Boston Symphony Orchestra Concert Programs, Season 120, 2000

Symphony Hall Centennial Season 2000-200 BOSTON SYMPHONY OR

SEIJI OZAWA ^§f MUSIC DIRECTOR

BERNARD HAITINK PRINCIPAL GUEST CONDUCTOR

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Trustees of the Boston Symphony Orchestra, Inc.

Peter A. Brooke, Chairman Dr. Nicholas T. Zervas, President

Julian Cohen, Vice-Chairman Harvey Chet Krentzman, Vice-Chairman Deborah B. Davis, Vice-Chairman Vincent M. O'Reilly, Treasurer Nina L. Doggett, Vice-Chairman Ray Stata, Vice-Chairman

Harlan E. Anderson John F. Cogan, Jr. Edna S. Kalman Mrs. Robert B. Newman Diane M. Austin, William F. Connell Nan Bennett Kay, Robert P. O'Block

ex-officio Nancy J. Fitzpatrick ex-officio Peter C. Read Gabriella Beranek Charles K. Gifford George Krupp Hannah H. Schneider

Jan Brett Avram J. Goldberg R. Willis Leith, Jr. Thomas G. Sternberg Paul Buttenwieser Thelma E. Goldberg Ed Linde Stephen R. Weiner James F. Cleary Julian T. Houston Richard P. Morse

Life Trustees

Vernon R. Alden Mrs. Edith L. Dabney Mrs. George I. Kaplan Mrs. George Lee Sargent

David B. Arnold, Jr. Nelson J. Darling, Jr. George H. Kidder Richard A. Smith J. P. Barger Archie C. Epps Mrs. August R. Meyer John Hoyt Stookey

Leo L. Beranek Mrs. John H. Fitzpatrick William J. Poorvu John L. Thorndike Abram T. Collier Dean W. Freed Irving W. Rabb

Other Officers of the Corporation Thomas D. May and John Ex Rodgers, Assistant Treasurers Suzanne Page, Clerk of the Board

Board of Overseers of the Boston Symphony Orchestra, Inc.

Nan Bennett Kay, Chair

Helaine B. Allen Francis A. Doyle Steven E. Karol Millard H. Pryor, Jr.

Joel B. Alvord Goetz B. Eaton Frances Demoulas Patrick J. Purcell Marjorie Arons-Barron Jane C. Edmonds Kettenbach Carol Reich Caroline Dwight Bain William R. Elfers Douglas A. Kingsley Alan Rottenberg

George W. Berry George M. Elvin Robert Kleinberg Edward I. Rudman Mark G. Borden Pamela D. Everhart David I. Kosowsky Michael Ruettgers

William L. Boyan J. Richard Fennell Dr. Arthur R. Kravitz Carol Scheifele-Holmes Alan Bressler Lawrence K. Fish Mrs. William D. Roger T Servison Robin A. Brown Myrna H. Freedman Larkin, Jr. Ross E. Sherbrooke Samuel B. Bruskin A. Alan Friedberg Barbara Leet L. Scott Singleton William Burgin Dr. Arthur Gelb Thomas H. Lee Gilda Slifka

Dr. Edmund B. Cabot Mrs. Kenneth J. Alexander M. Levine Mrs. Micho Spring Mrs. Marshall Nichols Germeshausen Christopher J. Lindop Charles A. Stakeley Carter Robert P. Gittens Edwin N. London Jacquelynne M. Earle M. Chiles Michael Halperson Diane H. Lupean Stepanian Mrs. James C. Collias John P. Hamill John A. MacLeod II Samuel Thorne Eric D. Collins Ellen T Harris Carmine Martignetti Bill Van Faasen Ranny Cooper Deborah M. Hauser Barbara E. Maze Loet A. Velmans Martha H.W. Carol Henderson Thomas McCann Paul M. Verrochi Crowninshield Anne C. Hodsdon Patricia McGovern Larry Weber Diddy Cullinane Phyllis S. Hubbard Joseph C. McNay Stephen R. Weber Joan P. Curhan F. Donald Hudson Dr. Martin C. Mihm, Jr. Robert S. Weil Robert W Daly Roger Hunt Nathan R. Miller Robert A. Wells Tamara P. Davis Ernest Jacquet Molly Beals Millman Mrs. Joan D. Wheeler Mrs. Miguel de Lola Jaffe Robert T. O'Connell Reginald H. White Braganca Mrs. Robert M. Jaffe Norio Ohga Margaret Williams-

Disque Deane Charles H. Jenkins, Jr. Louis F. Orsatli DeCelles Betsy P. Demirjian Michael Joyce May H. Pierce Robin Wilson JoAnne Walton Martin S. Kaplan Dr. Tina Young Robert Winters Dickinson Susan Beth Kaplan Poussaint Kathryn A. Wong Harry Ellis Dickson William M. Karlyn Gloria Moody Press Richard Wurtman, M.D. Overseers Emeriti

Mrs. Weston Adams t Jordan Golding Robert K. Kraft Robert E. Remis Sandra Bakalar Mark R. Goldweitz Benjamin H. Lacy Mrs. Peter van S. Rice Lynda Schubert Bodman Mrs. Haskell R. Hart D. Leavitt John Ex Rodgers William M. Bulger Gordon Laurence Lesser Mrs. Jerome Rosenfeld Mrs. Levin H. Campbell Susan D. Hall Frederick H. Angelica L. Russell Johns H. Congdon Mrs. Richard D. Hill Lovejoy, Jr. Roger A. Saunders

William H. Congleton Susan M. Hilles Mrs. Charles P. Lyman Francis P. Sears, Jr. Phyllis Curtin Glen H. Hiner C. Charles Marran Mrs. Carl Shapiro Phyllis Dohanian Marilyn Brachman Mrs. Harry L. Marks Mrs. Donald B. Sinclair Harriett Eckstein Hoffman Hanae Mori Mrs. Arthur I. Strang Edward Eskandarian H. Eugene Jones Patricia Morse Mrs. Thomas H.P Peter H.B. Leonard Kaplan Mrs. Hiroshi H. Nishino Whitney Frelinghuysen Mrs. S. Charles Kasdon John A. Perkins Mrs. Donald B. Wilson Mrs. Thomas Richard L. Kaye David R. Pokross Mrs. John J. Wilson Galligan, Jr. Mrs. Gordon F. Daphne Brooks Prout Mrs. James Garivaltis Kingsley tDeceased

Business Leadership Association Board of Directors

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

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

Lynda S. Bodman Lawrence K. Fish Christopher J. Lindop Patrick J. Purcell Robin A. Brown Bink Garrison Carmine Martignetti Roger T. Servison Diddy Cullinane John P. Hamill Thomas May Ray Stata

Francis A. Doyle Steven E. Karol J. Kent McHose William Van Faasen William R. Elfers Edmund Kelly Joseph McNay Paul M. Verrochi

Ex-Officio Peter A. Brooke, Nicholas T Zervas, Nan Bennett Kay

Officers of the Boston Symphony Association of Volunteers Diane M. Austin, President Muriel Lazzarini, Executive Vice-President/ William A. Along, Executive Vice-President/ Tanglewood Administration Charles W. Jack, Treasurer Nancy Ferguson, Executive Vice-President/ Linda M. Sperandio, Secretary Fundraising Doreen M. Reis, Nominating Committee Chairman

Maureen Barry, Symphony Shop Richard D. Dixon, Education Ann M. Philbin, Fundraising Staffing and Outreach Projects Melvin R. Blieberg, Tanglewood Michael Flippin, Resource Mary Marland Rauscher, Christina M. Bolio, Public Development Hall Services Relations Donna Riccardi, Membership

Table of Contents CELEBRATING THE SYMPHONY HALL CENTENNIAL More From the Stage 12 From Our Audience 13 Symphony Hall Centennial Exhibit 16 Tanglewood 2001 20 This week's Boston Symphony Orchestra program 23 Featured Artist 53

2000-2001 Season Summary ' 54 Symphony Hall Information 79

This week's Pre-Concert Talks are given by Harlow Robinson, Northeastern University.

Programs copyright ©2001 Boston Symphony Orchestra, Inc. Cover design by Sametz Blackstone Associates, Boston/Cover photograph by Peter Vanderwarker Administration Mark Volpe, Managing Director Eunice and Julian Cohen Managing Directorship, fullyfunded in perpetuity Tony Beadle, Manager, Boston Pops Thomas D. May, Director of Finance and

J. Carey Bloomfield, Director of Development Business Affairs Anthony Fogg, Artistic Administrator Kim Noltemy, Director of Sales and Marketing Marion Gardner-Saxe, Director of Human Resources Caroline Smedvig Taylor, Director of Public Ellen Highstein, Director of Tanglewood Music Center Relations and Marketing Ray F. Wellbaum, Orchestra Manager ADMINISTRATIVE STAFF/ARTISTIC

Karen Leopardi, Artist Assistant/Secretary to the Music Director • Vincenzo Natale, Chauffeur/Valet • Suzanne Page, Assistant to the Managing Director/Manager of Board Administration • Alexander Steinbeis, Artistic Administration Coordinator

ADMINISTRATIVE STAFF/PRODUCTION Christopher W. Ruigomez, Operations Manager Felicia A. Burrey, Chorus Manager • Keith Elder, Production Coordinator • Stephanie Kluter, Assistant to the Orchestra Manager • Timothy Tsukamoto, Orchestra Personnel Coordinator

BOSTON POPS Dennis Alves, Director of Programming, Boston Pops Jana Gimenez, Production Manager, Boston Pops • Sheri Goldstein, Assistant to the Conductor, Boston Pops • Julie Knippa, Assistant to the Manager, Boston Pops • Stephanie Ann McCarthy, Assistant to the Director of Programming, Boston Pops

BUSINESS OFFICE

Sarah J. Harrington, Director of Planning and Budgeting Craig R. Kaplan, Controller Leslie Bissaillon, Manager, Glass Houses, Tanglewood Roberta Kennedy, Manager, Symphony Shop Lamees Al-Noman, Cash Accountant • Yaneris Briggs, Accounts Payable Supervisor • Michelle Green, Executive Assistant to the Director of Finance and Business Affairs • Maya Levy, Budget Assistant • Pam Netherwood, Assistant Manager, Symphony Shop • John O'Callaghan, Payroll Accountant • Mary Park, Budget Analyst • Harriet Prout, Staff Accountant • Taunia Soderquist, Assistant Payroll Accountant/ Accounting Clerk DEVELOPMENT Jo Frances Kaplan, Director of Foundation and Government Support Michael Newton, Director of Corporate Programs Elizabeth P. Roberts, Director of Individual Giving Tracy Wilson, Director of Tanglewood Community Relations and Development Liaison

Jill Ashton, Executive Assistant to the Director of Development • Howard L. Breslau, Senior Major Gifts Officer • Judi Taylor Cantor, Director of Planned Giving • Diane Cataudella, Manager of Stewardship Pro- grams • Rebecca R. Crawford, Director of Development Communications • Sally Dale, Director of Steward- ship and Development Administration • Elizabeth Drolet, Senior Major Gifts Officer • Adrienne Ericsson, Grants Coordinator • Sandy Eyre, Assistant Director, Tanglewood Development • Sarah Fitzgerald, Super- visor of Gift Processing and Donor Records • Michelle Giuliana, Administrative Assistant, Corporate Pro- grams • Julie Hausmann, Associate Director, Boston Symphony Annual Fund • Deborah Hersey, Director of Development Services and Technology • Laura Hoag, Program Coordinator, Corporate Programs • Blaine Hudson, Major Gifts Coordinator • Justin Kelly, Data Production Coordinator • Patricia Kramer, Associate Director, Corporate Programs • Katherine Leeman, Annual Fund Coordinator • Barbara Levitov, Director of Development Events • Naomi Marc, Stewardship Program Coordinator • Meredith McCarroll, Tangle- wood Development Coordinator • Destiny McDonald, Major Gifts Coordinator • Gerrit Petersen, Associate

Director, Foundation and Government Support • George Saulnier, Gift Processing and Donor Records Coordi- nator • Julie Schwartz, Director, Boston Symphony Annual Fund • Phoebe Slanetz, Associate Director of Development Research • Mary E. Thomson, Program Manager, Corporate Programs • Adea Wood, Recep- tionist/Administrative Assistant EDUCATION AND COMMUNITY PROGRAMS/ARCHIVES Myran Parker-Brass, Director of Education and Community Programs Bridget P. Carr, Archivist—Position endowed by Caroline Dwight Bain Amy Brogna, Coordinator of Education Programs • Leslie Wu Foley, Community Programs Administrator • Walter Ross, Educational Activities Assistant

:\ EVENT SERVICES

Cheryl Silvia Lopes, Director of Event Services

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

Anne Marie Coimbra, Human Resources Manager • Dorothy DeYoung, Benefits Manager INFORMATION TECHNOLOGY

Robert Bell, Director of Information Technology Andrew Cordero, Special Projects Coordinator • John Lindberg, Help Desk Administrator • Michael Pijoan, Assistant Director of Information Technology • Brian Van Sickle, Software Support Representative PUBLIC RELATIONS

Bernadette M. Horgan, Director of Media Relations

Sean J. Kerrigan, Associate Director of Media Relations • Jonathan Mack, Media Relations Associate • Amy E. Rowen, Media Relations Assistant/Assistant to the Director of Public Relations and Marketing • Kate Sonders, Staff Assistant

PUBLICATIONS

Marc Mandel, Director of Program Publications Robert Kirzinger, Publications Associate • Eleanor Hayes McGourty, Publications Coordinator/Boston Pops Program Editor

SALES, SUBSCRIPTION, AND MARKETING Gretchen Borzi, Marketing Coordinatorfor Print Production and Retail Promotion • Richard Bradway, Manager of Internet Marketing • Helen N.H. Brady, Director of Group Sales • David Carter, Subscription Representative • Susan Dunham, Subscription Representative • Kerry Ann Hawkins, Graphic Designer • Susan Elisabeth Hopkins, Graphic Designer • Faith Hunter, Group Sales Manager • Chloe Insogna, SymphonyCharge Coordinator • James Jackson, Call Center Manager • Amy Kochapski, Assistant Sub- scription Manager • Michele Lubowsky, Subscription Representative • Mara Luzzo, Manager of Subscriptions and Telemarketing Programs • Jason Lyon, SymphonyCharge Assistant Manager • Mary MacFarlane, Assistant Call Center Manager • Sarah L. Manoog, Marketing Manager • Michael Miller, SymphonyCharge Manager • Danielle Pelot, Marketing Coordinator for Advertising and Tourism Promotion

Box Office Russell M. Hodsdon, Manager • Kathleen Kennedy, Assistant Manager • Box Office

Representatives Mary J. Broussard • Cary Eyges • Lawrence Fraher • Arthur Ryan SYMPHONY HALL OPERATIONS Robert L. Gleason, Director of Hall Facilities H.R. Costa, Technical Supervisor • Michael Finlan, Switchboard Supervisor • Wilmoth A. Griffiths, Supervisor of Facilities Support Services * Catherine Lawlor, Administrative Assistant • John MacMinn, Supervisor of Building Maintenance • Cleveland Morrison, Stage Manager • Shawn Wilder, Mailroom Clerk

House Crew Charles F. Cassell, Jr. • Francis Castillo • Thomas Davenport • John Demick, Stage Coordinator • Michael Frazier • Hank Green • Juan Jimenez • William P. Morrill • Mark C. Rawson Security Christopher Bartlett • Matthew Connolly, Security Supervisor • Tyrone Tyrell Cleaning Crew Desmond Boland • Clifford Collins • Angelo Flores • Rudolph Lewis • Lindel Milton, Lead Cleaner • Dolores Morales TANGLEWOOD MUSIC CENTER

Patricia Brown, Associate Director • Marjorie Chebotariov, Manager of Student Services • Julie Giattina, Coordinator • Brian Wallenmeyer, Scheduler TANGLEWOOD OPERATIONS

David P. Sturma, Director of Tanglewood Facilities and BSO Liaison to the Berkshires VOLUNTEER OFFICE

Patricia Krol, Director of Volunteer Services

Paula Ramsdell, Project Coordinator • Emily Smith, Administrative Assistant certs, 12:15 p.m. prior to afternoon concerts, BSO and one hour before the start of morning and evening Open Rehearsals. For the season's Corigliano's Symphony No. final concerts this week, Harlow Robinson Commission, Wins a BSO of Northeastern University discusses music Pulitzer Prize in Music of Mahler and Shostakovich (May 1, 4). John Corigliano's Symphony No. 2 for String Orchestra, a BSO commission given its world Parking Near Symphony Hall: premiere performances by Seiji Ozawa and A Note to Our Patrons the Boston Symphony Orchestra in Boston The BSO has recently been notified by the and New York this past November and De- City of Boston that there will be increased cember, received the 2000 Pulitzer Prize in enforcement of local parking regulations in music, announced April 17, 2001. Corigli- the Fenway and South End neighborhoods ano's symphony was one of several pieces adjacent to Symphony Hall. We want our commissioned by the BSO to celebrate Sym- patrons to be aware of this situation, since phony Hall's Centennial Season. The Pulitz- cars parked in residential, handicapped, or er Prize in music is given each year "for a other restricted spaces are likely to be tick- piece of significant dimension by an Ameri- eted. On-street parking is extremely limited can that has had its first performance in the around Symphony Hall, so the BSO urges United States during the year." Other final- its patrons to take advantage of public park- ists for the year 2000 were Stephen Hartke's ing facilities in the area. The Prudential Tituli and Fred Lerdahl's Time After Time. Center Garage offers discounted parking to any BSO patron with a ticket stub for eve- Boston Symphony Chamber Players ning performances. Two paid parking garages European Tour, May 9-22, 2001 are located on Westland Avenue near Sym- Beginning next week, the Boston Symphony phony Hall. As a special benefit, guaranteed,

Chamber Players will make their first tour of pre-paid parking is available to subscribers Europe in nearly a decade, performing ten who attend evening concerts. Thank you for concerts in ten cities, in Germany, Switz- your cooperation in helping the BSO in its erland, France, Austria, and Spain. In ad- ongoing efforts to remain a good neighbor to dition to Osvaldo Golijov's Lullaby and our fellow citizens in the Fenway district. Doina, a BSO commission for the Chamber For more information on parking near Sym-

Players that had its world premiere as part phony Hall, please call the BSO Subscrip- of their season-closing Jordan Hall concert tion Office at (617) 266-7575. on April 29, the tour programs will include music of Beethoven, Brahms, Janacek, Moz- With Thanks art, and Stravinsky. Though they performed The BSO is the recipient this season of an in London and Paris in December 1993, the operating grant from the Massachusetts Chamber Players made their most recent Cultural Council, which is being used to full tour of Europe in May 1992. Their most help underwrite the cost of winter season recent international tour was in May 1998, concerts. The mission of the Council is to when they performed in South America. The promote excellence, access, education, and Boston Symphony Chamber Players' 2001 diversity in the arts, humanities, and inter- European tour is sponsored in part by EMC pretive sciences in order to improve the Corporation. quality of life for all Massachusetts residents and contribute to the economic vitali- Pre-Concert Talks ty of our communities. A state agency, the Pre-Concert Talks available free of charge Massachusetts Cultural Council receives an to BSO ticket holders continue before all annual appropriation from the Common- BSO subscription concerts and Open Re- wealth, as well as support from the National hearsals this season in Symphony Hall. Endowment for the Arts. These begin at 7 p.m. prior to evening con- In addition to grants from the Massachu- Life Care Center Life Care Center Life Care Center Whytebrook Terrace of Attleboro of Merrimack Valley of the South Shore 401-233-2880 508-222-4182 978-667-2166 781-545-1370 Life Care Center

Life Care Center Life Care Center Life Care Center of Wilbraham of Auburn of Nashoba Valley of Stoneham 413-596-3111 508-832-4800 978-486-3512 781-662-2545 Life Care at Home, Cherry Hill Manor Life Care Center Suburban Manor Home Care Nursing and of the North Shore Rehabilitation 1-800-299-2208 Rehabilitation 781-438-3250 Center Center 978-263-9101 Life Care Center Life 401-231-3102 |y| of Plymouth The Oaks Care Evergreen House 508-747-9800 Nursing Center Centers Health Center 508-998-7807 of Arnerica Life Care Center 401-438-3250 of Raynham Life Care Center TTLife Care at 508-821-5700 of West Bridgewafer JflOrilC 508-580-4400

Skilled Nursing : Rehabilitation > Long Term Care Assisted Living : Home Care setts Cultural Council, the BSO receives signed by Krent/Paffett Associates in Boston project support from local and federal agen- and fabricated by Mystic Scenic Design in cies, including the Boston Cultural Council Dedham. and the National Endowment for the Arts. The BSO has also been the beneficiary of BSO Members in Concert project funding through the federal budget Founded by BSO violinist Wendy Putnam, appropriations process, including support the Concord Chamber Music Society con- for expansion of BSO educational programs cludes its 2000-01 season with music of from the U.S. Department of Education and Haydn, Dvorak, and Barber performed by funds for the upcoming restoration and reno- the Muir String Quartet—violinists Peter vation of Symphony Hall through the "Save Zazofsky and Lucia Lin, violist Steven America's Treasures" fund and the federal Ansell, and cellist Michael Reynolds—on highway department. We are extremely Sunday, May 6, at 2:30 p.m. at Trinity Epis- grateful to the Massachusetts congressional copal Church on Elm Street in Concord. delegation, especially Senator Edward M. Tickets are $16 ($8 students and seniors). Kennedy and Congressmen John Joseph For more information visit the CCMS web- Moakley and Michael E. Capuano, and their site at www.concordchambermusic.org. outstanding staffs in Boston and Washing- ton, for sponsoring legislation supporting Tours of Symphony Hall the BSO and its mission. If you would like to join us in thanking our state or federal Throughout the Symphony Hall Centennial elected officials for their role in furthering Season, the BSO offers free public tours of the mission of the BSO, or would like infor- Symphony Hall on the first Saturday of each mation on how you can help support public month at 1:30 p.m., Tuesdays at 9 a.m., and funding for the arts, please contact Jo Frances Wednesdays at 4:30 p.m. Tours begin at the Kaplan, Director of Foundation and Govern- Massachusetts Avenue entrance on Tues- ment Support, by phone at (617) 638-9462 days, and at the Cohen Wing entrance on or via e-mail at [email protected]. Wednesdays and Saturdays. For further information, or to schedule group tours, please BSO Portraits Display contact the Volunteer Office at (617) 638- 9390. As part of this season's Symphony Hall Centennial Celebration, a display of formal Ticket Resale portrait photographs of the BSO's entire current membership has been mounted in the Please remember that subscribers unable orchestra-level corridor nearest the Cohen to attend a particular BSO concert in their Wing. The photo collection that previously series may call (617) 638-9426 up to thirty included Seiji Ozawa along with past BSO minutes before the concert to make their and Pops conductors, formerly mounted in tickets available for resale. This not only that space, has been refurbished and incor- helps bring needed revenue to the orchestra, porated into the new display. Photographer it also makes your seat available to someone Betsy Bassett took the black-and-white BSO who might otherwise be unable to attend the member photographs as the initial step to- concert. You will receive a mailed receipt ward production of a new book of BSO mem- acknowledging your tax-deductible contri- ber profiles. The display system was de- bution within three weeks of your call.

^^M SEIJI OZAWA

The 2000-2001 season is Seiji Ozawa's twenty-eighth as music director of the Boston Symphony Orchestra. Since becoming the BSO's music director in 1973 he has devoted himself to the orchestra for more than a quarter-century, the longest tenure of any music director currently active with a major orchestra, and paralleled in BSO history only by the twenty-five-year tenure of the legendary Serge Koussevitzky. In recent years, numerous honors and achievements have underscored Mr. Ozawa's standing on the international music scene. In December 1998, Mr. Ozawa was named a Chevalier de la Legion d'Honneur by French President Jacques Chirac, recognizing not only his work as a conductor, but also his support of French composers, his devotion to the French public, and his work at the Paris Opera. In December 1997 he was named "Musician of the Year" by Musical America, the international directory of the performing arts. In February 1998, fulfilling a longtime ambition of uniting musicians across the globe, he closed the Opening Ceremonies at the Winter Olympics in Nagano, Japan, leading the "Ode to Joy" from Beethoven's Ninth Symphony with performers including six choruses—in Japan, Australia, China, Germany, South Africa, and the United States—linked by satellite. In 1994 he became the first recipient of Japan's Inouye Sho (the "Inouye Award," named after this century's preeminent Japanese novelist) recognizing lifetime achievement in the arts. 1994 also saw the inauguration of Seiji Ozawa Hall at Tanglewood, the BSO's summer home in western Massachusetts. At Tanglewood he has also played a key role as both teacher and administrator at the Tanglewood Music Center, the BSO's summer training academy for young professional musicians from all over the world. In 1992 Mr. Ozawa co-founded the Saito Kinen Festival in Matsumoto, Japan, in memory of his teacher at Tokyo's Toho School of Music, Hideo Saito, a central figure in the cultivation of Western music and musical technique in Japan. Also in 1992 he made his debut with the Metropolitan Opera in New York. Besides his concerts throughout the year with the Boston Symphony, he conducts the Berlin Philharmonic and Vienna Phil- harmonic on a regular basis, and appears also with the New Japan Philharmonic, the London Symphony, the Orchestre National de France, La Scala in Milan, and the Vienna Staatsoper. Besides his many Boston Symphony recordings, he has recorded with the Berlin Philharmonic, the Vienna Philharmonic, the Saito Kinen Orchestra, the London Philharmonic, the Orchestre National de France, the Orchestre de Paris, the Philhar- monia of London, the San Francisco Symphony, the Chicago Symphony, and the Toronto Symphony, among others. In the fall of 2002, following that summer's Tanglewood season, he will begin a new phase in his artistic life when he becomes music director of the Vienna State Opera, where he has maintained a long association as a guest conductor leading productions in that house as well as concerts with the Vienna Philharmonic in Vienna, at Salzburg, and on tour. Throughout his tenure as music director of the Boston Symphony, Mr. Ozawa has maintained the orchestra's distinguished reputation both at home and abroad, with concerts in Symphony Hall, at Tanglewood, on tours to Europe, Japan, Hong Kong, China, and South America, and across the United States. He has also upheld the BSO's commitment to new music through the frequent commissioning of new works. In addition, he and the orchestra have recorded nearly 140 works, representing more than fifty different composers, on ten labels. Mr. Ozawa won his first Emmy award in 1976, for the BSO's PBS television series "Evening at Symphony." He received his second Emmy in September 1994, for Individual Achievement in Cultural Programming, for "Dvorak in Prague: A Celebra- tion," a gaja Boston Symphony concert subsequently released by Sony Classical in both audio and video formats. Mr. Ozawa holds honorary doctor of music degrees from the University of Massachusetts, the New England Conservatory of Music, Wheaton College in Norton, Massachusetts, and Harvard University.

8 Born in 1935 in Shenyang, China, Seiji Ozawa studied music from an early age and later graduated with first prizes in composition and conducting from Tokyo's Toho School of Music. In 1959 he won first prize at the International Competition of Orchestra Con- ductors held in Besancon, France. Charles Munch, then music director of the Boston Symphony, subsequently invited him to attend the Tanglewood Music Center, where he won the Koussevitzky Prize for outstanding student conductor in 1960. While working with Herbert von Karajan in West Berlin, Mr. Ozawa came to the attention of Leonard Bernstein, who appointed him assistant conductor of the New York Philharmonic for the 1961-62 season. He made his first professional concert appearance in North America in January 1962, with the San Francisco Symphony. He was music director of the Chicago Symphony Orchestra's Ravinia Festival for five summers beginning in 1964, music director of the Toronto Symphony from 1965 to 1969, and music director of the San Francisco Symphony from 1970 to 1976, followed by a year as that orchestra's music adviser. He conducted the Boston Symphony Orchestra for the first time in 1964, at Tanglewood, and made his first Symphony Hall appearance with the orchestra in January 1968. He became an artistic director of Tanglewood in 1970 and began his tenure as music director of the BSO in 1973, following a year as music adviser. Today, some 80% of the BSO's members have been appointed by Seiji Ozawa. The Boston Symphony itself stands as eloquent testimony not only to his work in Boston, but to Mr. Ozawa's lifetime achievement in music. Mr. Ozawa's compact discs with the Boston Symphony Orchestra include, on Philips, the complete cycle of Mahler symphonies, music of Britten, Ravel, and Debussy with soprano Sylvia McNair, Richard Strauss's Elektra, Schoenberg's Gurrelieder, and Bartok's Concerto for Orchestra and complete Miraculous Mandarin. Among his EMI recordings is the Grammy-winning "American Album" with Itzhak Perlman, including music for violin and orchestra by Bernstein, Barber, and Lukas Foss. Recordings on Deutsche Grammophon include Mendelssohn's complete incidental music to A Midsummer Nights Dream, violin concertos of Bartok and Moret with Anne-Sophie Mutter, and Liszt's piano concertos with Krystian Zimerman. Other recordings include Faure's Requiem, Berlioz's Requiem, Rachmaninoff's Third Piano Concerto with Evgeny Kissin, and Tchaikovsky's opera Pique Dame, on RCA Victor Red Seal; music for piano left-hand and orchestra by Ravel, Prokofiev, and Britten with Leon Fleisher, and Strauss's Don Quixote with Yo-Yo Ma, on Sony Classical; and Beethoven's five piano concertos and Choral Fantasy with Rudolf Serkin, on Telarc. *Aza Raykhtsaum Edward Gazouleas Ruth and Carl J. Shapiro Lois and Harlan Anderson chair, fullyfunded in perpetuity chair, fullyfunded in perpetuity *Bonnie Bewick Robert Barnes David and Ingrid Kosowsky Burton Fine chair Ronald Wilkison * James Cooke Michael Zaretsky Theodore W. and Evelyn Berenson Family chair Marc Jeanneret * Victor Romanul *Mark Ludwig Bessie Pappas chair * Rachel Fagerburg * Catherine French *Kazuko Matsusaka BOSTON SYMPHONY Stephanie Morris Marryott and ORCHESTRA Franklin J. Marryott chair Cellos * 2000-2001 Kelly Barr Jules Eskin Catherine and Paul Principal Buttenwieser chair Philip R. Allen chair, endowed Seiji Ozawa in perpetuity in 1 969 Music Director Mary B. Saltonstall chair Martha Babcock Ray and Maria Stata *Yu Yuan Assistant Principal Kristin and Roger Servison Marion Alden Music Directorship, Vernon and chair chair, endowed in perpetuity fullyfunded in perpetuity in 1977 Second Violins Bernard Haitink Sato Knudsen Haldan Martinson Stephen and Dorothy Weber Principal Guest Conductor Principal chair LaCroix Family Fund Carl Schoenhof Family chair, tjoel Moerschel perpetuity fully funded in fully funded in perpetuity Sandra and David Bakalar Vyacheslav Uritsky chair Assistant Principal Luis Leguia Charlotte and Irving W Rabb Robert Bradford Newman First Violins chair, endowed in perpetuity chair, fullyfunded in perpetuity Malcolm Lowe in 1977 Carol Procter Concertmaster Ronald Knudsen Lillian and Nathan R. Miller Charles Munch chair, Edgar and Shirley Grossman chair fully funded in perpetuity chair Ronald Feldman Tamara Smirnova Joseph McGauley Richard C. and Ellen E. Paine Associate Concertmaster Shirley and J. Richard Fennell chair, fullyfunded in perpetuity Helen Horner Mclntyre chair, chair, fully funded in perpetuity * Jerome Patterson endowed in perpetuity in 1976 Ronan Lefkowitz Charles and JoAnne Dickinson Nurit Bar-Josef David H. and Edith C. Howie chair Assistant Concertmaster chair, fully funded in perpetuity * Jonathan Miller Robert L. Beal, and Enid L. *Sheila Fiekowsky Rosemary and Donald Hudson and Bruce A. Beal chair, Donald C. and Ruth Brooks chair endowed in perpetuity in 1 980 Heath chair, fully funded in *0wen Young Elita Kang perpetuity John F. Cogan, Jr., and Mary Assistant Concertmaster * Jennie Shames L. Cornille chair, fully funded Bertha C. Rose Edward and *Valeria Vilker Kuchment in perpetuity chair *Tatiana Dimitriades *Andrew Pearce Bo Youp Hwang *Si-Jing Huang Gordon and Mary Ford John and Dorothy Wilson * Kingsley Family chair chair, fullyfunded in perpetuity Nicole Monahan Lucia Lin *Wendy Putnam Basses Forrest Foster Collier chair *Xin Ding Edwin Barker Ikuko Mizuno *Sae Shiragami Principal Carolyn and George Rowland * Alexander Velinzon Harold D. Hodgkinson chair, chair endowed in perpetuity in 1974 Amnon Levy Violas Lawrence Wolfe Dorothy Q. and David B. Steven Ansell Assistant Principal Arnold, Jr., chair, fully funded Principal Maria Nistazos Stata chair, in perpetuity Charles S. Dana chair, fully funded in perpetuity *Nancy Bracken endowed in perpetuity in 1970 Joseph Hearne Muriel C. Kasdon and Marjorie Cathy Basrak Leith Family chair, C. Paley chair Assistant Principal fully funded in perpetuity Anne Stoneman chair, fully funded in perpetuity

10 Dennis Roy Bass Clarinet Tuba Joseph and Jan Brett Hearne Craig Nordstrom Chester Schmitz chair Farla and Harvey Chet Margaret and William C. John Salkowski Krentzman chair, fully funded Rousseau chair, fullyfunded Erich and Edith Heymans chair in perpetuity in perpetuity *Robert Olson *James Orleans Bassoons Timpani *Todd Seeber Richard Svoboda Everett Firth Principal Sylvia Shippen Wells chair, Eleanor L. and Levin H. Edward A. chair, endowed endowed in perpetuity in 1974 Campbell chair, fullyfunded Taft in perpetuity in in perpetuity 1974 Suzanne Nelsen Percussion *John Stovall tThomas Richard Ranti Gauger Peter and Anne Brooke chair, Flutes Associate Principal fullyfunded in perpetuity Jacques Zoon Frank Epstein Principal Contrabassoon Peter Andrew Lurie chair, Walter Piston chair, endowed Gregg Henegar fullyfunded in perpetuity in perpetuity in 1970 Helen Rand Thayer chair William Hudgins Fenwick Smith J. Timothy Genis Myra and Robert Kraft chair, Horns Assistant Timpanist endowed in perpetuity in 1 981 James Sommerville Mr. and Mrs. Edward H Linde Elizabeth Ostling Principal chair Associate Principal Helen Sagojf Slosberg/Edna Marian Gray Lewis chair, S. Kalman chair, endowed Harp fully funded in perpetuity in perpetuity in 1974 Richard Sebring Ann Hobson Pilot Principal Piccolo Associate Principal Willona Henderson °Geralyn Coticone Margaret Andersen Congleton Sinclair chair Evelyn and C. Charles Marran chair, fullyfunded in perpetuity chair, endowed in perpetuity in °Daniel Katzen Voice and Chorus 1979 Elizabeth B. Storer chair tjay Wadenpfuhl John Oliver Tanglewood Festival Chorus Oboes John P. II and Nancy S. Eustis Conductor chair, fully funded in perpetuity Alan and Principal Richard Mackey J. Suzanne W. Dworsky chair, fully funded Mildred B. Remis chair, Diana Osgood Tottenham in perpetuity endowed in perpetuity in 1975 chair Mark McEwen Jonathan Menkis James and Tina Collias chair Librarians Keisuke Wakao Trumpets Marshall Burlingame Assistant Principal Principal Charles Schlueter Elaine and Jerome Rosenfeld Lia and William Poorvu chair, Principal chair fullyfunded in perpetuity Roger Louis Voisin chair, William Shisler endowed in perpetuity in 1977 English Horn John Perkel Peter Chapman Robert Sheena Ford H. Cooper chair Beranek chair, fully funded Assistant Conductors Thomas Rolfs in perpetuity Federico Cortese Assistant Principal Anna E. Finnerty chair, Nina L. and Eugene B. Clarinets fully funded in perpetuity Doggett chair William R. Hudgins Ilan Volkov Principal Trombones Ann S.M. Banks chair, endowed Personnel Managers Ronald Barron in perpetuity in 1977 Principal Lynn G. Larsen Scott Andrews J. P. and Mary B. Barger chair, Bruce M. Creditor Thomas and Dola Sternberg fully funded in perpetuity chair Norman Bolter Stage Manager Thomas Martin Arthur and Linda Gelb chair Peter Riley Pfitzinger Associate Principal & Position endowed by E-flat clarinet Bass Trombone Angelica L. Russell Stanton W. and Elisabeth K. Davis chair, fully funded in Douglas Yeo perpetuity John Moors Cabot chair, fully in perpetuity funded * Participating in a system of rotated seating $On sabbatical leave "On lean-

11 .

Celebrating the Symphony Hall Centennial

More From the Stage . .

Symphony Hall is one of the world's most magnificent concert halls—to play in, to look at, and to listen in. One can sit back and look up at the magnificent ceiling, the statu-

ary, and other details, all of it a joy to behold. Another of my great joys in coming to work is the social aspect of my time here, the give and take with my colleagues, and my friendships with so many of them. And in addition to my colleagues, there are the many great soloists and conductors with whom I've worked in my thirty-five years here, all of which has added to the depth of my musical experience. —Jules Eskin BSO principal cellist

Some halls can sound very well for the musicians, but in the audience the sound may be dry, meager, or thin. The opposite also can happen—the sound can be dry on stage, but actually quite nice in the audience. Symphony Hall's acoustic is very enjoyable for both the musicians on stage and the audience. The quality of the softest pianissimo is maintained into the farthest corners of the hall. Because of this, the musicians can play with great refinement, without having to force the sound unnaturally. Symphony Hall asks for quality, not quantity. In the Concertgebouw in Amsterdam, a sound that seems harsh on stage may still sound round and warm. In Symphony Hall, however, the harshness will still be present. The character of the hall is warm, without

predominating over the sound itself: it sus- tains all of the different colors produced by the musicians. This allows great intimacy between audience and musicians, with a very lively musical outcome.

Rush ticket line at Symphony Hall, —Jacques Zoon probably in the 1930s BSO principal flute

I will never forget my first impression of Symphony Hall. It was when I came for my

BSO audition, and I had been performing at the acoustically terrible Constitution Hall in Washington, D.C., as a member of the Washington National Symphony. I was told to warm up on the Symphony Hall stage on the harp that was there, and when I started to

play, I thought that two or three harpists must be playing with me. The sound was so resonant and warm. —Ann Hobson Pilot BSO principal harp

Full, satisfying, rich, embracing, holographic, honest, supportive, faithful, intimate, grand, and inviting, Symphony Hall holds you in the palm of its hand and makes you feel as though you can play forever. Long live Symphony Hall! —Norman Bolter BSO trombonist

Before joining the BSO, I was a member of the Montreal Symphony Orchestra for many

years. I had been there for two or three seasons when we came to play at Symphony Hall during a long American tour. The Place des Arts in Montreal was adequate at best, and

12 .

although I had performed in several of the better halls in Europe, the first time I sounded a note in Symphony Hall was genuinely revelatory. We arrived here in the late morning before the concert, and I hung around after rehearsal and practiced on the dimmed, empty stage for a couple of hours in the afternoon. I must have played through all the standard orchestral excerpts, all the Mozart concerti, anything and everything else that came to mind. It was fortunate that I had very little to play on that program, as I had very little lip left for the performance. I had spent a couple of years fighting against a dull and recalcitrant hall, and a couple of weeks playing in hotels and locker rooms; I felt like a man lost in the des- ert, stumbling upon an oasis. I wouldn't say that the experience made me more than an infinitesimally better player; but when you play in this hall, you hear yourself sounding as good as you possibly could on that particular day, and musicians who are not fortunate enough to play here all year rarely hear themselves at their very best. Symphony Hall in the early 1 940s, with the main When you play on this stage, you entrance still on Huntington Avenue, before the intersection Massachusetts and Huntington learn how good you can really sound. of avenues was reconstructed so the Green Line could Although most people are aware of run underground the beauty of Symphony Hall's acoustics, what I love best about it is how transparently it allows us to make music: one feels that a soft note always sounds soft, a harsh one harsh, a brilliant one brilliant. The acoustic simply transmits what we do, but neither flatters nor insults what we produce from our instruments. When I played in Montreal, and other places, I would always warm up in the best-sounding space I could find before going out on stage. Here, when I have something big to play, I'll warm up in one of the horrid little closet-like practice rooms downstairs; but I know that when I walk out and play those first notes on the stage, a great wave of relief and pleasure will wash over me, when I hear how beautiful my instrument truly is. —James Sommerville BSO principal horn

From Our Audience. .

Where can I begin to talk about the joys that the Boston Symphony Orchestra has

given me throughout the sixty years I have lived in this wonderful city? As soon as I arrived from Berlin in 1939 at the age of eighteen, having fled the Nazi terror at

the last minute, I made every effort to attend as many concerts as I could afford, which in the beginning was very rarely.

Ever since I was young I had regularly attended concerts by the great Berlin

Philharmonic Orchestra, but as a Jewish girl I was soon banned from public places,

concert halls included. What a joy it was, therefore, to have the privilege to hear

this beautiful orchestra play, to hear good music once again. The very first time I

entered Symphony Hall I was overwhelmed by the exquisite hall, the nearly perfect acoustics, and by the performance of this world-renowned orchestra. Although

I have not been a consistent subscriber, I don't believe that there has been any

time since I arrived in Boston that I have not attended some concerts every year. I recently reconnected with a friend of my youth and we were married five years

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Symphony Hall seems to have the characteristics of an exquisite wine—it keeps getting better with age. All other halls pale in comparison. My fondest impression of this place is when I am at the hall very late at night, on stage, practicing with the building completely empty except for me. The hall gives me something every time I play a note. There is no greater gift. —Timothy Genis BSO assistant timpanist

Of the halls in which I've played throughout the world, Symphony Hall is unquestion- ably one of the greatest, with a quality and character all its own. As with any hall, it takes some getting used to, and you need first to get the feel of it—there's something special about all the wood, the balconies, even the seats. It's a glorious place, with a lot of history (though one doesn't think about that while playing). And it has even better sound when there are people in it, which is as it should be. The feel and acoustic of

Symphony Hall make it a truly comfortable place in which to play; there's a sheen to the sound, and a warmth that lets you project the sound of your instrument very easily, even to the back of the hall. There's a kind of aura that envelops not only the stage, but extends out into the hall as well. —Steven Ansell BSO principal viola

ago. It gave me great pleasure to introduce my very musical French husband (who grew up with the world-famous Gewandhaus Orchestra in Leipzig) to our orchestra.

He is as delighted with the concerts as I have been throughout the years. Each

time I enter Symphony Hall I still feel the same thrill, as I did the first time. To be

able now to share the experience with someone I care about is a double treat. It is my hope that we will be able to enjoy many more performances for years to come. —Irene Hofstein

As a student in the '30s, we lunched at the little bar on the second balcony, with a sandwich and coffee for 500, and stayed for the concert in a rush seat for another

500, on Friday afternoons! Then, in 1937, newly married, my husband and I were the lucky recipients of season tickets to the Saturday-night concerts. The scene then was quite different, with many of the audience dressed in formal clothes. But the rewards of the evening were the same. I think back to the young Lenny Bernstein, fairly dancing on the podium, conducting Stavinsky's Firebird; to Koussevitzky himself(!); to Leinsdorf, Munch, and

others leading up to our own cherished Ozawa. I remember Myra Hess and her

harpsichord—the endless parade of artists of the keyboard, the violin, the cello. . Our horizons have been extended, our lives enriched with the constant gifts from Symphony Hall. —Mrs. Lester Warren

It was an evening I will always remember. My husband and I have been Symphony subscribers for many years, but for the very first time, about two years ago, my husband was detained in a traffic jam on his way home and much to our dismay

was unable to get to Symphony. I got to Symphony with an extra ticket and was

told at the box office that it was a sold-out concert and that people standing in line were waiting for a returned ticket. The first gal in line needed two seats, but the

15 Musicians don't just play in Symphony Hall; they play Symphony Hall, a grand and musical instrument in its own right. —Lawrence Wolfe BSO assistant principal bass

As the BSO's solo English horn player, I frequently find myself playing alone, or nearly alone, within the orchestral setting—for example, the famous "shepherd's call" in the slow movement of Berlioz's Symphonie fantastique, or after a cataclysmic climax in a work like Shostakovich's Symphony No. 8. This gives me a unique opportunity to inter- act with the fabulous acoustic of our hall. I often try to listen to my sound in a sort of projected, indirect way—that is, I listen to myself as though I were sitting in the balcony observing myself playing. In this way I try to find that otherworldly place that great music actually comes from, to capture the magic of music as it is experienced by the listener; I'm not just playing the English horn, but serving as the composer's "messenger." Because the acoustic of Symphony Hall is so warm and immediately responsive, it's like a guide, judge, and great friend to me. —Robert Sheena BSO English horn player

Symphony Hall Centennial Exhibit

To mark the centennial of Symphony Hall, a comprehensive exhibit extending throughout the public spaces of the building has been mounted. The exhibit dis- plays hidden treasures from the BSO Archives that bring to life the rich legacy of Symphony Hall both as an historic building in the city of Boston, and as one of the world's greatest concert halls. Among the topics covered are the design, construction, and acoustics of Symphony Hall; the grand opening of Symphony Hall on October 15, 1900; guest artists who have performed with the BSO; premieres given here by the BSO; the Boston Pops; radio and television broadcasting history of the BSO and Pops; and the use of Symphony Hall as a recording studio. In addition the Exceedingly Large and Refined Audience Enjoys the Initial exhibit explores the use of Symphony Hall by Performance Under the Direction of Wilhelm G'ericke. other performing artists and by such groups as the Handel & Haydn Society and FleetCelebrity Series as well as many non-musical activities, including college commencements, political events, travelogues, trade shows, and fashion shows. The exhibit has been funded in part by the Lowell Institute.

'"~%. The exhibit is located on the first two levels of Symphony Hall—on the orchestra level along the Massachusetts Avenue corridor and in the Huntington Avenue corridor between the Hatch Room and the rear of the auditorium; and on the first-balcony level along the Massachusetts Avenue corridor, in the Cabot-Cahners Room, and in the west corridor (paralleling Gainsborough Street)—and in the Cohen Wing display cases across from the Symphony Shop. A detailed guide to the exhibit is available near the Massachusetts Avenue and Cohen Wing entrances to the Hall and from the ushers. Reproduced here is a drawing from the Boston Globe of October 16, 1900, picturing the "Opening of Boston's Beautiful Symphony Hall."

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What makes Symphony Hall so terrific is that it's such a resonant place. My instrument, the contrabassoon, isn't the loudest instrument in the world, but here I never have to worry about forcing my sound, so I can concentrate on quality of tone, on sub- tleties of intonation and response, without ever having to push. Symphony Hall is a great hall; I wouldn't want to play anywhere else. —Gregg Henegar BSO contrabassoonist

Though filled with history and tradition, Symphony Hall is much more than a historical landmark—it's a living, breathing space that makes a musician's job easier. Whether playing or listening, I can't think of another hall that gives back so much. It's so enjoyable and rewarding to make music in such a responsive place, to have the sound of our instruments bounce back to us in so glorious a fashion. The creators of this space struck gold; they got it right in every way. It's a real privilege and honor to play within these walls. —Owen Young BSO cellist

next gentleman was alone, in Boston for the first time. He was never able to hear

the Boston Symphony "live" and practically jumped for joy when I offered him my spare ticket. He enjoyed the concert thoroughly and was so thrilled to have the opportunity, at very long last, to hear the Boston Symphony "live" and view our beautiful hall. He thanked me over and over again, and certainly walked away

with a very warm feeling for Boston. I know he will always remember that experi-

ence, and so will I. —Gladys D. Zimmerman

My wife Deborah Cooper and I committed to a life together at Symphony Hall. Shortly after we started dating we recognized our mutual love of music. We jointly subscribed to Symphony and spent a couple of seasons in the intimacy of the second balcony's jump seats. That shared experience proved to me she was the "girl of my dreams." During our third season we moved to real seats in the center of the second balcony and we became active in the Junior Council (now the BSAV). With Symphony

Tanglewood BOSTON THE BSO ONLINE

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

numbers, and information on auditions and job openings. A highlight of the site is a virtual-

reality tour of the orchestra's home, Symphony Hall. Since the BSO web site is updated on a regular basis, we invite you to check in frequently.

17 representing an important aspect of our lives, I chose the Cabot-Cahners Room to propose to her. So, before one of our last subscription concerts of the year, I made a date to meet her there.

Concerned that I wouldn't get a table, I was the first to arrive at the just-opened

doors to the Cabot-Cahners Room. I then sat nervously waiting for her. The table,

with four chairs around it, quickly attracted another couple. The man said, "Do

you mind if we share the table with you?" "No," I replied, "but I plan to propose to my girlfriend in just a few minutes." They looked at each other, smiled, then looked at me and said, "Good luck." They found another table nearby. My future bride arrived, I brought her a glass of wine, slipped to one knee, and asked her to marry me. Sixteen years later, we still enjoy Symphony, sit in the same seats, and always think fondly of the Cabot-Cahners Room. —H. Paris Burstyn

Our Thursday-evening memories are many: of Ozawa, Davis, Previn, and so many great maestros; of the magic of Mozart, the brilliance of Beethoven, the sounds of Stravinsky, the power of Mahler; the voices of Norman, Battle, von Stade. But nothing compares with the expectation of those evenings after busy days, and the peace and joy that Symphony Hall has brought us. These are evenings when the gods breathe, when beauty visits our mortal world and invites us to listen and feel—for a while. —Mr. and Mrs. John L. Mahoney

Just a short while ago I moved from New York to Boston. My first transaction? I joined the BSO's Repartee program and decided to "go solo" to experience the

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Boston Symphony Orchestra. After figuring my way around and through the T- stops, I arrived at Symphony Hall wearing typical just-out-of-college garb—black pants, button-down blouse, and light sweater, backpack slung over my shoulders.

I was astounded by the lights of Symphony Hall, the long halls, spacious corridors, and surprises around every corner—so many doors and neat, helpful signs point- ing me to the shop, coatroom, clean bathrooms, and the Cohen Wing, home of the pre-concert Repartee reception. Finally it was almost showtime. The friendly ushers all pointed the way to my seat in the right balcony, where I sat all night staring at the pure white statues opposite me, aesthetically pleasing and patient. Those statues were my quiet still partners as together we held our breath and closed our eyes, still enough to hear Mahler's Symphony No. 2 and anticipate every note, every bar to come—together. —Erika Bai Siebels

My father, Dr. Franklin G. Balch, was a personal physician for the Higginsons. (Henry Lee Higginson was the founder of the Boston Symphony Orchestra.) They were obviously very fond of him, as letters from them suggest. One of my very earliest memories was watching a victory parade in 1918 or '19 from a window in their Commonwealth Avenue house. My very first Symphony concert was when Mr. Hig- ginson gave my father his

Saturday-evening seat and I Architects rendering of Symphony Hall was allowed to go with him. My next memory is of hurrying over on Friday from the Winsor School for a rush seat. Later I went often with my mother-in-law from Worcester in her front-row, second-balcony seats—wonderful! Next was when my husband and I were lucky enough to get seats for the Cambridge Memorial Hall series. Now, after long years with my friend, Mrs. Charles A. Janeway, and then my husband, I am still going at 90 in my second-balcony Friday-afternoon seats, and appreciate the new elevator on the left side! This accounts for some eighty years of BSO attendance! Not many can match that. —Cornelia B. Wheeler

I started going to the Friday-afternoon concerts when I was eleven; my mother would call in to school that I was sick. The school finally noticed the pattern, and

I had a shortened school day after Ma explained. There was a little old blue-haired lady in the seat in front of me who lived in Longwood Towers; she always wore a fur stole and a hat to match, which she'd remove so I could see better, though she was so short I didn't have any problem! She could stomp her feet as well as the rest of them, though— I loved hearing the foot-stomping as a form of applause, especially when the audience was full of genteel elderly ladies. I'm proud to say I've been a regular on Fridays for thirty-eight years— I take my mother now, instead of the other way around! —Joanie V. Ingraham

19 Tanglewood 2001

The 2001 Tanglewood season will be Seiji Ozawa's last full Tanglewood season as the BSO's music director prior to his assuming the music directorship of the Vienna State Opera in September 2002; he will conduct only a limited number of Tanglewood concerts in 2002. Mr. Ozawa opens the BSO's 2001 Tanglewood season on Friday, July 6, with special guest Mstislav Rostropovich as soloist in Strauss's Don Quixote. Mr. Ozawa will lead six BSO concerts this summer, also to include performances with Yo-Yo Ma, Peter Serkin, and Yefim Bronfman, and a concert performance of Strauss's Salome featur-

Deborah Voigt ing soprano Deborah Voigt singing her first-ever Salome, tenor Siegfried Jerusalem as Herod, and baritone Falk Struckmann as John the Baptist. In addition, Mr. Ozawa will participate in the annual Tangle- wood on Parade concert and lead the Fellows of the Tanglewood Music Center in a fully-staged production of Ravel's UHeure es- pagnole, the latter as part of a TMC double bill also to include a concert performance of Ravel's UEnfant et les sortileges with Robert Spano conducting. Tanglewood's programming for 2001 marks the fiftieth-anniversary of the deaths of two 20th-century musical giants—longtime BSO music director and Tanglewood founder Serge Koussevitzky, Yo-Yo Ma to be represented by works championed or commissioned by him; and composer Arnold Schoenberg. In all, the BSO will give twenty concerts throughout the summer, with such internationally acclaimed guest artists as

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20 Emanuel Ax, Joshua Bell, Van Cliburn, Matthias Goerne, Richard Goode, Yo-Yo Ma, Itzhak Perlman, Dame Kiri Te Kanawa, Dawn Upshaw, and Frank Peter Zimmermann. BSO principal guest conductor Bernard Hai- tink will make his first Tanglewood appearances since 1996. Other guest conductors will include Roberto Abbado, James Conlon, An- drew Davis, Rafael Friihbeck de Burgos, Andre James Taylor Previn, David Robertson, and Robert Spano. Visiting ensembles include the Pittsburgh Symphony Orchestra under Mariss Jansons, the Orchestra of St. Luke's under Donald Dame Kiri Te Runnicles, and the Israel Philharmonic under Zubin Mehta. Kanawa Keith Lockhart and John Williams will lead special programs with the Boston Pops, and also share the Tanglewood on Parade podium with Seiji Ozawa and Andre Previn. Minnesota Public Radio's A Prairie Home Companion, with host Garrison Keillor, will broadcast live from the Koussevitzky Music Shed for the second consecutive year, and James Taylor will return to highlight Tanglewood's July Fourth Pamela Frank celebration. Tanglewood's 2001 Ozawa Hall schedule includes solo recitals by pianists Yefim Bronfman, Peter Serkin, and Mitsuko Uchida; two concerts featuring soprano Dawn Upshaw; the Boston Sym- Rafael Friihbeck Players; the phony Chamber world premiere with Yo-Yo Ma, de Burgos Emanuel Ax, Pamela Frank, and Denyce Graves of Richard Danielpour's Portraits on text by Maya An- gelou; the Emerson String Quartet with Yefim Bronfman; baritone Matthias Goerne singing Schubert's Die schone Miillerin; a program of Gregorian Chant and a cappella music from the Americas featuring the vocal group Chanticleer; and an evening of jazz with Andre Previn and bass player David Peter Serkin Finck. In the two weeks leading up to the opening Boston Symphony concert, Tanglewood will present a fully-staged Boston Early Van Cliburn Music Festival production of Lully's opera Thesee, a Boston Early Music Festival program of Rameau and Clerambault, two concerts by the Juilliard String Quartet, and chamber programs featuring music of Schoen- berg and Haydn with Peter Serkin and other guest artists. The season also includes concerts by the talented young musicians of the Tanglewood Music Cen- ter, as well as Jazz at Tanglewood throughout Labor Day weekend and the annual Festival of Contemporary Music. For a brochure with complete program and ticket information, call (617) Robert Abbado 638-9470. For more information call (617) 266-

1492 or visit the BSO website at www.bso.org. _. ,, Dawn Upshaw,

BOSTON SYMPHONY ORCHESTRA

Seiji Ozawa, Music Director Bernard Haitink, Principal Guest Conductor One Hundred and Twentieth Season, 2000-2001 SYMPHONY HALL CENTENNIAL SEASON

Tuesday, May 1, at 8 Friday, May 4, at 8 SPONSORED BY ANALOG DEVICES

SEIJI OZAWA conducting

MAHLER Songs on texts from Des Knaben Wunderhorn

Des Antonius von Padua Fischpredigt (Anthony of Padua's sermon to the fishes) Rheinlegendchen (Little Rhine legend) Der Schildwache Nachtlied (The sentry's night song) Revelge (Reveille)

Wo die schonen Trompeten blasen (Where the beautiful trumpets blow)

Das irdische Leben (Earthly life)

Das himmlische Leben (Heavenly life)

Urlicht (Primal light)

THOMAS HAMPSON, baritone

Texts and translations begin on page 33.

INTERMISSION

SHOSTAKOVICH Symphony No. 5 in D minor, Opus 47 Moderato Allegretto Largo Allegro non troppo

Please note that this year's Boston Symphony Orchestra retirees will be acknowledged on stage at the end of these concerts (see page 24).

These concerts will end about 9:50.

RCA, Deutsche Grammophon, Philips, Telarc, Sony Classical/CBS Masterworks, Angel/EMI, London /Decca, Erato, Hyperion, and New World records Baldwin piano IN CONSIDERATION OF THE PERFORMERS AND THOSE AROUND YOU, CELLULAR PHONES, PAGERS, AND WATCH ALARMS SHOULD RE SWITCHED OFF DURING THE CONCERT.

23 Week 24 Farewell and Thanks

M Ronald Feldman Chester Schmitz Cleveland Morrison

Two members of the Boston Symphony Orchestra will leave the BSO at the end of the 2001 Tan- glewood season. A member of the cello section for thirty-four years, Ronald Feldman joined the orchestra in 1967; he has been appointed Artist-in-Residence at Williams College in Williams- town, Massachusetts, effective September 2001. Principal tuba of the BSO and Boston Pops Or- chestra since joining the orchestra in 1966, Chester Schmitz will retire after thirty-five years of service. In addition, Symphony Hall stage manager Cleveland Morrison, who joined the staff of the BSO in 1972, will retire from his position in October 2001, with thirty years of service to his credit. Ronald Feldman was nineteen years old when he joined the Boston Symphony Orchestra in 1967. Born in Brooklyn, he is a graduate of Boston University and is currently on the faculties of the Boston Conservatory, the New England Conservatory, and Berklee College of Music; he in- tends to continue his affiliations with all three schools. Increasingly in demand as a conductor, Mr. Feldman was conductor of the New England Philharmonic and Worcester Symphony Orchestra and has also served as assistant conductor of the Boston Pops Orchestra under John Williams. He is currently music director and conductor of the Berkshire Symphony Orchestra. As a guest conductor he has appeared with the London Symphony Orchestra, Bucharest Philharmonic, Saint Louis Symphony, and Quebec Symphony. Mr. Feldman will continue to expand his chamber music, solo, and conducting activities. His plans also include more time with his family, and travel. Principal tuba player of the Boston Symphony and Boston Pops since 1966, Chester Schmitz attended the University of Iowa School of Music. As a member of the Hawkeye Marching Band, he played in the halftime show at the 1959 Rose Bowl before joining the U.S. Army Band, playing not only tuba but also double bass in the White House Strolling Strings and Swing Band. He was offered the position of principal tuba with the Minneapolis Symphony while in the army, but was unable to accept. As a member of the Boston Pops, Mr. Schmitz was featured in a 1970 television performance of Tubby the Tuba with Julia Child and Arthur Fiedler conducting; this was also recorded by the Pops. In 1971 he was soloist in Vaughan William's Concerto for Tuba and Orchestra with the Boston Symphony Orchestra under William Steinberg. In 1981, with John Williams conducting, he was showcased in a Pops television taping of Variations on "Carnival of Venice?' In 1985, during the 100th Anniversary Season of the Boston Pops, he performed the world premiere of John Williams's Concerto for Tuba and Orchestra, which was dedicated to him by the composer. He and his wife Diane have five children and are planning to attend the F.I.R.E. School of Ministry in Pensacola, Florida, in preparation for full-time ministry for Jesus Christ. Cleve Morrison was born and raised in the West Indies, where he acquired his license as a master plumber. Since then he has, in his words, "learned by doing," advancing from his original position as plumber on the Symphony Hall house crew to his present position as Symphony Hall stage manager. As such, he is responsible for preparing the stage for all concerts that take place at Symphony Hall, including those of the BSO, the Boston Pops, andall outside events. He is also stage manager for the Boston Pops Esplanade Orchestra when it performs outdoors on the Charles River Esplanade. In his view, his job is to ensure a stage set-up conducive to the finest possible playing: "If the orchestra members are comfortable, the audience will be pleased as well." Besides his interest in music, which he has cultivated by researching scores in the BSO library and studying instrumentation, Mr. Morrison is president of the Windsor Cricket and Social Club, the oldest West Indian club in Boston. One of his main hobbies—one from which the entire Symphony Hall staff has benefited on special occasions—is cooking, particularly the preparation of dishes from his native West Indies. Please join us in thanking these three gentlemen for their commitment and service to the Bos- ton Symphony Orchestra and to the entire musical community of Boston. We wish them well in all of their future endeavors. Gustav Mahler Songs on texts from Des Knaben Wunderhorn {The Boy's Magic Horn)

Gustav Mahler was born at Kalischt (Kaliste) near the

Moravian border of Bohemia on July 7, 1860, and died in Vienna on May 18, 1911. Between 1892 and 1901, Mahler composed twelve songs on texts from Des Knaben Wunderhorn that are often performed as a single large group with mezzo-soprano and baritone soloists; those include the first six of the eight being sung by Thomas Hampson in these concerts (the other six—not being performed this week—are ""Lied des verfolgten im Turm," "Wer hat dies Liedlein erdacht?" "Trost im Ungliick," "Lob des hohen Verstandes," "Verlorne Milh\" and "Der Tamboursgsell"). Regarding the songs on this program: "Des Antonius von Padua Fischpredigt" was completed

August 1, 1893, in orchestral score and was first sung in 1905 by Anton Moser. "Rheinlegendchen" was completed August 10, 1893, in orchestral score and was first sung on October 27, 1893, by Paul Bulss. "Der Schildwache Nachtlied," which has its origins in an abandoned opera project of 1888, was completed on January 28, 1892, and was first sung by Paul Bulss with the composer conducting on October 27, 1893, in Hamburg. "Revelge" in orchestral score dates from July 1899. "Wo die schonen Trompeten blasen" was composed in August 1895; the orchestral score dates from July 1898 and was first sung in 1900, by Selma Kurz. "Das irdische Leben" in orchestral score dates from August 1893 and was first sung in 1900, by Selma Kurz. The last two songs being sung this week are best-known in the versions later incorporated by Mahler into two of his symphonies. Mahler finished "Das himmlische Leben" in its original form as a song with piano accompaniment on February 6, 1892; a version for voice and orchestra was performed in Hamburg in 1893. Ultimately, with somewhat

altered instrumentation, and with the vocal line assigned to soprano, it became the finale of Mahler s Fourth Symphony, which he completed in April 1901. Probably composed in

1892, "Urlicht" was also first a song with piano accompaniment; it was orchestrated in 1893 and incorporated, with slightly revised orchestration, and with the vocal line assigned to alto, as the fourth movement of Mahler s Symphony No. 2 in 1894. This week s Boston Symphony performances with Thomas Hampson utilize the Univer- sal Edition published in 1 999 and based on the critical edition edited by Renate Stark-

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26 Voit in collaboration with Mr. Hampson. The orchestra required for the songs being performed here includes three flutes, two piccolos, alto flute, two oboes, English horn, two clarinets, bass clarinet, three bassoons, contrabassoon, four horns, three trumpets, timpani, triangle, birch brush, cymbals, tam-tam, tambourine, snare drum, bass drum, glockenspiel, harp, and strings. The third flute, alto flute, bass clarinet, and tambourine are used only in "Das himmlische Leben." The second piccolo and glockenspiel are used only in "Urlicht." The first performances by the Boston Symphony Orchestra of any of these songs were

given on April 6 and 7, 1917, when Julia Culp, with Karl Muck conducting, sang "Rhein- legendchen." On January 25 and 26, 1924, Marya Freund, with Pierre Monteux conducting, sang "Das himmlische Leben" and "Urlicht," along with "Wer hat dies Liedlein Erdacht?" Since then, the Boston Symphony Orchestra has performed the "standard" set of twelve "Wunderhorn" songs (including six of the songs being performed this week, but excluding "Urlicht" and "Das himmlische Leben," which have since been heard here only as part of the Second and Fourth symphonies, respectively) in December 1978 in Boston, at Carnegie Hall, and in Washington, D.C., with Colin Davis conducting, soprano Jessye

Norman, and baritone John Shirley- Quirk; at Tanglewood on August 9, 1980, with Colin Davis conducting, contralto Maureen Forrester, and Shirley- Quirk; and in April 1988 in Boston and at Carnegie Hall with Seiji Ozawa conducting, mezzo-soprano Brigitte Fass- baender, and baritone Thomas Allen.

Des Knaben Wunderhorn, or The Boys Magic Horn, is a collection of German folk poetry, compiled just after 1800 in nationalist and Romantic fervor by two poets in their early twenties, Clemens Brentano and Achim von Arnim. This was a new sort of preoccupation. In England, two years before the turn of the century, William Wordsworth, with some assistance and great encouragement from Samuel Taylor Coleridge, had anonymously published the Lyrical Ballads, taking a vigorous stand against the "gaudi- ness and inane phraseology" of current poetry and seeking to ascertain "how far the language of conversation in the middle and lower classes of society is adapted to the purposes of poetic pleasure." Closer to home, the brothers Grimm, Jacob, a grammari- an, and Wilhelm, a literary historian, were beginning to collect the fairy tales they

.v * -

Clemens Brentano (left) in an 1819 drawing by Wilhelm Hensel; Achim von Arnim (right) in an 1819 drawing by Clemens Brentano

27 Week 24 would publish from 1812 to 1815. A compilation of folk poetry, at any rate, is what Des Knaben Wunderhorn purports to be, though in fact, and much to the distress of the philologically scientific Grimms, Brentano and von Arnim indulged themselves freely in paraphrases, additions, and deletions, fixing things so as to give them a more antique and authentic ring, even contributing poems all their own. In this, as in most things, the two poets, whom Joseph von Eichendorff characterized as "an odd couple" ("em seltsames Ehepaar"), differed widely: the excitable, moody Brentano, whose sister Bettina is a familiar figure in the biographies of Goethe and Beethoven (she was also a wholesale inventor of Beethoveniana), was the one with the passion for "antiquing," while von Arnim, the aristocratic and serene Berliner, tended toward a "modernizing" smoothing out of the material.

Brentano and von Arnim met in the summer of 1801 while they were both students at the University of Gottingen, and what turned into their Wunderhorn plan had its be- ginnings on a boat trip down the Rhine in June 1802. Other work, other plans, other adventures intervened, among them much traveling on von Arnim's part (this he put to good use for the collection), and Brentano's marriage to Sophie Mereau, followed soon by the birth and death of their first child. But by the fall of 1805 Volume I of Des Knaben Wunderhorn was in print. The title page carried a sketch of a boy on horseback with

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28 a horn, drawn by the Karlsruhe court painter, Kuntz, after a design of Brentano's. By 1808 the second and third volumes were on hand as well. These were chiefly the work of Brentano, who, after the death of his wife and of a second child in October 1806, desperately needed the distraction of hard work.

The three Wunderhorn volumes made a strong impact, being widely read, discussed, criticized, and imitated. The first volume was dedicated to Goethe, who responded with an article in which he wrote, "By rights this little book should find a place in every house where bright and vital people make their home Best of all, this volume might lie on the piano of the amateur or master of musical composition so that these songs might come into their own " This wish was partially fulfilled, as Johann Friedrich Reichardt and Carl Friedrich Zelter (whom Goethe thought so superior to Schubert as composers of his poems) turned quickly to Des Knaben Wunderhorn and so, later in the century, did Robert Franz, Mendelssohn, Schumann, and Brahms, whose Lullaby must be the most famous of the Wunderhorn songs. Still later, Strauss and Schoenberg also wrote some Wunderhorn songs, but no one made the collection so much his own as Gustav Mahler.

Mahler began to write Wunderhorn songs immediately after completing the Sym- phony No. 1 in 1888, but he had already borrowed a Wunderhorn poem as the founda-

; •*tffv tion for the first of his Wayfarer songs of 1884-85. Between 1888 and 1901 he set twenty- four Wunderhorn poems; in fact, with the sole exception of Friedrich Nietzsche's "Mid- night Song" from Zarathustra, which is the fourth movement of the Symphony No. 3, he turned to no other source for his vocal music during that period. The anthology was for Mahler more than a collection of poems. With its range and tone encompassing the scurrilous and the sentimental, the grotesque and the tender, the trim and the cute, barracks and meadow, the Romantic past and insistent present, Des Knaben Wunder- horn determined for more than a decade the affect and atmosphere of his music, the symphonies as well as the songs. In 1901 Mahler turned to the poetry of Friedrich Ruckert, and the purely orchestral symphonies, numbers 5, 6, and 7, marked a new compositional manner, after which Mahler never again returned to Des Knaben Wunder- horn.

Des Antonius von Padua Fischpredigt—St. Anthony was a Franciscan from Por- tugal, who taught in Morocco, France, and Italy. He garnered a reputation as a "hammer of heretics" and died, while still a young man, at Padua in 1231. He was a famous preacher, but the tale of his going to address the fishes when he found the church empty is fantasy. Mahler, in a letter to his friend Natalie Bauer-Lechner, provides some com-

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30 mentary: "A somewhat sweet-sour humor reigns in the Fish Sermon. St. Anthony preach- es to the fishes, but his speech sounds completely drunken, slurred (in the clarinet), and confused. And what a glittering multitude! The eels and carp and sharp-mouthed pikes, whose stupid expression as they look at Anthony, stretching their stiff, unbending

necks out of the water, I can practically see in my music, and I nearly burst out laugh- ing Only very few people will understand the satire on humanity in this story!" (Read-

ing this last sentence, it is easy to see why a lot of people found Mahler irritating.) Mahler made use of this music also for the scherzo of his Symphony No. 2, finishing the scoring of the song one day after completing the scherzo's orchestration. Much later it went on to an unexpected and brilliant resurrection in the Sinfonia (1968) of Luciano Berio.

Rheinlegendchen—This song is orchestrally the smallest, using only a wind quin- " tet together with the strings. Mahler's tempo mark, gemachlich" ("easygoing"), is one of his favorites. The title is Mahler's: the original name of the poem is "Rheinischer Bundesring," which might be ren- dered as "Rhenish Bonding-ring." Like the minuet in the Third Sym- 3(ijuta6ttt phony, with which it shares the key of A major and also its mood, Rheinlegendchen was one of Mah- ler's few undisputed successes, being encored at its premiere and often thereafter. Der Schildwache Nachtlied —Mahler grew up near an army post, and the sound of military sig- nals, of drumming, and of marching is a presence in his music from his earliest works to his last. This military song ends up in mystery. Mahler alters few words, but makes a significant change in the punctu- ation. The poem connects "Wer's Bite fteutCcfye ifieber glauben tut" to the preceding lines

with a comma; Mahler separates it ^g> tm 'a^rtthtt ^&Umi\x$$bwntmxq . with an exclamation mark. Thus a simple statement becomes an ironic, skeptical comment. # Revelge—One of the grimmest of his military pieces and requir- ing the biggest orchestra of any *-o Wunderhorn song. Mahler takes l 8 6. the poem over with few alterations. In general, along with countless variation in details like punctua- Title page from the first edition of Volume 1 tion or dialect contractions, Mah- ler does tend to introduce changes by addition, repetition, subtraction, or substitution, treating his sources as freely as Brentano and von Arnim treated theirs. Here, for example, he drops a line from the fourth stanza, perhaps because he forgot, but more probably because he sought in his own way to "modernize" the poem by breaking away from the regularity of its structure. Mahler's departures from the Wunderhorn texts make a fascinating study, and they show Theodor W. Adorno's— characterization of his compositional procedure and the nature of his imagination "turning cliche into event"—to

31 Week 24 be true in words as well as music.

Wo die schonen Trompeten blasen—This is surely the most beautiful of Mahler's pre-Riickert songs, at least among the non-military ones. The text is Mahler's conflation of the two Wunderhorn poems "Bildchen" ("Little Picture") and "Unbeschreibliche Freude" ("Indescribable Joy"), mostly the former, to which he adds some lines of his own. His omissions of various realistic and sentimental touches in the sources, some of which were certainly Brentano's invention, produce a really new, hauntingly mysterious poem. Here, too, military trappings are present, but as though seen through the wrong end of the telescope.

Das irdische Leben—For this muted, sinister song with its restless divided strings, Mahler has shortened the poem and replaced the original haunting title of "Verspatung" ("Delay"). He explains his decision: "The text only suggests the deeper meaning, the treasure that must be searched for. Thus I picture as a symbol of human life the child's

cry for bread and the mother's attempt to console him with promises. I named the song 'Earthly Life' for precisely that reason. What I wished to express is that the necessities for one's physical and spiritual growth are long delayed and finally come too late, as they do for the dead child. I believe I have expressed this in a characteristic and fright- ening way, thanks to the strange sounds, roaring and whistling like a storm, of the accompaniment to the child's tortured and anguished cries, and to the slow, monotonous replies of the mother, Destiny, who does not. always fulfill at the right time our anguished ." plea for bread. .

Das himmlische Leben—Mahler originally meant to end his Third Symphony with this song, but used it instead—assigning the vocal line to solo soprano, and with somewhat altered instrumentation—as the finale to the Fourth. (A different Wunderhorn setting, Es sungen drei Engel [Three angels sang], was incorporated into the Third Sym- phony as its next-to-last movement.) For that matter, with Das himmlische Leben already complete, he planned parts of the Fourth from the end back, so that the song would appear to be the outcome and conclusion of what was in fact composed eight years after the song. The music, though gloriously inventive in detail, is of utmost cleanness and simplicity. The poem is a Bavarian folk song called "Der Himmel hangt voll Geigen" ("Heaven is hung with violins"). Urlicht—This was probably composed in 1892 and orchestrated in 1893. In 1894 Mahler inserted it as the fourth movement of his Symphony No. 2, where the vocal line

is assigned to solo alto, the orchestra includes a second harp, and the instrumental setting differs in a few details from the 1893 version being sung here this week. In the Mahler Second, the peace the song spreads over the symphony like balm is shattered at the start of the finale by an outburst whose ferocity refers to the corresponding place in Beethoven's Ninth. Urlicht is one of Mahler's loveliest songs and full of Mahlerian paradox, too, in that its hymnlike simplicity and naturalness are achieved by a metrical flexibility so vigilant of prosody and so complex that the opening section of thirty-five bars has twenty-one changes of meter. The chamber-musical scoring is also character-

istically detailed and inventive. • —Michael Steinberg

Michael Steinberg was the Boston Symphony Orchestra's Director of Publications from 1976 to 1979. Before that he was music critic of the Boston Globe for twelve years, from 1964 to 1976. After leaving Boston he was program annotator for the San Francisco Symphony, and then simultaneously for the New York Philharmonic. Oxford University Press has published two compilations of his program notes (The Symphony-A Listener's Guide and The Concerto- A Listener's Guide), including many written originally for the BSO. A third volume, on the major works for orchestra with chorus, is forthcoming.

32 GUSTAV MAHLER, Songs on texts from "Des Knaben Wunderhorn'

Des Antonius von Padua Anthony of Padua's Sermon Fischpredigt to the Fishes Antonius zur Predigt At sermon time, Anthony Die Kirche find't ledig! Finds the church empty. Er geht zu den Fliissen He goes to the rivers Und predigt den Fischen! To preach to the fishes. Sie schlag'n mit den Schwanzen! They flip their tails Im Sonnenschein glanzen! And gleam in the sunshine.

Die Karpfen mit Rogen The carp with their spawn Sind all' hierher zogen, Have all come along, Hab'n d'Mauler aufrissen, Have opened their mouths wide, Sich Zuhorn's beflissen! Have worked hard at listening. Kein Predigt niemalen No sermon ever Den Fischen so g'fallen! Pleased the fishes as much.

Spitzgoschete Hechte, The sharp-mouthed pike, Die immerzu fechten, Who are forever fighting, Sind eilends herschwommen, Have swum by in a hurry Zu horen den Frommen! To hear the holy man.

Auch jene Phantasten, Even those visionaries Die immerzu fasten: that are forever fasting Die Stockfisch ich meine, —it's the dried cod I mean Zur Predigt erscheinen. —appear for the sermon. Kein Predigt niemalen No sermon ever Den Stockfisch so g'fallen! Pleased the cod as much.

Gut Aale und Hausen, Fine eel and sturgeon, Die vornehme schmausen, Those finicky eaters, Die selbst sich bequemen, Even they condescend Die Predigt vernehmen! To attend to the sermon.

Auch Krebse, Schildkroten, Even crabs and turtles, Sonst langsame Boten, Usually so slow about their errands, Steigen eilig vom Grund, rise hurriedly from the riverbed

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33 Zu horen diesen Mund! To hear what issues from this mouth. Kein Predigt niemalen No sermon ever Den Krebsen so g'fallen! Pleased the crabs so much.

Fisch' grosse, Fisch' kleine, Big fish and little fish, Vornehm und gemeine, Classy and vulgar, Erheben die Kopfe Raise their heads Wie verstand'ge Geschopfe! Like intelligent creatures, Auf Gottes Begehren At God's desire Die Predigt anhoren! To attend to the sermon.

Die Predigt geendet, When the sermon is over, Ein jeder sich wendet. Each turns away. Die Hechte bleiben Diebe, The pike stay thieves Die Aale viel lieben; And the eels are still lechers. Die Predigt hat g'fallen, The sermon has delighted them, Sie bleiben wie Allen! And they stay just as they were.

Die Krebs geh'n zuriicke; The crabs still go backwards, Die Stockfisch' bleib'n dicke, The cod stay fat, Die Karpfen viel fressen, The carp are still gluttons, Die Predigt vergessen! The sermon is forgotten. Die Predigt hat g'fallen, The sermon has delighted them, Sie bleiben wie Allen. And they stay just as they were.

Rheinlegendchen Little Rhine Legend

Bald gras' ich am Neckar, Now I mow by the Neckar, Bald gras' ich am Rhein; Now I mow by the Rhine, Bald hab' ich ein Schatzel, Now I have a sweetheart, Bald bin ich allein! Now I am alone.

Was hilft mir das Grasen, What good is mowing Wenn d'Sichel nicht schneid't! If the sickle won't cut? Was hilft mir ein Schatzel, What good is a sweetheart Wenn's bei mir nicht bleibt! If she won't stay with me?

So soil ich denn grasen But if I must mow Am Neckar, am Rhein, By the Neckar, by the Rhine, So werf ich mein goldenes Then I'll throw my golden Ringlein hinein. Ring into the waters.

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34 Es fliesset im Neckar It flows with the Neckar Und fliesset im Rhein, And flows with the Rhine; Soil schwimmen hinunter Let it swim away then Ins Meer tief hinein. To the depths of the sea.

Und schwimmt es, das Ringlein, And as the ring swims on down,

So frisst es ein Fisch! A fish will swallow it. Das Fischlein soil kommen That little fish will land Auf's Konigs sein Tisch! On the King's own table.

Der Konig tat fragen: So the King asks, Wem's Ringlein sollt' sein? Whose ring can this be? Da tat mein Schatz sagen: And then my love answers, Das Ringlein g'hort mein. That ring belongs to me.

Mein Schatzlein tat springen My sweetheart will leap Berg auf und Berg ein, Up hill and down dale Tat mir wied'rum bringen And will bring back to me Das Goldringlein mein! My little gold ring.

Kannst grasen am Neckar, You can mow by the Neckar, Kannst grasen am Rhein! You can mow by the Rhine, Wirf du mir nur immer Just so long as you always Dein Ringlein hinein! Throw your ring into the waters.

Der Schildwache Nachtlied The Sentry's Night Song "Ich kann und mag nicht frbhlich sein! "I cannot and will not be cheerful. Wenn alle Leute schlafen, While others sleep,

So muss ich wachen! I must wake! Muss traurig sein!" Must be sad!"

"Lieb' Knabe, du musst nicht traurig "Dear love, you don't have to be sad. sein!

Will deiner warten I'll wait for you Im Rosengarten, In the rose garden, Im griinen Klee!" In the green clover."

"Zum griinen Klee da gen' ich nicht! "I won't go to the green clover. Zum Waffengarten It is to the garden of arms, Voll Helleparten Full of halberds,

Bin ich gestellt!" That I am assigned."

"Stehst du im Feld, so helf "If you are in the field, then may God dir Gott! help you!

An gottes Segen It is on God's blessing 1st alles gelegen! That all depends. Wer's glauben tut!" If you believe in it."

"Wer's glauben tut, ist weit davon! "He who believes in it is far away. Er ist ein Konig! He is a king. Er ist ein Kaiser! He is an emperor. Er fiihrt den Krieg!" He wages war."

Halt! Wer da? Rund'! Bleib' mir Halt! Who goes there? Turn round! vom Leib! Keep your distance! Wer sang es hier? Who sang here? Wer sang zur Stund'? Who sang just now? Verlorne Feldwacht The lost sentry

Sang es um Mitternacht! Sang it at midnight.

Please turn the page quietly, and only after the music has stopped. 35 • w&

Revelge Reveille

Des Morgens zwischen drei'n und Of a morning, between three and four, vieren, Da miissen wir Soldaten marschieren We soldiers must be marching Das Gasslein auf und ab, Up and down the street, Tralali, Tralalei, Tralalera, Tralalee, tralaly, tralalera. Mein Schatzel sieht herab! My honey looks down.

Ach, Bruder, jetzt bin ich geschossen, Ah brother, now I'm shot, Die Kugel hat mich schwer, schwer The bullet has hit me hard, getroffen, hard. Trag' mich in mein Quartier! Carry me back to my camp. Tralali, Tralalei, Tralalera, Tralalee, tralaly, tralalera,

Es ist nicht weit von hier. It isn't far from here.

Ach, Bruder, ich kann dich nicht tragen, Ah brother, I cannot carry you, Die Feinde haben uns geschlagen! The enemy has beaten us. HelP dir der liebe Gott; May the dear God help you! Tralali, Tralalei, Tralalera, Tralalee, tralaly, tralalera,

Ich muss marschieren bis in Tod! I must march on into my death!

Ach, Bruder! ihr geht ja mir voriiber, Ah brothers, you pass me by

Als war's mit mir vorbei! As though it were all over with. Tralali, Tralalei, Tralalera, Tralalee, tralaly, tralalera, Ihr tretet mir zu nah! You come too close.

Ich muss wohl meine Trommel riihren, I must sound my drum, Tralali, Tralalei, Tralalera, Tralalee, tralaly, tralalera,

Sonst werd' ich mich verlieren, Or else I am lost, Tralali, Tralalei, Tralalera, Tralalee, tralaly, tralalera, Die Bruder, dick gesat, My brothers, thickly sown, Sie liegen wie gemaht. They lie as if mown.

Er schlagt die Trommel auf und nieder, Up and down he beats his drum, Er wecket seine stillen Bruder, He wakes his silent brothers, Tralali, Tralalei, Tralalee, tralaly, Sie schlagen ihren Feind, They beat their enemy, Tralali, Tralalei, Tralalerallala, Tralalee, tralaly, tralalerallala, Ein Schrecken schlagt den Feind! Terror vanquishes the enemy.

Er schlagt die Trommel auf und nieder Up and down he beats his drum, Da sind sie vor dem Nachtquartier And already they're back at their schon wieder, nighttime camp, Tralali, Tralalei! Tralalee, tralaly, Ins Gasslein hell hinaus, Out into the bright street, Sie zieh'n vor Schatzleins H&us, They parade in front of his honey's house, Tralali, Tralalei, Tralalera. Tralalee, tralaly, tralalera.

Des Morgens stehen da die Gebeine When morning comes, there stand their bones In Reih' und Glied, sie steh'n wie In rank and file, they stand like Leichensteine. tombstones. Die Trommel steht voran, The drummer-boy stands at their head Dass sie ihn sehen kann, So that she can see him, Tralali, Tralalei, Tralalera. Tralalee, tralaly, tralalera.

36 Wo die schonen Trompeten blasen Where the Beautiful Trumpets Blow

"Wer ist denn draussen und wer "And who is out there, and who is klopfet an, knocking? Der mich so leise wecken kann?" That can wake me so gently?" "Das ist der Herzallerliebste dein, "It is your heart's dearest love. Steh' auf und lass mich zu dir ein! Get up and let me in.

"Was soil ich hier nun langer steh'n? "Why must I stand here any longer? Ich seh' die Morgenrot' aufgeh'n, I see the red dawn, Die Morgenrot' zwei helle Stern. The red dawn and two bright stars. Bei meinem Schatz da war' ich gern, I long to be by my sweetheart, Bei meinem Herz allerlieble." By my dearest heart."

Das Madchen stand auf und Hess ihn ein; The girl rose up and let him in, Die heisst ihn auch willkommen sein. She also bade him welcome. "Willkommen lieber Knabe mein, "Welcome, my dearest boy, So lang hast du gestanden!" You have had to stand so long." Sie reicht ihm auch die schneeweisse She gives him her snow-white hand. Hand. Von feme sang die Nachtigall; Far away, the nightingale was singing; Das Madchen fing zu weinen an. The girl began to weep.

"Ach weine nicht, du Liebste mein, "Oh, don't weep, my dearest dear, Aufs Jahr sollst du mein Eigen sein. A year from now you'll be my own. Mein Eigen sollst du werden gewiss, It is sure you will be mine Wie's keine sonst auf Erden ist! Like no one else on this earth, Lieb' auf griiner Erden. Oh love, on this green earth.

"Ich zieh in Krieg auf grime Heid', "I am off to war on the green heath.

Die griine Heid', die ist so weit, The green heath, it is so far away, Allwo die schonen Trompeten blasen, And there, where the beautiful trumpets blow, Da ist mein Haus von griinen Rasen." There is my home, beneath the green turf."

Das irdische Leben Earthly Life

"Mutter, ach Mutter, es hungert mich! "Mother, oh mother, I am so hungry.

Gib mir Brot, sonst sterbe ich." Give me bread, else I will die." "Warte nur, mein liebes Kind! "Only wait, my beloved child, Morgen wollen wir ernten geschwind!" Tomorrow we'll quickly bring in the harvest." Und als das Korn gerrntet war, And when the grain was harvested, Rief das Kind noch immerdar: The child still cried:

"Mutter, ach Mutter, es hungert mich! "Mother, oh mother, I am so hungry.

Gib mir Brot, sonst sterbe ich!" Give me bread, else I will die." "Warte nur, mein liebes Kind! "Only wait, my beloved child, Morgen wollen wir dreschen geschwind!" Tomorrow we'll quickly thresh."

Und als das Korn gedroschen war, And when the grain was threshed, Rief das Kind noch immerdar: The child still cried:

"Mutter, ach Mutter, es hungert mich, "Mother, oh mother, I am so hungry.

Gib mir Brot, sonst sterbe ich!" Give me bread, else I will die." "Warte nur, mein liebes Kind!" "Only wait, my beloved child, Morgen wollen wir backen geschwind." tomorrow we'll quickly bake."

Und als das Brot gebacken war, And when the bread was baked, Lag das Kind auf der Totenbahr! The child lay on his bier.

Please turn the page quietly, and only after the music has stopped.

37 Week 24 Das himmlische Leben Heavenly Life Wir geniessen die himmlischen Freuden, We enjoy heavenly pleasures D'rum thun wir das Irdische meiden. And therefore avoid earthly ones. Kein weltlich' Getummel No worldly tumult Hort man nicht im Himmel! Is to be heard in heaven. Lebt Alles in sanftester Ruh'! All live in gentlest peace. Wir fiihren ein englisches Leben! We lead angelic lives,

Sind dennoch ganz lustig daneben! Yet have a merry time of it besides. Wir tanzen und springen, We dance and we spring, Wir hiipfen und singen! We skip and we sing. Sanct Peter im Himmel sieht zu! Saint Peter in heaven looks on.

Johannes das Lammlein auslasset, John lets the lambkin out, Der Metzger Herodes drauf passet! And Herod the Butcher lies in wait

for it. Wir fiihren ein geduldig's, We lead a patient, Unschuldig's, geduldig's, Innocent, patient, Ein liebliches Lammlein zu Tod! Dear little lamb to its death. Sanct Lucas den Ochsen that schlachten Saint Luke slaughters the ox Ohn' einig's Bedenken und Achten, Without any thought or concern. Der Wein kost kein Heller Wine doesn't cost a penny Im himmlischen Keller, In the heavenly cellars. Die Englein, die backen das Brot. The angels bake the bread.

Gut' Krauter von allerhand Arten, Good greens of every sort Die wachsen im himmlischen Garten! Grow in the heavenly vegetable patch. Gut' Spargel, Fisolen Good asparagus, string beans, Und was wir nur wollen! And whatever we want.

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38 Ganze Schiisseln voll sind uns bereit! Whole dishfuls are set for us! Gut' apfel, gut' Birn' und gut' Trauben! Good apples, good pears, and good grapes, Die Gartner, die Alles erlauben! And gardeners who allow everything! Willst Rehbock, willst Hasen, If you want roebuck or hare, Auf offener Strassen On the public streets [Zur Kiiche*] sie laufen herbei. They come running [right into the kitchen]. Sollt ein Fasttag etwa kommen Should a fast-day come along, Alle Fische gleich mit Freuden All the fishes at once come swimming angeschwommen! with joy. There goes Saint Peter running Dort lauft schon Sanct Peter \ Mit Netz und mit Koder With his net and his bait Zum himmlischen Weiher hinein. To the heavenly pond. [Willst Karpfen, willst Hecht, willst [Do you want carp, do you want pike, Forellen, or trout, Gut Stockfisch und frische Sardellen? Good dried cod or fresh anchovies? Sanct Lorenz hat miissen Saint Lawrence had to Sein Leben einbiissen,] Forfeit his life.] Sanct Martha die Kochin muss sein. Saint Martha shall be the cook.

Kein Musik ist ja nicht auf Erden, There is just no music on earth Die uns'rer verglichen kann werden. That can compare to ours. Elftausend Jungfrauen Even the eleven thousand virgins Zu tanzen sich trauen Venture to dance, Sanct Ursula selbst dazu lacht! And Saint Ursula herself has to laugh. Cacilia mit ihren Verwandten Cecilia and all her relations Sind treffliche Hofmusikanten! Make excellent court musicians. Die englischen Stimmen The angelic voices Ermuntern die Sinnen! Gladden our senses, Dass Alles fur Freuden erwacht. So that all for very joy awake.

Urlicht Primal Light

Roschen rot! little red rose!

Der Mensch liegt in grosster Not! Humankind lies in greatest need! 1 Der Mensch liegt in grosster Pein! Humankind lies in greatest pain!

Je lieber mocht ich im Himmel sein! Much rather would I be in Heaven! j

breiten I onto a broad way, Da kam ich auf einen Weg, Then came j Da kam ein Engelein und wollt mich And an angel came and wanted abweisen. to turn me away.

Ach nein! Ich liess mich nicht But no, I would not let myself be abweisen! turned away! Ich bin von Gott und will wieder I am from God and would return zu Gott! to God! Der liebe Gott wird mir ein Lichtchen Dear God will give me a light, geben, Wird leuchten mir bis in das ewig Will light me to eternal, blissful selig Leben! life! —from Des Knaben Wunderhorn —translations by Michael Steinberg {The Boy's Magic Horn)

*Mahler omits the words in brackets.

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Dmitri Shostakovich Symphony No. 5 in D minor, Opus 47

Dmitri Dmitriyevich Shostakovich was born in St. Peters- burg, Russia, on September 25, 1906, and died in Mos-

cow on August 9, 1975. He began his Symphony No. 5

on April 18, 1937, and completed it on July 20, 1937.

It was first performed on November 21, 1937, in Lenin- grad (as St. Petersburg was then called) by the Lenin- grad Philharmonic under the direction of Yevgeny Mravinsky. The first American performance was broadcast by the NBC Symphony Orchestra under Artur Rod- zinski on April 9, 1938. Richard Burgin led the first Boston Symphony performances in January 1 939, subsequent BSO performances being given by Serge Kous- sevitzky (who performed the work many times in Boston, at Tanglewood, and out of town between October 1940 and March 1948), Leonard Bernstein (in November 1944, August 1948, and August 1989), Burgin again (numerous times between 1952 and 1967), Leopold Stokowski, Charles Mackerras, James DePreist, Mstislav Rostropovich (a Tanglewood performance that took place, as it turned out, on the date of the composer's death), Neemi Jarvi (the most recent subscription performances, in January 1981), and Mariss Jansons (the most recent Tanglewood performance, on August 2, 1991). The score calls for two flutes and piccolo, two oboes, two clarinets and E-flat clarinet, two bassoons and contrabassoon, four horns, three trumpets, three trombones, tuba, timpani, snare drum, triangle, cymbals, bass drum, tam-tam, bells, xylophone, two harps, piano, celesta, and strings.

More has been written and said about the Symphony No. 5 of Dmitri Shostakovich than about any other single symphony composed in the twentieth century. The most often performed of Shostakovich's fifteen symphonies, it has served ever since its dramatic 1937 premiere as a blank but evocative canvas upon which countless commenta- tors have projected sharply divergent political ideologies, personal jealousies, hopes, terrors, and fantasies. The Fifth has been called many things, not all of them accurate: "a Soviet artist's creative reply to just criticism," an "optimistic tragedy," "a master- piece of socialist realism." Completed during one of the most terrifying and uncertain periods in Soviet history, when dictator Joseph Stalin was supervising the arrest, im- prisonment, and often execution of thousands of prominent figures in political and cultural life, the Fifth Symphony literally saved Shostakovich's neck. Its very public triumph also established Shostakovich (at the tender age of thirty-one) as the leading Soviet composer, a position he would occupy—with numerous hair-rising ups and downs until his death in 1975.

Given the enormous cultural and political significance of the Fifth Symphony, its relatively conservative and "classical" personality is ironic and strange. In most of his earlier music, the proudly avant-garde Shostakovich had been gleefully "pushing the envelope." Although his Symphony No. 1 (1925) adheres more or less to traditional symphonic form, the Symphonies No. 2 (7b October, 1927) and No. 3 (First of May, 1929) are sprawling and programmatic, scored for gargantuan forces and featuring con- cluding choruses set to jingoistic political verses. The Symphony No. 4 (1935-36), which Shostakovich once called "a sort of credo of my work as an artist," indulged in what the composer himself later described as "grandiosomania." At nearly sixty min-

utes, it is rivaled in length, instrumentation, and scale only by the Seventh Symphony (Leningrad).

Just as he was finishing the Fourth, Shostakovich's existence was turned upside down by the publication on January 28, 1936, in the official Communist Party newspaper

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Pravda, of a scathing attack ("Muddle Instead of Music") on his opera Lady Macbeth of the Mtsensk District. First performed in 1934, Lady Macbeth had been a huge hit with Soviet audiences in Leningrad and Moscow, and had already been staged abroad. But Stalin and his cultural "advisers" belatedly decided that the opera's overt sexuality, raw language, slapstick irreverence, and frequently dissonant musical style were inap- propriate for the Soviet audience. Lady Macbeth was immediately banned from Soviet theaters, and Shostakovich's musical—and personal—future, previously so limitless, suddenly looked terribly uncertain.

A casualty of the fallout from the Pravda attack was the Fourth Symphony. Shostako- vich withdrew it after a few rehearsals, under intense pressure from local bureaucrats. Surely one of the features of the Fourth that displeased the Party watchdogs was its fourth movement, a Largo built around a funeral march, Mahler- style. Socialist Realist symphonies were not supposed to con- clude in such a depressing mood —audiences had to be sent away optimistic and hopeful for the shining Communist future, pref- erably with a stirring military- style march to propel them out into the sunshine. In the Fifth Symphony, Shostakovich would provide that march-like finale,

although debate still rages over

whether he intended it sincerely or ironically.

When he started work on the Fifth Symphony in April 1937, Shostakovich was all too aware how much was on the line: "Not A 1961 photo of Shostakovich with the conductor everything in my preceding Evgeny Mravinsky work s was f equal val ue . There were some failures. So I have tried in my Fifth Symphony to show the Soviet listener that I have taken a turn towards greater accessibility, towards greater simplicity." An artist less sure of himself and his talent would have been crushed by the weight of the expectations. With a family to support, he could not afford to alienate all his patrons. And yet he abhorred the thought of cheapening his talent and integrity by creating music that pandered to the Party's demands—which were not always easy to decipher in any case.

As usual, however, Shostakovich got the music down on paper quickly once the prep- aratory work had been done in his head. He wrote the third-movement Largo, the symphony's emotional and dramatic center, in a mere three days. "The final birth of this work was preceded by prolonged inner preparation," Shostakovich said. "My new work could be called a lyrical-heroic symphony. Its main idea is the sufferings of mankind and an all-affirming optimism. I aimed to show how—through a series of tragic con- flicts and great inner spiritual struggle—optimism is affirmed as a world view. The subject of my symphony is the genesis of the individual. I placed man and all his sufferings at the center." But one wonders how much of what Shostakovich said was merely intended to placate Soviet officialdom.

And yet the harmonic style and formal structure of the Fifth Symphony are clearly more "accessible" in certain ways. The Fifth adheres relatively closely to classical

43 Week 24 44 symphonic form, built on a base of diatonic tonal harmony, with a first movement using relatively straightforward sonata form, followed by a short scherzo-like movement, a long slow movement, and a finale of decisive character. Of particular note is the absence of any dedication or programmatic description, especially given Shostakovich's fond- ness for descriptive titles. Shostakovich may well have decided that in the aftermath of the Lady Macbeth scandal it was safer not to give his potential attackers any ammuni- tion in the form of texts or titles that could be misconstrued or turned against him. The Fifth is the most purely "abstract" of all of Shostakovich's symphonies. Curious, too, is the absence of any folk or "borrowed" material (except from Shostakovich himself, as we will see) in what is allegedly an exemplar of Socialist Realism—an aesthetic that strongly encouraged the inclusion of folk material as an expression of "popular" culture.

The Fifth Symphony is most strongly indebted to two composers: Tchaikovsky and Beethoven. There is the same sharp contrast between two emotional worlds (especially in the first movement) drawn in Tchaikovsky: the implacable world of fate in conflict with the subjective world of human experience and limitation. Like Tchaikovsky's Fourth and Fifth Symphonies, Shostakovich's Fifth also concludes after long passages of soul-searching, doubt, and despair with an upbeat, even militaristic finale.

But Beethoven's spirit hovers even more insistently. This kinship appears in the sym-

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phony's opening bars, in the famous "motto" theme that jumps portentously from D to B-flat and down to A, the dominant of the symphony's home key of D minor, before transforming into an accompaniment for the second theme. What these opening bars bring most obviously to mind are the opening bars of Beethoven's Symphony No. 9 and (to a lesser extent) the opening motto theme of Beethoven's Symphony No. 5. This kinship seems even more plausible when we recall that Shostakovich's Fifth and Beetho- ven's Ninth also share a common key of D minor. And Beethoven (with his idealistic dreams of a Utopian brotherhood of man) was a musical and political model long ad- mired both by Shostakovich and by the keepers of Soviet culture.

In the first movement, Shostakovich uses the epic motto theme as an organizing prin-

ciple, returning to it in its original and altered forms. In sharp contrast are two more lyrical themes, the first wandering somewhat uncertainly and trailing off into nervous stepwise movement, the second remarkably serene, contemplative, and free of conflict. The short second movement shows us the sarcastic, ironic side of Shostakovich already familiar from the First Symphony and the Piano Concerto No. 1. But the symphony's prevailing mood is serious and reflective, as the length (nearly thirteen minutes) and almost unbearable emotional intensity of the Largo, with its expressionistic writing for

strings, make clear. It isn't easy to write music to follow such an exquisite confession of grief and suffering, and the finale (denounced by one critic for its "undertones of Slav hysteria") has always been the most controversial movement.

Outwardly, the spirit of celebration and optimism can seem forced and superficial, but Shostakovich included a hidden subversive message underneath all those blaring

trumpets and rattling drums. It is a musical quotation from the setting of a poem ("Re- birth") by Alexander Pushkin which Shostakovich had composed a few months earlier, one of the Four Pushkin Romances, Op. 46. The initial march theme takes its contour from the four notes setting the first three words of the poem, dealing with one of Push- kin's favorite themes, the struggle between genius and mediocrity in art. Here, the struggle ends with the artist triumphant over his persecutors. At the time, these romances were unpublished and unknown, so the reference was intended for Shostakovich alone —and perhaps, for future generations.

The public reaction to the star-studded premiere of the Fifth Symphony in Leningrad on November 21, 1937, was ecstatic, and has gone down as one of the most important events in the history of Soviet culture. The concert also marked the beginning of a long and fruitful association between Shostakovich and the young conductor, Yevgeny Mra- vinsky. One elderly philologist in attendance even compared Shostakovich's triumph with the one he had witnessed for Tchaikovsky at the premiere of his Sixth Symphony, the Pathetique, in 1893. While the Party cultural bureaucrats were made uneasy by the extraordinary display of enthusiasm for Shostakovich at this and subsequent performances, in the end they accepted the public verdict. With the Fifth Symphony, Shosta- kovich resurrected his personal and musical fortunes, narrowly escaping the catastro- phe that would strike down numerous artistic friends and colleagues at the end of the

1930s. But it was hardly the last time that Shostakovich would feel like a hunted man. —Harlow Robinson

Harlow Robinson is Professor of Modern Languages and History at Northeastern University. Author of biographies of Sergei Prokofiev and Sol Hurok, and editor/translator of Selected Letters of Sergei Prokofiev, he lectures for the Boston Symphony, Metropolitan Opera Guild, and Metropolitan Museum of Art, and has written widely on Russian culture and music.

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More . . .

Paul Banks's excellent Mahler article from The New Grove Dictionary has been reprinted in The New Grove Turn of the Century Masters—Jandcek, Mahler, Strauss, Sibelius (Norton paperback). Michael Kennedy's Mahler in the Master Musicians series (Littlefield paperback) and Kurt Blaukopf's Mahler (Limelight paperback) also provide good starting points. Deryck Cooke's Gustav Mahler: An Introduction to his Music is a first-rate brief guide to the composer's music (Cambridge University paperback). Michael Steinberg's program notes on all of Mahler's symphonies are in his book The Symphony—A Listener's Guide (Oxford paperback). Jonathan Carr's Mahler is a recent biography offering an accessible approach aimed at beginners and enthusiasts (Overlook Press). Henry-Louis de La Grange's biography of Mahler, originally in French, and of which a four-volume English version is planned, so far includes two English-language volumes Vienna: The Years of Challenge, 1897-1904 and Vienna: Triumph and Disillusion, 1904-1907 (Ox- ford). The out-of-print, original first volume of La Grange's study, entitled simply Mah- ler, and due for revision, covered Mahler's life and work through January 1902 (Double- day). The other big Mahler biography, Donald Mitchell's, which so far extends to three volumes, includes detailed consideration of the Wunderhorn songs in Gustav Mahler- Volume II: The Wunderhorn Years (University of California paperback). Alma Mahler's

autobiography And the Bridge is Love (Harcourt Brace Jovanovich) and her Gustav Mahler: Memories and Letters (University of Washington paperback) provide important if necessarily subjective source materials. Knud Martner's Gustav Mahler: Selected Letters offers a useful volume of correspondence, including all the letters published in Alma's earlier collection (Farrar, Straus and Giroux). Mahler enthusiast and conductor Gilbert Kaplan has recently seen to the publication of The Mahler Album with the aim of bringing together every known photograph of the composer (The Kaplan Foundation with Thames and Hudson). Though now more than twenty years old, Kurt Blaukopf's extensively illustrated Mahler: A Documentary Study remains well worth seeking in second-hand shops (Oxford Uni-versity Press).

Thomas Hampson has recorded the twelve "standard" Wunderhorn songs (see page 25) plus Das himmlische Leben, Urlicht, and Es sungen drei Engel (which became the fifth movement of the Symphony No. 3) in their original voice-and-piano versions with pianist Geoffrey Parsons (Teldec). An excellent recent recording of the twelve "standard" Wunderhorn songs plus Urlicht features mezzo-soprano Anne Sofie von Otter and bass-baritone Thomas Quasthoff with Claudio Abbado leading the Berlin Philharmonic

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50 (Deutsche Grammophon). Though I have not heard it, a recording of the standard twelve featuring mezzo-soprano Ann Murray and baritone Thomas Allen with Sir Charles Mac- kerras and the London Philharmonic has been well received (Virgin Classics). Jessye Norman and John Shirley-Quirk recorded the standard set of Wunderhorn songs with Bernard Haitink and the Concertgebouw Orchestra (Philips, just recently reissued on compact disc, with the Ninth Symphony). Mezzo-soprano Christa Ludwig and baritone Walter Berry recorded an important account of the Wunderhorn songs with Leonard Bernstein leading the New York Philharmonic, and also with Bernstein as pianist (both Sony Classical). Classic older recordings feature Maureen Forrester and Heinz Rehfuss with Felix Prohaska leading the Orchestra of the Vienna Festival (Vanguard), and Elisa- beth Schwarzkopf and Dietrich Fischer-Dieskau with George Szell leading the London Symphony Orchestra (EMI). —Marc Mandel

Shostakovich's career and music have been the subject of numerous significant publications in English in recent years. Despite continuing controversy over the exact nature of the editor's relationship with the composer, and the source of some of the material the volume contains, Testimony: The Memoirs of Dmitri Shostakovich as related to and edited by Solomon Volkov remains a basic and fascinating text in Shostakovich studies (Proscenium). Based in part on the revelations contained in Testimony is Ian Mac- Donald's highly impressionistic and at times fanciful The New Shostakovich, which in- terprets the music in a highly political way (Northeastern University Press, out of print). Elizabeth Wilson's enlightening and carefully assembled Shostakovich: A Life Remem- bered compiles interviews with many musicians and cultural figures who knew the composer personally to produce a complete and nuanced portrait (Princeton University paperback). More polemical is Shostakovich Reconsidered, written and edited by Allan B. Ho and Dmitry Feofanov, an anthology of interviews, articles, and documents related to the composer's political and artistic activity (Toccata Press). The most recent addition to the literature is Laurel E. Fay's extremely detailed but dry Shostakovich: A Life (Oxford University Press).

Shostakovich's Symphony No. 5 has been one of the most frequently recorded of his fifteen symphonies. Among the many available recordings, some of the more notable include Yevgeny Mravinsky's with the Leningrad Philharmonic (Russian Disc; Mravinsky was conductor of the Leningrad Philharmonic for fifty years and led the symphony's premiere), Leonard Bernstein's with the New York Philharmonic (Sony Classical), the composer's son Maxim Shostakovich's with the USSR Symphony Orchestra (RCA), Kurt Sanderling's with the Berlin Symphony Orchestra (Berlin Classics), Bernard Haitink's with the Concertgebouw Orchestra (Decca, recently reissued at mid-price), and Andre Previn's with the London Symphony Orchestra (EMI). —Harlow Robinson

51 Week 24

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52 Thomas Hampson Thomas Hampson, America's leading baritone, has been recognized for his versatility and breadth of achievement in opera, song, recording, research, and pedagogy. A native of Spokane, Washington, he studied with Sr. Marietta Coyle, Elisabeth Schwarzkopf, Martial Singher, and Horst Giinther. Mr. Hampson enjoys an international career that has taken him to the world's most prestigious stages and concert halls. His operatic roles span a wide range of repertoire, from Monteverdi, to Rossini, Verdi, and Puccini, to Britten and Henze. Among his celebrated recent portrayals have been the title roles in Guillaume Tell (Vienna), Eugene Onegin (Vienna and Paris), in Ambroise Thomas's Hamlet (Monte Carlo and San Francisco), and in the rarely heard baritone version of Massenet's Werther (New York); Germont pere in La traviata (Zurich); the Marquis of Posa in the original French version of Verdi's Don Carlos (Paris, London, Edinburgh); Wagner's Tannhauser (Zurich), Busoni's Doktor Faust (Salzburg), and Szyman- owski's King Roger (Birmingham). The 2000-2001 season features reprises of Doktor Faust (New York), Hamlet (Paris), and Eugene Onegin, Guillaume Tell, Die lustige Witwe, and Linda di Chamounix (Vienna), as well as a role debut as Oreste in Gluck's Iphigenie en Tauride in Salzburg. Soloist of choice for today's foremost conductors and considered the preeminent recitalist of his generation, Mr. Hampson has conceived and performed thought- fully constructed programs which explore the rich diversity of song idioms, languages, and styles. He has furthered his commitment to the art of song not only by teaching, but also by researching the repertoire, and designing such multimedia projects as "Voices from the Heart," a performance documentary on the music of Stephen Foster for the Hessischer Rund- funk/Arte network, and the highly acclaimed "I Hear America Singing," a program about the cultural contexts of American song, which first aired in January 1997 on WNET's "Great Performances." Mr. Hampson's discography appears on eight major labels. Since 1993 he has had an exclusive commitment to Angel/EMI for solo repertoire; that label has honored him with the designation 1997 Artist of the Year. Almost all of his recordings have received industry awards, including six Grammy nominations, two Edison Prizes, three 1994 Gramophone Awards, the 1992 Grand Prix de la Nouvelle Academie du Disque, the Grand Prix du Disque, the 1994 Charles Cros Academie du Disque Lyrique, and the es- teemed Toblacher Prize for his recent Mahler recordings. To these recording honors are added the 1997 Citation of Merit for Lifetime Contribution to Music and Education from the National Arts Club on America, 1994 Cannes Classical Awards Male Singer of the Year, the 1997 and 1994 German Critics' Echo Preis for Best Male Singer, the 1993 Classi- cal Music Awards' Male Singer of the Year, Musical America's Vocalist of the Year 1992, the Miinchener Abendzeitung's Stern des Jahres 1992, the Music Academy of the West's first Distinguished Alumni Award, and the Merola Distinguished Alumni Award, as well as honorary membership in London's Royal Academy of Music, honorary doctorates from the San Francisco Conservatory and Whitworth College, and the coveted title of "Kammersang- er" in Vienna. Prior to this season, Mr. Hampson has appeared with the Boston Symphony Orchestra only at Tanglewood, where he made his BSO debut in a July 1991 performance of Brahms's Ein deutsches Requiem in memory of Leonard Bernstein, also singing music of Bernstein and Mahler that week with the Tanglewood Music Center Orchestra, also in a concert in Bernstein's memory. He makes his BSO subscription series debut at Symphony Hall, and his first Carnegie Hall appearances with the orchestra, this week.

Boston Symphony Orchestra concertmaster Malcolm Lowe performs on a Stradivarius violin loaned to the orchestra by Lisa, Nicole, and Wanda Reindorf in memory of their brother, Mark Reindorf.

53 2000-2001 SEASON SUMMARY WORKS PERFORMED DURING THE BOSTON SYMPHONY ORCHESTRA'S 2000-2001 SUBSCRIPTION SEASON Week ADAMS Naive and Sentimental Music 17

J.S. BACH Mass in B minor, BWV 232 15 BARBARA BONNEY, soprano; ANGELIKA KIRCHSCHLAGER, mezzo-soprano; JOHN MARK AINSLEY, tenor; THOMAS QUASTHOFF, bass-baritone; TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor Piano Concerto in D minor, BWV 1052 14 PETER SERKIN, piano BEETHOVEN Consecration of the House Overture, Opus 62 23 Coriolan Overture, Opus 62 23 Overture to The Creatures of Prometheus, Opus 43 23 Missa Solemnis in D, Opus 123 1 EMIKO SUGA, soprano; ANNA LARSSON, mezzo-soprano; KURT STREIT, tenor; WILLARD WHITE, bass; TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor Piano Concerto No. 1 in C, Opus 15 23 ALFRED BRENDEL, piano Piano Concerto No. 2 in B-flat, Opus 19 23 ROBERT LEVIN, piano Piano Concerto No. 3 in C minor, Opus 37 23 ALFRED BRENDEL, piano Piano Concerto No. 4 in G, Opus 58 23 ROBERT LEVIN, piano Piano Concerto No. 5 in E-flat, Opus 73, Emperor 23 ALFRED BRENDEL, piano Symphony No. 1 in C, Opus 21 7 Symphony No. 4 in B-flat, Opus 60 3 Symphony No. 5 in C minor, Opus 67 23 Symphony No. 8 in F, Opus 93 23

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BERIO Requies 10 BERLIOZ Symphonie fantastique, Opus 14 2 BERNSTEIN Halil, Nocturne for flute and orchestra 18 JACQUES ZOON, flute BRAHMS Piano Concerto No. 1 in D minor, Opus 15 22 YEFIM BRONFMAN, piano Symphony No. 2 in D, Opus 73 18 Violin Concerto in D, Opus 77 9 GIL SHAHAM, violin BRITTEN Serenade for tenor, horn, and strings, Opus 31 10 VINSON COLE, tenor; JAMES SOMMERVILLE, horn COPLAND Concerto for Piano and Orchestra 6 GARRICK OHLSSON, piano CORIGLIANO Symphony No. 2 for String Orchestra 8, (world premiere; commissioned by the BSO) Tues 'B' (8A) DVORAK Symphony No. 8 in G, Opus 88 19, Tues 'C (19A) ELGAR Symphony No. 1 in A-flat, Opus 55 6 GOLIJOV La Pasion Segiin San Marcos (U.S. premiere) 14 LUCIANA SOUZA, vocalist; ELIZABETH KEUSCH, soprano; REYNALDO GONZALEZ FERNANDEZ, vocalist and Afro-Cuban dance; DERALDO FERREIRA, berimbau, percussion, and Capoeira dance; SCHOLA CANTORUM DE CARACAS, MARIA GUINAND, director; MEMBERS OF THE ORQUESTA LA PASI6N, MIKAEL RINGQVIST, leader HAYDN Symphony No. 88 in G 5 HENZE Symphony No. 8 21 janAcek Sinfonietta 17 MAHLER Songs from Des Knaben Wunderhorn 24 THOMAS HAMPSON, baritone Symphony No. 3 13 LORRAINE HUNT LIEBERSON, mezzo-soprano; TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor; AMERICAN BOYCHOIR, JAMES LITTON, director Symphony No. 5 4

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56 MARTINU Fantaisies symphonique (Symphony No. 6) 19, Tues 'C (19A) MENDELSSOHN Violin Concerto in E minor, Opus 64 21 JOSHUA BELL, violin MOZART Piano Concerto No. 23 in A, K.488 4 CHRISTOPH ESCHENBACH, conductor and pianist Piano Concerto No. 24 in C minor, K.491 5 ANDRE PREVIN, conductor and pianist Piano Concerto No. 27 in B-flat, K.595 12 RADU LUPU, piano Symphony No. 36 in C, K.425, Linz 10 Violin Concerto No. 2 in D, K.211 7 PAMELA FRANK, violin Violin Concerto No. 4 in D, K.218 19 FRANK PETER ZIMMERMANN, violin PART Fratres, for eight cellos Como anhela la cierva, for soprano and orchestra (U.S. premiere) ANJA HARTEROS, soprano PROKOFIEV Scythian Suite, Opus 20 11 Violin Concerto No. 1 in D, Opus 19 17 CHO-LIANG LIN, violin

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58 RACHMANINOFF Piano Concerto No. 3 in D minor, Opus 30 KRYSTIAN ZIMERMAN, piano RAVEL Daphnis et Chloe (complete) 20 TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor ROREM Symphony No. 3 SAARIAHO Chateau de Vame, Five Songs for soprano, eight female voices, and orchestra VALDINE ANDERSON, soprano SCHUBERT Overture in E minor, D.648 SCHUMANN Symphony No. 3 in E-flat, Opus 97, Rhenish SCRIABIN Piano Concerto in F-sharp minor, Opus 20 11 VIKTORIA POSTNIKOVA, piano SHOSTAKOVICH Symphony No. 5 in D minor, Opus 47 24 Symphony No. 10 in E minor, Opus 93 12 SIBELIUS Symphony No. 7, Opus 105 22 STRAUSS Don Juan, Opus 20 21 Don Quixote, Opus 35 16 YO-YO MA, cello; STEVEN ANSELL, viola STRAVINSKY Concerto for Piano and Winds OLLI MUSTONEN, piano Four Norwegian Moods 10 Suite from Pulcinella 18, 19, Tues 'C (19A) Symphony of Psalms 20 TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor TAKEMITSU From me flows what you call Time, for five percussionists and orchestra NEXUS, percussion ensemble TCHAIKOVSKY Piano Concerto No. 1 in B-flat minor, Opus 23 Tues 'B' (8A) MOMO KODAMA, piano Suite No. 3 in G, Opus 55 11 WALTON Scapino, Comedy Overture 22 WEBER Overture to Oberon 21 WILLIAMS Concerto for Cello and Orchestra 16 YO-YO MA, cello

59 Week 24 CONDUCTORS OF THE BOSTON SYMPHONY ORCHESTRA DURING THE 2000-2001 SUBSCRIPTION SEASON Week

SEIJI OZAWA, Music Director 1, 2, 8, Tues 'B' (8A), 15, 16, 23, 24 ROBERTO ABBADO 12 JAMES CONLON 7 FEDERICO CORTESE, Assistant Conductor 10 CHRISTOPH ESCHENBACH 4 HANS GRAF 9 JAMES LEVINE 13 BERNARD HAITINK, Principal Guest Conductor 18, 19, Tues 'C (19A), 20 INGO METZMACHER 21 ANTONIO PAPPANO 22 ANDRE PREVIN 5,6 GENNADY ROZHDESTVENSKY 11 DAVID ROBERTSON 17 ROBERT SPANO 14 ILAN VOLKOV, Assistant Conductor 3

60 V • >'' HBmm

SOLOISTS WITH THE BOSTON SYMPHONY ORCHESTRA DURING THE 2000-2001 SUBSCRIPTION SEASON Week JOHN MARK AINSLEY, tenor 15 VALDINE ANDERSON, soprano 3 STEVEN ANSELL, viola 16 JOSHUA BELL, violin 21 BARBARA BONNEY, soprano 15 ALFRED BRENDEL, piano 23 YEFIM BRONFMAN, piano 22 VINSON COLE, tenor 10 CHRISTOPH ESCHENBACH, piano 4 DERALDO FERREIRA, berimbau, percussion, and Capoeira dance 14 PAMELA FRANK, violin 7 REYNALDO GONZALEZ FERNANDEZ, vocalist and Afro-Cuban dance 14 THOMAS HAMPSON, baritone 24 ANJA HARTEROS, soprano 7 ELIZABETH KEUSCH, soprano 14 ANGELIKA KIRCHSCHLAGER, mezzo-soprano 15 MOMO KODAMA, piano Tues 'B' (8A) ANNA LARSSON, mezzo-soprano 1 LORRAINE HUNT LIEBERSON, mezzo-soprano 13 ROBERT LEVIN, piano* 23 CHO-LIANG LIN, violin 17 RADU LUPU, piano 12 YO-YO MA, cello 16 OLLI MUSTONEN, piano 3 NEXUS, percussion ensemble 2 GARRICK OHLSSON, piano 6 ORQUESTA LA PASION, MIKAEL RINGQVIST, leader 14 VIKTORIA POSTNIKOVA, piano 11 ANDRE PREVIN, piano 5 THOMAS QUASTHOFF, bass-baritone 15 PETER SERKIN, piano 14 GIL SHAHAM, violin 9 JAMES SOMMERVILLE, horn 10 LUCIANA SOUZA, vocalist 14 KURT STREIT, tenor 1 EMIKO SUGA, soprano 1 WILLARD WHITE, bass 1 KRYSTIAN ZIMERMAN, piano 8 FRANK PETER ZIMMERMANN, violin 19 JACQUES ZOON, flute 18

TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor 1, 13, 15, 20 AMERICAN BOYCHOIR, JAMES LITTON, director 13 SCHOLA CANTORUM DE CARACAS, MARIA GUINAND, director 14

*Alfred Brendel indisposed

61 Week 24

•v "A CENTENNIAL TOAST TO SYMPHONY HALL" Saturday, October 14, at 8 p.m. Hosted by Dame Diana Rigg

Parti

O-daiko ("great drum") YGSHIKAZU FUJIMOTO, Taiko drummer BACH Sarabande and Gigue from Suite No. 3 in C, BWV 1009 YO-YO MA, cello RODGERS & HART "Lover" CYRUS CHESTNUT, piano "Joshua Fought the Battle of Jericho" (arr. Moses Hogan)

BOYS CHOIR OF HARLEM, DR. WALTER J. TURNBULL, director TAYLOR-GROLNICK (arr. Stanley Silverman) "That Lonesome Road" JAMES TAYLOR; BOYS CHOIR OF HARLEM TAYLOR (arr. Stanley Silverman) "Shower the People" JAMES TAYLOR; BOYS CHOIR OF HARLEM

Part II BOSTON POPS ORCHESTRA

WILLIAMS Sound the Bells (written to celebrate with the Japanese people the wedding of Crown Prince Naruhito and Crown Princess Masako Owada in June 1993) JOHN WILLIAMS conducting MOLONEY Main Theme and "The Night Larry was Stretched" from Long Journey Home THE CHIEFTAINS; JOHN WILLIAMS conducting WILLIAMS End Credits from Far and Away THE CHIEFTAINS; JOHN WILLIAMS conducting SONDHEIM (arr. Don Sebesky) "Comedy Tonight" from A Funny Thing Happened on the Way to the Forum KEITH LOCKHART conducting MAGIDSON (arr. Jack Cortner) "Singin' in the Bathtub" MANDY PATINKIN; KEITH LOCKHART conducting SONDHEIM (arr. Glen Daum) "Loving You" from Passion MANDY PATINKIN; KEITH LOCKHART conducting RODGERS & HAMMERSTEIN "If I Loved You" from Carousel MANDY PATINKIN; KEITH LOCKHART conducting GREY-WOOD-GIBBS "Runnin' Wild" KEITH LOCKHART conducting

Part HI BOSTON SYMPHONY ORCHESTRA, SEIJI OZAWA conducting BEETHOVEN Kyrie from Missa Solemnis in D, Opus 123 CHRISTINE BREWER, soprano; THEODORA HANSLOWE, mezzo-soprano; RICHARD CLEMENT, tenor; ROBERT HONEYSUCKER, baritone; TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor WILLIAMS "Remembrances," from Schindlers List GIL SHAHAM, violin RAVEL La Valse, Choreographic poem for orchestra BERNSTEIN "Make Our Garden Grow," from Candide CYNTHIA HAYMON, soprano; GREGORY TURAY, tenor; TANGLEWOOD FESTIVAL CHORUS

62 BOSTON SYMPHONY CHAMBER PLAYERS 2000-2001 Subscription Season Sunday Afternoons at 3 p.m. in Jordan Hall at New England Conservatory

October 22, 2000 with Jayne West, soprano; Stephen Drury, piano

COPLAND As It Fell Upon a Day, for soprano, flute, and clarinet COPLAND Threnodies I and II, for flute and string trio COPLAND Sextet for clarinet, piano, and string quartet BEETHOVEN Septet in E-flat for winds and strings, Opus 20

January 14, 2001 with Randall Hodgkinson, piano; Ilan Volkov, conductor

SCHUBERT String Trio No. 1 (Allegro) in B-flat, D.471 KIRCHNER Music for Twelve BEETHOVEN Symphony No. 7, arranged for wind ensemble

April 1, 2001 with Benjamin Pasternack, piano

HAYDN Divertimento a tre in E-flat for horn, violin, and cello, Hob. IV:5 SHAPERO Serenade in D, for string quintet BEETHOVEN Quintet in E-flat for piano and winds, Opus 16

April 29, 2001 GOLIJOV Lullaby and Doina (world premiere; BSO commission) BEETHOVEN Trio in G for violin, viola, and cello, Opus 9, No. 1 STRAVINSKY UHistoire du soldat. Concert suite

ARTICLES/FEATURES PRINTED IN THE BOSTON SYMPHONY ORCHESTRA PROGRAM BOOK DURING THE 2000-2001 SUBSCRIPTION SEASON CELEBRATING THE SYMPHONY HALL CENTENNIAL Week

A Brief History of Symphony Hall 1-8, 13-16 A Brief History of the Boston Symphony Orchestra 1-4, 13-16 October 1900-In Praise of the New Symphony Hall 1-4 Symphony Hall Dedicated as National Historic Landmark 5-8 Casts of Character: The Symphony Statues 9-12 by Caroline Smedvig From October 16, 1900: "Social Aspect of the Opening" 14-16 From the Stage 17-21 More From the Stage 22-24 From Our Audience 22-24

63 Week 24 WORKS PERFORMED IN SYMPHONY HALL PRELUDE CONCERTS, CHAMBER MUSIC TEAS, AND COMMUNITY CONCERTS DURING THE 2000-2001 SUBSCRIPTION SEASON Week BEETHOVEN Trio. in C minor for violin, viola, and cello, Opus 9, No. 3 BRAHMS Sonata No. 2 in A for violin and piano, Opus 100 18 String Quintet No. 2 in G, Opus 111 20 COPLAND Two Pieces for String Quartet 6 COWELL Set of Five, for violin, piano, and percussion 23 DVORAK String Quartet No. 14 in A-flat, Opus 105 6 String Quintet in E-flat, Opus 97 16 GOLIJOV The Dreams and Prayers of Isaac the Blind 14 kaprAlovA String Quartet 4 MARTINU Three Madrigals for violin and viola 16 Trio for flute, cello, and piano 18 MOZART Prelude (Adagio) and Fugue in D minor, K.404a, No. 1 14 (the fugue arranged from Bach's Well-Tempered Clavier,

Book I, No. 8, in D-sharp minor), for string trio Quartet in E-flat for piano, violin, viola, and cello, K.493 4 PROKOFIEV Overture on Hebrew Themes, Opus 34, for clarinet, string quartet, and piano 11 RAVEL Sonatine (transcribed for flute, cello, and harp by Carlos Salzedo) 20 SCHUBERT Quintet in A for piano and strings, D.667, Trout 23 STRAVINSKY Three Pieces for String Quartet 14 TAN DUN Eight Colors for String Quartet 16 TCHAIKOVSKY String Quartet No. 2 in F, Opus 22 11 TURINA UOracion del torero (The toreadors prayer), Opus 34, for string quartet 20 WILLIAMS "The Lanes of Limerick" from Angelas Ashes, for solo harp 20

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PERFORMERS IN PRELUDE CONCERTS, CHAMBER MUSIC TEAS, AND COMMUNITY CONCERTS DURING THE 2000-2001 SUBSCRIPTION SEASON Week

SCOTT ANDREWS, clarinet 11 MARTHA BABC0CK, cello 11, 20 NURIT BAR-JOSEF, violin 16 ROBERT BARNES, viola 20 CATHY BASRAK, viola 23

YA-FEI CHUANG, piano 4 I BRIAN CONNELLY, piano 23

NINA FERRIGN0, piano 11 | CATHERINE FRENCH, violin 6 BURTON FINE, viola 6 EDWARD GAZOULEAS, viola 16 HAWTHORNE STRING QUARTET 4 (RONAN LEFKOWITZ, HALDAN MARTINSON, violins; MARK LUDWIG, viola; SATO KNUDSEN, cello)

J. WILLIAM HUDGINS, percussion 23 LUCIA LIN, violin 23 THOMAS MARTIN, clarinet 14 KATSUKO MATSUSAKA, viola 16 JOSEPH McGAULEY, violin 20 JONATHAN MILLER, cello 6 NICOLE MONAHAN, violin 20 ELIZABETH OSTLING, flute 20 ANDREW PEARCE, cello 16 ANN HOBSON PILOT, harp 20 CAROL PROCTER, cello 18, 20

AZA RAYKHTSAUM, violin 11 |

RENARD STRING QUARTET 14 | (BONNIE BEWICK, ELITA KANG, violins; RACHEL FAGERBURG, viola; OWEN YOUNG, cello) TODD SEEBER, double bass 23

TAMARA SMIRNOVA, violin 18 } FENWICK SMITH, flute 18 ALEXANDER VELINZON, violin 6, 16 VALERIA VILKER KUCHMENT, violin 11 RONALD WILKISON, viola 20 TATIANA YAMPOLSKY, piano 18

OWEN YOUNG, cello 23 1 MICHAEL ZARETSKY, viola 11

65 Week 24

'>.- : »B >. Symphony Hall Centennial Season 2000-2001 BSOvations

The support of the corporate sponsors of the Boston Symphony Orchestra reflects the increasingly important partnership between business and the arts. The BSO is honored to be associated with these companies and gratefully acknowledges their contributions. These corporations have sponsored concerts and activities of the Boston Symphony Orchestra between September 1, 1999, and August 31, 2000. BSO corporate sponsors of $50,000 or more are listed below by contribution level. For more information, contact Patricia Kramer, Associate Director, Corporate Programs, at (617) 638-9475.

NEC has proudly supported the Boston Symphony Orchestra's tours throughout Asia, Europe, and North and South America since 1986. No matter where they perform, the Boston Symphony Orchestra musicians, together with Maestro Ozawa, impress audiences with their brilliant performances, and have captured the hearts

of music lovers all over the world.

Koji Nishigaki President, NEC Corporation

2 The Boston Symphony Orchestra is EMC a true New England treasure, and the talent of its musicians should where information lives be experienced by everyone. EMC Corporation is pleased to have a part in bringing the magic of the BSO to young people and their families in Boston and throughout the state. We hope these events will instill in us

Michael C. Ruettgers an interest and a love of music and remind us all of the rich Executive Chairman artistic and cultural diversity that makes Massachusetts a EMC Corporation great place to live and do business.

WCVB-TV |3 Now in our 25th year of partnership |b s t d n J P^j w j tn t he Boston Symphony Orches- ^-^ tra, WCVB-TV Channel 5 is pleased to celebrate and support one of the world's most distinguished music organizations and its historic halls. Our collaboration features stirring performances as well as stories about the orchestra's important contributions to the community in tele- vised programs such as "POPS! Goes the Fourth," "Holiday Paul La Camera at Pops" and "Salute to Symphony." WCVB proudly shares President one of our city's premier treasures with viewers in New Eng- WCVB-TV Channel 5 land and across the country, and looks forward to the next quarter-century of partnership in great music.

66 BSOvations (continued)

Four Seasons Hotel Boston has been very proud to support the Four Seasons Hotel Boston Symphony Orchestra for over ten years. The Boston Sym- phony has established a tradition for presenting world class music while simultaneously bringing the magic of music to our city's children. The Boston Symphony Orchestra truly is the cornerstone of the rich cul- Robin A. Brown tural life we enjoy. Four Seasons proudly acknowledges the General Manager impact the Boston Symphony Orchestra has had in enhanc- Four Seasons Hotel ing the city, and we look forward to continuing our partnership in the years to come.

AT&T congratulates the BSO on the JTToT centennial anniversary of Symphony Hall—an event that highlights a century of outstanding musical performances by one of the world's premier arts organizations. AT&T is pleased to continue its long tradition of support for the BSO by extending the Language of the 20th Century concert series for a fourth season. This series celebrates the land- Esther Silver-Parker mark compositions, as well as new works, commissioned President and given their world or U.S. premieres by the BSO in AT&T Foundation Symphony Hall since the middle of this past century.

Charles River Broadcasting has proudly been CLASSICAL involved with the Boston Symphony Orches- flagship station, 102.5 WCRB tra for over 40 years. Our live perform- S T N WCRB 102.5, broadcasts BSO ances every Saturday night to over a half million people. We are pleased to be able to bring the performances of our world class orchestra into the homes of millions of music lovers, and we look forward to doing so for years to William W. Campbell come. CEO Charles River Broadcasting

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68 Symphony Hall Cente 1 Season 00-200I

Business Leadership Association

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

Within each category, companies are listed alphabetically. This list recognizes cumulative contributions of $2,000 or more made between September 1, 1999, and August 31, 2000. Bold type indicates donors who have contributed $25,000 or more.

For more information, contact Patricia Kramer, Associate Director, Corporate Programs, at (617) 638-9475.

ACCOUNTING AUTOMOTIVE CONSULTING: ENVIRONMENTAL Arthur Andersen LLP Adesa Boston Earth Tech

George E. Massaro Thomas J. Caruso Craig D. MacKay Di Pesa & Company, CPAs Clair Motors CONSULTING: Dolly Di Pesa Joseph P. Clair MANAGEMENT/FINANCIAL Ernst & Young LLP Fitz-Inn Parking Systems & A.T. Kearney, Inc. James S. DiStasio Jacob Wirth Co. Arthur Bert Kevin Fitzgerald Harte Carucci & Driscoll, Anchor Capital Advisors, Inc. PC. J.N. Phillips Glass Co., Inc. William P. Rice Neal Harte Alan L. J. Rosenfield Accenture KPMG LLP Jack Madden Ford Sales, Inc. John Bladon Donald B. Holmes P. Madden, John Jr. Accenture PricewaterhouseCoopers LLP Rodman Ford, Lincoln William D. Green John O'Connor Mercury Accenture Donald E. Rodman ADVERTISING/ David B. Sardilli Woburn Foreign Motors PUBLIC RELATIONS The Boston Consulting Group George T. Albrecht Arnold Worldwide, Inc. Jonathan L. Isaacs Ed Eskandarian BANKING Copernicus Marketing Hill, Holliday, Connors, Cambridge Trust Company Consulting Cosmopulos, Inc James F. Dwinell III Dr. Kevin J. Clancy John M. Connors, Jr. Citizens Bank CSC Hill, Holliday Relationship Thomas J. Hollister Nancy McCarthy Marketing DB Alex Brown Eze Castle Software, Inc. Laurel Rossi Stuart C. Williams Sean McLaughlin Holland Mark Edmund FleetBoston Financial Hewitt Associates Ingalls Charles K. Gifford John Kieley Richard C. Garrison Mellon New England John F. Farrell & Associates MASSmedia, Inc. Joanne Jaxtimer John F. Farrell, Charles N. Shapiro Jr. PNC Advisors JSA Partners, Inc. ALARM SYSTEMS Melissa A. Kane Joseph Schneider First Security Services State Street Liberty Square Asset Corporation Marshall N. Carter Management Robert F. Johnson Peg Mcgetrick

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70 McKinsey & Company, Inc. FINANCIAL SERVICES/ Liberty Financial Companies, David G. Fubini INVESTMENTS Inc. Adams, Harkness Hill, Inc. Gary L. Countryman The O'Brien Group, Inc. & Paul C. O'Brien Joseph W. Hammer Longwood Partners Robert Davidson Towers Perrin Advent International Corp. Peter A. Brooke V. Benjamin Haas Loomis-Sayles & Company, Watson Wyatt Worldwide Allmerica Financial L.P. Mark W. Holland Edward Fleischer John O'Brien Financial Services Westfield Capital Bank of Tokyo-Mitsubishi LPL Management Corporation Capital Todd A. Robinson C. Michael Hazard Takeshi Suzuki Manulife Financial DesPrez III Weston Presidio Capital Boston Capital Corporation John Christopher W. Collins Michael F. Cronin The MassMutual Financial Herbert Collins Group William M. Mercer, Inc. Richard J. DeAgazio Robert O'Connell James McCaffrey J. J. John P. Manning The NASDAQ-AMEX Market CONSUMER PRODUCTS Carson Limited Partnership Group Boston Acoustics, Inc. Herbert Carver John Tognino Andy Kotsatos Clough Capital Partners LP Needham & Company, Inc. Coca-Cola Bottling Co. of Charles E. Clough George A. Needham New England Credit Suisse First Boston Perry Capital Phil Emma Corporation Paul Leff Phelps Industries, Inc. Marc A. White, Jr. Richard Phelps The Pioneer Group, Inc. J. Cypress Capital Management John F. Cogan ELECTRICAL/ELECTRONICS Richard L. Arvedlund Provant, Inc. Hurley Wire and Cable East Asia Ventures LLC Paul M. Verrochi Arthur J. Hurley Paul R. Tucker, Jr. Putnam Investments R&D Services, Inc. Essex Investment Lawrence J. Lasser Richard D. Redone Management Co., LLC Quick Reilly Inc./Fleet Joseph C. McNay, & Electronics Jr. TDK Corporation Securities Inc. Fidelity Investments Kuni Matsui Thomas C. Quick Edward C. Johnson 3rd ENERGY/UTILITIES Robertson Stephens Fidelity Capital Markets Eastern Enterprises/Boston A. Christopher Bulger Timothy McKenna HI Gas Company SG Cowen Securities /. Atwood Ives/Chester R. Fiduciary Trust Company Corporation Messer Charles C.J. Piatt Amy Louise Burns Global Friedl Enterprises, Inc. Petroleum Corporation State Street Development Alfred Slifka Donald G. Friedl Management Corp NSTAR Goldman, Sachs & Co. John R. Gallagher HI Daniel Thomas J. May Jick State Street Global Advisors ENGINEERING The Goldman Group Ann Dudley Gregory I. Goldman Stone & Webster Sun Life Financial H. Kerner Smith HPSC, Inc. James McNulty John W. Everets ENTERTAINMENT/MEDIA Tucker Anthony, Inc. John Hancock Financial John H. Goldsmith WCRB 102.5 FM Services William W. Campbell UBS PaineWebber, Inc. David D'Alessandro James F. Cleary WCVB-TV Channel 5 Kaufman Richard F. Connolly Paul La Camera & Company Sumner Kaufman Charles T. Harris Channel 7 WHDH-TV Joseph F. Patton, Jr. Mike Carson Kessler Financial Services, L.P. Howard J. Kessler United Gulf Management, Inc. Samer Khanachet

V*i

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72 Business Leadership Association (continued)

WP. Stewart & Co., Ltd. Millipore Corporation The Bostonian Group

Stephen E. Memishian C. William Zadel John J. Casey Watermill Ventures NEC Corporation Chubb Group of Insurance Steven E. Karol Koji Nishigaki Companies John H. Gillespie Woodstock Corporation PerkinElmer, Inc.

John S. Goldtbwaite, Jr. Gregory L. Summe Delta Dental Plan Dr. Robert Hunter FLOWERS Printed Circuit Corporation Peter Sarmanian Hilb, Rogal Winston Flowers and Hamilton David Winston PTC Insurance Paul Bertrand C. Richardson Harrison FOOD SERVICE/ Raytheon Company International Planning Group EQUIPMENT/INDUSTRY Baker Carol Ramsey Jon M. Boston Showcase Company Lexington Insurance Jason E. Starr Renaissance Worldwide, Inc. G. Drew Conway Company Gourmet Caterers, Inc. Kevin H. Kelley Robert Wiggins Signal Technology Corporation Liberty Mutual Insurance Johnson O'Hare Company George Lombard Group Harry T. O'Hare, Jr. Edmund F. Kelly Teradyne, Inc. GRAPHIC DESIGN Marsh USA Inc. Thomas B. Newman, Jr. Designwise Michael P. Golden Thermo Electron Corporation Freelow Crummett New England Financial Richard F. Syron Graphics Marketing Services James M. Benson Twin Rivers Technologies Mike Lipson Safety Insurance Company James Ricci Sametz Blackstone Associates, Richard B. Simches Waters Corporation Inc. William Gallagher Douglas A. Berthiaume Associates Roger Sametz Philip Edmundson HOTELS/HOSPITALITY HIGH TECHNOLOGY INTERNET/INTERNET Boston Marriott Copley Place Analog Devices, Inc. PROFESSIONAL SERVICES William Munck Ray Stata Breakaway Solutions Four Seasons Hotel Boston Bull HN Information Systems Gordon Brooks Mr. Robin A. Brown Don Zeraski Digitas The Lenox Square Calico Commerce & Copley David Kenny Gary Halloran Hotels/Saunders Hotel Group Genuity, Inc. Paul R. Gudonis Dell Computer Corporation Roger A. Saunders Linda Hargrove The Red Lion Inn LEGAL EMC Corporation Nancy Fitzpatrick Bingham Dana LLP Richard J. Egan Catherine Curtin Seaport Hotel & World Trade Helix Technology Center Choate, Hall & Stewart Corporation John E. Drew Samuel B. Bruskin Robert ]. Lepofsky Peter M. Palladino Sheraton Boston Hotel & IBM and Lotus Development Towers Dionne & Gass Corp. Larry Trainor Richard D. Gass Sean C. Rush Sonesta International Hotels Edwards & Angell, LLP Instron Corporation Corporation Susan Siebert James M. McConnell Paul Sonnabend Gadsby & Hannah LLP International Data Group The Westin Copley Place Paul E. Clifford Patrick J. McGovern Boston Goodwin Procter LLP Ionics, Incorporated Frank Calaguire Regina M. Pisa Arthur L. Goldstein INSURANCE Goulston & Storrs Medical Information Aon Risk Services, Inc. of Rudolph Pierce Technology, Inc. Massachusetts Neil Pappalardo Michael E. Toner

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74 L

Business Leadership Association (continued)

jO H r

Hale and Dorr LLP J.D.P. Company Boston Herald

William F. Lee Jon D. Papps Patrick J. Purcell Kellogg & George, P.C. Kruger Inc. Bowne of Boston Ptf^/ £. George Joseph Kruger II Robert M. Collins

Nixon Peabody LLP Maxwell Shoe Company Inc. George H. Dean Co.

Nestor Nicholas Esq Mark J. Cocozza G. Earle Michaud Nutter, McClennen & Fish, New England Business H. George Caspari, Inc LLP Service, Inc. Doug Stevens Karl Fryzel Robert Murray J. Harcourt General, Inc. Palmer & Dodge LLP OSRAM SYLVANIA Richard A. Smith Michael R. Brown Esquire Dean T. Langford The Lehigh Press, Inc. Robins, Kaplan, Miller & Philip Morris Management John R. De Paul Ciresi Corp. Merrill/Daniels Alan R. Miller Esq McCarthy Joanne Ian Levine Schnader Harrison Goldstein The Rockport Company, Inc. The Studley Press, Inc. and Manello Terry Pillow Suzanne K. Salinetti Richard Snyder J. Sappi Fine Paper North Von Hoffmann Press, Inc. Weingarten, Schurgin, America Robert Uhlenhop Gagnebin & Hayes Melanie Otero Stanley M. Schurgin PROFESSIONAL SERVICES Senior Aerospace Beggs & Cobb Corporation MANUFACTURER'S REP/ Peter Fontecchio Robert E. Remis WHOLESALE DISTRIBUTION SLI, Inc. Alles Corporation Frank M. Ward Blake and Blake Genealogists Stephen S. Berman Richard A. Blake, Jr. Taco, Inc. Deloitte Brush Fibers, Inc. John Hazen White, Sr. & Touche Michael Joyce Ian R Moss Ty-Wood/Century J. Jofran, Inc. Manufacturing Co., Inc Gordon Brothers Group Robert D. Roy Joseph W. Tiberio Michael Frieze

United Liquors, Ltd. Watts Industries, Inc. Heritage Group LLC A. Raymond Tye Timothy P. Home JoAnn McGrath

J.A. Webster, Inc. Wire Belt Company of ML Strategies, LLC Stephen P. Tocco John A. Webster, Jr. America F. Wade Greer, MANUFACTURING Jr. Russell Reynolds Associates, Inc. Bartley Machine MEDICAL Juli Ann Reynolds Manufacturing Co. MANUFACTURING/RESEARCH Richard Bartley Charles River Laboratories Spectaguard International William Whitmore The Biltrite Corporation James C. Foster TAC Worldwide Companies Stanley J. Bernstein Salvatore A. Balsamo Cabot Corporation Haemonetics Corporation L. Peterson Samuel W. Bodman James Vitale, Caturano & Company, P.C. Chelsea Industries, Inc. PHILANTHROPIC Richard Caturano Ronald G. Casty The Aaron Foundation Winter, Wyman & Company Connell Limited Partnership Avram J. Goldberg Kevin Steele William F. Connell D.K. Webster Family Foundation Design Mark Industries REAL ESTATE/BUILDING/ Mr. Dean K. Webster CONTRACTING Paul S. Morris The Abbey Group Dia-Com Corporation Massachusetts Cultural Council Robert Epstein Donald W. Comstock Peter Nessen Beacon Capital Partners Diebold, Incorporated Charles B. Scheurer PRINTING/PUBLISHING Carruth Capital, LLC Advanstar, Inc. Christopher Egan The Gillette Company Robert L. James M. Kilts Krakoff

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76 SH

Business Leadership Association (continued)

J mi

CB Richard EllisAVhittier Nordblom Company SPORTS Partners Rodger P. Nordblom Boston Red Sox/ W. Foundation II Andrew Hoar Perini Corporation Yawkey L. Harrington Copley Place David B. Perini John Paul C. Grant Shawmut Design & New England Patriots Robert K. Kraft Cummings Properties, LLC Construction Albanese William S. Cummings Joseph J. SUPERMARKETS Cushman & Wakefield, Inc. TA Associates Realty FoodMaster Supermarkets Franklin Speyer Michael A. Ruane Inc. John A. Dejesus The DeWolfe Companies, Inc. RESTAURANTS Richard B. DeWolfe The Stop Shop Legal Sea Foods, Inc. & Supermarket Company The Flatley Company Roger Berkowitz Marc Smith Thomas Flatley J. RETAIL The Halleran Company TELECOMMUNICATIONS Filene's Arthur Halleran, Jr. AT&T J. /. Kent McHose Esther Silver-Parker Harvey Industries, Inc. The E.B. Horn Company Frederick Bigony Systems Philip H. Finn Comverse Network Francis E. Girard Heafitz Development Co., Inc. Macy's East Lewis Lucent Technologies, Inc. Heafitz Thomas R. Zapf Hines Eldred F. Newland, Jr. Staples, Inc. David Perry G. Thomas G. Sternberg Natural Microsystems Corcoran Co. Corporation John M. & Talbots M. Corcoran Michelle Benedict John Arnold B. Zetcher Jones Lang LaSalle Americas, NORTEL NETWORKS SCIENCE/MEDICAL Douglas Martin Inc. Dennis Callahan Alkermes, Inc. Verizon Robert Breyer Robert Mudge Lee Kennedy Co., Inc. Lee M. Kennedy Biogen, Inc. Verizon Information Services James L. Vincent Kathy Lend Lease Real Estate Harless Shield Investments, Inc. Blue Cross and Blue WorldCom of Mass. Dana J. Harrell Donna Kelly William C. Van Faasen The MacDowell Company TRAVEL/TRANSPORTATION Boston Scientific Corporation Roy S. MacDowell, Jr. Lawrence Best American Airlines Meditrust James K. Carter Fisher Scientific International David F. Benson El/ Fifth Inc. Dav Avenue Meredith Grew, Inc. & Paul M. Montrone Limousine Thomas J. Hynes, Jr. Scott A. Solombrino SOFTWARE/ MR Property Management United Airlines INFORMATION SERVICES Sean McGrath John Tipping Magellan Holdings, Inc. New England Insulation Co. Howard Diamond Theodore H. Brodie

m Sensational savings on

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Thursday. At dinner, just show us your ANICHINI Symphony tickets and we'll arrange T for your $5 self-parking, take you to 1 t3 'ORVjL Symphony Hall after your meal and return you to your car after the perform-

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78 SYMPHONY HALL INFORMATION

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

FOR INFORMATION ON SPECIAL CENTENNIAL EVENTS throughout the community and at Symphony Hall, please call (617) 638-9424.

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

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

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

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

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

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

TO PURCHASE BSO TICKETS: American Express, MasterCard, Visa, Diners Club, Discover, a personal check, and cash are accepted at the box office. To charge tickets instantly on a major credit card, or to make a reservation and then send payment by check, call "Symphony- Charge" at (617) 266-1200, Monday through Saturday from 10 a.m. until 6 p.m. Outside the 617 area code, phone 1-888-266-1200. As noted above, tickets can also be purchased online. There is a handling fee of $3.25 for each ticket ordered by phone or over the internet.

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

FOR PATRONS WITH DISABILITIES, an access service center, accessible restrooms, and elevators are available inside the Cohen Wing entrance to Symphony Hall on Huntington Avenue. For more information, call VOICE (617) 266-1200 or TTD/TTY (617) 638-9289.

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

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

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

RUSH SEATS: There are a limited number of Rush Seats available for Boston Symphony subscription concerts Tuesday and Thursday evenings, and Friday afternoons. The low price of these seats is assured through the Morse Rush Seat Fund. Rush Tickets are sold at $8 each, one to a customer, at the Cohen Wing entrance on Huntington Avenue on Fridays as of 9 a.m. and Tuesdays and Thursdays as of 5 p.m. Please note that there are no Rush Tickets available on Friday or Saturday evenings.

79 PLEASE NOTE THAT SMOKING IS NOT PERMITTED ANYWHERE IN SYMPHONY HALL.

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

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

FIRST AID FACILITIES for both men and women are available. On-call physicians attending concerts should leave their names and seat locations at the switchboard near the Massachu- setts Avenue entrance.

PARKING: The Prudential Center Garage offers discounted parking to any BSO patron with a ticket stub for evening performances. There are also two paid parking garages on Westland Avenue near Symphony Hall. Limited street parking is available. As a special benefit, guaranteed pre-paid parking near Symphony Hall is available to subscribers who attend evening concerts. For more information, call the Subscription Office at (617) 266-7575.

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

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

MEN'S ROOMS are located on the orchestra level, audience-right, outside the Hatch Room near the elevator; on the first-balcony level, also audience-right near the elevator, outside the Cabot-Cahners Room; and in the Cohen Wing.

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

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

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

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

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

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

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