Boston Symphony Orchestra Concert Programs, Season 108, 1988

M QUADRUM

The Mall At Chestnut Hill 617-965-5555 mk Seiji Ozawa, Music Director Carl St. Clair and Pascal Verrot, Assistant Conductors One Hundred and Eighth Season, 1988-89

Trustees of the Boston Symphony Orchestra, Inc.

Nelson J. Darling, Jr., Chairman George H. Kidder, President

J.P. Barger, Vice-Chairman Mrs. Lewis S. Dabney, Vice-Chairman

Archie C. Epps, Vice-Chairman William J. Poorvu, Vice-Chairman and Treasurer

Vernon R. Alden Mrs. Eugene B. Doggett Mrs. Robert B. Newman David B. Arnold, Jr. Mrs. John H. Fitzpatrick Peter C. Read Mrs. Norman L. Cahners Avram J. Goldberg Richard A. Smith James F. Cleary Mrs. John L. Grandin Ray Stata Julian Cohen Francis W. Hatch, Jr. William F. Thompson William M. Crozier, Jr. Harvey Chet Krentzman Nicholas T. Zervas Mrs. Michael H. Davis Mrs. August R. Meyer Trustees Emeriti

Philip K. Allen E. Morton Jennings, Jr. Mrs. George R. Rowland Allen G. Barry Edward M. Kennedy Mrs. George Lee Sargent Leo L. Beranek Albert L. Nickerson Sidney Stoneman Mrs. John M. Bradley Thomas D. Perry, Jr. John Hoyt Stookey Abram T. Collier Irving W. Rabb John L. Thorndike Mrs. Harris Pahnestock

Other Officers of the Corporation

John Ex Rodgers, Assistant Treasurer Jay B. Wailes, Assistant Treasurer Daniel R. Gustin, Clerk

Administration of the Boston Symphony Orchestra, Inc. Kenneth Haas, Managing Director Daniel R. Gustin, Assistant Managing Director and Manager of Tanglewood

Michael G. McDonough, Director of Finance and Business Affairs Anne H. Parsons, Orchestra Manager Costa Pilavachi, Artistic Administrator Caroline Smedvig, Director of Promotion Josiah Stevenson, Director of Development Robert Bell, Data Processing Manager Marc Mandel, Publications Coordinator EC Helen P. Bridge, Director of Volunteers John C. Marksbury, Director of Madelyne Codola Cuddeback, Director Foundation and Government Support

* • of Corporate Development Julie-Anne Miner, Supervisor of Patricia F Halligan, Personnel Administrator Fund Accounting ii Russell M. Hodsdon, Manager of Box Office Richard Ortner, Administrator of Craig R. Kaplan, Controller Tanglewood Music Center FM Nancy A. Kay, Director of Sales Scott Schillin, Assistant Manager, John M. Keenum, Director of Pops and Youth Activities Tanglewood Music Center Development Joyce M. Serwitz, Assistant Director 1 Patricia Krol, Coordinator of Youth Activities of Development Steven Ledbetter, Musicologist & Cheryl L. Silvia, Function Manager Program Annotator Susan E. Tomlin, Director of Annual Giving Michelle R. Leonard, Budget Manager PGHM Programs copyright ©1989 Boston Symphony Orchestra, Inc. Cover by Diane Fassino/Design

I Board of Overseers of the Boston Symphony Orchestra, Inc.

Avram J. Goldberg, Chairman John P. Cogan, Jr., Vice-Chairman Mrs. R. Douglas Hall III, Secretary

Martin Allen Haskell R. Gordon E. James Morton Mrs. David Bakalar Steven Grossman David G. Mugar Bruce A. Beal Joe M. Henson Mrs. Hiroshi H. Nishino Mrs. Richard Bennink Susan M. Hilles Robert P. O'Block Mrs. Leo L. Beranek Glen H. Hiner Vincent M. O'Reilly Lynda Schubert Bodman Ronald A. Homer Walter H. Palmer Donald C. Bowersock, Jr. Julian T. Houston Andrall E. Pearson Peter A. Brooke Lola Jaffe John A. Perkins William M. Bulger Anna Faith Jones Daphne Brooks Prout Mrs. Levin H. Campbell H. Eugene Jones Robert E. Remis Earle M. Chiles Mrs. Bela T. Kalman John Ex Rodgers Mrs. C. Thomas Clagett, Jr. Susan B. Kaplan Mrs. William H. Ryan James F. Cleary Mrs. S. Charles Kasdon Keizo Saji Mrs. Nat Cole Howard Kaufman Roger A. Saunders William H. Congleton Robert D. King Mrs. Raymond H. Schneider

Walter J. Connolly, Jr. Mrs. Gordon F Kingsley Mark L. Selkowitz Albert C. Cornelio Mrs. Carl Koch Malcolm L. Sherman Phyllis Curtin Robert K. Kraft Mrs. Donald B. Sinclair AlexV.d'Arbeloff Mrs. Hart D. Leavitt W. Davies Sohier, Jr. Mrs. Eugene B. Doggett R. Willis Leith, Jr. Ralph Z. Sorenson Phyllis Dohanian Laurence Lesser Ira Stepanian

Harriett M. Eckstein Stephen R. Levy Mrs. Arthur I. Strang Edward Eskandarian Frederick H. Lovejoy, Jr. Mark Tishler, Jr. Katherine Fanning Mrs. Charles P. Lyman Luise Vosgerchian Peter M. Flanigan Mrs. Harry L. Marks Mrs. An Wang Henry L. Foster C. Charles Marran Robert A. Wells Dean Freed Nathan R. Miller Mrs. Thomas H.P Whitney

Peter H.B. Frelinghuysen Hanae Mori Mrs. John J. Wilson Jordan L. Golding Mrs. Thomas S. Morse Brunetta R. Wolfman Mark R. Goldweitz

Overseers Emeriti

Mrs. Frank G. Allen Leonard Kaplan David R. Pokross Hazen H. Ayer Benjamin H. Lacy Mrs. Peter van S. Rice Mary Louise Cabot Mrs. James F Lawrence Mrs. Jerome Rosenfeld

Mrs. Thomas J. Galligan Mrs. Stephen V.C. Morris Mrs. Richard H. Thompson Mrs. Richard D. Hill Stephen Paine, Sr. Mrs. Donald B. Wilson

Mrs. Louis I. Kane

Symphony Hall Operations

Robert L. Gleason, Facilities Manager

James E. Whitaker, House Manager

Cleveland Morrison, Stage Manager Franklin Smith, Supervisor of House Crew Wilmoth A. Griffiths, Assistant Supervisor of House Crew William D. McDonnell, Chief Steward H.R. Costa, Lighting I 1 m$

Officers of the Boston Symphony Association of Volunteers

Mrs. Eugene B. Doggett, President Phyllis Dohanian, Executive Vice-President Ms. Helen Doyle, Secretary Mr. Goetz B. Eaton, Treasurer Mrs. Florence T. Whitney, Nominating Chairman

Vice-Presidents

Mrs. Nathaniel Bates, Hall Services Mrs. David Robinson, Fundraising Projects Ms. Kathleen Heck, Development Services Mrs. Harry F. Sweitzer, Jr., Public Relations Mrs. William D. Larkin, Tanglewood Mrs. Thomas S. Walker, Regions Mrs. Anthony Massimiano, Tanglewood Ms. Margaret Williams, Youth Activities Mrs. Jeffrey Millman, Membership and Adult Education

Chairmen of Regions

Mrs. Russell R. Bessette Mrs. Robert Miller Mrs. Ralph Seferian Mrs. James Cooke Mrs. Hugo A. Mujica Mrs. Anthony A. Tambone Mrs. Linda Fenton Mrs. G. William Newton Mrs. Richard E. Thayer Mrs. Harvey B. Gold Mrs. Jay B. Pieper Mr. F. Preston Wilson Mrs. Daniel Hosage

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BSO « Symphony Spotlight Wing, and on the first-balcony level near the elevator are open from one hour before each This is one in a series of biographical sketches — concert through intermission. Both carry a that focus on some of the generous individuals I who have endowed chairs in the Boston Sym- unique selection of books, toys, greeting ^Hi phony Orchestra. Their backgrounds are var- cards, neckties, and tote bags, as well as the latest ied, but each felt a special commitment to the BSO and Pops recordings and the ever- Boston Symphony Orchestra. popular Symphony mint and bark from Har- bor Sweets. Telephone orders are accepted at Sandra and David Bakalar Chair (617) 267-2692 anytime and will be filled Sandra Bakalar, an Overseer of the Boston promptly. All proceeds from the Symphony m Symphony Orchestra, has been a longtime Shop benefit the Boston Symphony Orchestra. supporter of local musical organizations. At a fundraising event in her home three years ago, BSO Members in Concert BSO cellist Joel Moerschel performed a m BSO members Leone Buyse, flute, Ann Hobson Beethoven sonata. "It was exquisite!" recalls I her husband, David Bakalar. "Since we both Pilot, harp, and Mark Ludwig, viola, perform v» love the cello and had been thinking of endow- music of Telemann, Faufe, Bizet, Ibert, Persi- chetti, Ravel, Devienne, and Debussy on Sun- ing a chair at the BSO, we thought it would be day, February at 3 p.m. as part of the particularly appropriate to make Joel, a young 19, sm Richmond Performance Series at the Rich- and talented musician, its recipient." Sandra mond Congregational Church. Admission is Bakalar, who received her bachelor's degree $9 ^^H from Wellesley and a master's in social work ($7 students and seniors). For further informa- from Columbia, remains particularly inter- tion, call (413) 698-2837 or (617) 437-0204. Amnon Levy conducts the Salem Symphony ested in the performing arts. David Bakalar 1 has degrees from Harvard and a doctorate in Orchestra in a program of music by Beethoven, physics from the Massachusetts Institute of Mozart, Wagner, and Bernstein on Sunday, Technology. He retired recently as president February 19, at 3:30 p.m. at Salem High School, 77 Wilson Street in of Transitron Electronic Corporation and is Salem. Admission now seriously devoting his time to sculpting is free. For further information call (508) and painting. "We both have enjoyed BSO 745-9300. Ellis Dickson the concerts," says Mrs. Bakalar, "and it's a won- Harry conducts Boston Classical derful feeling to be able to thank all the musi- Orchestra on Wednesday, February cians for giving us the pleasure of their 22, and Friday, February 24, at 8 p.m. at music." Faneuil Hall. The program includes Mozart's Divertimento in F, K.138, Mozart's Quartet in F for oboe and strings, K.370, with guest The Symphony Shop I oboist Ralph Gomberg, Barber's Adagio for Introduces New Items Strings, and Foote's Suite in E for strings. Concertgoers will discover an array of won- Tickets are $18 and $12 ($8 students and

- I I • derful springtime gifts at the Symphony Shop. seniors). For further information call I A project of the Boston Symphony Associa- 426-2387. tion of Volunteers, the Shop now carries newly- The Melisande Trio—Burton Fine, viola, designed mugs featuring the BSO logo and Susan Miron, harp, and Fenwick Smith, I I Seiji Ozawa's signature, or the Pops logo and flute—perform music of Debussy, Ravel, M John Williams's signature, in 22-karat gold, Saint-Saens, CPE. Bach, and Bax on Friday, colorful handpainted sweatshirts designed February 24, at 8 p.m. at the First Baptist 3m exclusively for the BSO by local artists, and Church in Worcester (at the corner of Park Symphony Hall tins filled with potpourri in and Salisbury streets). Tickets are $4. For various scents. The Shop's two locations—in further information call (508) 755-6143. the Huntington Avenue stairwell near the Cohen BSO horn player Daniel Katzen appears in m2m*

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A WORLD OF STYLE

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recital on Sunday, February 26, at 8 p.m. at The BSO Announces a Jordan Hall. The program includes music of New Endowment Program Dukas and Mozart, a solo cello suite by Bach, The BSO is pleased to announce the Building and a medley of Scottish and Irish songs and Blocks Program, a newly-created endowment dance tunes for horn and Celtic harp. Admis- opportunity offering Friends of the BSO a sion is free. chance to establish personally-named funds BSO harpist Ann Hobson Pilot is soloist in with a minimum contribution of $10,000. Handel's Concerto for Harp and Orchestra These funds, which over time may grow and the east coast premiere of William Marx's through added contributions and market Images for Harp and Orchestra on Sunday, appreciation, can be in the name of the donor March 5, at 3 p.m. in Jordan Hall with Max or in the name of someone to be honored or Hobart and the Civic Symphony Orchestra. memorialized. As the fund builds, the income Also on the program is music of Mussorgsky may be used to support one of a number of and Ravel, and Brahms's Symphony No. 2. programs offered for endowment. If you would Tickets are $12 and $8. For more information, like to discuss this or other endowment possi- call 437-0231. bilities, please contact David Arnold, Endow- flutist Leone Buyse appears in recital BSO ment Committee Chairman, or Joyce Serwitz, with Michael Webster, clarinet, and Martin i Director, Major Gifts Program, Boston Sym- Amlin, piano, on Sunday, March 5, at 7 p.m. at phony Orchestra, at 266-1492, ext. 132. the First Baptist Church in Needham (Warren and Great Plain Avenue), sponsored by the With Thanks Needham Concert Society. The program includes music of Poulenc, Koechlin, Mes- We wish to give special thanks to the National siaen, Amlin, Saint-Saens, and Welcher. Tick- Endowment for the Arts and the Massachu- ets are $7.50 for adults, $5 for students. For setts Council on the Arts and Humanities for information or reservations, call 444-7162 or their continued support of the Boston Sym- 444-6080. phony Orchestra.

Leslie R. Martin

March 3, 1921-January 30, 1989 - Leslie ("Tiny") Martin, a member of the BSO's bass section for thirty years, died last month at his home in Sedro Woolley Washington. Born in Seattle, Mr. Martin began playing the bass at age ten and became a member of the Seattle Symphony while he was still a high school student. After graduating he toured with several jazz bands before returning to Seattle in 1947 as principal bass of the Seattle Symphony Mr. Martin attended Seattle's Cornish School and the University of Washington and continued his studies at the Tanglewood Music Center under Serge Kous- sevitzky, returning to his position with the Seattle Symphony before joining the Boston Symphony Orchestra in 1957 under Charles Munch. In 1975, along with several of his BSO colleagues, Mr. Martin formed the WUZ, a jazz ensemble specializing in music of the '30s, '40s, and '50s—the music that once "was." In addition to teaching privately, Mr. Martin was a faculty member at Boston Univer- sity's School for the Arts and the New England Conservatory of Music. Prior to his retirement from the orchestra in 1987, he was a member of the BSO Players Committee for a number of years and served as the orchestra's representative to the International Conference of Symphony and Opera Musicians Association. An easily recognizable presence on the Symphony Hall stage, Tiny Martin was a dedicated musician and teacher. We will miss him. 1 1

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feraft Seiji Ozawa

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

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

Seiji Ozawa was named music director of the Boston Symphony Orchestra in 1973 following a year as the orchestra's music adviser; he is now in his sixteenth year as music director of the Boston Symphony Orchestra. With the Boston Symphony Orchestra he has led concerts in Europe, Japan, and throughout the United States; in March 1979 he and the orchestra made an historic visit to China for a significant musical exchange entailing coaching, study, and discussion sessions with Chinese musicians, as well as concert performances, becoming the first American performing ensemble to visit China since the establishment of diplomatic relations. In December 1988 he and the orchestra gave eleven concerts during a two-week, ten-city tour to England, the Netherlands, France, Germany, Austria, and Belgium.

Mr. Ozawa pursues an active international career, appearing regularly with the Berlin Philharmonic, the Orchestre de Paris, the French National Orchestra, the Vienna Philharmonic, the Philharmonia of London, and the New Japan Philhar- monic. His operatic credits include appearances at Salzburg, London's Royal Opera at Covent Garden, La Scala in Milan, and the Paris Opera, where in 1983 he I v I conducted the world premiere of Olivier Messiaen's St. Francis ofAssisi, a performance recently issued on compact disc.

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

Seiji Ozawa won an Emmy for the Boston Symphony Orchestra's "Evening at Symphony" PBS television series. He holds honorary doctor of music degrees from b£H the University of Massachusetts, the New England Conservatory of Music, and Wheaton College in Norton, Massachusetts.

^H Leo Panasevich Carolyn and George Rowland chair Sheldon Rotenberg Muriel C. Kasdon and Marjorie C. Foley chair Alfred Schneider Raymond Sird Ikuko Mizuno Amnon Levy

Music Directorship endowed by Second Violins John Moors Cabot Marylou Speaker Churchill Fahnestock chair BOSTON SYMPHONY Vyacheslav Uritsky ORCHESTRA Charlotte and Irving W. Rabb chair Ronald Knudsen 1988-89 Edgar and Shirley Grossman chair Joseph McGauley First Violins Leonard Moss Malcolm Lowe Concertmaster *Michael Vitale Charles Munch chair *Harvey Seigel Tamara Smirnova-Sajfar *Jerome Rosen Associate Concertmaster * Sheila Fiekowsky Helen Horner Mclntyre chair Ronan Lefkowitz Max Hobart Assistant Concertmaster *Nancy Bracken Robert L. Beat, and *Jennie Shames Enid L. and Bruce A. Beal chair *Aza Raykhtsaum Lucia Lin *Valeria Vilker Kuchment Assistant Concertmaster * Bonnie Bewick Edward and Bertha C. Rose chair Bo Youp Hwang *Tatiana Dimitriades John and Dorothy Wilson chair, *James Cooke fully funded in perpetuity Max Winder Violas Forrest Foster Collier chair Burton Fine Fredy Ostrovsky Charles S. Dana chair Dorothy and David B. Arnold, Jr., Q. Patricia McCarty chair, fully funded in perpetuity Anne Stoneman chair, Gottfried Wilfinger fully funded in perpetuity Ronald Wilkison

*Participating in a system of rotated seating within each string section %On sabbatical leave ^Orchestra Fellow, Music Assistance Fund m

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

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A Brief History of the Boston Symphony Orchestra

Now in its 108th season, the Boston Sym- ers—and the activities of the Boston Pops phony Orchestra gave its inaugural concert Orchestra have established an international on October 22, 1881, and has continued to standard for the performance of lighter uphold the vision of its founder, the phi- kinds of music. Overall, the mission of the lanthropist, Civil War veteran, and amateur Boston Symphony Orchestra is to foster musician Henry, Lee Higginson, for more and maintain an organization dedicated to than a century. Under the leadership of the making of music consonant with the Seiji Ozawa, its music director since 1973, highest aspirations of musical art, creating the Boston Symphony Orchestra has per- performances and providing educational formed throughout the United States, as and training programs at the highest level well as in Europe, Japan, and China, and it of excellence. This is accomplished with the reaches audiences numbering in the mil- continued support of its audiences, govern- lions through its performances on radio, mental assistance on both the federal and television, and recordings. It plays an local levels, and through the generosity of active role in commissioning new works many foundations, businesses, and from today's most important composers; its individuals. summer season at Tanglewood is regarded Henry Lee Higginson dreamed of found- as one of the most important music fes- ing a great and permanent orchestra in his tivals in the world; it helps to develop the home town of Boston for many years before audience of the future through the Boston that vision approached reality in the spring Symphony Youth Concerts and through a of 1881. The following October, the first variety of outreach programs involving the Boston Symphony Orchestra concert was entire Boston community; and, during the given under the direction of conductor Tanglewood season, it sponsors one of the Georg Henschel, who would remain as world's most important training grounds music director until 1884. For nearly for young composers, conductors, instru- twenty years Boston Symphony concerts mentalists, and vocalists, the Tanglewood were held in the Old Boston Music Hall; Music Center, which celebrates its fiftieth Symphony Hall, the orchestra's present anniversary in 1990. The orchestra's vir- home, and one of the world's most highly tuosity is reflected in the concert and regarded concert halls, was opened in 1900. recording activities of the Boston Sym- Henschel was succeeded by a series of phony Chamber Players—the world's only German-born and -trained conductors permanent chamber ensemble made up of a Wilhelm Gericke, Arthur Nikisch, Emil major symphony orchestra's principal play- Paur, and Max Fiedler—culminating in the

The first photograph, actually a collage, of the Boston Symphony Orchestra under Georg Henschel, taken 1882

13 Without You, This Is The Whole Picture,

This year, there is a $9 million difference educational and youth programs, and to attract between what the BSO will earn—and what we the world's finest musicians and guest artists. must spend to make our music. Make your generous gift to the Annual Your gift to the Boston Symphony Annual Fund—and become a Friend of the Boston Fund will help us make up that difference. Symphony Orchestra today. Because without It will help us continue to fund outreach, you, the picture begins to fade. r ~i Yes, I want to keep great music alive.

I'd like to become a Friend of the BSO for the 1988-89 season. (Friends' benefits begin at $50.) Enclosed is my check for $ payable to the Boston Symphony Annual Fund.

Name. .Tel.

Address.

City. .State. .Zip. Please send your contribution to: Susan E. Tomlin, Director of Annual Giving, Boston Symphony Orchestra, Symphony Hall, Boston, MA 02115, (617) 266-1492.

I Gifts to the Annual Fund are tax-deductible to the full extent allowed by law. KEEP GREAT MUSIC AUVE

14 appointment of the legendary Karl Muck, Charles Munch followed Koussevitzky as who served two tenures as music director, music director in 1949. Munch continued 1906-08 and 1912-18. Meanwhile, in July Koussevitzky's practice of supporting con- 1885, the musicians of the Boston Sym- temporary composers and introduced much phony had given their first "Promenade" music from the French repertory to this concert, offering both music and refresh- country. During his tenure the orchestra ments, and fulfilling Major Higginson's toured abroad for the first time and its I wish to give "concerts of a lighter kind of continuing series of Youth Concerts was ini- music." These concerts, soon to be given in tiated. Erich Leinsdorf began his seven- the springtime and renamed first "Popu- year term as music director in 1962. Mr. lar" and then "Pops," fast became a Leinsdorf presented numerous premieres, m tradition. restored many forgotten and neglected

works to the repertory, and, like his two i /»' In 1915 the orchestra made its first trans- i predecessors, made many recordings for continental trip, playing thirteen concerts RCA; in addition, many concerts were tele- at the Panama-Pacific Exposition in San vised under his direction. Leinsdorf was Francisco. Recording, begun with RCA in also an energetic director of the Tangle- I 1917, continued with increasing frequency, wood Music Center, and under his lead- as did radio broadcasts. In 1918 Henri -v. ership a full-tuition fellowship program was Rabaud was engaged as conductor; he was established. Also during these years, in succeeded a year later by Pierre Monteux. 1964, the Boston Symphony Chamber Play- These appointments marked the beginning ers were founded. of a French-oriented tradition that would be maintained, even during the Russian- William Steinberg succeeded Leinsdorf born Serge Koussevitzky's time, with the in 1969. He conducted a number of Amer- employment of many French-trained ican and world premieres, made recordings musicians. for Deutsche Grammophon and RCA,

appeared regularly on television, led the - The Koussevitzky era began in 1924. His 1971 European tour, and directed concerts extraordinary musicianship and electric personality proved so enduring that he on the east coast, in the south, and in the H served an unprecedented term of twenty- mid-west. five years. Regular radio broadcasts of Seiji Ozawa, an artistic director of the %*! Boston Symphony Orchestra concerts Tanglewood Festival since 1970, became began during Koussevitzky's years as the orchestra's thirteenth music director in music director. In 1936 Koussevitzky led the fall of 1973, following a year as music the orchestra's first concerts in the adviser. Now in his sixteenth year as music Berkshires; a year later he and the players director, Mr. Ozawa has continued to solid- took up annual summer residence at ify the orchestra's reputation at home and Tanglewood. Koussevitzky passionately abroad, and he has reaffirmed the orches- shared Major Higginson's dream of "a tra's commitment to new music through his 9B&9 good honest school for musicians," and in program of centennial commissions and a 1940 that dream was realized with the newly initiated program including such founding of the Berkshire Music Center prominent composers as John Cage, Hans (now called the Tanglewood Music Center). Werner Henze, Peter Lieberson, and Rands. his direction, the In 1929 the free Esplanade concerts on Bernard Under orchestra has also expanded its recording the Charles River in Boston were inaugu- activities to include releases on the Philips, rated by Arthur Fiedler, who had been a Hyperion, member of the orchestra since 1915 and Telarc, CBS, EMI/Angel, New who in 1930 became the eighteenth conduc- World, and Erato labels. tor of the Boston Pops, a post he would Today, the Boston Symphony Orchestra, hold for half a century, to be succeeded by Inc., presents more than 250 concerts John Williams in 1980. The Boston Pops annually. It is an ensemble that has richly EVS Orchestra celebrated its hundredth birth- fulfilled Higginson's vision of a great and H day in 1985 under Mr. Williams's baton. permanent orchestra in Boston.

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16 1

1 World Premieres by Bernard Rands and John Cage Highlight Boston Symphony Season in February and April

Seiji Ozawa and the Boston Symphony Orchestra present two world premiere perform- M I A ". ances at Symphony Hall this winter: Bernard Rands' . . body and shadow . . ." on

February 23, 24, and 25, and John Cage's "One Hundred and One" on April 6, 7, 8, and 11. HI This season, in cooperation with two area universities, the Boston Symphony Orchestra will present two world premieres. Together with the BSO, Boston Univer- sity has co-commissioned a work by Pulitzer Prize-winning composer Bernard Rands to celebrate the University's 150th anniversary, and Harvard University has H co-commissioned a new score from the senior avant-gardist John Cage on the occasion of his delivering the Charles Eliot Norton Lectures at Harvard during the 1988-89 academic year.

Bernard Rands was born in Sheffield, England, in 1934, but he has lived in the United States for many years and became an American citizen in 1983. This proved to be excellent timing: it made him eligible for the 1984 Pulitzer Prize, which he received for his remarkable Canti del Sole, for tenor and orchestra, a counterpart to the equally remarkable Canti lunatici, for soprano and orchestra, which was performed as part of the Festival of Contemporary Music at Tanglewood in August 1982. Rands studied in Italy with Roman Vlad and Luigi Dallapiccola; in the early 1960s he went to Darmstadt, where he worked in composition and conducting with Pierre Boulez and Bruno Maderna. Luciano Berio, with whom Rands studied in Italy after his work at Darmstadt, has been particularly influential. Rands first came to the United States in 1966, as composer-in-residence at Princeton. He has since taught at the University of Illinois and York University in England, and at the University of California at San Diego from 1975 until 1985, when he came to Boston University as Professor of Composition.

". Rands has described his new work, . . body and shadow ..." (the title is a fragment from an early poem by Samuel Beckett), as a kind of concerto for orchestra in two movements. It begins with instruments grouped in their traditional broad families—winds and strings. But as the work proceeds, these large groups (and the rather traditional sonorities associated with them) begin to break down. The winds subdivide into their two major components, woodwinds and brass; then each of those components further breaks down into their respective families. The string choir, too, undergoes a similar series of subdivisions, culminating, at last, in an emphasis on

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; ' ' 'ffr-r » -,"V' . I f* HHHHHh individual solo instruments. The second movement, which is fairly slow and lyrical, recombines the solo instruments in new ways, inventing unfamiliar (and perhaps even unidentifiable) color combinations. "I particularly enjoy it when people tell me that they weren't able to figure out what instruments were playing," Rands says.

". Composer Bernard Rands will be present to discuss his new work, . . body .", and shadow . . at the Open Rehearsal talk on Wednesday, February 22, at 6:45 p.m. in the Cohen Wing, and at the Friday Preview lecture on Friday, February 24, at 12:30 p.m. in the Cohen Wing. The Open Rehearsal talk is open to anyone who holds a ticket for that evening's Open Rehearsal, available at the Symphony Hall box office. Tickets to the Friday Preview are $5 and may be reserved by calling the Volunteer Office at 266-1492, ext. 177. Please note that seating is limited to the capacity of the Cohen Wing.

No American composer has had a greater influence on musical thought and practice throughout the world than John Cage, who has been at the center of the >U avant garde for decades. This is especially obvious in recent histories of contemporary music written from a European perspective; John Cage bulks far larger than other figures, particularly for his aesthetic of indeterminacy (which is, in fact, only one aspect of his musical thought). Cage was the son of an inventor, and the inventive spirit has been with him throughout his life. Born in Los Angeles in 1912, he distinguished himself early for scholarship (particularly in Latin) and enrolled at Pomona College, but departed after two years to continue his education through first-hand study in Europe of music, art, and architecture. His studies in music were partly formal—including work in non-Western music with Henry Cowell in New York and counterpoint with Arnold Schoenberg in Los Angeles—but mostly the product of his own experimentation. In 1938 he became the accompanist for dance classes in Seattle. There he met Merce Cunningham, with whom he has collaborated for the last half-century.

Cage's musical attention has been directed to percussion music, and particularly .X* to "prepared" piano (changing the timbres of the instrument by inserting various objects between the strings). Since the pitches often became difficult to discern

3c " I

John Cage Bernard Rands

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TI FFANY & CO. BOSTON • COPLEY PLACE • 100 HUNTINGTON AVENUE • 02116 TO ORDER CALL 617-353-0222 • ©T & C0.1988 because of the complexity of the sounds produced by the preparation, Cage began producing works constructed upon various rhythmic devices, often derived from Eastern musical traditions. The study of Eastern philosophy led him to the I Ching, the Chinese book of changes, which led him to compose music consciously renounc- ing the composer's control over certain elements of the final sound of the piece. It is John Cage's conviction that "Everything we do is music." Audiences at many of his performances have been bewildered or outraged by turns, as in the case of his most notorious work, 4'33", in which any number of performers sit motionless on stage with a stop watch for that amount of time. The audience hears what seems to them to be total silence, but, in fact, the music consists of everything that happens during that interval—the breathing of the audience, a cough, the rustling of programs, the passing of a fire engine—and no two performances are identical. This approach is strongly influenced by Eastern, particularly Buddhist, thought, as is evident from a passage in Cage's book, Silences: Our intention is to affirm this life, not to bring order out of chaos or to suggest improvements in creation, but simply to wake up to the very life we're living, which is so excellent once one gets one's mind and one's desires out of the way and lets it act of its own accord. Few composers approach their work with such an all-encompassing embrace. Cage's lectures at Harvard have exemplified his approach to music; they are, indeed, as much "music" as the compositions heard in concert halls. Cage's music is rarely prescriptive. It offers options: choices as to which parts of a piece are even to be performed, or what their relationship may be, or choices for the performer, who must interpret some sort of graphic notation or determine tempi within a set framework. The sternest taskmaster is often a stopwatch (rather than a conductor); within a set time frame the performers must accomplish some task, but the precise moment or speed or even choice of notes may change from one performance to the next. All this may sound, to many, to be anti-musical. I can vouch for the fact that, having heard a recent work of Cage's—Music for Fifteen, a half-hour-long piece (exactly a half hour, to the second!) composed for the centennial of Pomona College last year—that surprises occur at every performance, things that you think must have been planned, yet were not—at least not in the sense that Beethoven planned things to happen. Even the end of the work somehow seemed inevitable, though it would never happen exactly the same way again. One Hundred and One, Cage's new work for the BSO (and named for the number of musicians on the orchestra's roster), calls for every single member of the ensemble—and no conductor! It is impossible to say in advance, even from a study of the score, what it will sound like, since much of what happens is in the hands of the players during the heat of the performance. But it seems likely that the new Cage piece will astonish, arouse, abash, afflict, affront, aggrieve, agitate, alarm, alienate, allure, amaze, annoy, appall, assail, absorb, or amuse the audience. No one will be left apathetic. —Steven Ledbetter

21 Week 15 References furnished on request

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, BOSTON SYMPHONY ORCHESTRA

Seiji Ozawa, Music Director Carl St. Clair and Pascal Verrot, Assistant Conductors I One Hundred and Eighth Season, 1988-89 * I

Thursday, February 16, at 8 Friday, February 17, at 2 Saturday, February 18, at 8

We regret that Christoph von Dohnanyi is unable to conduct these concerts because of illness; we are fortunate to have secured, at short notice, the services of Jesus Lopez-Cobos as guest conductor. Please note that

Mozart's Symphony No. 40 replaces the Webern and Strauss works origi- % 1 nally scheduled for the first half of this week's program; the second half of the program—Schubert's Great C major symphony—remains unchanged. &JCB JESUS LOPEZ-COBOS conducting

MOZART Symphony No. 40 in G minor, K.550 I Allegro molto fit Andante Menuetto: Allegretto Allegro assai

INTERMISSION

SCHUBERT Symphony in C, D.944, The Great Andante—Allegro ma non troppo Andante con moto *^ L# X h Scherzo: Allegro vivace Allegro vivace I EMI

The evening concerts will end about 9:55 and the afternoon concert about 3:55. i RCA, Deutsche Grammophon, Philips, Telarc, CBS, EMI/Angel, Erato, New World, and Hyperion records Baldwin piano rlK^

Please be sure the electronic signal on your watch or pager is switched off during the concert. H4H The program books for the Friday series are given in loving memory of Mrs. Hugh Bancroft by her daughters Mrs. A. Werk Cook and the late Mrs. William C. Cox.

Week 15 —

Wolfgang Amade Mozart Symphony No. 40 in G minor, K.550

Johannes Chrysostomus Wolfgang Gottlieb Mozart, who began calling himself Wolfgang Amadeo about 1770 and Wolfgang Amade in 1777, was born in Salzburg, Austria, on

January 27, 1756, and died in Vienna on December 5, 1791. He composed his last three symphonies—Nos. 39, 40, and 41—during the summer of 1788, probably for a series of subscription concerts that he hoped would help him support his family given his difficult financial straits at the time, but which seem not to have taken place. The dates of the first performances are not known. Symphony No. 40 in G minor, K.550, was completed on July 15, 1788. It was first performed in America by the Philharmonic Society of New York under Henry C. Timm on April 25, 1846. Georg Henschel led the first Boston Symphony performances in November 1881. Joseph Silverstein led the most recent subscription performances in February 1984 and Edo de Waart the most recent

Tanglewood performance in August 1988. The score originally called for flute, two each of oboes, bassoons, and horns, and strings. Mozart later rewrote the two oboe parts for two each of oboes and clarinets; it is the later version, with clarinets, that will be heard at these performances.

From time to time in the history of music we are confronted with a case of such astonishing fluency and speed of composition that we can only marvel: Handel composing his Messiah almost in less time than it would take a copyist to write it out, then, after taking a week off, beginning the composition of his dramatic oratorio Samson, also completed in less than a month; Johann Sebastian Bach turning out church cantatas that were planned, composed, rehearsed, and performed all between one Sunday and the next for week after week during his first years in Leipzig. But few examples of such high-voltage composition are as impressive as Mozart's feat in the summer of 1788, composing his last three symphonies, along with a number of smaller pieces, in something under two months. At the same time, we'd be hard put to find three more strikingly varied works from the pen of a single composer; how much more miraculous it is, then, that they were written almost at one sitting, and at a time when Mozart was in desperate financial straits, a situation that scarcely ever changed for the rest of his life.

Mozart reinforced the striking differences in mood in these three symphonies from mellow lyricism to darkly tragic grace to festive formality—with simple but significant differences in the instrumentation of the three pieces. In Symphony No. 39 he employed clarinets instead of oboes, whereas in No. 40 he preferred the sharper "bite" of the oboes but completely omitted trumpets and timpani since their heroic gestures could play no role in so dark a work. Then in No. 41 he returned to the normal complement of brass, as in No. 39, while again including oboes rather than clarinets.

The unrelieved "minorness" of the G minor symphony gives it a feeling of passionate violence that recommended it to audiences even when so many of Mozart's compositions were considered mere decorative playthings. The opening is nearly unique among classical symphonies—a hushed rustling, growing out of silence. Without a slow introduction of the sort that might typically precede such a quiet beginning, we are hustled into the middle of things almost without realizing it. The theme emphasizes an expressive falling semitone, an age-old symbol of yearn- ing. Modulation begins already after the first emphatic cadence, and we soon reach, in the relative major, the second theme, whose passing chromatic tones prove to have consequences later. The ambiguity of phrasing so important in this movement is splendidly illustrated in the return to the main theme at the recapitulation, where the violins are already playing the long upbeat to the opening phrase during the last two measures of the development, while the winds are winding down to a cadence. In m

the recapitulation, the second theme, instead of being brought back in the major, now arrives in the minor, further darkening the mood and thereby emphasizing the continued power of the minor mode over the expressive forces of the symphony.

The slow movement is in the related key of E-flat, but passing chromatic figures and a surprising turn of modulation show that it comes from the same expressive <» world as the first movement. The G minor minuet is much too severe to suggest dancing at all, but the G major Trio provides welcome respite. In the finale, Mozart H V remains steadfastly in the minor mode, but the balance in the articulation of phrases I brings effective closure to this symphony that ranks as richest in pathos of all forty- one, and perhaps richest of all Mozart's works in any medium. —Steven Ledbetter

I *

' Jesus Lopez-Cobos

Appointed the Cincinnati Symphony's eleventh music director in 1986, Jesus Lopez-Cobos has built an international career in opera and with major orchestras. Since 1981 he has been general music director of the Deutsche Oper Berlin, an ensemble he will lead in performances of Wagner's Ring cycle this June at the Kennedy Center in Washington, D.C. With the 1990 season, Mr. Lopez-Cobos becomes music director of the Lausanne Chamber Orches- tra. He recently ended his tenure as music director of the

I National Orchestra of Spain, a position he had held since

uWr JI9t I I 1984. Born in Toro, Spain, in 1940, Jesus Lopez-Cobos graduated with a doctoral degree in philosophy from the University of Madrid, where he taught briefly before devoting his full attention to a musical career. In 1966 he began studying conducting in Italy with Franco Ferrara and in Vienna with Hans Swarowsky. In 1968 he won first prize in the Besancon Competition and the Malko Competition in Copenhagen and also made his professional conducting debut, in opera, at Venice's Teatro la Fenice. He made his professional concert conducting debut the following year at the Prague Festival.

Mr. Lopez-Cobos has maintained an active international career, balanced almost equally between opera and concerts, appearing regularly with the Berlin Philhar- monic and serving as principal guest conductor of both the London Philharmonic and the Orchestre de la Suisse Romande, posts he has recently relinquished in order to devote more time to the Cincinnati Symphony. He has appeared with the Vienna Philharmonic and the Vienna Symphony, the Concertgebouw of Amsterdam, the * Danish Radio Orchestra, the Oslo Philharmonic, the Israel Philharmonic, the Berlin and Bavarian Radio Symphony Orchestras, the North German Radio Orchestra of Hamburg, the Munich Philharmonic, the Zurich Tonhalle, the Philharmonia Orches- tra, the Royal Philharmonic, and the London Symphony, with which he has toured Japan, Korea, and Spain. He has also appeared at major festivals including those of Edinburgh, Salzburg, Prague, Granada, Lucerne, Ravinia, Riverbend, the Hol- * i lywood Bowl, and Tanglewood, where he made his Boston Symphony Orchestra debut last summer and has been reengaged for the summer of 1989. Since his debut

Week 15

|fl in this country with the Los Angeles Philharmonic in 1978, he has also appeared with the New York Philharmonic, the Chicago Symphony, the Philadelphia Orches- tra, the Pittsburgh Symphony, and the Cleveland Orchestra. Mr. Lopez-Cobos' operatic credits include new productions at La Scala, the Metropolitan Opera, London's Royal Opera House at Covent Garden, the Geneva Opera, and the Vienna Opera. Since his debut in 1971 with the Deutsche Oper Berlin, he has conducted twenty-five new productions with that company, including a new production of Wagner's Ring that was highly acclaimed during an historic 1987 tour when the Deutsche Oper gave the first performances of the complete Ring in Japan.

Mr. Lopez-Cobos' recordings include Lucia di Lammermoor and Rossini's Otello on Philips; aria albums with Jose Carreras also on Philips; the Bruch Violin Con- certo No. 2 with Itzhak Perlman on EMI; guitar concertos by Villa-Lobos and Schifrin with Angel Romero on Angel; and orchestral works of Respighi, Bizet, and Liszt on Decca. With the Cincinnati Symphony he has released two digital recordings on the Telarc label, with which that orchestra has an exclusive recording contract: an all-Falla album including The Three-cornered Hat and a Ravel album including Bolero. This season he begins recording a Bruckner symphony cycle with the Cincinnati Symphony for Telarc. Honored by his country for his artistic achieve- ments and contribution to the cultural life of Spain, Jesus Lopez-Cobos was the first recipient of the Prince of Asturias Award, presented to him by the Spanish government and the Royal House in October 1981. BOSTON SYMPHONY ORCHESTRA

Seiji Ozawa, Music Director Carl St. Clair and Pascal Verrot, Assistant Conductors One Hundred and Eighth Season, 1988-89

Thursday, February 16, at 8 Friday, February 17, at 2 Saturday, February 18, at 8

CHRISTOPH VON DOHNANYI conducting

WEBERN Passacaglia for Orchestra, Opus 1

STRAUSS Till EulenspiegeVs Merry Pranks, after the old rogue's tale, set in rondo form for large orchestra, Opus 28

INTERMISSION

SCHUBERT Symphony in C, D.944, The Great Andante—Allegro ma non troppo Andante con moto Scherzo: Allegro vivace Allegro vivace

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

Please be sure the electronic signal on your watch or pager is switched off during the concert. The program books for the Friday series are given in loving memory of Mrs. Hugh Bancroft by her daughters Mrs. A. Werk Cook and the late Mrs. William C. Cox.

23 Week 15 .

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24 Anton Webern Passacaglia for Orchestra, Opus 1

Anton Webern was born—Anton von Webern—in Vienna on December 2, 1883. In a bizarre accident, he was shot and killed by Pfc. Raymond N. Bell of the 242nd Infantry Regiment, U.S. Army, at Mitter- sill in the province of Salzburg on September 15, 1945. Webern composed his Passacaglia in 1908 and conducted the first performance in Vienna that vl year. In 1922, Arnold Schoenberg called to the attention of Josef Stransky, conductor of the New York Philharmonic, the music of his two pupils, Alban Berg and Anton Webern, "two real musicians—not Bolshevik illiterates, but men with a musically edu- cated ear," specifically recommending Webern s Passacaglia as a piece that had been "repeatedly performed with unmitigated success, and which is not yet such a 'dangerous' work." In the event, it was Leopold Stokowski who introduced the Passacaglia in the United States at a Philadelphia Orchestra concert on

March 8, 1924. Erich Leinsdorf led the first Boston Symphony performances in April

1964, and it has since been conducted here by Max Rudolf, Carlo Maria Giulini, Klaus Tennstedt, and again by Mr. Leinsdorf, who led the most recent subscription performances, followed by performances at Carnegie Hall, in December 1980. The orchestra for the Passacaglia includes two flutes and piccolo, two oboes and English horn, two clarinets and bass clarinet, two bassoons and contrabassoon, four horns, three each of trumpets and trombones, bass tuba, kettledrums, cymbals, bass drum, triangle, tam-tam, harp, and strings.

The Passacaglia, Opus 1, and the a cappella choral setting of Stefan George's u u Entflieht auf leichten Kahnen'"' ( Flee in fragile skiffs'''), Opus 2, are Webern's declaration of independence. Their completion in 1908 marks the end of the formal pupil-teacher relationship that had existed between himself and Schoenberg for the past four years. Since 1965, several of Webern's student works have been published, performed, and recorded. Many are attractive and all are of interest to the professional: without exception, they lack the combination of originality and assurance to be found in the Passacaglia and that led him, as it were, to celebrate in that work the proper beginning of his career as a composer.

His father Dr. Karl von Webern—the family had been ennobled in 1574 and again I I in 1731, but dropped the "von" at the collapse of the Austro-Hungarian Empire in I MCE v 1918—was a mining engineer and a civil servant in the Imperial and Royal Ministry SGI' of Agriculture. Living in Vienna at the time of Anton's birth, he was soon posted to mXXEtk Graz and later to Klagenfurt, and it was in that manufacturing city near the Yugoslav border that the boy attended school, learned his way about the cello and piano, studied theory, heard the modern music of Strauss and Mahler, and began to compose. His graduation present in 1902 was a trip to the Wagner festival at Bayreuth. That year he returned to Vienna to work in musicology under Guido Adler, the founding father of modern scientific musicological method. Webern's dissertation was on the Choralis Constantinus, a large collection of Mass settings by the Renaissance master Henricus Isaac.

He went to Schoenberg in 1904. The contact had probably been established by Mahler, who was a friend of Adler's. Lessons stopped in 1908, but the friendship was for life. In the lecture "How One Becomes Lonely" which Schoenberg delivered at the Denver Art Museum in 1937, Webern is described as "the spiritual leader of the

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group [of Schoenberg's pupils], a very Hotspur in his principles, a real fighter, a friend whose faithfulness can never be surpassed, a real genius as a composer." That Webern could also be an uncomfortably apt pupil is revealed in an irritable memo- randum of 1951, in which Schoenberg recalls having said to another student that "Webern immediately uses everything I do, plan, or say, so that—I remember my words—'by now I haven't the slightest idea who I am.' On each of these occasions [of having exhaustively explained new ideas] I then had the pleasure of finding him highly enthusiastic, but failed to realize that he would write music of this kind sooner than I would."

Beginning in 1908, Webern held a series of conducting posts in Bad Ischl, Vienna, Teplitz, Danzig, Stettin, and Prague, with a brief interruption for military service in 1915-16. From 1920 on, he lived in the Viennese suburb of Moedling for all but the last few months of his life. Admired as a conductor—his Mahler performances are still touchstones for those who heard them—he was ignored as a composer. After 1934, when the swing to the right in Austrian politics put an end to his conducting, the circumstances of his life were hard. With the Anschluss in 1938, his position as a consultant at the radio was liquidated, and after that Webern put together a precarious living as a private teacher, and as a proofreader and arranger of piano reductions of orchestral scores for his own publisher, Universal. As the war approached its end, Webern and his family moved to Mittersill near Salzburg. One of his sons-in-laws was a black-marketeer, and it was during an operation to trap this man as he offered to buy sugar, coffee, and dollars that the gentle composer met his tragic and unnecessary death.

Webern, a deeply religious man, will not have imagined that the 117th Psalm "The stone which the builders rejected; the same is become the head stone of the corner"—applied to him, yet not many years after his death, his work was recognized as one of the central facts of our musical life. In 1955, Igor Stravinsky wrote: "We must hail not only this great composer but also a real hero. Doomed to total failure in a deaf world of ignorance and indifference, he inexorably kept on cutting out his diamonds, his dazzling diamonds, the mines of which he had such a perfect knowledge." The turning point came with the appearance in 1957 of Columbia's four- record album containing Webern's complete published works: the conductor was Stravinsky's amanuensis and friend, Robert Craft, and many of the hours in the studio for what must have seemed the ultimately quixotic project were taken, with the composer's connivance, a few minutes here, a few minutes there, from Stravinsky's own sessions.

A passacaglia, in the seventeenth century, was a dance in a fairly slow triple meter, and composed as a set of variations over a repeated bass. "Modern" examples, that is, those from the middle of the nineteenth century on, are always variations over a repeated bass, but they are not necessarily in triple meter (Webern's is in 2/4), nor need they have anything of dance character (Webern's does not).

Here is Webern's bass:

Sehr maftig, Tempo I (J = 4>)

1. > J i i 1 1 1 1 i i i i 1 j J i, m ji pj 1 r j

Like a typical Baroque passacaglia bass, it moves from tonic back to tonic along a

I neutral, almost stereotyped path. The flatted A in the fourth measure is the only willful, personal touch. Webern begins with a plain statement of the bass, makes twenty-three variations on it, the follows them with a coda which is the equivalent in

27 Week 15 length of another nine or ten variations. The variations themselves fall into groups of, respectively, eleven, four, and eight variations.

One of the most characteristic features of Webern's later music is the way the tempo is constantly modified: you might find nine indications for accelerations or retardations in fifteen measures, so that the music seems to be not so much in a tempo as always en route from one tempo to another. The use of changing speeds for expressive and structural purposes is an important feature of this early Passacaglia

as well. Webern organizes the piece about three main tempi: Tempo I, at which we hear the bass at the beginning, is the slowest, and he gives a metronome mark of J =42 for it. Tempo II, which arrives with variation 2, is a little quicker, J = 66 (sometimes 58). Tempo III, reached in variation 7 after a gradual acceleration that began in variation 4, is the quickest of all, J =108. That the metronome mark for III is the sum of those for I and II is a typical Webernian arithmetical neatness.

Now, the first chapter of eleven variations describes a pattern of crescendo and decrescendo of intensity. From its slow and quiet start, the music gets faster until the appearance in variation 7 of Tempo III. In the last measure of that variation, the tempo is wrenched back violently: variation 8 is back in the much slower Tempo II, and from there the music gradually recedes until the extremely slow original pace is reached with the 11th variation. Moreover, Webern tends to associate speed and dynamics, so that the quickest music is apt also to be the loudest (only variations 7

*»SJ

28 * and 8, for example, have a fortissimo for full orchestra). Variation 11 is not only back at Tempo I, but also returns to the pianissimo marking of the opening measures.

The second chapter, variations 12-15, is "the slow movement" of the Passacaglia. It, too, describes an acceleration-deceleration pattern, but on a reduced scale, so = that the maximum speed reached is the slightly slower version ( J 58) of Tempo II in variation 13. Two things make this chapter special: it is all in pianissimo, with even more markings, in fact, of ppp than of pp, and it is in D major, in contrast to the D minor of what has come before and of what is to follow. The effect of the beautifully spaced first D major chord is like that of the blissfully serene turn to major in Bach's D minor Chaconne for solo violin. And Webern will have carefully studied the passacaglia or chaconne finale of the Brahms Fourth Symphony, "new music" in 1908, not much older than Stravinsky's In memoriam Dylan Thomas, Carter's Variations for Orchestra, Boulez's Le Marteau sans maitre, Stockhausen's Gesang derJunglinge, and Cage's 4' 33" are now. Webern's second chapter is the counterpart to Brahms's series of slow variations, Nos. 13-16, starting with the flute solo and then moving into E major and the soft trombone chorale.

Webern's third chapter, variations 16-23, returns not only to the minor mode of the first, but also to its less legato articulation. Here, too, we find the acceleration- deceleration pattern, once again on a reduced scale, but now at the quick end of the spectrum so that the range of speeds moves from Tempo II (variation 16) by degrees to Tempo III (variation 21) with a sudden pull back to Tempo II aX the last variation. In this chapter, Webern again associates dynamics and speed, so that the dynamic climax rides from variation 20 to the start of variation 23. Webern assumes the listener's growing familiarity with the bass, and so, as the variations unfold, he provides fewer and fewer explicit statements of its eight notes.

The arrival of the coda is clear, being marked by a return both of extreme quiet and of the slowest tempo. In general, though, the loosening from formal variations to free coda is gradual, and in that, too, Webern undoubtedly owes something to the Brahms Fourth. The coda describes the < > pattern once more, reaching the quick Tempo III and a climax in /// about halfway through, before sinking to a close that is slower than slow, with nothing left, finally, but a D minor triad for muted trombones {ppp decrescendo) with isolated notes for harp and bass drum.

Though it stands at the beginning of his real work, the Passacaglia is Webern's last piece written for conventional orchestra in a conventional way. The scoring is of wonderful delicacy, and Webern's fondness for muted sounds and for solo instruments is already in evidence. Climaxes are few and brief. The piece is in the tradition of chamber music for large orchestra as invented by Berlioz and continued in the " "Gretchen" movement of Liszt's Faust Symphony, as we find it surprisingly often in Wagner and constantly in Mahler (to whom Webern felt very close). As details like the two contrabassoon notes at the beginning of the D major section or the lovely harp writing throughout show, Webern at twenty-five was uncannily masterful at placing single notes. In a word, he was already Webern. —Michael Steinberg

Now Artistic Adviser of the San Francisco Symphony, Michael Steinberg was the Boston Symphony Orchestra's Director of Publications from 1976 to 1979.

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30 Richard Strauss Till Eulenspiegel's Merry Pranks, after the old rogue's tale, set in rondo form for large orchestra, Opus 28

Richard Strauss was born in Munich, Germany, on j©f June 11, 1864, and died in Garmisch-Partenkirchen,

Bavaria, on September 8, 1949. He completed Till

*%^ <% Eulenspiegel on May 6, 1895, and Franz Wullner conducted the first performance in Cologne on November 5 that year. Theodore Thomas and the Chicago Symphony Orchestra introduced the work to this country on November 15, 1895, and the first Boston Symphony performance came several months later on February 21, 1896, Emit Paur conducting. The orchestra has also played it under the direction of Wilhelm Gericke, Karl Muck, Max Fiedler, Otto Urack, Pierre Monteux, Bruno Walter, Serge Koussevitzky (eighty-eight performances, including tours), Charles Munch, Igor Markevitch, Richard Burgin, Erich Leinsdorf, Werner Torkanowsky, Josef Krips, William Stein- berg, Michael Tilson Thomas, Eugen Jochum, Okko Kamu, Joseph Silverstein, and Kurt Masur. Michael Tilson Thomas led the most recent subscription performances in Decem- ber 1983 and Kurt Masur the most recent Tanglewood performance in July 1984. Till Eulenspiegel is scored for piccolo, three flutes, three oboes and English horn, two clarinets, clarinet in D, and bass clarinet, three bassoons and contrabassoon, four horns plus four more ad lib., three trumpets plus three more ad lib., three trombones and bass tuba, timpani, snare drum, bass drum, cymbals, triangle, large rattle, and strings.

There was a real Till Eulenspiegel, born early in the fourteenth century near Brunswick and gone to his reward—in bed, not on the gallows as in Strauss's tone poem—in 1350 at Molln in Schleswig-Holstein. Stories about him have been in print since the beginning of the sixteenth century, the first English version coming out around 1560 under the title Here beginneth a merye Jest of a man that was called Howleglas ^''Eule''1 in German means "owl" and "Spiegel" "mirror" or "looking- glass"). The consistent and serious theme behind his jokes and pranks, often in themselves distinctly on the coarse and even brutal side, is that here is an individual getting back at society, more specifically the shrewd peasant more than holding his own against a stuffy bourgeoisie and a repressive clergy. The most famous literary version of Till Eulenspiegel is the one published in 1866 by the Belgian novelist

Charles de Coster: set in the period of the Inquisition in the sixteenth century, it is also the most explicitly politicized telling of the story, and it is the source of one of the great underground masterpieces of twentieth-century music, the oratorio Thyl Claes by the Russian-German composer Vladimir Vogel. V" Strauss knew de Coster's book, and it seems also that in 1889 in Wiirzburg he saw an opera called Eulenspiegel by Cyrill Kistler, a Bavarian composer whose earlier opera Kunihild had a certain currency in the '80s and early '90s, and for which he was proclaimed as Wagner's heir. Indeed, Strauss's first idea was to compose an Eulenspiegel opera, an idea that appealed to him especially after the failure of his own exceedingly Wagnerian Guntram in 1894. He sketched a scenario and later commissioned another from Count Ferdinand von Sporck, the librettist of Kistler's Kunihild, but somehow the project never got into gear. "I have already put together a very pretty scenario," he wrote in a letter, "but the figure of Master Till does not quite appear before my eyes. The book of folk-tales only outlines a generalized rogue with too superficial a dramatic personality, and developing his character in greater

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depth, taking into account his contempt for humanity, also presents considerable difficulties."

But if Strauss could not see Master Till, he could hear him, and before 1894 was out, he had begun the tone poem that he finished on May 6, 1895. As always he could not make up his mind whether he was engaged in tone painting or "just music." To Franz Wullner, who was preparing the first performance, he wrote:

I really cannot provide a program for Eulenspiegel. Any words into which I might put the thoughts that the several incidents suggested to me would hardly

suffice; they might even offend. Let me leave it, therefore, to my listeners to crack the hard nut the Rogue has offered them. By way of helping them to a

better understanding, it seems enough to point out the two Eulenspiegel motives [Strauss jots down the opening of the work and the virtuosic horn themel, which, in the most diverse disguises, moods, and situations, pervade the whole up to the catastrophe when, after being condemned to death, Till is strung up on the gibbet. For the rest, let them guess at the musical joke a Rogue has offered them.

On the other hand, for Wilhelm Mauke, the most diligent of early Strauss exegetes, the composer was willing to offer a more detailed scenario—Till among the market-women, Till disguised as a priest, Till paying court to pretty girls, and so forth—the sort of thing guaranteed to have the audience anxiously reading the program book instead of listening to the music, probably confusing priesthood and courtship anyway, wondering which theme represents "Till confounding the Phi- listine pedagogues," and missing most of Strauss's dazzling invention in the pro- cess. (Also, if you've ever been shown in a music appreciation class how to "tell" rondo form, forget it now.) It is probably useful to identify the two Till themes, the very first violin melody and what the horn plays about fifteen seconds later,* and to say that the opening music is intended as a "once-upon-a-time" prologue that returns after the graphic trial and hanging as a charmingly formal epilogue (with a rowdily humorous "kicker"). For the rest, Strauss's compositional ingenuity and

1 orchestral bravura plus your attention and fantasy will see to the telling of the tale. it - —Michael Steinberg

* I * ; -a.

It is told that Strauss's father, probably both the most virtuosic and the most artistic horn player of his time, protested the unplayability of this flourish. "But Papa," said the composer, 1 >..*t\* "I've heard you warm up on it every day of my life."

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Franz Peter Schubert was born in Liechtental, a

suburb of Vienna, on January 31, 1 79 7, and died in Vienna on November 19, 1828. He began this symphony in the summer of 1825 and completed it by, at latest, October 1826. At some point between the summer of 1827 and November 1828, the work received at least one reading at a rehearsal of the orchestra of the Vienna Society of the Friends of Music (Gesellschaft der Musikfreunde). The first fully authenticated performance, heavily cut, took place on March 21, 1839, Felix Mendelssohn- Bartholdy conducting the orchestra of the Leipzig Gewandhaus. Theodor Eisfeld introduced the symphony to America with the Philharmonic Society of New York on January 11, 1851. It came to Boston on

October 6, 1852, a certain Mr. F. Suck conducting an orchestra with four first violinists, two extra cellos replacing the bassoons, and with a second oboist engaged expressly for the occasion! More professional performances followed, the Germania Orchestra playing the work on January 8, 1853, and again in 1854, and the Philharmonic Society coming along in 1857, these concerts being under the direction of Carl Zerrahn. Georg Henschel brought the work into the Boston Symphony's repertory on January 13 and 14, 1882, the twelfth subscription week of the orchestra's first season, and the orchestra has since played it under Wilhelm Gericke, Arthur Nikisch, Emit Paur, Karl Muck, Max Fiedler, Pierre Monteux, Serge Koussevitzky, Adrian Boult, George Szell, Leonard Bernstein, Charles Munch, Erich Leinsdorf, Josef Krips, William Steinberg, Max Rudolf, Peter Maag, Klaus Tennstedt, Colin Davis, and Kurt Masur. Erich Leinsdorf led the most recent Tanglewood performance in July 1982 and Kurt Masur the most recent subscription performances in January 1986. The score calls for flutes, oboes, clarinets, bassoons, horns, and trumpets, all in pairs; also three trombonees, timpani, and strings.

When he was a young man, Schubert found writing symphonies almost as easy as breathing. He had absorbed from birth the musical language of Mozart and Haydn, and he was able to use it to say things that were fresh and characteristic of him alone

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from a very early age. He had finished his First Symphony before the end of 1813 when he was sixteen years old. Within eighteen months he had completed two more. The Fourth and Fifth were composed in the spring and fall of 1816, respectively, and the Sixth in the winter of 1817-18. In short, six symphonies composed in the space of five years. Schubert was to live another ten years after finishing the Sixth, but he only composed one more complete symphony. Yet it was not for want of trying! He made extensive sketches for other symphonies, and he completed the first two movements of the Unfinished Symphony in B minor, one of his most magical scores. In that whole decade, though, only the Great C major symphony was fully completed—and even it remained generally unknown for more than a decade after the composer's early death.

Something happened about 1818 to undermine the confidence he had shown hitherto. For the next five years his output contains dozens of works begun and not finished, many of them sketched out on a grand scale.* Part of the change, no doubt, came from Schubert's emotional maturing (he was, after all, just twenty-one years old in 1818) and from a desire to express deeper and more intense feelings in his

"One of these, a planned symphony in E, is so extensively drafted that is has been completed by other hands on more than one occasion. Mendelssohn, Sullivan, and Brahms all considered

the possibility of completing it. John Francis Barnett, an English composer, actually did so in 1863, as did Felix Weingartner, the Austrian conductor and composer, in 1934. In 1977, Brian Newbould made a far more satisfactory edition (and followed it up with completions of numerous other Schubert symphonic sketches and a "Tenth Symphony"). Newbould's versions are very much worth hearing (they have been recorded), though the listener must keep in mind that they are hypothetical final versions of works that Schubert chose—for whatever reason—not to finish.

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Salute to Symphony 1989. In return for your generosity we will send you a special BSO incentive gift! 38 music. Part of it surely resulted from the overwhelming example of Beethoven, who had redefined the character of the symphony during Schubert's lifetime. After Beethoven the symphony had to be grand, even heaven-storming. It was not music for entertainment, even of the supremely witty and accomplished kind that Haydn had perfected. Schubert evidently felt the need to reconsider his entire approach to the symphony; many of his attempts evidently did not meet his new standards, or raised musical problems that he was unable to resolve, so they remained simply sketches or incomplete torsos.

Going by the numbering in the chronological catalogue of Schubert's works first put together by Otto Erich Deutsch, the Great C major symphony (so called to distinguish it from Symphony No. 6 in the same key) was one of the prolific composer's final compositions.* Indeed, the manuscript actually bears the date "March 1828" written in Schubert's hand, suggesting to earlier investigators that he composed the symphony just eight months before his death.

But there is a mystery here. It is well documented that Schubert composed a symphony in the summer of 1825, during a vacation trip to Gmunden and Gastein with his friend Johann Michael Vogl, and that he submitted a work described as "this, my symphony" to the Vienna Philharmonic Society in October 1826, though it was never publicly performed. The 1828 date written on the manuscript of the Great C major symphony convinced that devoted Schubertian George Grove that it could not possibly be the work offered for performance in 1826. Thus scholars, partly indulging in wishful thinking, have looked for the "missing" Gastein symphony for more than a century. Only recently has a reconsideration of the evidence brought quite convincing arguments that the Great C major symphony is, in fact, the work that Schubert composed in Gastein. It was never "lost." Only careless or willful misreading of the evidence could have generated the hypothesis postulating a missing work.

Happily, there is now new physical evidence to add to the demonstration. The paper on which Schubert wrote most of the symphony is of a distinctive type that he also used for five dated compositions—all of them written in the summer of 1825. Moreover, Schubert's idol, Beethoven, used the same paper for his Opus 132 string quartet, which he was writing at the same time. The lengthy manuscript of Schubert's symphony does contain, here and there, four other types of paper, but they occur in revisions made later than the original drafting of the score. The first movement in particular shows signs of later reworking, to be discussed below. This probably took place months or even years after the original work of composition. It

"The question of proper number for the Great C major symphony is a vexing one. By the time the Schubert symphonies first came to be published, it was known that he had composed six early symphonies; about those we have no problem. The Great C major was originally published as "No. 7." When it came to light, the Unfinished Symphony was then identified as "No. 8." But the realization that the Unfinished was composed several years before the Symphony in C led some publishers to rechristen the latter work "No. 9," which was chron- ologically correct, but left a gap at 7. A few commentators filled in the gap with the unfinished Symphony in B that had been completed by other hands, but this seems unwise, since Schubert himself never considered it to be a finished work. In 1978 the revised edition of the Deutsch Schubert catalogue took the bull by the horns and renumbered the Unfinished as "No. 7" and the C major as "No. 8." Still more recently, the publication and recording of the Newbould completions of Schubert sketches have led some performers to call the C major symphony "No. 10" (though there is also a series of late sketches that Newbould completed with that number!). Thus it is possible to find scores, records, or concert programs in which this symphony is billed as No. 7, 8, 9, or 10. That way madness lies. For the sake of our own sanity, and perhaps yours, we now use only the key, Deutsch catalogue number, and relevant nickname for Schubert symphonies after the Sixth.

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seems most likely, then, that Schubert added the date "March 1828" to the auto- graph when he undertook the final revision of a work that had long since been completed and may even have had a private reading at the Philharmonic Society.

After Schubert's death in 1828, the symphony was "lost" in the sense that it remained in manuscript and unperformed. Not until New Year's Day 1829 was it seen by a musician who truly valued its significance: Robert Schumann. He immediately arranged for a performance (conducted by Mendelssohn) in Leipzig, the first hearing of this enormous score. At a time when Schubert was still scarcely known outside of Vienna, Schumann hailed him at length as the greatest successor to Beethoven (though he only outlived that master by a year). The C major symphony offered, to Schumann's mind, all possible virtues from variety and colorful effects to clear form and craftsmanship:

For here, beside masterful technique of musical composition, there is life in every fiber, color in the finest gradations, significance everywhere, sharply cut detail. And finally, over the whole there is poured out that romanticism we know to be characteristic of Franz Schubert. And these heavenly lengths, like a great

novel in four volumes by one such as Jean Paul . . .

Despite Schumann's well-known praise of the symphony's "heavenly length" the work was heavily cut on this occasion. The first performance was a success, but almost everywhere else orchestras reacted as the Philharmonic Society had when Schubert first offered the piece: it was "too long and difficult." Schumann himself recognized that listeners might be at first bewildered by "the brilliance and novelty of inspiration, by the length and breadth of the form, by the enchanting fluctuation of feeling," but he insisted that gradually, over time with repeated hearings, the connections would become clear. Indeed, audiences eventually came to know the symphony in spite of its length and to recognize the truth of Schumann's ecstatic reaction: "It transports us into a world where we cannot recall ever having been before."

The first movement begins with a melody, Andante, in the horns that might be the typical "slow introduction"—except that Schubert welds it to the body of the movement, making it the cornerstone of the entire symphony. The first three notes (C-D-E) cover the interval of a major third, which is heard, either rising or falling, in many passages throughout the score. The transition from the "splendid romantic introduction" aroused Schumann's explicit enthusiasm. The dotted figure from the opening phrase becomes more insistent; it builds to a climax that resolves quietly to C major, where the woodwinds take up the horn melody against a new triplet figure in the strings. The introduction gathers momentum, then the same basic figures dotted notes and triplets—spill over the Allegro ma non troppo:

[strings, trunpets] muj.j jjj j j " J' 1 j. J' 1 "- » i j>j. p. v

Schubert had composed the entire first movement using an even simpler motive:

$ i jU. J'J. -[)J. fE|

After completing the full score, he decided to rework the theme, which meant rewriting all the hundreds of times it occurs in the first movement; this he did by

41 Week 15 scratching out the original note with a penknife at each appearance, then writing in the correction. It is astonishing what a lift that tiny change gives the flow of the section, avoiding what might become a drearily monotonous repetition. (Possibly this was the major revision of March 1828 that justified, in the composer's mind, appending that date to the manuscript as a sign of completion.) A new, crisp march theme appears in the oboes and bassoons over whispering strings in the rather surprising key of E minor. But soon it moves again to the more expected secondary key of G major, where the theme is repeated, with a charming chromatic addition. But the exposition is far from over; the marchlike figure expands harmonically, almost as if we were already in the middle of the development, only to settle firmly again on the dominant, where Schubert marks a double bar for the conductor daring enough to repeat this extraordinarily lengthy exposition (few have accepted the challenge). Schubert's development reworks fragments of the ideas already heard in new combinations that grow increasingly darker, more hushed, and more mysterious until the first dotted theme returns, now piano, in the original key. All of the material heard in the exposition is reworked at length, becoming finally an extended coda moving at a still faster tempo, so that when Schubert offers the masterstroke of bringing back the opening horn call, it is transmuted from a gentle, slightly bucolic melody to a grand rush of high energy.

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42 The second movement, in A minor, is laid out on the simplest of musical plans, ABAB, with the B sections appearing in contrasting keys, first F major, then A major. This pattern can be seen as an abridged sonata form without a development section, an arrangement found quite commonly in slow movements. Yet the flow of ideas is so lavish and imaginative that one scarcely notices the straightforwardness of the design in the poetry of the elaboration.

The scherzo, too, is elaborated in extenso as a full-scale sonata form, a far cry from the binary dance movement of earlier symphonies (though akin in this sense to the scherzo of Beethoven's Ninth Symphony). For the second theme of the scherzo and also in the Trio, Schubert introduces themes that truly waltz, lilting in the style that was to become the hallmark of Vienna for a century (we forget that the symphony was composed at precisely the time when Johann Strauss the elder and his room- mate—later rival—Josef Lanner were so successfully introducing waltzes for dancing at Viennese dining establishments, and in so doing we overlook Schubert as a pioneer of the Viennese waltz).

The last movement is nothing short of colossal in time span, energy, and imaginative power. This music astonished the players who first attempted to perform the symphony and probably persuaded them to give it up. Two separate motives—one dotted, one in triplet rhythm—stand at the head of the movement as a call to attention and a forecast of things to come. Both play a role in the opening theme, which grows with fierce energy to the dominant cadence. After a pause, a brilliantly simple new idea—four repeated notes in the unison horns—generates an independent marchlike theme that shows off its possibilities later on when it comes to domi- nate the extended development. (When Mendelssohn attempted to rehearse the symphony for a first London performance, the first violinists collapsed in laughter when they came to the eighty-eight consecutive measures of triplet eighth-notes that accompany the second theme, with the measured tread of woodwinds and brass.) The opening dotted motive foreshadows the recapitulation with increasing intensity, though when it arrives, Schubert arranges matters so as to bring it back in the completely unexpected key of E-flat! The first section of this recapitulation is abridged, but it works around to C major for the more lyric march of the second theme. This closes quietly on a tremolo C in the cellos; they sink down two steps to A, starting the massive coda, which reworks the materials nearly as extensively as the development section in the middle of the movement. The mood passes from mystery and darkness to the glorious sunshine of C major as the symphony ends in a blaze of glory. (Most scores since the first publication in 1840 put a diminuendo mark under the unison final note, and some conductors have rigorously followed this nonsensical indication, making the strong final chord fade gradually into a puny silence. What Schubert actually wrote was an accent mark, but here as in many other places, he made it so big that editors have misread his intention in the manuscript.) —Steven Ledbetter

43 Week 15 «o

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The best introduction to Webern's life and works is the extraordinarily informative article by Paul Griffiths in The New Grove Dictionary of Music and Musicians. Hans Moldenhauer's Anton von Webern: Chronicle of his Life and Works (Knopf) is indis- pensable, a massive work bespeaking great industry and filled with information, but rather heavy going due to the deplorable quality of the (necessarily) many English translations. Most of the other books available in English are highly technical and analytical. It would be pleasant to report the availability in English of Hanspeter Krellman's German book on Webern in the Ro-Ro-Ro monographs (Rowohlt paperback), which is filled with source material giving a well-rounded picture of the composer's character and personality, but it has never been translated. The old (1957) four-record set of Webern's "complete works," which is to say the works he supplied with opus numbers, produced under the direction of Robert Craft, is still available from Columbia Special Products; it boasts particularly informative annota- tions by Craft, but the performances have been supplanted by the more recent traversal of the same material by Pierre Boulez (Columbia). Herbert von Karajan has recorded a four-LP box of music by Schoenberg, Berg, and Webern, including the Passacaglia, performed by the Berlin Philharmonic (DG). The performances are almost sinfully seductive, and are highly recommended as an antidote to the view that Webern's music is austere. The Webern works from that set (the Passacaglia, the Op. 21 Symphony, a string-orchestra version of the Five Movements for String Quartet, Op. 5, and the Six Pieces for Orchestra, Op. 6) have been reissued on a single compact disc.

The big biography of Richard Strauss is Norman Del Mar's, which gives equal space to the composer's life and music (three volumes, Cornell University Press; available in paperback). Michael Kennedy's account of the composer's life and works for the Master Musicians series is excellent (Littlefield paperback), and the sym- posium Richard Strauss: The Man and his Music, edited by Alan Walker, is worth looking into (Barnes and Noble). Kennedy also provided the Strauss article in The New Grove. Among the many recordings of Till Eulenspiegel to have made the transition to compact disc are no fewer than four by Herbert von Karajan, three with the Berlin Philharmonic (DG); of these, the version that also includes Death and Transfiguration, Don Juan, and Salome's dance gives the best value in terms of amount of material. Other recent recordings worth considering are Bernard Haitink's with the Concertgebouw Orchestra (Philips, coupled with Death and Transfiguration and Don Juan), Claudio Abbado's with the London Symphony (DG, same coupling), and Sir Georg Solti's with the Chicago Symphony (London, with Don Juan). In addition, a surprising number of distinguished older recordings have already been issued on CD, including those of Rudolf Kempe with the Dresden State Orchestra (Angel, coupled with Death and Transfiguration), George Szell with the Cleveland Orchestra (CBS, coupled with Death and Transfiguration and Don Juan), and Arturo Toscanini with the NBC Symphony (RCA, with Mussorgsky's Pictures at an Exhibition and The Sorcerer's Apprentice of Dukas).

Schubert is the subject of a biography by Maurice J.E. Brown (Da Capo) and of a whole series of publications by Otto Erich Deutsch, whose very name—or initial, anyway—symbolizes Schubert research through the "D." numbers of his chronological catalogue of the composer's works. One of the most interesting of Deutsch's many contributions is a biographical look at Schubert through a kaleidoscope, as it were, of the recollections of anyone who knew him and who ever recorded his or her memories: Schubert: Memoirs by his Friends (Da Capo). John Reed's Schubert: The Final Years (Faber and Faber) offered convincing circumstantial proof that the Great C major symphony was essentially the same work as the "lost" work of 1825, even 45 Week 15 w The Boston Home (formerly The Boston Home for Incurables)

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46 before the new physical evidence confirmed it. The most important recent detailed findings have been reported by Michael Griffel, in his "Reappraisal of Schubert's Composition," in the April 1977 issue of the Musical Quarterly and in Robert Winter's evaluation of the new edition of the Deutsch thematic catalogue in 19th- century Music (1983). The latter journal also published an article of fundamental importance in reshaping our view of Schubert's own musical world: Otto Biba's "Schubert's Position in Viennese Musical Life" (1980), in which the author demon- strates that Schubert was neither as impoverished nor as unknown in Vienna as we have been worit to believe.

Christoph von Dohnanyi has recorded Schubert's Great C major symphony in a splendid reading with the Cleveland Orchestra (Telarc). Sir Colin Davis's recording with the Boston Symphony, also first-rate, is one of the very few that takes all of the repeats in this massive score, but it has not yet been reissued on CD (Philips). Older recordings on LP still worth obtaining include the exciting performance by Arturo Toscanini with the NBC Symphony (RCA) and another by George Szell with the Cleveland Orchestra (Odyssey, also on a CBS compact disc). Two earlier Boston Symphony performances are still available on LP as well, one led by William Steinberg and the other by Charles Munch (both on RCA). Two distinguished older recordings have been reissued on compact disc, one a live-performance recording from 1940 with Willem Mengelberg conducting the Concertgebouw Orchestra (Phi- lips), the other a studio recording with Wilhelm Furtwangler conducting the Berlin Philharmonic (DG). Charles Mackerras leads the Orchestra of the Age of Enlighten- ment in a performance on period instruments (Virgin Classics). The Great C major symphony is, of course, also included in a remarkable set by the Academy of St. Martin-in-the-Fields under the direction of Neville Marriner (Philips, six CDs), containing all the completed symphonies, plus finished versions of the E major symphony and several remarkable late sketches that Schubert left at his death. It has also been issued on a single disc, coupled with the late sketches, some of which, astonishingly, seem to prefigure Gustav Mahler by nearly three-quarters of a century. —S.L.

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48 Christoph von Dohnanyi

Now in his fifth season as music director of the Cleveland Orchestra, Christoph von Dohnanyi has earned a world- wide reputation. Each year he leads the Cleveland Orches- tra in subscription concerts in Cleveland's Severance Hall and in summer performances at the Blossom Music Center, as well as on tour in this country and abroad. This season he also conducts three concerts with the Philadelphia Orchestra and makes his Boston Symphony Orchestra debut with two programs. Last season Mr. Dohnanyi made his second international tour with the Cleveland Orchestra, traveling to Japan for performances in various cities, including Tokyo and Hiroshima. Last spring their tour of the eastern United States included the premiere at Carnegie Hall of Philip Glass's first work for symphony orchestra, The Light, which was written on commission from the orchestra. Mr. Dohnanyi's engagements as guest conductor have included appearances with the Amsterdam Concertgebouw, Berlin Philharmonic, Vienna Philharmonic, London Symphony Orchestra, the Metropolitan Opera, San Francisco Opera, Lyric Opera of Chicago, La Scala, London's Royal Opera, and the opera companies of Berlin, Munich, and Vienna. His appointment as sixth music director of the Cleveland Orchestra was announced following his debut with the orchestra in December 1981; before that he had made guest appearances with the New York Philharmonic, the Chicago Symphony, the Pittsburgh Symphony, and the Detroit Symphony. In the summer of 1984 he and the Cleveland Orchestra closed the Tanglewood season while the Boston Symphony Orchestra was on tour in Europe; this was only the second time a visiting orchestra had been invited to perform at the BSO's summer home.

Born in Berlin, Christoph von Dohnanyi began his musical studies at five with the piano. His schooling was interrupted by the outbreak of World War II, during which his father and uncle, who were involved in the German Resistance, were imprisoned and then executed for their anti-German actions. Mr. Dohnanyi returned to school after the war, studying law at the University of Munich while also continuing his musical training. He abandoned law for music when the City of Munich awarded him the Richard Strauss Prize for Composition and Conducting. He left Germany to come to the United States, where he first studied with his grandfather, the Hun- garian composer Ernst von Dohnanyi, then artist-in-residence at Florida State University. While a student at Tanglewood he served as conducting apprentice to Leonard Bernstein. Upon returning to Germany, Mr. Dohnanyi was coach and assistant conductor at the Frankfurt Opera under Georg Solti before becoming that company's principal conductor. He was also director of the West German Radio Symphony Orchestra of Cologne and artistic director and principal conductor of the Hamburg State Opera, the post he held at the time of his Cleveland appointment. The recipient of many international honors both in Europe and the United States, Mr. Dohnanyi devotes much of his time to recording. For London, with his wife, soprano Anja Silja, he has recorded Lulu, Wozzeck, Erwartung, and the final scene from Salome with the Vienna Philharmonic. Also with that orchestra he has recorded Stravinsky's Petrushka and the five Mendelssohn symphonies. He and the Cleveland Orchestra have recorded Dvorak's last three symphonies, Mahler's Fifth Symphony, and Bartok's Concerto for Orchestra for London/Decca; they have also embarked on a cycle of Schumann symphonies for that label. For Telarc, he and the Cleveland Orchestra have recorded Schubert's Great C major Symphony, Tchaikovsky's Pathetique, and a near-complete Beethoven symphony cycle. For Teldec, Mr. Dohnanyi has recorded the First and Fourth symphonies of Brahms.

49 HUffa El

Kf Business/Professional Leadership Program

BUSINESS

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

Corporate Underwriters ($25,000 and above)

Bank of Boston Country Curtains and The Red Lion Inn General Electric Plastics Business Group The Pyramid Companies BSO Single Concert Sponsors

Bank of New England Corporation Opening Night at Symphony

BayBanks, Inc. Opening Night at Pops

NYNEX Corporation, WCVB-TV, Channel 5 Boston, and WCRB 102.5 FM Salute to Symphony 1989

Raytheon Company, WCVB-TV, Channel 5 Boston, and WCRB 102.5 FM Salute to Symphony 1988

NEC Corporation and NEC Deutschland GmbH Boston Symphony Orchestra European Tour

Nabisco Brands, Inc. Boston Pops Esplanade Orchestra Japan Tour

Digital Equipment Corporation Boston Pops Orchestra Public Television Broadcasts

Suntory Limited BSO recording oiElektra

For information on these and other corporate funding opportunities, contact Madelyne Cuddeback, BSO Director of Corporate Development, Symphony Hall, Boston, MA 02115, (617) 266-1492.

50 1988-89 Business Honor Roll ($10,000 and Above)

ADD Inc. Architects HBM/Creamer, Inc. Philip M. Briggs Edward Eskandarian Advanced Management Associates The Henley Group Harvey Chet Krentzman Paul M. Montrone Analog Devices, Inc. Honeywell Bull Ray Stata Roland Pampel AT&T IBM Corporation Robert Babbitt Paul J. Palmer Bank of Boston John Hancock Mutual Life Insurance Ira Stepanian E. James Morton Bank of New England Corporation Liberty Mutual Insurance Company Walter J. Connolly Gary L. Countryman BayBanks, Inc. Loomis-Sayles & Company, Inc. Richard F. Pollard Peter G. Harwood Boston Edison Company McKinsey & Company Stephen J. Sweeney Robert P. O'Block The Boston Globe Mobil Corporation William O. Taylor Allen E. Murray Boston Herald Morse Shoe, Inc. Patrick J. Purcell Manuel Rosenberg Boston Safe Deposit & Trust Company Nabisco Brands, Inc. James N. von Germeten Charles J. Chapman Comet American Marketing NEC Corporation Douglas Murphy Atsuyoshi Ouchi Con Agra Incorporated NEC Deutschland GmbH Charles M. Harper Masao Takahashi Connell Limited Partnership The New England William R Connell Edward E. Phillips Coopers & Lybrand New England Telephone Company Vincent M. O'Reilly Paul C. O'Brien Country Curtains Nynex Corporation Jane P. Fitzpatrick Delbert C. Staley Creative Gourmets, Ltd. PaineWebber, Inc. Stephen E. Elmont James F. Cleary Digital Equipment Corporation Peat Marwick Main & Co. Kenneth G. Olsen Robert D. Happ Dynatech Corporation Pepsico, Inc. J. P. Barger D. Wayne Calloway Eastern Gas & Fuel Associates Prudential-Bache Securities Robert W Weinig David F. Remington EMC Corporation R&D Electrical Company, Inc. Richard J. Egan Richard D. Pedone Ernst & Whinney Rabobank Nederland Thomas M. Lankford Hugo Steemsa Fidelity Investments/ Raytheon Company Fidelity Foundation Thomas L. Phillips General Cinema Corporation The Red Lion Inn Richard A. Smith John H. Fitzpatrick General Electric Plastics Business Group Shawmut Bank, N.A. Glen H. Hiner John P. Hamill The Gillette Company The Sheraton Boston Hotel & Towers Colman M. Mockler, Jr. Robert McEleney Grafacon, Inc. Sonesta International Hotels Corporation H. Wayman Rogers, Jr. Paul Sonnabend GTE Products Corporation State Street Bank & Trust Company Dean T. Langford William S. Edgerly the 8th Annual PRESIDENTS

The BSO Salutes Business

June 7, 1989

As the leader of your company, you can give your management team, your customers or clients, your vendors, or possibly your other business friends a very special summer treat - and at the same time show your support of the Boston Symphony Orchestra.

Presidents at Pops 1989 is available to 110 businesses and professional organizations on a first-come, first-served basis. For $5,000 your company will receive 20 tickets to this event, which includes pre-concert cocktails and hors d'oeuvres, a gourmet picnic supper, and a special Boston Pops concert, conducted by John Williams, designed to delight the corporate guests on this evening. The President or CEO of each

sponsor company is also invited to attend a very special black-tie dinner dance in May on the floor of Symphony Hall - a unique and elegant experience.

If you would like more information about Presidents at Pops, June 7, 1989, call

Walter J. Connolly, Jr., Chairman, Bank of New England Corporation (742-4000) James F. Cleary, Managing Director, PaineWebber, Inc. (439-8000) Harvey Chet Krentzman, President, Advanced Management Associates (332-3141) Sarah Coldwell, BSO Corporate Development (266-1492, ext. 207)

52 1988-89 Business Honor Roll continued

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

Business Leaders ($1,250 and above)

iccountants Automotive/Service *Harvey Industries, Inc. Frederick Bigony ARTHUR ANDERSEN & COMPANY J.N. Phillips Glass Company, Inc. William F. Meagher Alan L. Rosenfield *J.F. White Contracting Company Philip Bonanno YRTHUR YOUNG & COMPANY Banking Moliterno Stone Sales, Inc. Thomas P. McDermott Kenneth A. Castellucci *Bank in Liechtenstein, AG Dharles E. DiPesa & Company I j Christian Norgren William F. DiPesa *National Lumber Company Louis L. Kaitz COOPERS & LYBRAND BANK OF BOSTON Vincent M. O'Reilly Ira Stepanian PERINI CORPORATION David B. Perini 3ELOITTE HASKINS & SELLS BANK OF NEW ENGLAND CORPORATION Mario Umana Consumer Goods/Distributors Walter J. Connolly 3RNST & WHINNEY * August A. Busch & Company BAYBANKS, INC. Thomas M. Lankford Christopher L. Stevens Richard F Pollard PEAT MARWICK Chiquita Brands Tl MAIN & CO. BOSTON SAFE DEPOSIT & TRUST Baron M. Hartley Robert D. Happ COMPANY James N. von Germeten COMET AMERICAN MARKETING PRICE WATERHOUSE Douglas Murphy Cambridge Trust Company Kenton J. Sicchitano Lewis H. Clark CON AGRA INCORPORATED Theodore S. Samet & Company Charles M. Harper *Chase Manhattan Bank Theodore S. Samet Creek Vineyards William N. MacDonald *Dry Tofias, Fleishman, David Stara Chase Manhattan Corporation Shapiro & Co., PC. FAIRWINDS GOURMET COFFEE Allan Tofias CITICORP/CITIBANK COMPANY Walter E. Mercer Michael J. Sullivan Advertising/Public Relations First Mutual of Boston * Hawaiian Department of Agriculture Keith G. Willoughby HBM/CREAMER, INC. * International Paper Company Edward Eskandarian First National Bank of Chicago Marc F Wray Robert E. Gallery HILL, HOLLIDAY, CONNORS, *Massachusetts Department of Food COSMOPULOS, INC. RABOBANK NEDERLAND and Agriculture Jack Connors, Jr. Hugo Steemsa NABISCO BRANDS, INC. Irma S. Mann, Strategic Marketing, * Rockland Trust Company H. John Greeniaus Inc. John F Spence, Jr. PEPSICO, INC. Irma Mann Stearns SHAWMUT BANK, N.A. D. Wayne Calloway John P. Hamill Aerospace SUNTORY LIMITED STATE STREET BANK & TRUST Keizo Saji Northrop Corporation COMPANY United Liquors, Ltd. Thomas V. Jones William S. Edgerly Michael Tye PNEUMO ABEX CORPORATION USTRUST Norman J. Ryker Vintners International Company, Inc. James V Sidell Michael Doyle Workingmens Co-operative Bank * Winery Associates Architects JohnE. McDonald David L. Ready ADD INC. ARCHITECTS Philip M. Briggs Building/Contracting Electrical/HVAC James Stewart Polshek and Partners *A. J. Lane & Company, Inc. L. Rudolph Electrical Company, Inc. James Polshek & Tim Hartung Andrew J. Lane Louis Rudolph

LEA Group Chain Construction Corporation *p.h. mechanical Corporation

Eugene R. Eisenberg Howard J. Mintz Paul A. Hayes

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Family Trustee and Investment Advisor

27 North Main Street Ipswich MA 01 938 508-356-3530

^m PRIME COMPUTER, INC. CHARLES H. WATKINS & MORGAN STANLEY & COMPANY, Joe M. Henson COMPANY INC. RAYTHEON COMPANY Richard P. Nyquist John Lazlo Thomas L. Phillips *Consolidated Group, Inc. PAINEWEBBER, INC. Woolsey S. Conover James F. Cleary SofTeeh, Inc. Justis Lowe, Jr. FRANK B. HALL OF The Petron Companies MASSACHUSETTS, INC. Ronald M. Pearson The Analytic Sciences Corporation Colby Hewitt, Jr. (TASC) *The Putnam Management Company, Arthur Gelb *Fred S. James & Company of New Inc. England, Inc. Lawrence J. Lasser Tech/Ops, Inc. P. Joseph McCarthy Marvin G. Schorr SALOMON BROTHERS, INC. JOHN HANCOCK MUTUAL LIFE Sherif A. Nada TERADYNE INC. INSURANCE COMPANY Alexander V d'Arbeloff * State Street Development E. James Morton Management Corporation THERMO ELECTRON CORP. *Johnson & Higgins of Massachusetts, Allen D. Carleton George N. Hatsopoulos Inc. TUCKER ANTHONY & R.L. DAY, Corporation XRE Robert A. Cameron INC. John K. Grady LIBERTY MUTUAL INSURANCE Gerald Segel COMPANY Hotels/Restaurants Wainwright Capital Company Gary L. Countryman Bay Hilton John M. Plukas "Back THE NEW ENGLAND William Morton WOODSTOCK CORPORATION Edward E. Phillips "The Bostonian Hotel Nelson J. Darling, Jr. Inc. Timothy P. Kirwan Robert D. Gordon Adjusters, Robert D. Gordon Copley Place Legal i* Boston Marriott Alain Piallat SAFETY INSURANCE COMPANY BINGHAM, DANA & GOULD COPLEY PLAZA HOTEL Richard B. Simches Everett H. Parker William Heck Dickerman Law Offices Lola Dickerman THE HAMPSHIRE HOUSE Investments Thomas A. Kershaw *Fish & Richardson ABD Securities Corporation Mildred's Chowder House Theodor Schmidt-Scheuber Richard Dorfman James E. Mulcahy *Gadsby & Hannah Baring America Asset Management Harry F Hauser THE RED LION INN Company, Inc. John H. Fitzpatrick Stephen D. Cutler GOLDSTEIN & MANELLO Richard J. Snyder St. Botolph Restaurant ''Baring International Investment Ltd. John Harris John F. McNamara GOODWIN, PROCTER AND HOAR Robert B. Fraser THE SHERATON BOSTON HOTEL BEAR STEARNS & COMPANY, INC & TOWERS Keith H. Kretschmer Hubbard & Ferris Robert McEleney Charles A. Hubbard *Essex Investment Management SONESTA INTERNATIONAL Company, Inc. * Lynch, Brewer, Hoffman & Sands HOTELS CORPORATION Joseph C. McNay Owen B. Lynch Paul Sonnabend FIDELITY INVESTMENTS/ *Mintz, Levin, Cohn, Ferris, Glovsky & THE WESTIN HOTEL, COPLEY FIDELITY FOUNDATION Popeo, PC. Francis X. Meaney PLACE * Goldman, Sachs & Company Bodo Lemke Peter D. Kiernan Nissenbaum Law Offices Gerald L. Nissenbaum Industrial Distributors ""Interact Management, Inc. Stephen Parker *Nutter, McClennen & Fish Admiral Metals Servicenter John K. P. Stone III Company KAUFMAN & COMPANY PALMER & Maxwell Burstein Sumner Kaufman DODGE Robert E. Sullivan Millard Metal Service Center THE KENSINGTON INVESTMENT Sarrouf, Tarricone & Flemming Donald Millard, Jr. COMPANY Alan E. Lewis Camille F. Sarrouf Insurance * Kidder, Peabody & Company Sherburne, Powers & Needham Arkwright Boston Insurance John G. Higgins Daniel Needham, Jr. Frederick J. Bumpus LOOMIS-SAYLES & COMPANY, Weiss, Angoff, Coltin, Koski & Wolf, CAMERON & COLBY CO., INC. INC. PC. Lawrence S. Doyle Peter G. Harwood Dudley A. Weiss

59 c^htai r!* 1

K I I

From boardrooms to classrooms, in video or film, we use humor, drama and I documentary styles to make corporate communications and television programs I D . that strike a responsive chord. We've learned that software engineers and soft goods buyers do indeed hear different symphonies. Our clients include Polaroid, Raytheon, Digital, Urban Land Institute, IBM, Sheraton, WCVB-TV, Zayre, A.D. Little, CBS, and Discovery Cable.

REUNION PRODUCTIONS, INC. (617) 926 0300

60 HHHP gement/Financial/Consulting * Barry Wright Corporation *Rand-Whitney Corporation )VANCED MANAGEMENT Ralph Z. Sorenson Robert Kraft SSOCIATES The Biltrite Corporation *Sprague Electric Company Harvey Chet Krentzman Stanley J. Bernstein John L. Sprague RTHUR D. LITTLE, INC. Boston Sand & Gravel Company *The Stackpole Corporation John F. Magee Dean M. Boylan Lyle G. Hall Superior Brands, Inc. ain & Company, Inc. CENTURY MANUFACTURING AND William W. Bain TY-WOOD CORPORATION Richard J. Phelps |HE BOSTON CONSULTING Joseph Tiberio *Termiflex Corporation ROUP CONNELL LIMITED William E. Fletcher Jonathan L. Isaacs PARTNERSHIP *Textron, Inc. William F. Connell B.F. orporate Decisions, Inc. Dolan

David J. Morrison *C.R. Bard, Inc. *Towle Manufacturing Company

Christopher J. McGillivary he Forum Corporation Robert H. McCaffrey John W. Humphrey Dennison Manufacturing Company Webster Spring Company, Inc. Nelson G. Gifford Alexander M. Levine aynes Management, Inc. G. Arnold Haynes Emhart Corp. Wire Belt Company of America CA Management T. Mitchell Ford F Wade Greer Donald E. Strange *Erving Paper Mills Media ison M. Cortell & Associates, Inc. Charles B. Housen THE BOSTON GLOBE Jason M. Cortell *FLEXcon Company, Inc. William O. Taylor AZMAIER ASSOCIATES, INC. Mark R. Ungerer BOSTON HERALD Richard W. Kazmaier, Jr. GENERAL ELECTRIC PLASTICS BUSINESS GROUP Patrick J. Purcell teller Company, Inc. Glen H. Hiner Boston Magazine Joseph P. Keller James * Georgia-Pacific Corporation Kuhn oehridge & Company, Inc. Maurice W. 'Richard K. Lochridge King WCRB—102.5 FM THE GILLETTE Richard L. Kaye ICKINSEY & COMPANY COMPANY Colman M. Mockler, Jr. 5 Robert P. O'Block WCVB-TV CHANNEL BOSTON S. James Coppersmith RUDENTIAL-BACHE GTE PRODUCTS CORPORATION Dean T. Langford ECURITIES Personnel David F. Remington HARVARD FOLDING BOX * John Leonard COMPANY, INC. Personnel ath & Strong Linda J. Poldoian Melvin A. Ross Dan Ciampa TAD TECHNICAL SERVICES H.K. Webster Company, Inc. obert Boyer CPA CORPORATION Robert Dean K. Webster Boyer David J. McGrath, Jr. Group Companies, William M. Mercer Meidinger HMK Ltd. Printing ansen, Inc. Joan L. Karol Chester D. Clark Hudson Lock, Inc. BOWNE OF BOSTON, INC. he Wyatt Company Norman Stavisky William Gallant Michael H. Davis Kendall Company *Bradford & Bigelow, Inc.

J. Dale Sherratt John D. Galligan 'anufacturer's Representatives Kenett Corporation Customforms, Inc. en-Mac Enterprises, Inc. Julius Kendall David A. Granoff Thomas F. McAuliffe DANIELS PRINTING COMPANY ITCHEN, & KUTCHIN, INC. LEACH & GARNER COMPANY Lee S. Daniels Melvin Kutchin Philip F. Leach *Dickinson Direct Response aul R. Cahn Associates, Inc. NEW ENGLAND BUSINESS Donald Dickinson Paul R. Cahn SERVICE, INC. Richard H. Rhoads *Espo Litho Co., Inc. anufacturing/Industry *New England Door Corporation David M. Fromer lies Corporation Robert C. Frank George H. Dean Company Stephen S. Berman Norton Co. Earle Michaud usimont Donald R. Melville GRAFACON, INC. Leonard Rosenblatt * Polaroid Corporation H. Wayman Rogers, Jr. vedis Zildjian Company I.M. Booth ITEK GRAPHIX CORPORATION Armand Zildjian R. Patrick Forster

61 1989-90 BSO Schedule

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Receive a 1989-90 BSO concert schedule and order form, and enter a drawing to win a free Thursday-Evening

Subscription Series for two!

Coupon will be entered in a drawing for a free pair of tickets

to a 1989-90 Thursday-Evening Subscription Series. Drawing

will be held on September 1, 1989. Only one entry per family

permitted. Employees of the Boston Symphony Orchestra, Inc.

are not eligible. Winner will be notified by mail in early

September. Please return coupon to:

1989-90 BSO Schedule c/o Development Office Symphony Hall Boston, MA 02115

YES, please send me your 1989-90 BSO schedule and "S3- <^~ enter my name in the drawing to win a Thursday-Evening Subscription Series. BOSTON SYMPHONY Name ORCHESTRA Address SEIJI OZAWA

Music Director iT , n| City .State Zip

Which series do you attend?

62 ABEL ART, INC. Renaissance Properties *CompuChem Corporation Thomas J. Cobery Roger E. Tackeff Gerard Kees Verkerk [ARK-BURTON PRINTING Trammell Crow Company DAMON CORPORATION Robert Cohen Arthur DeMartino David I. Kosowsky * Johnson [ASSACHUSETTS ENVELOPE Retail & Johnson OMPANY James E. Burke DEMOULAS SUPERMARKETS, Steven Grossman Lectro-Med Health Screening INC. Services, Inc. and Typography, Inc. T.A. Demoulas Mildred Nahabedian Allan Kaye *Dudwick Shindler Association herman Printing Dennis Krize Services Peter Sherman *Federated Department Stores, Inc. ASQUITH CORPORATION Howard Goldfeder Lawrence L. Asquith Publishing FILENE'S *Giltspur Exhibits/Boston udison-Wesley Publishing Company, David P. Mullen Thomas E. Knott he. *Gitano The Prudential Property Company, Warren R. Stone Alison Belaza Inc. PUBLISHING AHNERS HARBOR SWEETS R.M. Bradley & Co., Inc. OMPANY Ben Strohecker "Victor Grillo Saul Goldweitz & Associates *Hills Department Stores Victor N. Grillo HOUGHTON MIFFLIN COMPANY Stephen A. Goldberger Harold T. Miller Software/Information Services J. Baker, Inc.

|ittle, Brown & Company Sherman N. Baker CULLINET SOFTWARE, INC. Kevin L. Dolan John J. Cullinane J. BILDNER&SONS fcGraw-Hill, Inc. James L. Bildner Data Architects, Inc. Harold W. McGraw, Jr. Martin Cooperstein *Jay B. Rudolph, Inc. he Robb Report Ronald Rudolph Interactive Data Corporation Samuel Phillips JORDAN MARSH COMPANY John M. Rutherfurd, Jr. ime, Inc. Elliot Stone *Lotus Development Corporation Jim P. Manzi George Ray Karten's Jewelers ankee Publishing Incorporated Joel Karten *Phoenix Technologies, Ltd. Rob Trowbridge Neil Colvin *Loblaw Companies Limited David Nichol Travel/Transportation eal Estate/Development Louis, Boston GANS TIRE COMPANY, INC. HE BEACON COMPANIES Murray Pearlstein David Gans Norman Leventhal NEIMAN-MARCUS HERITAGE TRAVEL, INC. William enjamin Schore Company D. Roddy Donald R. Sohn Benjamin Schore * Purity Supreme Supermarkets THE TRANS-LEASE GROUP Frank P. Giacomazzi ombined Properties, Inc. John J. McCarthy (Stanton L. Black * Saks Fifth Avenue Ronald Hoffman Utilities "Jorcoran, Mullins, Jennison, Inc. * AT&T Joseph E. Corcoran Sears, Roebuck & Company S. David Whipkey Robert Babbitt 'emeter Realty Trust George P. Demeter THE STOP & SHOP BOSTON EDISON COMPANY COMPANIES, INC. Stephen J. Sweeney IRST WINTHROP CORPORATION Avram J. Goldberg Arthur J. Halleran, Jr. EASTERN GAS & FUEL 'Tiffany & Co. ASSOCIATES he Flatley Company William Chaney Robert W Weinig Thomas J. Flatley ZAYRE CORPORATION New England Electric System he Fryer Group, Inc. Maurice Segall Joan T. Bok 4 Malcolm F. Fryer, Jr.

lilon Development Science/Medical NEW ENGLAND TELEPHONE Corporation COMPANY _*Haim S. Eliachar Baldpate Hospital Paul C. O'Brien jlistoric Mill Properties Lucille M. Batal 4BertPaley NYNEX CORPORATION Cambridge BioScience Corporation Delbert C. Staley |t)hn M. Corcoran & Company Gerald F. Buck J John M. Corcoran CHARLES RIVER Northland Investment Corporation LABORATORIES, INC. Robert A. Danziger Henry L. Foster

63 Next Program . . .

Thursday, February 23, at Friday, February 24, at 2 Saturday, February 25, at

SEIJI OZAWA conducting

". ." RANDS . . body and shadow . . (world premiere, commissioned by the Boston Symphony Orchestra and Boston University to commemorate the 150th anniversary of Boston University; made possible in part through the Boston Symphony Orchestra's New Works Fund, a program supported with funds from the Massachusetts Council on the Arts and Humanities)

RAVEL Alborada del gracioso

MASSENET "Adieu, notre petite table," from Manon THOMAS "Je suis Titania," from Mignon KATHLEEN BATTLE, soprano

INTERMISSION

HAYDN Symphony No. 103 in E-flat, Drumroll Adagio—Allegro con spirito Andante phi tosto Allegretto Menuet; Trio Allegro con spirito

STRAUSS "Ich wollt' ein Straiisslein binden," Opus 68, No. 2 "Wiegenlied," Opus 41, No. 1 "Saiisle, liebe Myrthe," Opus 68, No. 3 KATHLEEN BATTLE

Single tickets for all Boston Symphony Orchestra concerts throughout the season are available at the Symphony Hall box office, or by calling "Sym- phony-Charge" at (617) 266-1200, Monday through Saturday, to charge tickets instantly on a major credit card, or to make a reservation and then send payment by check.

M EBHHmHTJ! ^^D Coming Concerts . . . Investment Real Estate Management, Brokerage and Consulting Services Wednesday, February 22, at 7:30 Since 1898 Open Rehearsal Steven Ledbetter will discuss the program at 6:45 in the Cohen Wing. Thursday 'A'—February 23, 8-10 Friday 'A'—February 24, 2-4 Saturday 'B'—February 25, 8-10

Donald L. Saunders, SEIJI OZAWA conducting President & Chief Executive Officer KATHLEEN BATTLE, soprano ". ." SAUNDERS & ASSOCIATES RANDS . . body and shadow . . (world premiere; commissioned 20 Park Plaza • Boston • MA • 021 16 by the Boston Symphony (617)426-4000 Orchestra and Boston Exclusive Agent for the Statler Office Building University to commemorate Boston University's sesquicentennial) RAVEL Alborada del gracioso Arias by MASSENET and THOMAS HAYDN Symphony No. 103, Drumroll STRAUSS Songs with orchestra

Tuesday 'C—February 28, 8-9:45 Go to one of Friday Evening—March 3, 8-9:45 SEIJI OZAWA conducting HAYDN Symphony No. 103, Drumroll our auctions BRAHMS Symphony No. 4

and youU be Saturday 'A'—March 4, 8-10 SEIJI OZAWA conducting MAURIZIO POLLINI, piano going once, ALL-BRAHMS Piano Concerto No. 1 PROGRAM Symphony No. 4 goingtwice, Programs subject to change.

three times... 266-4727 Est. 1939 RAYBURN Musical Instrument Co.

Brass—Woodwinds—Strings—Keyboards SKINNER Repair—Rentals—Sales—New and Used Auctioneers & Appraisers A real find. 263 Huntington Avenue Rte. 117, Bolton, MA 01740 508-779-6241 Boston, MA 02115 Next to Hall 2 Newbury Street, Boston, MA 02116 Symphony 236-1700

65 "Music Has Charms To Soothe A Savage Beast."

But sometimes music isn't enough. When psychiatric diagnosis and treatment pro- serious emotional problems threaten your grams for individuals and families experienc- mental health or someone you love, profes- ing life crisis. sional care can help. Problems may include: We help people help themselves. eating disorders depression For further information or consultation, please alcohol or drug troubled children call the admissions director at the locations listed.

dependency significant loss

The Community Care Systems hospitals and Community Care Systems, Inc. counseling centers offer confidential, caring,

Community Outpatient Services Charles River Hospital Jackson Brook Institute Lake Shore Hospital Chelmsford, MA Wellesl'ey, MA South Portland, ME Manchester, NH Lowell, MA (617)235-8400 (207) 761 -2200 (603) 645-6700 West Newton, MA (617)527-4610

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At The Colonnade Hotel, 120 Huntington Avenue. Boston. For reservations, call (617) 424-7000

66 a mm^B Symphony Hall Information .

FOR SYMPHONY HALL CONCERT AND THE SYMPHONY SHOP is located in the TICKET INFORMATION, call (617) Huntington Avenue stairwell near the 266-1492. For Boston Symphony concert Cohen Annex and is open from one hour program information, call "C-O-N-C-E-R-T." before each concert through intermission. The shop carries BSO and musical-motif THE BOSTON SYMPHONY performs ten merchandise and gift items such as calen- months a year, in Symphony Hall and at dars, clothing, appointment books, drink- Tanglewood. For information about any of ing glasses, holiday ornaments, children's the orchestra's activities, please call Sym- books, and BSO and Pops recordings. All phony Hall, or write the Boston Symphony proceeds benefit the Boston Symphony Orchestra, Symphony Hall, Boston, MA Orchestra. For merchandise information, 02115. please call (617) 267-2692. THE EUNICE S. AND JULIAN COHEN WING, adjacent to Symphony Hall on TICKET RESALE: If for some reason you Huntington Avenue, may be entered by the are unable to attend a Boston Symphony Symphony Hall West Entrance on Hunt- concert for which you hold a ticket, you may ington Avenue. make your ticket available for resale by call- FOR SYMPHONY HALL RENTAL ing the switchboard. This helps bring needed revenue to the orchestra and makes INFORMATION, call (617) 266-1492, or your seat available to someone who wants to write the Function Manager, Symphony attend the concert. A mailed receipt will Hall, Boston, MA 02115. acknowledge your tax-deductible THE BOX OFFICE is open from 10 a.m. contribution. until 6 p.m. Monday through Saturday; on RUSH SEATS: There are a limited number concert evenings, it remains open through of Rush Tickets available for the Friday- intermission for BSO events or just past afternoon and Saturday-evening Boston starting-time for other events. In addition, Symphony concerts (subscription concerts the box office opens Sunday at 1 p.m. when only). The continued low price of the Satur- there is a concert that afternoon or evening. day tickets is assured through the gener- Single tickets for all Boston Symphony osity of two anonymous donors. The Rush subscription concerts are available at the Tickets are sold at $5.50 each, one to a box office. For outside events at Symphony customer, at the Symphony Hall West Hall, tickets will be available three weeks Entrance on Fridays beginning 9 a.m. and before the concert. No phone orders will be Saturdays beginning 5 p.m. accepted for these events. PARKING for Boston Symphony Orches- TO PURCHASE BSO TICKETS: American tra evening concerts is available for $4 at Express, MasterCard, Visa, a personal check, the Prudential Center Garage. Enter after and cash are accepted at the box office. To 5 p.m., exit by 1 a.m., and present your charge tickets instantly on a major credit ticket stub when exiting. card, or to make a reservation and then send payment by check, call "Symphony-Charge" LATECOMERS will be seated by the at (617) 266-1200, Monday through Satur- ushers during the first convenient pause in day from 10 a.m. until 6 p.m. There is a the program. Those who wish to leave handling fee of $1.50 for each ticket ordered before the end of the concert are asked to by phone. do so between program pieces in order not to disturb other patrons. IN CONSIDERATION of our patrons and artists, children under four years of age will SMOKING IS NOT PERMITTED in any not be admitted to Boston Symphony part of the Symphony Hall auditorium or in Orchestra concerts. the surrounding corridors. It is permitted

I only in the Cabot-Cahners and Hatch BOSTON SYMPHONY BROADCASTS: rooms, and in the main lobby on Massachu- Concerts of the Boston Symphony Orches- setts Avenue. tra are heard by delayed broadcast in many parts of the United States and CAMERA AND RECORDING EQUIP- Canada, as well as internationally, through the Boston MENT may not be brought into Symphony Symphony Transcription Trust. In addi- Hall during concerts. tion, Friday-afternoon concerts are broad- FIRST AID FACILITIES for both men cast live by WGBH-FM (Boston 89.7); and women are available in the Cohen Saturday-evening concerts are broadcast Annex near the Symphony Hall West live by both WGBH-FM and WCRB-FM Entrance on Huntington Avenue. On-call (Boston 102.5). Live broadcasts may also be physicians attending concerts should leave heard on several other public radio stations their names and seat locations at the throughout New England and New York. If switchboard near the Massachusetts Ave- Boston Symphony concerts are not heard nue entrance. regularly in your home area and you would like them to be, please call WCRB Produc- WHEELCHAIR ACCESS to Symphony tions at (617) 893-7080. WCRB will be glad Hall is available at the West Entrance to to work with you and try to get the BSO on the Cohen Annex. the air in your area.

AN ELEVATOR is located outside the BSO FRIENDS: The Friends are annual Hatch and Cabot-Cahners rooms on the donors to the Boston Symphony Orchestra. Massachusetts Avenue side of the building. Friends receive BSO, the orchestra's newsletter, as well as priority ticket information LADIES' ROOMS are located on the and other benefits depending on their level orchestra level, audience-left, at the stage of giving. For information, please call the end of the hall, and on the first-balcony Development Office at Symphony Hall level, audience-right, outside the Cabot- weekdays between 9 and 5. If you are Cahners Room near the elevator. already a Friend and you have changed MEN'S ROOMS are located on the orches- your address, please send your new address tra level, audience-right, outside the Hatch with your newsletter label to the Develop- Room near the elevator, and on the first- ment Office, Symphony Hall, Boston, MA balcony level, audience-left, outside the 02115. Including the mailing label will Cabot-Cahners Room near the coatroom. assure a quick and accurate change of address in our files. COATROOMS are located on the orchestra BSO: The BSO's Busi- and first-balcony levels, audience-left, out- BUSINESS FOR ness Professional Leadership program side the Hatch and Cabot-Cahners rooms. & makes it possible for businesses to partici- The BSO is not responsible for personal apparel or other property of patrons. pate in the life of the Boston Symphony Orchestra through a variety of original and LOUNGES AND BAR SERVICE: There exciting programs, among them "Presi- are two lounges in Symphony Hall. The dents at Pops," "A Company Christmas at Hatch Room on the orchestra level and the Pops," and special-event underwriting. Cabot-Cahners Room on the first-balcony Benefits include corporate recognition in level serve drinks starting one hour before the BSO program book, access to the each performance. For the Friday-after- Higginson Room reception lounge, and noon concerts, both rooms open at 12:15, priority ticket service. For further informa- with sandwiches available until concert tion, please call the BSO Corporate time. Development Office at (617) 266-1492.

I9HI

* '

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1988 The 1-irstNar j! Bank ...('Boston k-

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I 51