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rJ^S*^^^ /BOSTON^ I SYMPHONY| VORCHESTRA/ X^ SEIJI OZAWA y^| Wit. ijfj Music Dirtctor 4^T itf <^2?^^ Seiji Ozawa, Music Director

Sir Colin Davis, Principal Guest Conductor Joseph Silverstein, Assistant Conductor

One Hundred and Second Season, 1982-83 Trustees of the Boston Symphony Orchestra, Inc.

Abram T. Collier, Chahman Nelson J. Darling, Jr., President

Leo L. Beranek, Vice-President George H. Kidder, Vice-President Mrs. Harris Fahnestock, Vice-President Sidney Stoneman, Vice-President Roderick M. MacDougall, Treasurer John Ex Rodgers, Assistant Treasurer

Vernon R. Alden Mrs. John H. Fitzpatrick William J. Poorvu Mrs. L. Irving Rabb J.P. Barger John Grandin W : Mrs. John M. Bradley David G. Mugar Mrs. George R. Rowland

Mrs. Norman L. Cahners» Albert L. Nickerson Mrs. George Lee Sargent

George H.A. Clowes, Jr. Thomas D. Perry, Jr. William A. Selke

Archie C. Epps III John Hoyt Stookey

Trustees Emeriti ; Talcott M. Banks, Chairman of the Board Emeritus

Philip K. Allen E. Morton Jennings, Jr. Mrs. James H. Perkins

Allen G. Barry Edward M. Kennedy Paul C. Reardon 1

Richard E Chapman Edward G. Murray John L. Thomdike

John T. Noonan

\ Administration of the Boston Symphony Orchestra, Inc. Thomas W Morris i General Manager I

William Bernell Edward R. Birdwell Daniel R. Gustin Artistic Administrator Orchestra Manager Assistant Manager

Caroline Smedvig Walter D.Hill B.J. Krintzman Director Director Director of of of i Promotion Business Affairs Planning

Judith Gordon Theodore A. Vlahos Joyce Snyder Serwitz Assistant Director Controller Acting Director of Promotion of Development Marc Solomon Arlene Germain Katherine Whitty Director, Broadcasting Financial Coordinator of and Special Projects Analyst Boston Council

James E. Whitaker Elizabeth Dunton Anita R. Kurland Hall Manager, Director of Administrator of Symphony Hall Sales Youth Activities

James F. Kiley Charles Rawson Richard Ortner \ Operations Manager, Manager of Administrator, Tanglewood Box Office Berkshire Music Center

Steven Ledbetter Marc Mandel Jean Miller MacKenzie Director of Editorial Print Production Publications Coordinator Coordinator

Programs copyright ©1982 Boston Symphony Orchestra, Inc.

| Cover photo by Peter Schaaf

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

William J. Poorvu Chairman

William M. Crozier, Jr. Mrs. Lewis S. Dabney Vice-Chairman Vice-Chairman Mrs. Richard D. Hill Secretary

John Q. Adams Graham Gund E. James Morton

Mrs. Weston Adams Mrs. R. Douglas Hall III John A. Perkins

David B. Arnold, Jr. Mrs. Richard E. Hartwell David R. Pokross

Hazen H. Ayer Francis W Hatch, Jr. Mrs. Curtis Prout Bruce A. Beal Ms. Susan M. Hilles Mrs. Eleanor Radin Mrs. Richard Bennink Mrs. Marilyn Brachman Hoffman Peter C. Read

Mrs. Edward J. Bertozzi, Jr. Mrs. Bela T. Kalman Harry Remis

Peter A. Brooke Mrs. Louis I. Kane Mrs. Peter van S. Rice

William M. Bulger Mrs. S. Charles Kasdon David Rockefeller, Jr.

Mary Louise Cabot Richard L. Kaye Mrs. Jerome Rosenfeld

Julian Cohen Mrs. F. Corning Kenly Jr. Mrs. William C. Rousseau

Mrs. Nat King Cole Mrs. Gordon F. Kingsley Mrs. William H. Ryan

Johns H. Congdon Mrs. Carl Koch Francis P. Sears

Arthur P. Contas Robert K. Kraft Mark L. Selkowitz

Ms. Victoria L. Danberg Harvey C. Krentzman Gene Shalit

William S. Edgerly Mrs. E. Anthony Kutten Donald B. Sinclair

Mrs. Alexander Ellis, Jr. Benjamin H. Lacy Richard A. Smith

Frank L. Farwell John P. LaWare Ralph Z. Sorenson

John A. Fibiger Mrs. James F. Lawrence Peter J. Sprague

Kenneth G. Fisher Mrs. Charles P. Lyman Ray Stata

Peter H.B. Frelinghuysen C. Charles Marran Mrs. Arthur I. Strang

Mrs. Thomas J. Galligan, Jr. Mrs. August R. Meyer Mrs. Richard H. Thompson

Mrs. Thomas Gardiner J. William Middendorf II Mark Tishler, Jr. Mrs. James Garivaltis Paul M. Montrone Ms. Luise Vosgerchian

Avram J. Goldberg Mrs. Hanae Mori Roger D. Wellington Mrs. Ray A. Goldberg Mrs. Stephen YC. Morris Mrs. Donald B. Wilson

Jordan L. Golding Richard P Morse John J. Wilson Haskell R. Gordon Mrs. Thomas Spurr Morse Nicholas T Zervas

Overseers Emeriti Mrs. Frank G. Allen Paul Fromm David W Bernstein Carlton Fuller Leonard Kaplan

'.!& "Harrison, did you know that the dollar is now worth 31 and

that taxes take 4U? If it werentfor you Bank of New England trust people, every time 1 made a dollar Yd lose a dime!'

For good advice on personal trust and investment matters, call our Trust Division at (617) 742-4000. Or write Bank of New England, 28 State Street, Boston, Massachusetts 02109. .•.--"-."'

ENJOY THE CONVENIENCE OF YOUR FILENE CHARGE BSO

BSO/WCRB Musical Marathon Preview Party

Even before this year's BSO/WCRB Musical Marathon weekend of 11, 12, and 13 March,

Symphony Hall will ring with music and excitement on Tuesday, 1 March when the gala Marathon Preview Party takes place. There will be complimentary champagne, music, a cash bar, and a cocktail buffet. The focal point of the evening is set for 7: 15 p.m., when John Marion of Sotheby Parke Bernet will be the auctioneer on stage in Symphony Hall to offer a group of very special Marathon premiums, with Dick Flavin doing the introductions. The premiums cover a very wide range, from a new Baldwin spinet piano to a sixteen-foot touring canoe, Symphony Hall memorabilia (including a set of doors from the Huntington Avenue entrance!), signed posters, a twelve-foot Mollie Brown sailboat, and the twenty-volume Grove Dictionary of Music and Musicians. Tickets for the party are $12.50 and can be obtained by calling the Marathon Office at (617) 266-1492, ext. 230.

BSO and Pops Recording Honors

The Hollywood Foreign Press Association has presented its annual Golden Globe Award in the category of Best Original Musical Score to John Williams for his film score for "E.T (the Extra-Terrestrial)." Mr. Williams has also been nominated for four Grammy awards for the same score, in the categories of Best Album of an Original Score Written for a Motion Picture or Television Special, Best Instrumental Composition (the "Flying Theme"), Best Arrangement (again for the "Flying Theme"), and Best Pop Instrumental Performance.

Two Boston Symphony recordings have been nominated for Grammy awards in the category of Best Classical Performance by an Instrumental Soloist or Soloists with Orchestra: pianist Rudolf Serkin has been nominated for his performance of Beethoven's

Fourth Piano Concerto with Seiji Ozawa and the BSO on Telarc, and concertmaster Joseph Silverstein has been nominated for his performance in Vivaldi's Pour Seasons also under the direction of Seiji Ozawa on Telarc.

Gelbloom Scholarship Fund Concert

A gala concert will be held on Friday, 4 March 1983 at 8 p.m. at the Longy School of Music in Cambridge to benefit the Gerald Gelbloom Scholarship Fund. Gerald Gelbloom was a violinist with the Boston Symphony Orchestra and the Boston Pops for twenty-one years until his unexpected death last June. Featured will be performances by Joseph Silverstein, Roman Totenberg, and members of the Boston Symphony Orchestra in music by Bach, Vivaldi, Mozart, and Beethoven. The performance will be followed by a wine-tasting and a reception. Tickets for this gala may be obtained by sending a tax- deductible contribution of $50 to the Gerald Gelbloom Scholarship Fund, Development Office, Symphony Hall, Boston, MA 02115. Silverstein Named to Utah Symphony Post

The Board of the Utah Symphony has recently announced the appointment of BSO concertmaster Joseph Silverstein as artistic director of that orchestra effective 29 August 1983. The one-year appointment, which will not affect his BSO commitments for

1983-84, is renewable upon mutual consent, with the possibility that Silverstein will be named music director of the Utah Symphony beginning with the 1984-85 season. Silverstein has been a member of the BSO since 1955; he became concertmaster in 1962 and was named assistant conductor in 1971. He is also first violinist and music director of the Boston Symphony Chamber Players, chairman of the faculty of the Berkshire Music Center, and adjunct professor of music at Boston University. He also serves as music director of the Worcester Symphony and as principal guest conductor of the Baltimore Symphony Orchestra.

'A Walk Through the Ages'

The Junior Council of the Boston Symphony Orchestra will present a special benefit program, "A Walk Through the Ages," featuring four BSO horn players: Daniel Katzen, Roger Kaza, Richard Sebring, and Jay Wadenpfuhl. This program, ranging from Renais- sance to modern music, and including works by Palestrina, Bach, Reicha, Hindemith, and Lowell Shaw, will be presented at the Harvard Club, 374 Commonwealth Avenue in Boston on Sunday, 27 February at 4:30 p.m. The musicians will comment briefly on the music being performed. Wine and cheese will be served. Tickets to this benefit concert

are $25 (of which $15 is tax-deductible) or $10 for regular admission. All proceeds benefit the Boston Symphony Orchestra. For further information or reservations, please call the Junior Council at Symphony Hall, (617) 266-1492.

Art Exhibits in the Cabot-Cahners Room

Once again, a variety of Boston-area schools, museums, non-profit artists' organizations, and commercial galleries are displaying their work in the Cabot-Cahners Room. During the next several months, the following organizations will be represented:

1 7 January— 1 4 February Depot Square Artists 14 February— 6 March Danforth Museum 7 March— 13 March BSO/WCRB Musical Marathon 14 March— 11 April Clark Gallery 11 April—9 May Wenniger Graphics

Symphony Hall Tours

Guided tours of Symphony Hall are available weekdays until the end of the Pops season in mid-July. The tours are conducted for a minimum of ten and a maximum of fifty people. For information, please call the Friends' Office in Symphony Hall at (617) 266-1492.

With Thanks

We wish to give special thanks to the National Endowment for the Arts and the Massachusetts Council on the Arts and Humanities for their continued support of the Boston Symphony Orchestra. BSO Members in Concert

On Friday, 25 February at 8 p.m. and Sunday 27 February at 3:30 p.m., a concert of music by Peter Maxwell Davies and Rodney Lister will be given at the Emmanuel Church library Berkeley and Newbury streets, Boston, by musicians including BSO violinist Joel Smirnoff and BSO flutist Fenwick Smith. The two composers will give an introductory talk preceding the concert on Friday, 25 February at 5 p.m. The program will include the first American performance of Maxwell Davies's The Yellow Cake Revue, featuring mezzo-soprano Mary Kendrick Sego and with direction by Peter Sellars. The concert is under the auspices of the Music Production Co., Inc.

The Boston Artists' Ensemble will perform music of Mozart and Bartok on Tuesday,

1 March at 8 p.m. at the Longy School of Music, 27 Garden Street in Cambridge. The performers include violinists Arturo Delmoni and Sharan Leventhal, and BSO members Burton Fine, viola, Jonathan Miller, cello, and Alfred Genovese, oboe. Single tickets are $6. For additional information, please call 277-2705 or 367-1380.

The Civic Symphony Orchestra of Boston, under its Music Director Max Hobart, will perform music of Mozart, Hovhaness, Mendelssohn, and Berlioz in Jordan Hall on Friday, 4 March at 8:30 p.m. Included on the program are the Mendelssohn Violin Concerto with Alexander Romanul and the Berlioz Symphonie fantastique. For ticket information, please call the Jordan Hall box office at 536-2412.

Conductor Ronald Knudsen leads the Newton Symphony Orchestra on Tuesday, 8 March at 8 p.m. at the Boston College Theater Arts Center. BSO principal clarinetist Harold Wright will perform the Mozart Clarinet Concerto, and the concert will close with Tchaikovsky's Pathetique Symphony. For additional information, please call 965-2555.

BSO cellist Luis Leguia, who gave a recital at the Library of Congress on 7 January, will tour Portugal and Spain between 20 February and 1 March. His itinerary includes trio and solo performances in Lisbon, unaccompanied recitals in Porto and Madrid, and master classes. Featured on his program will be the Poeme for cello and piano by the American composer Charles Martin Loeffler, who was assistant concertmaster of the Boston Sym- phony Orchestra from 1882 until 1903.

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Seiji Ozawa

This is Seiji Ozawa's tenth season as music assistant conductor of that orchestra for the director of the Boston Symphony Orchestra,- 1961-62 season. His first professional concert j

in the fall of 1973 he became the orchestra's appearance in North America came in Janu- i thirteenth music director since its founding in ary 1962 with the San Francisco Symphony 1881. Orchestra. He was music director of the

Chicago Symphony's Ravinia Festival for five; Born in 1935 in Shenyang, China, to summers beginning in 1964, and music Japanese parents, Mr. Ozawa studied both director for four seasons of the Toronto Sym- Western and Oriental music as a child and phony Orchestra, a post he relinquished at thf| later graduated from Tokyo's Toho School of end of the 1968-69 season. Music with first prizes in composition and conducting. In the fall of 1959 he won first Seiji Ozawa first conducted the Boston Symj prize at the International Competition of phony in Symphony Hall in January of 1968; Orchestra Conductors, Besancon, France. he had previously appeared with the orchestra] Charles Munch, then music director of the for four summers at Tanglewood, where he Boston Symphony and a judge at the competi- became an artistic director in 1970. In Decern- tion, invited him to Tanglewood for the ber of 1970 he began his inaugural season as summer following, and he there won the conductor and music director of the San Fran-| Berkshire Music Center's highest honor, the cisco Symphony Orchestra. The music direc- Koussevitzky Prize for outstanding student torship of the Boston Symphony followed in conductor. 1973, and Mr. Ozawa resigned his San Fran- cisco position in the spring of 1976, serving as While working with Herbert von Karajan | music advisor there for the 1976-77 season. in West Berlin, Mr. Ozawa came to the atten- tion of Leonard Bernstein, whom he accom- As music director of the Boston Symphon)| panied on the New York Philharmonic's Orchestra, Mr. Ozawa has strengthened the spring 1961 Japan tour, and he was made an orchestra's reputation internationally as well .

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The First National Bank of Boston, (617) 434-5302. Member FDIC as at home, leading concerts on the BSO's 1976 Garden, and La Scala in Milan. Mr. Ozawa has European tour and, in March 1978, on a nine- won an Emmy for the BSO's "Evening at city tour of Japan. At the invitation of the Symphony" television series. His award- Chinese government, Mr. Ozawa then spent a winning recordings include Berlioz's Romeo

week working with the Peking Central Phil- et Juliette, Schoenberg's Guiielieder, and the harmonic Orchestra; a year later, in March of Berg and Stravinsky violin concertos with 1979, he returned to China with the entire Itzhak Perlman. Other recent recordings with Boston Symphony for a significant musical the orchestra include, for Philips, Richard and cultural exchange entailing coaching, Strauss's Also sprach Zarathustra, Stravinsky's study, and discussion sessions with Chinese Le Sacie du phntemps, Hoist's The Planets,

musicians, as well as concert performances. and Mahler's Symphony No. 8, the Sym- Also in 1979, Mr. Ozawa led the orchestra on phony of a Thousand; for CBS, a Ravel collab- its first tour devoted exclusively to appear- oration with mezzo-soprano Frederica von ances at the major music festivals of Europe. Stade and the Mendelssohn Violin Concerto

Most recently, Seiji Ozawa and the Boston with Isaac Stern,- and, for Telarc, Vivaldi's

Symphony celebrated the orchestra's one-hun- Pour Seasons with violin soloist Joseph Silver- dredth birthday with a fourteen-city Amer- stein, and music of Beethoven— the Fifth ican tour in March 1981 and an international Symphony, the Egmont Overture, and, with tour to Japan, France, Germany, Austria, and soloist Rudolf Serkin, the Fourth and Fifth England in October/November that same piano concertos. Mr. Ozawa has also recorded year. Roger Sessions's Pulitzer Prize-winning Con- Mr. Ozawa pursues an active international certo for Orchestra and Andrzej Panufnik's career. He appears regularly with the Berlin Sinfonia Votiva, both works commissioned by

Philharmonic, the Orchestre de Paris, the the Boston Symphony Orchestra for its cen- French National Radio Orchestra, the Philhar- tennial, for Hyperion records. Mr. Ozawa monia of London, and the New Japan Philhar- recently received an honorary Doctor of monic, and his operatic credits include the Music degree from the New England Conser- Paris Opera, Salzburg, London's Covent vatory of Music. Baldwin Piano & Organ Company pays tribute to the Boston Symphony Orchestra on its first century of achievement. We look forward to continuing our association at this, the start of the Boston's second century of excellence.

10 Violas Pasquale Cardillo Burton Fine Peter Hadcock

Charles S. Dana chair E-flat Clarinet

Patricia McCarty Mrs. David Stoneman chair Bass Clarinet Craig Nordstrom Ronald Wilkison Robert Barnes Bassoons Jerome Lipson Sherman Walt Bernard Kadinoff Edward A. Taft chat Joseph Pietropaolo Music Directorship endowed by Roland Small Michael Zaretsky John Moors Cabot Matthew Ruggiero Marc Jeanneret BOSTON SYMPHONY * Betty Benthin Contrabassoon ORCHESTRA * Lila Brown Richard Plaster * Mark Ludwig 1982/83 Horns Charles Kavalovski Cellos First Violins Helen Sagoff Slosberg chat Joseph Silverstein Jules Eskin Richard Sebring Concertmaster Philip R Allen chair Daniel Katzen Charles Munch chair Martha Babcock Richard Mackey Emanuel Borok Vernon and Marion Alden chair Jay Wadenpfuhl Assistant Concertmaster Mischa Nieland Helen Homer Mclntyre chair Charles Yancich Esther S. and Joseph M. Shapiro chair Hobart Max Jerome Patterson Robert L. Beal, and Trumpets Enid and Bruce A. Beal chair Robert Ripley Charles Schlueter Luis Leguia Roger Louis Voisin chair Cecylia Arzewski Carol Procter Edward and Bertha C. Rose chair Andre Come * Ronald Feldman Bo Youp Hwang Timothy Morrison * Moerschel John and Dorothy Wilson chat Joel * Jonathan Miller Trombones Max Winder Ronald Barron Harry Dickson Basses ].P. and Mary B. Barger chair Forrest E Collier chair Edwin Barker Norman Bolter Gottfried Wilfinger Harold D. Hodgkinson chair Gordon Hallberg Fredy Ostrovsky Lawrence Wolfe Tuba Leo Panasevich Joseph Hearne Carolyn and George Rowland chair Chester Schmitz } Bela Wurtzler Margaret and William C. Rousseau chair Sheldon Rotenberg I Leslie Martin Alfred Schneider John Salkowski Timpani Raymond Sird i Barwicki John Everett Firth Ikuko Mizuno Robert Olson Sylvia Shippen Wells chair

i Amnon Levy Flutes Percussion Second Violins Doriot Anthony Dwyer Charles Smith Marylou Speaker Churchill Walter Piston chair Fahnestock chair Arthur Press | Fenwick Smith Assistant Timpanist Vyacheslav Uritsky I Mr. and Mrs. Robert K. Kraft chair Thomas Gauger j Charlotte and Irving W Rabb chair Frank Epstein Ronald Knudsen | Piccolo Joseph McGauley J Lois Schaefer Harp Leonard Moss I Evelyn and C. Charles Manan chair Ann Hobson Pilot

; Laszlo Nagy

! Michael Vitale Oboes Personnel Managers

; Harvey Seigel Ralph Gomberg William Moyer

! Jerome Rosen Mildred B. Remis chair Harry Shapiro Sheila Fiekowsky } Wayne Rapier Gerald Elias Librarians ; Alfred Genovese Victor Alpert I Ronan Lefkowitz William Shisler Nancy Bracken English Horn James Harper , Joel Smirnoff Laurence Thorstenberg Jennie Shames | Phyllis Knight Beranek chair Stage Manager

i Nisanne Lowe Aza Raykhtsaum Alfred Robison Clarinets Stage Coordinator {Participating in a system of rotated seating Harold Wright within each string section Ann S.M. Banks chair Cleveland Morrison A Brief History of the Boston Symphony Orchestra

For many years, Civil War veteran, philan- 1915, the orchestra made its first transconti- thropist, and amateur musician Henry Lee nental trip, playing thirteen concerts at the Higginson dreamed of founding a great and Panama-Pacific Exposition in San Francisco. permanent orchestra in his home town of Recording, begun with RCA in the pioneering Boston. His vision approached reality in the days of 1917, continued with increasing fre- spring of 1881, and on 22 October of that year quency, as did radio broadcasts of concerts. the Boston Symphony Orchestra's inaugural The character of the Boston Symphony was concert took place under the direction of con- greatly changed in 1918, when Henri Rabaud ductor Georg Henschel. For nearly twenty was engaged as conductor,- he was succeeded years, symphony concerts were held in the the following season by Pierre Monteux. old Boston Music Hall; Symphony Hall, the These appointments marked the beginning of orchestra's present home, and one of the a French-oriented tradition which would be world's most highly regarded concert halls, maintained, even during the Russian-born was opened in 1900. Henschel was succeeded Serge Koussevitzky's time, with the employ- by a series of German-born and -trained con- ment of many French-trained musicians. ductors—Wilhelm Gericke, Arthur Nikisch, The Koussevitzky era began in 1924. His Emil Paur, and Max Fiedler—culminating in extraordinary musicianship and electric per- the appointment of the legendary Karl Muck, sonality proved so enduring that he served an who served two tenures as music director, unprecedented term of twenty-five years. In 1906-08 and 1912-18. Meanwhile, in July 1885, 1936, Koussevitzky led the orchestra's first the musicians of the Boston Symphony had concerts in the Berkshires, and a year later he given their first "Promenade" concert, and the players took up annual summer resi- offering both music and refreshments, and dence at Tanglewood. Koussevitzky passion- fulfilling Major Higginson's wish to give ately shared Major Higginson's dream of "a "concerts of a lighter kind of music." These good honest school for musicians," and in concerts, soon to be given in the springtime 1940 that dream was realized with the found- and renamed first "Popular" and then "Pops," ing at Tanglewood of the Berkshire Music fast became a tradition. Center, a unique summer music academy for

During the orchestra's first decades, there young artists. Expansion continued in other were striking moves toward expansion. In areas as well. In 1929 the free Esplanade con- certs on the Charles River in Boston were inaugurated by Arthur Fiedler, who had been a member of the orchestra since 1915 and who in 1930 became the eighteenth conductor of the Boston Pops, a post he would hold for half a century, to be succeeded by John Williams in 1980.

Charles Munch followed Koussevitzky as music director in 1949. Munch continued Koussevitzky's practice of supporting contem- porary composers and introduced much music from the French repertory to this coun-

try. During his tenure, the orchestra toured

abroad for the first time, and its continuing series of Youth Concerts was initiated. Erich

Henry Lee Higginson

12 Leinsdorf began his seven-year term as music Sandor Balassa, Leonard Bernstein, John Cor- director in 1962. Leinsdorf presented numer- igliano, Peter Maxwell Davies, John Harbison, ous premieres, restored many forgotten and Leon Kirchner, Peter Lieberson, Donald Mar- neglected works to the repertory and, like his tino, Andrzej Panufnik, Roger Sessions, Sir two predecessors, made many recordings for Michael Tippett, and Oily Wilson—on the RCA,- in addition, many concerts were tele- occasion of the orchestra's hundredth birth- vised under his direction. Leinsdorf was also day has reaffirmed the orchestra's commit- an energetic director of the Berkshire Music ment to new music. Under his direction, the

Center, and under his leadership a full-tuition orchestra has also expanded its recording activ- fellowship program was established. Also dur- ities to include releases on the Philips, Telarc, ing these years, the Boston Symphony Cham- CBS, and Hyperion labels. ber players were founded, in 1964 they are ; From its earliest days, the Boston Sym- the world's only permanent chamber ensem- phony Orchestra has stood for imagination, ble made up of a major symphony orchestra's enterprise, and the highest attainable stand- principal players. William Steinberg suc- ards. Today, the Boston Symphony Orchestra, ceeded Leinsdorf in 1969. He conducted sever- Inc., presents more than 250 concerts al American and world premieres, made annually. Attended by a live audience of near- recordings for Deutsche Grammophon and ly 1.5 million, the orchestra's performances RCA, appeared regularly on television, led the are heard by a vast national and international 1971 European tour, and directed concerts on audience through the media of radio, tele- the east coast, in the south, and in the mid- vision, and recordings. Its annual budget has west. grown from Higginson's projected $115,000 to

Seiji Ozawa, an artistic director of the more than $16 million. Its preeminent posi-

Berkshire Festival since 1970, became the tion in the world of music is due not only to orchestra's thirteenth music director in the the support of its audiences but also to grants fall of 1973, following a year as music advisor. from the federal and state governments, and Now in his tenth year as music director, Mr. to the generosity of many foundations, busi-

Ozawa has continued to solidify the orches- nesses, and individuals. It is an ensemble that tra's reputation at home and abroad, and his has richly fulfilled Higginson's vision of a program of centennial commissions—from great and permanent orchestra in Boston.

Serge Koussevitzky

13 THE BSO SALUTES BUSINESS:

PRESIDENTS Presidents Diim©rf Monday, MaY9% K^3 Presidents at Pops Concert " ^daVfune 21, 1983 icted by John Williams

'Presidents at Pops', The BSO's program designed to broaden the base of business and corporate support for the orchestra, has inaugurated its second successful year with an early sell out! There is still time, however, to place an advertisement in the Program Journal. For further information, contact Chet Krentzman, General Chairman, 332-3141; Vin O'Reilly, 574-5000 or Mai Sherman, 620-5000, Co-Chairmen; Lew Dabney, Program Journal, 542-8321; or Eric Sanders, Director of Corporate Development, Symphony Hall, 266-1492. The following companies will participate in this year's 'Presidents at Pops' Program.

Samuel D. Gorfinkle Treasurer ADCO Publishing Inc. William O. Taylor Chairman Affiliated Publications (The Boston Globe)

Andrew S. Kariotis President Alpha Industries Ray Stata President Analog Devices, Inc. Roger D. Wellington Chairman & CEO Augat Inc. Roderick M. MacDougall Chairman Bank of New England Ralph Z. Sorenson President & CEO Barry Wright Corporation

Richard F. Pollard Executive VP BayBanks, Inc. Irving M. Bell President Bell Manufacturing Company Dr. Gregory H. Adamian President **Bentley College James Cleary Managing Director Blyth Eastman Paine Webber, Inc. Stephen R. Levy President & CEO Bolt Beranek and Newman Inc.

Arthur P. Contas Vice President The Boston Consulting Group

Thomas J. Galligan, Jr. Chairman & CEO Boston Edison Company William H. Wildes President Buckley and Scott Co. Sherwood E. Bain Chairman **Burgess & Leith Incorporated Craig L. Burr General Partner **Burr, Egan, Deleage & Company Norman L. Cahners Chairman Cahners Publishing Co., Inc. Robert A. Cesari Managing Partner Cesari & McKenna Henry L. Foster, D.VM. President Charles River Breeding Laboratories, Inc. Sanford H. England Vice President **Citicorp, Inc. Lawrence Dress President **Clark-Franklin-Kingston Press Howard H. Ward President Commercial Union Insurance Companies Paul Crowley Chairman **Computer Partners, Inc. Vincent M. O'Reilly Managing Partner Coopers & Lybrand Jane P Fitzpatrick Treasurer Country Curtains Stephen E. Elmont President Creative Gourmets, Limited

John J. Cullinane President Cullinet Software, Inc.

Dr. David I. Kosowsky President Damon Corporation Lee Daniels President Daniels Printing Otto Morningstar Chairman Data Packaging Corporation George A. Chamberlain HI VP & Treasurer Digital Equipment Corporation Robert M. Rosenberg President **Dunkin' Donuts

J. P. Barger President Dynatech Corporation

William J. Pruyn President Eastern Gas & Fuel Associates Richard E. Lee President Econocorp, Inc. Thomas O. Jones President Epsilon Data Management Richard Farrell President Farrell, Healer & Co.

Merwin F. Kaminstein Chairman Wm. Filene's Sons

George L. Shinn Chairman First Boston Corporation

William L. Brown Chairman First National Bank of Boston John Humphrey Chairman **The Forum Corporation 14 John C. Avallon President GTE Sylvania Inc. Harry R. Hauser Partner Gadsby & Hannah Richard A. Smith President General Cinema Corporation

Coleman M. Mockler, Jr. Chairman & CEO The Gillette Company

Thomas E. Knott, Jr. President **Giltspur Exhibits/Boston

Gordon F. Kingsley President Haemonetics Corporation

Webster B. Brockelman, Jr. Sr.VP Frank B. Hall &. Co. of Massachusetts

E. James Morton President John Hancock Mutual Life Ins. Co. Stanley Hatoff President Hatoff's Donald R. Sohn President Heritage Travel, Inc. Malcolm D. Perkins Partner Herrick & Smith Marlowe G. Teig Sr.VP Houghton Mifflin Company

S. Paul Crabtree Sr.VP & Regional VP E.F. Hutton & Company Inc.

Paul J. Palmer Vice President IBM Corporation Arthur L. Goldstein President Ionics Incorporated Harry O'Hare President Johnson, O'Hare Co., Inc. G Michael Hostage President &. CEO **Howard Johnson Company

Sven Vaule, Jr. President Jones & Vining, Inc. Sumner Kaufman President Kaufman & Co. Thomas Mahoney Sr.VP Kenyon & Eckhardt Winthrop A. Short President Knapp King-Size Corporation Eugene Eisenberg President LEA Group Art, Inc. Leonard J. Peterson Chairman Label Philip Leach Chairman **Leach & Garner Company Arthur H. Klein President Lee Shops, Inc.-Stuarts Melvin B. Bradshaw Chairman &. CEO Liberty Mutual Life Insurance Co.

Harry L. Marks Chairman Markes International Irving Wiseman President **Mercury International Trading Corp. Arthur D. Little Chairman Narragansett Capital Corporation

Edward E. Phillips Chairman New England Mutual Life Ins. Co. Gerry Freche President New England Telephone Company Peter Farwell President Newsome &. Co., Inc. Irving Usen Executive VP **0'Donnel-Usen Fisheries Harold Thorkilsen President Ocean Spray Cranberries Inc. Herbert W Pollack President * *Parlex Corporation Thomas R. Heaslip President **Patriot Bankcorporation Herbert E. Morse Partner Peat, Marwick, Mitchell & Co.

Maurice J. Hamilburg Executive VP Plymouth Rubber Company, Inc. Gerard A. Fulham Chairman & CEO Pneumo Corporation Joe M. Henson President & CEO Prime Computer, Inc. Peter Sarmanian President **Printed Circuit Corporation * Robert J. Scales President *Prudential Insurance Company of America Thomas L. Phillips Chairman Raytheon Company

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16 1

BOSTON SYMPHONY ORCHESTRA

Seiji Ozawa, Music Director

Sir Colin Davis, Principal Guest Conductor

Joseph Silverstein, Assistant Conductor

One Hundred and Second Season, 1982-83

Thursday, 24 February at 8 Friday, 25 February at 2 Saturday, 26 February at 8

EUGENE ORMANDY conducting

BARBER Adagio for Strings, Opus 1

STRAUSS Don Juan, Tone poem after Lenau, Opus 20 (American premiere given by the Boston Symphony Orchestra on 30 October 1891)

INTERMISSION

BRAHMS Symphony No. 1 in C minor, Opus 68

Un poco sostenuto— Allegro Andante sostenuto Un poco allegretto e grazioso Adagio— Piu Andante — Allegro non troppo ma con brio— Piu Allegro

Thursday's and Saturday's concerts will end about 945 and Friday's about 3=45.

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Samuel Barber Adagio for Strings, Opus 11

Samuel Barber was born in West Chester, Pennsylvania, on 9 March 1910 and died in New York City on 23 January 1981. The Adagio for Strings was originally the second movement of his String Quartet,

Opus 11, written in 1936 and first played

that year in Rome. He extracted it from

the quartet and arranged it for string orchestra for Arturo Toscanini, who had already shown interest in Barber's Opus 12 Essay for Orchestra. Toscanini and the NBC Symphony gave the pre- mieres of the Adagio and the Essay on 5 November 1938. The Adagio shares the opus number 11 with the String Quartet. The only previous performances of the Adagio by the Boston Symphony were under Charles Munch' s direction, in February 1953, at Tanglewood in 1953 and 1956, on tour in Chartres, France, in September 1956, and, the most recent Symphony Hall performances, in December 1958.

I cannot imagine our musical landscape without the Adagio for Strings. In these few pages, pages of a confident, easy, and utterly personal concord of a solemnly archaic polyphony and melancholy Romantic passion at high tide, Barber—at twenty-six created something that has that rare quality of seeming always to have been there.

Musicians have often called on this music to say, at a time of mourning, what words could not: it stands as a fitting memorial to Samuel Barber himself, he who touched our lives with Knoxville, Summer of 1915 and Andromache's Farewell; stirred us with his evocation of Medea's fury,- excited us with his Sonata and his Concerto for piano,- the man who gave us Sure on this Shining Night (and who, having heard the song, can imagine James Agee's poem otherwise?),- and whose Souvenirs and Promiscuity and of course the cameo of Pangur, white Pangur the cat, made us smile.

When he was about nine, the future inventor of these gifts to Eleanor Steber, Martha Graham, Vladimir Horowitz, Leontyne Price, and their colleagues—and thus to all of us—left this message on his desk one morning before he took off for school:

Notice to Mother and nobody else—Dear Mother: I have written this to tell you

my worrying secret. Now don't cry when you read this because it is neither yours nor

my fault. I suppose I will have to tell it now without any nonsense. To begin with, I

was not meant to be an athlet. I was meant to be a composer, and will be I'm sure. I'll ask you one more thing. —Don't ask me to try to forget this unpleasant thing and go

and play football.—Please—Sometimes I've been worrying about this so much that it makes me mad (not very).

Love, SAM BARBER II.

His father hoped he would become a physician like himself, but there was music in the family, too, embodied most famously in the person of Sam's maternal aunt, Louise Homer, the eminent contralto of the Metropolitan and San Francisco operas. (Her hus- band, Sidney Homer, was a songwriter of some celebrity, and their daughter, Louise

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*M Homer Stires, also had a modest career as a singer.) The author of the letter quoted above was in fact taking lessons on the piano and cello, and he had already finished a few com-

positions, the first of them a piano piece in C minor called Sadness. A year later he wrote one act of an opera, The Rose Tree, on a libretto by the family's Irish cook, later performed by himself and his sister Sara. At fourteen, he was in the first group of students to attend the just opened Curtis Institute in Philadelphia, working at piano with George Boyle and then Isabelle Vengerova (among her other pupils were Leonard Bernstein and Lukas Foss), conducting with Fritz Reiner, and composition with the demanding Rosario Scalero.* He also studied voice with the splendid baritone Emilio de

Gogorza: one of the classic monuments in the history of the phonograph is the twenty- five-year-old Barber's recording with the Curtis Quartet of his setting of Matthew Arnold's Dover Beach (now on New World 229). At sixteen, he gave a conceit at home of his own songs, but his studies with Scalero gave him the confidence and technique to try his hand at the larger instrumental forms. As the 1930s went along, Barber emerged as a considerable figure on the musical scene, winning prizes and fellowships, landing a contract with the publishing firm of G. Schirmer, and having his music performed by such eminences as Bernardino Molinari and Artur Rodzinski (First Symphony, which

* Barber did little conducting; he was, however, a fine pianist. He was one of four composers—the others were Aaron Copland, Lukas Foss, and Roger Sessions— to play in Stravinsky's 1962 recording of Les Noces (Columbia, currently out of print), and he accompanies Leontyne Price on her recording of his Hermit Songs (Odyssey). Price sang these songs with Barber at her New York debut recital in 1954, and the composer later recalled that "such was the power of our combined names that only the second-string critics bothered to come. We had rehearsed a whole concert program as

well (I think I remember thirty-six rehearsals), and after having performed it at the Library of Congress in Washington we offered ourselves for further engagements as a duo team. There was one offer from Pittsfield, Massachusetts, which we accepted, but no others were forthcoming, and this was the end of our proposed joint tour."

Gian Carlo Menotti and Samuel Barber in 1937

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22 under Rodzinski was the first American work ever played at the Salzburg Festival), the

Pro Arte Quartet, Toscanini, and, a little later, Bruno Walter (Second Essay for Orchestra).

While Rodzinski, Molinari, Ormandy, and Koussevitzky, all early supporters of Barber, were champions of the new in most of its manifestations, Toscanini and Walter were notable non-friends of new music, as is Horowitz, who took up Barber's 1948 Piano

Sonata with enthusiasm and remarkable flair. This points to the deep-rooted conserva- tism of Barber's musical language, an orientation that consorts well with his lyric bent.

His idiom grew richer and his ways with it more complex (on the whole most evident in the works of the forties and early fifties like the Violin Concerto, the Cello Concerto, the Piano Sonata, and his Rilke cycle for Pierre Bernac and Francis Poulenc, Melodies passages), but in its essence it did not change.

He was a literary sort of composer, one who even admitted to having "sometimes thought I'd rather write words than music." Many composers begin with songs because a text provides guidelines in expression and form, but Barber's teenage songwriting was the beginning of a lifelong preoccupation with wedding music to words. (In 1967 he even arranged the Adagio for Strings as an Agnus Dei for chorus and organ, not one of his happier ideas.) He set, among others, Arnold, Joyce, Euripides, Stephen Spender, Agee, Gerard Manley Hopkins, Rilke, Pablo Neruda, Shakespeare, and Kierkegaard. His nature was perhaps a bit mild for some of these craggy writers (that parenthetical "not very" in the note to his mother is altogether characteristic) and he sometimes drowned a reticent text in musical gorgeousness (Knoxville, Summer of 1915, a setting of evocative prose paragraphs of Agee's, is open to that criticism), but most often he was a noble illuminator of words.

Opera defeated him. His charming miniature, A Hand of Bridge, is a standby for schools and workshops, but his efforts in the grand manner, Vanessa and Antony and Cleopatra, failed to convince in spite of many beautiful pages in both. The failure of Antony and Cleopatra, which was chosen to open the new Metropolitan Opera House in

1966, depressed him, and in the last years of his life he wrote little music at all and virtually none that was representative of him at his sensuous and intelligent best.*

Samuel Barber was not one of those to whom it was given to change the world of music or our perception of it, but, working within the terms of the definitions and stan- dards he inherited, and working there with craft and generous sentiment, he made that world a more civilized place with his finely executed monuments and ornaments. Some of what he left us is already and clearly indispensable—and how few, after all, of his contemporaries could claim that—and some of his accomplishments that are not just now so clearly in view, for example the First Essay for Orchestra and the three concertos (for violin, cello, and piano), await our delighted rediscovery. —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. His program note on the Barber Adagio for Strings appeared originally in the program book of the San Francisco Symphony copyright ©1983 and is printed here with the kind permission of that orchestra.

'With the dramaturgic help of Gian Carlo Menotti, his closest friend since Curtis days and his librettist for Vanessa, Barber made a thoroughly revised version of Antony and Cleopatra that was produced with modest success at the Juilliard School in 1975.

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24 Richard Strauss Don Juan, Tone poem after Lenau, Opus 20

Richard Strauss was born in Munich,

Germany, on 11 June 1864 and died in Garrnisch-Partenkirchen, Bavaria, on 8 September 1949. He began work on

Don Juan in 1888 and completed it the

following year, dedicating it to "my dear friend Ludwig Thuille" and conducting

the first performance with the Court Orchestra in the Grand Ducal Theater of

Weimar on 11 November 1889. The Boston Symphony Orchestra gave the

first American performance on 30 Octo- ber 1891 under the direction of Arthur Nikisch. Two Boston Symphony Orches- tra program armotators-to-be reviewed

that first performance; neither liked the music very much. In the "Boston Tran- script," WiUiam Foster Apthorp observed that Strauss "out-Wagnered Wagner in the fullness of his scoring. Yet we are much mistaken if he has not overshot the mark. The single pair of trumpets in a Mozart score has more brilliancy of effect than all Strauss' seven brass instruments together. When he wishes to put an extra cut edge to his orches- tra, he has nothing for it but to take to the cymbals. There is a constant strenuousness of

being at 90° in the shade at all times that overreaches itself." Philip Hale, in the "Boston

Home Journal," wrote that "the work is labored, verbose, and incoherent. It is weak in invention and though the elaboration is often ingenious in instrumentation, the disciple borrows from his masters. It is 'made' music, the rhetorical contrivings of a man that has really httle to say. The poem was played with spirit and favorably received by the audience."

Of course, these opinions did nothing to dampen the work's popularity.- it was taken up at later Boston Symphony concerts by Wilhelm Gericke, Richard Strauss, Karl Muck, Max Fiedler, Pierre Monteux, Georg Schneevoigt, Henry Hadley, Serge Koussevitzky, Sir Henry Wood, Richard Burgin, Bruno Walter, Charles Munch, Jean Morel, Eugene Ormandy, Erich Leinsdorf, Josef Krips (who led the most recent Tanglewood performance in 1968), Charles Wilson (who led the most recent subscription performances in 1969),

and WiUiam Steinberg (who led a tour performance in 1972). Don Juan is scored for three flutes and piccolo, two oboes and English horn, two clarinets, two bassoons and contra-

bassoon, four horns, three trumpets, three trombones, tuba, timpani, bells, cymbals,

triangle, harp, and strings.

The Grand Ducal Court Orchestra at Weimar acquired in the autumn of 1889 an "assistant Kapellmeister" whose proven abilities belied his years. Richard Strauss was then only twenty-five, but he had taken full charge of the Meiningen Orchestra for a season (1885-86), and then had taken subordinate control at the Munich Opera. As a

composer he had long made his mark, and from orthodox beginnings had in the last three years shown a disturbing tendency to break loose from decorous symphonic ways with a "Symphony"—Aus Itahen, and a "Tone Poem"—Macbeth. He had ready for his Weimar audience at the second concert of the season a new tone poem, Don Juan, which

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Jordan Marsh A Unit of Allied Stores in the year 1889 was a radical declaration indeed. If many in the auditorium were dazed at this headlong music, there was no resisting its brilliant mastery of a new style and its elaborate instrumentation. There were five recalls and demands for a repetition. Hans von Biilow, beholding his protege flaunting the colors of the anti-Brahms camp, was too honest to withhold his enthusiasm. He wrote to his wife: "Strauss is enormously popular here. His Don Juan, two days ago, had a most unheard-of success." And producing it at

Berlin a year later, he wrote to its creator, "Your most grandiose Don Juan has taken me captive." Only the aging Dr. Hanslick* remained unshaken by the new challenger of his sworn standards. He found in it "a tumult of dazzling color daubs," whose composer "had a great talent for false music, for the musically ugly."

The Don Juan of Lenau, whom Strauss evidently chose in preference to the ruthless sensualist of Byron or da Ponte, was a more engaging figure of romance, the philosopher in quest of ideal womanhood, who in final disillusion drops his sword in a duel and throws his life away. Lenau said (according to his biographer, L.A. Frankl): "Goethe's

*Eduard Hanslick (1825-1904), music critic and champion of Brahms— Ed.

Hans von Bulow in 1886

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great poem has not hurt me in the matter of Faust and Byron's Don ]uan will here do me no harm. Each poet, as every human being, is an individual 'ego.' My Don Juan is no hot- blooded man eternally pursuing women. It is the longing in him to find a women who is to him incarnate womanhood, and to enjoy, in the one, all the women on earth, whom he cannot as individuals possess. Because he does not find her, although he reels from one to another, at last Disgust seizes hold of him, and this Disgust is the Devil that fetches him."

Strauss, sending the score to Bulow for performance, stipulated, after detailed directions as to its interpretation, that no thematic analysis should be given out. He considered that three quotations from the poem, characterizing speeches of the hero, should suffice to make his purpose clear, and these verses were printed in the score. They are here repro- duced in the translation of John P. Jackson:

(To Diego) magic realm, unlimited, eternal, Of glorified woman—loveliness supernal!

Fain would I, in the storm of stressful bliss,

Expire upon the last one's lingering kiss.

Through every realm, O friend, would wing my flight, Wherever beauty blooms, kneel down to each,

And— if for one brief moment—win delight.

(To Diego)

1 flee from surfeit and from rapture's cloy, Keep fresh for beauty service and employ,

Grieving the one, that all I may enjoy.

The fragrance from one lip today is breath of spring; The dungeon's gloom perchance tomorrow's luck may bring.

When with the new love won I sweetly wander,

No bliss is ours unfurbish'd and regilded; A different love has this to that one yonder Not up from ruins be my temple builded.

Yea, love life is, and ever must be new, Cannot be changed or turned in new direction; It cannot but there expire—here resurrection;

And, if 'tis real, it nothing knows of rue!

Each beauty in the world is sole, unique! So must the love be that would beauty seek!

So long as youth lives on, with pulse afire,

Out to the chase! To victories new aspire!

(To Marcello) It was a wondrous lovely storm that drove me ;

Now it is o'er and calm all 'round, ; above me ;

Sheer dead is every wish; all hopes o'ershrouded. 'Twas p'raps a flash from heaven that so descended,

Whose deadly stroke left me with powers ended, And all the world, so bright before, o'erclouded,-

And yet p'raps not! Exhausted is the fuel;

And on the hearth the cold is fiercely cruel.

Then, as later, the composer fell prey to the skilful but irrepressible zeal of his analysts.

Wilhelm Mauke divided the score into small bits and labeled each. He even went so far as to forget Lenau, and to bring in Mozartian characters—Donna Anna and Zerlina, finding a place for the statue and the fatal supper—a cataclysm quite alien to Lenau's

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I h9 story. In this light, Ernest Newman is hardly justified in reproaching Strauss for "the tendency to overburden the music with extraneous and inassimilable literary concepts/' such as identifying a certain four-bar phrase with "Don Juan's satiety"—a thing the composer obviously did not do.

Without such distracting details, it is possible to discern these main outlines of the

music—at first a portrait of the impulsive and fiery hero of Lenau—a romantic idealist, but certainly no ascetic. The middle section is patently a love episode. A theme for the deeper strings becomes the shimmering and glamorous accompaniment to another amorous melody for oboe solo. (Mauke, who has earlier in the score found a place for

Mozart's Zerlina, tells us that the object of the first episode in this section is the Countess, while the melody for the oboe is Anna.) The closing section is in the mood of the first, but it is no mere recapitulation; the resourceful Strauss injects important new matter, and works the old in a new guise, riotous and frenetic. A second principal Don Juan theme is introduced, a full-rigged Straussian horn motive,- the oboe theme and others are alluded to in the development, which plainly depicts the Don Juan of Lenau, to whom the fruits of conquest turn bitter as they are grasped. The climax is one of catastrophe.

—John N. Burk

John N. Burk, whose writings on music include biographies of Clara Schumann and Beethoven, was the Boston Symphony Orchestra's program annotator from 1934 until 1966.

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32 Johannes Brahms

Symphony No. 1 in C minor, Opus 68

Johannes Brahms was horn in Hamburg, Germany, on 7 May 1833 and died in Vienna on 3 April 1897. He completed his First Symphony in 1876, though some of the sketches date back to the 1850s.

Otto Dessoff conducted the first perform- ance at Karlsruhe on 4 November 1876, and Leopold Damrosch introduced the symphony to America on 15 December 1877 in New York's Steinway Hall.

Boston heard it for the first time when

Carl Zerrahn conducted it at a Harvard Musical Association concert in the Music Hall on 3 January 1878, and the Boston

Symphony played it during its first sea- son on 9 and 10 December 1881, Georg

Henschel conducting. It has also been played at BSO concerts under Wilhelm Gericke, Arthur Nikisch, Emil Paur, Karl Muck, Max Fiedler, Pierre Monteux, Serge Koussevitzky, Richard Burgin, Sir Adrian Boult, Charles Munch, Guido Cantelli, Carl Schuricht, Eugene Ormandy, Erich Leinsdorf, William Steinberg, Rafael Kubelik, Bruno Maderna, Joseph Silverstein, Seiji Ozawa, and

Sir Georg Solti. Eugene Ormandy gave the most recent Tanglewood performance in July

1980-, Erich Leinsdorf led the most recent subscription performances, as well as perform- ances in Carnegie Hall, December that same year. The symphony is scored for two flutes, two oboes, two clarinets, two bassoons and contrabassoon, four horns, two trumpets, three trombones, timpani, and strings.

When Brahms finished his First Symphony in September 1876, he was forty-two years old. (Beethoven was thirty, Schumann thirty-one, Mahler twenty-eight at the completion of their respective first symphonies,- Mozart was eight or nine, but that's another story altogether.) As late as 1873, the composer's publisher Simrock feared that a Brahms sym- phony would never happen ("Aren't you doing anything any more? Am I not to have a symphony from you in 73 either?" he wrote the composer on 22 February), and Eduard

Hanslick, in his review of the first Vienna performance, noted that "seldom, if ever, has the entire musical world awaited a composer's first symphony with such tense anticipation."

Brahms already had several works for orchestra behind him: the Opus 11 and Opus 16 serenades, the D minor piano concerto (which emerged from an earlier attempt at a symphony), and that masterwork of orchestral know-how and control, the Variations on a Theme by Haydn, a piece too little performed today. But a symphony was something different and had to await the sorting out of Brahms's complicated emotional relationship with Robert and Clara Schumann, and, more important, of his strong feelings about following in Beethoven's footsteps.

Beethoven's influence is certainly to be felt in Brahms's First Symphony: in its C minor-to-major progress, in the last-movement theme resembling the earlier com- poser's Ode to Joy (a relationship Brahms himself acknowledged as something that "any ass could see"), and, perhaps most strikingly, in the rhythmic thrust and tight,

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160 Commonwealth Avenue, Boston, Massachusetts 02116 One Burlington Woods Drive, Burlington, Massachusetts 01803 (617)247-3000 motivically-based construction of the work— in some ways quite different from the melodically expansive Brahms we know from the later symphonies. But, at the same time, there is really no mistaking the one composer for the other: Beethoven's rhythmic drive is very much his own, whereas Brahms's more typical expansiveness is still present throughout this symphony, and his musical language is unequivocally ninteenth-cen- tury-Romantic in manner.

Following its premiere at Karlsruhe on 4 November 1876 and its subsequent appear- ance in other European centers, the symphony elicited conflicting reactions. Brahms himself had already characterized the work as "long and not exactly amiable." Clara

Schumann found the ending "musically, a bit flat . . . merely a brilliant afterthought stemming from external rather than internal emotion." Hermann Levi, court conductor at Munich and later to lead the 1882 Bayreuth premiere of Wagner's Parsifal, found the two middle movements out of place in such a sweeping work, but the last movement he decreed "probably the greatest thing [Brahms] has yet created in the instrumental field." The composer's close friend Theodor Billroth described the last movement as "over- whelming," but found the material of the first movement "lacking in appeal, too defiant and harsh."

One senses in these responses an inability to reconcile apparently conflicting elements within the work, and the two inner movements do indeed suggest a world quite different

Eduaid Hanslick

35 Week 16 Hanm HI

from the outer ones. At the same time, these reactions also point to the seeming dichot- omy between, as Hanslick put it, "the astonishing contrapuntal art" on the one hand and the "immediate communicative effect" on the other. But the two go hand in hand: the full effect of the symphony is dependent upon the compositional craft which binds the work together in its progress from the C minor struggle of the first movement through the mediating regions of the Andante and the Allegretto to the C major triumph of the finale.

The first Allegro's two principal motives—the three eighth-notes followed by a longer value, representing an abstraction of the opening timpani strokes, and the hesitant, three- note chromatic ascent, across the bar, heard at the start in the violins—are already sug- gested in the sostenuto introduction, which seems to begin in mid-struggle. The move- ment is prevailingly somber in character, with a tension and drive again suggestive of

Beethoven. The second idea's horn and wind colorations provide only passing relief: their dolce and espressivo colorings will be spelled out at greater length in the symphony's second movement.

The second and third movements provide space for lyricism, for a release from the

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At the same time, the third movement serves as preparation for the finale: its ending seems unresolved, completed only when the C minor of the fourth movement, again a third away from the movement which precedes it, takes hold. As in the first movement, the sweep of the finale depends upon a continuity between the main Allegro and its intro- duction. This C minor introduction gives way to an airy C major horn call (originally conceived as a birthday greeting to Clara Schumann in 1868) which becomes a crucial binding element in the course of the movement. A chorale in the trombones, which have been silent until this movement, brings a canonic buildup of the horn motto and then the Allegro with its two main ideas: the broad C major tune suggestive of Beetho- ven's Ninth, and a powerful chain of falling intervals, which crystallize along the way into a chain of falling thirds, Brahms's musical hallmark. The movement drives to a climax for full orchestra on the trombone chorale heard earlier and ends with a final affirmation of C major—Brahms has won his struggle. —Marc Mandel

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38 .

More . .

Nathan Broder's biography of Samuel Barber, dating from 1954, is out of print. Aside from that, there is the entry by Richard Jackson in The New Grove Dictionary of Music and Musicians, which was published before the composer's death in January 1981. Eugene Ormandy has recorded Barber's Adagio for Strings with the Philadelphia Orches- tra (with the Tchaikovsky Serenade for Strings and the Vaughan Williams Fantasia on a Theme of Thomas Tallis, or as part of a collection showing off "The Romantic Phila- delphia Strings," both on Columbia). There is a very beautiful performance by Thomas Schippers and the New York Philharmonic on a budget-priced Odyssey disc also includ- ing Barber's Second Essay for Orchestra, the Overture to The School for Scandal, and Medea's Meditation and Dance of Vengeance. Charles Munch's Boston Symphony recording of the Adagio is available on RCA Gold Seal with the Elgar Introduction and Allegro and Tchaikovsky's String Serenade. Toscanini's 1942 broadcast performance of the Barber Adagio was included in an album of "Concert Favorites" on RCA LM-7032, but it is currently out of print. For a recording of the Adagio in its original string quartet scoring and context, Barber's Opus 11 String Quartet is available in a very good perform- ance by the Cleveland Quartet (RCA, with the Second Quartet of Charles Ives.)

The big biography of Richard Strauss is Norman Del Mar's, which gives equal space to the composer's life and music (three volumes, Barrie and Rockliff , London); Don Juan is given detailed consideration in Volume 1. Michael Kennedy's account of the composer's life and works for the Master Musicians series is excellent (Littlefield paperback), and the symposium Richard Stauss.- The Man and his Music, edited by Alan Walker, is worth looking into (Barnes and Noble). Kennedy has also provided the Strauss article in The PHILLIPS POND

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40 New Grove. Eugene Ormandy has recorded Don Juan with the Philadelphia Orchestra (with Till Eulenspiegel and a suite of orchestral music from Der Rosenkavalier; RCA). Also recommended are the performances by Rudolf Kempe with the Dresden State Orchestra (with Strauss's early tone poem, Macbeth; Seraphim), Zubin Mehta with the Los Angeles Philharmonic (with Respighi's Feste Romane; RCA), and Clemens Krauss

with the Vienna Philharmonic (with the Bourgeois gentilhomme Suite,- London Stereo Treasury). If you chance upon William Steinberg's Boston Symphony performance in a

store that sells out-of-print records, grab it (RCA). And finally, Arturo Toscanini's

performance with the NBC Symphony is in a class by itself (Victrola, monaural, with

Till Eulenspiegel and the Queen Mab Scherzo from Berlioz's Romeo and Juliet).

Florence May, an Englishwoman who knew Brahms and studied piano with him,

produced a comprehensive two-volume biography of the composer which is available in an expensive reprint of the original 1905 edition (Scholarly). Karl Geiringer's Brahms.- His Life and Work is a smaller but no less important biography (Oxford). Also useful are Peter Latham's Brahms in the Master Musicians series (Littlefield paperback),- John Horton's Brahms Orchestral Music in the series of BBC Music Guides (U. of Washington paper- back),- Julius Harrison's chapter on Brahms in The Symphony.- Vol. I Haydn to Dvorak, edited by Robert Simpson (Penguin paperback),- and Bernard Jacobson's The Music of Johannes Brahms (Fairleigh Dickinson). Donald Francis Tovey's program note on the Brahms First is in the first volume of his Essays in Musical Analysis (Oxford paperback). Of special interest are Arnold Schoenberg's essay "Brahms the Progressive" in Style and Idea (St. Martin's), and an interview with "Carlo Maria Giulini on Brahms" in Bernard Jacobson's Conductors on Conducting (Columbia Publishing Co.). Eugene Ormandy has recorded the Brahms First with the Philadelphia Orchestra (in a three-record set of the complete symphonies, on Columbia,- also available separately). The Boston Symphony Orchestra has recorded the Brahms First under Seiji Ozawa's direction (DG). Also recommended are performances by Herbert von Karajan and the Berlin Philharmonic (DG), Kurt Masur and the Leipzig Gewandhaus (Philips), and Sir Georg Solti with the Chicago Symphony (London). Of significant historical interest—and each a very great performance in its own right—are the recordings by Wilhelm Furtwangler and the Berlin Philharmonic (DG), Guido Cantelli and the Philharmonia Orchestra (World Import), and Arturo Toscanini with the NBC Symphony (Victrola). —M.M.

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New and Different. ADS "Atelier" components. A record player, receiver, cassette deck in matte black modules with superb electronics and some fascinating design touches. So flexible you can put them anywhere. For details see an ADS dealer or write Analog & Digital Systems, 305 Progress Way, Wilmington, MA 01887 Or call 800-824-7888, Operator 483. ADS. Audio apart Eugene Ormandy

him throughout the United States, to Western and Eastern Europe, Latin America, Japan, and mainland China, and as a guest conductor he has led every major European orchestra. Many of his nearly four hundred recordings with the Philadelphia Orchestra are currently avail-

able, and he is a recipient of the United States government's highest civilian award, the Pres- idential Medal of Freedom, presented to him by former President Richard Nixon in Janu-

ary 1970. Mr. Ormandy is a Commander of the French Legion of Honor,- a Knight of the

Order of Dannebrog, First Class,- a Knight of the Order of the White Rose of Finland; a holder of the medals of the Mahler and

Bruckner societies; and recipient of honorary doctoral degrees from numerous major uni-

versities and schools of music. He is a mem- ber of the American Philosophical Society, At the end of the 1979-80 season, Eugene and the American Symphony Orchestra

Ormandy became the Philadelphia Orches- League has awarded him its Gold Baton award tra's conductor laureate, following forty-four in recognition of his distinguished, record ten- years as the Philadelphians' music director, a ure as music director of the Philadelphia record unequaled by any living conductor of Orchestra. This past December he was pre- any other major orchestra. Born in Budapest sented with a ribbon and medallion by Presi- in 1899, Mr. Ormandy entered the Budapest dent Reagan at the Fifth Annual Kennedy

Royal Academy of Music as a child prodigy Center Awards. Since his first appearance with violinist at five, received his professor's diplo- the Boston Symphony Orchestra in March ma at seventeen, taught at the State Conserva- 1957, Mr. Ormandy has conducted the BSO in tory between concert tours, and came to the nearly thirty concerts in Symphony Hall and

United States in 1921 as a solo violinist. Hav- at Tanglewood. His most recent Symphony ing become an American citizen in 1927, and Hall appearance was in October 1980, his most following engagements as violinist and con- recent Tanglewood appearance in July 1981. ductor in New York, he directed his first con- certs with the New York Philharmonic in 1930 and also conducted the Philadelphia Orchestra for three summer performances at Robin Hood Dell in Philadelphia's Fairmount

Park. His first performance in that city's Acad- emy of Music took place in October 1931, when he was called upon to substitute for ailing guest conductor Arturo Toscanini.

Music director of the Minneapolis Sym- phony Orchestra between 1931 and 1936, Mr. Ormandy was appointed music director and conductor of the Philadelphia Orchestra in 1936. His tours with that orchestra have taken

43 THE SYMBOL 01 GOOD BANKING.

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44 Tanglewood Festival Chorus Auditions

The Tanglewood Festival Chorus has openings in all sections for its 1983 summer season at Tanglewood with the Boston Symphony Orchestra. Works to be performed include Gluck's Orfeo ed Euiidice, Haydn's Creation, and Mahler's Symphony No. 3 under the direction of Music

Director Seiji Ozawa the Brahms Alto Rhapsody and German Requiem ; with Klaus Tennstedt conducting; Ravel's Daphnis and Chloe with Charles Dutoit; Sir William Walton's oratorio, Belshazzar's Feast, under all-Brahms Prelude concert the direction of Andre Previn ; and an under Tanglewood Festival Chorus Conductor John Oliver. Members of the chorus live in the Boston area and travel to Tanglewood for performances. Auditions will be held on Wednesday 2 March at 6 p.m. in Symphony

Hall, Massachusetts Avenue, Boston. No appointment is necessary. For further information, call the Chorus Office at 266-3513.

Handicapped kids have a lot to give

I., m and the Cotting School has a lot to give handicapped children. We offer a 12-year day school program for physically handicapped children with normal intellectual capability.

Included in school services are both vocational and college

preparatory training, transportation (in Boston), medical, dental, and vision care, speech and physical therapy, social development programs, lunch, testing, recreation and summer camping. Without any cost whatsoever to parents. Right now. we have openings for handicapped children. Please pass the

word. Call or write William J. Carmichael. Superintendent. Cotting School for. Handicapped Children. 241 St. Botolph Street, Boston. Massachusetts 021 15. (617) 536-9632.

Cotting School for Handicapped Children a private, non-profit, nonsectarian. Ch. 766-approved institution supported primarily by gifts, grants, legacies and bequests.

45 Another Season

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46 :;;'. 'v; taWSE

The Boston Symphony Orchestra gratefully acknowledges the following corpora- tions and professional organizations for their generous and important support in the past or current fiscal year. (* denotes support of at least $2,500.)

Business Honor Roll ($10,000 and over)

Bank of New England Mobil Chemical Corporation

Roderick M. MacDougall Rawleigh Warner, Jr.

BayBanks, Inc. New England Mutual Life Insurance Company

William M. Crozier, Jr. Edward E. Phillips

Cahners Publishing Company, Inc. New England Tel. &. Tel. Company Norman Cahners Gerry Freche Commercial Union Assurance Companies Prudential Insurance Company of America

Howard H. Ward Robert J. Scales Country Curtains Raytheon Company

Mrs. John Fitzpatrick Thomas L. Phillips

Digital Equipment Corporation Red Lion Inn Kenneth H. Olsen John H. Fitzpatrick

Dynatech Corporation Shawmut Bank of Boston

J.E Barger William F. Craig Wm. Filene's &. Sons Company Wm. Underwood Company Merwin Kaminstein James D. Wells

The First National Bank of Boston WCRB/Charles River Broadcasting, Inc.

Kenneth R. Rossano Richard L. Kaye Gillette Company WCVB-TV

Colman M. Mockler, Jr. S. James Coppersmith

John Hancock Mutual Life Insurance Company Wang Laboratories, Inc.

E. James Morton An Wang

Liberty Mutual Life Insurance Company Wheelabrator-Frye, Inc.

Melvin B. Bradshaw Michael H. Dingman

Arthur D. Little, Inc.

John F. Magee

Business Leaders ($1,000 and over)

.Accountants Banking

*Coopers & Lybrand *Bank of New England Vincent M. O'Reilly Roderick M. MacDougall *Peat, Marwick, Mitchell & Company * BankAmerica International

Herbert E. Morse Christopher S. Wilson

Touche Ross & Co. * BayBanks, Inc.

John F. Keydel William M. Crozier, Jr.

Advertising/PR. Berkshire Bank &. Trust Company D. R. Ekstrom *Kenyon & Eckhardt * Berkshire County Savings Bank Thomas J. Mahoney Robert A. Wells *Newsome & Company Boston Five Cents Savings Bank Peter G. Osgood

Robert J. Spiller Aerospace *City Savings Bank of Pittsfield

Northrop Corporation Luke S. Hayden

Thomas V Jones The First National Bank of Boston— *Pneumo Corporation Bank of Boston Gerard A. Fulham Kenneth R. Rossano

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William F. Connell Electronics *Red Lion Inn *Microsonics, Inc. John H. Fitzpatrick William Cook *Shaw's Supermarkets * Valpey-Fisher Corporation Stanton Davis Neil Bernstein *Sonesta International Hotels Corporation Energy Paul Sonnabend

* Atlantic Richfield Company The Stop &. Shop Companies, Inc.

Robert O. Anderson Avram J. Goldberg * Atlas Oil Corporation *Wm. Underwood Company Fred Slifka James D. Wells * Buckley & Scott Company Furnishings/ Housewares William H. Wildes *Country Curtains * Eastern Gas & Fuel Associates Mrs. John Fitzpatrick

William J. Pruyn *HCWOil&Gas Health Care/Medicine John M. Plukas & Robert Glassman *Rudolph Beaver, Inc. John R. Beaver 49 Lifestyle... Deluxe We overlook all ofBoston-but nothing else

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*Western Electric Company, Inc. High Technology/Computers Donald E. Procknow *Analog Devices Ray Stata Insurance The Analytical Sciences Corporation Arkwright-Boston Insurance

Dr. Arthur Gelb Frederick J. Bumpus Analytical Systems Engineering Corporation *Berkshire Life Insurance Company

Michael B. Rukin Lawrence W Strattner, Jr.

*Augat, Inc. Brewer & Lord

Roger Wellington Joseph G. Cook, Jr.

*Bolt, Beranek & Newman, Inc. *Commercial Union Assurance Companies Stephen Levy Howard H. Ward

*Computer Partners, Inc. * Frank B. Hall & Company, Inc.

Paul J. Crowley John B. Pepper

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John J. Cullinane E. James Morton *Data Packaging Corporation * Liberty Mutual Life Insurance Company

Otto Morningstar Melvin B. Bradshaw

*Digital Equipment Corporation *New England Mutual Life Insurance Company

Kenneth H. Olsen Edward E. Phillips

*Dynatech Corporation * Prudential Insurance Company of America

J. P. Barger Robert J. Scales

*Epsilon Data Management, Inc. Sun Life Assurance Company of Canada Thomas O. Jones John D. McNeil Foxboro The Company Investments Bruce D. Hainsworth Amoskeag Company *GTE Electrical Products Joseph B. Ely, Jr. John C. Avallon Moseley Hallgarten Estabrook & Weeden, Inc. *GenRad, Inc. Fred S. Moseley William R. Thurston Paine, Webber, Jackson &. Curtis, Inc. IBM Corporation Francis P. Sears Bradford Towle The Putnam Advisory Company, Inc. Instron Corporation John Sommers Harold Hindman Tucker, Anthony &. R. L. Day, Inc. LFE Corporation R. Willis Leith, Jr. Herbert Roth, Jr. *Woodstock Corporation Management Decision Systems, Inc. Thomas Johnson John S. Wurts * Polaroid Corporation Legal

William J. McCune, Jr. *Cesari McKenna *Prime Computer, Inc. Robert A. Cesari John K. Buckner *Gadsby & Hannah *Printed Circuit Corporation Harry Hauser Peter Sarmanian *Goodwin Procter & Hoar * Raytheon Company Edward O'Dell Thomas L. Phillips *Herrick & Smith Technical Operations, Inc. Malcolm D. Perkins Marvin G. Shorr Leisure Thermo Electron Corporation * Heritage Travel Dr. George N. Hatsopoulos Donald Sohn 51 continuing cl trKtdition/

^A&-tAe' QBoston Jynu&Aon^ OrcAestra begins

u it&s&xmdcentury cuia' tflokert ^. J(urtsema begins^

A/a secono'aecaae cottAmorning t^ra nuisicay,

tAe association continues uutA tAe fafai/arfeatitre

1 ' '/ioe ofifo+frmu&i&i '— a series ^informal

conversations uHt/i tnis s^ason's^atarca smoistsy,

conductors and'composers'.

jfiornisu} t>ra musica is krc^iacast coast ta coast c^slutums^tA&SuMc tflaeua Goo/wwtioe awli&heardins tAv ^Boston area an W&3S9Cfty . £fni) eoeru niorntrur/roni seoea until noon/.

52 Manufacturing *WNEV-TV/New England Television

Winthrop P. Baker Acushnet Company, Inc.

Robert L. Austin Printing/Publishing

*Alpha Industries, Inc. * ADCO Publishing Company, Inc. Andrew S. Kariotis Samuel Gorfinkle *Baldwin Piano & Organ Company * Berkshire Eagle R. S. Harrison Lawrence K. Miller Bell Manufacturing Company * Boston Globe Irving W Bell John I. Taylor

Bird Companies *Cahners Publishing Company, Inc. Robert F. Jenkins Norman Cahners College Town, Inc. *Daniels Printing Company Arthur M. Sibley Lee Daniels Crane &. Company * Houghton Mifflin Company Bruce Crane Harold T Miller T. Cross A. Company *Label Art, Inc. Russell A. Boss Leonard J. Peterson Econocorp, Inc. Retailing Richard G. Lee * *Gillette Company Wm. Filene's & Sons Company Merwin Kaminstein Colman M. Mockler, Jr. Kimberly-Clark Corporation/Schweitzer Division *Gans Tire Company, Inc. David Ronald Gill Gans Howard Johnson Company *Marks International, Inc. Howard B. Johnson Harry Marks Kay Bee Toy Hobby Shops Millard Metal Service Center, Inc. & Howard Kaufman Donald Millard King's Department Stores, Inc. * Plymouth Rubber Company, Inc. Paul Kwasnick Maurice J. Hamilburg *Lee Shops *TAD Technical Services Corporation Arthur Klein Pavid McGrath *Towle Manufacturing Company Mars Bargainland, Inc. Matthew Tatelbaum Leonard Florence Marshall's, Inc. Trina, Inc. Frank Brenton Arnold Rose *Zayre Corporation *WheelabratorFrye, Inc. Maurice Segall Michael H. Dingman *Barry Wright Corporation Science Ralph Z. Sorenson *Charles River Breeding Laboratories, Inc. Media Dr. Henry L. Foster Corporation *Cablevision Systems Damon Charles Dolan Dr. David Kosowsky *General Cinema Corporation *Ionics, Inc. Richard A. Smith Arthur L. Goldstein *WBZ-TV *Kaye Instruments, Inc. Clarence Kemper Seymour L. Yanoff *Millipore Corporation *WCRB/Charles River Broadcasting, Inc. Dimitri D'Arbeloff Richard L. Kaye

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S. James Coppersmith *American Biltrite, Inc. * WNAC-TV/RKO General TV David W. Bernstein Pat Servodidio 53 ug«3-at*3$m 9B

Anyone with an ear for music canjoin the BSO.

Tune in to concerts by the Boston Symphony Orchestra. Fridays at 9 p.m. WCRB 102.5 FM. A Honeywell presentation. Honeywell

54 .

*Jones & Vining, Inc. Utilities

Sven Vaule, Jr. * Boston Edison Company *Spencer Companies, Inc. Thomas J. Galligan, Jr. Charles Marran C. *New England Tel. & Tel. Company *Stride Rite Corporation Gerry Freche Arnold S. Hiatt

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55 Strauss

SPRACH This season ZARATHUSTRA"^ take the Symphony Boston Symphony Ozawa

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56 Boston's place for business: Copley Place The four office buildings at Copley Place are the preeminent business address in Boston. They are situated at the heart of historic Back Bay and are part of a $460 million mixed-use complex—the largest private enterprise in Boston's history. Opening next year, the Copley Place offices provide access to an unparal- leled range of amenities: a Westin luxury hotel, a Marriott convention hotel, Neiman-Marcus and 100 elegant shops and boutiques, and restau- rants, cinemas and enclosed parking. The offices at Copley Place. The place to be in Boston for business. Leasing inquiries may be directed to Leggat McCall & Werner Inc. , 60 State Street, ^ Boston, MA 02109; (617) 367-1177.

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Please feel free to visit or call for further information Owned and Managed by Astor & McGregor (617) 542-0573 .

Coming Concerts . .

Thursday, 3 March— 8-9=50 South Boston Thursday '10' series Savings Bank SEIJI OZAWA conducting Rossini Overture to "ALWAYS THE LEADER" La Cenerentola Starer Violin Concerto MAIN OFFICE: ITZHAK PERLMAN 460 West Broadway, South Boston Stravinsky The Firebird

NEPONSET CIRCLE OFFICE: 2-3:50 740 Gallivan Boulevard Friday 4 March— Saturday 5 March— 8-9=50 QUINCY OFFICE: SEIJI OZAWA conducting 690 Adams Street, Lakin Square Rossini Overture to La Cenerentola Kim Violin Concerto ITZHAK PERLMAN Stravinsky The Firebird

§t 'Botofpk/I^5tAurait-, Thursday 10 March— 8-9=55 Thursday 'B' series

Friday 11 March—2-3=55 Saturday 12 March— 8-9=55 SEIJI OZAWA conducting Ives Symphony No. 2 Brahms Piano Concerto No. 2 MAURIZIOPOLLINI

Thursday 31 March— 8-9=45 Thursday '10' series

Friday 1 April—2-3=45 Saturday 2 April— 8-9=45 Tuesday 5 April— 8-9=45

Tuesday 'B' series

A charming 19th Century Townhouse VITTORIO NEGRI conducting serving superb continental cuisine Vivaldi "Dominead in contemporary informal elegance. Offering lunch and dinner with a variety adiuvandum me" daily, our of fresh seafood specials and "Beatus Vir" after theatre cafe menu till midnight. Introduction to "Dixit" Serving - lunch: 12:00-2:30 weekdays "Dixit Dominus" Dinner: 6:00-10:30 Sun.-Thurs. MARGARET MARSHALL, soprano 6:00-12:00 Fri.-Sat. CLAUDINE CARLSON, mezzo-soprano Brunch: 11:00-3:00 Sat. & Sun. BIRGIT FINNILAE, contralto

reservations: 266-3030 JOHN GILMORE, tenor

99 St. Botolph Street JULIEN ROBBINS, bass-baritone behind the Colonnade Hotel TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor

57 *m

ill

How wouldyou like a location where 60,000people shop your store window every day?

liow would you like a location in the heart of downtown Boston, anchored by the

flagship stores of Jordan Marsh and Filenes? jj A location with a population of more

than 3 million to draw from? || A location with all the knowledge, science and art that's ever been learned about successful retailing built into it? f A location where your neighbors are 187 of New England and America's most successful retailers, including 23 restaurants of varied nationalities and price ranges, and a five-hundred

room Intercontinental Hotel? j§ A location with on-site parking for thirteen hundred

cars as well as direct access from every form of public transportation? Jf A location

planned to be New England's major fashion event center? |j A location in a magnifi- cent three-level, multi-use complex destined to be the most important retail center in England? You'd like New |f Please send me more information on I ~i Lafayette Place. all that? 1| Welcome to Lafay- Name ette Place, open for business Business Address

October, 1983. % Now is the

Telephone Number time to plan for your success Type of Store in Lafayette Place. Call Richard Mail coupon to:

,. , Mr. Richard MacNamara, Lafayette Place One Boston Place, Boston, Mass. 02108. MacNamara at 617-227-0690. I

laj^ttrtiace^ Structured For Success. .

EVERY SEAT IN SYMPHONY HAU

IS A GOOD SEAL

' : ''?>* '' '* *" : # &' ' ~W~ "s»- 'riii'--- ^« * V #&" W

The Boston Symphony Orchestra would like to offer you a place in Symphony Hall, along with the masters of great music.

Your gift of $6,000 will endow your favorite seat in Symphony Hall . Your name, or that of someone you wish to honor, will be inscribed on a plaque affixed to the

chair; a duplicate plate will be displayed permanently in the Hall as well

Remember this special contribution as a unique gift for a birthday, anniversary,

retirement, or for the holidays. It will insure the enjoyment of ^? BSO concerts not only for this season , as the orchestra

begins its second century, but for years to come. Further, it provides a rare opportunity for a very personal association BOSTON j SYMPHONY with the Orchestra. I ORCHESTRA \^SEIJIE,J OZAWAOZAWA^ Please, won't you be seated? X*f ' i 7 Music JJT fey^ \)ir,ctor ^ For further information please contact the Development Office in , Symphony Hall, (617) 266-1492. \~rLn£ i/-*E%±Lan

A Distinctive Selection of Oriental Rugs and Wall Hangings

1643 Beacon Street, Waban Square

Hours: Tues-Sat 11-5, Thurs Evenings til 8 Phone (617) 964-2686

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You'll need only "Three Words* to describe how you live... .Duck after

Dvorak care-free lifesyle that A Elegant French cuisine, ensures privacy, security and conveniences as well as reservations recommended. 354-1234 unrivaled amenities to complement the diversified SWAMPSCOTT- living needs of today. Enjoy this incredibly secluded world of single family residences clustered on a lush former North Shore estate uniquely offering comprehensive grounds and exterior home mainten- ance, pool and tennis. One Salem Street..the address that says it all. Prices starting at $221,000. DIRECTIONS: From Route 128, Exit onto Route 129 - Lynn, Swampscott Left at DERTADC Route 1 A - Paradise Road. Right at Vlnnln Square, onto Salem Street past the Tedesco Country Club.

From Boston Take Route 1 A to Swampscott Nahant Exit along Lynn Shore Drive to Humphrey Street Swampscott Turn Left onto Salem Street CYNTHIA PIERCE ASSOCIATES in the Sheraton-Commander Hotel Exclusive Realtor One Salem St., Swampscott MA 01907 16 Garden St., Cambridge (61 7) 581-5070

60 Symphony Hall Information

FOR SYMPHONY HALL CONCERT AND concerts (subscription concerts only). The con-

TICKET INFORMATION, call (617) tinued low price of the Saturday tickets is 266-1492. For Boston Symphony concert pro- assured through the generosity of two anony- gram information, call "GONOE-RT." mous donors. The Rush Tickets are sold at $4.50 each, one to a customer, at the Sym- THE BOSTON SYMPHONY performs ten phony Hall West Entrance on Fridays begin- months a year, in Symphony Hall and at ning 9 a.m. and Saturdays beginning 5 p.m. Tanglewood. For information about any of the orchestra's activities, please call Symphony LATECOMERS will be seated by the ushers

Hall, or write the Boston Symphony Orches- during the first convenient pause in the pro- tra, Symphony Hall, Boston, MA 02115. gram. Those who wish to leave before the end of the concert are asked to do so between THE EUNICE S. AND JULIAN COHEN program pieces in order not to disturb other ANNEX, adjacent to Symphony Hall on patrons. Huntington Avenue, may be entered by the Symphony Hall West Entrance on SMOKING IS NOT PERMITTED in any part Huntington Avenue. of the Symphony Hall auditorium or in the surrounding FOR SYMPHONY HALL RENTAL INFOR- corridors. It is permitted only in the Cabot-Cahners and Hatch rooms, and in MATION, call (617) 266-1492, or write the the main lobby on Massachusetts Avenue. Hall Manager, Symphony Hall, Boston, MA 02115. CAMERA AND RECORDING EQUIP- MENT may not be brought into Symphony THE BOX OFFICE is open from 10 a.m. until Hall during concerts. 6 p.m. Monday through Saturday,- on concert evenings, it remains open through intermis- FIRST AID FACILITIES for both men and sion for BSO events or just past starting-time women are available in the Cohen Annex for other events. In addition, the box office near the Symphony Hall West Entrance on opens Sunday at 1 p.m. when there is a con- Huntington Avenue. On-call physicians cert that afternoon or evening. Single tickets attending concerts should leave their names for all Boston Symphony concerts go on sale and seat locations at the switchboard near the twenty-eight days before a given concert once Massachusetts Avenue entrance. a series has begun, and phone reservations will be accepted. For outside events at Symphony Hall, tickets will be available three weeks before the concert. No phone orders will be accepted for these events. s4 distent Soutlieewt ;4&Ccik tteat

TICKET RESALE: If for some reason you are unable to attend a Boston Symphony concert for which you hold a ticket, you may make T?Amandalay your ticket available for resale by calling the switchboard. This helps bring needed revenue BURMESE RESTAURANT to the orchestra and makes your seat available to someone wants to t who attend the concert. (o* Pie -T&eatoe ?ecwU A mailed receipt will acknowledge your tax- deductible contribution.

RUSH SEATS: There are a limited number of 329 HUKTIHGTOH AVtNUC BOSTON HASSACHUStTTS 02IIS 2C7-2111 lt-o blocks ~««t ol Symphony Rush Tickets available for the Friday after- HalW noon and Saturday evening Boston Symphony

61 All our services are free c — no strings attached. Uvely(^rts

We perform a veritable of travel July 1 - 24 & Aug. 7-14 symphony ... at Skidmore College, Saratoga Springs, N.Y. arrangements at no extra charge to you. July 10-17 Travel is our forte; at Mt. Holyoke College, South Hadley, Mass. Garberisourname or July 17 - 24 Give us a call—734- at Williams College, Williamstown, Mass. 21 00-and we'll

For a memorable experience, enjoy a get in tune with week or extended weekend vacation with your travel needs. the arts! Our unique program includes per- Main Office: 1406 Beacon St., Brookline formances by The Philadelphia Orchestra, New York City Ballet, Boston Symphony, and Williamstown Theater Company, plus a great jazz weekend featuring star perform- ers. Also included are seminars in philoso- phy, literature, economics, art history, mu- sic, and drama. Excellent facilities for swimming, tennis and golf are available for sports enthusiasts. Accommodations include modern dorm- itories and apartments. and Suite... Write for a brochure. ALLENS LANE ART CENTER (dept B) Aliens Lane and McCallum St. Phila., PA. 19119 (215) 248-0546

Handsomely furnished Executive Office Suites are available in the Statler Office Building, adjoining the Boston Park Plaza Hotel, on a dailv, weekly or monthly basis.

We offer everything you need for immediate operation:

Telephone Answering Service • Secretarial Service and Dictaphone

Telex • Telecopier • Conference Room with Movie Screen Your Company Name on the Lobby Directory • Photocopier

PLUS We offer everything you want in the way of extras:

Room Service • Convenient Parking Nearby Valet .Service • Four Restaurants on the Premises

For information, please call Joanne 1 Baker (617)426-9890 Jacques htaitrS Saunders & Associates, AMO Exclusive Leasing and Managing Agents Continental Cuisine on the Charles

I <) b.tncrsun I'Uue Boston 742-1180

62 WHEELCHAIR ACCESS to Symphony Hall is BOSTON SYMPHONY BROADCASTS: Con- available at the West Entrance to the Cohen certs of the Boston Symphony Orchestra are Annex. heard by delayed broadcast in many parts of the United States and Canada, as well as inter- AN ELEVATOR is located outside the Hatch nationally, through the Boston Symphony and Cabot-Cahners rooms on the Massachu- Transcription Trust. In addition, Friday after- setts Avenue side of the building. noon concerts are broadcast live by WGBH-

FM (Boston 89.7), WMEA-FM (Portland 90.1), LADIES' ROOMS are located on the orchestra WAMC-FM (Albany 90.3), WMEH-FM level, audience-left, at the stage end of the (Bangor 90.9), and WMEM-FM (Presque Isle hall, and on the first-balcony level, audience- 106.1). Live Saturday-evening broadcasts are right, outside the Cabot-Cahners Room near carried by WGBH-FM, WCRB-FM (Boston the elevator. 102.5), WFCR-FM (Amherst 88.5), WPBH-FM (Hartford 90.5), and WNPR-FM (Norwich MEN'S ROOMS are located on the orchestra 89.1). If Boston Symphony concerts are not level, audience-right, outside the Hatch Room heard regularly in your home area and you near the elevator, and on the first-balcony would like them to be, please call WCRB level, audience-left, outside the Cabot-Cahners Productions at (617) 893-7080. WCRB will be Room near the coatroom. glad to work with you and try to get the BSO on the air in your area. COATROOMS are located on the orchestra and first-balcony levels, audience-left, outside BSO FRIENDS: The Friends are supporters of the Hatch and Cabot-Cahners rooms. The the Boston Symphony, active in all of its

BSO is not responsible for personal apparel or endeavors. Friends receive BSO, the orchestra's other property of patrons. newsletter, as well as priority ticket informa- tion. For information, please call the Friends' LOUNGES AND BAR SERVICE: There are Office at Symphony Hall weekdays between two lounges in Symphony Hall. The Hatch 9 and 5. If you are already a Friend and would Room on the orchestra level and the Cabot- like to change your address, please send your Cahners Room on the first-balcony level serve new address with your newsletter label to the drinks starting one hour before each perform- Development Office, Symphony Hall, Boston, ance. For the Friday afternoon concerts, both MA 02115. Including the mailing label will rooms open at 12:15, with sandwiches avail- assure a quick and accurate change of address able until concert time. in our files. DALTON'S HAS A GREAT MEAL MAPPED OUT FOR YOU.

The Back Bay's newest, most exciting restaurant is the place to go before or after the symphony. Serving everything from light snacks and full dinners to special

coffees and delicious desserts 'til midnight. Dalton's Cafe and Wine Exchange. So close, you can taste it. At The ^ m jjj& Back Bay Hilton, Dalton and Belvidere 1 r\ 1 4* /\Wr Streets, Boston, MA 02115 (617)236-1100. DaltoifsCafo Garage parking available. J-/and wine exchange ^J

63 .

SINCE 1792, FAMILIES HAVE PUT THEIR BvOSl N Thrift and foresight have been bringing families to State fUTE Street for generations

' servi ces 3re sought out because we are more than a J iJlil E Our CTDKT discreet and attentive trustee. We also provide particularly J I KEE • well-informed investment management. Whether your objective is the education of your children, a secure retirement, or preservation of capital, we will work closely with you and your lawyer to devise a suitable trust. Naturally, you are welcome to participate in all decisions, or you may choose to leave matters in our care. Whichever you decide, you will be kept regularly apprised of the pro- gress of your account. We invite you to put your trust in us. Call S. Walker Merrill, Jr., Senior Vice President, Investment Management. (617) 786-3279. State Street Bank and Trust Company. Quality since 1792. '9 StateStreet

State Street Bank and Trust Company, wholly-owned subsidiary of State Street Boston Corporation, 225 Franklin Street, Boston, MA 02101. Offices in Boston, New York, San Francisco, London, Munich, Hong Kong, Singapore. Member FDIC. © Copyright State Street Boston Corporation 1982.

64 ! I I i

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pride. It's a family tradition. Like * **»-*< father, like son, like grandson. The good things in life stay that way J;

Authentic. - The Dewar Highlander

BLENDED SCOTCH WHISKY • 86.8 PROOF • § 1982 SCHENLEY IMPORTS CO., N.Y. N.Y. BIANCHI '£•/? Z.)l CCH

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tMPORTEO BY

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Catch of the day. Now you can bring home the Italian white wine that's so light and refreshing, the French - and who should know better - rated it best of all wines in Europe with fish. Bianchi Verdicchio. Surprisingly inexpensive, it's now »r in America at your favorite restaurant or store. Bianchi Verdicchio Imported by Pastene Wine & Spirits Co., Inc., Somerville, MA. Also available in party-size magnums.

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