is the specific passage that Haydn referred to as "Frenchified trash"). It is already evening, and the country folk look forward to the benison of "sweet slumber." Autumn In some respects, "Autumn" is the most conventional part of The Seasons, though it contains some astonishingly fresh music. The introduction, though supposed to represent "the farmer's satisfaction at the rich harvest," is an old-fashioned move- ment in the dotted style of the French Overture, scored in the manner of Haydn's works of thirty years earlier. This leads to Haydn's setting of the sententious text in praise of Industry. However cut-and-dried the composer may have found the words, he nonetheless produced a massive and powerful number, closing in a grand fugue. Now that the harvest is in, we turn to lighter occupations—first a humorous love duet, in which Lukas extols the natural beauty of the healthy-cheeked country girls S-V...W as opposed to the heavily painted faces of those who live in town. It could come straight from one of Haydn's own comic operas. mi BfriI Then we turn to the hunt. Simon describes the hound on the scent, as the orches- tra depicts the animal's excitement and frenzy when the trail is hot. Twice the tempo of the racing string parts speeds up, only to come to a sudden halt as the dog points "still as a stone." The bird's attempt to escape, the hunter's shot, and the bird's plummet to the ground are depicted in astonishingly graphic music reflecting Haydn's own pleasure in hunting. This is followed by a still grander hunt, a full- scale mounted chase, with horn calls and "tally-hos." Back in the 1760s, Haydn and m H his orchestra had greeted the returning Esterhazy hunters with his Symphony No. 31, With the Horn Signal. Here he vividly relives the memories of his youth in music that is fresh and vital, with a truly magnificent sonority from his orchestra, led by four horns. i This section of the work closes with an extended, complicated, richly detailed party scene of dancing and drinking, building to a wonderfully crazy "drunken" fugue, in which the singers can't seem to find the beat v K Ilia D~r (r i cinj 1 ffiHi a Q-Jj^fflp tflpm f* fz f* f* f* f* I -building to a final drunken toast. Winter Following hard on the heels of the C major drinking scene, the dark C minor chord that opens "Winter" is sombre indeed. Here we reach the greatest heights, the most profound passages in The Seasons, for Haydn, in his seventieth year, could not fail to be aware the winter is also a metaphor for human mortality. This is not to say that Haydn's music is gloomy throughout; that would be inconceivable. But this section of the score contains a number of touching farewells, beginning with Hanne's cava- tina describing the failing light and the "black nights of long duration"; the music of this short number scarcely moves out of the tonic, thus highlighting the chromatic excursions that do occur. And the way the last two words—"long duration"—are extended by the soprano prefigures that longest and darkest of nights that comes at the end of life. Lukas's recitative ranges widely in harmony, then prepares for his ensuing aria. This is a dramatic description in E minor of a traveler lost in winter's darkness who "suddenly" sees a distant light and finds a refuge from the storm (the aria closes with a brilliant passage in E major). The three soloists describe the sim- ple cottage in an accompanied recitative introducing (in the orchestra) the rolling sound of the spinning wheel. The musical metaphor provides a direct link to Hanne's 31 Week 19 KE NOTE The precursor of the oboe goes back to antiquity — it was found in Sumeria (2800 BC) and was the Jewish halil, Greek aulos, and the Roman tibia • After the renaissance, instruments of this type were found in complete families ranging from the soprano to the bass. The higher or smaller instruments were named by the French "haulx- bois" or "hault-bois" which was transcribed by the Italians into oboe which name is now used in English, German and Italian to distinguish the smallest instrument • In a symphony orchestra, it usually gives the pitch to the other instruments • Is it time for you to take note of your insurance needs? • In business, as in the arts, experience and ability are invaluable. Charles H. Watkins has earned a most favorable reputation for providing special insurance programs for the musical community in Eastern Massachusetts. 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Now Simon draws the explicit comparison between winter and the "winter of life"; we can almost hear the voice of Haydn himself lamenting that his spring has faded away. Still more touching is the ensuing passage, in which he pays homage to his deceased friend and colleague Mozart, whose death, at half Haydn's age, came as a great shock to the older man. Here—as Simon sings the words "exhausted [is] your summer's strength"—Haydn makes unmistakable reference to the slow movement of Mozart's great G-minor symphony, K.550, which is in the same key. This act of affection and respect typifies Haydn's warm heartedness. The aria ends on a long- held note in the voice (appropriately singing the word "bleibt" "remains"); the bulk of the orchestra drops out, and Simon has a few bars of simple recitative to intro- duce the final chorus. This last number of Haydn's score brings The Seasons to a close in a C major blaze of high horns and trumpets, intertwining the three soloists and the chorus (now divided into a double chorus) with emphatic and powerful orchestral backing to express the closing moral message. The Seasons was enormously popular for a time, but it has long since taken second place after The Creation. It may lack the simple dramatic thrust of the earlier score. It may be somewhat less even in musical quality, more disparate in style. Van Swieten's heavy attempts at moralizing may make certain passages quaint. It may have been a real drain on Haydn's energy and health; after this work he completed only two further large compositions, both settings of the Mass, in the remaining eight years of his life. Still, in spite of all that, The Seasons contains much of the best of Haydn. It demonstrates once again his joyous love of life and of the natural world, his never-failing musical inventiveness, and—above all—his deep humanity. —Steven Ledbetter Text and translation for The Seasons begin on page 36. SB? HH JfcfTHrfc^rJ. fc. c j*HfT 33 Week 19 H ?Xr\ American women Artists * ' i ' * **' (* "My Mother" by Lilian Westcott Hale, (1881-1963) American, Oil on Canvas, Signed l.l. '%: I SELECT PAINTINGS BY Marion Boyd Allen Ellen Day Hale Lilla Cabot Perry Cecilia Beaux Lilian Westcott Hale Jane Peterson Theresa Bernstein Laura Coombs hills Gretchen Rogers Jennie A. Brownscombe Lee Lufkin Kaula Edith Scott B Anne Carleton Ida p. lathrop Virginia Tucker Eleanor Parke Custis Mary Macomber Emily Burling Waite Julia S.L. Dwight jeanette mcmullin Lilian Whitteker Gertrude Fiske Margaret Patterson Alice Beach winter Lillian Genth Marguerite Pearson Adeleine Wolever Johanna Hailman Bertha M. Peyton Mabel woodward Comenos Fine Arts At Paine Furniture. mHS ESTABLISHED 1835. 81 Arlington Street, Boston, MA 021 16, (61 7) 423-9365. Hrs: Mon-Sat 9:30-5:30. We Welcome Corporate Collectors. Valet Parking Available. HbbM More . . . Jens Peter Larsen's excellent Haydn article in The New Grove (with work-list and Shot bibliography by Georg Feder) has been reprinted separately (Norton, available in paperback). Rosemary Hughes's Haydn in the Master Musicians series (Littlefield paperback) is a first-rate short introduction. The longest study (hardly an introduc- tion!) is H.C. Robbins Landon's mammoth, five-volume Haydn: Chronology and in 11 Works (Indiana); it will be forever an indispensable reference work, though its sheer bulk and the author's tendency to include just about everything higgledy-piggledy make it sometimes rather hard to digest. The Seasons is discussed in great detail (almost a small book in itself) in Vol. 5. Donald Francis Tovey's enthusiastic analysis of The Seasons appears in his Essays in Musical Analysis (Oxford). Highly recom- mended, though much more technically detailed, is Haydn Studies, edited by Jens Peter Larsen, Howard Serwer, and James Webster (Norton); it contains the schol- arly papers and panel discussions held at an international festival-conference devoted to Haydn in Washington, D.C., at which most of the burning issues of Haydn research were at least aired if not entirely resolved. No consideration of Haydn should omit Charles Rosen's brilliant study The Classical Style (Viking, also a Norton paperback). Good news for lovers of The Seasons is the recent reissue on a midline compact disc set of a superb reading by Karl Bohm with the Vienna Symphony; Gundula fflH EHD Janowitz, Peter Schreier, and Martti Talvela are the soloists and the Wiener Sing- verein is the chorus (DG Galleria, two CDs). Bohm considered it one of the finest recordings of his entire career. Another stylish and characterful performance is that by Neville Marriner and the Academy of St. Martin-in-the-Fields, with Edith Mathis, Siegfried Jerusalem, and Dietrich Fischer-Dieskau (Philips, two CDs). Splendidly performed and recorded, but not as charming as either of the foregoing, is Herbert von Karajan's reading with the Berlin Philharmonic, the chorus of the German Opera, Berlin, and soloists Gundula Janowitz, Werner Hollweg, and Walter Berry (Angel, two CDs). —S.L. For rates and information on BOSTON advertising in the SYMPHONY Boston Symphony, ORCHESTRA Boston Pops, SEIJI OZAWA and fYtr flttHK J Music Director £ Tanglewood program books r please contact: STEVE GANAK AD REPS mEmA Kfl&f 51 CHURCH STREET (617)-542-6913 BOSTON, MASS. 02116 HH 35 nEwEfc I DIE JAHRESZEITEN (THE SEASONS) Text by Gottfried van Swieten after the poem by James Thomson PART I: SPRING 1. Introduction and Recitative (The Introduction depicts the passage from winter to spring.) SIMON Seht, wie der strenge Winter flieht! See how harsh winter flees! Zum fernen Pole zieht er hin. He withdraws to the distant pole. Ihm folgt auf seinen Ruf der wilden At his summons, the roaring crowd of Stiirme brausend Heer mit grasslichem wild storms follows with fearful Geheul. roaring. LUKAS Seht, wie vom schroffen Fels See how, from the rugged cliffs, der Schnee in triiben Stromen the snow melts into turbid streams. sich ergiesst! HANNE Seht, wie von Siiden her, See how, from the south, durch laue Winde sanft gelockt, gently lured by mild breezes, der Friihlingsbote streicht! comes the messenger of spring! 2. Chorus of Countryfolk CHORUS Komm, holder Lenz! Des Himmels Gabe, Come, sweet spring! Gift of heaven, komm, come! aus ihrem Todesschlaf erwecke die From her sleep of death awaken Nature! Natur! Es nahet sich der holde Lenz, Sweet spring draws near, schon fiihlen wir den linden Hauch, already we feel her gentle breath, bald lebet alles wieder auf. soon everything springs to life again. Frohlocket ja nicht allzufruh, Do not rejoice all too soon, oft schleicht, in Nebel eingehullt, for often, wrapped in mists, der Winter wohl zuriick winter creeps back again — m M und streut auf Bliit und Keim sein and strews on blossom and bud starres Gift. his rigid poison. Komm, holder Lenz! Des Himmels Gabe, Come, sweet spring! Gift of heaven, komm, come! auf unsre Fluren senke dieh, Descend to our field, flrafiM o komm und weile langer nicht! come, delay no longer! O komm, komm, komm! Come, come, come! wm 3. Recitative SIMON Vom Widder strahlet jetzt die helle From Aries now the bright sun Sonn auf uns herab. Nun weichen shines down on us. Now frost and Frost und Dampf, und schweben laue mist give way, and gentle vapors Diinst umher; der Erde Busen hover around; the earth's bosom ist gelost; erheitert ist die Luft. is unbound, the air made cheerful. 4. Aria SIMON Schon eilet froh der Ackermann Already the husbandman cheerfully zur Arbeit auf das Feld, hastens to his work in the field, in langen Furchen schreitet er striding in the long furrows dem Pfluge flotend nach. behind his plow, whistling. In abgemessnem Gange dann Then with measured step wirft er den Samen aus, he casts the seed, den birgt der Acker treu und reift which the soil faithfully conceals and wis ihn bald zur goldnen Frucht. soon nurtures it to golden fruit. m 5. Recitative LUKAS Der Landmann hat sein Werk vollbracht, The farmer has finished his work, ilr und weder Muh noch Fleiss gespart; sparing neither toil nor industry; den Lohn erwartet er aus Handen der he looks for his reward from the hands Hnsn Natur, und fleht darum den Himmel an. of Nature, and prays for it to heaven. 6. Trio and Chorus—Prayer LUKAS, CHORUS Sei nun gnadig, milder Himmel! Be gracious now, kindly Heaven! HUH H offne dich und traufe Segen Open, and pour forth blessings uber unser Land herab! down upon our land! in LUKAS 3 I v f %r Lass deinen Tau die Erde wassern! Let your dew water the earth! SIMON a Lass Regenguss die Furchen tranken! Let downpours drench the furrows! HANNE Lass deine Liifte wehen sanft, Let your breezes blow gently, lass deine Sonne scheinen hell! let your sun shine brightly! SOLOISTS, CHORUS - Uns spriesset Uberfluss alsdann, An abundance springs up for us; und deiner Gute Dank und Ruhm. thanks and praise for your goodness. 1 1 -Please turn the page quietly. 37 COPLEY PIACE :n t»v TUUacctoU. JJ 3 _ .3 4 3 3^ ^O^r r-^ri jfe-T?' For style and savvy, it's the place to be. and 100 trend-setting shops. • 4 2 4 . I H*. .^-i m s.12 . ._. *s^ A fabulous place. For dining ^| and entertainment. Copley Place H Your place for a beautifully orchestrated season. B 38 — Hi 7. Recitative HANNE rmm Erhort ist unser Plehn, der laue West Our prayer is heard; the gentle west S9& erwarmt und fiillt die Luft wind warms and fills the air mit feuchten Diinsten an. with moist vapors. Sie haufen sieh; nun fallen sie They pile up; now they fall und giessen in der Erde Sehoss and pour into the lap of earth i den Schmuck und Reichtum der Natur. the beauty and richness of Nature. £2£ PS 8. Song of Joy, with alternating chorus of young people SOLOISTS, CHORUS wie lieblieh ist der Anbliek Oh, how lovely is the sight der Gefilde jetzt! of the countryside now! Kommt, ihr Madchen, lasst uns wallen Come, girls, let us wander auf der bunten Flur. in the colorful fields. Kommt, ihr Bursehe, lasst uns wallen Come, lads, let us wander zu dem griinen Hain. to the green woods. Seht die Lilie, seht die Rose, See the lilies, see the roses, seht die Blumen all! see all the flowers! Seht die Auen, seht die Wiesen, See the pastures, see the meadows, seht die Felder all! see all the fields! Seht die Erde, seht die Wasser, See the earth, see the water, seht die helle Luft! see the clear air! Alles lebet, alles schwebet, Everything lives, everything moves, alles reget sich. everything bestirs itself. Sie die Lammer, wie sie springen! See the lambs—how they leap! u Seht die Fische, welch Gewimmel! See the fish—what a multitude! Seht die Bienen, wie sie schwarmen! See the bees—how they swarm! Seht die Vogel, welch Geflatter! See the birds—what a fluttering! Welche Freude, welche Wonne, What joy, what rapture sehwellet unser Herz! swells our hearts! Siisse Triebe, sanfte Reize Sweet desires, gentle impulses heben unsre Brust! exalt our hearts! Was ihr fiihlet, was euch reizet, What you feel, what arouses you, ist des Schopfers Hauch. is the Creator's breath. Lasst uns ehren, lasst uns loben, Let us honor him, glorify him, lasst uns preisen ihn! praise him! Lasst erschallen, ihn zu danken, To thank him, let your voices eure Stimmen hoch! resound on high! Ewiger, machtiger, giitiger Gott! Everlasting, mighty, gracious God! HH ' if Von deinem Segensmahle From your feast of blessing hast du gelabet uns. you have restored us. %B8EI3m Vom Strome deine Freuden From the stream of your joys hast du getranket uns. you have given us to drink. Ehre, Lob und Preis sei dir, Honor, glory, and praise be unto you, ewiger, machtiger, giitiger Gott! everlasting, mighty, gracious God! —Please turn the page quietly. ' M 39 Week 19 PART II: SUMMER 9. Introduction and Recitative v T * (The Introduction depicts dawn.) LUKAS In grauem Schleier riickt heran In a gray veil, the gentle light of das sanfte Morgenlicht; mit lahmen dawn approaches; with faltering Schritten weicht vor ihm die trage steps the sluggish night retreats Nacht zuriick. Zu diistren Hohlen before it. To dark caverns flees the flieht der Leichenvogel blinde Schar; blind flock of funeral birds; ihr dumpfer Klageton beklemmt their gloomy note no longer oppresses das bange Herz nicht mehr. the fearful heart. SIMON Des Tages Herold meldet sich; The day's herald announces himself; mit scharfem Laute rufet er zu neuer with shrill tones he summons to new Tatigkeit den ausgeruhten Landmann auf. activity the rested farmer. 10. Aria and Recitative SIMON Der muntre Hirt versammelt nun The cheerful shepherd now gathers die frohen Herden um sich her; his happy flocks around him; zur fetten Weid auf griinen Hohn to rich pastures on green heights treibet er sie langsam fort. he slowly drives them forth. Nach Osten blickend steht er dann, Then he stands looking to the east, auf seinem Stabe hingelehnt, leaning on his staff, zu sehn den ersten Sonnenstrahl, to see the first ray of the sun, welchem er entgegen harrt. which he is awaiting. SHREVE.CRUMP &L0W I JEWEL ER S ; S fN C E 1800 V I 9 - 1 1 Memories of Boston i Our exclusive design of the classic swan, a precious memory Mm of Boston elegantly executed in 14K gold with sapphire $375. 330 BOYLSTON ST., BOSTON, MASS. 02116 (617) 267-9100 • THE MALL AT CHESTNUT HILL • SOUTH SHORE PLAZA — HANNE Die Morgenrote bricht hervor, The rosy dawn breaks forth; wie Rauch verflieget das leiehte like smoke the thin clouds disperse. Gewolk. Der Himmel pranget im hellen The heavens shine in bright Azur, der Berge Gipfel im azure, the mountaintops in feurigen Gold. fiery gold. 11. Trio and Chorus SOLOISTS, CHORUS Sie steigt herauf, die Sonne, It rises now, the sun, sie steigt, sie naht, sie kommt, it rises, draws near, it comes, sie strahlt, sie scheint! it beams, it shines! Sie scheint in herrlicher Pracht, It shines in magnificent splendor, in flammender Majestat! in flaming majesty! Heil! o Sonne, Heil! Hail, O sun, hail! des Lichts und Lebens Quelle, Heil! Source of light and life, hail! o du, des Weltalls Seel und Aug, thou, soul and eye of the universe, der Gottheit schonstes Bild! fairest image of the Godhead! Dich griissen dankbar wir! Thankfully we greet thee! Wer spricht sie aus, die Freuden alle, Who can express all the joys die deine Huld in uns erweckt? that thy grace awakens in us? Wer zahlet sie, die Segen alle, Who can count all the blessings die deine Mild' auf uns ergiesst? that thy kindness pours out on us? Die Freuden! O wer spricht sie aus? The joys, who can express them? Die Segen! O wer zahlet sie! The blessings, who can count them? Dir danken wir, was uns ergotzt, We thank thee for what delights us, Dir danken wir, was uns belebt. We thank thee for what revives us. Dir danken wir, was uns erhalt. We thank thee for what sustains us. Dem Schopfer aber danken wir, But we thank the Creator was deine Kraft vermag. for what thy power permits us. Dir jauchzen alle Stimmen, For you all voices rejoice, dir jauchzet die Natur. for you Nature rejoices. —Please turn the page quietly. 266-4727 Est. 1939 Investment Real Estate Management, Brokerage and Consulting Services Since 1898 RAYBURN Musical Instrument Co. Brass—Woodwinds—Strings—Keyboards Repair—Rentals—Sales—New and Used Donald L. Saunders, President & Chief Executive Officer SAUNDERS & ASSOCIATES 20 Park Plaza • Boston • MA • 021 16 263 Huntington Avenue (617)426-4000 Boston, MA 02115 Exclusive Agent for the Statler Office Building Next to Symphony Hall 41 12. Recitative SIMON Nun regt und bewegt sich alles umher; Now everything around stirs and moves; ein buntes Gewiihl bedecket die Flur. a colorful throng decks the field. Dem braunen Schnitter neiget sich Before the brown reaper the waving der Saaten wallende Plut; die Sense flood of corn bows down; the scythe blitzt, da sinkt das Korn; doch flashes, the grain falls; yet soon it steht es bald und aufgehauft stands again, heaped up again in festen Garben wieder da. in tight sheaves. ttfe LUKAS Die Mittagssonne brennet jetzt The midday sun now burns in voller Glut, und giesst durch die at full incandescence, and through the entwolkte Luft ihr machtiges Feuer cloudless sky a mighty blaze pours in Stromen hinab. streaming down. Ob den gesengten Flachen schwebt, Above the scorched plain there floats, im niedern Qualm, ein blendend Meer in low-lying mists, a dazzling sea von Lieut und Wiederschein. of light and reflection. 13. Cavatina LUKAS Dem Druck erlieget die Natur, Nature succumbs to the burden, Welke Blumen, durre Wiesen, withered flowers, arid meadows, trockne Quellen, dry springs, alles zeigt der Hitze Wut, everything reveals the heat's fury, und kraftlos schmechten Mensch und Tier man and beast languish, without am Boden hingestreckt. strength, stretched out on the ground. NATHANIEL PULSIFER & ASSOCIATES Fomily Trustee and investment Advisor 27 North Main Street Ipswich MAO 1938 5083563530 — rag iMra 14. Recitative HANNE dra Willkommen jetzt, o dunkler Hain, Welcome now, dark grove, wo der bejahrten Eiche Dach where the canopy of ancient oaks den kiihlenden Schirm gewahrt, affords us cooling shelter, und wo der schlanken Espe Laub and where the slender aspen's leaves mit leisem Gelispel rauscht! rustle with hushed murmuring! Am weichen Moose rieselt da On soft moss the brook trickles there in heller Flut der Bach, in sparkling flow, und frohlich summend irrt und wirrt and, humming cheerfully, the colorful die bunte Sonnenbrut. brood of the sun wanders, twists and turns about. Den Krauter reinen Balsamduft Zephyr's breath spreads abroad verbreitet Zephirs Hauch, the pure balsam scent of plants, und aus dem nahen Busche and from the nearby thicket, tont des jungen Schafers Rohr. the young shepherd's reed sounds. 15. Aria HANNE Welche Labung fur die Sinne! What comfort for the senses! Welch' Erholung fur das Herz! What refreshment for the heart! Jeden Aderzweig durchstromet, Every vein is flowing, und in jeder Nerve bebt and in every nerve now beats erquickendes Gefiihl. a reviving sensation. Die Seele wachet auf The soul awakens zum reizenden Genuss, to delicious pleasure und neue Kraft erhebt and new strength lifts dureh milden Drang die Brust. the breast with gentle impulse. 16. Recitative H SIMON O seht! Es steiget in der schwiilen Look! There rises in the sultry Luft am hohen Saume des Gebirgs air by the high mountain border von Dampf und Dunst ein fahler Nebel a pale cloud of mist and vapor. auf. Empor gedrangt, dehnt er sich Pressed upward, it stretches out aus, und hullet bald den Himmelsraum and soon envelops the entire sky in schwarzes Dunkel ein. in black darkness. LUKAS Hort, wie vom Tal ein dumpf Gebriill Hear how from the valley a muffled den wilden Sturm verkiindt! Seht, roar announces the wild storm! See wie von Unheil schwer, die finstre how, heavy with trouble, the dark Wolke langsam zieht, cloud moves slowly, und drohend auf die Ebne sinkt! and sinks menacingly to the plain! HANNE i In banger Ahnung stockt das Leben In fearful anticipation all nature der Natur. Kein Tier, kein Blatt stands still. No animal, no leaf beweget sich, und Todesstille moves, and deathly stillness herrschet umher. prevails all around. —Please turn the page quietly. 17. Chorus CHORUS Aeh, das Ungewitter naht! Ah, the thunderstorm draws near! I Hilf uns, Himmel! Help us, Heaven! O wie der Donner rollt! Oh, how the thunder rolls! wie die Winde toben! Oh, how the winds rampage! Wo fliehn wir hin? Where shall we flee? Flammende Blitze durchwiihlen die Luft, Lightning flashes rend the air, von sackigen Keilen berstet die Wolke, the cloud bursts with jagged *JP4 thunderbolts, und Gusse stiirzen herab. and torrents plunge downward. Wo ist Rettung? Where is salvation? Wiitend rast der Sturm. Violently the storm rages. Himmel hilf uns! Heaven help us! Der weite Himmel entbrennt. The expanse of sky catches fire. Weh uns Armen! Woe to us wretches! YOUR PERMANENT SEASON'S TICKET If you've got music on your mind, we've got your ticket for yearlong pleasure. It's The Absolute Sound, the internationally respected bimonthly audio journal (read in 70 countries) and the only hi-fi magazine that puts the music first. We feature reviews of the best sounding classical recordings (some new, some old as the hills); interviews with contemporary talent; roundups on the most musical CDs (you'd be sur- prised how few there really are); memoirs on the greatest of our passing soloists and composers (complete with discographies); articles on music theory; and much more, including jazz and pop coverage that can't be beat. No serious music lover or record collector should be without us. > And the equipment? 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That's how sure we are that once you start reading The Absolute Sound you won't want to stop. ® the absolute sound 44 — Schmetternd krachen, Sehlag auf Schlag, Stroke on stroke, crashing, the heavy die schweren Donner fiirehterlich, thunder cracks terribly. Erschiittert wankt die Erde Shaken, the earth reels, bis in des Meeres Grand. down to the bottom of the sea. 18. Trio and Chorus LUKAS Die diistren Wolken trennen sich, The dark clouds divide, gestillet ist der Sturme Wut. the storm's wrath is stilled. HANNE Vor ihrem Untergange Before setting blickt noch die Sonn empor, the sun looks out once more, und von dem letzten Strahle and from its last rays glanzt mit Perlenschmuck geziert the entire meadow sparkles, adorned die Flur. with pearls. SIMON Zum langgewohnten Stalle To long-familiar stall, kehrt gesattigt und erfrischt nourished and refreshed, das fette Rind zuriick. the fat cattle return. LUKAS Dem Gatten raft die Wachtel schon. Already the quail calls its mate. HANNE Im Grase zirpt die Grille froh. In the grass the cricket chirps ££K merrily. SIMON H Und aus dem Sumpfe quakt der Frosch. In the swamp, the frog croaks. is SOLOISTS ".'/• Die Abendglocke tont. The evening bell tolls. . CM"- Von oben winkt der helle Stern From on high the bright star shines EHg und ladet uns zur sanften Ruh. and invites us to gentle rest. CHORUS Madchen, Bursche, Weiber, kommt! Girls, lads, women, come! £9i HI Unser wartet siisser Schlaf, Sweet sleep awaits us, wie reines Herz, gesunder Leib as pure heart, healthy body, und Tagesarbeit ihn gewahrt. and daily labor guarantee them. Wir gehn, wir gehn, wir folgen euch! We go, we go, we'll follow you! M m I Die Abendglocke hat getont, The evening bell has tolled. 9! von oben winkt der helle Stern From on high the bright star shines und ladet uns zur sanften Ruh. and invites us to gentle rest. —INTERMISSION Wa& , 1 1 y -f,>-.y: m 45 Week 19 H PART III: AUTUMN 19. Introduction and Recitative (The Introduction depicts the farmer's satisfaction at the abundant harvest.) HANNE Was durch seine Blute der Lenz All that spring once promised zuerst versprach, in its blossoms, was durch seine Warme der Sommer all that summer made mature through reifen hiess, zeigt der Herbst its warmth, the autumn now reveals in in Fiille dem frohen Landmann jetzt. fullness to the happy country man. LUKAS Den reichen Vorrat fahrt er nun The rich harvest he now brings in auf hochbeladnen Wagen ein. on high-laden wagons. tC Kaum fasst der weiten Scheune Raum, The broad storerooms scarcely hold was ihm sein Feld hervorgebracht. what his field has produced. Came Find Loomis House Retirement Community is the ideal continuing care facility, A Home located on a beautifully landscaped 6-acre wooded site in Holyoke, Massachusetts. At Our House... We provide a carefree lifestyle featuring charming independent- living suites, and fully-licensed extended care health services ministered by a dedicated staff of professionals. For complete details on the way LOOMIS HOUSE retirement really ought to be '< Retirement Community call or write: 298 Jarvis Avenue, Holyoke, Massachusetts 01040 (413) 538-7551 46 ,^%-;^' V»'2X&Jf I 1 SIMON Sein heitres Ange blickt umher, His cheerful eye looks round, Snft es misst den aufgetiirmten Segen ab, measuring off the piled-up harvest, und Freude stromt in seine Brust. and joy streams in his heart. YSPntfrKlnn 20. Trio with Chorus SIMON Wmt So lohnet die Natur den Fleiss; Thus Nature rewards Industry; ihn ruft, ihn laeht sie an, she summons it, smiles upon it, ihn muntert sie dureh Hoffnung auf, bolsters it with hope, ihm steht sie willig bei; and stands by it willingly; ihm wirket sie mit voller Kraft. she works on it with her full strength. HANNE, LUKAS Von dir, o Fleiss, kommt alles Heil. From thee, O Industry, come all good things: Die Hiitte, die uns schirmt, The hut that protects us, die Wolle, die uns deckt, the wool that covers us, die Speise, die uns nahrt, the food that nourishes us, ist deine Gab', ist dein Geschenk. is your gift and your bounty. HANNE, LUKAS, SIMON v-v- Fleiss, o edler Fleiss! Industry, O noble Industry! Von dir kommt alles Heil From thee come all good things. HANNE Du flossest Tugend ein, You cause virtue to flow in, und rohe Sitten milderst du. and you soften uncouth manners. LUKAS Du wehrest Laster ab You avert blasphemy und reinigest der Menschen Herz and purify the human heart. SIMON .«*.'£> Du starkest Mut und Sinn You strengthen courage and inclination zum Guten und zu jeder Pflicht. toward the good and to each duty. SOLOISTS, CHORUS Wt u Fleiss, von dir, o Fleiss, kommt From thee, o Industry, come all good alles Heil. things: Die Hiitte, die uns schirmt, The hut that protects us, die Wolle, die uns deckt, the wool that covers us, die Speise, die uns nahrt, the food that nourishes us, ist deine Gab', ist dein Geschenk. is your gift and your bounty. I —Please turn the page quietly. — 21. Recitative HANNE Seht, wie zum Haselbusche dort Lo, how to the hazel bush there die rasche Jugend eilt! the speedy boys hasten. An jedem Aste sehwinget sich On every branch the merry troops der Kleinen lose Schar, of youngsters is swinging, und der bewegten Staud' entstiirzt and from the shaken bushes falls, gleich Hagelschau'r die lock're Frucht like a shower of hail, the ripened fruit. «#M.l SIMON Hier klimmt der junge Bau'r Here the young farmer climbs den hohen Stamm entlang, the high trunk's length, die Leiter flink hinauf. up the ladder briskly. Vom Wipfel, der ihn deckt, From the top, which conceals him, sieht er sein Liebchen nahn, he sees his sweetheart drawing near, und ihrem Tritt entgegen and in her direction fliegt dann in trautem Scherze there flies, in tender jest, die runde Nuss herab. a round nut. LUKAS Im Garten stehn um jeden Baum In the garden, around each tree, die Madehen gross und klein, stand the girls, big and little, dem Obste, das sie klauben, fresh-colored, just like the fruits an frischer Farbe gleich. that they are gathering. ^Ta^Jp^ brutLe /J'. - J+ m OnlyOne Cafe HasBusinessCbursesAt Lunch. Cafe Promenade At The Colonnade Hotel, 120 Huntington Avenue, Boston. For reservations, call (617) 424-7000 I V In 48 — I 22. Duet LUKAS $#$ Ihr Schonen aus der Stadt, kommt her! You pretty city girls, come here! Blickt an die Tochter der Natur, Behold the daughter of Nature, Iks die wieder Putz noch Schminke ziert. using neither ornament nor rouge. HP Da seht mein Hannchen, seht! Behold there my little Hanne! 91 .s Ihr bluht Gesundheit auf den Wangen; Good health blossoms on her cheek; /.. im Auge lacht Zufriedenheit, contentment laughs from her eye, und aus dem Munde spricht das Herz, and her lips speaks the words of her wenn sie mir Liebe schwort. heart, when she avows her love to me. HANNE Ihr Herrchen suss und fein, bleibt weg! You fine, sweet gentlemen, away! Hier schwinden eure Kiinste ganz, Here your arts are utterly useless, und glatte Worte wirken nicht; and smooth words have no effect; man gibt euch kein Gehor. we pay them no heed. Nicht Gold, nicht Pracht kann uns Neither gold nor finery can dazzle us, verblenden, ein redlich Herz ist, was uns riihrt; an honest heart is what touches us; und meine Wunsche sind erfullt, and my wishes are fulfilled wenn treu mir Lukas ist. if my Lukas is true to me. LUKAS Blatter fallen ab, Leaves fall, Friichte welken hin, fruits shrivel away, Tag und Jahr vergeh'n, days and years my pass, nur meine Liebe nicht. but not my love. HANNE EM Schoner grunt das Blatt, The leaf shows a fairer green, siisser schmeckt die Frucht, the fruit tastes sweeter, heller glanzt der Tag, the day shines brighter wenn deine Liebe spricht. when your love speaks. LUKAS, HANNE c? HI Welch ein Gliick ist treue Liebe! What happiness is true love! Unsre Herzen sind vereinet, Our hearts are united, trennen kann sie Tod allein. death alone can divide them. - i LUKAS f%! Liebstes Hannchen! Dearest little Hanne! S8§ 1 £jjB HANNE T. Bester Lukas! Darling Lukas! HANNE, LUKAS KmRS Lieben und geliebet werden, To love and be love f&B ist der Freuden hochster Gipfel, is the highest of joy, Ssis summit ftflwKf <;j*:'. ist des Lebens Wonn' und Gliick! life's rapture and bliss. Cni im&SuA" f J ' ; Saof —Please turn the page quietly. iSt'* rants? BP*M iJHp **& HHfflKI 23. Recitative ^H SIMON Nun zeiget das entblosste Feld Now the denuded field shows der ungebetnen Gaste Zahl, the number of unbidden guests die an den Halmen Nahrung fand who found nourishment among the stalks und irrend jetzt sie weitersucht. and wander now to seek them elsewhere. Des kleinen Raubes klaget nicht The countryman does not lament these der Landmann, der ihn kaum bemerkt; small thefts; he hardly notices them. der Ubermasse wiinscht er doeh He does not wish to be criticized for nieht ausgestellt zu sein. excessive gain. Was ihn dagegen sichern mag, Whatever keeps him safe from that, sieht er als Wohltat an, he regards as a favor. und willig frohnt er dann zur Jagd, And willingly then he joins the hunt, die seinen guten Herrn ergotzt. which gives pleasure to his good master. 24. Aria SIMON Seht auf die breiten Wiesen hin! Look at the wide fields! Seht, wie der Hund im Grase streift! See how the hound reconnoiters in the grass, Am Boden suchet er die Spur seeking on the the scent on the ground und geht ihr unablassig nach. and tirelessly pursuing it. Jetzt aber reisst Begierd' ihn fort; But now eagerness carries him away; er horcht auf Ruf und Stimme he no longer heeds call or voice; nicht mehr; er eilet zu haschen—da stockt sein he hastens to the catch—then stops Lauf his running und steht er unbewegt wie Stein. and stands motionless as a stone. Dem nahen Feinde zu entgehn In order to evade his nearby enemy erhebt der scheue Vogel sich; the timorous bird springs up; doch rettet ihn nicht schneller Flug. but rapid flight does not save him. Es blitzt, es knallt, ihn erreichet There's a flash, a bang, and the lead das Blei hits it, und wirft ihn tot aus der Luft herab. and casts it down, dead, from the air. 25. Recitative LUKAS Hier treibt ein dichter Kreis Here a tight ring drives die Hasen aus dem Lager auf. the hares out of their lairs. Von alien Seiten hergedrangt, Pressed on all sides, hilft ihnen keinen Flucht. no flight helps them. Schon fallen sie und liegen bald Already they fall and soon lie in Reihen freudig hingezahlt. in rows gaily toted up. 26. Chorus of Countrymen and Hunters MEN Hort, hort das laute Geton, Listen! Hear the loud tone das dort im Walde klinget! that sounds there in the forest! WOMEN Welch ein lautes Geton What a loud tone durchklingt den ganzen Wald! sounds through the entire forest! ^^^m — 1 nffli *^ -M > IB Bn^ £§6 ALL Es ist der gellenden Horner Schall, It is the call of the shrill horns, der gierigen Hunde Gebelle. the baying of eager hounds. MEN Aran Schon flieht der aufgesprengte Hirsch; Already the bounding stag flees, ihm rennen die Doggen und Reiter nach. the hounds and riders pursuing. MS ALL Er flieht, er flieht. O wie er sich He flees, he flees. Oh, how he streckt! extends himself! Ihm rennen die Doggen und Reiter nach. The hounds and riders pursue. wie er springt! O wie er streckt! Oh, how he leaps, how he stretches out! Da bricht er aus den Gestrauchen There he breaks out of the hervor undergrowth und lauft iiber Feld in das Dickicht and races across the field into the \&EL hinein. thicket. MEN Jetzt hat er die Hunde getauscht; Now he has deceived the hounds; zerstreuet schwarmen sie umher. they rush around in confusion. ALL Die Hunde sind zerstreut; The hounds are scattered; sie schwarmen hin und her. they rush back and forth. HUNTERS Tajo, tajo, tajo! Tally ho! Tally ho! Tally ho! MEN EHSSBshH Der Jager Ruf, der Horner Klang The hunters' cry, the sound of horns versammelt aufs neue sie. gathers them anew. HUNTERS SI Ho, ho, ho! Tajo! Ho, ho! Ho! Ho! Ho! Tally ho! Ho! Ho! MEN AND WOMEN Mit doppeltem Eifer stiirzet nun With doubled eagerness now the pack der Haufe vereint auf die Fahrte los. unites on the scent. WBnKRE9mm HUNTERS H ' Tajo, tajo, tajo! Tally ho! Tally ho! Tally ho! WOMEN Von seinen Feinden eingeholt, Surrounded by its enemies, an Mut und Kraften ganz erschopft, drained of strength and energy, erlieget nun das schnelle Tier. the speedy animal now succumbs. MEN Sein nahes Ende kundigt an His looming end is announced by the des tonenden Erzes Jubellied, jubilant song of the sounding brass, der freudigen Jager Siegeslaut: the hunter's joyful cry of victory. HUNTERS Halali! Halali! Halali! Hurrah! Hurrah! Hurrah! H —Please turn the page quietly. 51 M 'Mm* WOMEN Den Tod des Hirsches kiindigt an The stag's death is announced by the des tonenden Erzes Jubellied, jubilant song of the sounding brass, ^B der freudigen Jager Siegeslaut: the hunter's joyful cry of victory. ALL B| Halali! Halai! Halali! Hurrah! Hurrah! Hurrah! 27. Recitative HANNE An Rebenstocke blinket jetzt Now on the vine sparkle die helle Traub' in vollem Safte the bright grapes full of juice, und ruft dem Winzer freundlich zu, calling amiably to the vintner dass er zu lesen sie nicht weile. that he not delay picking them. SIMON Schon werden Kuf und Fass Already vat and cask have been zum Hugel hingebracht, brought to the hill und aus den Hiitten stromet and from their huts, zum frohen Tagewerke to the cheerful day's work, das muntre Volk herbei. the merry folk stream forth. HANNE Seht, wie den Berg hinan Look how the entire hillside von Menschen alles wimmelt! is full of people! Hort, wie der Freudenton Listen, how the joyous sound von jeder Seit' erschallet. rings out on every hand. LUKAS Die Arbeit fordert lachender Scherz The work encourages laughing jests vom Morgen bis zum Abend hin, from morning to evening, und dann erhebt der brausende Most and then the fermenting wine lifts die Frohlichkeit zum Lustgeschrei. the merriment to shouts of delight. J 28. Chorus ALL Juchhe! Juchhe! Der Wein ist da, Hurrah! Hurrah! There is the wine, die Tonnen sind gefullt, the barrels are filled, nun lasst uns frohlich sein, now let us be merry, und Juchhe! Juchhe! Juch! and cry "Hurrah! Hurrah! Hurrah!' aus vollem Halse schrein. full-throatedly. MEN Lasst uns trinken! Let's drink! Trinket, Briider, Drink, brothers, w Lasst uns frohlich sein! let's be merry! FRAUEN Lasst uns singen! Let's sing! H B Singet alle! Sing, everyone! Lasst uns frohlich sein! Let's be merry! ALL Juchhe! Juchhe! Juch! Hurrah! Hurrah! Hurrah! Es lebe der Wein! Long live wine! *"*/# TK — 7.v*. ; * MEN Es lebe das Land, wo eruns reift! Long live the land, where it matures! demfe Es lebe das Fass, das ihn verwahrt! Long live the barrel, that preserves it! Es lebe der Krug, woraus er fliesst! Long live the jug from which it flows! ALL Juchhe! Juch! Es lebe der Wein! Hurrah! Hurrah! Long live wine! MEN Kommt, ihr Briider! Come, brothers! Fiillt die Kannen, Fill the tankards, leert die Becher! empty the glasses! Lasst uns frohlieh sein! Let's be merry! ALL Heida! Lasst uns frohlieh sein! Hurrah! Let's be merry! und Juchhe! Juchhe! Juch! and cry "Hurrah! Hurrah! Hurrah!" aus vollem Halse schrein. full-throatedly. Juchhe! Juch! Juch! Es lebe der Hurrah! Hurrah! Hurrah! BEfC • Hi Wein! Long live wine! - WOMEN H Nun tonen die Pfeifen Now the pipes sound und wirbelt die Trommel. and the drum rolls. Hier kreischet die Fiedel, Here the riddle screeches, da schnarret die Leier, there the hurdy-gurdy rasps, und dudelt der Bock. and the bagpipe drones. MEN Schon hiipfen die Kleinen Already the little ones are jumping, und springen die Knaben, the lads are leaping, dort fliegen die Madchen, there the girls fly im Arme der Bursche, into the arms of the boys, den landlichen Reihn. for the country rounds. WOMEN Heisa, hopsa, lasst uns hiipfen! Cheers! Let us skip! MEN Ihr Briider, kommt! Come, brothers! WOMEN Heisa, hopsa, lasst uns springen! Cheers! Let us leap! MEN Die Kannen fiillt! Fill the tankards! WOMEN Heisa, hopsa, lasst uns tanzen! Cheers! Let us dance! MEN 1fi3r Die Becher leert! Empty your glasses! l i i —Please turn the page quietly. 1 I ' !i I 11 . ALL Heida! Lasst uns frohlieh sein! Hurrah! Let's be merry! und Juchhe! Juchhe! Juch! and cry "Hurrah! Hurrah! Hurrah!" aus vollem Halse sehrein. full-throatedly. MEN Jauchzet, larmet, Revel, shout, springet, tanzet, leap, dance, lachet, singet! laugh, sing! Nun fassen wir den letzten Krug! Now we take the last drink! ALL Und singen dann im vollen Chor And we sing in full chorus dem freudenreiehen Rebensaft: to the joy-giving juice of the vine: Heisa, hei! Juchhe! Juch! Heisasa! Cheers! Hurrah! Cheers! Hurrah! Juch! Es lebe der Wein, der edle Wein, Long live wine, noble wine, der Grillen und Harm verscheucht! which banishes melancholy and grief! Sein Lob ertone laut und hoch Let its praise resound high and loud in tausendfachem Jubelschal! in a thousandfold shout of jubilation! Heida, lasst uns frohlieh sein Hey, let's be happy und Juchhe! Juchhe! Juch! and sing "Hurrah! Hurrah! Hurrah!" aus vollem Halse sehrein. full-throatedly. PART IV: WINTER 29. Introduction and Recitative (The Introduction depicts the thick fogs, with which winter begins.) SIMON Nun senket sich das blasse Jahr Now the pale year sinks away, und fallen Dtinste kalt herab. and cold vapors descend. Die Berg' umhullt ein grauer Dampf, A gray mist surrounds the mountains, der endlich auch die Flachen driickt, eventually to oppress the plains, too, und am Mittag selbst and even at noon der Sonne matten Strahl verschlingt. swallow up the sun's weak rays. I was a woman with hair loss ...... the hair on the top and back of my head was so thin that I began to stand against walls (the true meaning of the word wallflower). One week later at P. K. Walsh . . I had hair! I was attractive! The hairpiece took years off my age! 1842 Beacon St. • Brookline, MA 02146 (617) 232-4521 Productsfor Thinning Hair Available Callfor FREE brochure • Free Private Consultation • Ample Free Parking 54 — rial TBI HANNE Aus Lapplands Hohlen sehreitet her From the caves of Lapland now the der stiirmisch diistre Winter jetzt. stormy, gloomy winter comes striding. l3£! Vor seinem Tritt erstarrt At his footstep, Nature Efftjl in banger Stille die Natur. freezes into anxious silence. v» 30. Cavatina Licht und Leben sind geschwachet, Light and life have grown weak, Warm' und Freude sind verschwunden. warmth and joy have disappeared. Unmutsvollen Tagen folget Upon disgruntled days follows schwarzer Nachte lange Dauer. black nights' long duration. 31. Recitative LUKAS Gefesselt steht der breite See, The broad lake stands in fetters, Hi gehemmt in seinem Laufe der Strom. arrested in its course the stream. MB m Im Sturze von tiirmenden Felsen hangt In its plunge from towering cliffs gestockt und stumm das Wasserfall. the waterfall stands frozen and mute. is mm Im diirren Haine tont kein Laut. In the withered grove no sound H heard. SB wM Die Felder deckt, die Taler fullt An immense burden of snowflakes DB B ein' ungeheure Flockenlast. covers the fields, fills the valleys. Der Erde Bild ist nun ein Grab, The image of earth is now a grave, wo Kraft und Reiz erstorben liegt, where strength and allure lie dead, wo Leichenfarbe traurig herrscht, where a deathlike hue bleakly rules, und wo dem Blicke weit umher and where, to the circling gaze, nur ode Wiistenei sich zeigt. only desolate waste is seen. BV WLm 32. Aria LUKAS 1 Hier steht der Wand'rer nun Here stands the traveler now, verwirrt und zweifelhaft, confused and doubting, wohin den Schritt er lenken soil. whither he should turn his steps. Vergebens suchet er den Weg; In vain he seeks the way; ihn leitet weder Pfad noch Spur. neither path nor track guide him. Vergebens strenget er sich an, In vain he exerts himself, und watet durch den tiefen Schnee, and wades through the deep snow; er find't sich immer mehr verirrt. he finds himself ever more lost. Jetzt sinket ihm der Mut, Now his courage fails und Angst beklemmt sein Herz, and fears seizes his heart, da er den Tag sich neigen sieht, as he sees the day draw to an end, und Miidigkeit und Frost and weariness and cold ihm alle Glieder lahmt. have paralysed all his limbs. ' t ^ < Doch plotzlich trifft sein spahend Aug' But suddenly his searching eye discerns der Schimmer eines nahen Lichts. the shimmer of a nearby light. Da lebt er wieder auf; He revives again; vor Freuden pocht sein Herz. his heart beats with joy. Er geht, er eilt der Hiitte zu, He goes, he hastens toward the hut, wo starr und matt er Labung hofft. where, cold and weak, he hopes to find comfort. 1 'jPMBBt B>mH)3 —Please turn the page quietly. 33. Recitative LUKAS So wie er naht, sehallt in sein Ohr, And as he nears, there echoes in his ear, durch heulende Winde nur erst just now terrified by howling winds, gesehreekt, heller Stimmen lauter Klang. the loud sound of happy voices. HANNE Die warme Stube zeigt ihm dann The warm room reveals to him then des Dorfchens Nachbarschaft, the neighbors of the little village, vereint in trautem Kreise, united in a cosy circle den Abend zu verkiirzen to shorten the evening mit leichter Arbeit und Gesprach. with light work and conversation. RIZZOLI How to order BOOKS . CLASSICAL & INTERNATIONAL MUSIC OBJETS D'ART woodina Copley Place • Boston 617.437.0700 restaurant. Open 10-10 p.m. Mon-Thurs, 10-11 p.m. Fri, 12-6 Sun frftCU & You've probably never seen wood on a menu. Unless you've been to Boodle's, 1 Boston's authentic grill. rf f* , . CO Our aged steaks, plump poultry, fresh fish, and native shellfish are mesquite, wild )?** grilled over sassafras, &** ™«»n o^* cherry, or hickory. You choose your # grill wood and your favorite of twenty sauces, butters, and condiments. And once you've ordered wood, you'll stick with it. BoodleS O F BOSTON An Authentic Grill Lunch and dinner daily. In Boston's Back Bay Hilton. Indoor Parking. Phone (617) BOODLES. 56 — SIMON Am Ofen schwatzen hier Here by the stove the fathers von ihrer Jugendzeit die Vater; chatter of their boyhood; zu Korb und Reusen flicht there the happy crowd of sons die Wiedengert und Netze strickt plait willow withes into baskets and der Sonne munt'rer Haufe dort. hampers and weave their nets. Am Rocken spinnen die Mutter, The mothers spin on the distaff, am laufended Rade die Tochter; their daughters on the turning wheel; und ihren Fleiss belebt and an artless cheerful song ein ungekiinstelt frohes Lied. enlivens their industry. 34. Song with Chorus ("Spinning Song" by Gottfried August Burger) WOMEN AND GIRLS Knurre, schnurre, knurre, Rumble, whir, rumble, schnurre, Radchen, schnurre! whir, little wheel, whir! HANNE Drille, Radchen, lang und fein, Turn, little wheel, long and fine, drille fein ein Fadelein spin a fine little thread mir zum Busenschleier! to make a veil for my bosom. WOMEN AND GIRLS Knurre, schnurre, knurre, Rumble, whir, rumble, schnurre, Radchen, schnurre! whir, little wheel, whir! HANNE Weber, webe zart und fein, Weaver, weave delicately, finely, webe fein das Schleierlein weave the gossamer veil mir zu Kirmessfeier. for me to wear at the fair. WOMEN AND GIRLS Knurre, schnurre, knurre, Rumble, whir, rumble, schnurre, Radchen, schnurre! whir, little wheel, whir! HANNE Aussen blank und innen rein Bright without and pure within muss des Madchens Busen sein must the maiden's breast be, wohl deckt ihn der Schleier. though the veil cover it. WOMEN AND GIRLS Knurre, schnurre, knurre, Rumble, whir, rumble, schnurre, Radchen, schnurre! whir, little wheel, whir! HANNE Aussen blank und innen rein, Bright without and pure within, fleissig, fromm und sittsam sein, be industrious, pious, and modest, locket wackre Freier. to attract a gallant suitor. CHORUS Aussen blank und innen rein, Bright without and pure within, fleissig, fromm und sittsam sein, be industrious, pious, and modest, locket wackre Freier. to attract a gallant suitor. —Please turn the page quietly. 57 Week 19 35. Recitative LUKAS Xm' Abgesponnen ist der Flaehs, Now the flax has all been spun, nun stehn die Rader still. now the wheels are still. Da wird der Kreis verengt Now the circle closes in und von dem Mannervolk umringt, and, surrounded by the menfolk, zu horchen auf die neue Mar, attends to the latest story, die Hanne jetzt erzahlen wird. which Hanne will now relate. 36. Song with Chorus HANNE Ein Madchen, das auf Ehre hielt, A girl who cared for her reputation liebt' einst ein Edelmann; once loved a nobleman; da er schon langst auf sie gezielt, since he had long been after her, traf er allein sie an. he met her all alone. Er stieg sogleich vom Pferd und He climbed down from his horse and I sprach: said: Komm, kiisse deinen Herrn! "Come, kiss your lord!" Sie rief vor Angst und Schrecken: Ach! She cried with fear and terror, "Oh! Ach ja, von Herzen gern. Oh yes, with all my heart." 58 — . CHORUS Ei, ei, warum nieht nein? Eh, eh, why not "no"? HANNE Sei ruhig, sprach er, liebes Kind, "Be calm," he said, "dear child, und sehenke mir dein Herz; and give me your heart; denn meine Lieb' ist treu gesinnt, for my love is honorable, nicht Leichtsinn oder Scherz. neither frivolous nor a joke. Dich maeh ich gliicklich: nimm dies I'll make you happy: take this Geld, money, den Ring, die goldne Uhr! this ring, this golden watch! Und hab ich sonst, was dir gefallt, And if I have anything else you like, o sag's und fordre nur! just name it and ask for it!" CHORUS Ei, ei, das klingt recht fein! Eh, eh, that sounds very fine! HANNE Nein, sagt sie, das war viel gewagt, "No," says she, "that would be too bold, mein Bruder mocht es sehn, my brother might see, und wenn er's meinem Vater sagt, and if he told my father, wie wird mir's dann ergehn? what would become of me? Er ackert uns hier allzunah . . . He is plowing all too near us here . Sonst konnt es wohl geschehn. Otherwise it might work. Schaut nur, von jenem Hiigel da Just look—from that hill there konnt Ihr ihn ackern sehn. you can see him plowing." CHORUS Ho, ho, was soil das sein? Ho, ho, what does this mean? HANNE Indem der Junker geht und sieht, While the squire goes and sees, schwingt sich das lose Kind the lively girl swings up auf seinen Rappen und entflieht on his black horse and escapes geschwinder als der Wind. faster than the wind. Lebt wohl, rief sie, mein gnadger "Farewell," she cried, "my noble Herr! lord! So rach ich meine Schmach. Thus I avenge my shame." Ganz eingewurzelt stehet er Utterly rooted he stands there und gafft ihr staunend nach. and gapes after her in wonder. CHORUS Ha, ha, das war recht fein! Ha, ha, that was a good one! —Please turn the page quietly. 59 Week 19 37. Recitative SIMON Vom dtirren Osten dringt From the desolate East a sharp ein scharfer Eishauch jetzt hervor. icy breath now presses forward. Schneidend fahrt er durch die Luft, It cuts through the air as it comes, verzehret jeden Dunst consumes all the vapor und haseht des Tieres Odem selbst. and snatches the very breath of the animals. Des grimmigen Tyranns, The victory of Winter, des Winters Sieg ist nun vollbraeht, the grim tyrant, is now complete, und stummer Schrecken driickt and silent terror oppresses den ganzen Umfang der Natur. the entire circuit of Nature. 38. Aria SIMON Erblicke hier, betorter Mensch, Look here, deluded man, erblicke deines Lebens Bild. observe the image of your life. Verbliihet ist dein kurzer Lenz, Faded is your brief springtime, erschopfet deines Sommers Kraft. exhausted your summer's strength. Schon welkt dein Herbst dem Alter zu, Already your autumn fades to age, schon naht der bleiche Winter sich already pale winter draws near und zeiget dir das offne Grab. and shows you your open grave. Wo sind sie nun, die hoh'n Entwiirfe, Where are they now, the lofty schemes, die Hoffnungen von Gliick, the hopes of happiness, die Sucht nach eitlem Ruhme, the quest after idle fame, OUR SALES AND ALWAYSA Audi PREMIERE PERFORMANCE. ANNIS PORSCHE + AUDI, INC. /jLjL if,LdrL\J&Ej New England'sEngl* #1 Volume Dealer Route 9, Natick OPTIONAL. (617) 237-5759 60 — der Sorgen sehwere Last? the heavy burden of sorrows? Wo sind sie nun, die Wonnetage, Where are they now, the days of rapture, verschwelgt in Uppigkeit? wasted in luxury? Und wo die frohen Nachte, And where the happy nights im Taumel durehgewacht? spent in intoxication? Wo sind sie nun? Wo? Where are they now? Where? Verschwunden sind sie wie ein Traum. They are vanished like a dream. Nur Tugend bleibt. Only virtue remains. Recitative Die bleibt allein It alone remains und leitet uns, unwandelbar, and leads us, changeless, durch Zeit und Jahreswechsel, through change of times and seasons, durch Jammer oder Freude through sorrow or joy bis zu dem hochsten Ziele hin. to the highest goal. 39. Trio and Double Chorus SIMON Dann bricht der grosse Morgen an, Then dawns the great morning, der Allmacht zweites Wort erweckt the Almighty's second word awakens zum neuen Dasein uns, us to the new being, von Pein und Tod auf immer frei. forever free of pain and death. LUKAS, SIMON Die Himmelpforten offnen sich, The gates of heaven open, der heil'ge Berg erscheint. the holy mount appears. Ihn kront des Herren Zelt, The Lord's tabernacle crowns it, wo Ruh und Friede thront. where rest and peace are enthroned. FIRST CHORUS Wer darf durch diese Pforten gehn? Who may pass through these gates? HANNE, LUKAS, SIMON Der Arges mied und Gutes tat. He who avoided evil and did good. SECOND CHORUS Wer darf besteigen diesen Berg? Who may ascend this mountain? HANNE, LUKAS, SIMON Von dessen Lippen Wahrheit floss. He from whose lips flowed truth. FIRST CHORUS Wer darf in diesem Zelte wohnen? Who may dwell in this tabernacle? HANNE, LUKAS, SIMON Der Armen und Bedrangten half. He who assisted the poor and needy. SECOND CHORUS Wer wird den Frieden dort geniessen? Who will enjoy the peace there? HANNE, LUKAS, SIMON Der Schutz und Recht der Unschuld He who gave protection and support to gab. the innocent. FIRST CHORUS O seht, der grosse Morgen naht. Behold, the great morning draws near. —Please turn the page quietly. 61 OFFICERS H. GILMAN NICHOLS President JOHN L. THORNDIKE JOHN W COBB DANIEL A. PHILLIPS JOHN M.MEYER ROBERT N. KARELITZ JONATHAN R. PHILLIPS EDWARD P. THOMPSON RICHARD W STOKES GEORGE BLAGDEN LAURA N. RIGSBY JOHN F. WINCHESTER FREDERICK D. HOLTON SUSAN R. GUNDERSON CHARLES R. EDD^ JR. DOUGLAS R. SMITH-PETERSEN FREDERIC C. R. STEWARD WILLIAM J. O'KEEFE GEORGE L. GRAY © CHARLES C.J. PLATT ANTHONY B. BOVA FRANK WOODARD III JAMES J. ROCHE ARTHUR C.PICKETT JONATHAN B. LORING NATALIE R. DUNHAM DENISE CRONIN ALTON L. CIRIELLO, JR. J. BRIAN POTTS JAMES G. NULAND, JR. MARY JANE SMITH NANCY B. SMITH ELLEN COPE-FLANAGAN DONALD P. LEE © FIDUCIARY BOSTON TRUSTEES Fiduciary Trust Company 175 Federal Street, Boston, Massachusetts 02110 Telephone (617) 482-5270 62 . 9MH&79 I ATJV £ EM I SECOND CHORUS seht, er leuchtet schon. Behold, it shines already. BOTH CHORUSES Die Himmelspforten offnen sich, The gates of heaven open, der heil'ge Berg erscheint. the holy mount appears. FIRST CHORUS Voriiber sind, Past, . . SECOND CHORUS verbrauset sind calmed are . . . FIRST CHORUS die leidenvolle Tage, the days of sorrow, SECOND CHORUS des Lebens Wintersturme. the winter storms of life. BOTH CHORUSES Ein ew'ger Friihling herrscht; An eternal springtime reigns; und grenzenlose Seligkeit and boundless bliss 1k3B wird der Gerechten Lohn. will be the reward of the just. HANNE, LUKAS, SIMON Auch uns werd' einst ein solcher May we, too, gain such a reward some Lohn! day! Lasst uns wirken, lasst uns streben! Let us work, let us strive! FIRST CHORUS Lasst uns kampfen, Let us struggle, m& SECOND CHORUS lasst uns harren, let us wait in confidence, I \ s 'J SK BOTH CHORUSES zu erringen diesen Preis. to win with prize. BhBk Uns leite deine Hand, o Gott! May Thy hand lead us, God! Verleih uns Stark' und Mut; Lend us strength and courage; dann singen wir, dann gehn wir ein than shall we sing, then shall we in deines Reiches Herrlichkeit. enter into the splendor of Thy kingdom. Amen. Amen. wm ^^^^H SEES MX! mmvM MAKE AWSSH. Close your eyes and wish for the perfect radio station. It would be playing the songs you love so much by Neil Diamond, Barbra Streisand, Lionel Richie, Diana Ross, Johnny Mathis and Dionne Warwick. You wouldn't hear a lot of talk or interruptions, just forty minutes of continuous relaxing music every hour. WSSH 99.5 FM is your Wish come true. We play all your easy fevorites, songs of yesterday and today... all day long, every day. Close your eyes and listen to the station you've always wished for WSSH Helmuth Rilling In demand as a guest conductor and master teacher in Europe, the United States, and Asia, Helmuth Rilling has won an international reputation as one of the foremost authorities in his field. In addition to his activities at the Stuttgart Bach Academy and his wide-ranging concerts and recording projects with its ensembles, he travels throughout the world conducting and teaching the music of Bach and his contemporaries. Mr. Rilling and the Gachin- ger Kantorei often perform in cooperation with the radio symphony orchestras of Stuttgart, Baden-Baden, and Frank- furt. His current engagements also include appearances with the Israel Philharmonic, the Cleveland Orchestra, the New York Philharmonic, the Toronto Symphony, the Czech Philharmonic of Prague, the National Arts Centre Orchestra of Ottawa, and such leading chamber ensembles as the Franz Liszt Cham- ber Orchestra of Budapest and the Los Angeles Chamber Orchestra. As a teacher, Mr. Rilling has conducted Bach Academies throughout the world. Particularly important among these is the Oregon Bach Festival, which he founded in 1970 and has directed every year since. The central achievement of Mr. Rilling's discography is his complete recording of the cantatas, Masses, Passions, and oratorios of J.S. Bach. He has also recorded vocal works ranging from the early and high Baroque to the twentieth century and is known, too, for his writings, and for his lecture concerts on Bach's works broadcast by the ZDF. Born in Stuttgart in 1933, Mr. Rilling studied there, in Rome, and in New York before assuming the post of Director of Church Music at the Gedachtniskirke in his home city. His professional path then led him to Berlin and Frankfurt, where he taught choral conducting, and finally back to Stuttgart and his activities with the International Bach Academy. Mr. Rilling's status as an interpreter of Bach is based on a knowledge of the per- formance practice of Bach's time applied to the use of modern performance forces, scaled down to chamber music proportions. His primary repertoire includes Bach's complete choral music and a strong focus on the oratorio. His recent performances have ranged from Monteverdi's Vespers of 1610 to commissioned works written expressly for Mr. Rilling and his ensembles; he also takes particular interest in the late vocal works of Haydn and the vocal works of Johannes Brahms. Besides the standard works of the oratorio repertoire—such as Mozart's Requiem and C minor Mass, Beethoven's Missa Solemnis, Mendelssohn's St. Paul and Elijah, Verdi's Requiem, and Stravinsky's Symphony of Psalms—he has also conducted such lesser- known works as Zelenka's Missa Sanctissimae Trinitates, Mendelssohn's Walpurgis- nacht, the Cherubini Masses, Verdi's Quattro Pezzi Sacri, and Reger's fragmentary Requiem. In 1986 he gave the modern premiere of the rediscovered St. Mark Passion of C.P.E. Bach. For the last several years, Mr. Rilling has also been involved with lesser-known operatic works; at the Hamburg State Opera he has conducted Johann Christian Bach's last opera, Amadis de Gaule, and a concert production of Boito's Mefistofele. In addition to his honors from American universities, Mr. Rilling holds an honorary doctorate from the University of Tubingen's Faculty of Protestant Theology. He is currently vice-chairman of the New Bach Society in Leipzig and an honorary member of the German Music Council. Mr. Rilling made his Boston Symphony Orchestra debut with an all-Bach program at Tanglewood last summer. 65 RESERVOIR PLACE. JULIUS THE BEST PLACE i TO F I AS TjJk &COM PANY TO CONDUCT BUSINESS. Reservoir Place 1601 Trapelo Road Waltham,MA0215 617-890-5511 r** I — - Sylvia McNair Soprano Sylvia McNair is fast becoming a worldwide favor- ite on opera, concert, and recital stages. Highlights of her 1988-89 season include her debut at the Vienna State Opera as Susanna in he nozze di Figaro, her debut at the Glyndebourne Festival as Anne Trulove in The Rake's Prog- ress, and performances in Mozart's II re pastore with the Academy of St. Martin-in-the-Fields at Salzburg. She also appears with the Berlin Philharmonic, the Vienna Philhar- monic, and the Boston Symphony Orchestra, with which she has appeared at Tanglewood in 1984 and 1985 and in the German Requiem of Brahms at Symphony Hall in Feb- ruary 1988. Ms. McNair also appears in reengagements with the St. Louis Sym- phony, the Montreal Symphony, and the San Francisco Symphony, in addition to performances with the Los Angeles Philharmonic and the Toronto Symphony. Pre- vious engagements have included appearances with the Minnesota Orchestra, the National Symphony, the Cincinnati Symphony, the Atlanta Symphony, and the Indianapolis Symphony. Last season she toured Japan with the Bach Academy of Stuttgart, appeared with the Boston Symphony Orchestra and the Cleveland Orchestra, and was soloist in Messiah with the Atlanta Symphony in a televised Christmas Eve performance; she was also a soloist in the St. Matthew Passion at the Oregon Bach Festival and in Bach's B minor Mass at Lincoln Center's Mostly Mozart Festival. Ms. McNair's appearances with Opera Theatre of St. Louis have included the roles of Hero in Berlioz's Beatrice and Benedict, Ilia in Idomeneo, Pamina in The Magic Flute, and Morgana in Handel's Alcina. In Europe, she has sung the role of Susanna with Netherlands Opera, and she repeated the role of Ilia with the Lyon Opera in Lyon, Cologne, and Strasbourg. With the Deutsche Oper Berlin, she has sung Pamina, and the title role in the world premiere of Rudolph Kelterborn's Ophelia. Ms. McNair has made several New York appearances, at Carnegie Hall and Lincoln Center. She made her Carnegie Hall debut in Handel's Semele and returned there as a soloist in the St. Matthew Passion. In 1982 she sang the role of Sandrina in Haydn's L'infedelta, delusa at the Mostly Mozart Festival and was reengaged for the following year in the title role of Mozart's Za'ide. Her festival appearances have included Tanglewood, Wolf Trap, Aspen, Waterloo, Lucerne with the Academy of St. Martin-in-the-Fields and Neville Marriner—and the Fes- tival of Two Worlds in Spoleto, where she made her Italian debut. 1 i** & Born into a musical family in Ohio, Sylvia McNair studied the violin through her ^i^H sophomore year in college, when she decided to take voice lessons. She eventually WfiwrnHI earned a master of music degree in vocal performance from Indiana University and, una *h3 ¥fS • JB^t^dL- *fSZ upon winning the 1982 Metropolitan Opera National Auditions, made her London £sw§h5MrV'>JSxjp EA4H !^MW1 oMh concert debut on the American Artists Series. Her first disc, a Telarc digital * !&*» H^J| •. 1 ;vJ SBa" recording of Poulenc's Gloria with Robert Shaw and the Atlanta Symphony, ^SreSSKsB received a Grammy nomination. She has also recorded Handel's Messiah and H Beethoven's Missa Solemnis for Telarc with Mr. Shaw and the Atlanta Symphony and El E^SsE-mB^ may be heard on the recent Philips release of Mozart's C minor Mass under the •SjflG ^^9IBW IH direction of John Eliot Gardiner. £Jmcj w£w«-J&** W"!v* WEks HI El E8BBMMI^HnsS Promises To Keep Tiffany rings to celebrate weddings and engagements. From right: Sapphire with diamonds, $13,600. Eighteen karat gold band, $345. Sapphire with diamonds, $3,400. Diamond band, $7,100. Diamond solitaire in the classic six-prong Tiffany setting, $11,000. Tiffany & Co. BOSTON • COPLEY PLACE • 100 HUNTINGTON AVENUE • 02116 TO ORDER CALL 617-353-0222 • ©T& CO. 1988 S£££ h-S. H ELW '"*?, is> 1111 :-,'~sV"i ftSeV V EH@&§3 #\ »3LJtwlClI Li ICal V 8" Carleton-Willard Village is an exceptional continuing care retirement community. Gracious independent living accommodations and fully aS5 vRffV^rfiHlMQ licensed, long-term health care facilities exist in a traditional New England environment. After the show, enjoy the limelight. Tanqueray. A singular experience. Imported English Gin, 47.3% Alc/Vol (94.6°), 100% Grain Neutral Spirits. © 1988 Schieffelin & Somerset Co., New York, N.Y. IR fro JSBBSSSk MM toseIMI zm wwfBv mBSnOwkBhIHk1!i • H I Hffl& the Village. At Fox Hill Village retirement The Village combines the security of community your lifestyle will continuing care with the many benefits mean an active social schedule — or of ownership through a unique coop- a quiet retreat to the library or the erative plan. greenhouse. Find out why more than 250 peo Designed for comfort and pie have already reserved their convenience, Fox Hill Village is new home at Fox Hill Village now under construction on 80 Call 329-4433 for more informa wooded acres in Westwood. tion or visit our model apartment Fox Hill Village at westwood 5f 100 High Street, Westwood, MA 02090 A TRADITION OF FINANCIAL COUNSEL 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 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 FD1C. Copyright State Street Boston Corporation, 1989. Thomas Randle Tenor Thomas Randle is in increasing demand as a soloist in the United States and in Europe for performances of traditional and contemporary music. He began early train- ing in conducting, theory, and composition and was later awarded a scholarship to study voice at the University of Southern California, where his teachers included Michael Sells and Gwendolyn Koldofsky. During summers in Ger- many he studied with Aldo Baldin and Kurt Equiluz, and he has since gone on to appear in concert, recital, and opera on three continents. Mr. Randle has appeared as soloist with the Los Angeles Philharmonic, the Los Angeles Cham- ber Orchestra, the Leipzig Radio Symphony, the London Philharmonic, the Stutt- gart Chamber Orchestra, the Bach-Collegium Stuttgart, the Scottish Chamber Orchestra, and the Royal Philharmonic, under such conductors as Helmuth Rilling, Eric Ericson, Michael Tilson Thomas, Murray Sidlin, John Currie, Gennady Rozhdestvensky, Ivan Fischer, Serge Baudo, and Sir Michael Tippett. His repertoire encompasses Lieder, chamber music, oratorio, and opera from the early Baroque to the twentieth century. He has won critical acclaim as an oratorio singer, particularly for his performances of Bach, Handel, and Mozart, and he appears regularly at music festivals throughout the United States and Europe. Mr. Randle made his European debut with performances of Bach's B minor Mass under Helmuth Kill- ing's direction as part of the "Europa Contat" Festival in Strasbourg. He has toured Canada, Italy, Austria, Japan, North America, and South America with the Gachinger Kantorei and the Bach-Collegium Stuttgart, and he has been soloist with both of those ensembles for concerts at the J.S. Bach Sommerakademie and the prestigious "Internationales Musikfest Stuttgart." At the request of the East Ger- man government he was invited to sing performances of Bach's Christmas Oratorio, again under the baton of Mr. Rilling. Mr. Randle made his European opera debut in London this year as Tamino in Mozart's Magic Flute at English National Opera. His repertoire includes the major tenor roles of Mozart, Rossini, and Donizetti, the lyric French roles of Massenet and Thomas, and twentieth-century works of Copland, Berg, and Stravinsky. In August 1989 he returns to Europe for further performances of The Magic Flute with English National Opera; during the 1990-91 season he will sing Pelleas with that company. Also with English National Opera he will create the role of Dionysus in the world premiere of John Buller's new opera, The Bacchae. Active in the area of twentieth- century music, Mr. Randle has sung in the American and world premieres of works by Sir Michael Tippett, Heinz Holliger, and William Kraft with the Los Angeles Philharmonic. He appears with the Boston Symphony Orchestra for the first time at these concerts. 69 •" >V*'-v? •*!<} "Pack up ail Your Cares and Woes" ...discover The Essex> the Nortfi Shore's newest community for active seniors. Located in the heart of Historic Salem, MA, the ESSEX is surrounded by stimulating choices: elegant shops, nationally acclaimed museums, fine restaurants, and a picturesque harbor revered by generations. At THE ESSEX, gracious amenities provide companionship, security, and an elegant lifestyle. Opening this spring, the Model Apartment Home now awaits your applause. The Essex 11 Church Street, in the heart of Historic Salem MA (508) 744-4050 The Georgian senior Community in on the Jamaicaway, Boston, MA chestnut Hill, MA to be announced Other Prime Living inc. Residences (617) 332-6400 70 mmm 3&fL Mm Mark Pedrotti Baritone Mark Pedrotti is a versatile performer, with opera, recital, and recording engagements throughout North Amer- w xffrmnt ica. Recent appearances have included appearances with the anw Quebec Symphony in the Bach cantata "Ich habe genug" and sHH Brahms's German Requiem, Orff's Carmina burana with the New York Choral Society and Handel's Messiah with the New York Oratorio Society, both in Carnegie Hall, a televi- sion production of The Whale with the Vancouver Bach Choir at Expo '86, and a film on the life of Ravel. As a recitalist, Mr. Pedrotti performs regularly in the major music centers of North America. Appearances in opera have included the roles of Mercutio in Romeo et Juliette with Baltimore Opera, Dr. Falke in Die Fleder- maus with Canadian and Chattanooga Opera, Sharpless in Madama Butterfly with Canadian Opera, Figaro in R barbiere di Siviglia and Papageno in The Magic Flute with Edmonton Opera, and Libuse with Opera Orchestra of New York at Carnegie Hall. In 1987 Mr. Pedrotti opened Glimmerglass Opera's new opera house as Eugene Onegin and made his New York City Opera debut as Dr. Falke. He also performed Carmina burana in Toronto and Baltimore, appeared as the Count in Le nozze di Figaro with Knoxville Opera, and made his London recital debut in England. During the 1988-89 season, Mr. Pedrotti joined Northern Ireland Opera as Marcello in La boheme and Edmonton Opera as Mercutio in Romeo et Juliette; he also appears as Harlequin in Ariadne auf Naxos in Vancouver and as Papageno in The Magic Flute in Calgary. Besides these performances of Haydn's The Seasons, at which Mr. Pedrotti makes his Boston Symphony Orchestra debut, Mr. Pedrotti's current engagements with Helmuth Rilling include Bach's B minor Mass at Avery Fisher Hall and Berlioz's L'Enfance du Christ in Europe; he also appears as Mercutio in Romeo et Juliette in Cincinnati and as Ford in The Merry Wives of Windsor with Washington Opera. Born into a musical family in New Zealand, Mark Pedrotti began his career as a boy soprano with frequent concert, radio, and television appearances, as well as recordings. A charter member of the Canadian Opera Company Ensemble, he has been the recipient of the Herman Geiger-Torel Award, the Tito Gobbi International Opera Scholarship, and the Herbert von Karajan Gesangsstudio Award. CAREY* Boston Symphony Orchestra I Hi LIMOUSINE Metropolitan Opera Hm i • CHAUFFEUR DRIVEN SEDANS, Perkins School for the Blind VANS AND LIMOUSINES Boston Ballet HI Hi FOR ALL OCCASIONS Jimmy Fund H SB •EXECUTIVE SERVICE H Chicago Lyric Opera •'• '<•••".•' Est. 1924 30HbMMs& 623-8700 Dwight R. Lueth Associates 24 HR. SERVICE/BOSTON AREA Fund Raising Counsel A&A LIMOUSINE RENTING INC. 161 BROADWAY—SOMERVILLE, MA Est. 1976 Boston (617) 266-7090 SERVICE IN 300 CITIES • 60 COUNTRIES • 6 CONTINENTS MAJOR CREDIT CARDS ACCEPTED NATIONWIDE 1-800-336-4646 HBg| BIHmbI 71 s Tanglewood Festival Chorus John Oliver, Conductor Now in its nineteenth year, the Tanglewood Festival Chorus was organized in the spring of 1970 when founding conduc- tor John Oliver became director of vocal and choral activities at the Tanglewood Music Center. Co-sponsored by the Tanglewood Music Center and Boston University, and origi- nally formed for performances at the Boston Symphony's | summer home, the chorus was soon playing a major role in the orchestra's Symphony Hall season as well. Now the I | official chorus of the Boston Symphony Orchestra, the 1 Tanglewood Festival Chorus is made up of members who JSI' ABM m donate their services, performing in Boston, New York, and at Tanglewood, and working with Music Director Seiji Ozawa, John Williams and the Boston Pops, and such prominent guests as Leonard Bernstein, Kurt Masur, and Charles Dutoit. Noteworthy recent performances have included the world premiere of Sir Michael Tippett's The Mask of Time under Sir Colin Davis in April 1984, the American premiere of excerpts from Olivier Messiaen's opera St. Francis of Assisi under Seiji Ozawa in April 1986, and the world premiere in April 1987 of Donald Martino's The White Island, the last of the Boston Symphony Orchestra's centennial commissions, performed at a special Symphony Hall concert under John Oliver's direction. More recently, the chorus participated in performances under Seiji Ozawa' direction of Richard Strauss's Elektra, with Hildegard Behrens in the title role, in Boston, New York, and at Tanglewood; the performances this past November were recorded by Philips for future release on records and compact discs. The Tanglewood Festival Chorus has collaborated with Seiji Ozawa and the Boston Symphony Orchestra on numerous recordings, beginning with Berlioz's The Damnation of Faust for Deutsche Grammophon, a 1975 Grammy nominee for best choral performance, recently reissued on compact disc. An album of a cappella twentieth-century American music, recorded at the invitation of Deutsche Gram- mophon, was a 1979 Grammy nominee. Recordings with Ozawa and the orchestra available on compact disc also include Schoenberg's Gurrelieder, Mahler's Sym- phony No. 8, the Symphony of a Thousand, and Mahler's Symphony No. 2, Resurrec- tion, on Philips, and Beethoven's Choral Fantasy with pianist Rudolf Serkin, on Telarc. Last season the chorus recorded Poulenc's Stabat Mater and Gloria with Mr. Ozawa, the orchestra, and soprano Kathleen Battle for Deutsche Grammophon. In addition to his work with the Tanglewood Festival Chorus, John Oliver is con- ductor of the MIT Choral Society, a senior lecturer in music at MIT, and conductor of the John Oliver Chorale, now in its twelfth season. The Chorale gives an annual concert series in Boston and has recorded for Northeastern and New World records. Mr. Oliver made his Boston Symphony Orchestra conducting debut at Tanglewood in 1985 and led performances of Bach's B minor Mass at Symphony Hall in Decem- ber that year. The Tanglewood Festival Chorus, John Oliver, conductor, has recently been selected to help close a month-long International Choral Festival to take place in and around Toronto, Canada, throughout the month of June. The only American chorus invited to participate among the festival's more than 4,000 performers, the Tanglewood Festival Chorus will present an afternoon concert of music by Tallis, Ives, Brahms, and Gabrieli under John Oliver's direction on Friday, June 30, and take part in the festival's closing performance—Verdi's Requiem with the Toronto Symphony under the direction of Charles Dutoit—that same evening. 72 » 1& 1 iran mm Tanglewood Festival Chorus John Oliver, Conductor Sopranos Evelyn M. Eshleman-Kern John Vincent Maclnnis k£MQh£3•i"V A, . Phyllis Benjamin Christine Faub David E. Meharry Deborah Bennett Paula Folkman Gary L. Miner mm Irene Gilbride David R. Pickett Michele M. Bergonzi -' i . Toni P. Schultz Sarah S. Brannen Gustus Herman Bonita Ciambotti Elizabeth Johnstone Ronald Severson Margo Connor April Merriam Carl Zahn Mary A.V. Crimmins Ellen D. Rothberg Linda Smith Basses Christine P. Duquette Kay Carol S. Furneaux Ada Park Snider Eddie Andrews Alice Honner-White Julie Steinhilber Jose R. Coronado, Jr. Holly MacEwen Krafka Dianne M. Terp James W Courtemanche Sarah Jane Liberman Elizabeth Wallace-Taylor Edward E.Dahl Barbara MacDonald Betty Karol Wilson John Duffy Jan Elizabeth Norvelle Mark L. Haberman Tenors Jennifer M. Pigg Lee B. Leach Sarah J. Robinson Richard A. Bissell Steven Ledbetter I Lisa Saunier JeffB. Flaster David K. Lones Carrol Shaw Michael P. Gallagher Greg Mancusi-Ungaro Joan Pernice Sherman J. Stephen Groff Stephen H. Owades Noel Belanger Smith David M. Halloran John Fitz Rogers Andrew Hamilton Peter Rothstein Mezzo-sopranos George W Harper Vladimir Roudenko Maisy Bennett John W Hickman Matthew Soroka mm:*£*- :,<•%H Nancy Brockway Warren D. Hutchison Jeffrey Sposato Sharon Carter James R. Kauffman Laurence West Barbara Clemens Edward J. Kiradjieff Pieter Conrad White Arnalee Cohen WKUH vT^-'t jB Januth Hayashi, Manager 1 Martin Amlin, Assistant to the Conductor 1 : >-&i ^'ituZJiij' '.A-^vr^sf^. unflpi tt&ffiS&i $R5&M 1 H H SBUKK -^A*^ Our Desk... Tsomides ^^H ^1 still stands alone. £ Associates BBHr<<«SavaBdinlRKii Stand-Up Desks and Stools hand- MjJl 39Sn *$3m •.'<--*•**m* crafted to your height in oak, walnut, Architects >* \*las2 •.,;.* mahogany and cherry. Planners 1 ^H mjag For free brochure: WSBs&lffi wex The Stand-Up Desk Company Specializing in |«| |$ 5207 Baltimore Avenue &i£g8Hi£9fc!lm t MmDSvfrDw ! -fur Bethesda, MD 20816 residential, health care 'rJSi' (301)657-3630 & retirement communities 385 Elliot Street Newton Upper Falls, MA 02164 E^MHSNSB 617/969-4774 I^SHRlw. jtl MGB9BRf£ •JKp Business/Professional Leadership Program BUSINESS The Boston Symphony Orchestra wishes to acknowledge these distinguished corporations and professional organizations for their outstanding and exemplary response in support of the orchestra's needs during the past or current fiscal year. Corporate Underwriters ($25,000 and above) Bank of Boston Country Curtains and The Red Lion Inn General Electric Plastics Business Group The Pyramid Companies BSO Single Concert Sponsors Bank of New England Corporation Opening Night at Symphony BayBanks, Inc. Opening Night at Pops NYNEX Corporation, WCVB-TV, Channel 5 Boston, and WCRB 102.5 FM Salute to Symphony 1989 Raytheon Company, WCVB-TV, Channel 5 Boston, and WCRB 102.5 FM Salute to Symphony 1988 NEC Corporation and NEC Deutschland GmbH Boston Symphony Orchestra European Tour Nabisco Brands, Inc. Boston Pops Esplanade Orchestra Japan Tour Digital Equipment Corporation Boston Pops Orchestra Public Television Broadcasts Suntory Limited BSO recording oiElektra For information on these and other corporate funding opportunities, contact Madelyne Cuddeback, BSO Director of Corporate Development, Symphony Hall, Boston, MA 02115, (617) 266-1492. 74 1988-89 Business Honor Roll ($10,000 and Above) itSuf ADD Inc. Architects HBM/Creamer, Inc. • I Philip M. Briggs Edward Eskandarian Advanced Management Associates The Henley Group Harvey Chet Krentzman Paul M. Montrone mflK* Analog Devices, Inc. Honeywell Bull Ray Stata Roland Pampel AT&T IBM Corporation wSGsm Robert Babbitt Paul J. Palmer Bank of Boston John Hancock Mutual Life Insurance Ira Stepanian E. James Morton Bank of New England Corporation Liberty Mutual Insurance Company Walter J. Connolly Gary L. Countryman WSSSX BayBanks, Inc. Loomis-Sayles & Company, Inc. Richard F. Pollard Peter G. Harwood Boston Edison Company McKinsey & Company Stephen J. Sweeney Robert P. O'Block The Boston Globe Mobil Corporation William O. Taylor Allen E. Murray Boston Herald Morse Shoe, Inc. Patrick J. Purcell Manuel Rosenberg Boston Safe Deposit & Trust Company Nabisco Brands, Inc. James N. von Germeten Charles J. Chapman Comet American Marketing NEC Corporation Douglas Murphy Atsuyoshi Ouchi Con Agra Incorporated NEC Deutschland GmbH Charles M. Harper Masao Takahashi Connell Limited Partnership The New England William F. Connell Edward E. Phillips Coopers & Lybrand New England Telephone Company Vincent M. O'Reilly Paul C. O'Brien Country Curtains Nynex Corporation Jane P. Fitzpatrick Delbert C. Staley Creative Gourmets, Ltd. PaineWebber, Inc. Stephen E. Elmont James F Cleary Digital Equipment Corporation Peat Marwick Main & Co. Kenneth G. Olsen Robert D. Happ Dynatech Corporation Pepsico, Inc. J. P. Barger D. Wayne Calloway Eastern Gas & Fuel Associates Prudential-Bache Securities Robert W Weinig David F. Remington EMC Corporation R&D Electrical Company, Inc. Richard J. Egan Richard D. Pedone Ernst & Whinney Rabobank Nederland Thomas M. Lankford Hugo Steemsa B.1QMMH Fidelity Investments/ Raytheon Company Fidelity Foundation Thomas L. Phillips General Cinema Corporation The Red Lion Inn Richard A. Smith John H. Fitzpatrick General Electric Plastics Business Group Shawmut Bank, N.A. Glen H. Hiner John P. Hamill The Gillette Company The Sheraton Boston Hotel & Towers Colman M. Mockler, Jr. Robert McEleney Grafaeon, Inc. Sonesta International Hotels Corporation H. Wayman Rogers, Jr. Paul Sonnabend GTE Products Corporation State Street Bank & Trust Company IBJMi HEMErHaH Dean T. Langford William S. Edgerly 1988-89 Business Honor Roll (continued) The Stop & Shop Companies, Inc. Watson Mailing/Mail Communications, Inc. Avram J. Goldberg Irving Rawding Suntory Limited WCRB-102.5 FM Keizo Saji Richard L. Kaye Teradyne Inc. WCVB-TV; Channel 5 Boston Alexander V d'Arbeloff S. James Coppersmith Tucker Anthony & R.L. Day, Inc. Wondriska Associates Gerald Segel William Wondriska USTrust Zayre Corporation James V Sidell Maurice Segall HOW TO ENIOY Play it loud or soft, but play in grand style at Herring Run. These expansive homes have the features that matter: first- or second-floor master suite, vaulted ceilings, attached garage, and a lower level to finish as you please. Single-family style with condominium convenience, on a quiet ridgetop overlooking the Cape Cod Canal in mainland Bourne. ..less than an hour from Boston. Priced from the low $300,000's. On-site sales office open Friday through Monday, 11-5, HERIWG and by appointment. Please call (508) 888-6436. From Boston; Take Route 3, exit 2 to Herring Pond Road. Take a left; Herring Run is 2.5 miles on the left. Herring Pond Road Bourne. Massachusetts From 1-495; Take exit 2 (Route 6, Bourne-Sagamore). Proceed counter-clockwise around rotary to Route 6 east. Continue 2.5 mi. W Left at Flashing light. Herring Run is V2 mi. on the right. 76 The Boston Symphony Orchestra gratefully acknowledges these Business and Professional Leadership Program members for their generous and valuable support totaling $1,250 and above during the past fiscal year. Names which are both capitalized and underscored in the Business Leaders listing comprise 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. Business Leaders ($1,250 and above) iccountants Automotive/Service *Harvey Industries, Inc. Frederick Bigony \RTHUR ANDERSEN & COMPANY J.N. Phillips Glass Company, Inc. William F. Meagher Alan L. Rosenfield *J.F. White Contracting Company Philip Bonanno ARTHUR YOUNG & COMPANY Banking Moliterno Stone Sales, Inc. Thomas P. McDermott Kenneth A. Castellucci *Bank in Liechtenstein, AG Charles E. DiPesa & Company Christian Norgren William F. DiPesa *National Lumber Company Louis L. COOPERS & LYBRAND BANK OF BOSTON Kaitz Ira Vincent M. O'Reilly Stepanian PERINI CORPORATION David B. Perini 3ELOITTE HASKINS & SELLS BANK OF NEW ENGLAND CORPORATION Mario Umana Consumer Goods/Distributors Walter J. Connolly 3RNST & WHINNEY *August A. Busch & Company BAYBANKS, INC. Thomas M. Lankford Christopher L. Stevens Richard F. Pollard PEAT MARWICK Chiquita Brands HAIN & CO. BOSTON SAFE DEPOSIT & TRUST Baron M. Hartley Robert D. Happ COMPANY James N. von Germeten COMET AMERICAN MARKETING PRICE WATERHOUSE Douglas Murphy Cambridge Trust Company Kenton J. Sicchitano Lewis H. Clark CON AGRA INCORPORATED Theodore S. Samet & Company Charles M. Harper *Chase Manhattan Bank Theodore S. Samet William N. MacDonald *Dry Creek Vineyards Tofias, Fleishman, David Stara Chase Manhattan Corporation Shapiro & Co., PC. FAIRWINDS GOURMET COFFEE Allan Tofias CITICORP/CITIBANK COMPANY Walter E. Mercer Michael J. Sullivan Advertising/Public Relations First Mutual of Boston *Hawaiian Department of Agriculture Keith G. Willoughby i IBM/CREAMER, INC. * International Paper Company Edward Eskandarian First National Bank of Chicago Marc F. Wray Robert E. Gallery 3ILL, HOLLIDAY, CONNORS, *Massachusetts Department of Food ^OSMOPULOS, INC. RABOBANK NEDERLAND and Agriculture Jack Connors, Jr. Hugo Steemsa NABISCO BRANDS, INC. rma S. Mann, Strategic Marketing, *Rockland Trust Company H. John Greeniaus inc. John F. Spence, Jr. PEPSICO, INC. Irma Mann Stearns SHAWMUT BANK, N.A. D. Wayne Calloway John P. Hamill ierospace SUNTORY LIMITED STATE STREET BANK & TRUST Keizo Saji Northrop Corporation COMPANY Thomas United Liquors, Ltd. V Jones William S. Edgerly Michael Tye PNEUMO ABEX CORPORATION USTRUST Norman J. Ryker Vintners International Company, Inc. James V Sidell Michael Doyle Workingmens Co-operative Bank Architects *Winery Associates j John E. McDonald David L. Ready 1DD INC. ARCHITECTS Philip M. Briggs Building/Contracting Electrical/HVAC James Stewart Polshek and Partners *A.J. Lane & Company, Inc. L. Rudolph Electrical Company, Inc. James Polshek & Tim Hartung Andrew J. Lane Louis Rudolph LEA Group Chain Construction Corporation *p.h. mechanical Corporation Eugene R. Eisenberg Howard J. Mintz Paul A. Hayes 77 Doyou think about money when you shouldn't? Let a Bank of New England Private Banker take care of all your financial details, thereby giving you the time and free- dom to enjoy your success. Call 617-973-1748. Go ahead. You've earned it. Bank of NewEngland ELECTRICAL COMPANY, INC. Food Service/Industry BBF Corporation rt&D Boruch B. Frusztajer Richard D. Pedone *Boston Showcase Company Jason E. Starr BOLT BERANEK AND NEWMAN, INC. Electronics Cordel Associates, Inc. Stephen R. Levy Alden Electronics, Inc. James B. Hangstefer i John M. Alden CREATIVE GOURMETS, LTD. COMPUGRAPHIC CORPORATION Carl E. Dantas ANALYTICAL SYSTEMS Stephen E. Elmont CORPORATION PARTNERS, INC. [ENGINEERING Different Tastes Catering COMPUTER J. Crowley Michael B. Rukin Jack Milan Paul Incorporated Costar Corporation Epsco daka Inc. Wayne P. Coffin Terry Vince Otto Morningstar Corporation The Mitre Federal Distillers, Inc. DIGITAL EQUIPMENT Charles A. Zraket CORPORATION Alfred J. Balerna Iparlex corporation Kenneth G. Olsen Seasons and Occasions, Inc. W. Pollack Herbert Dalu Pearson Dynamics Research Corporation Albert Rand Energy Footwear DYNATECH CORPORATION cabot corporation J. P. Barger * Jones & Vining, Inc. Samuel Bodman Sven A. Vaule, Jr. EG&G, INC. tfOBIL CORPORATION MORSE SHOE, INC. Dean W Freed Allen E.Murray Manuel Rosenberg EMC CORPORATION ^ewmont Mining Corporation The Rockport Corporation Richard J. Egan Gordon R. Parker Stanley Kravetz *General Eastern Instruments Co. THE STRIDE RITE CORPORATION Pieter R. Wiederhold Engineering Arnold S. Hiatt HELIX TECHNOLOGY joldberg-Zoino & Associates, Inc. CORPORATION Donald T. Goldberg Furnishings/Housewares Robert J. Lepofsky Stone & Webster Engineering ARLEY MERCHANDISING THE HENLEY GROUP Corporation CORPORATION Paul M. Montrone Thomas J. Whelan David I. Riemer HEWLETT-PACKARD COMPANY The Thompson & Lichtner L. Holmes *Barton Brass Associates, Inc. Ben Company, Inc. Barton Brass HONEYWELL BULL John D. Stelling Corona Curtains Roland Pampel Paul Sheiber Entertainment/Media IBM CORPORATION COUNTRY CURTAINS Paul J. Palmer Boston Garden/Boston Bruins Jane P. Fitzpatrick William D. Hassett Instron Corporation Hindman GENERAL CINEMA Jofran, Inc. Harold CORPORATION Robert D. Roy *Intermetrics Inc. Richard A. Smith Joseph A. Saponaro Graphic Design *Ionics, Inc. Mational Amusements, Inc. Sumner M. Redstone *Clark/Linsky Design Arthur L. Goldstein Robert H. Linsky *KYBE Corporation Finance/Venture Capital *The Watt Group Charles Reed, Jr. Don Watt Carson Limited Partnership *M/A-Com, Inc. Herbert Carver WONDRISKA ASSOCIATES Vessarios G. Chigas William Wondriska PARRELL, HEALER & COMPANY, MASSCOMP J INC. Richard A. Phillips High Technology/Electronics i Richard A. Farrell MILLIPORE CORPORATION [THE FIRST BOSTON ANALOG DEVICES, INC. John A. Gilmartin Ray Stata I CORPORATION/BOSTON NEC CORPORATION I Malcolm MacColl APOLLO COMPUTER, INC. Atsuyoshi Ouchi THE Thomas A. Vanderslice ; FIRST BOSTON NEC DEUTSCHLAND GmbH 1 CORPORATION/NEW YORK *Aritech Corp. Masao Takahashi Pamela Lenehan | James A. Synk *Orion Research, Inc. Investors in Industry Corporation AUGAT INC. Alexander Jenkins III Ivan N. Momtchiloff Roger D. Wellington 79 GUILD, MONRAD & OATES, INC. Family Investment Advisers 50 Congress Street Boston, Massachusetts 02109 Telephone: (617) 523-1320 For Those Who Want Specialized Individual Attention and Care in the Management of Investments and Tax and Estate Planning Henry R. Guild, Jr. Ernest E. Monrad William A. Oates, Jr. Robert B. Minturn, Jr. "Music Has Charms To Soothe A Savage Beast." But sometimes music isn't enough. When psychiatric diagnosis and treatment pro- serious emotional problems threaten your grams for individuals and families experienc- mental health or someone you love, profes- ing life crisis. sional care can help. Problems may include: We help people help themselves. depression eating disorders For further information or consultation, please alcohol or drug troubled children call the admissions director at the locations listed. dependency m significant loss The Community Care Systems hospitals and Community Care Systems, Inc. counseling centers offer confidential, caring, Community Outpatient Services Charles River Hospital Jackson Brook Institute Lake Shore Hospital Chelmsford, MA Welles ley, MA South Portland, ME Manchester, NH Lowell, MA (617)235-8400 (207)761-2200 (603) 645-6700 West Newton, MA (617)527-4610 80 MB* KftP I PRIME COMPUTER, INC. CHARLES H. WATKINS & MORGAN STANLEY & COMPANY, Joe M. Henson COMPANY INC. RAYTHEON COMPANY Richard P. Nyquist John Lazlo Thomas L. Phillips * Consolidated Group, Inc. PAINEWEBBER, INC. Woolsey S. Conover James F Cleary SofTech, Inc. Justis Lowe, Jr. PRANK B. HALL OF The Petron Companies MASSACHUSETTS, INC. Ronald M. Pearson The Analytic Sciences Corporation Colby Hewitt, Jr. ;TASC) *The Putnam Management Company, Ills! Arthur Gelb *Fred S. James & Company of New Inc. England, Inc. Lawrence J. Lasser i Tech/Ops, Inc. P. Joseph McCarthy SALOMON BROTHERS, INC. I Marvin G. Schorr I i.it JOHN HANCOCK MUTUAL LIFE Sherif A. Nada TERADYNE INC. KDmtTW, INSURANCE COMPANY * I Alexander V d'Arbeloff State Street Development E. James Morton Management Corporation 'THERMO ELECTRON CORP * Johnson & Higgins of Massachusetts, Allen D. Carleton ! George N. Hatsopoulos Inc. TUCKER ANTHONY & R.L. DAY, XRE Corporation Robert A. Cameron INC. John K. Grady LIBERTY MUTUAL INSURANCE Gerald Segel COMPANY Hotels/Restaurants Wainwright Capital Company Gary L. Countryman Back Bay Hilton John M. Plukas THE NEW ENGLAND William Morton WOODSTOCK CORPORATION Edward E.Phillips The Bostonian Hotel Nelson J. Darling, Jr. Inc. Timothy P. Kirwan Robert D. Gordon Adjusters, Robert D. Gordon Legal Boston Marriott Copley Place Alain Piallat SAFETY INSURANCE COMPANY BINGHAM, DANA & GOULD COPLEY PLAZA HOTEL Richard B. Simches Everett H. Parker William Heck Dickerman Law Offices Hta' Lola Dickerman THE HAMPSHIRE HOUSE Investments Thomas A. Kershaw *Fish & Richardson H ABD Securities Corporation i Dorfman Mildred's Chowder House Theodor Schmidt-Scheuber Richard James E. Mulcahy *Gadsby & Hannah Baring America Asset Management Harry F Hauser THE RED LION INN Company, Inc. John H. Fitzpatrick Stephen D. Cutler GOLDSTEIN & MANELLO Richard J. Snyder St. Botolph Restaurant *Baring International Investment Ltd. John Harris John F. McNamara GOODWIN, PROCTER AND HOAR Robert B. Fraser THE SHERATON BOSTON HOTEL BEAR STEARNS & COMPANY, INC. & TOWERS Keith H. Kretschmer Hubbard & Ferris Robert McEleney Charles A. Hubbard * Essex Investment Management SONESTA INTERNATIONAL Company, Inc. * Lynch, Brewer, Hoffman & Sands mm lm HOTELS CORPORATION Joseph C. MeNay Owen B. Lynch Paul Sonnabend FIDELITY INVESTMENTS/ *Mintz, Levin, Cohn, Ferris, Glovsky & THE WESTIN HOTEL, COPLEY FIDELITY FOUNDATION Popeo, PC. Francis X. Meaney PLACE *Goldman, Sachs & Company Bodo Lemke Peter D. Kiernan Nissenbaum Law Offices Gerald L. Nissenbaum Industrial Distributors *Interact Management, Inc. Stephen Parker *Nutter, McClennen & Fish HWw Admiral Metals Servicenter John K. P. Stone III Company KAUFMAN & COMPANY PALMER & DODGE Maxwell Burstein Sumner Kaufman Robert E. Sullivan i Millard Metal Service Center THE KENSINGTON INVESTMENT Sarrouf, Tarricone & Flemming Donald Millard, Jr. COMPANY Alan E. Lewis Camille F. Sarrouf Insurance * Kidder, Feabody & Company Sherburne, Powers & Needham *Arkwright John G. Higgins Daniel Needham, Jr. BwCW Frederick J. Bumpus LOOMIS-SAYLES & COMPANY, Weiss, Angoff, Coltin, Koski & Wolf, CAMERON & COLBY CO., INC. INC. PC. Lawrence S. Doyle Peter G. Harwood Dudley A. Weiss 81 Management/Financial/Consulting * Barry Wright Corporation * Rand-Whitney Corporation ADVANCED MANAGEMENT Ralph Z. Sorenson Robert Kraft ASSOCIATES The Biltrite Corporation *Sprague Electric Company Harvey Chet Krentzman Stanley J. Bernstein John L. Sprague ARTHUR D. LITTLE, INC. Boston Sand & Gravel Company *The Stackpole Corporation John F. Magee Dean M. Boylan Lyle G. Hall Superior Brands, Inc. *Bain & Company, Inc. CENTURY MANUFACTURING AND William W. Bain TY-WOOD CORPORATION Richard J. Phelps THE BOSTON CONSULTING Joseph Tiberio *Termiflex Corporation GROUP CONNELL LIMITED William E. Fletcher Jonathan L. Isaacs PARTNERSHIP Textron, Inc. William Connell B.F. Dolan *Corporate Decisions, Inc. F David J. Morrison *C.R. Bard, Inc. *Towle Manufacturing Company The Forum Corporation Robert H. McCaffrey Christopher J. McGillivary John W. Humphrey Dennison Manufacturing Company Webster Spring Company, Inc. Nelson G. Gifford Alexander M. Levine *Haynes Management, Inc. G. Arnold Haynes Emhart Corp. Wire Belt Company of America *HCA Management T. Mitchell Ford F Wade Greer Donald E. Strange Paper Mills *Erving Media Jason M. Cortell & Associates, Inc. Charles B. Housen THE BOSTON GLOBE Jason M. Cortell *FLEXeon Company, Inc. William O. Taylor KAZMAIER ASSOCIATES, INC. Mark R. Ungerer BOSTON HERALD Richard W. Kazmaier, Jr. GENERAL ELECTRIC PLASTICS BUSINESS GROUP Patrick J. Pure ell Keller Company, Inc. Glen H. Hiner Boston Magazine Joseph P. Keller James Kuhn *Georgia- Pacific Corporation Lochridge & Company, Inc. W. 102.5 Richard K. Lochridge Maurice King WCRB— FM THE GILLETTE COMPANY Richard L. Kaye MCKINSEY & COMPANY Colman M. Mockler, Jr. WCVB-TV, CHANNEL 5 BOSTOI Robert P. O'Block S. James Coppersmith PRUDENTIAL-BACHE GTE PRODUCTS CORPORATION Dean T. Langford SECURITIES Personnel David F. Remington HARVARD FOLDING BOX *John Leonard Personnel COMPANY, INC. *Rath & Strong Linda J. Poldoian Melvin A. Ross Dan Ciampa TAD TECHNICAL SERVICES Robert Boyer CPA H.K. Webster Company, Inc. CORPORATION Dean K. Webster Robert Boyer David J. McGrath, Jr. Companies, Ltd. *William M. Mercer Meidinger HMK Group Joan L. Karol Printing Hansen, Inc. Chester D. Clark Hudson Lock, Inc. BOWNE OF BOSTON, INC. *The Wyatt Company Norman Stavisky William Gallant Michael H. Davis Kendall Company ""Bradford & Bigelow, Inc. J. Dale Sherratt John D. Galligan Manufacturer's Representatives Kenett Corporation Customforms, Inc. *Ben-Mac Enterprises, Inc. Julius Kendall David A. Granoff Thomas F McAuliffe & COMPANY DANIELS PRINTING COMPAN KITCHEN, & KUTCHIN, INC. LEACH GARNER Philip Leach Lee S. Daniels Melvin Kutchin F NEW ENGLAND BUSINESS *Dickinson Direct Response *Paul R. Cahn Associates, Inc. SERVICE, INC. Donald Dickinson Paul R. Cahn Richard H. Rhoads *Espo Litho Co., Inc. Manufacturing/Industry *New England Door Corporation David M. Fromer Alles Corporation Robert C. Frank George H. Dean Company Stephen S. Earle Michaud Berman Norton Co. Ausimont Donald R. Melville GRAFACON, INC. Leonard Rosenblatt H. Wayman Rogers, Jr. * Polaroid Corporation *Avedis Zildjian Company I.M. Booth ITEK GRAPHIX CORPORATIO Armand Zildjian R. Patrick Forster 82 mUP 4BEL ART, INC. Renaissance Properties *CompuChem Corporation Thomas J. Cobery Roger E. Tackeff Gerard Kees Verkerk ARK-BURTON PRINTING *Trammell Crow Company DAMON CORPORATION UKW Robert Cohen Arthur DeMartino David I. Kosowsky * Johnson & Johnson ASSACHUSETTS ENVELOPE Retail )MPANY James E. Burke DEMOULAS SUPERMARKETS, Steven Grossman Lectro-Med Health Screening INC. Services, Inc. md Typography, Inc. T.A. Demoulas Mildred Nahabedian Allan Kaye mssm *Dudwick Shindler Association mm * lerman Printing Dennis Krize Services Peter Sherman *Federated Department Stores, Inc. ASQUITH CORPORATION Howard Goldfeder Lawrence L. Asquith mmm iblishing FILENE'S *Giltspur Exhibits/Boston Idison-Wesley Publishing Company, David P. Mullen Thomas E. Knott iC. *Gitano The Prudential Property Company, Warren R. Stone Alison Belaza Inc. ,AHNERS PUBLISHING HARBOR SWEETS R.M. Bradley & Co., Inc. DMPANY Ben Strohecker *Victor Grillo & Associates Saul Goldweitz * Hills Department Stores Victor N. Grillo OUGHTON MIFFLIN COMPANY Stephen A. Goldberger Harold T.Miller Software/Information Services J. Baker, Inc. INC. • ttle, Brown & Company Sherman N. Baker CULLINET SOFTWARE, Kevin L. Dolan John J. Cullinane J. BILDNER&SONS cGraw-Hill, Inc. James L. Bildner Data Architects, Inc. Harold W. McGraw, Jr. Martin Cooperstein * Jay B. Rudolph, Inc. •ie Robb Report Ronald Rudolph Interactive Data Corporation Phillips John M. Rutherfurd, Jr. 3 Samuel JORDAN MARSH COMPANY * me, Inc. Elliot Stone *Lotus Development Corporation Jim P. Manzi , jeorge Ray Karten's Jewelers nkee Publishing Incorporated Joel Karten * Phoenix Technologies, Ltd. itob Trowbridge Neil Colvin *Loblaw Companies Limited David Nichol Travel/Transportation al Estate/Development Louis, Boston GANS TIRE COMPANY, INC. Murray Pearlstein IE BEACON COMPANIES David Gans T \ orman Leventhal NEIMAN-MARCUS HERITAGE TRAVEL, INC. William D. Roddy :njamin Schore Company Donald R. Sohn Benjamin Schore * Purity Supreme Supermarkets THE TRANS-LEASE GROUP P. Frank Giacomazzi John J. I imbined Properties, Inc. McCarthy Stanton L. Black * Saks Fifth Avenue Ronald Hoffman Utilities i •rcoran, Mullins, Jennison, Inc. * AT&T Joseph E. Corcoran Sears, Roebuck & Company S. David Whipkey Robert Babbitt ;meter Realty Trust sSHSmbH BOSTON EDISON COMPANY I jeorge P. Demeter THE STOP & SHOP COMPANIES, INC. Stephen J. Sweeney I RST WINTHROP CORPORATION Avram J. Goldberg EASTERN GAS & FUEL j Arthur J. Halleran, Jr. | *Tiffany & Co. ASSOCIATES I i I le Flatley Company . William Chaney Robert W Weinig i Thomas J. Flatley ZAYRE CORPORATION New England Electric System 1 le Fryer Group, Inc. Maurice Segall Joan T. Bok Malcolm F. Fryer, Jr. NEW ENGLAND TELEPHONE ilon Science/Medical iiii Development Corporation li - [ COMPANY Haim S. Eliachar Baldpate Hospital Paul C. O'Brien Lucille Batal j istoric Mill Properties M. NYNEX CORPORATION iBert Paley Cambridge Bio Science Corporation Delbert C. Staley hn Gerald F Buck | M. Corcoran & Company John M. Corcoran CHARLES RIVER orthland Investment Corporation LABORATORIES, INC. '?*#.*& Robert A. Danziger Henry L. Foster 83 Next Program . . . Thursday, March 23, at 8 Friday, March 24, at 2 Saturday, March 25, at 8 CHARLES DUTOIT conducting ROUSSEL Symphony No. 4 in A, Opus 53 Lento—Allegro con brio Lento molto Allegro scherzando Allegro molto MOZART Piano Concerto No. 27 in B-flat, K.595 Allegro Larghetto Allegro VLADIMIR FELTSMAN 3Cn I 1 INTERMISSION WIS RACHMANINOFF Symphonic Dances, Opus 45 Non allegro Andante con moto (Tempo di valse) Lento assai—Allegro vivace Single tickets for all Boston Symphony Orchestra concerts throughout the season are available at the Symphony Hall box office, or by calling "Sym- phony-Charge" at (617) 266-1200, Monday through Saturday, to charge tickets instantly on a major credit card, or to make a reservation and then send payment by check. 84 H Coming Concerts . . . Thursday 'D'—March 23, 8-10 Wednesday, April 5, at 7:30 Friday 'B'—March 24, 2-4 Open Rehearsal Saturday 'A'—March 25, 8-10 Marc Mandel will discuss the program CHARLES DUTOIT conducting at 6:45 in the Cohen Wing. VLADIMIR FELTSMAN, piano Thursday 'B'—April 6, 8-9:55 Friday 'B'—April 7, 2-3:55 ROUSSEL Symphony No. 4 Saturday 'B'—April 8, 8-9:55 MOZART Piano Concerto No. 27 Tuesday 'B'—April 11, 2-3:55 in B-flat, K.595 RACHMANINOFF Symphonic Dances SEIJI OZAWA conducting ANNE-SOPHIE MUTTER, violin Thursday 'A'—March 30, 8-9:45 CAGE One Hundred and One (world premiere; commissioned Friday Evening—March 31, 8-9:45 by the Boston Symphony Saturday 'A'—April 1, 8-9:45 GEWANDHAUS ORCHESTRA OF LEIPZIG Orchestra and the Fromm Music Foundation at KURT MASUR conducting Harvard University) Symphony No. MENDELSSOHN 3, STRAVINSKY Violin Concerto Scottish DEBUSSY Prelude to the Afternoon TCHAIKOVSKY Symphony No. 4 of a Faun DEBUSSY LaMer Thursday 'C—April 20, 8-10 Friday 'A'—April 21, 2-4 Go to one of Saturday 'B'—April 22, 8-10 Tuesday 'C—April 25, 8-10 BERNARD HAITINK conducting our auctions MURRAY PERAHIA, piano MOZART Piano Concerto No. 21 and you 11 be inC, K.467 BRUCKNER Symphony No. 9 H H going once, Wednesday, April 26, at 7:30 Open Rehearsal Marc Mandel will discuss the program goingtwice, at 6:45 in the Cohen Wing. Thursday 'A'—April 27, 8-10 Friday 'B'—April 28, 2-4 Saturday 'A'—April 29, 8-10 Tuesday 'B'—May 2, 8-10 times,.. BERNARD HAITINK conducting three TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor BEETHOVEN Symphony No. 6, Pastoral RAVEL Daphnis and Chloe (complete) SKINNER Programs subject to change. Auctioneers S? Appraisers A real find. Rte. 117, Bolton, MA 01740 508-779-6241 2 Newbury Street, Boston, MA 02116 236-1700 HOTEL MERIDIEN Who could ask for anything more? Elegant French cuisine in the Julien. The renowned Julien bar. The Festive Cafe Fleuri. Boston's best brunch * Successful business lunches. — : I Dancing under the stars. Live music: Jazz and classical. And, yes, more. Sfe* MERIDIEN BOSTON % .;'.-. 250 Franklin St., Boston 617451-1900 800543-4300 HP HE THE WORLD'S LARGEST hi RECORD STORE IS WALKING DISTANCE FROM SYMPHONY HALL Tower Records has the largest selection of classical recordings in a department with its own sound environment. HRurosmOPEN TIL MIDNIGHT TO SERVE YOU! BOSTON T7CK&r///lASTBFayg Mass. Ave. At Newbury In Back Bay Above Auditorium T Stop on the Greenline . Symphony Hall Information . . . FOR SYMPHONY HALL CONCERT AND THE SYMPHONY SHOP is located in the TICKET INFORMATION, call (617) Huntington Avenue stairwell near the 266-1492. For Boston Symphony concert Cohen Annex and is open from one hour program information, call "C-O-N-C-E-R-T." before each concert through intermission. The shop carries BSO and musical-motif THE BOSTON SYMPHONY performs ten merchandise and gift items such as calen- months a year, in Symphony Hall and at 9K dars, clothing, appointment books, drink- mm Tanglewood. For information about any of ing glasses, holiday ornaments, children's the orchestra's activities, please call Sym- HCVLmhv books, and BSO and Pops recordings. All phony Hall, or write the Boston Symphony proceeds benefit the Boston Symphony Orchestra, Symphony Hall, Boston, MA Orchestra. For merchandise information, 02115. please call (617) 267-2692. THE EUNICE S. AND JULIAN COHEN WING, adjacent to Symphony Hall on TICKET RESALE: If for some reason you Huntington Avenue, may be entered by the are unable to attend a Boston Symphony Symphony Hall West Entrance on Hunt- concert for which you hold a ticket, you may ington Avenue. make your ticket available for resale by call- * • I FOR SYMPHONY HALL RENTAL ing the switchboard. This helps bring « needed revenue to the orchestra and makes INFORMATION, call (617) 266-1492, or * fcA your seat available to someone who wants to Ml write the Function Manager, Symphony attend the concert. A mailed receipt will Hall, Boston, MA 02115. acknowledge your tax-deductible 11 THE BOX OFFICE is open from 10 a.m. contribution. until 6 p.m. Monday through Saturday; on RUSH SEATS: There are a limited number concert evenings, it remains open through of Rush Tickets available for the Friday- intermission for BSO events or just past afternoon and Saturday-evening Boston starting-time for other events. In addition, He Symphony concerts (subscription concerts the box office opens Sunday at 1 p.m. when only). The continued low price of the Satur- /.ft. /• there is a concert that afternoon or evening. t i 4*6,., day tickets is assured through the gener- Single tickets for all Boston Symphony I I I .C*tl-> V: .' osity of two anonymous donors. The Rush . . . subscription concerts are available at the ">U:-A', Tickets are sold at $5.50 each, one to a box office. For outside events at Symphony customer, at the Symphony Hall West Hall, tickets will be available three weeks IBs I ^B Entrance on Fridays beginning 9 a.m. and before the concert. No phone orders will be Saturdays beginning 5 p.m. accepted for these events. PARKING for Boston Symphony Orches- TO PURCHASE BSO TICKETS: American tra evening concerts is available for $4 at Express, MasterCard, Visa, a personal check, the Prudential Center Garage. Enter after and cash are accepted at the box office. To 5 p.m., exit by 1 a.m., and present your charge tickets instantly on a major credit ticket stub when exiting. card, or to make a reservation and then send payment by check, call "Symphony-Charge" LATECOMERS will be seated by the at (617) 266-1200, Monday through Satur- ushers during the first convenient pause in day from 10 a.m. until 6 p.m. There is a the program. Those who wish to leave handling fee of $1.50 for each ticket ordered before the end of the concert are asked to by phone. do so between program pieces in order not to disturb other patrons. IN CONSIDERATION of our patrons and artists, children under four years of age will SMOKING IS NOT PERMITTED in any not be admitted to Boston Symphony part of the Symphony Hall auditorium or in Orchestra concerts. the surrounding corridors. It is permitted 87 only in the Cabot-Cahners and Hatch BOSTON SYMPHONY BROADCASTS: rooms, and in the main lobby on Massachu- Concerts of the Boston Symphony Orches- setts Avenue. tra are heard by delayed broadcast in many parts of the United States and CAMERA AND RECORDING EQUIP- Canada, as well as internationally, through the Boston MENT may not be brought into Symphony Symphony Transcription Trust. In addi- Hall during concerts. tion, Friday-afternoon concerts are broad- FIRST AID FACILITIES for both men cast live by WGBH-FM (Boston 89.7); and women are available in the Cohen Saturday-evening concerts are broadcast Annex near the Symphony Hall West live by both WGBH-FM and WCRB-FM Entrance on Huntington Avenue. On-call (Boston 102.5). Live broadcasts may also be physicians attending concerts should leave heard on several other public radio stations their names and seat locations at the throughout New England and New York. If switchboard near the Massachusetts Ave- Boston Symphony concerts are not heard nue entrance. regularly in your home area and you would like them to be, please call WCRB Produc- WHEELCHAIR ACCESS to Symphony tions at (617) 893-7080. WCRB will be glad Hall is available at the West Entrance to to work with you and try to get the BSO on the Cohen Annex. the air in your area. AN ELEVATOR is located outside the BSO FRIENDS: The Friends are annual Hatch and Cabot-Cahners rooms on the donors to the Boston Symphony Orchestra. Massachusetts Avenue side of the building. Friends receive BSO, the orchestra's news- letter, as well as priority ticket information LADIES' ROOMS are located on the and other benefits depending on their level orchestra level, audience-left, at the stage of giving. For information, please call the end of the hall, and on the first-balcony Development Office at Symphony Hall level, audience-right, outside the Cabot- weekdays between 9 and 5. If you are Cahners Room near the elevator. already a Friend and you have changed MEN'S ROOMS are located on the orches- your address, please send your new address tra level, audience-right, outside the Hatch with your newsletter label to the Develop- Room near the elevator, and on the first- ment Office, Symphony Hall, Boston, MA balcony level, audience-left, outside the 02115. Including the mailing label will Cabot-Cahners Room near the coatroom. assure a quick and accurate change of address in our files. COATROOMS are located on the orchestra BSO: The BSO's Busi- and first-balcony levels, audience-left, out- BUSINESS FOR Professional Leadership program side the Hatch and Cabot-Cahners rooms. ness & makes it possible for businesses to partici- The BSO is not responsible for personal the life the Boston apparel or other property of patrons. pate in of Symphony Orchestra through a variety of original and LOUNGES AND BAR SERVICE: There exciting programs, among them "Presi- are two lounges in Symphony Hall. The dents at Pops," "A Company Christmas at Hatch Room on the orchestra level and the Pops," and special-event underwriting. Cabot-Cahners Room on the first-balcony Benefits include corporate recognition in level serve drinks starting one hour before the BSO program book, access to the each performance. For the Friday-after- Higginson Room reception lounge, and noon concerts, both rooms open at 12:15, priority ticket service. For further informa- with sandwiches available until concert tion, please call the BSO Corporate time. Development Office at (617) 266-1492. 88 ^m wCBfsH A gpod private banker knows all about investment accounts, lines ofcredit, and quiet restaurants. You think about what you made last year, and you smile. You think about what you're going to do with it, and you scratch your head. Breakfast with your pri- vate banker could open up a lot of possibilities. Because at his fingertips are all the ; resources of Bank of Boston. From a range of investments, to the best credit options. Private banking makes it easier for you to do more with your money. Now you've got Bank of Boston at your convenience, on your own time, and even at your favorite restaurant. Hm BANKQF BOSTON it our strength to work for you. RHHHH9K 434-5302. 1 Warren Bacon. Vice President, Private Banking Group at (617) The First National Bank ot Boston sot ^*N ttst^J RASTENE QUALITY ° Same, IMATO Pi 1 I H Hfe I I Wffiv&l