BOSTON SYMPHONY ORCHESTRA

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NINETY-FIRST SEASON 1971-1972 ADIVARI

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Insurance of Every Description BOSTON SYMPHONY ORCHESTRA

WILLIAM STEINBERG Music Director

MICHAEL TILSON THOMAS Associate Conductor

NINETY-FIRST SEASON 1971-1972

THE TRUSTEES OF THE BOSTON SYMPHONY ORCHESTRA INC

TALCOTT M. BANKS President FRANCIS W. HATCH

PHILIP K. ALLEN Vice-President HAROLD D. HODGKINSON

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ALLEN G. BARRY HENRY A. LAUGHLIN

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HENRY B. CABOT PALFREY PERKINS EDWARD A. TAFT

ADMINISTRATION OF THE BOSTON SYMPHONY ORCHESTRA

THOMAS D. PERRY JR Manager

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THOMAS W. MORRIS DAVID ROCKEFELLER JR Business Affairs Audience and Public Affairs

MARY H. SMITH Concerts and Artists

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program copyright © 1972 by Boston Symphony Orchestra Inc.

SYMPHONY HALL BOSTON MASSACHUSETTS

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1412 BOSTON SYMPHONY ORCHESTRA

WILLIAM STEINBERG Music Director

MICHAEL TILSON THOMAS Associate Conductor

NINETY-FIRST SEASON 1971-1972

THE BOARD OF OVERSEERS OF THE

BOSTON SYMPHONY ORCHESTRA INC.

ERWIN D. CANHAM Chairman VERNON ALDEN Vice-Chairman LEONARD KAPLAN Secretary

HAZEN H. AYER FRANCIS W. HATCH JR MRS FRANK G. ALLEN DAVID O. IVES

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BOSTON • CHESTNUT HILL • SOUTH SHORE • NORTHSHORE • BURUNGTON • WELLESLEY BOSTON SYMPHONY ORCHESTRA WILLIAM STEINBERG Music Director MICHAEL TILSON THOMAS Associate Conductor JOSEPH SILVERSTEIN Assistant Conductor first violins cellos bassoons Joseph Silverstein Jules Eskin Sherman Walt concertmaster Philip R. Allen chair Ernst Panenka Charles Munch chair Martin Hoherman Matthew Ruggiero Alfred Krips Mischa Nieland Max Hobart Stephen Geber contra bassoon Rolland Tapley Robert Ripley Richard Roger Shermont Luis Leguia Plaster Max Winder Carol Procter Harry Dickson Jerome Patterson horns Gottfried Wilfinger Ronald Feldman Charles Yancich Fredy Ostrovsky Joel Moerschel Harry Shapiro Leo Panasevich Jonathan Miller David Ohanian Sheldon Rotenberg Ralph Pottle Stanley Benson basses Alfred Schneider Henry Portnoi Gerald Gelbloom William Rhein trumpets Raymond Sird Ikuko Mizuno Joseph Hearne Armando Ghitalla Cecylia Arzewski Bela Wurtzler Roger Voisin Leslie Martin Andre Come John Salkowski Gerard Goguen second violins John Barwicki Clarence Knudson Robert Olson trombones Fahnestock chair Lawrence Wolfe William Marshall William Gibson Michel Sasson flutes Ronald Barron Ronald Knudsen Doriot Anthony Dwyer Gordon Hallberg Leonard Moss Walter Piston chair William Waterhouse James Pappoutsakis tuba Ayrton Pinto Paul Fried Chester Schmitz Amnon Levy Laszlo Nagy piccolo timpani Michael Vitale Everett Firth Spencer Larrison Lois Schaefer Marylou Speaker Darlene Gray oboes percussion Ronald Wilkison Ralph Gomberg Charles Smith Harvey Seigel Arthur Press John Holmes assistant timpanist Wayne Rapier violas Thomas Gauger Burton Fine Frank Epstein Charles S. Dana chair english horn Reuben Green Laurence Thorstenberg harps Eugene Lehner Bernard Zighera George Humphrey clarinets Ann Hobson Jerome Lipson Harold Wright Robert Karol Bernard Kadinoff Pasquale Cardillo librarians Vincent Mauricci Peter Hadcock Victor Alpert fb clarinet Earl Hedberg William Shisler Joseph Pietropaolo Robert Barnes bass clarinet stage manager Yizhak Schotten Felix Viscuglia Alfred Robison personnel manager William Moyer HOW CAVE ATLANTIQUE CAN HELP YOU SELECT WEDDING, ANNIVERSARY & BABY GIFTS

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Program for April 21 and 22 1972 1419

A message from the President of the Trustees 1430

Program notes

Tristan und Isolde 1431 by John N. Burk

A synopsis of 'Tristan und Isolde' 1433 by Andrew Raeburn

A synopsis of 'The ring of the Nibelungs' 1434 by Andrew Raeburn

Wotan's farewell and the magic fire music 1436 by John N. Burk

Prelude to 'Die Meistersinger von Nurnberg' 1437 by John N. Burk

The Music Director 1439

The soloists 1440

Season summary 1460

ANDREW RAEBURN Program Editor and Assistant to the Music Director

1417 1418 NINETY-FIRST SEASON 1971-1972

Friday afternoon April 21 1972 at 2 o'clock Saturday evening April 22 1972 at 8.30

WILLIAM STEINBERG conductor

WAGNER

Tristan und Isolde' — Act 2

Tristan Isolde EILEEN FARRELL. Brangane NELL RANKIN KingMarke ROBERT HALE Kurwenal JOHN DAVIES Melot DEAN WILDER first performance by the Boston Symphony Orchestra

intermission

WotaiYs farewell and the magic fire music from 'Die Walkiire' Wotan ROBERT HALE

Prelude to 'Die Meistersinger von Nurnberg'

The concert on Friday will end about 4.05; the concert on Saturday about 10.35

The Boston Symphony Orchestra records exclusively for Deutsche Grammophon

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The concerts this weekend will be the final appearances in Boston of William Steinberg as Music Director of the Boston Symphony Orchestra.

It is our hope and expectation, however, that in future years we will welcome as a guest conductor this consummate musician who has brought to the Orchestra strength and dedication to the highest ideals of musical art.

During the tenure of Mr Steinberg the Orchestra has continued its steady progress as one of the foremost orchestras of the world. He has Led the Symphony not only in Boston and Tanglewood but in many American cities, and in the spring of last year in the musical centers of England, Germany, Austria, Italy, Spain and France. His recordings with the Orchestra, both for Deutsche Grammophon and for RCA, have world-wide distribution, and telecasts and broadcast performances under his leadership have reached an audience literally in the millions through more than two hundred stations in the western hemisphere.

The programs of Mr Steinberg have comprised many great works of the classic symphonic repertoire, and we are particularly indebted to him for performances of exceptional insight and musicality of works of Bruckner and Mahler not often heard previously in Symphony Hall. Mr Steinberg has conducted several works for the first time in the sub- scription series, among them the Piano concerto of Dvorak, the Cello concerto of Elgar, the Symphony no. 55 of Joseph Haydn, the Trumpet concerto of Michael Haydn, and the Quartet for strings of Verdi. Of contemporary compositions Mr Steinberg has conducted the world premiere of Museum piece by Gunther Schuller, the American pre- mieres of the Violin concerto by Einem and Paths by Oedoen Partos, and the Orchestra's first performances of the Festival overture by Lopatnikoff, the Scherzo fantastique of Stravinsky, the Tuba concerto of Vaughan Williams, the Symphony no. 2 and Concerto for string quartet and orchestra by Lees, the Symphony no. 3 and the Concerto for violin, cello and orchestra by Starer, and Schuller's Five bagatelles for orchestra.

The Trustees wish to acknowledge with gratitude and honor the con- tribution which this distinguished and deeply respected artist has made to the accomplishments and history of the Boston Symphony Orchestra.

*&r%n l^tx. A* President of the Trustees

1430 William Steinberg and the players of the Boston Symphony Orchestra salute their distinguished colleague Leopold Stokowski on the occasion of his ninetieth birthday, April 18 1972.

RICHARD WAGNER Tristan und Isolde' — Act 2 Program note adapted from the notes of John N. Burk

Wagner was born at Leipzig on May 22 1813; he died at Venice on February 13 1883. He wrote the poem of Tristan und Isolde at Zurich in the summer of 1857, and began to compose the music shortly before the end of that year, completing the second act in Venice in March 1859, and the third act in Lucerne the following August. The first performance, conducted by Hans von Bulow, was given at the Hoftheater in Munich on June 10 1865. The first performance in America took place at the House in New York on December 1 1886, the first in Boston at the Boston Theatre on April 1 1895.

Beginning in 1883, the Boston Symphony Orchestra has performed various excerpts from the opera at frequent intervals. These performances however are the first of the second act.

The instrumentation of Act 2: 3 flutes, piccolo, 2 oboes, english horn, 2 clari- nets, bass clarinet, 3 bassoons, 4 horns, 3 trumpets, 3 trombones, tuba, timpani and strings.

Of the several crossroads in Wagner's life which would have sunk any- one with less than his supreme egotism into complete dismay, one of the most magnificent was the moment when, in his forty-fifth year, he laid aside the unfinished Ring cycle. With no evidence of heartbreaking discouragement or deep regret, he stepped without hesitation from the diatonic world of the hero in his shimmering forest, to an unprecedented chromatic world of darkness, introspection and rap- turous passion. As an achievement in emotional intensity and long- breathed lyricism, Tristan und Isolde has no comparison in the music or drama of any age.

While Schopenhauer and Calderon gave shape to his poetic conception, Mathilde von Wesendonck he used as a tangible point of departure toward his conceptual Isolde. The adoring and inspiring Mathilde had been figuratively standing at his side as he put Die Walkure on paper, hut he must, even then, have been increasingly occupied with his 'dream of love'.

There were other, more practical, considerations: Wagner had gained a strong foothold in German opera houses with his Tannhauser and Lohen- grin, but it was in the interest of his growing fame that the maturer music of the subsequent years should be heard. But that maturer music was the immense project of the Ring, an awesome task for any opera company. He therefore turned from the Nibelungs and took up Tristan.

He wrote to Liszt, when first revealing his plans for the new opera: 'I may assume that a thoroughly practicable work, such as Tristan is to be, will quickly bring me a good income, and keep me afloat for a time.' He negotiated immediately with his publishers, Breitkopf und Hartel,

1431 for a payment on the first act. The 'thoroughly practical work' was to be produced 'next year' in a borderline opera house, Strasbourg, where he would direct its production. He was already considering singers for the title parts.

Against these business-like facts are intimations of deeper motives. Wagner told Liszt that he needed relief from his 'mute and soundless exile', and some three years earlier had written to his friend: 'Since I have never yet known in life the real bliss of love, I mean to set up a memorial to the loveliest of all dreams, in which from first to last this love shall be satisfied to the full.'

The second act of Siegfried brought the fortunes of the Nibelungs to a natural point of repose. He brought it to conclusion at the end of July 1857 in Asyl, the 'retreat' which the Wesendoncks outfitted for him on their estate at Zurich. Another month and a half (September 18), and the Tristan poem was drafted. Three months more, and he had sketched the prelude and first act. Waiting, characteristically, for another spring, he worked on the second act between May 4 and July 1 1858. It was during this time at Asyl that Minna Wagner found the intimate understanding and constant exchange of notes between Richard and Mathilde too much for wifely human nature, and made a scene which resulted in unbearable tension, and the flight of the Wagners in August. The com- poser chose Venice to work out the orchestration, and the rich detail of the second act.

In the following March Wagner removed once more, to still greater seclusion. He chose a summer hotel in Lucerne, as yet free of guests, for the season had not begun. On August 6 he brought his score to completion, after two years of almost continuous application.

Although one is forcefully confronted with the image of Mathilde Wesendonck as the inspiration for Tristan, Paul Bekker, in his book on Wagner (W.W. Norton, New York 1931), reaches the carefully studied and persuasive conclusion that the true source was purely musical, that 'the artist's will to music, governing words and scene, drove him to seek and find those experiences which should enable him to embody his musical inspiration in the reality of tone'. The sudden and prodigious harmonic enrichment of Tristan, its prismatic chromaticism, which gave a new axis and depth to all music, its unprecedented lyrical pulse, can only be regarded as a fresh and mysterious accumulation of musical forces suddenly released in the creative Wagner. Such thoughts led Bekker to call the work 'the "essence of music" as Wagner understood music — music as drama, as ebb and flow, as the mutual attraction and repulsion, desire and fulfillment of musical forces — but music also as Wagner alone could envisage, as pure tone vitalized and filled to its least member with dramatic energy.'

Anyone who has listened to the glamorous orchestration of the second act, the matched voices of lovers soaring with it into a sort of super- earthly ecstasy of sensuous sound, will share the composer's impatience with the naive assumption that any 'love affair', however ideal, could be simply translated into that tonal wealth. Music apart, the poetic aspect of Isolde in Cornwall makes any identification with the fairest Frau in Lucerne incongruous and absurd. The question would rather

1432 resolve itself into whether that pregnant sighing phrase which opens the prelude for example, was directly born from Wagner's contempla- tion of Mathilde, or whether Mathilde released in him a musical trend which was an inevitable phase of the developing musician, and would have found somewhat similar expression, nurtured by some other fair soul, had these two never met.

A synopsis of Tristan und Isolde' by Andrew Raeburn

The first act of Tristan und Isolde is set on board a ship crossing from Ireland to Cornwall, the kingdom at the south-west corner of Britain.

It bears Isolde, daughter of the Irish king, who is to be married to King

Marke of Cornwall. Her escort is the knight Tristan, nephew to Marke. Some time earlier Tristan had killed the Irish knight Morold, who had come to Cornwall to levy tribute for the King of Ireland, and had defi- antly sent his head back to Ireland in place of the tribute. Morold had at that time been betrothed to Isolde.

In their combat Morold had inflicted on Tristan a wound which would not heal. Tristan therefore resolved to journey to Ireland, and seek help from Isolde, whose skill in the magic arts was widely known. Calling himself Tantris, he arrived at the Irish court, where Isolde cured him. Although recognizing him as the slayer of Morold, she had been smitten with love, and had therefore healed him and kept his identity a secret.

A bitter stroke of fortune impels King Marke to send Tristan to woo Isolde as his Queen, and as the opera begins, the princess despairingly curses the ship and all on it, thinking that Tristan no longer loves her. She sends her attendant Brangane to order Tristan to her presence, but the knight, excusing himself by saying that it would be improper for him to be with her now that she is betrothed to Marke, refuses. Kurwenal, Tristan's retainer, tells Brangane the story of Tristan's combat with Morold. Horrified, Brangane returns to Isolde, who then reveals that she knows who her escort is, and is fully aware of what he has done. Resolving to kill herself, Isolde bids Brangane bring her casket of potions. She sends for Tristan, saying that unless he will drink with her, she will not go with him into Marke's presence.

When Tristan appears, Isolde reproaches him for having been so cold and neglectful. She tells him how she has sworn to avenge Morold's death. Tristan offers her his sword, but she will not kill him. Instead she bids him drink with her. Tristan realizes she plans his death, but seizes the goblet and drinks. Isolde snatches it away and drains it. The pair await death, but instead they find themselves in an ecstasy of love, for Brangane has given them a love potion instead of poison. The ship arrives in Cornwall, and the lovers approach King Marke with trepidation.

The second act is set in the garden of King Marke's castle. It is a starry summer night. A torch burns outside Isolde's chamber. Hunting horns announce the departure of King Marke and his knights. Isolde tells Brangane that the King and his huntsmen are far enough away to allow Tristan to come to her — the signal will be the extinguishing of the

1433 torch — but Brangane is full of foreboding: there are spies watching, the courtier Melot is plotting the lovers' downfall. Isolde cannot believe it. Melot, she says, has planned the hunt so that she and Tristan may meet. Brangane continues her warnings, blames herself for having dis- obeyed her mistress by exchanging the potions. No, replies Isolde, it was fated by the goddess of love. Finally she orders Brangane to keep watch on the ramparts of the castle, and extinguishes the torch. Tristan approaches, they embrace passionately, and sing of their overwhelming love. They curse Light and Day, the time of their misfortune, extol Darkness and Night, realizing finally that only in death can they find release. From time to time Brangane utters warnings from the ramparts.

At last Kurwenal appears, sword drawn, to warn the lovers that they have been trapped. Brangane screams as Melot leads in King Marke and the hunting party. It is dawn. The King sorrowfully reproaches Tristan for his treachery. The knight asks Isolde if she will follow him 'whither he shall now go'. He kisses her. Melot furiously demands of the King whether he will suffer such dishonor, and draws his sword. Tristan also draws, but, as Melot attacks, makes no defence and is wounded. As he falls into Kurwenal's arms, Isolde rushes to him, while Marke restrains the furious Melot.

Tristan's castle in Brittany is the scene of the final act. Thither Kurwenal has brought him, deathly ill, for again his wound will not heal. Tristan awakes, but cannot recognize that he is in the home of his ancestors. In his delirium he has been in the strange country of Night; now his love has brought him back to the treacherous Light of Day. Kurwenal relates that he has sent for Isolde to heal him once more. Tristan joyfully thanks Kurwenal for his devotion, then relives the tragedy of his destiny. He falls again senseless. At last a ship is sighted, and Kurwenal goes to the harbor. In delirious anticipation Tristan tears the bandage from his wound, and as Isolde approaches, he dies. She reproaches him gently, then falls insensible over his corpse. Another ship arrives; Marke has followed with his retinue. Kurwenal kills Melot, then is overcome, and expires at Tristan's side. Isolde revives and Brangane tells that she has confessed to the King how she substituted the potions, and that Marke has come to Brittany to renounce Isolde, and allow her to be Tristan's wife. Isolde seems not to understand. Gazing on her dead lover, she sings her farewell, the Liebestod. She sees Tristan rising to the stars, heavenly music surrounds him, overwhelming her. Scented air envelops them. As the opera comes to its end, she asks shall she engulf herself, shall she drown, shall she sink unconscious into supreme bliss.

A synopsis of The ring of the Nibelungs' by Andrew Raeburn

Rheingold, the first opera of Wagner's tetralogy, tells the story of the theft of the magic gold which belongs to the three Maidens of the River

Rhine. Whoever makes a ring from it shall be master of the world, if he also forswears love. Alberich, a dwarf from the underworld, first steals

it, but loses it to Wotan, King of the Gods. Wotan has to pay the giants

1434 of the earth, Fafner and Fasolt, for having built Valhalla, the new home of the Gods; their price is Freia, the Goddess of Youth. But if Wotan gives Freia up, the gods will grow old; so he persuades the giants to take the golden ring instead. Alberich puts a curse of death on the ring as he gives it up, and immediately it begins to work as Fafner kills Fasolt. The opera ends as the gods move to Valhalla, their new home.

The gods will perish unless Wotan regains the ring, which Fafner, now transformed into a dragon, guards on earth. Hoping that a son born on earth may be able to take the ring, Wotan has fathered sons by a woman of earth. The curse of the gold visits itself Qrutke&exhildren, one of whom is Siegmund. Now a man, he is #eetng from his enemies in a thunderstorm as the--fir-st^adt-.G^-©te"-Waffe-ere_ begins. He finds refuge in the hut of Hunding, husband of Sieglinde. Not knowing that they are brother and sister, Siegmund and Sieglinde fall in love, and she puts a sleeping potion into Hunding's drink. There is a sword embedded in the tree that serves as the hut's roof, put there on the day of Sieglinde's wedding by a stranger, who was in fact Wotan. The man who can draw it out shall have it. Till now all who have tried have failed, but Siegmund succeeds. Sieglinde is now certain of their destiny; the two rush out into the night, as the first act ends.

As the story continues, Siegmund is killed by the pursuing Hunding, and Wotan, grieving at his son Siegmund's death, strikes Hunding dead. Brunnhilde, one of the Valkyrie, wild riders of the sky, who are the nine daughters of Wotan and Erda, goddess of the earth, rescues Sieglinde, tells her she will become the mother of a hero, and warns her to escape from Wotan's fury. Wotan, angry with Brunnhilde, punishes her: no longer shall she be a goddess. She shall fall into a deep sleep, and whatever man shall find her first shall waken her and take her to wife.

Sieglinde dies giving birth to her son Siegfried. The dwarf Mime finds the child and brings him up. The gold, which Mime now covets, can only be won by killing its present guardian, Fafner, with a sword made from the pieces of Siegmund's shattered weapon. Siegfried forges it, kills Fafner, and tasting by accident the blood of the dragon, understands that Mime plots his death. So he kills Mime. A woodbird tells him that he shall rescue Brunnhilde, and he goes in search of her.

Wotan meanwhile realizes that the gods cannot survive, and that Siegfried and Brunnhilde shall be the rulers of the future. He breaks his spear, the symbol of his power. Siegfried awakes the sleeping Brunnhilde, and puts the magic ring on her finger, as the opera Siegfried ends.

Siegfried rides away on Briinnhilde's horse, Grane, to prove his love by deeds of valor. But Hagen, son of the dwarf Alberich, plots with his half- brother Gunther to steal the ring by giving Siegfried a potion, which will make him forget Brunnhilde, and fall in love with Gunther's sister. Gunther shall then have Brunnhilde and the ring. Siegfried drinks the potion, and he and Gunther go in search of Brunnhilde.

Wearing a magic helmet to make him look like Gunther, Siegfried finds Brunnhilde and brings her to Gunther. Restored to his own form and wearing the ring he took from Brunnhilde, he weds Gutrune, while

1435 Brunnhilde's love turns to hate. She plans to murder him while he is hunting.

In the last act of Gotterdammerung, the Rhine maidens ask Siegfried for

the ring, but he will not give it up. They warn him that the curse will work on him. Hagen gives Siegfried a potion to bring back his memory, then stabs him as they are hunting together. Siegfried calls on Brunnhilde as he dies.

Hagen now demands the ring from Gunther, and when he refuses to give it up, kills him. He tries to take the ring, but Briinnhilde prevents him. She has a funeral pyre built, bids farewell to Siegfried, and rides into the flames on her horse Grane. The waters of the Rhine extinguish the fire, and the Rhine maidens take back the ring. Hagen drowns in a

final attempt to steal it, and Valhalla collapses, consumed by fire.

Wotan's farewell and the magic fire music from 'Die Walkure' Program note by John N. Burk

Wagner began to compose the music to Die Walkure in 1854, completing his fair copy of the entire score in April 1856. The opera was first performed at Munich on August 26 1870. The first performance sanctioned by the composer was given at Bayreuth on August 14 1876, the month in which the 'Ring' cycle was first presented.

Wotan's farewell and the magic fire music were first performed in Boston at a Thomas concert on January 20 1875. Georg Henschel was both soloist and con- ductor for the Boston Symphony Orchestra's first performance, given on Decem- ber 29 1882. The most recent performances in the subscription series were given in October 1937; was soloist, and Serge Koussevitzky conducted.

The instrumentation: 3 flutes, 2 piccolos, 3 oboes, english horn, 3 clarinets, bass clarinet, 3 bassoons, 8 horns, 3 trumpets, bass trumpet, 4 trombones, tuba, tim- pani, glockenspiel, triangle, cymbals, 2 harps and strings.

The last scene in Die Walkure is the summit of a mountain, a craggy and precipitous spot and a haven of the Valkyries. Wotan has angrily dis- missed the maidens as Hhey have tried to shield their sister, and Brunnhilde alone has had to face his godlike wrath. She has opposed

divine authority, raised her spear against it to protect the unsanctified union of Siegmund and Sieglinde. She has even brought Sieglinde to this refuge — Sieglinde who, soon to perish, will first bear a son, the destined hero Siegfried. Brunnhilde, Wotan has said, must forfeit the attributes of a goddess, her proud inviolability, her divine maidenhood,

her place at Valhalla. She is to be left defenceless before the first mortal who may come to claim her as wife. Brunnhilde has pleaded to be spared from the indignity. Has her transgression justified this terrible degradation? Has she not in fact fulfilled his secret wish in helping the race of the Walsungs whom he has fathered and loved? May she not in her punishment at least be encircled with a defence such as Loge might give, a fire which no chance comer but only a hero might penetrate?

Wotan is touched by the appeal of the once intrepid and indomitable, but now helpless Brunnhilde, and he accedes to her request. In the

1436 remainder of the scene, he is no longer the wrathful God, she the impenetrable Goddess. They are father and daughter, the parent taking farewell of his favorite child whom he is never to see again. He must strip her of her divine qualities, though his heart cry out against it. His very human emotion, pervading the close of Die Walkure, must in his own torn heart submit to the unalterable law which as ruler he is bound to enforce. He invokes Loge as the motive of that god develops into flickering flames. The motive of Fate darkly underlies it. The coming of

Siegfried, who is to release Brunnhilde, is foretold as his motive as deliverer flashes prophetically across the scene. The motives of Fire and Sleep are inextricable, for the same magic charm imposes both.

Prelude to 'Die Meistersinger von Numberg' Program note by John N. Burk

Wagner was born in Leipzig on May 22 1813; he died in Venice on February 13 1883. He completed the Prelude to Die Meistersinger in 1862, the entire music drama in 1867. It was first presented on June 21 1868. The Boston Symphony Orchestra first performed the Prelude on November 11 1881; Georg Henschel conducted.

The instrumentation: 2 flutes, piccolo, 2 oboes, english horn, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, tuba, harp, timpani and strings.

Under the direction of Erich Leinsdorf the Boston Symphony Orchestra has recorded the Prelude for RCA.

Wagner, whose ideas for music dramas were always considerably ahead of their fruition, first conceived plans for Die Meistersinger (and Lohen- grin as well) in the summer of 1845, when having completed Tannhauser he* was anticipating its first production. A humorous treatment of the early guilds, of Hans Sachs and his fellow tradesmen, occurred to him

as an outgrowth from the Wartburg scene in Tannhauser and its con- test of song. He carried the project in the back of his mind while more immediate concerns — and the Ring — occupied him. Then came Tristan, and only after the Tannhauser fiasco in Paris, in 1861, did he give his complete thoughts to his early Nurembergers, and draw his libretto into final form. At once, with a masterful assembling of fresh forces as remarkable as that which he had shown in plunging into Tristan, he put behind him the impassioned chromaticism of the love drama and the Bacchanale, and immersed himself in the broad and placid periods, the naive folk style of the early guilds. He built up readily, and for the first time, a strictly human world, free of gods, legendary heroes, and magic spells.

He went to Biebrich on the Rhine to compose Die Meistersinger, and in the early spring of 1862 had completed the Prelude, begun the first act, and sketched the prelude to the third — fragments implicating a fairly complete conception of the ultimate score. Wagner even planned on finishing Die Meistersinger for performance in the autumn season of 1862, but intruding troubles — notably the entanglements with love,

1437 politics and royalty in Munich, which enforced his departure from that city — these events delayed his score, which was not finished until October 1867.

The Prelude was performed from the manuscript at a concert especially arranged by Wendelin Weissheimer at the Leipzig Gewandhaus on November 1 1862. Wagner conducted the 'new' prelude and the over- ture to Tannhauser. There was an almost empty hall, but the Prelude was encored. The critics were divided between praise and strong denouncement. There were performances in other cities in 1862 and

1863. The entire work had its first presentation at Munich on June 21 1868.

RECORDINGS BY SERGE KOUSSEVITZKY AND THE BOSTON SYMPHONY ORCHESTRA

Several recordings made by the Boston Symphony Orchestra, conducted by Serge Koussevitzky, which are not generally available in this country, have been issued by RCA in Europe. They include performances of Mussorgsky's Pictures at an exhibition and Debussy's La mer, and sym- phonies by Beethoven, Sibelius and Roy Harris. Copies have been imported, and are available at New England Music City, 829 Boylston Street, Boston.

Merrimack College Celebrity Series 1972-1973 Season

ROSALIND ELIAS MILDRED MILLER and Metropolitan Opera Mezzo-soprano, in THEODOR UPPMAN recital, featuring the premiere perform- Metropolitan Opera favorites, in joint ance of Daniel Pinkham's settings of recital three Dickinson poems Friday, Feb. 9, 1973, 8:30 P.M. Sunday, Oct. 29, 1972, 8:30 P.M. J.S. BACH'S ST' MARK PASSION JACK ARANSON first Boston area performance, featuring in a one man performance of Melville's King's Chapel Choir, Cambridge Festival Moby Dick Orchestra and soloists Friday, Nov. 10, 1972, 8:00 P.M. Friday, March 9, 1973, 8:00 P.M. ISAAC STERN renowned violinist, in recital Friday, April 6, 1973, 8:30 P.M.

Season tickets are now available for the 1972-1973 Season. The season ticket at $18.00 reserves seating in Section A of the Chapel for the five events. Order through Box 893, Merri- mack College, No. Andover, Mass. 01845. Make checks pay- able to Merrimack College. For information call 688-6175.

1438 THE MUSIC DIRECTOR

WILLIAM STEINBERG was born in Cologne. Graduating from the Con- servatory of his native city in 1920, he became assistant to Otto Klemp- erer at the Cologne Opera. Soon afterwards he was appointed one of the company's principal conductors. He was engaged as first conductor of the German Theatre at Prague in 1925, becoming Opera director two years later. In 1929 he was invited to Frankfurt as music director of the Opera and of the famous Museum-concerts. There he conducted many contemporary for the first time, one of which was Berg's Woz- zeck; he also directed the world premieres of Weill's Mahagonny, Schoenberg's Von Heute auf Morgen and George Antheil's Transatlantic. During this period he was a regular guest conductor of the Berlin State Opera.

The Nazis dismissed Mr Steinberg from his posts in 1933, and he then founded the Jewish Culture League in Frankfurt, and under its auspices conducted concerts and opera for Jewish audiences. He later did sim- ilar work for the Jewish community in Berlin. He left Germany in 1936. He was co-founder with Bronislav Huberman of the Palestine Orchestra

(now the Israel Philharmonic), becoming its first conductor after the inaugural concert, which was directed in December 1936 by Arturo Toscanini. Mr Steinberg came to the in 1938, at Toscanini's invitation, to assist in the formation and training of the NBC Symphony Orchestra. During his time as Associate Conductor of the NBC Symphony Mr Steinberg appeared as a guest conductor from coast to coast both with the major symphony orchestras and with the . He became music director of the Buffalo Philharmonic in 1945, and seven years later was engaged as Music Director of the Pittsburgh Symphony, with whom he now has a lifetime contract.

Between 1958 and 1960 Mr Steinberg traveled regularly between Pittsburgh and London, while he served as music director of the London Philharmonic Orchestra. In the 1964-1965 season he appeared as guest conductor with the Metropolitan Opera in New York. The Orchestra in Pittsburgh has become under his direction one of the foremost in the

1439 country. In 1964 he and the orchestra made a three-month tour of Europe and the Near East under the auspices of the State Department's office of Cultural Presentations, a journey covering 25,000 miles in fourteen countries and including 50 concerts.

Later in 1964 Mr Steinberg became principal guest conductor of the , and directed concerts for twelve weeks during several winter seasons. In the summer of 1965 he conducted the Orches- tra during the first week of its free concerts in the parks of . The performance of Beethoven's Ninth symphony in Central Park, which opened the series, attracted an audience of more than 75,000. Mr Steinberg has also had extensive engagements in Europe, and during the summer of 1967 he conducted many of the concerts given during its tour of the United States by the Israel Philharmonic, the orchestra with which he had been so closely associated thirty years earlier. Last spring he led the Boston Symphony's tour to Europe, conducting concerts in England, Germany, Austria, Spain and France. He has directed many recordings for the Deutsche Grammophon, Command and RCA labels.

Mr Steinberg is the only conductor who holds the post of music director of two of the world's major orchestras, the Boston Symphony and the Pittsburgh Symphony.

THE SOLOISTS

JAMES KING, who makes his first appear- ance with the Boston Symphony Orchestra at these concerts, was born in Dodge City, Kansas. After studies of the violin and piano as a boy, he took vocal lessons at high school. Preparatory work in Louisiana led to a move to New York City, and study with . In 1961 James King won the American Opera auditions in Cincin- nati, which carried as a prize engagements in Florence and Milan. After making his European debut in those cities, he auditioned at the Deutsche Oper in Berlin, and was immediately offered the position of leading dramatic . Karl Bohm engaged him for the Salzburg Festival, and later for productions of operas by . In 1963 James King toured to Japan with the Berlin Opera under Bohm's direction. He made his debut at the Metropolitan Opera in in 1966, and has since sung there the leading roles in , , Lohengrin, Turandot, , Der fliegende Hollander, and Die Meistersinger. In Europe he has appeared recently at the Royal Opera House, Covent Garden, and at the Bayreuth and Salzburg Festivals. James King's many recordings are on the Deutsche Grammophon, London, RCA and Angel labels.

1440 EILEEN FARRELL, who made her debut with the Boston Symphony in 1954 in perform- ances of Beethoven's Ninth symphony, has had an extraordinarily varied career. A native of Connecticut, she had her first music lessons from her mother. She had originally planned to be a textile designer, but eventually she decided to sing. She was accepted for the CBS chorus, then made her solo professional debut as 'The voice of Rosa Ponselle' in a March of Time program.

.', She soon had her own program, 'Eileen Farrell presents . . and in 1947-1948 made her first extended concert tour. Her operatic debut took place in Tampa, Florida, then in 1958 she opened the San Francisco Opera season in the title role of Cherubini's Medea. In 1960 Eileen Farrell gave her first performance at the Metropolitan Opera, and since that time has sung with almost every major opera company and orchestra

in the United States. She is seen frequently on TV, both as a serious and pop singer. In 1967 the Canadian Broadcasting Company televised a program devoted to Eileen Farrell, 'Portrait of a Prima Donna'. As a pop artist she first became known when she substituted for Louis Arm- strong at the 1959 Spoleto Festival. Until the end of 1965 she was soprano soloist with the Bach Aria Group, then withdrew to give more time to her solo engagements. Eileen Farrell's recordings are on the Columbia, RCA and Angel labels.

ROBERT HALE, leading of the , appeared with the Boston Symphony for the first time at the Berk- shire Festival last summer. Born in Kerr- ville, Texas, he became increasingly involved in music after joining his High School glee club. He started playing trum- pet, horn and tuba, and began his operatic career in Frankfurt, Germany, when he was in the armed forces. Completing his mas- ter's degree at the University of Oklahoma, he joined the faculty of Eastern Nazarene College while continuing to study at the New England Conservatory of Music. During recent seasons Robert Hale has appeared with orchestras in Boston, Minneap- olis, Denver, Rochester, Atlanta, Milwaukee and Pittsburgh, and has sung many major roles with the New York City Opera, in, among other operas, Manon, Lucia di Lamm ermoor, , Faust, Pelleas et Melisande, The crucible, , , and Carmen. Last summer he sang at the Ravinia Festival, the Wolftrap Farm concerts and the Cincinnati May Festival. He has also appeared on nationwide television as soloist with the Minneapolis Orchestra at a United Nations Human Rights Day concert, and at Phil- harmonic Hall, New York, in a production of Oskar Strauss's Waltz King. His most recent appearance with the Boston Symphony Orchestra was in Ames, Iowa, last month.

1441 NELL RANKIN makes her debut with the Boston Symphony at these concerts. Her career began at the age of four when she appeared on a weekly radio program with her father and brother, and as a young teenager she was already studying concert and operatic repertoire. Her teachers were Jeanne Lorraine, Coenraad V. Bos, and, later, . Nell Rankin was the first American musician ever to win the International Concours de Musique of Geneva. In recent years she has appeared in leading roles at the Metro- politan Opera, at La Scala, Milan, at the , at the Royal Opera House, Covent Garden, at the Teatro Liceo in Barcelona, at the Vancouver Opera, and with the companies in Miami, San Antonio and Seattle. She has also given frequent recitals and sung with major orchestras. Her roles include Carmen, Amneris, Princess Eboli, Adalgisa, Azucena, Delilah, Santuzza and Ortrud.

JOHN DAVIES, a native of Boston, received his formal musical training at Boston Uni- versity School of Fine and Applied Arts, where he studied voice with Chloe Owen, graduating in 1969. Since then he has per- formed professionally in the Boston area while continuing his studies with Lav Vrbanic of the New England Conservatory. He has performed with the New England Chamber Opera Company, the Cambridge Opera Workshop, and was an apprentice singer with the Santa Fe Opera Company during the 1971 season. He has recently performed as soloist with the Boston University Orchestra and Chorus, the Tufts Glee Club, and the MIT and Mount Holyoke combined glee clubs. He makes his debut with the Boston Symphony Orchestra at these concerts.

DEAN WILDER, who is at present a member of the voice faculties of the New England Conservatory and of Boston University, won his bachelor's degree from Cascade College in Portland, Oregon. He came to the New England Conservatory to take his master's degree, then continued graduate work at Stanford and Northwestern Universities. He made advanced opera and lieder study with Hertha Klust at the Deutsche Oper, Berlin, with Boris Goldovsky at the Goldovsky Opera Theatre, with Arthur Schoep at the Denver Lyric Opera, and with Frederic Popper at the NBC Opera. In 1964 Dean Wilder was

1442 awarded the Petri Foundation Fellowship for European study, and the following year was selected as one of the 'Outstanding Young Men of America'. In recent seasons he has appeared with many orchestras and choruses, among them the National Symphony, the Rhode Island Sym- phony, the Portland (Oregon) Symphony, the Cambridge Festival and Bach Society Orchestras, and with the Framingham Choral Society, the Harvard University Choir and the MIT Choral Society. He has also given more than 600 joint concerts with Robert Hale. Dean Wilder appears for the first time with the Boston Symphony at these concerts.

BOSTON SYMPHONY ORCHESTRA

NINETY-SECOND SEASON 1972-1973

SEIJI OZAWA Music Adviser COLIN DAVIS & MICHAEL TILSON THOMAS

Principal Guest Conductors -

TWENTY FRIDAY CONCERTS AT 2 o'clock

TWENTY SATURDAY CONCERTS AT 8.30

Dates and conductors to be announced Renewal cards will be mailed to subscribers this month

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During the first week of the season, concerts will be held Tuesday through Sunday. Thereafter there will be concerts each Monday through Saturday.

The Pension Fund Concert will be on Sunday May 28.

Tickets will be placed on sale two weeks in advance of each concert

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1456

This is where our Finance Committee meets, Fascinating, Mr Turbott. Mr Hastings. The room dates Now uou tell me you're bach to 1695. It was part of in charge of the the first parish house. Church's investments? \ /

Have been for 18 ejears-

since before I retired from the bond Uh-yes Our expenses ...not quite as much business. I And, if ...but things have are up. Our income is in touch with the sag so, we've done well. been more difficult down And I'm afraid market as before But... the last gear or two? that I'm not... well... you retired. / /

Certainlg. You Know we Mr Hastings, I think we understand Er-whg I suppose Keep up to date on each other. Now that gou're one of us gou could sag that. Now,

hundreds of issues I don't think gou'll want to miss our we're in some sound so we con advise our oak beams in the vestry. common stocks and charitable trust customers

corporate bonds, but I We'd be glad to counsel I'd like verg wonder if uou people gou-or assume the much to see them, could just look at direction of gour Mr Turbott. our portfolio... investments.

Where the man you talk to is New England Merchants National Bank

See Wendell Hastings in our Trust Department, New England Merchants Bank Building, 28 State St., Boston, Massachusetts 02 109. Member FDIC. COUNCIL OF FRIENDS OF THE BOSTON SYMPHONY ORCHESTRA

FRIENDS ANNUAL MEETING The annual meeting will be held on the morning of Friday May 19 at 11.30 in Symphony Hall, and will be given in honor of those who have been members of the Orchestra and Management for twenty-five years, and of the 500 Friends of twenty-five years standing. Arthur Fiedler, a veteran of fifty-seven years with the Orchestra, will conduct a Pops rehearsal, which will be followed by refreshments and a box lunch at the Pops tables. Talcott M. Banks, President of the Board of Trustees, will speak about the past year's developments.

A REVIEW OF THE WINTER SEASON AND FUTURE PLANS

The number of Friends enrolled since September 1971 has grown, as of March 20, to 4,074, and the challenge of raising $600,000 has been two- thirds fulfilled. We still need further support, and urge all who have not yet become Friends to do so immediately.

The various special events of the Friends have been very successful this season, and have encouraged us to expand some of them for the coming year. The Stage Door Lecture Series will be two series of four lectures, while the Pre-Symphony suppers will have a third series, allowing Friends attending the Tuesday A, Thursday B and Cambridge series to have the opportunity of meeting before the concert in the most pleasant atmosphere.

Central to this continuing success are the chairmen of the different areas who serve under Mrs William J. Mixter Jr, Chairman, Mrs Howard E. Hansen, Vice-chairman, and Mrs C. Russell Eddy, Secretary. The Area Chairmen to whom, with their fine committees, we owe a large debt of thanks this year have been:

Mrs Hart D. Leavitt Andover Mrs Alexander E. Warren

Mrs P. Adams Colony Bedford, Lexington Mrs August Meyer Belmont

Mrs F. Corning Kenlyjr Beverly, Beverly Farms, Manchester, Mrs Richard K. Thorndike Gloucester, Essex, Hamilton, Topsfield, Wenham continued on page 1500 1457 the Nikon Apollo Command Module Camera, Matte black finish, oversize controls, special wiring and other, similar, minor modifications for use in the oxygen atmosphere. Otherwise an off-the-shelf Nikon Photomic FTN.

Nikon. It's built better because it has to be.

Complimentary Copy of NIKON WORLD A showcase of exciting contemporary photog- raphers, their work and techniques. No pur- chase necessary, simply present this coupon at your nearby Claus Gelotte Camera Store. §m P.S. Symphony Lovers — Should you fall in love with the NIKON FTN and decide to

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"My insurance company? New England Life, of course.Why?" SUMMARY OF THE SEASON 1971-1972

CONCERTS GIVEN IN THE FRIDAY-SATURDAY SERIES DURING THE SEASON 1971-1972

Program Date Conductor

1 September 24 & 25 WILLIAM STEINBERG 2 October 1 & 2 MICHAEL TILSON THOMAS 3 October 15 & 16 WILLIAM STEINBERG 4A October 22 ERICH LEINSDORF (Ninetieth birthday concert) 4B October 23 ERICH LEINSDORF 5 November 5 & 6 MAX RUDOLF 6 November 12 & 13 SEIJI OZAWA 7 November 19 & 20 SEIJI OZAWA 8 November 26 & 27 ERICH KUNZEL 9 December 10 & 11 WILLIAM STEINBERG 10 December 17 & 18 ALDO CECCATO 11 December 31 & January 1 MICHAEL TILSON THOMAS 12 January 21 & 22 MICHAEL TILSON THOMAS 13 January 28 & 29 MICHAEL TILSON THOMAS 14 February 4 & 5 COLIN DAVIS 15 # February 17 & &} jtf^* COLIN DAVIS 16 February 25 & 26 WILLIAM STEINBERG WILLIAM STEINBERG 17 March 3 &4 LEON KIRCHNER 18 March 24 & 25 WILLIAM STEINBERG 19 April 14 & 15 JAMES LEVINE 20 April 21 & 22 WILLIAM STEINBERG

o. * 2( ,i *•><+* - y.*~ f^ (i% Hn WORKS PLAYED AT THE FRIDAY-SATURDAY SERIES Program Author's Page initials BARTCK Suite from The miraculous mandarin' JL 474 BEETHOVEN Symphony no. 4 in B flat op. 60 6 JNB 409 Symphony no. 6 in F op. 68 'Pastoral' 1 JL 23

BERLIOZ 'Romeo et Juliette', dramatic symphony, op. 17 18 JNB 1239 JOANNA SIMON mezzo-soprano KENNETH RIEGEL tenor ARA BERBERIAN bass NEW ENGLAND CONSERVATORY CHORUS Lorna Cooke de Varon conductor BORODIN Symphony no. 2 in B minor op. 5 JNB 104 BRAHMS Piano concerto no. 1 in D minor op. 15 11 JNB 730 MISHA DICHTER Violin concerto in D op. 77 17 JL 1177 ZINO FRANCESCATTI conducted by William Steinberg Serenade no. 2 in A op. 16 11 JNB 727 1460

... : :* ,~ . 'rogram Author's Page initials

Symphony no. 4 in E minor op. 98 9 JNB 604 Two songs for contralto, with viola and piano op. 91 4A JL 295 contralto BURTON FINE viola ERICH LEINSDORF piano first performance at a Boston Symphony Orchestra concert BRUCH Penelope's mourning from 'Odysseus' 4A AHR 282 LILI CHOOKASIAN contralto BRUCKNER Symphony no. 8 in C minor 16 GHLS 1113 CORELLI Concerto grosso in G minor op. 6 no. 8 10 JNB 663 'Christmas' DENISOV Concerto for flute, oboe, piano and AHR 103 percussion DORIOT ANTHONY DWYER flute RALPH GOMBERG o6oe GILBERT KALISH piano EVERETT FIRTH percussion first performance in America DVORAK Symphony no. 7 in D minor op. 70 14 JNB 987

Symphony no. 9 in E minor • op, 95 'New World' 10 JNB 668 EINEM Violin concerto op. 33 1 AHR 27 CHRISTIANE EDINGER first performance in America ELGAR Variations on an original theme op. 36 8 AHR 552 'Enigma'

GABRIELI

Canzon noni toni \ first performance by the Boston Symphony Orchestra > 13 AHR 919

Canzon septimi toni no. 2 J GLINKA Polonaise and Krakoviak from 'A life for 2 AHR 87 the Tsar' first performance by the Boston Symphony Orchestra GLUCK Che faro senza Euridice from 'Orfeo ed 4A AHR 284 Euridice' LILI CHOOKASIAN contralto HAYDN Oboe concerto in C (attributed) 12 AHR 855 RALPH GOMBERG first performance by the Boston Symphony Orchestra Symphony no. 96 in D 'Miracle' 7 JNB 471

1461 Program Author's Page initials HINDEMITH Cello concerto (1940) 13 JNB 921 LAURENCE LESSER Symphony '' 1 KGR 40 KABALEVSKY Overture to 'Colas Breugnon' op. 24 JNB 535 KHATCHATURIAN Piano concerto JNB 539 ALICIA DE LARROCHA KIRCHNER Music for orchestra 17 LK 1175 conducted by the composer first performance by the Boston Symphony Orchestra

LEES Concerto for string quartet and orchestra AHR 601 BOSTON SYMPHONY STRING QUARTET BL JOSEPH SILVERSTEIN, MAX HOBART BURTON FINE, JULES ESKIN first performance by the Boston Symphony Orchestra

LISZT Piano concerto no. 1 in E flat 16 JL 1111 NICOLE HENRIOT MAHLER Symphony no. 5 in C sharp minor 12 JNB 856 Symphony no. 6 in A minor 3 JNB 219 MENDELSSOHN Violin concerto in E minor op. 64 19 JNB 1369 YUUKO SHIOKAWA Symphony no. 1 in C minor op. 11 10 KGR 666 first performance by the Orchestra in Boston MOZART Piano concerto in E flat K. 482 14 JNB 986 STEPHEN BISHOP Piano concerto in C K. 503 15 AHR 1048 STEPHEN BISHOP Overture to 'La clemenza di Tito' K. 621 3 AHR 215 Symphony no. 35 in D K. 385 'Haffner' 19 JNB 1367 Kyrie in D minor K. 341 15 AHR 1047 TANGLEWOOD FESTIVAL CHORUS John Oliver director first performance by the Orchestra in Boston Requiem in D minor K. 626 15 AHR 1067 BENITA VALENTE soprano D'ANNA FORTUNATO contralto KENNNETH RIEGEL tenor ROBERT HALE bass TANGLEWOOD FESTIVAL CHORUS John Oliver director in memory of Noah Bielski MUSSORGSKY Pictures at an exhibition (orchestrated by 19 JL 1383 )

1462 Program Author's Page initials PROKOFIEV Scenes from 'Romeo and Juliet' op. 64 4A/4B DTG 298 RACHMANINOV Piano concerto no. 3 in D minor op. 30 5 AHR 345 HORACIO GUTIERREZ RAVEL Piano concerto in G INB 217 ALEXIS WEISSENBERG ROREM Lions (a dream) 8 NR 537 first performance in Boston SCHUBERT Symphony no. 9 in C D. 944 'The Great' 5 JNB 348 SCHUMANN Symphony no. 1 in B flat op. 38 'Spring' 13 JNB 935 Symphony no. 2 in C op. 61 4B JNB 301 STARER Symphony no. 3 9 jAHR 599 first performance in Boston /RS STRAVINSKY Symphony in C 2 JNB 90 TAKEMITSU

'Cassiopeia' for percussion and orchestra 7 ( AHR 489 JOHN WYRE JED first performance in Boston 'The Dorian horizon' for strings 7 AHR 476 first performance in Boston TCHAIKOVSKY Piano concerto no. 1 in B flat minor op. 23 6 JNB 411 ANDRE WATTS TIPPETT Fantasia concertante on a theme of Corelli 14 JMT 983 first performance in Boston /AHR VERDI Quartet in E minor for strings 17 AHR 1180 conducted by William Steinberg first performance by the Boston Symphony Orchestra WAGNER Prelude to 'Die Meistersinger von Nurnberg' 20 JNB 1437 'Tristan und Isolde' -Act 2 20 JNB 1431 Tristan JAMES KING Isolde EILEEN FARRELL Brangane NELL RANKIN King Marke ROBERT HALE Kurwenal JOHN DAVIES Melot DEAN WILDER first performance by the Boston Symphony Orchestra

Wotan's farewell and the magic fire 20 JNB 1436 music from 'Die Walkure' Wotan ROBERT HALE

1463 Program Author's Page initials WEBER Jubel-Ouverture in E op. 59 4A AHR 281 WEBERN Passacaglia op. 1 JNB 343 XENAKIS Polla ta dina AHR 407 BOYS OF THE SAINT PAUL ARCHDIOCESAN CHOIR SCHOOL Theodore Marier director first performance in Boston

CONCERTS GIVEN IN THE SPECTRUM SERIES DURING THE SEASON 1971-1972 Program Date

1 October 8 & 9 2A January 7 2B January 8 3 March 31 & April 1

ALL CONCERTS WERE CONDUCTED BY MICHAEL TILSON THOMAS WORKS PLAYED IN THE SPECTRUM SERIES BACH Cantata no. 4 'Christ lag in Todesbanden' JNB 1303 MALLORY WALKER tenor LESLIE GUINN baritone HARVARD-RADCLIFFE COLLEGIUM MUSICUM F. John Adams director BARTOK Music for strings, percussion and celesta (1935) JL 152 DEL TREDICI Pop-pourri DDT 1306 PHYLLIS BRYN-JULSON soprano HARVARD-RADCLIFFE COLLEGIUM MUSICUM F. John Adams director first performance in this version DES PREZ La deploration de Jehan Okeghem AHR 1321 HARVARD-RADCLIFFE COLLEGIUM MUSICUM F. John Adams director first performance at a concert of the Boston Symphony Orchestra LISZT Hexameron for six pianos and orchestra AHR 168 RAYMOND LEWENTHAL GILBERT KALISH MARILYN NEELEY JOHN ATKINS ILANA VERED ANTONIO BARBOSA world premiere in this version

1464 Program Author's Page initials MESSIAEN Et exspecto resurrectionem mortuorum OM 1322 first performance by the Boston Symphony Orchestra MOZART Notturno in D for four orchestras K. 286 AHR 151 ARTHUR FIEDLER, JOSEPH SILVERSTEIN, HARRY ELLIS DICKSON assisting conductors

REICH Four organs SR 155 STEVE REICH, MICHAEL TILSON THOMAS, NEWTON WAYLAND, AYRTON PINTO electric organs first performance in Boston

STRAVINSKY Symphonies of wind instruments 2A JNB 796 Introitus — T.S. Eliot in memoriam 2A AHR 809 MEN OF THE NEW ENGLAND CONSERVATORY CHORUS Lorna Cooke de Varon conductor first performance by the Boston Symphony Orchestra Requiem canticles 2A AHR 809 PAMELA GORE contralto DAVID EVETTS bass NEW ENGLAND CONSERVATORY CHORUS Lorna Cooke de Varon conductor first performance by the Boston Symphony Orchestra Le sacre du printemps (The rite of spring) 2A JL 813 Scenes de ballet 2B AHR 817 Violin concerto in D 2B JNB 818 JOSEPH SILVERSTEIN Symphony of psalms 2B KGR 820 NEW ENGLAND CONSERVATORY CHORUS Lorna Cooke de Varon conductor

The following pieces, unannounced, were played at the Spectrum concerts: Gregorian Chant 'Victimae paschali laudes' HARVARD-RADCLIFFE COLLEGIUM MUSICUM F. John Adams director

GABRIELI Canzon septimi toni no. 2 AHR 919

STRAVINSKY Zvezdoliki (Le roi des etoiles) 2A&2B — MEN OF THE NEW ENGLAND CONSERVATORY CHORUS Lorna Cooke de Varon conductor Fanfare for a new theatre 2B — first performance by the Boston Symphony Orchestra The owl and the pussycat (performed twice) 2B — JOAN HELLER soprano MICHAEL TILSON THOMAS piano first performance at a concert of the Boston Symphony Orchestra

1465 The authors of the notes, whose initials appear in the summary, are: JNB — JOHN N. BURK AHR— ANDREW RAEBURN DDT— DAVID DEL TREDICI SR — STEVE REICH ED— EDWARD DOWNES NR— NED ROREM DTC— DONALD T. GAMMONS KGR— KLAUS G. ROY LK — LEON KIRCHNER GHLS — GEORGE H. L. SMITH BL — BENJAMIN LEES RS — ROBERT STARER JL — JAMES LYONS MT — SIR MICHAEL TIPPETT OM— OLIVIER MESSIAEN

GENERAL ARTICLES PRINTED IN THE PROGRAMS OF THE FRIDAY-SATURDAY & SPECTRUM SERIES Page HECTOR BERLIOZ Preface to the score of 'Romeo et Juliette' 1241 PIERRE BOULEZ Olivier Messiaen 1324 JOHN N. BURK Berlioz and Henrietta Smithson 1242 Berlioz, the theatrical composer 1243 Mozart and the piano concerto 1002 The church music of Mozart 1068 The weather at Mozart's funeral 1067 LEONARD BURKAT and his Fifth symphony 860 ARTHUR BURKHART The Isenheim altarpiece of Matthias Griinewald 45 PHILIP HALE The youth of Brahms 616 Brahms the man 619 ANDREW RAEBURN The Boston Symphony's inaugural concert -October 22 1881 279 Schubert's missing symphony and a note about the manuscript of the Symphony no. 9 363 Wagner's 'Ring' — a synopsis 1434 Wagner's 'Tristan und Isolde' — a synopsis 1433 KLAUS G. ROY Olivier Messiaen 1326 Igor Stravinsky 791 GEORGE H. L. SMITH A tribute to Warren Storey Smith (1885-1971) 563 LOUIS SPEYER A life of music 1130 A message from the President of the Trustees 1430 New members of the Orchestra 1258 Seiji Ozawa to be Music Director 1046

CONCERTS GIVEN IN THE TUESDAY A SERIES DURING THE SEASON 1971-1972 Program Date Conductor

1 October 5 WILLIAM STEINBERG 2 November 2 ERICH LEINSDORF 3 November 23 SEIJI OZAWA 4 December 14 MAX RUDOLF 5 January 4 MICHAEL TILSON THOMAS 6 January 25 MICHAEL TILSON THOMAS 7 February 15 COLIN DAVIS 8 February 29 WILLIAM STEINBERG 9 March 28 MICHAEL TILSON THOMAS 10 April 11 WILLIAM STEINBERG

1466 WORKS PLAYED IN THE TUESDAY A SERIES Program BARTOK Suite from 'The miraculous mandarin' 3 BEETHOVEN Symphony no. 6 in F op. 68 'Pastoral' 1 Piano concerto no. 5 in E flat op. 73 'Emperor' 8 JEROME LOWENTHAL BORODIN Symphony no. 2 in B minor op. 5 BRAHMS Symphony no. 4 in E minor op. 98 8 Piano concerto no. 1 in D minor op. 15 5 MISHA DICHTER Piano concerto no. 2 in B flat op. 83 9 MALCOLM FRAGER Serenade no. 2 in A op. 16 5 BRUCKNER Symphony no. 8 in C minor 10 DVORAK Symphony no. 7 in D minor op. 70 7 EINEM Violin concerto op. 33 1 CHRISTIANE EDINGER GLINKA Polonaise and Krakoviak from 'A life for the Tsar' HAYDN Symphony no. 96 in C 'Miracle' Oboe concerto in C (attributed) RALPH GOMBERG HINDEMITH Symphony 'Mathis der Maler' 1 MAHLER Symphony no. 5 in C sharp minor 6 MOZART Overture to 'La clemenza di Tito' K. 621 8 Piano concerto in E flat K. 482 7 STEPHEN BISHOP PROKOFIEV Scenes from 'Romeo and Juliet' op. 64 2 RACHMANINOV Piano concerto no. 3 in D minor op. 30 4 HORACIO GUTIERREZ SCHUBERT Symphony no. 9 in C D. 944 'The Great' 4 SCHUMANN Symphony no. 2 in C op. 61 2 TAKEMITSU 'Cassiopeia' for percussion and orchestra 3 JOHN WYRE 'The Dorian horizon' for strings 3

1467 Program TIPPETT Fantasia concertante on a theme of Corelli 7 WEBERN Passacaglia op. 1

CONCERTS GIVEN IN THE TUESDAY B SERIES DURING THE SEASON 1971-1972 Program Date Conductor

1 October 19 ERICH LEINSDORF 2 November 16 SEIJI OZAWA 3 November 30 ERICH KUNZEL 4 January 18 MICHAEL TILSON THOMAS 5 February 22 JOSEPH SILVERSTEIN 6 April 4 MICHAEL TILSON THOMAS

WORKS PLAYED IN THE TUESDAY B SERIES Program BEETHOVEN Symphony no. 4 in B flat op. 60 2 BORODIN Symphony no. 2 in B minor op. 5 BRAHMS Tragic overture op. 81 Piano concerto no. 2 in B flat op. 83 MALCOLM FRAGER Serenade no. 2 in A op. 16 ELGAR Variations on an original theme op. 36 'Enigma' GLINKA Polonaise and Krakoviak from 'A life for the Tsar' HAYDN Oboe concerto in C (attributed) RALPH GOMBERG KABALEVSKY Overture to 'Colas Breugnon' op. 24 KHATCHATURIAN Piano concerto ALICIA DE LARROCHA MAHLER Symphony no. 5 in C sharp minor PROKOFIEV Scenes from 'Romeo and Juliet' op. 64 ROREM Lions (a dream) SCHUMANN Symphony no. 2 in C op. 61 STRAVINSKY Le sacre du printemps (The rite of spring) TCHAIKOVSKY Symphony no 6 in B minor op. 74 'Pathetique'

1468 Program XENAKIS Polla ta dina BOYS OF THE SAINT PAUL ARCHDIOCESAN CHOIR SCHOOL Theodore Marier director

CONCERTS GIVEN IN THE CAMBRIDGE SERIES DURING THE SEASON 1971-1972 Program Date Conductor

1 October 12 WILLIAM STEINBERG 2 November 9 MAX RUDOLF 3 December 7 ERICH LEINSDORF 4 December 28 ERICH KUNZEL 5 February 1 MICHAEL TILSON THOMAS 6 March 21 JOSEPH SILVERSTEIN

WORKS PLAYED IN THE CAMBRIDGE SERIES Program BEETHOVEN Symphony no. 6 in F op. 68 'Pastoral' 1 BRAHMS Symphony no. 4 in E minor op. 98 6 DVORAK Symphony no. 9 in E minor op. 95 'New World' 4 ELGAR Variations on an original theme op. 36 'Enigma' 4 GABRIELI Canzon septimi toni no. 2 5 Canzon noni toni 5 HINDEMITH

Symphony 'Mathis der Maler' 1 Cello concerto (1940) 5 LAURENCE LESSER LISZT

Piano concerto no. 1 in E flat NICOLE HENRIOT PROKOFIEV Scenes from 'Romeo and Juliet' op. 64 Piano concerto no. 3 in C op. 26 JEFFREY SIEGEL RACHMANINOV Piano concerto no. 3 in D minor op. 30 HORACIO GUTIERREZ ROREM Lions (a dream) SCHUBERT Symphony no. 9 in C D. 944 'The Great' Overture to 'Rosamunde' D. 797 SCHUMANN Symphony no. 1 in B flat op. 38 'Spring' Symphony no. 2 in C op. 61 WEBERN Passacaglia op. 1

1469 CONCERTS GIVEN IN THE THURSDAY A SERIES DURING THE SEASON 1971-1972

Program Date Conducto r

1 September 30 WILLIAM STEINBERG 2 November 4 MAX RUDOLF 3 November 25 ERICH KUNZEL 4 December 30 MICHAEL TILSON THOMAS 5 February 3 COLIN DAVIS 6 March 30 MICHAEL TILSON THOMAS

WORKS PLAYED IN THE THURSDAY A SERIES Program BEETHOVEN

Symphony no. 6 in F op. 68 'Pastoral' 1 BORODIN Symphony no. 2 in B minor op. 5 6 BRAHMS Piano concerto no. 1 in D minor op. 15 4 MISHA DICHTER Piano concerto no. 2 in B flat op. 83 6 MALCOLM FRAGER Serenade no. 2 in A op. 16 4 DVORAK Symphony no. 7 in D minor op. 70 5 EINEM Violin concerto op. 33 1 CHRISTIANE EDINGER ELGAR Variations on an original theme op. 36 'Enig ma' 3 GLINKA Polonaise and Krakoviak from 'A life for the Tsar' 6 HINDEMITH Symphony 'Mathis der Maler' -1 KABALEVSKY Overture to 'Colas Breugnon' op. 24 3 KHATCHATURIAN Piano concerto 3 ALICIA DE LARROCHA MOZART

i Piano concerto in E flat K. 482 5 STEPHEN BISHOP RACHMANINOV Piano concerto no. 3 in D minor op. 30 2 HORACIO GUTIERREZ ROREM Lions (a dream) 3 first performance in Boston SCHUBERT Symphony no. 9 in C D. 944 'The Great' 2 TIPPETT Fantasia concertante on a theme of Corelli 5 first performance in Boston

1470 Program WEBERN Passacaglia op. 1 2

CONCERTS GIVEN IN THE THURSDAY B SERIES DURING THE SEASON 1971-1972 Program Date Conductor

1 January 27 MICHAEL TILSON THOMAS 2 February 24 WILLIAM STEINBERG 3 April 13 JAMES LEVINE

WORKS PLAYED IN THE THURSDAY B SERIES Program BRUCKNER Symphony no. 8 in C minor 2 HAYDN Oboe concerto in C (attributed) 1 RALPH GOMBERG LISZT Piano concerto no. 1 in E flat NICOLE HENRIOT MAHLER Symphony no. 5 in C sharp minor MENDELSSOHN Violin concerto in E minor op. 64 YUUKO SHIOKAWA MOZART Symphony no. 35 in D K. 385 'Haffner' MUSSORGSKY Pictures at an exhibition (orchestrated by Maurice Ravel)

CONCERTS GIVEN IN THE PROVIDENCE SERIES DURING THE SEASON 1971-1972 Program Date Conductor

1 October 7 WILLIAM STEINBERG 2 November 18 SEIJI OZAWA 3 December 16 ALDO CECCATO

WORKS PLAYED IN THE PROVIDENCE SERIES Program BEETHOVEN Symphony no. 4 in B flat op. 60 2 Symphony no. 6 in F op. 68 'Pastoral' 1 CORELLI Concerto grosso in G minor op. 6 no. 8 'Christmas' 3 DVORAK Symphony no. 9 in E minor op. 95 'New World' 3 EINEM

Violin concerto op. 33 1 CHRISTIANE EDINGER HINDEMITH Symphony 'Mathis der Maler'

1471 Program MENDELSSOHN Symphony no. 1 in C minor op. 11 first performance by the Boston Symphony Orchestra TCHAIKOVSKY Symphony no. 6 in B minor op. 74 'Pathetique' XENAKIS Polla ta dina BOYS OF THE SAINT PAUL ARCHDIOCESAN CHOIR SCHOOL Theodore Marier director

CONCERTS GIVEN IN THE SERIES AT PHILHARMONIC HALL, NEW YORK, DURING THE SEASON 1971-1972 Program Date Conductor

1 October 27 & 29 WILLIAM STEINBERG 2 December 1 & 3 ERICH LEINSDORF 3 January 12 & 14 MICHAEL TILSON THOMAS 4 February 9 & 11 MICHAEL TILSON THOMAS 5 April 5 & 7 WILLIAM STEINBERG WORKS PLAYED AT PHILHARMONIC HALL Program BERLIOZ 'Romeo et Juliette', dramatic symphony op. 17 5 JOANNA SIMON mezzo-soprano KENNETH RIEGEL tenor ARA BERBERIAN bass NEW ENGLAND CONSERVATORY CHORUS Lorna Cooke de Varon conductor BRAHMS Piano concerto no. 1 in D minor op. 15 MISHA DICHTER Serenade no. 2 in A op. 16 HAYDN Oboe concerto in C (attributed) RALPH GOMBERG MAHLER Symphony no. 5 in C sharp minor Symphony no. 6 in A minor MOZART Overture to 'La clemenza di Tito' K. 621 PROKOFIEV Scenes from 'Romeo and Juliet' op. 64 RAVEL Piano concerto in G ALEXIS WEISSENBERG SCHUMANN Symphony no. 2 in D op. 61

CONCERTS AT , NEW YORK, DURING THE SEASON 1971-1972 Program Date Conductor

1 October 30 WILLIAM STEINBERG 2 January 15 MICHAEL TILSON THOMAS

1472 Program Date Conductor 3 February 12 COLIN DAVIS 4 April 8 WILLIAM STEINBERG WORKS PLAYED AT CARNEGIE HALL Program BEETHOVEN Symphony no. 6 in F op. 68 'Pastoral' 1 Piano concerto no. 1 in C op. 15 2 MISHA DICHTER BRAHMS Symphony no. 4 in E minor op. 98 BRUCKNER Symphony no. 8 in C minor DVORAK Symphony no. 7 in D minor op. 70 EINEM Violin concerto op. 33 CHRISTIANE EDINGER first performance in New York HINDEMITH Symphony 'Mathis der Maler' MOZART Piano concerto in E flat K. 482 STEPHEN BISHOP STRAVINSKY Symphonies of wind instruments TIPPETT Fantasia concertante on a theme of Corelli first performance in New York

CONCERTS GIVEN IN THE SERIES AT THE BROOKLYN ACADEMY OF MUSIC DURING THE SEASON 1971-1972 Program Date Conductor

1 October 28 MICHAEL TILSON THOMAS 2 December 2 MAX RUDOLF 3 February 10 MICHAEL TILSON THOMAS WORKS PLAYED AT THE BROOKLYN ACADEMY OF MUSIC Program BORODIN Symphony no. 2 in B minor op. 5 DENISOV Concerto for flute, oboe, piano and percussion DORIOT ANTHONY DWYER flute RALPH GOMBERG oboe GILBERT KALISH piano EVERETT FIRTH percussion GABRIELI Canzon noni toni Canzon septimi toni no. 2 GLINKA Polonaise and Krakoviak from 'A life for the Tsar'

1473 HINDEMITH Cello concerto (1940) LAURENCE LESSER RACHMANINOV Piano concerto no. 3 in D minor op. 30 HORACIO GUTIERREZ SCHUBERT Symphony no. 9 in C D. 944 'The Great' SCHUMANN Symphony no. 1 in B flat op. 38 'Spring' STRAVINSKY Symphony in C WEBERN Passacaglia op. 1

EUROPEAN TOUR April 1971 April 4 -Royal Albert Hall, London BOSTON POPS ORCHESTRA ARTHUR FIEDLER conductor ELGAR 'Pomp and circumstance' March no. 1 in D BEETHOVEN Overture to Goethe's 'Egmont' op. 84 OFFENBACH Suite from 'Gaite parisienne' TCHAIKOVSKY Piano concerto no. 1 in B flat minor op. 23 MALCOLM FRAGER MacDERMOT Selections from 'Hair' HANDY St Louis Blues March The encores included: Farandole Yesterday Mack the Knife Stars and Stripes Forever

April 5 - Royal Festival Hall, London WILLIAM STEINBERG conductor MOZART Symphony no. 36 in C K. 425 'Linz' MAHLER Symphony no. 7 in E (1883)

April 7- Beethovensaal der Liederhalle, Stuttgart WILLIAM STEINBERG conductor BEETHOVEN Adagio from Symphony no. 3 in E flat op. 55 'Eroica' in memory of Igor Stravinsky HINDEMITH Concert music for strings and brass op. 50 BRUCKNER Symphony no. 7 in E

April 8-Stadthalle Wuppertal-Elberfeld, Wuppertal MICHAEL TILSON THOMAS conductor BEETHOVEN Symphony no. 8 in F op. 93 SCHOENBERG Five pieces for orchestra op. 16 MOZART Bassoon concerto in B flat K. 191 SHERMAN WALT RAVEL La valse - choreographic poem

April 10- Philharmonie, Berlin WILLIAM STEINBERG conductor BEETHOVEN Overture 'Leonore no. 3' op. 72b BEETHOVEN Symphony no. 3 in E flat op. 55 'Eroica' BEETHOVEN Symphony no. 5 in C minor op. 67

i 1474 April 11 - Philharmonie, Berlin WILLIAM STEINBERG conductor WAGNER Prelude to 'Die Meistersinger von Nurnberg' HINDEMITH Concert music for strings and brass op. 50 SCHULLER Five bagatelles BRAHMS Symphony no. 2 in D op. 73

April 13 - Kuppelsaal der Stadthalle, Hannover MICHAEL TILSON THOMAS conductor MOZART Bassoon concerto in B flat K. 191 SHERMAN WALT PISTON Symphony no. 2 (1943) SCHUMANN Piano concerto in A minor op. 54 CHRISTOPH ESCHENBACH RAVEL La valse - choreographic poem

April 14-Grosse Musikhalle, Hamburg WILLIAM STEINBERG conductor MOZART Symphony no. 36 in C K. 425 'Linz' HINDEMITH Concert music for strings and brass op. 50 BEETHOVEN Symphony no. 3 in E flat op. 55 'Eroica'

April 15 - Jahrhunderthalle, Frankfurt/Hoechst MICHAEL TILSON THOMAS conductor SCHUMANN Symphony no. 3 in E flat op. 97 'Rhenish' TCHAIKOVSKY Violin concerto in D op. 35 JOSEPH SILVERSTEIN RAVEL La valse - choreographic poem

April 16 - Beethovenhalle, Bonn BOSTON POPS ORCHESTRA ARTHUR FIEDLER conductor BEETHOVEN Overture to Goethe's 'Egmont' op. 84 TCHAIKOVSKY Piano concerto no. 1 in B flat minor op. 23 MALCOLM FRAGER PROKOFIEV 'Peter and the wolf JOAN KENNEDY narrator MacDERMOT Selections from 'Hair' April 17 & 18 -Grosser Musikvereinsaal, Vienna WILLIAM STEINBERG conductor MOZART Symphony no. 36 in C K. 425 'Linz' MAHLER Symphony no. 7 in E (1883)

April 20-Academia Santa Cecilia, Rome MICHAEL TILSON THOMAS conductor BEETHOVEN Symphony no. 8 in F op. 93 SCHOENBERG Five pieces for orchestra op. 16 MOZART Bassoon concerto in B flat K. 191 SHERMAN WALT RAVEL La valse - choreographic poem Encore: TCHAIKOVSKY Mazurka from Divertissement, Act 3 'Swan Lake'

April 21 - Palau de la Musica Catalana, Barcelona WILLIAM STEINBERG conductor BEETHOVEN Overture 'Leonore no. 3' op. 72a HINDEMITH Concert music for strings and brass op. 50 SCHULLER Five bagatelles BRAHMS Symphony no. 2 in D op. 73

April 22- Palau de la Musica Catalana, Barcelona MICHAEL TILSON THOMAS conductor SCHUMANN Symphony no. 3 in E flat op. 97 'Rhenish' MOZART Symphony no. 31 in D K. 297 'Paris'

1475 MOZART Bassoon concerto in B flat K. 191 SHERMAN WALT RAVEL La valse- choreographic poem

April 24 -Palais de Chaillot, Paris WILLIAM STEINBERG conductor BEETHOVEN Overture 'Leonore no. 3' op. 72b

J. S. BACH Suite no. 2 in B minor S. 1067 DORIOT ANTHONY DWYER flute MAHLER Symphony no. 7 in E (1883)

MIDWEST TOUR March 1972 March 7 -Wisconsin Union Theater, Madison, Wisconsin MICHAEL TILSON THOMAS conductor HAYDN Oboe concerto in C (attributed) RALPH GOMBERG MAHLER Symphony no. 5 in C sharp minor March 8-C.Y. Stephens Auditorium, Ames, Iowa WILLIAM STEINBERG conductor Star-Spangled Banner BEETHOVEN Symphony no. 5 in C minor op. 67 R. STRAUSS Don Juan op. 20 WAGNER Prelude and Liebestod from 'Tristan und Isolde' WAGNER Prelude to 'Die Meistersinger von Nurnberg' March 10-C.Y. Stephens Auditorium, Ames, Iowa BOSTON POPS ORCHESTRA ARTHUR FIEDLER conductor ELGAR 'Pomp and circumstance' March no. 1 in D BRAHMS Academic Festival Overture WERLE Trumpet concerto DOC SEVERINSEN OFFENBACH Suite from 'Gaite parisienne' KNIGHT (arr.) Medley of Burt Bacharach Tunes MONTERDE La Vergen de la Macarena DOC SEVERINSEN LENNON & Hey, Jude McCartney MELANIE Look What They've Done to My Song GARLAND In the Mood The encores included: Yesterday

El Condor Pasa Look What They've Done to My Song Cabaret Stars and Stripes Forever

March 11 - C.Y. Stephens Auditorium, Ames, Iowa MICHAEL TILSON THOMAS conductor GLINKA Polonaise and Krakoviak from 'A life for the Tsar' BORODIN Symphony no. 2 in B minor op. 5 BEETHOVEN Piano concerto no. 4 in G op. 58 MALCOLM FRAGER

March 12- C.Y. Stephens Auditorium, Ames, Iowa WILLIAM STEINBERG conductor BRAHMS Ein deutsches Requiem op. 45 (sung in English) VERONICA TYLER soprano ROBERT HALE baritone

1476 IOWA STATE SINGERS and ORATORIO CHORUS W. Douglas Pritchard conductor March 13-C.Y. Stephens Auditorium, Ames, Iowa MICHAEL TILSON THOMAS conductor BEETHOVEN Violin concerto in D op. 61 ZINO FRANCESCATTI MAHLER Symphony no. 5 in C sharp minor March 15 -Hill Auditorium, Ann Arbor, Michigan WILLIAM STEINBERG conductor WAGNER Prelude to 'Die Meistersinger von Niirnberg' HINDEMITH Symphony 'Mathis der Maler' BRAHMS Symphony no. 4 in E minor op. 98

March 16 - Krannert Center for the Performing Arts, Urbana, MICHAEL TILSON THOMAS conductor BEETHOVEN Overture to Goethe's 'Egmont' op. 84 BEETHOVEN Piano concerto no. 4 in G op. 58 MALCOLM FRAGER STRAVINSKY Symphonies of wind instruments HINDEMITH Symphony 'Mathis der Maler'

March 17 -Orchestra Hall, Chicago, Illinois WILLIAM STEINBERG conductor HINDEMITH Symphony 'Mathis der Maler' RAVEL Piano concerto in G ALEXIS WEISSENBERG BRAHMS Symphony no. 4 in E minor op. 98

March 1£ -Arie Crown Theatre, Chicago, Illinois BOSTON POPS ORCHESTRA ARTHUR FIEDLER conductor ELGAR 'Pomp and circumstance' March no. 1 in D BRAHMS Academic Festival Overture TCHAIKOVSKY Piano concerto no. 1 in B flat minor op. 23 JEFFREY SIEGEL OFFENBACH Suite from 'Gaite parisienne' YOUMANS Selection from 'No, no, Nanette' LENNON & Hey, Jude McCartney MELANIE Look What They've Done to My Song GARLAND In the Mood The encores included: Yesterday

El Condor Pasa Look What They've Done to My Song Cabaret Stars and Stripes Forever

CONCERTS IN OTHER CITIES

October 25 -John F. Kennedy Center for the Performing Arts, Washington DC WILLIAM STEINBERG conductor MOZART Overture to 'La clemenza di Tito' K. 621 RAVEL Piano concerto in G ALEXIS WEISSENBERG MAHLER Symphony no. 6 in A minor

November 29-Jorgensen Auditorium, University of Connecticut, Storrs ERICH LEINSDORF conductor SCHUMANN Symphony no. 2 in C op. 61 PROKOFIEV Scenes from 'Romeo and Juliet' op. 64

1477 December 4 - C. W. Post Center Auditorium, Brookville, Long Island MAX RUDOLF conductor WEBERN Passacaglia op. 1 RACHMANINOV Piano concerto no. 3 in D minor op. 30 HORACIO GUTIERREZ SCHUBERT Symphony no. 9 in C D. 944 'The Great'

January 10, 11 & 13 - John F. Kennedy Center for the Performing Arts, Washington DC MICHAEL TILSON THOMAS conductor STRAVINSKY Symphonies of wind instruments BORODIN Symphony no. 2 in B minor op. 5 BEETHOVEN Piano concerto no. 1 in C op. 15 MISHA DICHTER

February 8-Woolsey Hall, New Haven COLIN DAVIS conductor TIPPETT Fantasia concertante on a theme of Corelli MOZART Piano concerto in E flat K. 482 STEPHEN BISHOP DVORAK Symphony no. 7 in D minor op. 70

SPECIAL CONCERT A special concert for the International congress of Pure and Applied Chemistry was given in Symphony Hall on Wednesday evening July 28 1971. MICHAEL TILSON THOMAS conductor BACH Suite no. 4 in D S. 1069 COPLAND 'Appalachian spring', ballet for Martha MOZART Symphony no. 31 in D K. 297 'Paris' TCHAIKOVSKY Divertissement from Act 3 of 'Swan Lake'

CONCERTS GIVEN AT THE BERKSHIRE FESTIVAL 1971 Program Date Conductor 1A July 2 SEIJI OZAWA 1B July 3 SEIJI OZAWA 1C July 4 MICHAEL TILSON THOMAS 2A July 9 LEON FLEISHER 2B July 10 MICHAEL TILSON THOMAS 2C July 11 BRUNO MADERNA 3A July 16 WILLIAM STEINBERG 3B July 17 WILLIAM STEINBERG 3C July 18 SEIJI OZAWA 4A July 23 WILLIAM STEINBERG * 4B July 24 WILLIAM STEINBERG 4C July 25 in memory of Serge Koussevitzky 5A July 30 MICHAEL TILSON THOMAS 5B July 31 SEIJI OZAWA 5C August 1 DANIEL BARENBOIM 6A August 6 COLIN DAVIS 6B August 7 WILLIAM STEINBERG 6C August 8 COLIN DAVIS 7A August 13 COLIN DAVIS 7B August 14 COLIN DAVIS 7C August 15 SEIJI OZAWA 8A August 20 SEIJI OZAWA 8B August 21 MICHAEL TILSON THOMAS 8C August 22 SEIJI OZAWA

1478 WORKS PLAYED AT THE BERKSHIRE FESTIVAL 1971 Program

J.C. BACH Grand overture in D op. 18 no. 4 1A first performance by the Boston Symphony Orchestra Symphony for double orchestra in E flat op. 18 no. 1 8B first performance at the Berkshire Festival

J.S. BACH Brandenburg concerto no. 6 in B flat S. 1051 1A in D S. 243 1A CAROLE BOGARD soprano ROSE TAYLOR contralto JOHN McCOLLUM tenor DAVID CLATWORTHY bass TANGLEWOOD FESTIVAL CHORUS John Oliver director Suite no. 4 in D S. 1069 2B BARTOK Romanian folk dances 2A first performance by the Boston Symphony Orchestra BEETHOVEN Missa solemnis in D op. 123 4C soprano MAUREEN FORRESTER contralto WILLIAM COCHRAN tenor SHERRILL MILNES bass TANGLEWOOD FESTIVAL CHORUS TANGLEWOOD CHOIR John Oliver director in memory of Serge Koussevitzky Overture to 'Konig Stephan' op. 117 4B Overture 'Leonore no. 3' op. 72b 4A Piano concerto no. 1 in C op. 15 7C CHRISTOPH ESCHENBACH Symphony no. 3 in E flat op. 55 'Eroica' 4B Symphony no. 5 in C minor op. 67 4A Symphony no. 7 in A op. 92 4B Violin concerto in D op. 61 4A ITZHAK PERLMAN BERIO Serenata for flute and fourteen instruments 1B DORIOT ANTHONY DWYER first performance by the Boston Symphony Orchestra BERLIOZ 'La damnation de Faust', legende dramatique, op. 24 8C LOIS MARSHALL soprano JOHN ALEXANDER tenor EZIO FLAGELLO baritone SAVERIO BARBIERI bass DAVID CUMBERLAND bass TANGLEWOOD FESTIVAL CHORUS John Oliver director BOYS CHORUS FROM THE CHOIRS OF CHRIST CHURCH CATHEDRAL, HARTFORD, CONNECTICUT Raymond F. Glover conductor, and ST JAMES'S CHURCH, WEST HARTFORD James R. Taylor conductor

1479 Program

Love scene from the dramatic symphony 'Romeo et Juliette' 8A op. 17 BERNSTEIN Serenade (after Plato's Symposium) for violin and string 1B orchestra with percussion JOSEPH SILVERSTEIN first performance at the Berkshire Festival BRAHMS Academic festival overture op. 80 3B Concerto in A minor for violin and cello op. 102 3B JOSEPH SILVERSTEIN violin ZARA NELSOVA cello Piano concerto no. 2 in B flat op. 83 3A VLADIMIR ASHKENAZY Rhapsody for contralto solo, male chorus and orchestra op. 53 3C MAUREEN FORRESTER MEN OF THE TANGLEWOOD FESTIVAL CHORUS John Oliver director Serenade no. 2 in A op. 16 2B Symphony no. 2 in D op. 73 3A Symphony no. 4 in E minor op. 98 3B Symphony no. 7 in E 6B Tragic overture op. 81 3A Variations on a theme of Haydn op. 56a 3C BRUCKNER Symphony no. 7 in E 6B CHOPIN Piano concerto no. 2 in F minor op. 21 2C EARL WILD COPLAND 'Appalachian spring', ballet for Martha 5A DVORAK Symphony no. 7 in D minor op. 70 6A ELGAR Introduction and allegro for strings (quartet and orchestra) 6A op. 47 first performance at the Berkshire Festival Symphony no. 1 in A flat op. 55 7A first performance at the Berkshire Festival HAYDN Cello concerto in C 2B JULES ESKIN Symphony no. 96 in D 'Miracle' 5B first performance at the Berkshire Festival HINDEMITH Theme and variations according to the four temperaments, 2A for strings with piano RUTH LAREDO first performance at the Berkshire Festival LALO Symphonie espagnole, for violin and orchestra, op. 21 5C PINCHAS ZUKERMAN first performance at the Berkshire Festival

1480 Program MAHLER Symphony no. 4 in G 7B JUDITH RASKIN soprano MONTEVERDI Music from 'Vespro della Beata Vergine' 1C BARBARA HOCHER soprano D'ANNA FORTUNATO mezzo-soprano BRUCE BREWER ROBERT OWEN JONES DAVID CLATWORTHY ROBERT SHIESLEY TANGLEWOOD FESTIVAL CHORUS John Oliver director first performance by the Boston Symphony Orchestra MOZART Divertimento in B flat, for strings and two horns K. 287 2A Kyrie in D minor K. 341 6C TANGLEWOOD FESTIVAL CHORUS John Oliver director Overture to 'Le nozze di Figaro' K. 492 3C Piano concerto in C K. 503 6C STEPHEN BISHOP Piano concerto in B flat K. 595 3C VLADIMIR ASHKENAZY Requiem in D minor K. 626 6C BENITA VALENTE soprano BEVERLY WOLFF contralto KENNETH RIEGEL tenor ROBERT HALE bass TANGLEWOOD FESTIVAL CHORUS John Oliver director Serenade no. 12 in C minor for winds K. 388 'Nacht musique' 1B Symphony no. 38 in D K. 504 'Prague' 6B Symphony no. 39 in E flat K. 543 7B NIELSEN Symphony no. 5 op. 50 8B first performance at the Berkshire Festival PROKOFIEV Piano concerto no. 2 in G minor op. 16 8A GARRICK OHLSSON Piano concerto no. 3 in C op. 26 5B BYRON JANIS Suite from 'Romeo and Juliet' op. 64 8A RUGGLES Sun-treader 5A first performance at the Berkshire Festival SCHOENBERG Chamber symphony for fifteen solo instruments op. 9 2C first performance at the Berkshire Festival SCHUBERT Mass in G D. 167 7A JUDITH RASKIN soprano VAHAN KHANZADIAN tenor ROBERT HALE bass TANGLEWOOD FESTIVAL CHORUS John Oliver director

1481 Program

Overture to 'Rosamunde' D. 797 5C Symphony no. 2 in B flat 2C SCHULLER Five bagatelles for orchestra 6B first performance at the Berkshire Festival STRAVINSKY Scherzo a la russe 5A first performance at the Berkshire Festival TAKEMITSU 'Cassiopeia' for percussion and orchestra 5B JOHN WYRE first performance by the Boston Symphony Orchestra TCHAIKOVSKY Divertissement from Act 3 of 'Swan Lake' 5A first performance at the Berkshire Festival Piano concerto no. 1 in B flat minor op^23 8B ALEXIS WEISSENBERG 'Romeo and Juliet', overture-fantasy 8A Serenade in C for strings op. 48 1B Symphony no. 4 in F minor op. 36 5C Symphony no. 6 in B minor op. 74 'Pathetique' 7C VIVALDI 'The four seasons', concertos for violin and strings, op. 8 1C JOSEPH SILVERSTEIN first complete performance by the Boston Symphony Orchestra WOOD Cello concerto op. 12 6A ZARA NELSOVA first performance in the United States XENAKIS Polla ta dina 7C BERKSHIRE BOY CHOIR Allan Wicks Music Director first performance in the United States

WEEKEND PRELUDES AT THE BERKSHIRE FESTIVAL 1971

July 2 STAMITZ Sonata in D for viola d'amore and harpsichord BACH Sonata in D for cello and harpsichord S. 1028 Sonata in A for violin and hrrpsichord S. 1015 BURTON FINE viola d'amore JULES ESKIN cello JOSEPH SILVERSTEIN violin ROBERT LEVIN harpsichord

luly 9 LISZT Funerailles, October 1849 Les jeux d'eaux a la Villa d'Este Waldesrauschen Gnomenreigen Ricordanza Valse oubliee Sonetto 104 del Petrarca La campanella EARL WILD piano

1482 July 16 RAVEL Introduction and allegro for harp, with string quartet, flute and clarinet STRAVINSKY Concert suite from 'Histoire du soldat' BOSTON SYMPHONY CHAMBER PLAYERS with

ANN HOBSON harp ) associates MAX HOBART violin )

July 23 HANDEL See the raging flames from 'Joshua' MOZART Un bacio di mano K. 541 Rivolgete a lui lo sguardo K. 584 WOLF Der Feuerreiter Verborgenheit Der Tambour MARX Hat dich die Liebe beruhrt Der Ton MUSSORGSKY Shaklovity's aria from 'Khovanshchina' TCHAIKOVSKY Prince Yeletsky's aria from 'Pique Dame' SHERRILL MILNES baritone JON SPONG piano

July 30 PHILIPS Ecce vicit leo ANONYMOUS Angelus ad virginem ANONYMOUS Qui creavit coelum CASCIOLINI Angelus Domini BACH Kohim, Jesu, komm S. 229 BILLINGS A Virgin unspotted Bethlehem The shepherd's carol SHEPHERD Kyrie eleison MONTEVERDI Lauda Jerusalem BERKSHIRE BOY CHOIR Allan Wicks Music Director CHARLES MANNING organ

August 6 SCHUBERT Du bist die Ruh' LISZT Du bist wie eine Blume Bist du STRAUSS Mein Auge BACH Bist du bei mir S. 508 BERG Sieben fruhe Lieder PHYLLIS CURTIN soprano RYAN EDWARDS piano

August 13 BEETHOVEN Piano sonata in B flat op. 106 'Hammerklavier' CHRISTOPH ESCHENBACH

August 20 FRANCK-BAUER Prelude, fugue et variation op. 18 SCHUMANN Etudes symphoniques op. 13 ALEXIS WEISSENBERG piano

ORGAN RECITAL AT THE BERKSHIRE FESTIVAL 1971

July 24 BACH Toccata in F S. 540 Trio sonata no. 6 in G S. 530 Fugue in G (a la gigue) S. 577 Chorale preludes Wachet auf, ruft uns die Stimme S. 645 Wenn wir in hochsten Noten sein S. 668 in memory of Charles Munch LISZT Introduction and fugue on the chorale 'Ad nos, ad salutarem undam' BERJ ZAMKOCHIAN

1483 BERKSHIRE MUSIC CENTER 1971 SUMMARY

Once again over four hundred of the most promising young artists from across the country and abroad came to Tanglewood to study and work with members of the Boston Symphony Orchestra and distinguished guest Faculty at the Berk- shire Music Center. Thirty-two years after the Center was founded at Tanglewood by Serge Koussevitzky, it remains a strong and vital creative force, with 'alumni' in positions of eminence scattered throughout the world carrying on the artistic ideals to which the Center is dedicated.

With the guidance of Artistic Directors Seiji Ozawa and Gunther Schuller, with

Leonard Bernstein as Adviser, the Center remains unique: it is the only 'educa- tional' endeavor of its kind and scope wholly operated and supported by a symphony orchestra. Its programs attempt what no college or conservatory study can: an intense and extended confrontation with all aspects of musical per- formance, under the careful guidance of many of the world's finest professional musicians, and within the exciting environment of one of the world's major music festivals.

The Berkshire Music Center is able to operate each year because of the deter- mination of the Boston Symphony to continue it, despite the fact that it is an enormous drain on the Orchestra's financial resources, and also because of the generosity of the individual and corporate sponsors who help provide the funds for the Fellowship Program. Of special importance are: the National Orchestral Association, which has joined the Center for the past two years in helping to finance the program for Conductors; the Fromm Music Foundation, which pro- vides assistance for the Center in its unique contemporary music program; the National Opera Institute and the Martha Baird Rockefeller Fund for Music, which awarded the Center grants in 1971 to support the new Music Theatre program; and for the first time in 1971, the Center received assistance from the Federal Government in the form of a grant from the National Endowment for the Arts.

The principal innovation at the 1971 session of the Center was the Music Theatre Project. Held in the West Barn at Tanglewood, the Project featured fully staged productions of several chamber operas from composers as diverse as Weill, Ligeti and Offenbach. The singers, instrumentalists and production assistants were all regular members of the Fellowship Program. Members of the Program gave ten concerts of chamber music, as well as seven orchestra con- certs, conducted by Gunther Schuller, Joseph Silverstein, Seiji Ozawa, Michael Tilson Thomas, and the Conducting Feilows of the Center. The Vocal Music Fellows presented several programs of song recitals, and Tanglewood on Parade featured a performance of Act 1 of Die Walkure. The Festival of Contemporary Music, presented in co-operation with the Fromm Music Foundation from August 11 to 17, featured many premieres, including specially commissioned works by T.J. Anderson and Louis Weingarten. Three Composers Forums also presented music by composers enrolled in the Fellowship Program. Boston University again sponsored programs in music, dance, and painting and drawing.

BOSTON POPS

The eighty-sixth season of the Boston Pops ran from April 26 through June 26 1971. The Boston Pops Orchestra gave fifty-four regular concerts as^well as two special concerts, one to benefit the Orchestra's Pension Fund, with guest con- ductor Danny Kaye, the other a children's concert with members of the cast of Sesame Street, given for television before an invited audience.

Arthur Fiedler, Conductor, directed thirty-nine times; Harry Ellis Dickson, Assist- ant Conductor, eight times. Guest conductors were Erich Kunzel (six times); Rouben Gregorian and James Yannatos (twice each); Robert C. Bowden,

1484 G. Wright Briggs, Walter Eisenberg, Richard Hayman, Kenneth MacKillop Jr, Rolland Tapley and Edward Troupin (once each).

The many soloists and guest artists included: June Anderson, Tana Bawden, Dave

Brubeck Trio, William F. Buckley Jr, John Buttrick, Lynn Chang, Julia Child, Bertica Shulman Cramer, Mary Fern Crowder, Harry Danner, Paul Desmond, Lorraine Ippolito diGregorio, Jane Eichkern, Donn-Alexandre Feder, Dizzy Gillespie Quintet, Jose Greco, Edward Harney, John Hartford and the Bluegrass Group, Raymond Hickman, Ronald Hodges, Annie Kavafian, Karen Brainen de Kleinman, Stefan Kozinski, Maquette Kuper, Jeanne Lapin, Nana Lorca, Yo-yo Ma, Carlos Montoya, Max Morath, Gerry Mulligan, the New England Conserva- tory Chorus, Lorna Cooke de Varon, conductor, Anthony and Joseph Paratore, Elizabeth and Keith Phinney, Miklos Schwalb, members of the cast of Sesame Street, Ellen Shade, the Siegel-Schwall Band, Salvatore Sullo, Tibor Szasz, Robert Trehy, , Marcia Weinfeld, Earl Wild, Andrew Wolf and Ophra Yerushalmi.

Max Hobart, Acting Concertmaster of the Boston Pops, was soloist, as were the following other members of the Orchestra: Martin Hoherman, principal cello, Robert Karol, Christopher Kimber, John Korman (and his wife Joan), Leo Litwin, Ikuko Mizuno, Jerome Patterson, Chester Schmitz, Marylou Speaker and Lawrence Wolfe.

Twelve of the Pops 1971 concerts were recorded by WGBH-TV for delayed color telecast over the Service network throughout the nation.

At Tanglewood 1971 the Boston Pops, Arthur Fiedler, Conductor, gave a concert to benefit the Orchestra's Pension Fund. The soloist was Earl Wild.

On March 10 1972 the Pops Orchestra gave a concert in Ames, Iowa, with soloist Doc Severinsen; on March 18 in Chicago, with soloist Jeffrey Siegel; and on April 6 the Orchestra made its debut at Carnegie Hall, New York, with soloist Earl Wild. Arthur Fiedler conducted all these concerts.

ESPLANADE CONCERTS 1971

The forty-third season of the Esplanade Concerts, Arthur Fiedler, Founder and Director, was given from June 28 through July 8. There were concerts at the Hatch Memorial Shell, and, as part of Summerthing 1971, at Bunker Hill, Charles- town; Town Field, Dorchester; City Hall Plaza, Government Center; Rogers Park, Brighton; Smith Field, Hyde Park. Many local businesses contributed toward the cost of the concerts. The following is the list of Sponsors and Co-sponsors: Boston Edison Company William Filene's Sons Company The First National Bank of Boston The Gillette Company John Hancock Mutual Life Insurance Company Massachusetts Port Authority New England Merchants National Bank New England Mutual Life Insurance Company New England Telephone and Telegraph Company Polaroid Corporation Raytheon Company Sears, Roebuck and Company Stanley Home Products Inc.

PENSION FUND

Three special concerts have been given to benefit the Orchestra's Pension Fund. Arthur Fiedler and Danny Kaye conducted the Boston Pops Orchestra on Sunday

1485 May 16. Mr Fiedler also conducted the Pops Orchestra at Tanglewood on August 3 in a concert of music by Tchaikovsky, at which Earl Wild was soloist in the Piano concerto no. 1.

On Wednesday January 5 the Boston Symphony Orchestra, conducted by Michael Tilson Thomas, was joined by Artur Rubinstein, in celebration of the pianist's fifty-year association with the Orchestra. The program consisted of the Piano concerto no. 2 in B flat op. 83 by Brahms, and the Piano concerto no. 2 in C minor op. 18 by Rachmaninov. Mr Rubinstein played the Nocturne in D flat op. 27 no. 2 by Chopin as an encore.

Six open rehearsals were held at Symphony Hall during the 1971-1972 season

(October 21, November 11, December 9, January 20, March 2, April 20). The revenue from ticket sales benefited the Pension Fund, as did that taken for the eight Saturday morning open rehearsals of the Berkshire Festival.

CONCERTS GIVEN SINCE APRIL 1 1971 BY THE BOSTON SYMPHONY CHAMBER PLAYERS

JOSEPH SILVERSTEIN violin HAROLD WRIGHT clarinet BURTON FINE viola SHERMAN WALT bassoon JULES ESKIN cello JAMES STAGLIANO horn HENRY PORTNOI double bass ARMANDO GHITALLA trumpet DORIOT ANTHONY DWYER flute WILLIAM GIBSON trombone RALPH GOMBERC oboe EVERETT FIRTH percussion

April 6 -The Banqueting House, Whitehall, London, England MOZART Oboe quartet in F K. 370 STRAVINSKY Concert suite from 'Histoire du soldat' DEBUSSY Sonata for flute, viola and harp

April 26 -Chateau de la Muette, Paris, France with David Ohanian horn MOZART Flute quartet in D K. 285 PISTON Quintet for woodwinds (1956) STRAVINSKY Concert suite from 'Histoire du soldat' BEETHOVEN Septet for violin, viola, clarinet, Horn, bassoon, cello, and double bass in E flat op. 20

April 27 -Palazzo Dei Congressi, Florence, Italy with David Ohanian horn MOZART Oboe quartet in F K. 370 SCHUBERT String trio in B flat D. 581 PISTON Quintet for woodwinds (1956) STRAVINSKY Concert suite from 'Histoire du soldat'

April 28 -Bavarian Academy of Science, Munich, Germany MOZART Oboe quartet in F K. 370 STRAVINSKY Concert suite from 'Histoire du soldat'

April 29 -Hannover, Germany (radio broadcast) with David Ohanian horn PISTON Quintet for woodwinds (1956) STRAVINSKY Concert suite from 'Histoire du soldat'

May 1 - Abbaye de Royaumont, Royaumont Festival, France with David Ohanian horn MOZART Quintet in E flat for piano and winds K. 452 POULENC Sextuor for piano and woodwind quintet BEETHOVEN Septet for violin, viola, clarinet, horn, bassoon, cello, and double bass in E flat op. 20

1486 May 6 - Grand Theatre Municipal, Montpelier, France with David Ohanian horn MOZART Quintet in E flat for piano and winds K. 452 POULENC Sextuor for piano and woodwind quintet SCHUBERT Piano quintet in A D. 667 'Trout'

May 8 -Chateau de la Brede, Bordeaux Festival, France MOZART Piano quartet in E flat K. 493 BEETHOVEN Serenade in D for flute, violin and viola op. 25 SCHUBERT Piano quintet in A D. 667 'Trout'

May 9 -Music Room of the Royal Pavilion, Brighton Festival, England with David Ohanian horn MOZART Piano quartet in E flat K. 493 RIEGGER Sextet for piano and winds BRAHMS Trio for horn, violin and piano in E flat op. 40

*May 23 - Berkshire Community College Auditorium, Pittsfield with Max Hobart violin David Ohanian horn PISTON Woodwind quintet (1956) DVORAK String quintet in G op. 77 STRAVINSKY Concert suite from 'Histoire du soldat' and High School Instrumental Clinics for Berkshire-area music students, Taconic High School, Pittsfield

*May 26 - Nauset Regional High School, Orleans with David Ohanian horn PISTON Woodwind quintet (1956) BEETHOVEN String trio in C minor op. 9 no. 3 STRAVINSKY Concert suite from 'Histoire du soldat'

*May 27- Lawrence High School, Falmouth with David Ohanian horn PISTON Woodwind quintet (1956) BEETHOVEN String trio in C minor op. 9 no. 3 STRAVINSKY Concert suite from 'Histoire du soldat'

*May 28- Barnstable High School, Hyannis with David Ohanian horn PISTON Woodwind quintet (1956) BEETHOVEN String trio in C minor op. 9 no. 3 STRAVINSKY Concert suite from 'Histoire du soldat'

*June 1 - Kane School, Lawrence SCHUBERT String trio no. 2 in B flat D. 581 BEETHOVEN Serenade for flute, violin and viola op. 25 MOZART Oboe quartet in F K. 370 BEETHOVEN String trio in C minor op. 9 no. 3

*|une 2- Weston Auditorium, Fitchburg State College, Fitchburg SCHUBERT String trio no. 2 in B flat D. 581 BEETHOVEN Serenade for flute, violin and viola op. 25 MOZART Oboe quartet in F K. 370 BEETHOVEN String trio in C minor op. 9 no. 3

July 2- Prelude Concert, Berkshire Festival with Robert Levin harpsichord STAMITZ Sonata in D for viola d'amore and harpsichord BACH Sonata in D for cello and harpsichord S. 1028 BACH Sonata in A for violin and harpsichord S. 1015

* These concerts were co-sponsored by the Massachusetts Council on the Arts and Humanities.

1487 July 16 -Prelude Concert, Berkshire Festival with Ann Hobson harp Max Hobart violin RAVEL Introduction and allegro for harp, with string quartet, flute and clarinet STRAVINSKY Concert suite from 'Histoire du soldat'

August 1 7 - A Mostly Mozart Festival - Philharmonic Hall, New York City HAYDN Trio no. 3 in C for violin, cello and piano MOZART Piano trio in E K. 542 SCHUBERT Octet in F D. 803

October 31 - Fine Arts Festival, Austin, Texas SCHUBERT String trio no. 2 in B flat D. 581 SCHOENBERG String trio op. 45 (1946) MOZART Divertimento in E flat for string trio K. 563 and Master Classes for student string players at the University of Texas Music Department

October 31 -Virginia Museum Theatre, Richmond, Virginia with Gilbert Kalish guest pianist

MAZELLIER Fugues 4 and 5, from Dix Fugues for flute, oboe, clarinet and bassoon BRIDGE Divertimenti for flute, oboe, clarinet and bassoon (1940) PISTON Three pieces for flute, clarinet and bassoon (1926) PROKOFIEV Sonata for flute and piano op. 94 (1943) POULENC Trio for oboe, bassoon and piano (1926)

November 1 - Harvard Musical Association with Gilbert Kalish guest pianist

MAZELLIER Fugues 4 and 5, from Dix Fugues for flute, oboe, clarinet and bassoon BRIDGE Divertimenti for flute, oboe, clarinet and bassoon (1940) PISTON Three pieces for flute, clarinet and bassoon (1926) POULENC Trio for oboe, bassoon and piano (1926)

November 7 -Sanders Theatre series (I) with Gilbert Kalish guest pianist MOZART Duo in B flat for violin and viola K. 424 BERGER Quartet in C for woodwinds (1946) POWELL Divertimento for five winds (1957) BRAHMS Piano quartet in C minor op. 60

November 10 -St Botolph Club, Boston BERGER Quartet in C for woodwinds (1946) POWELL Divertimento for five winds (1957) MAZELLIER Fugue no. 4 from Dix Fugues BRIDGE Prelude and Bagetelle from 'Divertimenti' for flute, oboe, clarinet and bassoon

February 6- Hopkins Center, Dartmouth College, Hanover, New Hampshire HAYDN Sonata in C for violin and viola PISTON Three pieces for flute, clarinet and bassoon BEETHOVEN Serenade in D for flute, violin and viola op. 25 MOZART Duo in B flat for violin and viola K. 424 VILLA-LOBOS Quatuor for woodwinds

February 27 -Sanders Theatre series (II) with Gilbert Kalish guest pianist MOZART Trio in E flat for clarinet, viola and piano K. 498 ERB Diversion for two, for trumpet and percussion VILLA-LOBOS Quatuor for woodwinds SCHUBERT Piano quintet in A D. 667 Trout' n March 14- Rackham Auditorium, University of Michigan, Ann Arbor DANZI Quartet for bassoon and strings in B flat op. 40 SCHOENBERG String trio op. 45 (1946) BEETHOVEN String trio in C minor op. 9 no. 3 VILLA-LOBOS Quatuor for woodwinds

March 22 - St Botolph Club, Boston DANZI Quartet for bassoon and strings in B flat op. 40 MOZART Divertimento in E flat for string trio K. 563

April 12 -St Botolph Club, Boston MOZART Oboe quartet in F K. 370 DAHL Duettino concertante for flute and percussion BEETHOVEN String trio in C minor op. 9 no. 3

April 16 -Sanders Theatre series (III) with Gilbert Kalish guest pianist M. HAYDN Divertimento in B flat for oboe, bassoon, violin, viola and double bass BLACHER Trio for trumpet, trombone and piano op. 31 DAHL Duettino concertante for flute and percussion MESSIAEN Quartet for the end of time, for clarinet, violin, cello and piano

April 30 -Theresa Kaufman Auditorium, New York City SCHUBERT String trio no. 2 in B flat D. 581 BEETHOVEN String trio in C minor op. 9 no. 3 MOZART Divertimento in E flat K. 563

RETIRING MEMBERS

Six members of the Orchestra retired at the end of the 1970-1971 season. They were James Stagliano, principal horn, who joined the Orchestra in 1946; Paul Keaney, horn, who joined in 1937; Herman Silberman, violin, who joined in 1944; John Korman, violin, who joined in 1965; Christopher Kimber, violin, who joined in 1967, and William Stokking, cello, who joined in 1968.

Two members of the Orchestra will retire at the end of the 1971-1972 season. They are Alfred Krips, assistant concertmaster of the Boston Symphony and concertmaster of the Boston Pops, who joined the Orchestra in 1934; and Kauko Kahila, trombone, who joined in 1952.

OBITUARY

Noah Bielski, a member of the Boston Symphony since 1955, died on February 17 1972. The Orchestra's performances of Mozart's Requiem on that day and on February 21 were given in his memory.

NEW MEMBERS

Five players joined the Orchestra at the start of the 1971-1972 season: Darlene Gray, violin; Gordon Hallberg, trombone; Jonathan Miller, cello; Harvey Seigel, violin; Ronald Wilkison, violin.

RADIO BROADCASTS

The Friday afternoon concerts of the Orchestra in Symphony Hall were broad- cast regularly by WGBH-FM (Boston), WAMC-FM (Albany) and WFCR (Amherst). The Saturday evening concerts in Symphony Hall were broadcast regularly by WGBH-FM (Boston), WCRB-AM-FM (Boston), WFCR (Amherst), WPJB-FM (Provi- dence) and WCRX-FM (Springfield). WGBH and WCRB co-operated in four- channel transmissions of the Saturday evening concerts, in association with Acoustic Research Inc. of Cambridge.

1489 Most of the Tuesday evening concerts of the Orchestra in Symphony Hall were broadcast by WGBH-FM (Boston), WAMC-FM (Albany) and WFCR (Amherst).

The nine Saturday evening Pops concerts in 1971 were broadcast live by WGBH- FM (Boston), WCRB-AM-FM (Boston), WAMC-FM (Albany), WFCR (Amherst), WPJB-FM (Providence) and WCRX-FM (Springfield).

All regular weekend concerts by the Orchestra during the 1971 Berkshire Festival were broadcast live by WGBH-FM (Boston), WFCR (Amherst) and WAMC-FM (Albany). WCRB-FM (Boston), WCRX-FM (Springfield) and WPJB-FM (Providence) broadcast the Saturday evening concerts.

Complete transcriptions of the Friday and Saturday concerts, as well as concerts of the Boston Pops and of the 1971 Berkshire Festival, were broadcast through the Boston Symphony Transcription Trust on the following stations, both com- mercial and educational. Where known, the name of the sponsor is indicated.

UNITED STATES

Allentown, Pa. WFMZ Nan Carlby Clothes First Valley Bank Ames, Iowa WOI-AM-FM Educational-Sustaining Anchorage, Alaska KNIF First National Bank of Anchorage Archbold, Ohio WHFD Farmer's & Merchants State Bank Auburn, Indiana WIFF-FM Sustaining Binghamton, New York WHRW Educational-Sustaining Birmingham, Alabama WAPI-AM-FM Sustaining Bloomington, Indiana WFIU-FM Educational Boston, Massachusetts WCRB-AM-FM Acoustic Research, Inc. WGBH-FM Educational Champaign, Illinois WILL Educational-Sustaining Chicago, Illinois WFMT-FM Symphony: Sansui Pops: Participating spot sponsorship Cincinatti, Ohio WGUC Educational Cleveland, Ohio WCLV Sustaining Columbus, Ohio WOSU-FM Corpus Christi, Texas KIOU What-a-burger Daytona Beach, Florida WNDB-AM-FM News Journal Corp. Dekalb, Illinois WNIU-FM Educational Sustaining Denver, Colorado KVOD Pops: Public Service Co. of Colorado Symphony: Midland Federal Savings & Loan Association Detroit, Michigan WDET WQRS Sustaining Dover, New Jersey WDHA-FM Sustaining East Lansing, Michigan WKAR Educational Fargo, North Dakota KCCM Educational Grand Island, Nebraska KMMJ Bost Pharmacy Kinman Chevrolet-Cadillac Schwesers Meyer's Jewelry First National Bank Grand Rapids, Mich. WOOD Steketee Audio Granny's Kitchen Erika's Import House Greenville, S. C. WMUU Educational Hartford, Connecticut WTIC-FM Sustaining Hershey, Pennsylvania WITF Sustaining Honolulu, Hawaii KAIM Audio Center

1490 Houghton, Michigan WGGL Educational Houston, Texas KLEF Houston Chronicle Bank of Texas Hyannis, Mass. WQRC Sustaining Independence, Mo. KXTR Azima Inc.

Village Hi Fi Ron's Headquarters Indianapolis, Indiana WFMS Sustaining Interlochen, Michigan WIAA Educational-Sustaining Iowa City, Iowa WSUI Educational-Sustaining Kalamazoo, Michigan WMUK Educational-Sustaining Knoxville, Tennessee WUOT Educational-Sustaining Lafayette, Indiana WBAA Lafayette National Bank (Grantor) Lawrence, Kansas KANU-FM Sustaining Lima, Ohio WLSR Citizens & Loan & Building Co. Los Angeles, Calif. KFAC Sustaining Louisville, Kentucky WHAS Sustaining Marquette, Michigan WNMR Educational Miami, Florida WOCN First Federal Savings & Loan Levitz Furniture Milwaukee, Wis. WFMR Pops: Marine National Exchange Bank Symphony: Zimdars Motors Minneapolis, Minn. KSIRKSJN Educational-Sustaining Nashville, Tennessee WPLN Educational-Sustaining New York City, N. Y. WQXR Sports Illustrated Magazine Newport News, Va. WGH-FM Riverside Funeral Home Poquoson Leasing Co. (Chrysler Plymouth Dealer) Norfolk, Virginia WRVC Sustaining Notre Dame, Indiana WSND Gilbert's Omaha, Nebraska KIOS Sustaining Peoria, Illinois WIVC Commercial National Bank Philadelphia, Pa. WFLN-FM DeHaven & Townsend Brokers Crouter & Bodine Brokers Pittsburgh, Pa. WLOA Second Federal Savings & Loan of Pittsburgh Portland, Maine WDCS New England Music Portland, Oregon KXL-FM First National Bank of Oregon (Sustaining)

Providence, R. I. WPJB-FM Blackstone Valley Electric Co. Provo, Utah KBYU-FM Sustaining Rochester, New York WBFB Sustaining St Louis, Missouri KFUO Sustaining San Francisco, Calif. KKHI-AM-FM Sustaining Santa Barbara, Calif. KCSB Educational Springfield, Mass. WCRX Third National Bank of Hampden County Syracuse, New York WONO First Federal Savings & Loan Assoc. Urbana, Illinois WILL Educational-Sustaining Utica, New York WRUN-FM Marine Midland Bank Central Perry's Cleaners Washington, D. C. WGMS Furs by Gartenhaus WETA Educational Wilkes Barre, Pa. WYZZ Penn. Millers Mutual Insurance Co. First Federal Savings & Loan Assoc. WWRW Sustaining Youngstown, Ohio WYSU-FM Educational-Sustaining

1491 :

CANADA

Calgary, Alberta CHFM Sustaining Edmonton, Alberta CKUA-AM-FM Educational-Sustaining Toronto, Ontario CKFM Sustaining Hamilton, Ontario CKDS-FM Sustaining

TELEVISION BROADCASTS During the 1971 Pops season twelve concerts were recorded on videotape by WGBH (Channel 2) and subsequently telecast in color nationwide on the net- work of the Public Broadcasting Service. William N. Cosel was producer; Syrl Silberman was associate producer; David Atwood and William N. Cosel were directors of the programs.

During the 1971-1972 winter season four concerts have been recorded on videotape by WGBH and subsequently telecast in color on Channels 2 and 44. Jordan M. Whitelaw was producer; David Atwood and William N. Cosel were directors. The sound tracks of the latter three concerts were simultane- ously broadcast in quadrasonic sound on WGBH-FM and WCRB-FM.

RECORDINGS The following new recordings have been released since May 1971 BOSTON SYMPHONY ORCHESTRA on DEUTSCHE GRAMMOPHON

TCHAIKOVSKY Romeo and Juliet SCRIABIN Le poeme de I'extase conducted by Claudio Abbado

DEBUSSY Images; Prelude a I'apres-midi d'un faune conducted by Michael Tilson Thomas

STRAUSS Also sprach Zarathustra conducted by William Steinberg

SMETANA Ma vlast conducted by Rafael Kubelik on RCA BRUCKNER Symphony no. 6 conducted by William Steinberg THE SORCERER'S APPRENTICE AND OTHER GREAT SHOWPIECES FOR ORCHESTRA conducted by William Steinberg, Seiji Ozawa, Erich Leinsdorf and Arthur Fiedler n

In addition many pieces recorded by RCA in the past have been re-released on various anthology records.

BOSTON POPS, Arthur Fiedler conductor on POLYDOR FORGOTTEN DREAMS ARTHUR FIEDLER SUPERSTAR ARTHUR FIEDLER AND THE BOSTON POPS PLAY THE MUSIC OF PAUL SIMON WHAT THE WORLD NEEDS NOW -THE BURT BACHARACH-HAL DAVID SONGBOOK

RCA have re-released many pieces recorded in the past on various anthology records. n 1492 BOSTON SYMPHONY CHAMBER PLAYERS on DEUTSCHE GRAMMOPHON

DVO&AK Quintet in G op. 77

YOUTH CONCERTS AT SYMPHONY HALL

The thirteenth season of Youth Concerts at Symphony Hall, under the direction of Harry Ellis Dickson, began on November 6 with a program that included a demonstration of the Symphony Hall organ. An excerpt from the 'Organ' sym- phony of Saint-Saens, and a movement from the Organ concerto no. 13 ('The cuckoo and the nightingale'), were played by Berj Zamkochian. The program also included pieces that depicted A day in music. The season consisted of three programs, each performed five times to a total of 13,000 young people. The six subscription concerts were again sold out, and were attended by groups from more than 98 Massachusetts communities. The two series for 5200 elemen- tary and junior high school students from low-income areas of Boston was again

made possible by the Frederick J. Kennedy Memorial Foundation grant to the

Boston Symphony Orchestra. (The Kennedy grant also makes it possible for 240 young people who attend the Youth Concert Boston series to spend four days at Tanglewood as part of the Days in the Arts program.) The Metropolitan Series — new this season — was also made possible by the Kennedy grant, and by a grant from the Massachusetts Council on the Arts and Humanities, and was presented to 2600 sixth-grade students from low-income areas of seventeen Metropolitan cities outside of the city of Boston. The second concert program was entitled Music and the dance, and featured dancers from the Boston Ballet, the National Center of Afro-American Artists, and the Elma Lewis School of Fine Arts, under the direction of Billy Wilson. The final concert was an abbre- viated version of the opera La Perichole by Offenbach. The opera was produced and directed by Michael Kaye, with singers from the New England Conservatory of Music and a chorus of students from the Lincoln Sudbury Regional High

School directed by Robert Wentworth. The orchestra for all concerts consisted of members of the Boston Symphony. Dates and ticket information for the 1972-1973 season may be obtained from Mrs Manuel Kurland at Symphony Hall. EXHIBITIONS AT SYMPHONY HALL

The exhibitions shown in the Gallery throughout this season were loaned by the following artists and associations:

Cambridge Art Association (September 24 -October 13) Pierce Galleries (October 15 - November 9) Ashton Gallery (November 9- November 30) Guild of Boston Artists (December 15 -January 13) Art/Asia (January 13 - February 8) Subscribers Exhibition (February 15 -March 4) Boston Watercolor Society (March 21 -April 4)

ADVERTISERS IN THE PROGRAM SINCE APRIL 1971

The Trustees and Overseers of the Boston Symphony Orchestra acknowledge with appreciation the support of the following advertisers in helping to make the contents of the winter season, Pops and Berkshire Festival programs possible:

Alberts-Langdon Inc. Kakas Art/Asia E. F. Kemp Corporation Arts Across the River Lenox Arts Center Audio Lab London Records Inc. Auto Engineering South Longy School of Music Avaloch Inn Ludwig Inc. Baldwin Piano & Organ Company La maisonette

1493 Becket Woods Maison Robert Berkshire Common Maitre Jacques nr Berkshire County Savings Bank Makanna Inc. Berkshire Theatre Festival Malben's Berman & Sons Inc. Manhattan School of Music Boston Ballet Company Massachusetts Music Educators Boston Edison Association Boston Five Cents Savings Bank Merchants Co-operative Bank The Boston Globe Mercury Record Corporation The Boston Home Inc. Merrimack College Boston Music Company T. O. Metcalf Company Boston Safe Deposit & Trust Company Midtown Motor Inn Boston University Celebrity Series Miller High Life Branded Liquors Mount Everett Country Club Brother Ship Boutique for Men Arthur Murray August A. Busch Company of National Shawmut Bank of Boston Massachusetts New England Merchants National Bank Cafe Amalfi New England Mutual Life Insurance Cave Atlantique Company Cervantes The New School of Sailing Charley's Eating & Drinking Saloon Edna Nitkin The Cheese Shop Old Colony Trust Chesterwood Old Fitzgerald Classic Wines The Old Print & Frame Shop Inc. Coca Cola The Shop for Pappagallo Codman Company Inc. Parenti Sisters Colonial Hilton Inn, Pittsfield Parker Street 470 Gallery The Colonnade Hotel Pastene Wine and Spirits Company Inc. S.S. Pierce Converse Rubber Company Pioneer Electronic U.S.A. Corporation The Coop Polcari's Jack Daniel's Polydor Inc. David and Josef's Haute Cuisine The Prep Shop Deutsche Crammophon Prudential Insurance Company of Deux Maggots Galleries of Art America Du Barry French Restaurant Les Pyrenees Brewing Corporation RCA Records Fiduciary Trust Company The Ritz-Carlton 57 Restaurant Irma Rogell William Filene's Sons Company South Boston Savings Bank First Realty of Boston South Shore National Bank Fishelson's Florists State Street Bank and Trust Company Fit for Life R. H. Stearns Kate Friskin Suburban Homemaking & Maternity Garber Travel Agency Inc. Claus Gelotte Inc. Top of the Hub Hancock Shaker Village M. S. Walker Inc. Handel and Haydn Society Walnut Hill School Harbor National Bank Margot Warner Harvard-Radcliffe Collegium Musicum Wasserman Development Corporation Harvard University Press Charles H. Watkins & Company Inc. Holiday Inn, Lenox Wellington Hall Ltd Home Owners Federal Savings & Loan Westenhook Gallery Association Wildwood Industrial School for Crippled The Williamstown Theatre Children W. W. Winship Japan Airlines Minnie Wolk Jenifer House Yale Concerts in Norfolk Jordan Marsh Zachary's Jug End in the Berkshires i 1494 HOSPITALITY DURING THE ORCHESTRA'S VISIT TO AMES, IOWA The members of the Boston Symphony Orchestra very much appreciated the warm hospitality shown them during their week's stay in Ames, and wish to express their thanks to the people of Ames, and, in particular, to the following, who especially helped to make the visit so delightful:

Mr & Mrs Edward Allen M r & Mrs Oscar Kempthorne Mr & Mrs Willard Anderson M r & Mrs M.J. Kitzman

Mr & Mrs Jon Applequist M r & Mrs J.L. Laffoon Mr & Mrs Donald Benson M r & Mrs Kenneth Lane Mr & Mrs Paul Bodine M 's Pat Larsen Mrs W.A. Boney M rs William Layton. Mr & Mrs C.C. Bowen M ' & Mrs Dave Lendt

Mr & Mrs Edward Carbrey M r & Mrs David Lynch

Mr & Mrs Malcolm Crump M r Roland McCormack Mr & Mrs Herbert David Dr & Mrs William C. McCormack Mr & Mrs Ned Disque M ' & Mrs Joseph Maxwell Dr & Mrs John R. Doran M - & Mrs William Mengeling Mr & Mrs M.B. Drexler M - & Mrs Alfred H. Munn Mr & Mrs Jewett Dunham M 's David Palmer Dr Alvin Edgar M - & Mrs Ray Reed

Mr & Mrs Leonard Feinberg M 's Wayne Rowley Mr & Mrs David Gradwohl M - & Mrs Klaus Ruedenberg

Mrs James Goodwin Mi • & Mrs Charles Sage Mr & Mrs Edward G. Greenman M - & Mrs Harold Sharlin

Mrs Carl Hamilton Mi • & Mrs Richard Squires Mr & Mrs Robert Hansen M s James Triplett Mrs Robins Hawthorne M & Mrs James Warner

Mrs Robert Haxby Mi • & Mrs Thomas Weber Mr & Mrs Laurent Hodges Mi & Mrs Allen West Mrs Kenneth Jolls Mis E.V. Woodard

Mr & Mrs Edwin Jones Mi & Mrs Daniel J. Zaffarano Mrs Dorothy Kehlenbeck Mr & Mrs George Zyskind

THE COUNCIL OF FRIENDS OF THE BOSTON SYMPHONY ORCHESTRA

The Council announces two series of Stage Door Lectures, to be known as 'Odd 7 and 'Even', for the 1972-1973 Winter season. The dates have been set as follows: —

Odd series Even series October 13 October 20 to be announced January 5 March 2 March 9 March 16 April 13

1495 Symphony Hall

Restaurants

1. Benihana of Tokyo 201 Stuart Street 542-1166

2. Boraschi 793 Boylston Street 536-6300 3. Cafe Amalfi 10 Westland Avenue 536-6396 4. Cafe Budapest 90 Exeter Street 734-3388 * * 5. Cervantes 333 Newbury Street 536-2020

* 6. Charley's Eating and Drinking Saloon 344 Newbury Street 267-8645

* 7. Colonnade Hotel 120 Huntington Avenue 261-2800 Promenade Cafe/*Zachary's 8. Delmonico's 710 Boylston Street 536-5300 * 9. DuBarry 159 Newbury Street 262-2445 *10. Fenway Motor Inn 1271 Boylston Street 267-8300 Kenmore Square 267-3100 11. Half-Shell 743 Boylston Street 536-2211 12. Joseph's 279 Dartmouth Street 266-1502 13. Kyoto 337 Massachusetts Avenue 536-9295 14. La Crepe 733 Boylston Street 267-1534 •9 #12 •18 M © Copley Sq. BOYLSTON ST.

ST. JAMES ST.

STUART ST.

15. Locke-Ober Cafe 3 Winter Place 542-1340 16. Midtown Motor Inn 220 Huntington Avenue 262-1000 17. Nick's 100 Warrenton Street 482-0930 *18. Ritz Carlton 15 Arlington Street 536-5700 19. Sheraton-Boston Hotel 39 Dalton Street 236-2000 Cafe Riviera/Falstaff Room/Kon Tiki Ports 20. Sheraton-Plaza Hotel Copley Square 267-5300 Cafe Plaza/Copenhagen 21. Statler Hilton Hotel Park Square 426-2000 22. Symphony Sandwich Shop 252 Massachusetts Avenue 536-3068 Parking 247-9014 A. Auditorium Garage *23. Top of the Hub Prudential Center 536-1775 50 Dalton Street, Prudential Center *24. 57 Restaurant 200 Stuart Street 423-5700 267-9875 Other Restaurants B. Colonnade Hotel 120 Huntington Avenue 261-2800 Admiralty Room 38 Cornhill Street 742-9595 *Dini's 94 Tremont Street 227-0380 C. Fitz-lnn Auto Park 150 Huntington Avenue 262-8988 *Fenway Motor Inn 111 Memorial Drive, Cambridge 492-7777 D. Westland Garage *Five Chateaux 5 Cambridge Parkway, Cambridge 491-3600 41 Westland Avenue 536-8862 *Maison Robert 45 School Street 227-3370 E. Prudential Center Garage *Maitre Jacques 10 Emerson Place 742-5480 Exeter Street and Huntington Avenue Polcari's. 283 Causeway 742-4142 267-2965

*See advertisement elsewhere in the program book \

o/

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' At the Prudential Center ^Boston s newest grand hotel : 120 Huntington Avenue Boston, Massachusetts 02116 Garage parking in hotel for ^Reservations: 262-0600

MAITRE JACQUES Restaurant Francais 10 Emerson Place, Boston Lucien Robert Chef and owner rt]a?tre

Live it up . . . way up at Stouffer's Top of the Hub. The view is totally Boston. The food, totally delicious. The cocktails, totally potent. Open daily 11:30 A.M. to 1 A.M. Sunday brunch 11 A.M. maison robert to 2:30 P.M. Dinner 4 to 9 P.M. Entertainment Monday through CUISINE FRANCHISE OLD CITY HALL Saturday. Call 536-1775. 45 SCHOOL STREET BOSTON, MASS.

227-3370 AND 227-3371

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1498 ~\ I A fugue Dm Barry in eating French Restaurant and drinking

• Private dining room LUNCHEON 11:30 A.M. -3:30 P.M. • Open garden in summer DINNER 3:30 P.M. -1:00 A.M. • Fine selection of imported wines • Lunch and dinner TIL • Mon. thru Sat., Sun., 5-9 p.m. DRINKING 2:00 A.M. 159 Newbury Street/Boston EATING ft (near Copley Square & Prudential Center) DRINKING 262-2445/247-8280

FREE VALET PARKING • LADIES INVITED 344 NEWBURY ST.. 266-3000

FOR INFORMATION ABOUT ADVERTISING SPACE AND RATES IN THE BOSTON SYMPHONY ORCHESTRA'S PROGRAMS CALL WILLIAM DORE AT MEDIAREP CENTER INC., 1127 STATLER OFFICE BUILDING, BOSTON, MASSACHUSETTS 02116, TELEPHONE (617) 482-5233

The THE IMPOSSIBLE DREAM IN DINING i Restaurant GEB^iNfES 200 Stuart Street. Luncheon

and dinner from 1 1 :30 till AM Lunch 11:30 a.m. to 2:30 p.m. 2 AM. Open 12 noon Sun- days and holidays. Parking Dinner 6 p.m. to 12 p.m. for 1,000 cars. Function Reservations Requested 536-2020 rooms available. For reserva- 333 Newbury St. 02115 tions call 423-5700. — Boston — Ma.

1499 Mrs George Draper Boston

Mrs Walter Watson II r-

Mrs Charles P. Hovey Brookline, Chestnut Hill

Mrs Lewis H. Clark Cambridge Mrs Howard W. Davis Concord Mrs Donald B. Sinclair

Mrs Richard R. Higgins Dedham, Millis, Sharon, Westwood Mrs Thomas E. Jansen Jr

Mrs Raymond C. Gordon Framingham

Mrs Edwin M. Cole Lincoln

Mrs Herbert Abrams Lowell

Mrs Erick Kauders Marblehead, Salem, Swampscott Mrs Nelson Darling Jr

Mrs Howard E. Hansen Needham, Wellesley

Mrs Charles T. Gallagher New Hampshire Mrs John H. Kennard

Mrs Robert M. P. Kennard Newton, Newton Centre, West Mrs Samuel A. Levine Newton, Waban

Mrs Albert Pagliarulo Revere, Winthrop, Maiden

Mrs Jim Lee Hunt Roxbury, Dorchester

Mrs Lewis W. Kane South Shore I

Mrs C. Russell Eddy South Shore II

Mrs Francis Devlin Wayland, Sudbury

Mrs Richard Ely Weston

Mrs Harold H. Blanchard Winchester

Mrs Harlan T. Pierpont Worcester

THE MUSICAL MARATHON A resounding triumph! As of this time, the total sum raised for the

Orchestra is only a few dollars off $60,000. The Council is immensely grateful to all who made this event possible, and especially to Mrs John M. Bradley, Chairman, Radio Station, WCRB, the American Federation of Musicians, the Conductors and Musicians of the performances played, to the 250 volunteers, and to all who provided the unusual and generous premiums.

The acoustics of Symphony Hall are as sensitive and beauti- ful as those of any other concert hall in the world. They are unfortunately as sensitive to coughing as to music. Patrons are earnestly requested, for the sake of their neighbors, to stifle their coughs to the quietest pianissimo.

1500 MUSICAL INSTRUCTIONS

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EDNA NITKIN, M.MUS. PIANO Telephone: 88 EXETER STREET KEnmore 6-4062 COPLEY SQUARE, BOSTON

voice studios MARGOT WARNER, Soprano VOICE TECHNIQUE — REPERTOIRE June through August Summer and Winter 189 John Wise Avenue (Route 133) 2 Symphony Road Essex, Mass. 01929 Boston, Mass. 02115 (617) 768-6853 (617) 267-0332

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OFFSET LITHOGRAPHY • BINDING 1 Walnut Hill School

1501 Coming in the 1972-73

BOSTON UNIVERSITY CELEBRITY SERIES

In Recital: BEVERLY SILLS RENATA TEBALDI LEONTYNE PRICE DIETRICH FISCHER-DIESKAU ARTUR RUBINSTEIN CLAUDIO ARRAU ANDRES SEGOVIA RUDOLF SERKIN ISAAC STERN ASHKENAZY and PERLMAN JACQUELINE DU PRE DANIEL BARENBOIM

Royal Philharmonic Orchestra of London Rudolf Kempe, Conductor Teiko Maeheshi, Violin Soloist London Symphony Orchestra Andre Previn, Conductor Israel Philharmonic Orchestra Zubin Mehta, Conductor Cleveland Orchestra Claudio Abbado, Conductor Martha Graham Dance Company Alvin Ailey American Dance Theater and 19 other outstanding music and dance events.

Chances are you will attend at least seven of the above concerts next season. Why not assure yourself of the choicest locations, reasonably priced, with tickets mailed to you before the season opens. You choose your own series of seven events from a list of thirty-four outstanding music and dance attractions. For a detailed brochure, write to Boston Uni- versity Celebrity Series, 420 Boylston Street, Boston 02116. Phone 536-6037.

1502 When we are conservative, it's because we have so much to be conservative about.

Old ColonyTrust A DIVISION OF THE FIRST NATIONAL BANK OF BOSTON

1503 Quartet in F was written for strings, oboe, and

Composers from Mozart to Don- For years, people have found ovan have intended their works that Audio Lab has the best to be performed by carefully stereo components, the lowest selected instruments. prices and the most professional service. The Lab features natural Mozart orchestrated his Quartet sounding equipment - like EPI in F specifically for strings and speakers - which can recreate oboe. If he could have heard EPI the sounds of Mozart (played loudspeakers he would have spec- with virtuosity by the B.S.O., of ified them also. course) right in your own living- room.

EPI's engineers have created a We invite you to come in for a technically precise musical instru- demonstration. ment. Their speakers reproduce sound with nearly perfect clarity. The result is the "live sound" that Wolfgang wanted you to hear!

(Audio Lab)

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