2002-2003 SEASON

JAMES LEVINE MUSIC DIRECTOR DESIGNATE

BERNARD HAITINK PRINCIPAL GUEST CONDUCTOR

SEIJI OZAWA MUSIC DIRECTOR LAUREATE

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The Quest for Immortality is organized by the United Exhibits " Gr< National Gallery of Art, Washington, in association with the Suprer Audio tour provided by Antenna Audio. James Levine, Music Director Designate Bernard Haitink, Principal Guest Conductor Seiji Ozawa, Music Director Laureate 122nd Season, 2002-2003

Trustees of the Boston Symphony Orchestra, Inc. Peter A. Brooke, Chairman

Julian Cohen, Vice-Chairman Robert P. O'Block, Vice-Chairman Nina L. Doggett, Vice-Chairman Vincent M. O'Reilly, Treasurer Ed Linde, Vice-Chairman

Harlan E. Anderson Diddy Cullinane, Edna S. Kalman Edward I. Rudman Gabriella Beranek ex-officio George Krupp Hannah H. Schneider Jan Brett William R. Elfers R. Willis Leith, Jr. Roger T. Servison Paul Buttenwieser Nancy J. Fitzpatrick Richard P. Morse Thomas G. Sternberg James F. Cleary Charles K. Gifford Mrs. Robert B. Newman Stephen R. Weber John F. Cogan, Jr. Avram J. Goldberg Peter C. Read Stephen R. Weiner Eric D. Collins Thelma E. Goldberg Donna Riccardi, Dr. Nicholas T. Zervas Julian T. Houston ex-officio

Life Trustees Vernon R. Alden Helene R. Cahners Dean W Freed Mrs. George Lee David B. Arnold, Jr. Abram T. Collier George H. Kidder Sargent

J. P. Barger Mrs. Edith L. Dabney Harvey Chet Krentzman Richard A. Smith

Leo L. Beranek Nelson J. Darling, Jr. Mrs. August R. Meyer Ray Stata

Deborah Davis Berman Archie C. Epps William J. Poorvu John Hoyt Stookey Jane C. Bradley Mrs. John H. Fitzpatrick Irving W Rabb John L. Thorndike Other Officers of the Corporation Thomas D. May and John Ex Rodgers, Assistant Treasurers Suzanne Page, Clerk of the Board

Board of Overseers of the Boston Symphony Orchestra, Inc.

Diddy Cullinane, Chair

Helaine B. Allen JoAnne Walton Steven E. Karol Millard H. Pryor, Jr.

Joel B. Alvord Dickinson Stephen Kay Patrick J. Purcell Marjorie Arons-Barron Harry Ellis Dickson Douglas A. Kingsley Carol Reich Diane M. Austin Francis A. Doyle Robert Kleinberg Alan Rottenberg Caroline Dwight Bain Alan Dynner Dr. Arthur R. Kravitz Michael Ruettgers Maureen Scannell Jane C. Edmonds Mrs. William D. Kenan Sahin

Bateman George M. Elvin Larkin, Jr. Arthur I. Segel George D. Behrakis John P. Eustis II Robert J. Lepofsky Ross E. Sherbrooke Milton Benjamin Pamela D. Everhart Alexander M. Levine L. Scott Singleton

George W Berry Judith Moss Feingold Christopher J. Lindop Gilda Slifka Mark G. Borden J. Richard Fennell Shari Loessberg Mrs. Micho Spring Alan Bressler Lawrence K. Fish Edwin N. London Charles A. Stakeley Robin A. Brown Myrna H. Freedman Diane H. Lupean Jacquelynne M. Samuel B. Bruskin Dr. Arthur Gelb John A. MacLeod II Stepanian William Burgin Jack Gill Carmine Martignetti Wilmer Thomas Dr. Edmund B. Cabot Robert P. Gittens Joseph B. Martin, M.D. Samuel Thorne

Rena F. Clarke Paula Groves Robert J. Mayer, M.D. Bill Van Faasen Mrs. James C. Collias Michael Halperson Barbara E. Maze Loet A. Velmans Margot Connell Ellen T. Harris Thomas McCann Paul M. Verrochi Ranny Cooper Deborah M. Hauser Joseph C. McNay Larry Weber

Martha H.W. Carol Henderson Dr. Martin C. Mihm, Jr. Robert S. Weil Crowninshield Richard Higginbotham Molly Beals Millman David C. Weinstein Joan P. Curhan Phyllis S. Hubbard Robert Mnookin James Westra Robert W Daly Roger Hunt Robert T. O'Connell Mrs. Joan D. Wheeler Tamara P. Davis Ernest Jacquet Norio Ohga Reginald H. White Mrs. Miguel de Mrs. Robert M. Jaffe Louis F. Orsatti Robin Wilson

Bragan£a Charles H. Jenkins, Jr. May H. Pierce Robert Winters Disque Deane Michael Joyce Dr. Tina Young Kathryn A. Wong Betsy P. Demirjian Martin S. Kaplan Poussaint Richard Wurtman, M.D. Paul F. Deninger William M. Karlyn Overseers Emeriti

Sandra Bakalar Jordan Golding David I. Kosowsky John Ex Rodgers William M. Bulger Mark R. Goldweitz Robert K. Kraft Mrs. Jerome Rosenfeld Mrs. Levin H. Campbell Mrs. Haskell R. Benjamin H. Lacy Roger A. Saunders Earle M. Chiles Gordon Hart D. Leavitt Lynda Anne Schubert

Johns H. Congdon Susan D. Hall Frederick H. Francis P. Sears, Jr. Phyllis Curtin John Hamill Lovejoy, Jr. Mrs. Carl Shapiro

Phyllis Dohanian Mrs. Richard D. Hill Mrs. Charles P. Lyman Mrs. Arthur I. Strang Goetz B. Eaton Glen H. Hiner Mrs. Harry L. Marks Robert A. Wells Harriett Eckstein Marilyn Brachman C. Charles Marran Mrs. Thomas H.P. Edward Eskandarian Hoffman Nathan R. Miller Whitney Peter H.B. Lola Jaffe Hanae Mori Margaret Williams- Frelinghuysen H. Eugene Jones Mrs. Hiroshi H. Nishino DeCelles Mrs. Thomas Leonard Kaplan John A. Perkins Mrs. Donald B. Wilson

Galligan, Jr. Mrs. S. Charles Kasdon David R. Pokross Mrs. John J. Wilson Mrs. James Garivaltis Richard L. Kaye Daphne Brooks Prout Mrs. Kenneth J. Mrs. Gordon F. Robert E. Remis Germeshausen Kingsley Mrs. Peter van S. Rice

Business Leadership Association Board of Directors

Charles K. Gifford, Chairman Leo L. Beranek, James F. Cleary, and

Michael J. Joyce, President Harvey Chet Krentzman, Chairmen Emeriti

Robin A. Brown John P. Hamill Thomas J. May Roger T. Servison

Michael J. Costello Ernest K. Jacquet J. Kent McHose Malcolm L. Sherman Robert W Daly Steven E. Karol Joseph C. McNay Ray Stata Francis A. Doyle Edmund F. Kelly Louis F. Orsatti William C. Van Faasen

William R. Elfers Christopher J. Lindop Patrick J. Purcell Paul M. Verrochi Lawrence K. Fish Carmine A. Martignetti Lynda A. Schubert Lawrence Weber

Ex-Officio Peter A. Brooke • Diddy Cullinane • Nicholas T. Zervas

Officers of the Boston Symphony Association of Volunteers Donna Riccardi, President Melvin R. Blieberg, Executive Vice-President/ Audley Fuller, Executive Vice-President/ Tanglewood Administration Olga Turcotte, Secretary Ann Philbin, Executive Vice-President/ William A. Along, Treasurer Fundraising Una Fleischmann, Nominating Committee Chairman

Joyce Anagnos, Symphony Shop Howard Cutler, Resource Lisa Mafrici, Special Projects Staffing Development Ellen Mayo, Public Relations Judy Barr, Hall Services Ursula Ehret-Dichter, Patty Blais, Education and Dorothyann M. Callahan, Tanglewood Outreach Membership

Table of Contents

On Display at Symphony Hall 7 Casts of Character: The Symphony Statues 8 This Week's Boston Symphony Orchestra Program 15 Featured Artists 41 Future Programs 60 Symphony Hall Information 63

This week's Pre-Concert Talks are given by Jessie Ann Owens of Brandeis University.

Programs copyright ©2003 Boston Symphony Orchestra, Inc. Cover design by Sametz Blackstone Associates, Boston/Cover photograph by Constantine Manos Administration Mark Volpe, Managing Director Eunice and Julian Cohen Managing Directorship, fully funded in perpetuity

Tony Beadle, Manager, Boston Pops Kim Noltemy, Director of Sales and Marketing J. Carey Bloomfield, Director of Development Caroline Taylor, Senior Advisor to the Anthony Fogg, Artistic Administrator Managing Director Gardner-Saxe, Director Resources Marion of Human Ray F. Wellbaum, Orchestra Manager Ellen Highstein, Director of Tanglewood Music Center Thomas D. May, Director of Finance and Business Affairs

ADMINISTRATIVE STAFF/ARTISTIC

Karen Leopardi, Artist Assistant/Secretary to the Music Director • Vincenzo Natale, Chauffeur/Valet • Suzanne Page, Assistant to the Managing Director/Manager of Board Administration • Alexander Stein- beis, Artistic Administration Coordinator ADMINISTRATIVE STAFF/ PRODUCTION Christopher W. Ruigomez, Operations Manager Felicia A. Burrey, Chorus Manager • H.R. Costa, Technical Supervisor • John Demick, Senior Stage Technician • Keith Elder, Production Coordinator • Stephanie Kluter, Assistant to the Orchestra Manager • Jake Moerschel, Stage Technician • Julie G. Moerschel, Assistant Chorus Manager • Mark C. Rawson, Stage Technician • Timothy Tsukamoto, Orchestra Personnel Coordinator

BOSTON POPS Dennis Alves, Director of Artistic Programming

Jana Gimenez, Operations Manager • Sheri Goldstein, Personal Assistant to the Conductor • Julie Knippa, Administration Coordinator • Margo Saulnier, Artistic Coordinator

BUSINESS OFFICE

Sarah J. Harrington, Director of Planning and Budgeting Pam Wells, Controller

Lamees Al-Noman, Cash Accountant • Shira Beckerman, Budget Assistant • Yaneris Briggs, Accounts Payable Supervisor • Michelle Green, Executive Assistant to the Director of Finance and Business Affairs • Y. Georges Minyayluk, Senior Investment Accountant • John O'Callaghan, Payroll Accountant • Mary Park, Budget Analyst • Harriet Prout, Accounting Manager • Taunia Soderquist, Assistant Payroll Accountant/Accounting Clerk • Teresa Wang, Staff Accountant DEVELOPMENT Alyson Bristol, Director of Corporate Sponsorships Judi Taylor Cantor, Director of Individual and Planned Giving Sally Dale, Director of Stewardship and Development Administration Deborah Hersey, Director of Development Services and Technology Jo Frances Kaplan, Director of Institutional Giving Tracy Wilson, Director of Tanglewood Community Relations and Development Liaison

Tahli Adler, Program Coordinatorfor Corporate Sponsorships • Howard Amidon, Senior Major Gifts Officer • Rachel Arthur, Individual and Planned Giving Coordinator • Diane Cataudella, Manager of Stewardship Programs • Rebecca R. Crawford, Director of Development Communications • Joanna N. Drake, Coordin- ator, Tanglewood Annual Funds • Adrienne Ericsson, Grants Coordinator • Sarah Fitzgerald, Manager of Gift Processing and Donor Records • Alexandra Fuchs, Manager, Tanglewood Annual Funds • Barbara Hanson, Assistant Manager, Tanglewood Annual Funds • Julie Hausmann, Manager, BSO and Pops Annual Funds • Blaine Hudson, Program Coordinator, Corporate Membership and Events • Justin Kelly, Assistant

Manager of Gift Processing and Donor Records • Katherine M. Krupanski, Coordinator, BSO and Pops Annual Funds • Mary MacFarlane, Assistant Manager, BSO and Pops Annual Funds • Susan Olson,

Stewardship Coordinator • Mark Perreault, Gift Processing and Donor Records Coordinator • Gerrit Petersen, Director of Foundation Support • Macey Pew, Gift Processing and Donor Records Coordinator • Phoebe Slanetz, Director of Development Research • Susan Spelman, Berkshire Education Liaison • Elizabeth Stevens, Assistant Manager of Planned Giving • Mary E. Thomson, Program Manager, Corporate Pro- grams • Christine Wright, Executive Assistant to the Director of Development/Office Manager EDUCATION AND COMMUNITY PROGRAMS/ARCHIVES Myran Parker-Brass, Director of Education and Community Programs Bridget P. Carr, Archivist—Position endowed by Caroline Dwight Bain

Angel Baker, Education and Community Programs Assistant • Gabriel Cobas, Manager of Education Programs • Leslie Wu Foley, Associate Director of Education anil Community Programs EVENT SERVICES Cheryl Silvia Lopes, Director of Event Services

Lesley Ann Cefalo, Special Events Manager • Kathleen Clarke, Assistant to the Director of Event Services « Sid Guidicianne, Front of House Manager • Emma-Kate Jaouen, Tanglewood Events Coordinator • Kyle Ronayne, Food and Beverage Manager HUMAN RESOURCES

Anne Marie Bettencourt, Human Resources Manager Dorothy DeYoung, Benefits Manager INFORMATION TECHNOLOGY David W. Woodall, Director of Information Technology Guy W. Brandenstein, Tanglewood User Support Specialist • Andrew Cordero, Lead User Support Specialist • John Lindberg, System and Network Administrator • Michael Pijoan, Assistant Director of Information Technology • Brian Van Sickle, User Support Specialist PUBLIC RELATIONS Bernadette M. Horgan, Director ofMedia Relations

Sean J. Kerrigan, Associate Director of Media Relations • Jonathan Mack, Media Relations Associate • Amy Rowen, Media Relations Coordinator • Kate Sonders, StaffAssistant

PUBLICATIONS Marc Mandel, Director of Program Publications Robert Kirzinger, Publications Associate • Eleanor Hayes McGourty, Publications Coordinator/Boston Pops Program Editor SALES, SUBSCRIPTION, AND MARKETING Amy Aldrich, Assistant Subscription Manager • Malissa Bell, Marketing Assistant • Leslie Bissaillon, Manager, Tanglewood Glass Houses • Richard Bradway, Manager of Internet Marketing • Helen N.H. Brady, Director of Group Sales • Lenore Camassar, SymphonyCharge Assistant Manager • Susan Dunham, Subscription Representative • Michelle Giuliana, Web Editor • Peter Grimm, Tanglewood Special Projects Manager • Kerry Ann Hawkins, Graphic Designer • Susan Elisabeth Hopkins, Graphic Designer • Faith Hunter, Group Sales Manager • Chloe Insogna, SymphonyCharge Coordinator • James Jackson, Call Center Manager • Roberta Kennedy, Manager, Symphony Shop • Katherine Leeman, Marketing Coordinatorfor Print Production • Michele Lubowsky, Subscription Representative • Mara Luzzo, Manager of Subscriptions and Telemarketing Programs • Jason Lyon, Access Services Administrator/Subscription Representative • Sarah L. Manoog, Director of Marketing Programs • Michael Miller, SymphonyCharge Manager • Michael Moore, Assistant Call Center Manager • Pam Netherwood, Assistant Manager, Symphony Shop • Doreen Reis, Mar- keting Coordinatorfor Advertising • George Saulnier, Subscription Data Entry Coordinator • Jesse Weissman, Senior Web Developer

Box Office Russell M. Hodsdon, Manager • David Winn, Assistant Manager

Box Office Representatives Mary J. Broussard • Cary Eyges • Lawrence Fraher • Arthur Ryan SYMPHONY HALL OPERATIONS Robert L. Gleason, Director of Hall Facilities Michael Finlan, Switchboard Supervisor • Wilmoth A. Griffiths, Supervisor of Facilities Support Services • Catherine Lawlor, Administrative Assistant • John MacMinn, Manager of Hall Facilities • Shawn Wilder, Mailroom Clerk

House Crew Charles F. Cassell, Jr. • Francis Castillo • Eric Corbett • Thomas Davenport • Michael Frazier • Juan Jimenez • William P. Morril • Peter O'Keefe Security Christopher Bartlett • Matthew Connolly, Security Supervisor • Tyrone Tyrell Cleaning Crew Desmond Boland • Clifford Collins • Angelo Flores • Rudolph Lewis • Lindel Milton, Lead Cleaner • Gabo Boniface Wahi TANGLEWOOD MUSIC CENTER Karen Brown, Coordinator • Patricia Brown, Associate Director • Beth Paine, Manager of Student Services • Gary Wallen, Scheduler TANGLEWOOD OPERATIONS

David P. Sturma, Director of Tanglewood Facilities and BSO Liaison to the Berkshires VOLUNTEER OFFICE Patricia Krol, Director of Volunteer Services Susan Monack, Administrative Assistant • Paula Ramsdell, Project Coordinator BSO Trout. Single tickets for this concert are priced at $30, $22, and $17. Tickets may NPR to Broadcast be purchased through SymphonyCharge at BSO Concert Led by (617) 266-1200, at the Symphony Hall box office, or online at www.bso.org. On the day J anies Levine of the concert, tickets are available only at Levine's Boston Symphony concert of James the Jordan Hall box office, 30 Gainsborough Sessions, Harbison, and Brahms earlier this Street. On March 30, soprano Lucy Shelton recorded for broadcast as part of month was joins the Chamber Players for a program Radio's National Public "SymphonyCast" including music of Jon Deak and Brahms. series. The program will be broadcast na- Pianist Emanuel Ax is the featured guest tionally on stations on Sunday, Febru- NPR artist on April 27, in a program of Mozart, ary 2, at 3 p.m., and locally on WGBH 89.7 John Harbison, and DvoMk. FM at 2 p.m. on Sunday, March 9. Two forth- coming BSO programs will also be taped for Public Support for the NPR's "SymphonyCast" series: Bernard Boston Symphony Orchestra Haitink s March program featuring the world premiere of the BSO-commissioned Requiem The BSO is extremely grateful to be the by John Harbison, and Kurt Masur's April recipient this season of an operating grant all-Russian program featuring music of Pro- from the Massachusetts Cultural Council, kofiev, Tchaikovsky, and the world premiere a grant made despite a dramatic 62% cut of another BSO commission, Sofia Gubaidu- in the agency's 2003 budget. This grant is being used to help underwrite the cost of lina's The Light of the End. winter season concerts. The mission of the Meet Lynn Harrell Council is to promote excellence, access, at the Symphony Shop education, and diversity in the arts, humani- This Friday Afternoon ties, and interpretive sciences in order to improve the quality of life for all Massa- Lynn Harrell, who is soloist with the BSO chusetts residents and contribute to the eco- this week in Elgar's Cello Concerto, will be nomic vitality of our communities. A state at intermission the Symphony Shop during agency, the Massachusetts Cultural Council of the Friday-afternoon concert to autograph receives an annual appropriation from the copies of his compact disc releases. The ac- Commonwealth, as well as support from the claimed American cellist has been an audi- National Endowment for the Arts. ence favorite here for years, having made In addition to grants from the Massachu- his BSO debut in November 1978. With setts Cultural Council, the BSO receives the Boston Symphony Orchestra he has per- project support from local and federal agen- formed music of Tchaikovsky, Shostakovich, cies, including the National Endowment for Dvorak, Elgar, and Walton. the Arts. This season, grants from the NEA are helping to support a composer residency Boston Players Symphony Chamber program and the 2003 Festival of Contem- Sunday, February 2, at 3 p.m. porary Music at Tanglewood. at Jordan Hall Government support for organizations

The Boston Symphony Chamber Players con- like the BSO is vital because it helps attract tinue their 2002-03 series of four Sunday- support from private donors and stimulates afternoon concerts at Jordan Hall at the New economic activity. According to Americans England Conservatory on Sunday, February for the Arts, the annual financial return on

2, at 3 p.m. Pianist Paul Badura-Skoda joins government investment in the arts, which is

the Chamber Players for a program includ- minimal, is more than eight times the invest- ing Samuel Barber's Summer Music for wood- ment. In New England, the non-profit and wind quintet, Mozart's Quintet in E-flat for for-profit arts combined support 245,000 piano and winds, K.452, and Schubert's jobs—3.5% of the region's workforce—and Quintet in A for piano and strings, I). 667, each year generate $6.6 billion in revenue from cultural tourism alone, a financial im- earned a bachelor's degree at the Cleveland pact that eclipses such major regional in- Institute of Music with Michael Sachs. While dustries as healthcare technology, computer in Cleveland he won the International Trum- equipment, and software. pet Guild and National Trumpet Competi- Our representatives in Washington and on tions, as well as the school's Concerto Com- Beacon Hill need to hear from constituents petition, and was awarded the Bernard Adel- how important the arts are in their lives and stein Prize for Trumpet Performance upon to the financial health of our region. For more graduating. He then continued his studies information on how to communicate with in New York City with Mark Gould. Mr. state and federal elected officials, please Wright has performed with the National contact Jo Frances Kaplan, Director of Symphony Orchestra, the New York Phil- Institutional Giving, by phone at (617) 638- harmonic, and the Tanglewood Music Center 9264 or via email at [email protected]. Orchestra. During his two summers as a Tanglewood Music Center Fellow he was Pre-Concert Talks awarded the CD. Jackson Prize and Wynton Marsalis Fellowship, and performed in the Pre-Concert Talks available free of charge 50th-anniversary production of Benjamin to BSO ticket holders precede all BSO con- Britten's Peter Grimes. A former member of certs and Open Rehearsals, starting at 7 p.m. the Kennedy Center Opera House Orchestra prior to evening concerts, 12:15 p.m. prior and of the Chicago Symphony, he joined the to Friday-afternoon concerts, and one hour BSO trumpet section in July 2002. Now a before the start of morning and evening faculty member at the New England Conser- Open Rehearsals. Given by a variety of dis- vatory of Music and Longy School of Music, tinguished speakers from Boston's musical Ben is married to Miriam Bolkosky, a cellist community, these informative half-hour talks from Michigan. include taped examples from the music be- ing performed. This week, Jessie Ann Owens Disability Services of Brandeis University discusses Tippett, Telephone Line Elgar, and Vaughan Williams (January 23- 28). In the weeks ahead, BSO Director of The Boston Symphony Orchestra now has a Program Publications Marc Mandel discuss- dedicated telephone line for disabled patrons es Chadwick and Strauss (January 30-Feb- who would like to purchase tickets to BSO, ruary 4), Hugh Macdonald of Washington Pops, or Tanglewood concerts, or who need University in St. Louis discusses Berlioz, information about disability services at Sym- Edgar Meyer, and Walton (February 6-8), phony Hall or Tanglewood. This new line is and John Daverio of Boston University dis- (617) 638-9431 (TTD/TTY 617-638-9289). cusses Kirchner, Sibelius, and Schumann Members of the BSO's Disability Services (February 12-18). staff are available to answer the line during business hours and will answer any mes- New to the BSO sages left at other times.

Trumpet player Benjamin Wright is new to the orchestra this season. Attention, Friday-afternoon Subscribers: The BSO's Benjamin Wright represents his Bus Service to Symphony Hall family's fifth generation of trumpet players; in the 1800s his great-great grandfather was If you're tired of fighting traffic and search-

bandleader and first cor- ing for a parking space when you come to net in Buffalo Bill Cody's Friday-aftemoon Boston Symphony concerts, Circus Band. Mr. Wright why not consider taking the bus from your started music as a three- community directly to Symphony Hall? Un- year-old Suzuki violinist, der the auspices of the Boston Symphony switching to trumpet at Association of Volunteers, the following age ten. In high school communities sponsor round-trip bus service he attended the Interloch- for the Friday-afternoon concerts for a nomi- en Center for the Arts and the Interlochen nal fee: Beverly, Cape Cod, Concord, Mar- Arts Academy, during which time he was a blehead/Swampscott, Wellesley, South Shore, finalist in the Seventeen Magazine/General and Weston in Massachusetts; Concord, Motors Concerto Competition. Mr. Wright North Hampton, and Peterborough in New .

Hampshire; western New Hampshire; and minutes before the concert to make their Rhode Island. Taking advantage of your tickets available for resale. This not only area's bus service not only helps to keep helps bring needed revenue to the orchestra, this convenient service operating, but also it also makes your seat available to someone provides opportunities to spend time with who might otherwise be unable to attend the your Symphony friends, meet new people, concert. You will receive a mailed receipt and conserve energy. In addition, many of acknowledging your tax-deductible contri- the participating communities make a sub- bution within three weeks of your call. stantial contribution to the BSO from the proceeds. If you would like to start a service Symphony Hall Tours from your community, or would like further information about bus transportation to Fri- During the 2002-03 season, trained guides day-afternoon concerts, please call the Vol- from the Boston Symphony Association of free tours of unteer Office at (617) 638-9390. Volunteers will lead walk-up Symphony Hall on the first Saturday of each month at 1:30 p.m. (through April 5, but ex- In Case of Snow. . cluding December 7 and January 4) and To find out the status of a Boston Symphony every Wednesday at 4:30 p.m. (excluding concert and options available to you in case December 11, 18, 25, and January 1). The emergency, subscribers and of a snow BSO one-hour tours begin and end in the Massa- patrons call a special Symphony Hall may chusetts Avenue lobby. Reservations are not number. Just dial 638-9495 at any (617) required for these walk-up tours. Volunteer time for a recorded message regarding the guides also lead tours for private groups, by current status of a concert. reservation only. If the tour is arranged by a commercial organization, a fee (minimum Ticket Resale $25) is charged. For more information, or to Please remember that subscribers unable make a reservation for a private group tour, to attend a particular BSO concert in their please call the BSAV Office at (617) 638- series may call (617) 638-9426 up to thirty 9390.

On Display in Symphony Hall An exhibit celebrating the members of the Boston Symphony Orchestra, and tracing how the membership of the orchestra has changed since the BSO's founding in 1881, has been mounted in Symphony Hall. Topics covered in- | BJfrJ elude how the orchestra grew from an ensemble of freelance

I players, often engaged for just one or two seasons, to a "per-

manent" ensemble; the impact of World War I and the labor movement on the BSO's membership, and the gradual accep- tance of women into the ranks of the BSO. The exhibit incor- porates materials donated to the BSO Archives by past and present orchestra members over the past eleven years, in- cluding photographs, autographs, and other memorabilia. Retired BSO trumpet player Roger Voisin made a recent gift to the BSO Archives of memorabilia collected during his years as a BSO member (1935-1973). Ho is shown here with his father Rene" Voisin, a member of the BSO's trumpet section from 1927 to 1952. In addition, please note that the Symphony Hall Centennial Exhibit created in 2000 can still be seen throughout the corridors oi Symphom Hall and in the Cohen Wing display cases, with many new items to be found in most of the exhibit cases. a

Casts of Character: The Symphony Statues by Caroline Taylor

This essay is taken from "Symphony Hall: The First 100 Years," a large-format book including photographs, commentary, and essays tracing the hundred-year history of Symphony Hall. Published by the Boston Symphony Orchestra, "Symphony Hall: The

First 100 Years" is available in the Symphony Shop.

Stare out into the vastness of an empty Symphony Hall. Who stares back? A satyr— dancing one—as well as Sophocles, Euripides, Demosthenes, and Apollo.

These "casts of character" are among the sixteen mythological deities and legendary fig- ures of antiquity who continually survey Symphony Hall. Striking elegantly languid poses from their second-balcony niches, they surely have the best "seats" in the house. These statues—all plaster casts of Old World originals—have been ensconced in their niches since the early 1900s, when a generous group of Symphony Friends selected and donated them to the hall.

The idea for the statues originated with the hall's architects, McKim, Mead & White, and its acoustical adviser, Wallace Clement Sabine. Sabine saw the statuary as the solution to two problems confronting them at the time: the beautiful casts could embellish large wall surfaces in the hall while providing places where acoustical adjust- ments could be made. If the hall's acoustics need- ed to be altered, fabric or felt could be placed be-

hind the statues without disturbing the decor. As it turned out, Symphony Hall was so masterfully de-

signed that it was never necessary to change the acoustics in a significant way.

Florence Wolsky, although semi-retired, is a member of the Museum of Fine Arts Ancient Arts Department and one of the original Symphony Hall tour guides. Mrs. Wolsky has thoroughly researched the statues and their history. After more than thirty years of familiarity, her passion and affection for them remain undimmed.

The use of reproductions, explains Mrs. Wolsky, was extremely popular in the nineteenth century. " ' ' At the Paris Exposition of 1867, a resolution was passed that everyone in the world had the right to be exposed to quality reproductions of the great statues of Greece and Rome.

Mrs. Wolsky explains: "There were very strong feelings of cultural uplift at the time, much the same feeling that was behind Major Higginson's impulse to found the Boston Symphony after he had traveled to Europe, had heard the great symphonies there, and seen the great art. People in Boston had a strong desire to bring great art to this country, since they believed it brought out the noblest instincts in man, and therefore created a better democracy.

"Since most Greek sculpture was rendered in bronze, not marble, most statuary was melted down. The Romans, however, adored Greek sculpture and made numerous copies, in marble, of Greek statues, which have survived."

Roman marbles, like their Greek predecessors, were rarely available for purchase. As a result, American specialists like Pietro Caproni and his brother—whose studios were at the corner of Washington and Newcomb streets in Roxbury—traveled to Europe, copying the originals with precision, grace, and plaster.

8 — ——

According to Mrs. Wolsky, the actual selection of the Caproni plaster casts was entrusted to Mrs. John W. Elliot and a committee of about two hun- dred Friends of Symphony. The group pored over the Caproni brothers' catalogues, eventually choos- ing the sixteen statues now in the hall.

These statues were an appropriate addition to the neoclassical design of Symphony Hall, since the ancient Romans often decorated their odeons or theaters with such objects of art. The Caproni casts were not in place for the hall's opening con- cert, but were added one at a time as they emerged from the Caproni studios.

These statues, in Mrs. Wolsky's opinion, may well have been chosen with an eye toward beauty, as well as for their relevance to music, art, litera- ture, and oratory. Two of the statues depict Apollo, the god of music and poetry. The first—set second from the right as you face the stage—is known as Apollo Citharoedus (pictured at right). Copied from the original in the Palazzo dei Conservatori in Rome and based on a Greek statue from about 430

B.C., it shows Apollo in the long robes of a musi- Apollo Citharoedus (Rome) cian. He is accompanying his songs and poetry on a cithara, an instrument similar to a lyre he is credited with inventing. On his head is a laurel wreath—the symbol of triumph in Greece and Rome—which was given to victors in the games and contests sacred to Apollo.

The second statue of Apollo—to the right, as you face the back of the hall—is the Apollo Belvedere (pictured on page 8), credited for generations as the highest ideal of male beauty. The original, in the Vatican Museum, is thought to be a Roman copy of a fourth-century B.C. work by Leochares, the court sculptor to Alexander the Great. Here, Apollo is shown as a divine hero, wearing a chlamys, or short cloak, and holding a bow in his left hand. A spray of the sacred laurel plant may once have rested in his other hand. A creature of earth and the underworld, the snake, is coiled around the tree stump, symbolizing Apollo's role as a god of prophecy.

To the left of this statue stands Diana of Ver- sailles (pictured here), currently in the Louvre and also a copy of a fourth-century B.C. work by Leochares. Diana—known to the Greeks as Artemis, goddess of the chase and the forests is shown here in the woods, flanked by a small stag. Wearing her hunting costume, a short tunic, she once readied a bow in her left hand. Like her brother Apollo, Diana was a musician who often led her choir of muses and graces at Delphi on returning from the hunt.

Three statues represent satyrs, or fauns mythological creatures human in form, with the ears and tail of a goat. Satyrs were followers of Dionysus, the god of drama and music. The first Batyr— first to the right, as you face the stage has the infant Bacchus, or Dionysus, riding on Diana of Versailles (Paris) his shoulders, grasping a bunch of grapes. The satyr holds a pair of cymbals. On the stump beside him is a panther skin, sacred to Diony- sus, as well as Pan-pipes, grapes, and vine leaves.

The second satyr—fourth on the right, facing the stage—is known as The Dancing Faun. The original is currently in the Villa Borghese in Rome. This satyr, older and bearded, plays the cymbals while dancing, as he would in a procession honoring Dionysus. Another panther skin is draped on the stump behind him, his body twisted in the vigorous "contrap- posto" typical of late Hellenistic art.

The third satyr—first on the left, as you face the stage—originated with Praxiteles, one of the three greatest sculptors of the fourth century B.C. As Mrs. Wolsky points out, Praxiteles was a virtuoso in stone sculpture and gave marble a translucent, soft surface that conveys the im- pression of human skin. A marvelous example of the characteristic grace of a Praxitelean stat- ue, this one shows a languid, dreamy satyr lean- ing against a tree stump. It is often called The Marble Faun, from the book by Nathaniel Haw- thorne it reportedly inspired.

Also represented in Symphony Hall are De- mosthenes (fifth from the right as you face the stage); two statues of the Greek poet Anacreon (sixth from the right and sixth from the left, the former—the "Seated Anacreon"—shown here); Euripides (seventh from the right); Hermes (third from the left); Athena (fourth from the left); Sophocles (fifth from the left); and the Greek orator Aeschines (seventh from the left).

One statue that has an indirect connection to the arts, at best, is that of the Amazon (second Seated Anacreon (Copenhagen) from the left), thought to be a copy of a work by

Polycleitus from the fifth century B.C. The Amazon was probably chosen since it is one of the most famous statues of antiquity. Amazons were followers of the musician Diana. Mrs. Wolsky suspects that there may have been a desire to represent another woman in the statuary, in addition to Diana, Athena, and the so-called Woman from Herculaneum (third from the right), one of the statues buried by the eruption of Mount Vesuvius in 79 A. D. and listed in an old Caproni catalogue as Mnemosyne, Mother of the Muses.

As beautiful as they are, the statues of Symphony Hall have not always been hailed as

List of Casts in Symphony Hall

As youface the stage, the casts on the The casts on the left, beginning right, beginning with the one nearest from nearest the stage, are: the stage, are: Resting Satyr of Praxiteles (Rome) Faun with Infant Bacchus (Naples) Amazon (Berlin) Apollo Citharoedus (Rome) Hermes Logios (Paris) Girl of Herculaneum (Dresden) Lemnian Athena (Dresden; Dancing Faun (Rome) head in Bologna) Demosthenes (Rome) Sophocles (Rome) Seated Anacreon (Copenhagen) Standing Anacreon (Copenhagen) Euripedes (Rome) Aeschines (Naples) Diana of Versailles (Paris) Apollo Belvedere (Rome)

10 noble additions to the architecture. Since their installation, letters and comments have been registered from concertgoers concerned with the statues' state of dishabille. As re- cently as 1947, one gentleman wrote to the former board president Henry B. Cabot:

I dare say no two cocktail bars in Boston are as seductive a medium and raise so much havoc with virgins as does Symphony Hall by means of its suggestive display of male privates Symphony Hall is one of the remaining symbols of Boston cul-

ture. Let us keep it serene. I do not know how art would be affected if the privates on the statues should be covered. All these figures have some sort of scarf about the

shoulders, might it not be brought down lower? Responded Mr. Cabot:

I am afraid that were we to take your advice, somebody might quote to us a stanza

from the old rhyme by Anthony Comstock which, as I remember, is: So keep your temper, Anthony. Don't mind the people's roars. We'll drape the tables' dainty legs In cotton flannel drawers. We'll cover all those nudities That your pure nature fret, And put a bustle on the nag To hide her red rosette.

Caroline Taylor has been on the staff of the Boston Symphony Orchestra for more than twenty years.

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11 *Aza Raykhtsaum Robert Barnes David and Ingrid Kosowsky Burton Fine chair Ronald Wilkison *Bonnie Bewick Michael Zaretsky Theodore W. and Evelyn Berenson Family chair Marc Jeanneret * James Cooke *Mark Ludwig Stephanie Morris Marryott and * Rachel Fagerburg Franklin J. Marryott chair *Kazuko Matsusaka * Victor Romanul *Rebecca Gitter BOSTON SYMPHONY Bessie Pappas chair ORCHESTRA * Catherine French Cellos Catherine and Paul Buttenwieser 2002-2003 Jules Eskin chair Principal Levine James *Kelly Ban- Philip R. Allen chair, endowed Music Director Designate Mary B. Saltonstall chair in perpetuity in 1969 Ray and Maria Stata * Alexander Velinzon Martha Babcock Music Directorship, Kristin and Roger Servison chair Assistant Principal fully fundea in perpetuity Vernon and Marion Alden chair, Bernard Haitink Second Violins endowed in perpetuity Principal Guest Conductor Haldan Martinson in 1977 LaCroix Family Fund, Principal Sato Knudsen Carl Family chair, fullyfunded in perpetuity Schoenhof Stephen and Dorothy Weber cha\ perpetuity fullyfunded in Joel Moerschel Seiji Ozawa Vyacheslav Uritsky Sandra and David Bakalar chair Music Director Laureate Assistant Principal tLuis Leguia Charlotte and Irving W. Rabb Robert chair, Bradford Newman > chair, endowed in perpetuity First Violins fullyfunded in perpetuity in 1977 Malcolm Lowe Carol Procter Ronald Knudsen Concertmaster Lillian and Nathan R. Miller Shirley Charles Munch chair, Edgar and Grossman chair perpetuity chair fullyfunded in *Jerome Patterson Tamara Smirnova Joseph McGauley Charles and JoAnne Dickinson Richard Fennell Associate Concertmaster Shirley and J. chair Helen Horner Mclntyre chair, chair, fully funded in perpetuity *Jonathan Miller endowed in perpetuity in 1976 Ronan Lefkowitz Rosemary and Donald Hudson Edith C. David H. and Howie chair chair, fullyfunded in perpetuity Assistant Concertmaster *0wen Young Robert L. Beal, Enid L., and *Sheila Fiekowsky John F. Cogan, Jr., and Mary Bruce A. Beal chair, endowed in Donald C. and Ruth Brooks L. Cornille chair, fullyfunded perpetuity in 1980 Heath chair, in fully funded in perpetuity perpetuity Elita Kang * Andrew Pearce Assistant Concertmaster * Jennie Shames Richard C. and Ellen E. Paine Edward and Bertha C. Rose * Valeria Vilker Kuchment^ chair, fully funded in perpetuity chair *Tatiana Dimitriades *Mihail Bo Youp Hwang Jojatu *Si-Jing Huang Gordon and Mary Ford Kingsley John and Dorothy Wilson chair, *Nicole Monahan Family chair fully funded in perpetuity *Wendy Putnam Lucia Lin Basses Forrest Foster Collier chair *Xin Ding Edwin Barker Ikuko Mizuno Principal Dorothy and David B. Arnold, Violas Q. Harold D. Hodgkinson chair, Jr., chair, in Steven Ansell fully funded endowed in perpetuity in 1974 perpetuity Principal Lawrence Wolfe Charles S. Dana chair, Amnon Levy Assistant Principal Muriel C. Kasdon and Marjorie endowed in perpetuity in 1970 Maria Nistazos Stata chair, C. Paley chair Cathy Basrak fullyfunded in perpetuity * Assistant Principal Nancy Bracken Joseph Hearne Ruth and Carl Shapiro chair, Anne Stoneman chair, J. Leith Family chair, fullyfunded in perpetuity fullyfunded in perpetuity fully funded in perpetuity Edward Gazouleas Dennis Roy Lois and Harlan Anderson chair, * Joseph and Jan Brett Hearne Participating in a system fullyfunded in perpetuity of rotated seating chair $ On sabbatical leave John Salkowski °0n leave Erich and Edith Heymans chair § Substitute player

12 * Robert Olson Bassoons Tuba *James Orleans Richard Svoboda *Todd Seeber Principal Margaret and William C. Edward A. chair, endowed Rousseau chair, fully funded in Eleanor L. and Levin H. Toft perpetuity in perpetuity Campbell chair, fully funded in in 1974 perpetuity Suzanne Nelsen Timpani *John Stovall Richard Ranti Associate Principal Flutes Diana Osgood Tottenham chair Sylvia Shippen Wells chair, endowed in perpetuity in 1974 °Jacques Zoon Contrabassoon Principal Percussion Walter Piston chair, endowed Gregg Henegar in perpetuity in 1970 Helen Rand Thayer chair Thomas Gauger Peter and Anne Brooke chair, Fenwick Smith fully funded in perpetuity Myra and Robert Kraft chair, Horns Frank Epstein endowed in perpetuity in 1 981 James Sommerville Peter Andrew Lurie chair, Elizabeth Ostling Principal fully funded in perpetuity Associate Principal Helen Sagoff Slosberg/Edna Marian Gray Lewis chair, S. Kalman chair, endowed J. William Hudgins Barbara Lee chair fully funded in perpetuity in perpetuity in 1974 Richard Sebring Timothy Genis Piccolo Associate Principal Acting Timpanist °Geralyn Coticone Margaret Andersen Congleton Mr. and Mrs. Edward H. Linde chair Evelyn and C. Charles Marran chair, fullyfunded in perpetuity chair, endowed in perpetuity in Daniel Katzen 1979 Elizabeth B. Storer chair Harp Pilot § Linda Toote Jay Wadenpfuhl Ann Hobson Principal John P. II and Nancy S. Eustis Willona Henderson Sinclair Oboes chair, fullyfunded in perpetuity chair John Ferrillo Richard Mackey Hamilton Osgood chair Principal Voice and Chorus Mildred B. Remis chair, endowed Jonathan Menkis in perpetuity in 1975 Jean-Noel and Mona N. John Oliver Tanglewood Festival Chorus Mark McEwen Tariot chair Conductor James and Tina Collias chair Alan and Suzanne W. Dworsky Keisuke Trumpets J. Wakao chair, fully funded in perpetuity Assistant Principal Charles Schlueter Elaine and Jerome Rosenfeld Principal Librarians chair Roger Louis Voisin chair, endowed in perpetuity in 1977 Marshall Burlingame Principal English Horn Peter Chapman Lia and William Poorvu chair, Robert Sheena Ford H. Cooper chair fully funded in perpetuity Beranek chair, fullyfunded Thomas Rolfs William Shisler in perpetuity Associate Principal Nina L. and Eugene B. Doggett John Perkel Clarinets chair Assistant Conductor William R. Hudgins Benjamin Wright Principal E. Finnerty chair, Ann S.M. Banks chair, endowed Trombones Anna fully funded in perpetuity in perpetuity in 1977 Ronald Barron Scott Andrews Principal Personnel Managers Thomas and Dola Sternberg J. P. and Mary B. Barger chair, chair fully funded in perpetuity Lynn G. Larsen Thomas Martin Norman Bolter Bruce M. Creditor Associate Principal & Arthur and Linda Gelb chair E-flat clarinet Stage Manager Stanton W and Elisabeth K. Bass Trombone Davis chair, fully funded in Douglas Yeo Position endowed by perpetuity John Moors Cabot chair, Angelica L. Russell fullyfunded in perpetuity Bass Clarinet Craig Nordstrom Earla and Harvey Chet Krentzman chair, fully funded in perpetuity

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14 BOSTON SYMPHONY ORCHESTRA

James Levine, Music Director Designate Bernard Haitink, Principal Guest Conductor Seiji Ozawa, Music Director Laureate 122nd Season, 2002-2003

Thursday, January 23, at 8 Friday, January 24, at 1:30 Saturday, January 25, at 8 Tuesday, January 28, at 8

SIR NEVILLE MARRINER conducting

TIPPETT Concerto for Double String Orchestra

Allegro con brio Adagio cantabile Allegro molto

ELGAR Cello Concerto in E minor, Opus 85 Adagio — Moderato — Lento — Allegro molto Adagio Allegro — Moderato — Allegro, ma non troppo LYNN HARRELL

INTERMISSION

VAUGHAN WILLIAMS A London Symphony

Lento — Allegro risoluto Lento Scherzo (Nocturne). Allegro vivace Andante con moto — Maestoso alia marcia (quasi lento) — Allegro — Epilogue

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

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Michael Kemp Tippett—knighted by Queen Elizabeth in 1 966—was born in London on January 2, 1 905, and died there on January 8, 1 998. Tippett began compos- ing the Concerto for Double String Orchestra soon after completing his First Piano Sonata in the summer of 1 938, finishing the Concerto on June 6, 1 939. The com- poser himself led the South London Orchestra in the first performance, at Morley College, on April 21, 1940. The first American performance was given by the Bal- timore Symphony Orchestra, Reginald Stewart conduct- ing, on November 15, 1950. Seiji Ozawa led the BSOs only previous performances of the Concerto for Double String Orchestra in October 1989. Sir Colin Davis, the BSOs principal guest conductorfrom 1972 to 1984, introduced many ofTippetfs works to Boston Symphony audiences between 1970 and 1984, including the Symphonies 2, 3, and 4, the oratorio "A Child of Our Time," the Triple Concerto for violin, viola, and cello, the Fantasia Concertante on a Theme of Corelli, and, in its April 1984 world premiere, the oratorio "The Mask of Time," a BSO centennial commission. In October 1995 Seiji Ozawa and the Boston Symphony Orches- tra gave the American (in Boston) and New York (at Carnegie Hall) premieres of Tippett s orchestral work "The Rose Lake," which was commissioned jointly by the London, Boston, and Toronto symphony orchestras to celebrate the composer's 90th birthday. Completed in May 1993, that proved to be Tippett s final work. The Concerto for Double String Orches- tra calls for the full body of orchestral strings to be divided into two equal ensembles.

It was during his school days that Michael Tippett decided to become a composer. The First World War was on, and his school—Stamford Grammar School in Lincoln- shire^—had patriotically dispensed with the study of music as "inessential," but young Michael managed to find a piano teacher, through whom he discovered the Beethoven sonatas, and later to attend an orchestral concert in which Malcolm Sargent conducted Ravel's Mother Goose suite. The headmaster at Stamford considered him a disruptive influence, and when his parents agreed to remove him from the school, he began to study composition on his own.

The budding composer bought a copy of Musical Composition by the Irish composer Charles Villiers Stanford, who, as professor of composition at the Royal College of Mu- sic in London and professor of music at Cambridge, was the most influential figure in the training of young composers. Early in Stanford's book, Tippett encountered a piece of advice that struck a resonant chord with him at once, suggesting that it was neces- sary "to study counterpoint first, and through counterpoint to master harmony."

This decision stuck with him through his formal studies at the Royal College of Music, where he decided to study with a conservative pedant, C.H. Kitson, rather than with Vaughan Williams, in order to avoid becoming a mere imitator of the latter. He studied music of all kinds in score and at concerts. Tippett's self-determination was the despair of teachers who hoped for a more docile pupil, and he failed his final examina- tion on the first try, but finally received his bachelor of music degree in 1928.

For the next decade he composed avidly, living a spartan life and doing only enough remunerative work, mostly as conductor, to keep himself alive so he could concentrate on creation. After presenting a first concert of his own music in 1930, he returned to the RCM to study 16th-century counterpoint and Bach-style fugue with a great teacher, R.O. Morris. These studies, and his occasional activity as director of a madrigal ensem-

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was

ble (undertaken so that he could explore the madrigal repertory), played a large part in the character of his early music, including the Concerto for Double String Orchestra.

During the 1930s, the economic and political situation in England (and worldwide) grew progressively darker. Tippett became very much aware of the problems of unem- ployment and poverty, and these contributed to his active political radicalism. He was a confirmed Trotskyite, though his

(tKu^H-j: D^rtj^o-f^ L lyr,H-. -fr v connection with the official Com- munist Party was very short-lived when his own branch would not convert to Trotskyism. He was ac- tive in a number of programs to aid those who had been thrown out of work. One of these activities was the creation of an orchestra called ^m the South London Symphony, made up of professional musicians thrown

1 i ^ '^ \ ivHW S ">f L ' h' V out of work in cinema houses by the

- — ajil ^^ i I -^ ifc arrival of the talkies. The orchestra rehearsed and performed at Morley College in South London, an educa- tional institution primarily for the working classes.

Despite his intense politicization and the bleak outlook for Europe in the last part of the decade, Tippett's first major works were strongly affir- mative in spirit, though, as abstract compositional compositions, they were devoid of any specific political program. These included his String

Quartet No. 1, Piano Sonata No. 1, and the Concerto for Double String First page of the manuscript of the Concerto for Orchestra. All of these works dem- Double String Orchestra (1938) onstrated a new level of technical proficiency and expressive ability that Tippett was soon to employ in the first piece that made him internationally famous, the oratorio A Child of Our Time (composed 1939-41).

The Concerto for Double String Orchestra is Tippett's first mature work for an ensem- ble of more than chamber music size. English music had seen a rich tradition of string orchestra pieces, going all the way back to Handel's concerto grossi and including their 20th-century echoes in Elgar's Introduction and Allegro, Vaughan Williams's Fantasia on a Theme of Thomas Tallis, and Benjamin Britten's recent Variations on a Theme of Frank Bridge. All of these works had made striking use of large and small subdivisions of the string ensemble. Tippett eschews groups of solo instruments against the full string band, thus avoiding mere contrast of color while preferring the athletic opposition of melodic lines (though he does relent to the degree of allowing a single solo violin and a single solo cello during the songful second movement).

The character of the concerto, especially in its fast outer movements, resembles a wrestling match in which strongly contrasted themes are pitted against and then com- plement one another. Tippett gives the meter at the outset as 8/8, and the basic feeling is of an alia breve (2/2) motion. The upper strings of the first orchestra, playing in oc- taves, are ranged against the lower strings of the second orchestra, also in octaves. Nei- ther of these two themes heard in the opening bars follows the simple rhythmic pattern;

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For a free mortga^ ecision, call (800) 676-0033 or each has its own complex syncopations against the beat and against the other line. The independence of these lines and the rhythmic variety of both come from Tippett's close familiarity with Renaissance music, though here pressed into a level of energetic activi- ty that would not have been conceived four centuries ago. The opening gesture appears so frequently as to serve a kind of ritornello function, though the movement also betrays elements of sonata organization. A broader rhythmic organization within the 8/8, to 3+ 3+2, subdivides the eighth-notes in a manner especially common in the madrigal tradi- tion; he uses this rhythmic treatment, with three large beats to the bar, as a way of di- viding the sections, the pulse quickening and relaxing to shape the moment.

Tippett once remarked that his early music has no chords in it, by which he meant that the sense of line is so strong that one is hardly aware of the underlying harmonies. The opening of this Concerto—indeed, almost the entire work—is a perfect example.

The slow movement is based on a Scottish folk tune, "Ca' the yowes." Tippett had used the melody in his Piano Sonata No. 1; here he uses its phrase structure rather than its melody. Drawing upon motivic gestures from the first movement, he creates a lyrical utterance for the solo violin that covers two full octaves—far more than any folk song ever would—while still retaining the character of folk song. Here, too, Tippett's familiarity with the madrigal tradition reveals itself in some characteristic harmonic clashes.

The finale combines elements of folk song and neoclassic fugue in a competitive spirit similar to that of the first movement, though with more evident folklike characteristics, especially in the coda, where Tippett's "Scottish" tune—derived from motives of the slow movement—sings out in full voice against the racing counterpoint, as if to draw together "folk" art and "cultivated" art in a single embrace. —Steven Ledbetter

Steven Ledbetter was program annotator of the Boston Symphony Orchestra from 1979 to 1998. In 1991 his BSO program notes received an ASCAP/Deems Taylor Award. He now writes pro- gram notes for orchestras and other ensembles throughout the country, and for such concert venues as Carnegie Hall.

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Edward Elgar Cello Concerto in E minor, Opus 85

Sir Edward Elgar was born in the village of Broad- heath, just outside of Worcester, England, on June 2, 1857, and died in Worcester on February 23, 1934. He wrote the "moderato" theme of the first movement on March 23, 1918 (after returning home from hospital after a tonsillectomy), began concentrated work on the

piece that July, and completed it on August 3, 1919.

The composer conducted the first performance, with the London Symphony Orchestra and soloist Felix Salmond, in Queens Hall, London, on October 26, 1919. The St.

Louis Symphony gave what may have been the first American performance on January 19, 1934, Vladimir Golschmann conducting, with soloist Max Steindel. The

score is dedicated to Elgar s friends Sidney and Frances

Colvin. Maurice Eisenberg was soloist for the first Boston Symphony performance, Charles Munch conducting, on April 4, 1955, subsequent BSO performances featuring Jacqueline du Pre (with Daniel Barenboim conducting), Zara Nelsova (with William Steinberg), Ralph Kirshbaum (with Myung-Whun Chung), Yo-Yo Ma (with Jeffrey Tate, Andre Pre- vin, and John Williams), Lynn Harrell (Jeffrey Tate), and Mischa Maisky (Yan Pascal Tortelier). The most recent subscription performances (Mas with Previn) were in February 1990. The most recent Tanglewood performance (Maisky s with Tortelier) was on August 23, 1998. In addition to the solo instrument, the score calls for two flutes, piccolo (ad lib.), two oboes, two clarinets, two bassoons, four horns, two trumpets, three trombones, tuba (ad lib.), timpani, and strings. (With Elgar s authorization, the violist Lionel Tertis made a transcription of the Cello Concerto for viola and orchestra.)

Only for twenty of his seventy-six years did Elgar enjoy the simultaneous benefits of fame and creative abundance. For the first forty-two years he was unknown in the wider

world, and for the last fourteen his muse was in retirement, if not quite still. The work that closed this twenty-year period of high creativity was the Cello Concerto, completed in the summer of 1919. A year later, with the death of his beloved wife Alice, Elgar withdrew more and more from public life; he wrote no more masterpieces.

His slow progress toward national recognition was no doubt due to the fact that he grew up far from London and did not study with someone who could have helped him on his way. He was largely self-taught, and did not at all match people's notion of a typ- ical composer, expected in those days to be an aesthete in the manner of Oscar Wilde. A friend who had played under his direction described him as "a very distinguished- looking English country gentleman, tall, with a large and somewhat aggressive mous-

tache, a prominent but shapely nose and rather deep-set but piercing eyes. It was his eyes perhaps that gave the clue to his real personality: they sparkled with humour, or became grave or gay, bright or misty as each mood in the music revealed itself. He looked upstanding, and had an almost military bearing. He was practical to a degree,

he wasted no time. The orchestra, it is almost needless to say, adored him."

Until the success of the Enigma Variations in London in 1899, he was regarded as a provincial composer, which indeed he was, composing mostly for the regional festivals that flourished in late Victorian England. Then the great works appeared in steady suc- cession The Dream of Gerontius, Sea Pictures, the Pomp and Circumstance marches, In the South, the Introduction and Allegro for strings, the First Symphony, the Violin Concerto, the Second Symphony, Falstaff and a group of three chamber works com- posed towards the end of the war: the Violin Sonata, the String Quartet, and the Piano Quintet. These three works were composed at Brinkwells, the house in Sussex where

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the Elgars moved in 1917. It was odd that Elgar should live anywhere but in his be- loved West Country, but this house brought him respite from the constant anxieties of ffiftta the war, and is readily associated with the leaner, more reflective style that the Cello Concerto perfectly illustrates. A letter written at this time describes his routine: "I rise about seven work till 8-15—then dress, breakfast—pipe (I SMOKE again all day!) work till 12-30 lunch (pipe)—rest an hour—work till tea (pipe)—then work till 7-30—change, dinner at 8. Bed at 10—every day practically goes thus. . . We go for lovely walks. . . the woods are full of flowers, wonderful..."

On September 26, 1918, with the war still on, Elgar's wife's diary recorded "wonder- ful new music, real wood sounds & other lament wh. shd. be in a war symphony." But this was to be a concer- to, not a symphony, and as it neared completion the following summer,

Elgar described it as "a real large work & I think good & alive." On the occasion of the first performance, which took place under the composer's direction on October 26, 1919, there was in the cello section of the London Symphony Orchestra a future conductor, John Barbirolli, then aged nineteen who would Elgar recording in the HMV studio, c. 191 later conduct a historic recording of the work with Jacqueline du Pre. On that first night Elgar had been given too little rehearsal time, and the main impression was of orches- tral incompetence. Ernest Newman reported that the orchestra "made a lamentable pub- lic exhibition of itself." Later the work came to be recognized as one of the handful of supreme concertos for the instrument. In 1928 Elgar led a recording of the work with Beatrice Harrison as the soloist. The original soloist, Felix Salmond, moved to the United States in 1922; after a brief spell teaching at the Juilliard School he was head of the cello department at the Curtis Institute from 1925 to 1942. Among his pupils were Ber- nard Greenhouse and Leonard Rose.

We may discern in the Cello Concerto a sentiment of resignation and even of despair generated from within by that strong vein of melancholy that had always been an ines- capable element of Elgar's music, and from without by the desolating impact of the Great War. But the Cello Concerto is not a threnody, nor even, so far as we can tell, a deliberately planned swan song. It is reflective, playful, tearful, and energetic by turns, like all his best music, and we underestimate the work if we attach too much to its au- tumnal character: many of its pages might have been summoned into existence by the Wand of Youth.

Unlike the traditional concerto it has four movements, not three. Brahms's Second Piano Concerto had expanded the form to four movements and taken on mighty sym- phonic proportions, but Elgar here has four movements not for length and weight but for diversity and contrast. The movements are all concise, especially when compared to the expansive landscape of the Violin Concerto's three movements. As in his two sympho- nies, the two central movements, a scherzo and a slow movement, offer a complete con- trast in momentum and temper. The declamatory opening of the work recurs truncated at the beginning of the scherzo and in full, this time marvelously valedictory in effect,

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26 at the end of the finale.

After a declamatory opening for the soloist, the first movement's gentle lilt is far re- moved from any pomp or circumstance. Over the meandering first theme Elgar wrote in his sketchbook: "very full, sweet and sonorous," and although the whole orchestra tries to give it breadth, it ends as it began, bleak and bare. The scherzo that follows is in 4/4 time with bustling sixteenths reminiscent of the Introduction and Allegro for strings of many years earlier. There is a brief expressive phrase offered here and there in con- trast, but lightness prevails.

For the slow movement Elgar indulges unashamedly in the yearning phrases and sliding harmony that breathe nostalgia and tranquility. This is not a lament but a pri- vate world of sweetness so direct and complete that it requires no development or ex- pansion. For all its heartrending beauty, the movement is short, and its half-close leads directly into the finale. Here, after another declamatory start, the movement settles into a sturdy rhythm which proceeds in a business-like and oddly impersonal fashion right through to the closing pages. Then, as if yielding to some fatal destiny, Elgar adds an epilogue in slow tempo as passionate as anything he had ever written, full of drooping phrases and desperate gestures, like a dying man reaching up for help. There is asperi- ty too, in the harmony, and the music slides inevitably into a brief memory of the slow movement followed by the work's opening statement and a brief, energetic (and surely ironic) close. —Hugh Macdonald

Hugh Macdonald is Avis Blewett Professor of Music at Washington University in St. Louis and principal pre-concert lecturer for the St. Louis Symphony Orchestra. He taught at Oxford and Cambridge Universities before moving to the United States in 1987. The author of books on Berlioz and Scriabin, and general editor of the New Berlioz Edition, he has also written exten- sively on music from Mozart to Shostakovich and has had his opera translations sung in a num- ber of leading opera houses.

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28 —

Ralph Vaughan Williams A London Symphony (Symphony No. 2)

Ralph (pronounced "Rafe") Vaughan Williams was born on October 12, 1872, at Down Ampney, Glou- cestershire, England, and died in London on August 26, 1 958. He began planning his second symphonic work, which he always referred to simply as A London

Symphony without giving it a number, in 1911 and

worked at it all through 1912 and 1913. The first per- formance took place in Queens Hall, London, on March 27, 1914, under the direction of Sir Geoffrey Toye. The composer revised and cut the symphonyfor performances

under Adrian Boult in 1918. When he published it in 1 920, he dedicated the score to the memory of George Butterworth. The composer made further cuts in the 1930s. Sir Thomas Beecham led the Royal Philhar- monic Orchestra in the premiere of the definitive version on February 22, 1934. The first American performance was given by the New York Symphony Society, Albert Coates con- ducting, on December 30, 1920. Pierre Monteux led the first Boston Symphony perform- ances two months later, in February 1921, repeating the work that April and then again in April 1923, subsequent BSO performances being given by Richard Burgin, Serge Kous- sevitzky (in October/November 1940 and at Tanglewood on August 16, 1941—the or- chestras only performance there of the work), Dimitri Mitropoulos (December 1944), and Andrew Davis (the most recent subscription performances, in April 1985). The score calls for three flutes and piccolo, two oboes and English horn, two clarinets and bass clarinet, two bassoons and contrabassoon, four horns, two trumpets, two cornets, three trombones, tuba, timpani, side drum, triangle, bass drum, cymbals, glockenspiel, harp ("doubled if possible"), and strings.

The three earliest symphonies of Ralph Vaughan Williams bore programmatic titles. The first, A Sea Symphony (1903-1909), was in fact a choral work that had grown from the composer's intention to compose some settings of Walt Whitman as hearty "songs of the sea." The next two A London Symphony (1912-13) and Pastoral Symphony (1921) —though their titles suggest programmatic elements, are nonetheless abstract symphon- ic works. At that point, Vaughan Williams turned, for his next three symphonies—after a lapse of ten years—to the purely abstract instrumental genre, identified only by key and number. Yet critics could not be prevented from attempting to read programmatic ideas into these works, no matter how vehemently the composer insisted that they were intended to make their statements purely as music.

Soon after the turn of the century, Vaughan Williams had begun to establish a name for himself as a composer of tuneful songs and a writer of articles in journals. Then two things happened to turn him into the "great, rugged, individual composer" (in the words of Michael Kennedy) who could create the nine symphonies and other large-scale works that he left: he was fired with an enthusiasm to collect English folk songs, and he ac- cepted an invitation to edit the music for a new hymnal. Both of these experiences gave him firsthand experience with some of the best tunes ever written and (as he admitted later, with reference to the old Victorian hymnals he was bent on replacing) with some of the worst. The experience proved liberating, and by 1910, when he was almost forty, he produced his first completely original masterpiece, the Fantasia on a Theme of Thomas Tallis. By then he had already written A Sea Symphony, which was less a sym- phony than a grand symphonic cantata. But he had not yet written a large-scale work for orchestra alone.

The impetus came from a seemingly chance remark dropped by Vaughan Williams's

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friend George Butterworth, a talented young composer who was killed on the Somme in 1916. At the end of an event spent with Vaughan Williams in 1911, Butterworth re- marked abruptly, "You know, you ought to write a symphony." Vaughan Williams couldn't get the idea out of his head. And he found an approach to writing what became his most colorful symphony that responded to some of his most basic feelings about national mu- sic. As he put it in an article published in 1912:

Is it not possible that the English composer has something to say to his own coun- trymen that no one of any other age and any other country can say? Have we not all about us forms of musical expression which we can purify and raise to the level of great art?

And he found those "forms of musical expression" in the sights and (especially) the sounds of the London that he loved: the Westminster Chimes, street-cries, folk songs, traffic noise, and the popular instru- ments of Cockney music-making. Yet in none of this is the symphony explicitly pro- grammatic. The composer insisted that the title might be clearer if he called the work "A Symphony by a Londoner"; the listener would perhaps expect some local references without assuming that there was any attempt to tell a story, however much its picturesque- ness may hint at one. Certainly Vaughan Williams drew inspiration from Elgar's musi- cal depiction of London, Cockaigne, as well as from some of Debussy's works; and he knew Monet's paintings of London at night and H.G. Wells's novel Tono-Bungay, which describes the Thames as a symbol of Eng- land. With all this wealth of sources and ideas, Vaughan Williams created a symphony that reflected his early idealism, that revealed Vaughan Williams conducting the his ability to handle large-scale musical forms, London Symphony Orchestra in a and that showed his mastery of evocative 1946 Proms concert orchestral color. In 1951, when he was revis- ing the orchestration of the six symphonies he had composed to that date, he wrote to

Sir John Barbirolli that he must leave the London alone, since it was "past mending, though indeed with all its faults I love it still—indeed it is my favourite of my family of six." (He was to compose three more symphonies in the decade between his seventy- fifth and eighty-fifth birthdays.)

The first movement is in a fairly straightforward sonata form with an evocative slow introduction beginning with a quiet motive based on a rising fourth that seems to sug- gest London in that quiet time just before dawn. The Westminster Chimes sound the half-hour (harp) and the movement explodes in an outburst of lamenting chromatic cries shouted by the full orchestra. What follows is rich in thematic ideas, most of which are further worked out in the development, which begins with the chromatic outcry of the exposition. Some of the themes might be identified as the impatient cry of a cabby, the whistling of a street urchin, or any number of other sights of the city; more to the point is their sheer overwhelming energy.

The second movement, a point of respite in the hectic urban activity, was described by Vaughan Williams as "Bloomsbury Square on a November afternoon." The principal theme is repeated and richly harmonized. A snatch of melody played by the viola in a slightly faster tempo leads to a brief quotation (clarinet and violas) of the lavender-sell-

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er's cry. An impassioned climax leads to a rather mysterious, hushed conclusion.

The scherzo (subtitled "Nocturne") is again a lively and well-filled movement, with many themes and fragments of themes appearing and disappearing helter-skelter. Through- out there is a feeling of night and mystery, though with a few lively outbursts before the mood becomes more serious. Vaughan Williams offered this comment: "If the hearer will imagine himself standing on Westminster Embankment at night surrounded by the distant sounds of the Strand, with its great hotels on one side, and the 'New Cut' on the other, with its crowded streets and flashing lights, it may serve as a mood in which to listen to this movement."

The last movement begins with another expressive explosion that soon turns into a slow march. An Allegro provides contrast in the middle of the movement, but the return of the march grows to a crisis which, after rising to a climax, dies away just as the harp imitates the Westminster Chimes again, now sounding the three-quarter. This is the beginning of the Epilogue, which, although it recalls the opening of the symphony, does so in the way that experience recalls innocence. Michael Kennedy once asked the com- poser about the "meaning" of the Epilogue and was referred to the last chapter of H.G. Wells's 1909 novel Tono-Bungay, the chapter entitled "Night and the Open Sea," which contains the following passage:

Light after light goes down. England and the Kingdom, Britain and the Empire, the old prides and the old devotions, glide abeam, astern, sink down upon the horizon, pass—pass. The river passes, London passes, England passes Through the con- fusion something drives, something that is at once human achievement and the

most inhuman of all existing things. . .something we draw by pain and effort out of

the heart of life, that we disentangle and make clear. ... I see it always as austerity, as beauty. This thing we make clear is the heart of life. It is the one enduring thing. —Steven Ledbetter

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34 More . . .

Useful books (not always readily available in this country) about Sir Michael Tippett and his music include David Matthews's Michael Tippett: An Introductory Study (Faber paperback) and Meirion Bowen's Michael Tippett in the series "The Contemporary Com- posers" (Robson Books). Bowen, to whom Tippett dedicated the BSO centennial com- mission The Mask of Time, is a music critic who was closely associated with the com- poser in the last period of his life. There are two useful collections of Tippett's essays and BBC radio talks; these are Moving Into Aquarius (Paladin paperback) and Music of the Angels—Essays and Sketchbooks of Michael Tippett (Eulenberg paperback). The most detailed biographical account of Tippett's life and work is Tippett: The Composer and his Music (Eulenberg) by Ian Kemp, who provided the article in The New Grove Dictionary of Music and Musicians (1980), and also edited Michael Tippett: A Symposium on his 60th Birthday (Faber). The article in the revised edition of Grove (2001) is by David Clarke. Kemp's 1980 Grove article is included in The New Grove Twentieth Century English Masters along with those on Britten, Delius, Elgar, Hoist, Vaughan Williams, and Walton (Norton paperback). Tippett's landmark oratorio A Child of Our Time is dis- cussed in Eric Walter White's Tippett and his Operas (Barrie & Jenkins). His last or- chestral composition, The Rose Lake (given its American premiere by Seiji Ozawa and the BSO in 1995) has been recorded by Sir Colin Davis and the London Symphony Or- chestra for the British label Conifer, which is unfortunately not generally available in the United States. A mid-priced recording of A Child of Our Time that can be found here is Andre Previn's with the Royal Philharmonic Orchestra, the Brighton Festival Chorus, and soloists Sheila Armstrong, Felicity Palmer, Philip Langridge, and John Shirley-Quirk (IMP Classics). The Mask of Time was recorded by Andrew Davis with the BBC Symphony Orchestra and Chorus and soloists Faye Robinson, Sarah Walker, Robert Tear, and John Cheek (EMI Classics). Following the composer's death in 1998,

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36 i J Nimbus issued a mid-priced four-disc memorial box including many of his important orchestral scores, including the Concerto for Double String Orchestra, Fantasia Con- certante on a Theme of Corelli, the "Ritual Dances" from his opera The Midsummer Marriage (conducted by the composer), the Triple Concerto, the Piano Concerto, and the Suite for the Birthday of Prince Charles, among other things. There are also record- ings of the Concerto for Double String Orchestra with the composer conducting the Scottish Chamber Orchestra (Virgin Classics; not currently available), Andrew Davis conducting the BBC Symphony Orchestra (Teldec, with the Fantasia Concertante on a Theme of Corelli and the Ritual Dances from The Midsummer Marriage), and Richard Hickox and the City of London Sinfonia (Chandos, with several other Tippett works, including the 1950-51 song cycle The Hearts Assurance and, from 1946, Little Music for string orchestra). A wide variety of Tippett's other music—including many of the operas, vocal works, and other instrumental scores—is available as well; again, check your preferred record store.

Among the most important studies of Elgar and his music is Michael Kennedy's Por- trait of Elgar (Oxford); Kennedy also wrote the compact BBC Music Guide on Elgar Orchestral Music (University of Washington paperback). There is also a big biography by Jerrold Northrop Moore, Edward Elgar: A Creative Life (Oxford). Moore has also edited Edward Elgar: Letters of a Lifetime (Oxford) and produced a discography of Elgar's work as a conductor, Elgar on Record: The Composer and the Gramophone (out of print). Diana McVeagh's Elgar article from The New Grove (1980) was included in The New Grove Twentieth Century English Masters along with those on Britten, Delius, Hoist, Tippett, Vaughan Williams, and Walton (Norton paperback). Ian Parrott's Elgar is part of the "Master Musicians" series (Dent). Much older books include recollections by the violinist W.R. Reed in Elgar As I Knew Him (Oxford) and by two of the compos- er's friends: Edward Elgar: Memories of a Variation by Mrs. Richard Powell, the "Dora- bella" of Elgar's Enigma Variations (Methuen), and Edward Elgar: The Record of a Friendship by Rosa Burley, headmistress of the school where he taught for a while (Barrie & Jenkins). Volumes of correspondence include Percy M. Young's Letters of Edward Elgar and Other Writings (Geoffrey Bles) and Letters to Nimrod: Edward Elgar to August Jaeger, 1897-1908 (Dennis Dobson), both published in England. Michael Steinberg's program note on Elgar's Cello Concerto is in his compilation volume The Concerto—A Listener's Guide (Oxford paperback).

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of the Century," paired with the composer's 1932 recording of his Violin Concerto with Yehudi Menuhin). Elgar's earlier recording, from not long after the 1919 premiere, was with Felix Salmond, the original soloist, and the London Symphony Orchestra. Also of note is Pablo Casals's 1945 recording with Adrian Boult and the BBC Symphony Or- chestra (EMI References). More recent proponents (listed alphabetically by soloist) in- clude Jacqueline du Pre, either "live" in 1970 with Daniel Barenboim and the Phila- delphia Orchestra (Sony Classical) or in her famous 1965 studio recording with John Barbirolli and the London Symphony Orchestra (EMI), Pierre Fournier with Alfred Wallenstein and the Berlin Philharmonic (Deutsche Grammophon), Ralph Kirshbaum with Alexander Gibson and the Royal Scottish National Orchestra (Chandos), Steven Isserlis with Richard Hickox and the London Symphony Orchestra (Virgin Classics), Yo-Yo Ma with Andre Previn and the London Symphony Orchestra (Sony Classical), and Pieter Wispelwey with Jac van Steen and the Netherlands Radio Philharmonic (Channel Classics).

Though both are out of print, Michael Kennedy's The Works of Ralph Vaughan Wil- liams (Oxford) and R.V.W.: A Biography of Ralph Vaughan Williams (also Oxford), by Ursula Vaughan Williams, the composer's widow, remain crucial sources. James Day's 1961 Vaughan Williams in the "Master Musicians" series has recently been repub- lished (Oxford University paperback). Other recent additions to the literature include Jerrold Northrop Moore's Vaughan Williams: A Life in Photographs (Clarendon Press) and Paul Holmes's Vaughan Williams: His Life and Times (Omnibus Press paperback). Hugh Ottoway's article on Vaughan Williams from the 1980 New Grove Dictionary was reprinted in The New Grove Twentieth Century English Masters along with those on Brit- ten, Delius, Elgar, Hoist, Tippett, and Walton (Norton paperback). The article in the re- vised Grove (2001) is by Ottoway and Alain Frogley. Ralph Vaughan Williams: A Pic- torial Biography by John Lunn and Ursula Vaughan Williams, published in 1971, is worth seeking (Oxford). The composer's own National Music and Other Essays provides a vivid self-portrait (Oxford). Recordings of A London Symphony include Adrian Boult 's with the London Philharmonic (EMI), Bernard Haitink's also with the London Philhar- monic (EMI), Andre Previn's first with the London Symphony Orchestra (RCA) and later with the Royal Philharmonic (Telarc), and Bryden Thomson's with the London Symphony Orchestra (Chandos). Of special interest is the recording by Richard Hickox and the London Symphony Orchestra of Vaughan Williams's hour-long original version, based on material reconstructed following the loss of the original manuscript and pre- served in the British Museum (Chandos). —Marc Mandel

Tanglewood BOSTON THE BSO ONLINE

Boston Symphony and Boston Pops fans with access to the Internet can visit the orchestra's official home page (http://www.bso.org). The BSO web site not only provides up-to-the- minute information about all of the orchestra's activities, but also allows you to buy tickets to BSO and Pops concerts online. In addition to program listings and ticket prices, the web site offers a wide range of information on other BSO activities, biographies of BSO musi- cians and guest artists, current press releases, historical facts and figures, helpful telephone

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40 Sir Neville Marriner English conductor Sir Neville Marriner began his professional life as a violinist, playing first in a string quartet and trio, then in the London Symphony Orchestra, during which time he founded the Academy of St. Martin in the Fields, with a small group of friends, in 1959. At first he directed the ensemble from the concertmaster's seat, until the repertoire demanded larger forces. Then, on the en- couragement of his mentor, Pierre Monteux, he relinquished his violin and took up the baton. In 1969 he left the London Symphony Orchestra and founded the Los Angeles Chamber Orchestra, at the same time extending the repertoire of the Academy and appearing as guest conductor of symphony orchestras around the world. In 1979 he accepted a seven- year position as music director and principal conductor of the Minnesota Orchestra and of the Sudwest Deutsche Rundfunk Orchester in Stuttgart. During this time he released about twenty records a year, eventually relinquishing the onerous duties of music directorships to concentrate on the Academy and guest conducting. Sir Neville Marriner, who was music director and conductor for the motion picture Amadeus, is the most prolific classical music recording artist in the world. He made his operatic debut conducting The Marriage of Fi- garo at the Aix-en-Provence Festival and his United States debut in Los Angeles with La Cenerentola. He led a televised production of // re pastore at the Salzburg Mozarteum and

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42 .

recently completed a three-year commitment with the Opera de Lyon. Sir Neville tours with the Academy in the Far East and South America, as well as making yearly visits to Ger- many, Spain, Switzerland, Italy, and Austria. He has been honored for his services to music twice in his own country, as well as in Germany, France, and Sweden. He holds many hon- orary degrees in America, the Far East, and in England. Sir Neville Marriner made his Boston Symphony debut at Tanglewood in July 1975 and his BSO subscription series debut in December 1976, subsequently returning to Tanglewood for two programs in July 1978 and two programs in August 2002. This week's concerts are his first with the BSO at Sym- phony Hall since 1976.

Lynn Harrell American cellist Lynn Harrell appears throughout the Americas, Europe, and Asia, as soloist, chamber musician, recitalist, conduc- tor, and teacher. In recent seasons he has appeared with the Boston Symphony, Chicago Symphony, Los Angeles Philharmonic, New York Philharmonic, Dallas Symphony (with which he was guest con- ductor), the Saint Louis Symphony at London's Royal Festival Hall, the London Philharmonic under Kurt Masur, and the Israel Philhar- monic. Additional highlights include a tour to Japan with Vladimir Ashkenazy and Pinchas Zukerman, and a three-week "Lynn Harrell Cello Festival" with the Hong Kong Philharmonic. A special part of Lynn Harrell's life is the Aspen Music Festival, where he has performed and taught for nearly fifty years. In summer 1999 he presented a recital program called "Songs My Father Taught Me," a tribute to his father, the baritone Mack Harrell, who was one of the Aspen family's earliest members. He also participates regularly at the Verbier Festival in Switzer- land. In 1994 Mr. Harrell appeared at the Vatican with the Royal Philharmonic conducted by Gilbert Levine in a concert dedicated to the memory of the six million Jews who per- ished in the Holocaust. The audience for this historic event, which was the Vatican's first official commemoration of the Holocaust, included Pope John Paul II and the Chief Rabbi of Rome. Also in 1994 Mr. Harrell appeared live at the Grammy Awards with Itzhak Perl- man and Pinchas Zukerman, performing an excerpt from their Grammy-nominated record- ing of the complete Beethoven string trios. His extensive discography of more than thirty recordings includes, among other things, the complete Bach cello suites, the world pre-

Boston Symphony Orchestra concertmaster Malcolm Lowe performs on a Stradivarius violin loaned to the orchestra in memory of Mark Reindorf

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44 miere recording of Victor Herbert's Cello Concerto No. 1 with Sir Neville Marriner and the Academy of St. Martin in the Fields, Walton's Cello Concerto with Sir Simon Rattle and the City of Birmingham Symphony Orchestra, Donald Erb's Concerto with Leonard Slatkin and the Saint Louis Symphony, Schubert trios with Ashkenazy and Zukerman, "Duos for Violin & Cello" with Kennedy, and Grammy-winning recordings with Perlman and Ashkenazy of the Tchaikovsky Piano Trio and the complete Beethoven piano trios. He recently recorded the two Brahms cello sonatas with Stephen Kovacevich and collaborated with Nadja Saler- no-Sonnenberg on "Bella Italia: Chamber Music from Aspen," which includes Tchaikov- sky's Souvenir de Florence. Lynn HarrelPs experience as an educator is wide and varied. From 1985 to 1993 he held the International Chair for Cello Studies at the Royal Academy in London. Concurrently, from 1988 to 1992, he was artistic director of the orchestra, cham- ber music, and conductor training program at the Los Angeles Philharmonic Institute. From 1993 to 1995 he was head of London's Royal Academy. He has given master classes at the Verbier and Aspen festivals, and throughout the world. He began teaching cello at Rice University's Shepherd School of Music at the start of academic year 2002-03. Lynn Harrell was born in New York to musician parents. He began his musical studies in Dallas and pro- ceeded to the Juilliard School and the Curtis Institute. He is the recipient of numerous awards, including the first Avery Fisher Award. Mr. Harrell, who makes his home in Houston, Texas, plays a 1673 Stradivarius and a 1720 Montagnana. With the BSO he has performed music of Tchaikovsky, CPE. Bach, Shostakovich, Dvorak, Elgar, and Walton. He made his Boston Symphony debut in November 1978 and has since appeared with the orchestra at Tanglewood and in Boston, most recently for subscription appearances in November 1999.

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^Wm&^^kffli BOSTON SYMPHONY ORCHESTRA 2002-2003 SEASON

Benefactors

ie building of his new symphony for Boston, the BSO's founder and first benefactor, Henry Lee Higginson, knew that ticket revenues could never fully cover the costs of running a great orchestra.

From 1881 to 1918 Higginson covered the orchestra's annual deficits with personal donations that exceeded $1 million. The Boston Symphony Orchestra now honors each of the following generous donors whose cumulative giving to the BSO is $1 million or more with permanent recognition as Great Benefactors of this great orchestra.

For more information, contact J. Carey Bloomfield, Director of Development, at (617) 638-9260.

Anonymous (8) Estate of Ruth Brooks Heath Mr. and Mrs. Harlan E. Anderson Susan Morse Hilles Trust

Mr. and Mrs. David B. Arnold, Jr. Estate of Edith C. Howie AT&T Mr. and Mrs. Harvey Chet

Mr. and Mrs. J. P. Barger Krentzman Gabriella and Leo Beranek The Kresge Foundation Jan Brett and Joseph Hearne Liz and George Krupp

Mr. and Mrs. Peter A. Brooke Mr. and Mrs. R. Willis Leith, Jr. Chiles Foundation Nancy Lurie Marks Foundation

Mr. John F. Cogan, Jr., and Mr. and Mrs. Nathan R. Miller Ms. Mary L. Cornille William Inglis Morse Trust Mr. Julian Cohen National Endowment for the Arts Commonwealth of Massachusetts NEC Corporation Mrs. William H. Congleton Mrs. Robert B. Newman

Mr. and Mrs. Lewis S. Dabney Mr. and Mrs. Norio Ohga Mrs. Stanton W. Davis William and Lia Poorvu Estate of Mrs. Pierre de Beaumont Estate of Wilhelmina C. Sandwen EMC Corporation Dr. Raymond and Hannah H.

Mr. and Mrs. John P. Eustis II Schneider Shirley and Richard Fennell Schoenhof Family Foundation

Fidelity Investments Mr. and Mrs. Carl J. Shapiro Estate of Vera Fine Miriam Shaw Fund Estate of Anna E. Finnerty Mr. and Mrs. Ray Stata Hon. and Mrs. John H. Fitzpatrick Mr. and Mrs. Thomas G. Sternberg FleetBoston Financial Mrs. Sidney Stoneman

Germeshausen Foundat.tion The Helen F. Whitaker Fund Estate of Marie Gille Mr. and Mrs. John Williams The Gillette Company

47 BOSTON SYMPHONY ORCHESTRA 2002-2003 SEASON

Boston Symphony Orchestra and Symphony Hall corporate sponsorship reflects the increasing importance of partnership between business and the arts. The BSO is honored to be associated with these companies and gratefully acknowledges their contributions. These corporations have sponsored BSO or Symphony Hall concerts and activities during the 2001-2002 and/or 2002-2003 seasons at the $200,000 or more level. For information regarding BSO, Boston Pops, or Tanglewood sponsorship opportunities, contact Alyson Bristol, Director of Corporate Sponsorships, at 617-638-9279 or at [email protected]

AT&T is proud to continue its long jCTftl tradition of support for the Boston Symphony Orchestra through sponsor ship of Opening Night at Symphony. From landmark compositions to new works, the Boston Symphony Orchestra continues to present magnificent music to audiences both at Symphony Hall and around the world.

Esther Silver-Parker President AT&T Foundation

2 EMC Corporation is pleased to EMC continue our longstanding partner- ship with the Boston Symphony where information lives Orchestra as a season sponsor and the new host of the BSO website. We are committed to help- ing preserve the past and present musical heritage of the BSO

so that it will be available to all and to future generations,

Michael C. Ruettgers and will continue to instill in us a love of music. Executive Chairman

The Fairmont Copley Plaza Boston together with Fairmont Hotels &C Resorts is proud to be COPLEY PLAZA the official hotel of the Boston BOSTON Symphony Orchestra. We look forward to many years of supporting this wonderful organi- zation. For more than a century Fairmont Hotels 8t Resorts and the BSO have graced their communities with timeless Dennis Clark elegance and enriching experiences. The BSO is a New General Manager England tradition and like The Fairmont Copley Plaza, a symbol of Boston's rich tradition and heritage.

48 TliHBl

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BSOvations (continued) UK

£& Four Seasons Hotel Boston has been very proud to support the FOUR SEASONS HOTEL Boston Symphony Orchestra for ^^^ over ten years. The Boston Sym- phony has established a tradition for presenting world class music while simultaneously bring- ing the magic of music to our city's children. The Boston Symphony Orchestra truly is the cornerstone of the rich cul- Thomas Gurtner tural life we enjoy. Four Seasons proudly acknowledges the Regional Vice President the Boston Orchestra has had in enhanc- and General Manager impact Symphony ing the city.

Classical 102.5 WCRB has proudly been CLASSICAL involved with the Boston Symphony Or- 102.5 WCRB chestra for over forty years. Each week more BOSTON than a half-million people listen on Saturday nights as we broadcast BSO live concerts. We have been pleased to bring the performances of our world- class orchestra into the homes of millions of music lovers. WCRB is the flagship station of Charles River Broadcasting, William W. Campbell which includes WFCC/Cape Cod, WCRI/Block Island, and the CEO World Classical Network. Charles River Broadcasting

WCVB-TV[|J Now in our 27th year of partnership |b a s t d n RQ i tn tne Boston Symphony Orches- J w ^-^ tra, WCVB-TV Channel 5 is pleased to celebrate and support one of the world's most distinguished music organizations. Our collaboration features stirring per- formances as well as stories about the orchestra's important contributions to the community in televised programs such as "POPS! Goes the Fourth," "Holiday at Pops" and "Salute Paul La Camera to Symphony." WCVB proudly shares a Boston treasure with President & viewers in New England and across the country. General Manager

STEINWAY & SONS Steinway & Sons is proud to be the piano selected exclusively at Symphony Hall and Tanglewood. Since 1853, Steinway pianos have been handmade to an uncompromising standard, and applauded by artists and audiences alike for their rich,

Bruce Stevens expressive sound. It's no wonder that, for 98% of today's President concert pianists, the choice is Steinway.

49 »

Boston Paul Du.lu.de ~ Music Director Don't miss the next concerts of Boston Virtuosi's Sixth Season at Faneuil Haul* 3. Valentine Serenade Saturday, February I5> 2003 at 8 pm

Josef Suk.| —» Serenade in E- Flat Tchaikovsky — Serenade for Strings Vivald%; —^Concerto For Violin and Cello

Laurg^yBo^ssgat , violin & Terry King,' cello 4. Ancient Inspirations SatujraUL May I TV 21003 at 8 pm "Mamma Maria stands for what Boccher™i,--"Night in the Streets of Madrid Italian food is. Simplicity, quality ingredients and fun Debussy -+*Danses Sacreb et Profane Virginia Crumb, harp ... the food of love. Vau LLIAMS Fantasia on a Theme Chef Tim Hallama's food is by Thomas Tallls

absolutely delicious" Respigh/i f-* Ancient Airs and Dances - I "Paul pujlude... outstanding program ideas anc Emeril Lagasse, grasp/of the sense of music; he knows how to ge Emeril Salutes America, 2002 the (fliaracter and color of the sound he wants." "Interesting repertoire you will hear nowhere else. Richard Dyer, The Boston Globe MAMMA MARIA 617 547 8860 Tickets: $30 $20 • $10 3 NORTH SQUARE, BOSTON (617) 523-0077 www.bostonvirtuosi. org www.mammamaria.com

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Business Leadership Association

The support provided by members of the Business Leadership Association enables the Boston Symphony Orchestra to keep ticket prices at accessible levels, to present free concerts to the Boston community, and to support the BSO's K-12 education programs and other community outreach programs. The BSO gratefully acknowledges the following companies for their generous annual Corporate Programs support, including gifts-in-kind.

This list recognizes cumulative contributions of $2,000 or more made between

September 1, 2001, and August 31, 2002.

For more information, contact Jo Frances Kaplan, Director of Institutional Giving, at (617) 638-9264.

BEETHOVEN society-$500,ooo and above

Fidelity Investments Edward C. Johnson 3d gold baton-$ioo,ooo to $499,999

AT&T Classical 102.5 WCRB Four Seasons Hotel Esther Silver-Parker William W. Campbell Boston American Airlines EMC Corporation Thomas Gurtner James K. Carter Michael C. Ruettgers State Street Corporation David A. Spina silver batoim-$50,ooo to $99,999

Accenture American Express John Hancock Financial Richard P. Clark Company Services

Douglas A. Green Kenneth I. Chenault David F. D'Alessandro William D. Green Art Technology Group MetLife Foundation Kenneth Mitchell Jeet Singh NEC Corporation David B. Sardilli FleetBoston Financial Koji Nishigaki David Sprows Charles K. Gifford

S^E£iE!«paam«i,w«iiM i&5&-/

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Continued on page 53

51 5

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52 MUfa

Business Leadership Association (continued)

conductor's circle-$25,ooo to $49,999

Blue Cross Blue Shield of Goodwin Procter LLP Sametz Blackstone Massachusetts Regina M. Pisa Associates William C. Van Faasen Liberty Mutual Group Roger Sametz Deloitte &c Touche Edmund F. Kelly TDK Electronics

Michael J. Joyce Massachusetts Cultural Corporation Essex Investment Council Kuniyoshi Matsui Management Co., LLC Peter Nessen Tier Technologies Joseph C. McNay Parthenon Capital James L. Bildner Filene's Ernest K. Jacquet Verizon William Gingerich PricewaterhouseCoopers Donna C. Cupelo Fisher Scientific LLP Waters Corporation

International Inc. Michael J. Costello Douglas A. Berthiaume Paul M. Montrone SG Cowen Securities The Gillette Company Corporation James M. Kilts Amy Louise Burns

CONCERTMASTER-$15,OOQ to $24,999

Bartley Machine & Connell Limited Loomis, Sayles & Manufacturing Co., Partnership Company, LP

Inc. Francis A. Doyle John F. Gallagher HI

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Jay S. Zimmerman James S. DiStasio David F. Lamere Biogen, Inc. Hale and Dorr LLP Meredith & Grew, Inc. James C. Mullen William F. Lee Thomas J. Hynes, Jr. Choate, Hall & Stewart Herald Media, Inc. Merrill/Daniels

Samuel B. Bruskin Patrick J. Purcell Ian Levine William P. Gelnaw Hewitt Associates NSTAR John A. Nadas John Kieley Thomas J. May Citizens Financial Group Hill, Holliday Nixon Peabody LLP Lawrence K. Fish Jack Connors, Jr. Craig D. Mills Clough Capital Partners, IBM Nestor M. Nicholas LP Sean C. Rush Peet's Coffee and Tea Charles I. Clough, Jr. Kirkpatrick & Lockhart Angela Malala Coldwell Banker LLP The Ritz-Carlton Hotels Residential Brokerage Mark E. Haddad of Boston William Kiley LPL Financial Services John Rolfs Todd A. Robinson

Continued on page 55

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Business Leadership Association (continued)

C0NCERTMASTER-$15,000 to $24,999 (continued)

The Studley Press Watts Industries, Inc. Yawkey Foundation Suzanne K. Salinetti Timothy P. Home John L. Harrington Von Hoffmann YAS Broadband Ventures Robert S. Mathews LLC Robert A. Uhlenhop Rouzbeh Yassini

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Inc. ML Strategies, LLC Allmerica Financial Eze Castle Software , Corporation Sean McLaughlin Stephen P. Tocco

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56 Business Leadership Association (continued)

patron-$5,ooo to $9,999

The Abbey Group Friedl Enterprises New England Business Adams, Harkness & Hill Global Companies LLC Service, Inc. Advent International Graphics Marketing Joseph and Joan Patton Aon Risk Services, Inc. of Services, Inc. Perry Capital, LLC Massachusetts The Halleran Company Pioneer Investments Aquent Hines Plan-it Marketing

Arthur J. Hurley Company, International Data Group Intelligence, Inc. Inc. Ionics, Incorporated RBC Dain Rauscher Boston Capital Corporation J.N. Phillips Glass Co., Inc. Raytheon Company The Boston Globe Jofran Regan Communications Boston Research Group John M. Corcoran & Co. Group, Inc. Boston Showcase Company Kaufman and Company Rockport Kids Boston Stock Exchange Keyspan Energy Delivery S.R. Weiner & Associates Broadview New England The Schawbel Corporation CB Richard Ellis/Whittier The Kraft Group Signal Technology Partners Kruger Inc. Corporation Cabot Corporation Legal Sea Foods Skadden, Arps, Slate, Carruth Capital, LLC Lexington Insurance Meagher & Flom LLP The Castle Group Company State Street Development Charles River Laboratories Margulies & Associates Management Corp. International, Inc. Martignetti Companies Studio E Clair Motorcars MassMutual Financial Tower Capital Partners Commonwealth Mediation Group Towers Perrin & Conciliation, Inc. Maxwell Shoe Company Trammell Crow Company Copley Place Inc. Tyco Healthcare/Kendall Credit Suisse First Boston JoAnn McGrath and Family Ty-Wood/Century Corporation McKinsey & Company Manufacturing Co., Inc. Di Pesa & Company, CPAs Medical Information W.B. Mason Co., Inc. Earth Tech Technology, Inc. WCVB-TV, Channel 5 Edwards & Angell, LLP Mercer Human Resource Weston Presidio Exel Holdings, Inc. Consulting William Gallagher Fitzgerald Charitable Mintz Levin Cohn Ferris Associates Foundation Glovsky and Popeo, P.C. Woburn Foreign Motors The Flatley Company MR Property Management Woodstock Corporation Fleet Meehan Specialist Mykrolis Corporation Forbes Consulting Group, New Balance Athletic Shoe, Inc. Inc.

Continued on page 59

57 m

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Sunday, January 1 9, 2003 at 3pm Jordan Hall, Boston Featuring James Sommerville, horn

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58 Business Leadership Association (continued)

fellow-$3,ooo to $4,999

The American Ireland Fund Fiduciary Trust Company New England Cable News Beacon Capital Partners Foodmaster Super Markets, New England Insulation Blake and Blake Inc. Company Genealogists, Inc. Harvey Industries, Inc. The New York Times Boston Properties, Inc. Helix Technology Phelps Industries LLC Cahoots Design Corporation TJX Companies, Inc. Cambridge Trust Company The Hubbell Group, Inc. United Gulf Management, Chubb Group of Insurance J.D.P. Co. Inc. Companies Jack Madden Ford WBZ-TV 4, UPN 38, Colette Phillips Lee Kennedy Co., Inc. UPN28 Communications The Lenox and Copley Watson Wyatt Worldwide Cummings Properties, LLC Square Hotels/Saunders Weingarten, Schurgin, Dalia Kitchen Design Hotel Group Gagnebin & Lebovici LLP Dow Jones, Inc. Lindenmeyr Munroe The E. B. Horn Co. Needham & Company, Inc.

MEMBER-$2,000 to $2,999 7NEWS, WHDH-TV EDS Nordblom Company Anchor Capital Advisors, FleetCenter Nutter McClennen & Fish Inc. Franklin Ford LLP The Baupost Group, LLC Gadsby Hannah LLP Putnam Investments The Biltrite Corporation The Goldman Group Ropes & Gray The Boston Consulting Goodfellas Plastering Senior Aerospace Group Gourmet Caterers, Inc. Shaughnessy & Ahern Co. Carson Limited Partnership HMK Enterprises, Inc. Shawmut Design and John and Diddy Cullinane The John & Happy White Construction D.K. Webster Family Foundation Sheppard Riley Coughlin Foundation Joseph Eletto Transfer, Inc. Summit Partners Delta Dental Plan of MKS Instruments, Inc. Sun Life Financial Massachusetts The MacDowell Company, Talbots Digitas Inc. United Liquors Ltd.

'.SUSS*!

59 NEXT PROGRAM. . .

Thursday, January 30, at 8 Pre- Concert Talks by Friday, January 31, at 8 Marc Mandel, BSO Director of Program Publications Saturday, February 1, at 8

Tuesday, February 4, at 8

NEEME JARVI conducting

CHADWICK Symphony No. 3 in F

Allegro sostenuto Andante cantabile Vivace non troppo Finale. Allegro molto energico

INTERMISSION

STRAUSS Four Last Songs

Friihling [Spring] September

Beim Schlafengehen [Upon Going to Sleep] Im Abendrot [In Evening's Glow]

BARBARA HENDRICKS, soprano

STRAUSS Suite from Der Rosenkavalier

Returning to Symphony Hall for the first time since 1990, the Estonian-born con- ductor Neeme Jarvi is joined by popular American soprano Barbara Hendricks for Richard Strauss's magisterial and reflective Four Last Songs, the composer's mov- ing and lasting tribute to his decades-long marriage. Also on the program is the suite from Strauss's Der Rosenkavalier, an opera that combines Mozartian insight

with the lilt of waltz-dominated Vienna. The program opens with the Third Sym- phony of George Whitefield Chadwick, one of New England's most important com- posers when the Boston Symphony was young. The BSO gave the world premiere of Chadwick's Third under Emil Paur in October 1894, but the work has not been heard here since 1914. Chadwick's example helped usher in a new era for Ameri- can musical independence.

Single tickets for all Boston Symphony Orchestra concerts throughout the season are available at the Symphony Hall box office, online at www.bso.org, or by calling "SymphonyCharge" at (617) 266-1200, Monday through Saturday from 10 a.m. until 6 p.m., to charge tickets instantly on a major credit card, or to make a reser- vation and then send payment by check. Outside the 617 area code, call 1-888- 266-1200. Please note that there is a $4 handling fee for each ticket ordered by phone or over the internet.

60 .

COMING CONCERTS . . .

PRE-CONCERT TALKS: The BSO offers Pre-Concert Talks in Symphony Hall prior to all BSO concerts and Open Rehearsals. Free to all ticket holders, these begin at 7 p.m. prior

to evening concerts, at 12:15 p.m. prior to Friday-afternoon concerts, and one hour before the start of each Open Rehearsal.

Thursday 'B'—January 30, 8-9:55 Thursday, Februaiy 20, at Q:30 a.m. Friday Evening—January 31, 8-9:55 (Open Rehearsal) Saturday 'B'—February 1, 8-9:55 Thursday, February 20—8-10 Tuesday 'B'—February 4, 8-9:55 (Non-Subscription Concert) Friday Evening February 21, 8-10 NEEME JARVI conducting — Saturday, February 22 8-10 BARBARA HENDRICKS, soprano — (Non-Subscription Concert) CHADWICK Symphony No. 3 Tuesday 'C—February 25, 8-10 STRAUSS Four Last Songs TAN DUN conducting STRAUSS Suite from YO-YO MA, cello Der Rosenkavalier SHOSTAKOVICH Overture on Russian Sunday, February 2, at 3 p.m. and Khirgiz Folk Jordan Hall, New England Conservatory Themes CAGE The Seasons, Ballet in BOSTON SYMPHONY CHAMBER PLAYERS one act for orchestra (1947) Adth PAUL BADURA-SKODA, piano BRITTEN Four Sea Interludes 3ARBER Summer Music for wood- from Peter Grimes wind quintet TAN DUN The Map, Concerto jMOZART Quintet in E-flat for for Cello, Video, piano and winds, K.452 and Orchestra SCHUBERT Quintet in A for piano (world premiere; BSO commission) and strings, D.667, Trout Thursday 'A'—February 27, 8-10:10 Thursday, February 6, at 9:30 a.m. Friday 'A'—February 28, 1:30-3:40 (Open Rehearsal) Saturday 'B'—March 1, 8-10:10 rhursday 'A—February 6, 8-9:55 Tuesday 'B'—March 4, 8-10:10 Friday 'A'—February 7, 1:30-3:35 BERNARD HAITINK, conducting Saturday 'B'—February 8, 8-9:55 DOROTHEA ROSCHMANN, soprano LEONARD SLATKIN conducting KLARA WURTZ, piano HILARY HAHN, violin MOZART Symphony No. 35, 3ERLIOZ Overture to Benvenuto Haffner Cellini MOZART Ch'io mi scordi di te. . UEYER Violin Concerto Non temer amato bene, WALTON Symphony No. 1 K.505, Concert aria for soprano and orchestra Wednesday, February 12, at 7:30 p.m. with piano obbligato (Open Rehearsal) MAHLER Symphony No. 4 7 riday 'B'—February 14, 1:30-3:30 Saturday 'A'—February 15, 8-10 Programs and artists subject to change. Tuesday 'B'—February 18, 8-10

FUNDING PROVIDfD IN PARI BY \LAN GILBERT conducting MIDORI, violin

61

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62 SYMPHONY HALL INFORMATION

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

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

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

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

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

I FOR SYMPHONY HALL RENTAL INFORMATION, call (617) 638-9240, or write the Director of Event Services, Symphony Hall, Boston, 02115. j MA

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

TO PURCHASE BSO TICKETS: American Express, MasterCard, Visa, Diners Club, Discover, a personal check, and cash are accepted at the box office. To charge tickets instantly on a major credit card, or to make a reservation and then send payment by check, call "Symphony- Charge" at (617) 266-1200, from 10 a.m. until 6 p.m. Monday through Friday (or until 4 p.m. on Saturday). Outside the 617 area code, phone 1-888-266-1200. As noted above, tickets can also be purchased online. There is a handling fee of $4 for each ticket ordered by phone or online.

GROUP SALES: Groups may take advantage of advance ticket sales. For BSO concerts at Symphony Hall, groups of twenty-five or more may reserve tickets by telephone and take advantage of ticket discounts and flexible payment options. To place an order, or for more information, call Group Sales at (617) 638-9345 or (800) 933-4255.

FOR PATRONS WITH DISABILITIES, an access service center, accessible restrooms, and elevators are available inside the Cohen Wing entrance to Symphony Hall on Huntington Avenue. For more information, call the Disability Services information line at (617) 638-9431 or TTD/TTY (617) 638-9289.

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

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

TICKET RESALE: If you are unable to attend a Boston Symphony concert for which you hold a subscription ticket, you may make your ticket available for resale by calling (617) 266-1492 during business hours, or (617) 638-9426 up to thirty minutes before the concert. This helps bring needed revenue to the orchestra and makes your seat available to someone who wants to attend the concert. A mailed receipt will acknowledge your tax-deductible contribution.

RUSH SEATS: There are a limited number of Rush Seats available for Boston Symphony subscription concerts on Tuesday and Thursday evenings, and on Friday afternoons. The low price of these seats is assured through the Morse Rush Seat Fund. Rush Tickets are sold at $8 each, one to a customer, at the Symphony Hall box office on Fridays as of 10 a.m. and Tuesdays and Thursdays as of 5 p.m. Please note that there are no Rush Tickets available for Friday or Saturday evenings, or the non-subscription concert of Thursday, February 20, 2003.

63

I PLEASE NOTE THAT SMOKING IS NOT PERMITTED ANYWHERE IN SYMPHONY HA I I.

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

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

FIRST AID FACILITIES for both men and women are available. On-call physicians attending ;

concerts should leave their names and seat locations at the switchboard near the Massachu- I setts Avenue entrance.

PARKING: The Prudential Center Garage offers discounted parking to any patron with BSO j

a ticket stub for evening performances. There are also two paid parking garages on Westland I Avenue near Symphony Hall. Limited street parking is available. As a special benefit, guaraifl teed pre-paid parking near Symphony Hall is available to subscribers who attend evening concerts. For more information, call the Subscription Office at (617) 266-7575.

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

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

MEN'S ROOMS are located on the orchestra level, audience-right, outside the Hatch Room ! near the elevator; on the first-balcony level, also audience-right near the elevator, outside the

J Cabot-Cahners Room; and in the Cohen Wing.

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

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

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

BSO FRIENDS: The Friends are donors to the Boston Symphony Orchestra Annual Fund. Friends receive BSO, the orchestra's newsletter, as well as priority ticket information and other benefits depending on their level of giving. For information, please call the Develop- ment Office at Symphony Hall weekdays between 9 and 5, (617) 638-9276. If you are alread a Friend and you have changed your address, please inform us by sending your new and old addresses to the Development Office, Symphony Hall, Boston, MA 02115. Including your patron number will assure a quick and accurate change of address in our files.

BUSINESS FOR BSO: The BSO's Business Leadership Association program makes it possible for businesses to participate in the life of the Boston Symphony Orchestra through a variety original and exciting programs, among them "Presidents at Pops," "A Company Christmas Pops," and special-event underwriting. Benefits include corporate recognition in the BSO pi gram book, access to the Beranek Room reception lounge, and priority ticket service. For fui^ ther information, please call the Corporate Programs Office at (617) 638-9270.

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

64 rrirB'

BOSTON SYMPHONY ORCHESTRA The Walter Piston Society

Our lead trust is the best business decision for a charitable gift," says Al Steiner, former president of American Benefits Group and Philanthropic Financial Services. "You defer capital gains tax, increase your gift to Tanglewood, invest the principal and have the remainder to give to your

children! Shirley and I did this with the sale of our Lenox home. We have given the Head 5 portion to our Tanglewood Annual Fund and another charity."

Walter Piston Society members al and shirley steiner have loved Tanglewood since 1956, and have been Friends of Tanglewood for more than 20 years. Shirley was a school psychologist for 23 years. They have two children, and three grandchildren.

It's so easy to establish a planned gift with the BSO, Tanglewood, or Pops.

To learn more about charitable lead trusts or other planned gifts, please call

Judi T. Cantor or Elizabeth Stevens in the Planned Giving Office at (617) 638-9269 or 638-9265, toll free at (888) 244-4694, or e-mail [email protected]. Digital Virtuosity

As the world leader in automated networked storage, we're helping people around the globe gain access to more digital informa-

tion, whether it's the international currency of business data or the universal language of music.

EMC Corporation is proud to support the Boston Symphony Orchestra. www.EMC.com

EMC2 where information lives

Copyright ©2002 EMC Corporation. All rights reserved. EMC and the

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