BOSTON SYMPHONY ORCHESTRA SEIJI OZAWA Music h- Director

107th Season 1987-88 II

©1987 80 Proof. Imported from France by Regal Brands, Inc , New York, N.Y

TO SEND A GIFT OF B&B LIQUEUR ANYWHERE IN THE U S CALL 1-800-238-4373 VOID WHERE PROHIBITED, Seiji Ozawa, Music Director

Carl St. Clair and Pascal Verrot, Assistmit Conductors One Hundred and Seventh Season, 1987-88

Trustees of the Boston Symphony Orchestra, Inc.

Nelson J. Darling, Jr., Chairman George H. Kidder, President Mrs. John M. Bradley, Vice-Chairman J. P. Barger, Vice-Chairman

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

Vernon R. Alden Mrs. Eugene B. Doggett Roderick M. MacDougall David B. Arnold, Jr. Mrs. John H. Fitzpatrick Mrs. August R. Meyer

Mrs. Norman L. Cahners Avram J. Goldberg David G. Mugar William M. Crozier, Jr Mrs. John L. Grandin Mrs. George R. Rowland Mrs. Lewis S. Dabney Francis W. Hatch, Jr. Richard A. Smith Mrs. Michael H. Davis Harvey Chet Krentzman Ray Stata Trustees Emeriti Philip K. Allen Mrs. Harris Fahnestock Irving W Rabb Allen G. Barry E. Morton Jennings, Jr Paul C. Reardon Leo L. Beranek Edward M. Kennedy Mrs. George L. Sargent

Richard P. Chapman ' Albert L. Nickerson Sidney Stoneman Abram T. Collier Thomas D. Perry, Jr. John Hoyt Stookey George H.A. Clowes, Jr John L. Thorndike Other Officers of the Corporation

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

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

Michael G. McDonough, Director of Finance and Business Affairs Anne H. Parsons, Orchestra Manager Costa Pilavachi, Artistic Administrator Caroline Smedvig, Director of Promotion Josiah Stevenson, Director of Development

Robert Bell, Data Processing Manager Michelle R. Leonard, Budget Manager Helen P. Bridge, Director of Volunteers Marc Mandel, Publications Coordinator Madelyne Codola Cuddeback, Director Julie-Anne Miner, Supervisor of of Corporate Development Fund Accounting Vera Gold, Assistant Director of Promotion Richard Ortner, Administrator of Patricia F. Halligan, Personnel Administrator Tanglewood Music Center Russell M. Hodsdon, Manager of Box Office Nancy E. Phillips, Media and Craig R. Kaplan, Controller Production Manager, Nancy A. Kay, Director of Sales Boston Symphony Orchestra John M. Keenum, Director of Scott Schillin, Assistant Manager, Foundation Support Pops and Youth Activities Patricia Krol, Coordinator of Joyce M. Serwitz, Assistant Director Youth Activities of Development Steven Ledbetter, Musicologist & Susan E. Tomlin, Director of Annual Giving Program Annotator

Programs copyright ®1988 Boston Symphony Orchestra, Inc. Cover photo by Christian Steiner/Design by Wondriska Associates Inc. £^rri!^mB

Board of Overseers of the Boston Symphony Orchestra, Inc.

Avram J. Goldberg Chairman

Mrs. Carl Koch John F. Cogan, Jr. Mrs. R. Douglas Hall HI Vice-Chainnan Vice-Chairman Secretary

Mrs. Weston W. Adams Mark R. Goldweitz Mrs. Robert B. Newman Martin Allen Haskell R. Gordon Mrs. Hiroshi Nishino Mrs. David Bakalar Joe M. Henson Vincent M. O'Reilly Mrs. Richard Bennink Arnold Hiatt Stephen Paine, Sr. Mrs. Samuel W. Bodman Susan M. Hilles Andrall E. Pearson William M. Bulger Glen H. Hiner Daphne Brooks Prout Mary Louise Cabot Mrs. Marilyn B. Hoffman Peter C. Read Mrs. C. Thomas Clagett, Jr. Ronald A. Homer Robert E. Remis James F. Cleary Anna Faith Jones John Ex Rodgers Julian Cohen H. Eugene Jones Mrs. Jerome Rosenfeld Mrs. Nat Cole Mrs. Bela T. Kalman Mrs. William C. Rousseau William H. Congleton Mrs. S. Charles Kasdon Mrs. William H. Ryan

Walter J. Connolly, Jr. Howard Kaufman Roger A. Saunders Mrs. A. Werk Cook Richard L. Kaye Mrs. Raymond H. Schneider Albert C. Cornelio Robert D. King Mark L. Selkowitz Phyllis Curtin Robert K. Kraft Malcolm L. Sherman Alex V. d'Arbeloff John P. LaWare Mrs. Donald B. Sinclair Mrs. Eugene B. Doggett Mrs. Hart D. Leavitt W. Davies Sohier, Jr. Phyllis Dohanian R. Willis Leith, Jr. Ira Stepanian Harriett Eckstein Laurence Lesser Mrs. Arthur L Strang Edward Eskandarian Stephen R. Levy William F. Thompson Katherine Fanning Frederick H. Lovejoy, Jr. Mark Tishler, Jr. John A. Fibiger Mrs. Charles P. Lyman Luise Vosgerchian Peter M. Flanigan Mrs. Harry' L. Marks Mrs. An Wang Gerhard M. Freche C. Charles Marran Roger D. Wellington Dean Freed Hanae Mori Mrs. Thomas H.P Whitney Peter H.B. Frelinghuysen Richard P. Morse Mrs. Donald B. Wilson

Mrs. James G. Garivaltis Mrs. Thomas S. Morse Mrs. John J. Wilson Mrs. Ray A. Goldberg E. James Morton Brunetta Wolfman Jordan L. Golding Nicholas T. Zervas

Overseers Emeriti

Mrs. Frank G. Allen Mrs. Richard D. Hill Mrs. Stephen V.C. Morris Hazen H. Ayer Mrs. Louis L Kane David R. Pokross

Mrs. Thomas J. Galligan Leonard Kaplan Mrs. Peter van S. Rice Mrs. Thomas Gardiner Benjamin H. Lacy Mrs. Richard H. Thompson Mrs. James F. Lawrence

Symphony Hall Operations

Robert L. Gleason, Facilities Manager

Cheryl Silvia, Function Manager James E. Whitaker, House Manager

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

Mrs. Eugene B. Doggett President Phyllis Dohanian Ms. Helen Doyle Executive Vice-President Secretary

Mr. Goetz B. Eaton Mrs. Seabury T. Short, Jr. Treasurer Nominating Chairman

Vice-Presidents

Mrs. Ray A. Goldberg, Fundraising Projects Mrs. Jeffrey Millman, Membership Ms. Kathleen Heck, Development Services Mrs. Harry P. Sweitzer, Jr., Public Mrs. James T. Jensen, Hall Services Relations Mrs. Eugene Leibowitz, Tanglewood Mrs. Thomas Walker, Regions Mrs. Robert L. Singleton, Tanglewood Ms. Margaret Williams, Youth Activities and Adult Education

Chairmen of Regions

Mrs. Claire E. Bessette Ms. Linda Fenton Mrs. Hugo A. Mujica Mrs. Thomas M. Berger HI Mrs. Daniel Hosage Mrs. G. William Newton Mrs. John T. Boatwright Ms. Prudence A. Law Mrs. Ralph Seferian Mrs. Oilman W. Conant Mrs. Robert Miller Mrs. Richard E. Thayer Mrs. James Cooke Mrs. F.T. Whitney

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Aspen Music Festival Metropolitan Opera Leonard Bernstein Mitchell -Ruff Duo Bolcom and Morris Seiji Ozawa Jorge Bolet Luciano Pavarotti Boston Pops Orchestra Alexander Peskanov Boston Symphony Orchestra Philadelphia Orchestra Brevard Music Center Andre Previn Dave Brubeck Ravinia Festival David Buechner Santiago Rodriguez Chicago Symphony Orchestra George Shearing Cincinnati May Festival Bobby Short Cincinnati Symphony Orchestra Abbey Simon Aaron Copland Georg Solti Denver Symphony Orchestra Stephen Sondheim Eastern Music Festival Tanglewood Music Center Michael Feinstein Michael Tilson Thomas Ferrante and Teicher Beveridge Webster Natalie Hinderas Earl Wild Dick Hyman John Williams Interlochen Arts Academy and Wolf Trap Foundation for National Music Camp the Performing Arts Marian McPartland Yehudi Wyner Zubin Mehta Over 200 others Baldwin^ will participate in the festival, which also BSO includes opera and ballet performances, as well as educational programs and workshops for area high schools and colleges. During Symphony Spotlight the fes- tival the Boston Symphony Orchestra's con- This is one in a series of biographical sketches certs will include an all-Russian program with that focus on some of the generous individuals conductor Gennady Rozhdestvensky and who have endowed chairs in the Boston Sym- pianist Viktoria Postnikova (March 17, 18, 19, phony Orchestra. Their backgrounds are var- and 22), the United States premiere of Schnitt- ied, but each felt a special commitment to the ke's Symphony No. 1 under Rozhdestvensky Boston Symphony Orchestra. (March 24, 25, and 26), and, as part of another Carolyn and George Rowland Chair all-Russian program, the Boston premiere of Gubaidulina's "Offertorium" for violin and Carolyn Rowland established and George orchestra, led by Charles Dutoit with soloist their chairin the first violin section in 1981, Gidon Kremer (March 31, April 1, 2, and 5). but their support of the BSO dates from well For further information about "Making Music gift. Car- before this generous endowment As Together," and a complete schedule of events, olyn Rowland explains, love of music and "My please call (617) 426-5300. belief that the BSO is the best orchestra in the country keep me coming back to Symphony Art Exhibits in the Cabot-Cahners Room Hall week after week. Watching Seiji Ozawa For the fourteenth year, a variety of Boston- conduct adds another dimension to the joy of area galleries, museums, schools, and non- hearing the music." After serving as a Boston profit artists' organizations are exhibiting Symphony Orchestra Overseer for many their work in the Cabot-Cahners Room on the years, she became a member of the BSO's first-balcony level of Symphony Hall. On dis- Board of Trustees in 1982. Mrs. Rowland, a 14 are works from Fra- talented and experienced photographer who play through March mingham's Danforth Museum. Other organi- studied with Ansel Adams, is currently an zations to be represented during the coming Overseer of the Museum of Fine Arts, and she months are the Massachusetts College of Art is active on numerous other educational, (March 14-April Northeastern University cultural, and church-related committees. 11), (April 11-May 9), Howard Yezerski Gallery of George Rowland, who is a businessman, avid Andover (May 9-June and the Boston golfer, and fisherman, has shared his wife's 6), Society of Architects (June 6-July 4). These cultural interests. Because the Rowlands exhibits are sponsored the Boston Sym- wanted to do something very special for and in by appreciation of the orchestra, they endowed phony Association of Volunteers, and a por- tion each sale benefits the orchestra. Please the chair in honor of their dear friend, Leo of Panasevich. contact the Volunteer Office at 266-1492, ext. 177, for further information. BSO to Participate in American/Soviet BSO Guests on WGBH Cultural Exchange The Copley String Trio, which includes BSO "Making Music Together," a three-week arts members Sheila Fiekowsky, violin, Robert per- festival featuring American and Soviet per- Barnes, viola, and Ronald Feldman, cello, forms music of Schubert, Beethoven, and Hin- formers, opens this weekend, Friday, March 11, 7 to 8 p.m. at 8 p.m. at the Opera House with a perform- demith on Tuesday, March 15, from live on "Chamberworks," on WGBH-FM-89.7. ance by the Festival Orchestra, which is com- posed of both Soviet and American musicians. With Thanks The all-Russian program, led by Seiji Ozawa and Soviet conductor Dzhansug Kakhidze with We wish to give special thanks to the National violin soloist Maksim Vengerov, is one of four Endowment for the Arts and the Massachu- performances the ensemble will give during the setts Council on the Arts and Humanities for festival. More than 285 dancers, musicians, their continued support of the Boston Sym- composers, and poets from the Soviet Union phony Orchestra. .

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6 mmmmmmimmm M Ronald Knudsen conducts the Newton BSO Members in Concert Symphony Orchestra in a benefit Pops concert Music Director Max Hobart conducts the Civic on Sunday, March 20, at 8 p.m. at the Newton Symphony Orchestra on Sunday, March 13, at Marriott Hotel, with special guest Rebecca 3 p.m. at Jordan Hall. Virginia Eskin is soloist Parris and her trio. WGBH's Ron Delia for Amy Beach's Piano Concerto on a program Chiesa will be master of ceremonies. Tickets also including Barber's Adagio for Strings and are $20; for further information, call the Dvorak Symphony No. 8. Tickets are $10 965-2555. and $7; for further information, call 437-0231. The Copley String Trio, which includes BSO BSO violist Roberto Diaz and pianist Judith members Sheila Fiekowsky, violin, Robert Gordon perform music of Falla, Brahms, Bach, Barnes, viola, and Ronald Feldman, cello, per- Vitali, and Cordero on Sunday, March 13, at forms music of Beethoven, Hindemith, Robert 3 p.m. at the United First Parish Church, Kyr, and Dohnanyi on Sunday, March 20, at 3 1306 Hancock Street in Quincy. Admission is p.m. at the Longy School of Music, 1 Follen $5 ($4 students and seniors); for further infor- Street in Cambridge. Admission is free. mation, call 773-1290. The contemporary chamber ensemble Col- Harry Ellis Dickson conducts the Boston lage, founded in 1972 by BSO percussionist Classical Orchestra in an "all-Italian" program Frank Epstein, concludes its fifteenth-anni- on Wednesday and Friday, March 16 and 18, at versary season on Monday, March 21, at 8 p.m. 8 p.m. at Faneuil Hall. The program features at the Longy School in Cambridge with the BSO piccolo player Lois Schaefer in Vivaldi's first performances of new works by Gunther Piccolo Concerto and also includes the overture Schuller, Nicholas C.K. Thorne, and Thomas to Rossini's II Signor Bruschino and Mendels- Oboe Lee, in addition to music of James Pri- sohn's Italian Symphony. Tickets are $18 and mosch and Todd Brief. Gunther Schuller is $12 ($8 students and seniors); for further infor- the conductor, and soprano Janice Felty is the mation, call 426-2387. featured soloist. Tickets are $9 general admis- BSO Assistant Conductor Pascal Verrot sion ($5 students and seniors); for further leads Arnold Schoenberg's Opus 29 Suite on a information, call 437-0231. Dinosaur Annex concert, Sunday, March 20, BSO flutist Leone Buyse performs music of at 7:30 p.m. at the First and Second Church, Bach, Hummel, Dutilleux, Gaubert, Hindemith, 66 Marlborough Street in Boston. The pro- and Bartok with pianist Wendy Ardizzone on gram, entitled "From Vienna to Boston," also Sunday, March 27, at 3 p.m. in a free recital at includes works by Lyle Davidson, Ernst the First Unitarian Church, 90 Main Street in Krenek, Robert Ceely, and Ezra Sims. Tickets Worcester. For further information, call are $8; for further information call 254-2723. 757-0959.

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330 BOYLSTON ST., BOSTON, MASS. 02116 (617) 267-9100. THE MALL AT CHESTNUT HILL •SOUTH SHORE PLAZA Seiji Ozawa

followed by a year as that orchestra's music adviser.

Seiji Ozawa made his first S\Tnphony Hall appearance with the Boston S\Tn- phony Orchestra in January 1968; he had previously appeared with the orchestra for four summers at Tanglewood, where he became an artistic adviser in 1970. For the 1972-73 season he was the orchestra's music adviser. Since becoming music director of the Boston Symphony Orchestra in 1973, Mr. Ozawa has strengthened the orchestra's reputation internationally as well as at home, leading concerts in Europe, Japan, and throughout the United States. In March 1979 he and the orchestra traveled to China for a significant musical This is Seiji Ozawa's fifteenth year as music and cultural exchange entailing coaching, director of the Boston Symphony Orchestra. study, and discussion sessions with Chinese The thirteenth conductor to hold that posi- musicians, as well as concert performances. tion since the orchestra was founded in 1881, That same year, the orchestra made its first Mr. Ozawa became the BSO's music director tour devoted exclusively to appearances at in 1973. Born in 1935 in Shenyang, China, to the major European music festivals. In Japanese parents, Mr. Ozawa studied both 1981 Mr. Ozawa and the orchestra cele- Western and Oriental music as a child, later brated the Boston S\Tnphony's centennial graduating from Tok>'o's Toho School of with a fourteen-city American tour and an Music with first prizes in composition and international tour to Japan, France, Ger- conducting. In 1959 he won first prize at the many, Austria, and England. They returned International Competition of Orchestra Con- to Europe for an eleven-concert tour in the ductors held in Besangon, France, and was fall of 1984, and to Japan for a three-week invited to Tanglewood by Charles Munch, tour in Februarv 1986, the orchestra's third then music director of the Boston S\Tnphony visit to that country under Mr. Ozawa's and a judge at the competition. In 1960 he direction. Mr. Ozawa has also reaffirmed won the Tanglewood Music Center's highest the orchestra's commitment to new music honor, the Koussevitzk\' Prize for outstand- with the recent program of twelve centen- ing student conductor. nial commissions, and with a new program, initiated last vear, to include such com- While working with Herbert von Karajan posers as Peter Lieberson and Hans in West Berlin, Mr. Ozawa came to the Werner Henze. attention of Leonard Bernstein. He accom- panied Mr. Bernstein on the New York Phil- Mr. Ozawa pursues an active interna- harmonic's 1961 tour of Japan and was tional career, appearing regularly with the made an assistant conductor of that orches- Berlin Philharmonic, the Orchestre de tra for the 1961-62 season. In January 1962 Paris, the French National Radio Orches- he made his first professional concert tra, the Vienna Philharmonic, the Philhar- appearance in North America, with the San monia of London, and the New Japan Phil- Francisco Symphony. Mr. Ozawa was music harmonic. His operatic credits include director of the Ravinia Festival for five Salzburg, London's Royal Opera at Covent summers beginning in 1964, music director Garden, La Scala in Milan, the Vienna of the Toronto S\Tnphony Orchestra from Staatsoper, and the Paris Opera, where he 1965 to 1969, and music director of the San conducted the world premiere of Olivier Francisco Symphony from 1970 to 1976, Messiaen's opera St. Francis of Assist in

8 November 1983. Mr. Ozawa led the Amer- Isaac Stem, and Strauss's Don Quixote and ican premiere of excerpts from that work in the Schoenberg/Monn Cello Concerto with Boston and New York in April 1986. Yo-Yo Ma. He has also recorded the complete cycle of Beethoven piano concertos and the Seiji Ozawa has recorded with the Boston Choral Fantasy with Rudolf Serkin for Symphony Orchestra for Philips, Telarc, Telarc, orchestral w^orks by Strauss, CBS, Deutsche Grammophon, EMI/Angel, Stravinsky, and Hoist, BSO centennial com- New World, Hji^erion, Erato, and RCA missions by Roger Sessions, Andrzej Pan- records. His award-winning recordings ufnik, Peter Lieberson, John Harbison, and include Berlioz's Romeo et Juliette on DG, Oily Wilson, Franz Liszt's two piano concer- Mahler's Symphony No. 8, the Symphony of a tos and Totentanz with pianist Krystian Thousand, and Schoenberg's Chirrelieder, Zimerman for Deutsche Grammophon, and, both on Philips, and, also on DG, the Berg as part of a Mahler cycle for Philips records, and Stravinsky \aolin concertos with Itzhak Mahler's Symphony No. 2, Resurrection, with Perlman, with whom he has also recorded the Kiri Te Kanawa and MarihTi Home. violin concertos of Earl Kim and Robert Starer for EMI/Angel. With Mstislav Mr. Ozawa holds honorary doctor of Rostropo\ich he has recorded the D\'ofak music degrees from the University of Mas- Cello Concerto and Tchaikovsk\^'s Variations sachusetts, the New England Conservatory on a Rococo Theme for Erato. Other record- of Music, and Wheaton College in Norton, ings, on CBS, include music of Berlioz and Massachusetts. He has w^on an Emmy for Debussy 'with mezzo-soprano Frederica von the Boston Symphony Orchestra's "Eve- Stade, the Mendelssohn Violin Concerto v\ith ning at Symphony" PBS television series. USTEN New England Conservatory of Music is an environment in which students

listen to the words and music of our outstanding faculty, teachers listen to the needs and musical growth of young performers, and audiences listen to first-rate faculty and student performances.

The art of music can not exist without

the art of listening.

For a free concert calendar, call or write:

New England W Conservatory

290 Huntington Avenue Boston, Massachusetts 02115

(617) 262-1120 •-t^ s^ Leo Panasevich Carolyn and George Rowland chair BOSTON Sheldon Rotenberg Muriel C. Kasdon and SYMPHONY Marjorie C. Paley chair

, ORCHESTRA Alfred Schneider SEIJI OZAVi. Ra\Tnond Sird Ali. Ikuko Mizuno Amnon Le\y

Music Directorship endowed by Second Violins John Moors Cabot Marylou Speaker Churchill Fahnestock chair BOSTON SYMPHONY Vyacheslav Uritsky Charlotte and In'ing W. Rabb chair ORCHESTRA Ronald Knudsen 198788 Edgar and Shirley Grossman chair Joseph McGauley First Violins Leonard Moss Malcolm Lowe Michael Vitale Concertmaster Haney Seigel Charles Munch chair Jerome Rosen Tamara Smirnova-Sajfar Sheila Fiekowsky Associate Concertmaster Gerald Elias Helen Homer Mclntyre chair Max Hobart Ronan Lefkowitz Assistant Concertmaster Nancy Bracken Robert L. Beal, and Jennie Shames Enid L. and Bruce A. Beal chair Aza Raykhtsaum Lucia Lin Valeria Vilker Kuchment Assistant Concertmaster Edward and Bertha C. Rose chair Bonnie Bewick Bo Ybup Hwang Tatiana Dimitriades John and Dorothy Wilson chair, James Cooke fully funded in perpetuity Max Winder Violas Forrest Foster Collier chair Gottfried Wilfinger ^Burton Fine Charles S. Dana chair Fredy Ostrovsky Patricia McCarty Dorothy Q. and David B. Arnold, Jr., Anne Sioneinan chair, chair, fully funded in perpetuity fully funded in perpetuity

*Participating in a system of rotated seating within each string section tOn sabbatical leave iSubsiituting, 1987-88

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

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A Brief History of the Boston Symphony Orchestra

Now in its 107th season, the Boston Sym- Lee Higginson dreamed of founding a great phony Orchestra continues to uphold the and permanent orchestra in his home town vision of its founder Henry Lee Higginson of Boston. His vision approached reality in and to broaden the international reputation the spring of 1881, and on October 22 that it has established in recent decades. Under year the Boston Symphony Orchestra's the leadership of Music Director Seiji inaugural concert took place under the Ozawa, the orchestra has performed direction of conductor Georg Henschel. For throughout the United States, as well as in nearly twenty years symphony concerts Europe, Japan, and China, and it reaches were held in the Old Boston Music Hall; audiences numbering in the millions Symphony Hall, the orchestra's present through its performances on radio, televi- home, and one of the world's most highly sion, and recordings. It plays an active role regarded concert halls, was opened in 1900. in commissioning new works from today's Henschel was succeeded by a series of most important composers, and its summer German-born and -trained conductors season at Tanglewood is regarded as one of Wilhelm Gericke, Arthur Nikisch, Emil the most important music festivals in the Paur, and Max Fiedler—culminating in the world. The orchestra's virtuosity is appointment of the legendary Karl Muck, reflected in the concert and recording activ- who served two tenures as music director, ities of the Boston Symphony Chamber 1906-08 and 1912-18. Meanwhile, in July Players—the world's only permanent 1885, the musicians of the Boston Sym- chamber ensemble made up of a major sym- phony had given their first "Promenade" phony orchestra's principal players—and concert, offering both music and refresh- the activities of the Boston Pops have ments, and fulfilling Major Higginson's established an international standard for wish to give "concerts of a lighter kind of the performance of lighter kinds of music. music." These concerts, soon to be given in In addition, during the Tanglewood season, the springtime and renamed first "Popu- the BSO sponsors one of the world's most lar" and then "Pops," fast became a important training grounds for young musi- tradition. cians, the Tanglewood Music Center, which During the orchestra's first decades celebrates its fiftieth anniversary in 1990. there were striking moves toward expan- For many years, philanthropist, Civil sion. In 1915 the orchestra made its first War veteran, and amateur musician Henry transcontinental trip, playing thirteen con-

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

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14 certs at the Panama- Pacific Exposition in predecessors, made many recordings for San Francisco. Recording, begun with RCA RCA; in addition, many concerts were tele- in the pioneering days of 1917, continued vised under his direction. Mr Leinsdorf with increasing frequency, as did radio was also an energetic director of the broadcasts of concerts. The character of the Tanglewood Music Center, and under his Boston Symphony was greatly changed in leadership a full-tuition fellowship program 1918, when Henri Rabaud was engaged as was established. Also during these years, in conductor; he was succeeded the following 1964, the Boston Symphony Chamber Play- season by Pierre Monteux. These appoint- ers were founded. ments marked the beginning of a French- William Steinberg succeeded Leinsdorf oriented tradition which would be main- in 1969. He conducted several American tained, even during the Russian-born Serge and world premieres, made recordings for Koussevitzky's time, with the employment Deutsche Grammophon and RCA, of many French-trained musicians. appeared regularly on television, led the The Koussevitzky era began in 1924. His 1971 European tour, and directed concerts extraordinary musicianship and electric on the east coast, in the south, and in the personality proved so enduring that he mid-west. served an unprecedented term of twenty- Seiji Ozawa, an artistic director of the five years. Tanglewood Festival since 1970, became 1936 Koussevitzky led the orchestra's In the orchestra's thirteenth music director in first concerts in the Berkshires, and a year the fall of 1973, following a year as music later he and the players took annual up adviser. Now in his fifteenth year as music residence at Tanglewood. summer director, Mr. Ozawa has continued to solid- Koussevitzky passionately shared Major ify the orchestra's reputation at home and Higginson's dream of "a good honest abroad, and he has reaffirmed the orches- school for musicians," and in 1940 that tra's commitment to new music through his realized with dream was the founding at program of centennial commissions and a of the Berkshire Tanglewood Music Center recently initiated program including such (now called the Tanglewood Music Center). prominent composers as Peter Lieberson Expansion continued in other areas as and Hans Werner Henze. Under his well. In 1929 the free Esplanade concerts direction the orchestra has also expanded on the Charles River in Boston were inau- its recording activities to include releases gurated by Arthur Fiedler, who had been a on the Philips, Telarc, CBS, EMI/Angel, member of the orchestra since 1915 and Hyperion, New World, and Erato labels. who in 1930 became the eighteenth conduc- From its earliest days, the Boston Sym- tor of the Boston Pops, a post he would phony Orchestra has stood for imagination, hold for half a century, to be succeeded by enterprise, and the highest attainable stan- John Williams in 1980. The Boston Pops dards. Today, the Boston Symphony celebrated its hundredth birthday in 1985 Orchestra, Inc., presents more than 250 under Mr. Williams's baton. concerts annually. Attended by a live audi- Charles Munch followed Koussevitzky as ence of nearly 1.5 million, the orchestra's music director in 1949. Munch continued performances are heard by a vast national Koussevitzky's practice of supporting con- and international audience. Its annual bud- temporary composers and introduced much get has grown from Higginson's projected music from the French repertory to this $115,000 to more than $20 million, and its country. During his tenure the orchestra preeminent position in the world of music is toured abroad for the first time and its due not only to the support of its audiences continuing series of Youth Concerts was ini- but also to grants from the federal and tiated. Erich Leinsdorf began his seven- state governments, and to the generosity of year term as music director in 1962. Mr. many foundations, businesses, and individ- Leinsdorf presented numerous premieres, uals. It is an ensemble that has richly restored many forgotten and neglected fulfilled Higginson's vision of a great and works to the repertory, and, like his two permanent orchestra in Boston.

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One Hundred and Seventh Season, 1987-88 DiricioT

Thursday, March 10, at 8 Friday, March 11, at 2 Saturday, March 12, at 8

SEIJI OZAWA conducting

STRAUSS Duet-Concertino for clarinet and bassoon with string orchestra and harp Allegro moderato Andante Rondo: Allegro ma non troppo

HAROLD WRIGHT, clarinet SHERMAN WALT, bassoon

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BRUCKNER Symphony No. 7 in E Allegro moderato Adagio: Sehr feierlich und sehr langsam (Very solemn and very slow) Scherzo: Sehr sehnell (Very fast) Finale: Bewegt, doch nicht sehnell (Moving along, but not fast)

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, -.'-r.- Richard Strauss Duet-Concertino for clarinet and bassoon with string orchestra and harp

Richard Strauss was born in Munich on June 11, 1864, and died in Garmisch-Partenkirchen, Bavaria, on September 8, 1949. He composed the Duet-Con- certino for clarinet and bassoon with string orches-

tra and harp in late 194 7, completing the entire

score by December 16. The work was first performed in Lugano, Switzerland, on April 4, 1948, with Otmar Nussio conducting a small orchestral ensem- ble from the orchestra of the Italian-Swiss Radio. The score bears the dedication "Hugo Burghauser, dem Getreuen" ('Ho my faithful Hugo Burg- hauser"); the dedicatee had been bassoonist of the Vienna Philharmonic. The present performances of the work are the first by the Boston Symphony Orchestra. In addition to the solo clarinet and bas- soon, the score calls for harp and string orchestra divided into five soloists (two violins, viola, cello, and bass) and the normal orchestral strings.

In October 1947, the eighty-three-year-old Richard Strauss made his first journey by airplane to accept an invitation to London, which allowed him to see some of his old friends, including Dr. Ernst Roth, his publisher; no doubt he hoped, too, that this journey would allow him to "thaw" some of his royalties, which had been frozen in England during the war. (Two years earlier he had moved to Switzerland in the hope of receiving some royalties, which would not come to him as long as he remained in Germany.) In England Strauss was curt with the press, having little patience with the persistence of reporters who asked him what his plans were; to them he said simply, "Well, to die." But the old man still had music in him. Before his death two years later he turned out two substantial last compositions in a glorious "Indian summer" of his life. Of the two pieces, the Duet-Concertino is as rarely heard as the eloquent Four Last Songs are familiar.

Though the Duet-Concertino did not take palpable shape until late 1947, Strauss had been thinking about it for some time. A year earlier he had written to the eventual dedicatee, Hugo Burghauser, a close friend and former bassoonist of the Vienna Philharmonic, who had moved to New York:

I am even busy with an idea for a double concerto for clarinet and bassoon thinking especially of your beautiful tone—nevertheless apart from a few

sketched out themes it still remains no more than an intention . . . Perhaps it would interest you; my father always used to say, "It was Mozart who wrote most beautifully for the bassoon." But then he was also the one to have all the most beautiful thoughts, coming straight down from the skies!

Finding a reference to Strauss's idolized Mozart in immediate juxtaposition to the first inkling of the Duet-Concertino should alert us to a certain Mozartean flavor that the score shares with many of Strauss's late works. Not that the piece is in any sense a pastiche: rather it translates much of what Strauss saw as the soul of the classical era into a new guise. The concertante working out of two solo instruments, echoed by a second concertante relationship between solo and massed strings, recalls the spirit—without attempting to preserve the letter—of classical forms.

At some stage in the planning of the work, Strauss told conductor Clemens Krauss that he was thinking of Hans Christian Andersen's story *'The Swineherd," in which a prince courts a beautiful princess by disguising himself as a swineherd at

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her father's palace. Here the clarinet is clearly the princess and the bassoon the swineherd/prince. If this image gave the piece its first impetus, it played no further part in the working out. Later Strauss wrote to Burghauser to tell him that the clarinet was a dancing princess, with the bassoon representing the grotesque attempts of a bear to imitate her. Eventually she is won over by the bear and dances with it. Strauss wrote, "So you too will turn into a prince and live happily ever after." In the end, though, the Duet-Concertino is pure music-making. Its three movements run together without break, but the first two are quite brief and serve essentially as an elaborate preface to the closing rondo.

The first sounds we hear are played by six solo strings—the solo quintet plus the second player on the first stand of violas. This sonority strikingly calls to mind the string sextet that opens Strauss's final opera, Capriccio. The strings quietly sing a phrase designed to prepare us for the first solo entrance; at the same time it contains a tinv motive that will dominate much of the work:

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Soon the clarinet enters for an extended stretch of rapturous melody, discreetly supported by the strings. The bassoon's first appearance is oddly menacing, and the clarinet responds as if in fright, with wild cadenzas. (So far the score can be seen to follow either of Strauss's possible programs.) Once the bassoon actually gets under- way with its own lamenting phrases, it appears in a 6/4 pulse against the prevailing 4/4. The two string groups (solo and tutti) remain separate entities during the ensuing discussion until they join in a climactic phrase for strings alone, after which the clarinet's opening melody is restated with the entire ensemble (including the

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99 harp, which enters for the first time here). The restatement is brief and incomplete, dying away to lead directly into the Andante, which grows mostly out of thematic figures already heard in the first movement, though the bassoon (doubled by a solo cello) introduces a new upward-striving idea that will play a role in the finale.

The rondo is extended and elaborate, with a rich interplay of thematic fragments drawn from various parts of the work. The basic motto (both in its original form and inverted)

runs through much of the movement, and the melodic lines grow increasingly rangy. A strikingly contrasted section brings back the harp against a broad melody played by the solo winds in octaves and a soft sustained part for the tutti strings, while into this texture the solo strings continually interject the basic motive. Prom this point on, the materials of the entire work draw together, ever more elaborately intertwined and varied. The whirling 6/8 meter becomes exuberant, filled with flickers of color and the lilting swing of a fast waltz that disappears again as rapidly as it appeared. In these pages Strauss ends his output of orchestral music with a burst of energy and high good humor. However "autumnal" the beginning of the piece may sound, a listener new to the work would hardly guess that the coda was the music of an octogenarian. —Steven Ledbetter

~ Boston - Classical Orchestra

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F II L E IJ E !^

.-V i«- Anton Bruckner Symphony No. 7 in E

Josef Anton Bruckner was born in Ansfelden, Upper Austria, on September 4, 1824, and died in Vienna on October 11, 1896. He composed his Seventh Sym- phony between September 1881 and September

1883. Arthur Nikisch conducted the first perform- ance, in Leipzig, on December 30, 1884, and Theo- dore Thomas introduced the work in this country at a concert with his orchestra in Chicago on July 29,

1886. The first Boston Symphony performance was given under the direction of Wilhelm Gericke on February 5, 1887. Karl Muck, Max Fiedler, Serge Koussevitzky, Charles Munch, Erich Leinsdorf, William Steinberg, Bruno Maderna, and Stanislaw

Skrowaczewski have conducted it with the orchestra since. The most recent subscription performances were given by Klaus Tennstedt in November 1977; Tennstedt also conducted the most recent Tanglewood performance, in August 1978. The symphony is scored for two fiutes, two oboes, two clarinets, two bassoons, four horns, four Wagner tubas, three trombones, bass tuba (alternating contrabass tuba), timpani, cymbals, triangle, and strings.

Bruckner was born in a village where his father, like his father before him, was the schoolmaster. Before that, and as far back as the fourteenth century, the Bruckners had been farmers and laborers. He sang in the choir, was allowed to play the organ, and learned musical rudiments from a cousin. In 1837, the year his father died, the twelve-year-old Anton was taken as a choirboy into the Augustinian monastery of St. Florian, whose buildings, Austrian Baroque at its most splendid, dominate the countryside southeast of Linz. There the musician and man gradually emerged. In 1840 he first heard orchestral music by Beethoven and Weber. He studied Bach's ^r^ of Fugue and Well-tempered Clavier, became acquainted with the works of Schubert and Mendelssohn, played dance music for a living, and equipped himself to become a schoolteacher. In 1848 he was appointed organist at St. Florian. All his life, he was never to feel so sure anywhere as on the organ bench. As organist he enjoyed the success that was withheld from him as a composer; in Paris he played in a crowded Notre-Dame before an audience that included Franck, Saint-Saens, Auber, and Gounod; the Vienna Chamber of Commerce sponsored a series of concerts in London (one every day for a week in the Albert Hall plus another five in the Crystal Palace); and when the sixty-seven-year-old master stood as a newly created Doctor of Phi- losophy before the Rector magnificus of Vienna's university, he said, "I cannot find the words to thank you as I would wish, but if there were an organ here, I could tell you."

And all the while at St. Florian, he composed whatever the community needed, from sacred motets to dances for piano four-hands to part-songs for men's choral societies. In 1855 he began to travel regularly to Vienna for lessons with Simon Sechter, the tsar of Austria's music-theory world. (Twenty-seven years earlier, at the

same age and, as it turned out, just two weeks before his death, Schubert had decided on the same step.) Sechter was a curious figure, who, to clear his head, wrote a fugue every morning of his adult life and whose compositions include polyphonic fantasies for piano duet on operatic airs as well as settings of chapters from a geography textbook and, once, of an entire issue of a Viennese newspaper. In Bruckner he met his match when it came to compulsive counterpointing, and, on one

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26 particular occasion, when he received from his pupil seventeen filled exercise books at the same time, he felt obliged to caution the young man about overdoing it and the possible perils to his health. In person and by correspondence, Bruckner worked with Sechter for six years, during which time he was forbidden to do any free composition. He emerged with a Meisterbrief (a certificate of mastery like those issued by the old guilds), a nervous breakdown, and a sovereign command of contrapuntal craft. But Bruckner's hunger for learning was not yet stilled, and he went on to study with Otto Kitzler, principal cellist of the Linz theater orchestra. While Sechter was oriented to the past, Kitzler taught from modern scores, Beethoven, Mendelssohn, and Wagner, whose Tannh'duser he was determined to perform in Linz and which he analyzed with Bruckner.

At the end of his time with Kitzler, Bruckner was in his fortieth year and ready to heed his vocation as composer. He began work on the symphony he was later to call ''die Nullte'''—No. —and followed that in the next ten years with three masses and the first versions of symphonies 1 through 4. The momentous events in his life were his first time seeing Tristan and of meeting Wagner, both in 1865; his move to Vienna in 1868; and the success of the First and Second symphonies in Linz and Vienna in 1868 and 1873 respectively.

Friends had talked him into the move to Vienna, where, for less money than he was making as cathedral organist in Linz, he taught organ, counterpoint, and figured bass at the Conservatory and where he occupied an unpaid and essentially imaginary post of Court Organist in exspectans. He could not afford to have his Fourth Symphony copied, and he was convinced he would "celebrate the idiocy of

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From the first printing of Bruckner's Symphony No. 7

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SER\'E every CLIENT as IF THAT CLIENT WERE OUR 0\LY CLIENT. to that end. wt offer the investment management expertise of our subsidiary Boston Safe Deposit and Trust Company Over the p.\st fi\e years, went performed v^tll by standard industry indices. Still, our reputation has been built by professionals who knov^ its gauging performance against personal objectives that A subsidiary of really counts. -^hears(>n Lehman THE BOSTON COMPANY Brothers Inc. TtLEPHONE 1-800-CALL BOS Boston Safe Deposit and Tnist Company An American (1-800-225-5267 EXT. 341) FOR Express company Member FDIC A COMPLETE DESCRIPTION. AND EN|OY THE ADVANTAGES OF BEING A PRIVILEGED CLIENT. [his] move" in debtor's prison. He found himself drawn into the musico-political war between the Wagnerians and the supporters of Brahms, a conflict in which he was temperamentally unsuited to engage and which in any event did not interest him. Altogether, with his peasant speech, his social clumsiness, his clothes that looked as though a carpenter had built them, his disastrous inclination to fall in love with girls of sixteen, his piety (he knelt to pray in the middle of a counterpoint class when he heard the angelus sound from the church next door), his powerful intelligence that functioned only when channeled into musical composition, his unawareness of intellectual or political currents of his or any other day, Bruckner was not a likely candidate for survival in the sort of compost-heap of gossip and intrigue that Vienna was, nor indeed anywhere in the world where for a composer so much depended on things other than his skill at inventing music.

Buoyed by occasional successes, wounded and bewildered by rather more fre- quent failures, pushed this way and that by ardent and sometimes profoundly misguided disciples, Bruckner found himself firm in his vocation as a symphonist. He had learned from Beethoven about scale, preparation and suspense, mystery, and the ethical content of music; from Schubert, something about a specifically Austrian tone and much about the handling of harmony; from Wagner, along with a few

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30 mannerisms, everything about a sense of slow tempo, a breadth of unfolding pre- viously unknown to instrumental music. The vision, in the largest sense, is his own. So is the simple magnificence of sound. The Fifth Symphony of 1875-78, the craggiest of Bruckner's mountains, is the summit of this first long stage of his growth, his gradual discovery of a new and extraordinary idea of the symphony. A string quintet, whose Adagio is as great a slow movement as chamber music has to show after Beethoven, followed in 1879, and the subtle Sixth Symphony, which Bruckner himself thought his boldest, was completed in 1881. He then began almost at once on the Seventh, the work that most consistently brought him the most unqualified successes, that was the most widely circulated (performances in Munich, Karlsruhe, Vienna, Graz, Hamburg, Cologne, Amsterdam, Chicago, New York, Boston, Berlin, London, and Budapest, following a Leipzig premiere within three years), and which still speaks to audiences with a quite singular directness.

Six of Bruckner's symphonies begin with a hum from which thematic fragments detach themselves or against which he projects a spacious melody. Here in the Seventh, as Robert Simpson so aptly says it in his beautiful study of Bruckner, "the entrance . . . leads to a very lofty and light interior," a vastly arching melody in which the cellos are subtly supported, now by a horn, now by the violas, now by a clarinet. To the extent that Bruckner here conveys the feeling of an immense arch, he is giving us in microcosm the sense of the entire movement with its grand pull away from the opening E major into the regions of B minor and B major, and its even more magnificent and sovereign reconquest of the original tonality.

Until the solemn Adagio actually begins we don't even notice that Bruckner has so far stayed away from one of the most obvious harmonies to which a movement in

Arthur Nikisch, who conducted the premiere of Bruckner's Seventh Symphony, and who was conductor of the Boston Symphony Orchestra from 1889 to 1893

31 Week 17 E major might aspire, that of the relative minor, C-sharp.* With that harmony that is both so close and so new, he introduces a new sound, that of a quartet of Wagner tubas, instruments designed for Der Ring des Nibehingen and intended to combine the mellowness of horns with something of the weight of tuba tone. There is, however, a deeper association with Wagner, for in January 1883, Bruckner wrote to the conductor Felix Mottl: "One day I came home and felt very sad. The thought had crossed my mind that before long the Master would die, and then the C-sharp minor theme of the Adagio came to me." Wagner did in fact die in Venice on February 13, and the quiet closing music that begins with the quartet of tubas and contrabass tuba became Bruckner's memorial to the man he worshipped above all living musi- cians. What would one not give to have been present when at one of his improvisa- tions at St. Florian's Bruckner wove together his owti Adagio with the music for Siegfried's funeral?

Following the example of Beethoven's Ninth, Bruckner builds the movement on two contrasting ideas—the initial solemn one in minor and in 4/4 time, and a more pastoral, Schubertian one in major and in triple meter—of which the second is abandoned after two statements, both scored with striking richness and loveliness. What the strings play immediately after the movement begins, the firm sequence of steps up, is an illusion to music in Bruckner's own Te Deum, his last choral work on a large scale, in progress at the same time as the symphony, and completed in March 1884. The words at that point in the Te Deum are ''non confundar in aeternum'" ("let me not be confounded for ever"), and Bruckner uses the momentum of those upward steps to build first a great climax, and then what is perhaps the most stupendous one in any symphony, reached in a place—C major—that is almost unimaginably far from the harmonic origins of the movement. It is marked by a single clash of cymbals with a roll of drums and triangle, and here we encounter controversy. It is clear that the percussion is an afterthought, for it appears on an insert to the autograph score. There is reason to believe that it may have been suggested by Arthur Nikisch, who conducted the premiere, or possibly even suggested to Nikisch by Bruckner's pupils, Ferdinand Lowe and Joseph Schalk, whose interferences with others of Bruckner's

*The relative minor is that minor key whose scale uses the same notes as that of its relative major. In general, when two keys share a large number of notes, we speak of them as closely related; conversely, when two keys share relatively few notes, we speak of them as distant or remote. The more distant two keys are, the more striking, or dramatic, or even startling, a shift from one to the other is apt to be, though, as Bruckner does here, it is possible for a composer paradoxically to make a close key feel like fresh territory.

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The controversial clash of cymbals in the Adagio of Bruckner's Seventh; most scholars feel that the words "gilt nicht" ("not valid")—on the facing page of this program —are not in Bruckner's handwriting

32 scores have been rightly discredited. Moreover, someone has written ''gilt nichf ("not valid") over the controversial measure. Most scholars, however, think that the handwriting is not Bruckner's, and there is a similarly scored climax of undisputed authenticity in the Adagio of the Eighth Symphony: almost without exception, therefore, conductors include the cymbals and triangle.

There follows a scherzo dominated by the restless ostinato of strings and the cheerily trumpeting cock-crow with which it begins. As is Bruckner's custom, the Trio is slightly slower, lightly scored, and pastoral in character.* The finale, to quote Simpson again, "blends solemnity and humor in festive grandeur." It presents highly diversified ideas that run the gamut from the capricious and even the magnificently grotesque to the sublimely simple. Here, to hang on to any semblance

of order, it is necessary to ignore the many tempo modifications that almost certainly go back to Nikisch rather than to Bruckner, which unfortunately are still to be found in the widely used score edited by Leopold Nowak for the International Bruckner Society, and whose observance produces a distressingly spastic effect. t At the end, all is gathered into a blaze of E major as intimations of the symphony's beginning return and the heavens open. —Michael Steinberg

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

*One of the features that define its pastoralism is the prevalence of long-sustained notes in the bass.

jNikisch, who was conductor of the Boston Symphony Orchestra from 1889 to 1893 and who appeared here with the London Symphony as late as 1912, was a conductor evidently of genius and of undoubted and extraordinary magnetic force for players and audiences alike. Toseanini condemned him as inclined to draw attention to himself at the expense of the music (see, for example, B.H. Haggin's article "From Toseanini to Klemperer" in the July 1977 issue of Encounter), but other observers, including Sir Adrian Boult and Roger Sessions, cannot say enough in praise of the simplicity of his method and the effect of inevitability his interpretations had. It seems altogether believable that he himself could make perfect and convincing sense of those tempo changes which seem so grotesque when written down and then reinterpreted by other conductors.

ij.. C r :\m« # , ^' :-? v< ^ I ^ ft -«^ ^ .nvv

33 Week 17 X HelpI^ep Great Music Alive.

To keep the Boston Symphony a vibrant musical force, we need your support. Ticket sales and recording and broadcast revenues generate only two-thirds of our income. The rest is up to you. We can't promise your donation will cause a cello to get up and dance the fandango. But it will keep the BSO in step with music's best.

Yes, I'll help keep great music alive. Consider me a Friend of the BSO for the 1987-88 season. (Friends' benefits begin at $50.) Enclosed is my gift of $ to the Boston Symphony Annual Fund.

Name Tel. Bosftm Address Syrrrphony Annual' City State Zip FuTid*^

Please make check payable to "Boston Symphony Annual Fund" and send to: Edith Dabney, Annual Fund Chairman, Boston Symphony Orchestra, Symphony Hall, Boston, MA 02115, (617) 266-1492. KEEP GREAT MUSIC ALIVE

34 More . . .

The big biography of Richard Strauss is Norman Del Mar's, which gives equal space to the composer's life and music (three volumes, Cornell University Press; available in paperback). Michael Kennedy's account of the composer's life and works for the Master Musicians series is excellent (Littlefield paperback), and the symposium Richard Strauss: The Man and his Music, edited by Alan Walker, is worth looking into (Barnes and Noble). Kennedy also provided the Strauss article in The New Grove. Gerard Schwarz conducts the Los Angeles Chamber Orchestra, with clarinetist David Shifrin and bassoonist Kenneth Munday, in a winning performance of the Duet-Concertino, the only version currently in the catalogue (Nonesuch, coupled with Honegger's Concerto da Camera, recently reissued on compact disc).

Hans-Hubert Schonzeler's Bruckner is a brief, nicely illustrated life-and-works (Calder). The most penetrating musical discussion of the symphonies is to be found in Robert Simpson's The Essence of Bruckner (Chilton). Philip Barford's Bruckner Symphonies in the BBC Music Guides gives a sympathetic introduction to these works (U. of Washington paperback). Dika Newlin's Bruckner, Mahler, Schoenberg is an interesting study that links the three composers as part of the great Viennese musical tradition (Norton). Though it does not deal with every movement of each symphony, Deryck Cooke's chapter on Bruckner in the first volume of the sym- posium The Symphony, edited by Robert Simpson, is sympathetic and enlightening (Pelican paperback); it contains extensive discussion of the slow movement of the Seventh. The complex series of scores, versions, and editions of Bruckner's music, brought on largely by the well-intentioned but misguided efforts of his disciples to spread performances of his work, has caused headaches for everyone performing, studying, or writing about this music. Deryck Cooke brought some order out of this chaos in a series of articles originally published in the Musical Times; these have been conveniently reprinted in Vindications, a posthumous collection of Cooke's essays (Cambridge University Press). For warmth and spirituality in their readings of the Bruckner Seventh, the recordings of Bernard Haitink with the Concert- gebouw Orchestra (Philips, coupled with Wagner's Siegfried Idyll) and Herbert von Karajan with the Berlin Philharmonic (DG, same coupling) are scarcely to be surpassed. The latter has just been reissued on compact disc (without the Wagner), the former remains available only on LP. Also on compact disc are two other fine performances worth your notice: Herbert Blomstedt with the Staatskapelle of Dres- den (Denon), and Riccardo Chailly with the Berlin Radio Symphony Orchestra, a splendidly balanced and realistic recording of a performance that masterfully controls the work's large-spanned architecture (London). —S.L.

35 Week 17 this is a musical cheer

May the melody never end.

iorJan mapsh

36 Harold Wright

Harold Wright has been principal clarinet of the Boston Sjonphony Orchestra since the 1970-71 season. Born in Wayne, Pennsylvania, he began clarinet at the age of twelve and later studied with Ralph McLane at the Curtis Institute in Philadelphia. He has been a member of the Houston and Dallas symphonies and principal clarinet of the Washington National Symphony. Mr. Wright was a Casals Festival par- ticipant for seven years, he played at the Marlboro Festival for seventeen years, he has toured with the National Sym- phony and the Marlboro Festival players, and he has per- formed with all of this country's leading string quartets. His many recordings include the Brahms sonatas, Copland's Sextet, Mozart's Clarinet Quintet, Schubert's Shepherd on the Rock with Benita Valente and Rudolf Serkin, and the Mozart Clarinet Concerto with Seiji Ozawa and the Boston Symphony Orchestra. Mr. Wright teaches at Boston University and at the Tanglewood Music Center, and he is a member of the Boston Sjonphony Chamber Players.

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38 Sherman Walt

Principal bassoon of the Boston Symphony Orchestra and a member of the Boston Symphony Chamber Players, Sher- man Walt studied music at the University of Minnesota under the sponsorship of Dimitri Mitropoulos and continued his training at the Curtis Institute of Music, where his teachers included Ferdinand Del Negro and Marcel Tabu- teau. Before joining the Boston Symphony Orchestra in 1952 he was principal bassoon of the Chicago Symphony Orchestra. Formerly professor of music at Boston Univer- sity, Mr. Walt now teaches at the New England Conservatory of Music in Boston and at the Tanglewood Music Center. He has also taught at the Toho-Gakuen School of Music in Tokyo. Mr. Walt has recorded the Mozart Bassoon Concerto with Seiji Ozawa and the Boston Symphony Orchestra for Deutsche Grammophon.

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

1987-88 Business Honor Roll ($10,000 and Above)

ADD Inc Architects HBM/Creamer, Inc. Philip M. Briggs Edward Eskandarian Advanced Management Associates, Inc. J. Bildner & Sons Harvey Chet Krentzman James L. Bildner Analog Devices, Inc. John Hancock Mutual Life Insurance Ray Stata E. James Morton Bank of Boston Liberty Mutual Insurance Companies William L. Brown Melvin B. Bradshaw Mall at Chestnut Hill Bank of New England The Peter H. McConnick Jay Veevers McKinsey & Company BayBanks, Inc. Robert O'Block William M. Crozier, Jr. Merchants Press Boston Edison Company Douglas Clott Stephen J. Sweeney Moet-Hennessy U.S. Corporation The Boston Globe/Affiliated Publications Ambassador Evan G. Galbraith William O. Taylor Morse Shoe, Inc. Bowne of Boston, Inc. Manuel Rosenberg Donald J. Connava Nabisco Brands, Inc. Coopers & Lybrand Charles J. Chapman Vincent M. O'Reilly Neiman-Marcus Country Curtains William D. Roddy Jane P. Fitzpatrick The New England Creative Gourmets, Ltd. Edward E. Phillips Stephen E. Elmont New England Telephone Company Digital Equipment Corporation Gerhard M. Freche Kenneth G. Olsen PaineWebber, Inc. Dynatech Corporation James F. Cleary J. P. Barger R&D Electrical Company Eastern Gas & Fuel Associates Richard P. Pedone William J. Pruyn Rand-Whitney Corporation EMC^ Corporation Robert K. Kraft Richard J. Egan Raytheon Company Ernst & Whinney Thomas L. Phillips Thomas M. Lankford The Red Lion Inn Fidelity Investments John H. Fitzpatrick Anne-Marie SouUiere Shawmut Bank of Boston Filene's William F. Craig Jerry M. Socol Stanley H. Kaplan Educational Center The First Boston Corporation Susan B. Kaplan Mark S. Ferber State Street Bank & Trust Company General Cinema Corporation William S. Edgerly Richard A. Smith The Stop & Shop Companies, Inc. General Electric Plastics Business Group Avram J. Goldberg Glen H. Hiner TA Associates Peter A. Brooke The Gillette Company Colman M. Mockler, Jr. Teradyne, Inc. Alexander V d'Arbeloff Goldstein & Manello Corporation Richard J. Snyder UST James V. Sidell Grafacon, Incorporated WCRB/Charles River Broadcasting, Inc. H. Wayman Rogers, Jr. Richard L. Kaye GTE Electrical Products Zayre Corporation Dean T. Langford Maurice Segal 1

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42 The Boston Symphony Orchestra gratefully acknowledges these Business and Professional Leadership Program members for their generous and valuable support totaling $1,250 and above during the past fiscal year. Names that are both capitalized and underscored in the Business Leaders listing constitute the Business Honor Roll denoting support of $10,000 and above. Capitalization denotes support of $5,000-$9,999, and an asterisk indicates support of $2,500-$4,999. Business Leaders ($1,250 and above) Gravel Accountants Banking Boston Sand & Company Dean M. Boylan ARTHUR ANDERSEN & COMPANY BANK OF BOSTON Chain Construction Corporation William F. Meagher William L. Brown Howard J. Mintz ARTHUR YOUNG & COMPANY BANK OF NEW ENGLAND Harvey Industries, Inc. Thomas P. McDermott Peter H. McCormiek Robert K. Moprison •Charles E. DiPesa & Company BAYBANKS, INC. *J.F. White Contracting William F. DiPesa William M. Crozier, Jr. Philip Bonanno COOPERS & LYBRAND * Boston Safe Deposit Vincent M. O'Reilly & Trust Company Lee Kennedy Co., Inc. Lee M. Kennedy ERNST & WHINNEY James N. von Germeten Thomas M. Lankford Cambridge Trust Company National Lumber Company Louis L. Kaitz PEAT MARWICK, Lewis H. Clark MAIN & COMPANY *Chase Manhattan Bank *Perini Construction Robert D. Happ William N. MacDonald David B. Perini PRICE WATERHOUSE Chase Manhattan Corp. Robert M. Jorgensen Goods/Distributors Kenton J. Sicchitano Consumer

*Theodore S. Samet & Company CITICORP/CITIBANK Almaden Vineyard Theodore S. Samet Walter E. Mercer Louis de Santis

Tofias, Fleishman, *Eastern Corporate Federal Credit *August A. Busch & Co. Shapiro & Company Union Chris Stevens Allan Tofias Jane M. Sansone Chiquita Brands TOUCHE ROSS & COMPANY First Mutual of Boston Baron M. Hartley Keith G. WiUoughby James T. McBride Fairwinds Gourmet Coffee First National Bank of Chicago Pauline Elkin Advertising/Public Relations Robert E. Gallery MOET-HENNESSY *BMC Strategies, Inc. *Framingham Trust Company U.S. CORPORATION Bruce M. McCarthy William A. Anastos Ambassador Evan G. Galbraith THE COMMUNIQUE GROUP, INC. NeWorld Bank NABISCO BRANDS, INC. James H. Kurland James M. Oates Charles J. Chapman HBM/CREAMER, INC. * Patriot Bancorporation The Taylor Wine Company, Inc. Edward Eskandarian Thomas R. Heaslip Michael J. Doyle Heller Breene Design & Advertising Provident Financial Services, Inc. United Liquors, Ltd. Cheryl Heller Robert W Brady Michael Tye INC. HILL AND KNOWLTON, * Rockland Trust Company Peter A. Farwell John F. Spence, Jr. Displays/Flowers *Hill, Holliday, Connors, SHAWMUT BANK OF BOSTON Carol's Cloths Cosmopulos, Inc. William F Craig Burgler Jack Connors, Jr. Carol STATE STREET BANK & TRUST *Giltspur Exhibits/Boston Aerospace COMPANY Thomas E. Knott, Jr. S. Edgerly Corporation William *Northrop *Harbor Greenery Thomas V. Jones UST CORPORATION Diane Valle PNEUMO ABEX CORPORATION James V. Sidell Norman J. Ryker for Finance Savings *Yankee Bank & Education Richard N. Morash Architecture/Design BENTLEY COLLEGE ADD INC ARCHITECTS Gregory H. Adamian Philip M. Briggs Building/Contracting STANLEY H. KAPLAN LEA GROUP *A.J. Lane & Company, Inc. EDUCATIONAL CENTER B. Kaplan Eugene R. Eisenberg Andrew J. Lane Susan 43 BALLY

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45 1988-89 BSO Schedule

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^liich series do you attend? [onics, Inc. Sally Ling's Restaurants Essex Investment Management, Inc. Arthur L. Goldstein Sally Ling Liu Joseph C. McNay Loral Hycor, Inc. * Sheraton Boston Hotel & Towers FIDELITY INVESTMENTS Joseph Hyman Robert McEleney Anne-Marie Soulliere

M/A-COM, Inc. *Sonesta International Hotels GOLDMAN, SACHS & COMPANY Vessarios G. Chigas Corporation Stephen B. Kay Paul Sonnabend MASSCOMP •Interact Management, Inc. August P. Klein THE WESTIN HOTEL Stephen Parker MILLIPORE CORPORATION Bodo Lemke KENSINGTON INVESTMENT John A. Gilmartin COMPANY Insurance Alan E. Lewis Drion Research Incorporated *Arkwright Boston Insurance Alexander Jenkins III •Kidder, Peabody & Company, Inc. Frederick J. Bumpus PRIME COMPUTER, INC. John G. Higgins •Atlantic Benefit Group Joe M. Henson Loomis Sayles & Company Brian McNally PRINTED CIRCUIT Robert L. Kemp CAMERON & COLBY CO., INC. CORPORATION MORGAN STANLEY & COMPANY Lawrence Doyle Peter Sarmanian Jack Wadsworth *Charles H. Watkins & Company, Inc. RAYTHEON COMPANY PAINEWEBBER, INC. Richard P. Nyquist Thomas L. Phillips James F. Cleary •Consolidated Group, Inc. SofTech, Inc. •The Putnam Management Woolsey S. Conover Justus Lowe, Jr. Company, Inc. FRANK B. HALL & COMPANY OF Lawrence J. Lasser 5TELLAR COMPUTER MASSACHUSETTS J. William Poduska SALOMON INC. Colby Hewitt, Jr. Joseph P. Lombard rASC *Fred S. James & Company of New Arthur Gelb •State Street Development Company England, Inc. John R. Gallagher III Fech/Ops, Inc. P. Joseph McCarthy Marvin G. Schorr JOHN HANCOCK MUTUAL LIFE TUCKER, ANTHONY & R.L. DAY, INC. FERADYNE, INC. INSURANCE COMPANY Gerald Segel Alexander V. d'Arbeloff E. James Morton Wainwright Capital rhermo Electron Corporation •Johnson & Higgins John M. Plukas George N. Hatsopoulos Robert A. Cameron •Woodstock Corporation XRE Corporation Kendall Insurance, Inc. Frank B. John K. Grady Kennett Kendall, Jr. Condon LIBERTY MUTUAL INSURANCE Legal Hotels/Restaurants COMPANIES BINGHAM, DANA & GOULD 3ack Bay Hilton Melvin B. Bradshaw Everett H. Parker William Morton THE NEW ENGLAND Dickerman Law Offices Boston Marriott Copley Place Edward E. Phillips Lola Dickerman Alain Piallat Robert D. Gordon Adjusters, Inc. •Edwards & Angell Boston Park Plaza Hotel & Towers Robert D. Gordon Deming E. Sherman Roger A. Saunders Sun Life Assurance of Canada •Fish & Richardson Bostonian Hotel David D. Horn John N. Williams Timothy P. Kirwan •Gadsby & Hannah I!harly's Saloon Investments Harry Hauser Charles Sarkis Baring America Asset Management GOLDSTEIN & MANELLO Inc. l!hristo's Restaurant Company, Richard J. Snyder Christopher Tsaganis Stephen Cutler •Mintz, Levin, Cohn, Ferris, Glovsky & POUR SEASONS HOTEL Baring International Investment, Ltd. Popeo, PC. Hans Willimann John F. McNamara Francis X. Meaney rhe Hampshire House BEAR STEARNS & COMPANY, INC. Nissenbaum Law Offices Thomas A. Kershaw Keith H. Kretschmer Gerald L. Nissenbaum

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50 DANIELS PRINTING COMPANY Table Talk Realty Lectro-Med, Inc. Lee S. Daniels Chris Cocaine Allan Kaye

Litho Company, Inc. *Trammell Crow Company *Espo Services David Fromer Buzz DeMartino Meyers Parking, Prudential Center George Dean Company H. Retail Garage Earle Miehaud G. DEMOULAS SUPERMARKETS, Frank Newcomb GRAFACON, INCORPORATED INC. Out Of Town Ticket Agency H. Wayman Rogers, Jr. T.A. Demoulas Sheldon Cohen Hub Mail Design Pak, Inc. *Victor Grillo & Associates Walter Bernheimer II Paul G. Grady Victor N. Grillo ITEK GRAPHIX CORPORATION FILENE'S Patrick Forster Software/Information Services R. Jerry M. Socol ART, INC. CULLINET SOFTWARE, INC. LABEL *Hills Department Stores John J. Cullinane J. William Flynn Stephen A. Goldberger Data Architects, Inc. MASSACHUSETTS ENVELOPE J. Baker, Inc. Martin Cooperstein COMPANY Sherman N. Baker Grossman Steven JORDAN MARSH COMPANY Interactive Data Corporation John M. Rutherford, Jr. MERCHANTS PRESS Elliot Stone Douglas Clott Phoenix Technologies Ltd. Kappy's Liquors Neil J. Colvin Publishing Ralph Kaplan Stohn Associates, Inc. Addison Wesley Publishing Karten's Jewelers Alexander C. Stohn, Jr. Company, Inc. Joel Karten Donald R. Hammonds THE MALL AT CHESTNUT HILL Travel/Transportation CAHNERS PUBLISHING Jay Veevers *Crown Motors COMPANY NEIMAN-MARCUS Allen M. Click Saul Goldweitz William D. Roddy HERITAGE TRAVEL, INC.

HOUGHTON MIFFLIN COMPANY *Purity Supreme, Inc. Donald R. Sohn Harold T. Miller Frank P. Giacomazzi LILY TRUCK LEASING Little, Brown and Company *Saks Fifth Avenue CORPORATION Arthur H. Thornhill Ronald Hoffman John A. Simourian Yankee Publishing Incorporated Sears, Roebuck & Co. New England Lincoln-Mercury Rob Trowbridge S. David Whipkey Dealers Association J. P. Lynch Real Estate/Development THE STOP & SHOP COMPANIES, INC. THE TRANS-LEASE GROUP Benjamin Schore Company Avram J. Goldberg John J. McCarthy, Jr. Benjamin Schore Table Toppers Inc. Utilities 'Combined Properties Inc. Constance Isenberg Stanton L. Black AT&T ZAYRE CORPORATION Demeter Realty Trust Marc Rosen Maurice Segall George P. Demeter BOSTON EDISON COMPANY 'First Winthrop Corporation Science/Medical Stephen J. Sweeney Arthur J. Halleran, Jr. Baldpate, Inc. EASTERN GAS & FUEL 'The Flatley Company Lucille M. Batal ASSOCIATES William J. Pruyn Thomas J. Flatley Cambridge BioScience Hilon Development Corporation Gerald F. Buck Massachusetts Electric & Gas Assoc. Haim S. Eliachar CHARLES RIVER Ron O'Meara Historic Mill Properties, Inc. LABORATORIES, INC. New England Electric System Bert Paley Henry L. Foster Paul J. Sullivan

'John M. Corcoran & Company *CompuChem Laboratories, Inc. NEW ENGLAND TELEPHONE John M. Corcoran Claude L. Buller COMPANY The Legatt McCall Companies Costar Corporation Gerhard M. Freche William F. McCall Richard Morningstar MEREDITH & GREW, INC. DAMON CORPORATION George M. Lovejoy David I. Kosowsky

Northland Investment Corporation *J.A. Webster, Inc. Robert A. Danziger John A. Webster, Jr.

51 The Boston Symphony Orchestra and the Boston Symphony Transcription Trust are pleased to acknowledge the follow ing radio stations, which carry syndicated broadcasts of the Boston Svmphon\ Orchestra, the Boston Pops, or both.

Alabama WPBC, Bangor WOSU, Columbus VVLRH, Huntsville WMED. Calais WYPCGallipolis WBHM, Mobile WDCS. Portland WYSU. Youngstown Portland Arizona WMEA, Oregon WMEM, Presque Isle KONC, Phoenix KBPS. Portland WMEW Water\'ille KASU, South Marshall WCME, Wiscasset Pennsylvania Arkansas WITF, Hershev Maryland KLRE, Little Rock WFLN. Philadelphia WSCL, Salisbury California WQED. Pittsburgh KHYV Modesto Massachusetts Rhode Island KPSL, Palm Springs WFCR, Amherst WLKW Providence KKHI, San Francisco WCRB. Boston South Carolina Colorado WQRC, Hvannis WNEZ, Aiken KVOD, Denver WMVY, Martha's Vineyard WjWJ, Beaufort Connecticut Michigan WSCl, Charleston WRCH, Farmington WQRS, Detroit WCEZ, Columbia WPKT Hartford WOOD, Grand Rapids WLTR, Columbia VVN PR, Norwich WNMU, Marquette WEPR, Greenville Hilton Head District of Columbia Minnesota WHHR, WNSC, Rock Hill WGMS, Washington KMSU, Mankato WSPA. Spartanburg Florida WAYL, St. Paul/Minneapolis WRJA, Sumter Boynton Beach WXEL, Missouri WQCS, Fort Pierce Tennessee KXTR, Kansas City WUFT Gainesville WKNO, Memphis KXCV Maryville WJCT Jacksonville WPLN, Nashville KSOZ, Pt. Lookout VVMFE, Orlando KUMR. Rolla Texas WKGC, Panama City KTXR, Springfield KM FA, Austin WFSU, Tallahassee KFUO, St. Louis WRR, Dallas VVXCR, Tampa KCMW, Warrensburg KRTS, Houston Hawaii KUHF Houston KHPR, Honolulu Nevada KPAC, San Antonio KNPR, Las Vegas Idaho Virginia KRIC, Rexburg Neu Jersey WRFK, Richmond WSLT Ocean City Illinois Washington WSIU,Carbondale WWFM, Trenton KING, Seattle WFMT Chicago New York WIUM, Macomb Wisconsin WNED, Buffalo WFMR, Milwaukee Iowa WQXR, New York KSUMowaCity WSRK, Oneonta WBWA, Washburn Kansas WMHT Schenectady Canada KSOF, Wichita WBAZ, Southold CFMX, Cobourg, Ontario WCNY Svracuse CKUA, Edmonton, Alberta Kentucky CIQM, London, Ontario WKYU, Bowling Green North Carolina CHQM, Vancouver, B.C. WUOL, Louisville WDAV Davidson CKWG, Winnipeg, Manitoba WEKU, Richmond WTEB, New bern Great Britain Louisiana Ohio BBC KCOZ, Shreveport WHBC, Canton Maine WGUC, Cincinnati Japan WMEH, Bangor WCLV Cleveland FM-Yokohama

52 Coining Concerts . . .

Thursday 'C—March 17, 8-9:50 Thursday 'B'—March 24, 8-10 Friday 'B'—March 18, 2-3:50 Friday 'A'—March 25, 2-4 Saturday 'A'—March 19, 8-9:50 Saturday 'B'—March 26, 8-10 Tuesday 'B'—March 22, 8-9:50 GENNADY ROZHDESTVENSKY GENNADY ROZHDESTVENSKY conducting conducting HAYDN Symphony No. 45, VIKTORIA POSTNIKOVA, piano Farewell RIMSKY- Russian Easter SCHNITTKE Symphony No. 1 KORSAKOV Overture (United States PROKOFIEV Piano Concerto No. 2 premiere) STRAVINSKY The Rite of Spring

Wednesday, March 30, at 7:30 Open Rehearsal Steven Ledbetter will discuss the program at 6:45 in the Cohen Annex. Thursday 'A'—March 31, 8-9:50

Friday 'B'—April 1, 2-3:50 Saturday 'A'—April 2, 8-9:50 Tuesday 'C—April 5, 8-9:50 CHARLES DUTOIT conducting GIDON KREMER, violin MUSSORGSKY Prelude to Khovanshchina An GUBAIDULINA Offertorium, for violin and orchestra Authentic (Boston premiere) MUSSORGSKY/ Pictures at an Exhibition Grill! RAVEL

With Programs subject to change. Aged Steaks Fresh Fish Plump Poultry Native Shellfish

Grilled on woods and charcoals of Sassafras Mesquite Apple Hickory

Lunch Dinner Painting Specialists Color Consultants 11:30 to 5:00 to 2:30 p.m. 11:00 p.m.

Edward K. Perry Company

11 Brooks Drive Braintree, Massachusetts 02184 BocdleS Telephone 617-536-7873

OF • BOSTON In Boston's Back Bay Hilton. "The Boston company that painted Trinity Church, Newport, R.I.' Indoor Parking. Phone (617) BOODLES

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54 Symphony Hall Information . . .

FOR SYMPHONY ILALL CONCERT AND merchandise and gift items such as calen- TICKET INFORMATION, call (617) dars, appointment books, drinking glasses, 266-1492. For Boston Symphony concert holiday ornaments, children's books, and program information, call "C-0-N-C-E-R-T." BSO and Pops recordings. All proceeds benefit the Boston Symphony Orchestra. THE BOSTON SYMPHONY performs ten For merchandise information, please call months a year, in Symphony Hall and at 267-2692. Tanglewood. For information about any of the orchestra's activities, please call Sym- TICKET RESALE: If for some reason you phony Hall, or write the Boston Symphony are unable to attend a Boston Symphony Orchestra, Symphony Hall, Boston, MA concert for which you hold a ticket, you may 02115. make your ticket available for resale by call- ing the switchboard. This helps bring THE EUNICE S. AND JULIAN COHEN needed revenue to the orchestra and makes ANNEX, adjacent to Symphony Hall on your seat available to someone who wants to Huntington Avenue, may be entered by the attend the concert. A mailed receipt will Symphony Hall West Entrance on Hunt- acknowledge your tax-deductible ington Avenue. contribution. FOR SYMPHONY HALL RENTAL RUSH SEATS: There are a limited number INFORMATION, call (617) 266-1492, or of Rush Tickets available for the Friday- write the Function Manager, Symphony afternoon and Saturday-evening Boston Hall, Boston, MA 02115. Symphony concerts (subscription concerts THE BOX OFFICE is open from 10 a.m. only). The continued low price of the Satur- until 6 p.m. Monday through Saturday; on day tickets is assured through the gener- concert evenings, it remains open through osity of two anonymous donors. The Rush intermission for BSO events or just past Tickets are sold at $5.50 each, one to a starting-time for other events. In addition, customer, at the Symphony Hall West the box office opens Sunday at 1 p.m. when Entrance on Fridays beginning 9 a.m. and there is a concert that afternoon or evening. Saturdays beginning 5 p.m. Single tickets for all Boston Symphony LATECOMERS will be seated by the subscription concerts become available at ushers during the first convenient pause in the box office once a series has begun. For the program. Those who wish to leave outside events at Symphony Hall, tickets will be available three weeks before the con- cert. No phone orders will be accepted for these events. TO PURCHASE BSO TICKETS: American Express, MasterCard, Visa, a personal check, and cash are accepted at the box office. To charge tickets instantly on a major credit card, or to make a reservation and then send payment by check, call "Symphony-Charge" at (617) 266-1200, Monday through Satur- day from 10 a.m. until 6 p.m. or Sunday from 1 p.m. until 6 p.m. There is a handling fee of $1.25 for each ticket ordered by phone.

THE SYMPHONY SHOP is located in the Huntington Avenue stairwell near the Cohen Annex and is open from one hour before each concert through intermission. The shop carries BSO and musical-motif

55 before the end of the concert are asked to with sandwiches available until concert do so between program pieces in order not time. to disturb other patrons. BOSTON SYMPHONY BROADCASTS: SMOKING IS NOT PERMITTED in any Concerts of the Boston Symphony Orches- part of the Symphony Hall auditorium or in tra are heard by delayed broadcast in many the surrounding corridors. It is permitted parts of the United States and Canada, as only in the Cabot-Cahners and Hatch well as internationally, through the Boston rooms, and in the main lobby on Massachu- Symphony Transcription Trust. In addi- setts Avenue. tion, Friday-afternoon concerts are broad- CAMERA AND RECORDING EQUIP- cast live by WGBH-FM (Boston 89.7); MENT may not be brought into Symphony Saturday-evening concerts are broadcast Hall during concerts. live by both WGBH-FM and WCRB-FM (Boston 102.5). Live broadcasts may also be FIRST AID FACILITIES for both men heard on several other public radio stations and women are available in the Cohen throughout New England and New York. If Annex near the Symphony Hall West Boston Symphony concerts are not heard Entrance on Huntington Avenue. On-call regularly in your home area and you would physicians attending concerts should leave like them to be, please call WCRB Produc- their names and seat locations at the tions at (617) 893-7080. WCRB will be glad switchboard near the Massachusetts Ave- to work with you and try to get the BSO on nue entrance. the air in your area. WHEELCHAIR ACCESS to Symphony Hall is available at the West Entrance to BSO FRIENDS: The Friends are annual the Cohen Annex. donors to the Boston Symphony Orchestra. Friends receive BSO, the orchestra's news- ELEVATOR is located outside the AN letter, as well as priority ticket information Hatch and Cabot-Cahners rooms on the and other benefits depending on their level Massachusetts Avenue side of the building. of giving. For information, please call the LADIES' ROOMS are located on the Development Office at Symphony Hall orchestra level, audience-left, at the stage weekdays between 9 and 5. If you are end of the hall, and on the first-balcony already a Friend and you have changed level, audience-right, outside the Cabot- your address, please send your new address Cahners Room near the elevator. with your newsletter label to the Develop- ment Office, Symphony Hall, Boston, MA are located the orches- MEN'S ROOMS on 02115. Including the mailing label will tra level, audience-right, outside the Hatch assure a quick and accurate change of Room near the elevator, and on the first- address in our files. balcony level, audience-left, outside the Cabot-Cahners Room near the coatroom. BUSINESS FOR BSO: The BSO's Busi- ness & Professional Leadership program COATROOMS are located on the orchestra makes it possible for businesses to partici- and first-balcony levels, audience-left, out- pate in the life of the Boston Symphony side the Hatch and Cabot-Cahners rooms. Orchestra through a variety of original and The BSO is not responsible for personal exciting programs, among them "Presi- apparel or other property of patrons. dents at Pops," "A Company Christmas at LOUNGES AND BAR SERVICE: There Pops," and special-event underwriting. are two lounges in Symphony Hall. The Benefits include corporate recognition in Hatch Room on the orchestra level and the the BSO program book, access to the Cabot-Cahners Room on the first-balcony Higginson Room reception lounge, and level serve drinks starting one hour before priority ticket service. For further informa- each performance. For the Friday-after- tion, please call the BSO Corporate noon concerts, both rooms open at 12:15, Development Office at (617) 266-1492.

56 To get a jump on the market, Hen- 'Ittooka drie's planned to increase production capacity by 80%. And that required a significant increase in financing. stickto beat Hendrie's was considering private funding of a $2V2 million Industrial Rev- ice ^ants. the cream And enue Bond. But BayBanks recom- a bankerwho believed mended taking the issue to the public inwhatwewere doingT market to lock in a favorable fixed cost of funds. Working as the liaison between -Robert White, President Hendrie's Inc. Hendrie's and investment bankers, BayBanks helped package the issue and provided the letter of credit to bring

the issue to public market. Money, ideas, services. BayBanks

provides Hendrie's with all of these

through one Corporate Financial Oflftcer. Backed by a team of experts, he coordi- nates every aspect of the relationship

from secured and unsecured lines of credit to equipment leasing.

^^We feel the market is there for quality. It's Robert White remembers when Hendrie's ice cream was famous all the given us a tremendous way from Milton Village to East Milton. edge over our Now, Hendrie's sells millions of gallons of ice cream and over 180,000,000 stick competitors!^ novelties a year Like Hendrie's, BayBanks also ago, ice cream was a sleepy, Years believes there's a market for quality. provincial business. Then one day We're a $6 billion network of corporate the conglomerates saw a big opportunity financial experts committed to provid- in their grocer's freezer. Unable to out- ing businesses the most involved, spend the new competitors, Hendrie's innovative, and comprehensive service decided to outthink them. in New England. ^^Who would believe ice We're known as a leader in personal cream snacks on a stick banking service. You'll find BayBanks is a leader in banking service for business would appeal to a as well. Ask Robert White. Or any of our sophisticated market? many other corporate customers. BayBanks!'

Robert decided to target on-the-go adults with high-quality ice cream snacks on a stick, tying many of his new BayBanks^ novelties to well-known candy products such as Nestle® Crunch® Corporate Banking Network .atiQ

Distrib IIK«.«K«7A&. I Spirits, 12 First .erviUe. ^1