sign in sign up
<<
Home , Boston Pops Orchestra, Brad Cresswell, John Duffy (composer), Leonard Shure, Marita Napier, Robert Cohen (cellist)

Mffi —

- ,„

:{ ^.

;/j

' "'^/FWS5Sj_£gj.

QUADRUM

The Mali. At Chkstnut Hill 617-965-5555 , Music Director Carl St. Clair and Pascal Verrot, Assistant Conductors One Hundred and Eighth Season, 1988-89

Trustees of the Symphony Orchestra, Inc.

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

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

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

Vernon R. Alden Mrs. Eugene B. Doggett Mrs. Robert B. Newman David B. Arnold, Jr. Mrs. John H. Fitzpatrick Peter C. Read

Mrs. Norman L. Cahners Avram J. Goldberg Richard A. Smith James F. Cleary Mrs. John L. Grandin Ray Stata Julian Cohen Francis W. Hatch, Jr. William F. Thompson William M. Crozier, Jr. Harvey Chet Krentzman Nicholas T. Zervas Mrs. Michael H. Davis Mrs. August R. Meyer Trustees Emeriti

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

Other Officers of the Corporation

John Ex Rodgers, Assistant Treasurer Jay B. W&iles, Assistant Treasurer Daniel R. Gustin, Clerk

Administration

Kenneth Haas, Managing Director Daniel R. Gustin, Assistant Managing Director and Manager of

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

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

Programs copyright ®1989 Boston Symphony Orchestra, Inc. Cover by Diane Fassino/Design Board of Overseers of the Boston Symphony Orchestra, Inc.

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

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

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

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

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

Overseers Emeriti

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

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

Mrs. Louis I. Kane

Symphony Hall Operations

Robert L. Gleason, Facilities Manager

James E. Whitaker, House Manager

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

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

Vice-Presidents

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

Chairmen of Regions

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

c» OUR THIRTY- FIRST YEAR

WCflAM PL DANA, inc? JEWELERS

. . invites you to view our collection of handcrafted fine gold and platinum jewelry. We specialize in

custom design and restoration. All work is done on the premises by our master goldsmiths. Choose from our selection of fine quality stones or incorporate your own into a contemporary or

traditional design to suit your taste . . .

43 CENTRAL STREET • WELLESLEY, • 237-2730 References furnished on request

Leonard Bernstein Michael Feinstein Thomas Schumacher Bolcom and Morris Ferrante and Teicher Kathryn Selby Jorge Bolet Philip Glass George Shearing Boston Pops Orchestra Dick Hyman Bobby Short Boston Symphony Interlochen Arts Academy Leonard Shure Orchestra and National Music Camp Abbey Simon

Brevard Music Center Markowski and Cedrone Georg Solti Dave Brubeck Marian McPartland Stephen Sondheim Symphony Tanglewood Music Center Orchestra Mitchell-Ruff Duo Beveridge Webster Cincinnati Symphony Seiji Ozawa Orchestra Alexander Peskanov Wolf Trap Foundation for Ivan Davis Philadelphia Orchestra the Performing Arts Denver Symphony Andre Previn Yehudi Wyner Orchestra Santiago Rodriguez Over 200 others Baldwin TODAY'S STANDARD OF MUSICAL EXCELLENCE. delightful Boston Pops Orchestra. For me, it is gratifying to know that our contribution will help to make this diversity of quality performances accessible not only to people BSO in my lifetime but also to future generations. There is no better way to express apprecia- tion and encouragement for this timeless BayBanks to Sponsor musical treasure. Our goal should be no less Opening Night at Pops 1989 with than to secure its future permanently." The Special Guests Maria Nistazos Stata Chair is currently and Branford Marsalis occupied by BSO assistant principal bass Tuesday, May 9 player Lawrence Wolfe.

Acclaimed soprano Kathleen Battle and sax- Aetna Supports BSO Minority Programs ophonist Branford Marsalis will join John Williams and the Boston Pops Orchestra for The Boston Symphony Orchestra wishes to this year's opening concert, Tuesday, May 9, thank the Aetna Life & Casualty Company of marking the beginning of John Williams's Hartford, Connecticut, for its continuing sup- tenth year as conductor of the Boston Pops port of the orchestra's minority programs. Orchestra. A project of the Boston Symphony Over a three-year period, Aetna has supported Association of Volunteers, Opening Night at the Minority Recruitment Program at the Pops is made possible through the generous Tanglewood Music Center, and in 1987 and support of BayBanks, which was also corpo- 1988 the company underwrote the TMC teach- rate sponsor of last year's event. BSAV ing position of BSO harpist Ann Hobson Pilot. member Patricia A. Maddox is chairman of Recently the company contributed a portion of this year's organizing committee. The evening the cost of the Music Assistance Fund Orches- begins with a la carte cocktails at 6 p.m., fol- tra Fellowship held by Owen Young, a cellist lowed by a picnic supper at 6:30 and the playing with the Boston Symphony Orchestra concert at 8. Remaining tickets for this festive for the 1988-89 season. A Tanglewood Music event are now on sale at the Symphony Hall Center Fellow in 1986 and 1987, Mr. Young was box office and are priced at $175 ($125 tax- a Music Assistance Fund Orchestra Fellow deductible) for Benefactor preferred table with the Atlanta Symphony in 1987-88 before seats, including a post-concert champagne joining the BSO under this program. The reception; $75 ($35 tax-deductible) for table Music Assistance Fund gives promising young seats; $60 ($25 tax-deductible) and $45 ($15 minority musicians significant orchestra expe- tax-deductible) for first-balcony seats; and rience as they prepare for careers in symphonic $40 ($10 tax-deductible) and $30 for second- music. The Boston Symphony Orchestra is balcony seats. All ticket prices include a box grateful to Aetna for its support of these minor- supper. ity programs.

Symphony Spotlight In Appreciation

This is one in a series of biographical sketches The BSO expresses its gratitude to the follow- that focus on some of the generous individuals ing communities that, by providing bus trans- who have endowed chairs in the Boston portation to Symphony Hall on Friday after- Symphony Orchestra. Their backgrounds are noons, have made a substantial contribution to varied, but each felt a special commitment to the Annual Fund. During the 1987-88 season, the Boston Symphony Orchestra. these communities generously donated $9,700 to the orchestra. In Massachusetts: Andover, Maria Nistazos Stata Chair Cape Cod, Concord, Dedham, Marblehead, When asked to remark on the gift she and Newton/Wellesley, North Shore, South Shore, her husband made to endow a chair in the and Weston; in New Hampshire: Manchester/ BSO's bass section, Maria Stata replied, Concord, North Hampton, and Peterborough; "What a privilege it is to live in a city that and Rhode Island. The area buses are a proj- is the home for one of the world's great ect of the Boston Symphony Association of symphony orchestras. The BSO not only Volunteers. If you would like further informa- performs a regular concert series, but also tion about bus transportation to Friday-after- a summer series at Tanglewood. And on the noon concerts, please contact the BSO light side, we have the renowned and Volunteer Office at (617) 266-1492. Developed by The Cohen Companies.

To appreciate the value of the homes we've built,

you must look at the ones we didn't. Others might have crammed in more residences where we

built terraces and roofgardens. And in so doing, would have devalued

one of the great gifts ever bestowed on a homesite: the premier view of the and Boston, from the premier address on the Cambridge waterfront THE ESPLANADE

On the Charles at the Longfellow Bridge, Cambndge 577-9977

One-bedroom homes from $227,500; two-bedroom, $365,000; three-bedroom, $610,000. Includes private landscaped terraces and balconies, roof gardens, floor-to-ceilingbay windows, indoor parking

individually keyed security system, 24-hour concierge and staff, valet guest parking, and residents-only

health club, indoor pool, and function/conference room. The Esplanade is currently under construction.

For an appointment to visit, call the Sales Office, One Main Street, East Cambridge, at (617) 577-9977. BSO Members in Concert "Presidents at Pops" Slated for June 7

The Boston Artists' Ensemble performs The eighth annual "Presidents at Pops," with Beethoven's C minor string trio, Op. 9, No. 3, John Williams and the Boston Pops Orchestra, and Schubert's String Quintet in C, D.956, on will take place Wednesday evening, June 7.

Friday, April 28, at 8 p.m. at the Chapel Gal- Walter J. Connolly, Jr., Chairman of Bank of lery of the Second Church in Newton, 60 High- New England Corporation, is chairman of the land Street, West Newton. The performers 1989 "Presidents at Pops" committee. More include BSO violinists Tatiana Dimitriades than 100 of the area's leading businesses will and Bo Youp Hwang, BSO violist Roberto participate in this gala event in support of the Diaz, BSO cellist Jonathan Miller, and guest BSO. On Monday, May 15, the senior executives cellist Andres Diaz. Tickets are $9 ($6 chil- of the participating organizations will be hon- dren under 12 and seniors). For further ored at the Leadership Dinner, a formal dinner information or reservations, call 527-8662. dance held at Symphony Hall. A limited num- Max Hobart conducts the Civic Symphony ber of "Presidents at Pops" sponsorships are Orchestra in Verdi's on Sunday, still available. The $5,000 full package includes April 30, at 3 p.m. in Jordan Hall. The soloists two tickets to the Leadership Dinner and 20 are soprano Ellen Chickering, mezzo-soprano floor and balcony seats for the "Presidents at Joan Hill, Brad Cresswell, and Pops" concert, complete with cocktails and din- James Kleyla, with the Salisbury Singers of ner. Half packages are also available. For fur- Worcester. Tickets are $12 and $8; for more ther information please call Sarah Coldwell, information, call 437-0231. BSO Corporate Development, at (617) 266-1492. Max Hobart conducts the North Shore Phil- harmonic in a program entitled "Accent on The Symphony Shop Youth" on Sunday, May 7, at 7:30 p.m. at Salem High School Auditorium. The program Introduces New Items includes Mendelssohn's FingaVs Cave Over- Concertgoers will discover an array of won- ture, Schubert's Symphony No. 3, Mozart's derful springtime gifts at the Symphony Shop. A major piano concerto, K.488, with soloist A project of the Boston Symphony Associa- Angela Au, and Britten's Young Person's tion of Volunteers, the Shop now carries newly- Guide to the Orchestra with guest narrator designed mugs featuring the BSO logo and Ron Delia Chiesa. Seiji Ozawa's signature, or the Pops logo and BSO violinist Jerome Rosen and pianist John Williams's signature, in 22-karat gold, Henry Weinberger present a recital including colorful handpainted sweatshirts designed Beethoven's A minor violin sonata, Opus 23, exclusively for the BSO by local artists, and Bach's D minor Partita for solo violin, Symphony Hall tins filled with potpourri in Debussy's Violin Sonata, Bruch's Scottish various scents. The Shop's two locations—in Fantasy, and three works by Fritz Kreisler on the Huntington Avenue stairwell near the Cohen Sunday, May 7, at 8 p.m. at the Longy School Wing, and on the first-balcony level near the of Music, 1 Follen Street, Cambridge. Tickets elevator—are open from one hour before each are $10 general admission ($5 students). For concert through intermission. Both carry a information, call 734-4761. unique selection of books, toys, greeting cards, neckties, and tote bags, as well as the Remember Someone Special latest BSO and Pops recordings and the ever- popular mint and bark from Har- The Boston Symphony Orchestra offers a Symphony Remembrance Fund through which you may bor Sweets. Telephone orders are accepted at recognize special occasions or memorialize (617) 267-2692 anytime and will be filled friends and loved ones who cared about our promptly. All proceeds from the Symphony benefit the Orchestra. orchestra. To honor someone in this way, Shop Boston Symphony please include the individual's name, address, and the occasion for the remembrance with With Thanks your contribution. An acknowledgment card will be sent in your name. Remembrance or We wish to give special thanks to the National memorial contributions of $10 or more may be Endowment for the Arts and the Massachu- sent to the Development Office, Symphony setts Council on the Arts and Humanities for Hall, Boston, MA 02115 and will be applied to their continued support of the Boston Sym- the Boston Symphony Annual Fund. phony Orchestra. Do you think about money when vou shouldn't? Let a Bank of New England Private Banker take care of free- all your financial details, thereby giving you the time and You've dom to enjoy your success. Call 617-973-1748. Go ahead.

earned it.

Bank of NIfwF.nct.ai Seiji Ozawa

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

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

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

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

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

Seiji Ozawa won an Emmy for the Boston Symphony Orchestra's "Evening at Symphony" PBS television series. He holds honorary doctor of music degrees from the University of Massachusetts, the New England Conservatory of Music, and Wheaton College in Norton, Massachusetts. Leo Panasevich Carolyn and George Rowland chair Sheldon Rotenberg Muriel C. Kasdon and Marjorie C. Paley chair Alfred Schneider Raymond Sird Ikuko Mizuno Amnon Levy

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

*Part,icipating in a system of rotated seating within each string section \On sabbatical leave ^Orchestra Fellow, Music Assistance Fund; also supported by a grant from Aetna Life & Casualty Company

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

11 ' •

I MAKE AWSSH. Close your eyes and wish for the perfect radio station.

It would be playing the songs you love so much by , Barbra Streisand, Lionel Richie, Diana Ross, Johnny Mathis and Dionne Warwick

You wouldn't hear a lot of talk or interruptions, just forty minutes of continuous relaxing music every hour.

WSSH 99.5 FM is your Wish come true. We play all your easy fevorites, songs of yesterday and today...

all day long, every day

Close your eyes and listen to the station you've always wished for. WSSHff —

A Brief History of the Boston Symphony Orchestra

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

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

13 COPLEY PIACE

3S**te, m

Your place for a beautifully orchestrated season.

14 appointment of the legendary Karl Muck, Charles Munch followed Koussevitzky as who served two tenures as music director, music director in 1949. Munch continued 1906-08 and 1912-18. Meanwhile, in July Koussevitzky's practice of supporting con- 1885, the musicians of the Boston Sym- temporary composers and introduced much phony had given their first "Promenade" music from the French repertory to this concert, offering both music and refresh- country. During his tenure the orchestra ments, and fulfilling Major Higginson's toured abroad for the first time and its wish to give "concerts of a lighter kind of continuing series of Youth Concerts was ini- music." These concerts, soon to be given in tiated. Erich Leinsdorf began his seven- the springtime and renamed first "Popu- year term as music director in 1962. Mr. lar" and then "Pops," fast became a Leinsdorf presented numerous premieres, tradition. restored many forgotten and neglected works to the repertory, and, like his two In 1915 the orchestra made its first trans- predecessors, made many recordings for continental trip, playing thirteen concerts RCA; in addition, many concerts were tele- at the Panama-Pacific Exposition in San vised under his direction. Leinsdorf was Francisco. Recording, begun with RCA in also an energetic director of the Tangle- 1917, continued with increasing frequency, wood Music Center, and under his lead- as did radio broadcasts. In 1918 Henri ership a full-tuition fellowship program was Rabaud was engaged as conductor; he was established. Also during these years, in succeeded a year later by Pierre Monteux. 1964, the Boston Symphony Chamber Play- These appointments marked the beginning ers were founded. of a French-oriented tradition that would be maintained, even during the Russian- succeeded Leinsdorf born 's time, with the in 1969. He conducted a number of Amer- employment of many French-trained ican and world premieres, made recordings musicians. for Deutsche Grammophon and RCA, appeared regularly on television, led the The Koussevitzky era began in 1924. His 1971 European tour, and directed concerts extraordinary musicianship and electric the in the south, in the personality proved so enduring that he on east coast, and mid-west. served an unprecedented term of twenty- five years. Regular radio broadcasts of Seiji Ozawa, an artistic director of the Boston Symphony Orchestra concerts Tanglewood Festival since 1970, became began during Koussevitzky's years as the orchestra's thirteenth music director in music director. In 1936 Koussevitzky led the fall of 1973, following a year as music the orchestra's first concerts in the adviser. Now in his sixteenth year as music Berkshires; a year later he and the players director, Mr. Ozawa has continued to solid- took up annual summer residence at ify the orchestra's reputation at home and Tanglewood. Koussevitzky passionately abroad, and he has reaffirmed the orches- shared Major Higginson's dream of "a tra's commitment to new music through his good honest school for musicians," and in program of centennial commissions and a 1940 that dream was realized with the newly initiated program including such founding of the Berkshire Music Center prominent composers as John Cage, Hans (now called the Tanglewood Music Center). Werner Henze, Peter Lieberson, and Bernard Rands. Under his direction, the In 1929 the free Esplanade concerts on orchestra also expanded its recording the Charles River in*Boston were inaugu- has activities to include releases on the Philips, rated by , who had been a Telarc, Hyperion, member of the orchestra since 1915 and CBS, EMI/Angel, New World, labels. who in 1930 became the eighteenth conduc- and Erato tor of the Boston Pops, a post he would Today, the Boston Symphony Orchestra, hold for half a century, to be succeeded by Inc., presents more than 250 concerts John Williams in 1980. The Boston Pops annually. It is an ensemble that lias richly Orchestra celebrated its hundredth birth- fulfilled Higginson's vision of a great and day in 1985 under Mr. Williams's baton. permanent orchestra in Boston.

15 KE NOTE

The precursor of the oboe goes back to antiquity

— it was found in Sumeria (2800 BC) and was

the Jewish halil, Greek aulos, and the Roman

tibia • After the renaissance, instruments of this type were found in complete families ranging from £2» the soprano to the bass. The higher or smaller instruments were named by the French "haulx- bois" or "hault-bois" which was transcribed by

the Italians into oboe which name is now used in English, German and Italian to distinguish the smallest instrument • In a symphony orchestra,

it usually gives the pitch to the other instruments

• Is it time for you to take note of your insurance

needs? • In business, as in the arts, experience and ability are invaluable. Charles H. Watkins has earned a most favorable reputation for providing special insurance programs for the musical community in Eastern Massachusetts. In addition, we have built a close working relationship with other areas of the arts. • Whatever the special insurance protection challenge, Charles H. Watkins & Co. will find the solutions you need.

We respectfully invite your inquiry

Charles H. Watkins & Co., Inc. insurance

18 NORTH ROAD, BEDFORD, MA 01730, 617/271/0460 ONE NEW ENGLAND EXECUTIVE PARK, BURLINGTON, MA 01803, 617/272/1870

cw, A Caddell & Byers Insurance Agency Acton • Bedford • Burlington • Lowell • North Reading • Wilmington

16 Know Your Orchestra

The Boston Symphony program book will feature biographies of orchestra members on a regular basis throughout the season.

Thomas Gauger Tom Gauger was born in Wheaton, , and studied per- cussion at the University of Illinois with Paul Price and Jack McKenzie. During that time, he had the opportunity to play and record with Harry Partch, an experimental contemporary composer of the time who created his own instruments and wrote in a 43-tone octave. In the summer following his gradua- tion from school, Mr. Gauger was asked to be percussionist at the first summer music festival in Saskatoon, Saskatchewan, in Canada. Following that he went to Oklahoma City, where he played in the Oklahoma City Symphony for four years. There, in addition to his duties with the orchestra, he taught at Oklahoma University and , played jazz in clubs, and went on tour once with Ray Eberly. Mr. Gauger joined the Boston Symphony Orchestra in 1963 and since 1965 has been on the faculty at and the Boston University Tanglewood Institute. He was a founding member of "The WUZ," a jazz ensemble made up of BSO of musicians and some of the finest jazz musicians from the Boston area. He has also played with Collage New Music, a contemporary music ensemble founded by his BSO colleague Frank Epstein. In 1969 Mr. Gauger started a small business in the manufacture of drum sticks and accessories. He also writes and publishes his own music for percussion and has had several commissions to do so.

Craig Nordstrom Born in Denver, Colorado, Craig Nordstrom became the Boston Symphony Orchestra's bass clarinetist in 1979. Mr. Nordstrom is a graduate of Northwestern University, where he was a student of Jerome Stowell. Following graduation he was a member of the United States Marine Band in Washington, D.C. While in Washington, Mr. Nordstrom earned his master of music degree from the Catholic University of America. Before joining the Boston Symphony, he was the bass clar- inetist in the Vancouver Symphony and the Cincinnati Symphony.

Jerome Patterson

Born in , cellist Jerome Patterson studied at the Juilliard School of Music and at Hartt College of Music; his teachers were Luigi Silva, Aldo Parisot, and BSO principal cellist Jules Eskin. Before joining the Boston Symphony Orchestra in 1967, Mr. Patterson played with the symphony orchestras of New Haven, Baltimore, Pittsburgh, and Puerto Rico. Locally, in addition to his activities at Symphony Hall, he has performed with the Brockton Symphony, the Worcester under Joseph Silverstein, the Newton Symphony under Ronald Knudsen, the Wellesley Symphony, and the Framingham Sym- phony under Alfred Schneider.

Biographies of Boston Symphony Orchestra members will continue to appear in the program book next season. Publication of a newly updated "Know Your Orchestra" book, to include biographies of every Boston Sym- phony Orchestra player, is planned for next year as well. .

With Boston Coach, getting there and back is as pleasurable as the performance.

Call a professionally driven Boston Coach sedan for getting to the theater or the airport, for business or pleasure. It's Boston's new convenient, reliable alternative-without traffic, parking or weather worries

For reservations call 617-387-7676 or 1-800-672-7676 out of state Gift Certificates Available

BOSTON COACH

18 Chester Schmitz Principal tuba of the Boston Symphony Orchestra and the Boston Pops Orchestra since 1966, Chester Schmitz began playing the instrument in Vinton, , when he was fourteen. Mr. Schmitz studied at the University of Iowa School of Music, where his principal teacher was William Gower, Sr. He played with the University Symphony Orchestra and Band, and he was a member of the Hawkeye Marching Band which per- formed in the 1959 Rose Bowl. Mr. Schmitz was a winner in the 1962 Women's Association of the Minneapolis Symphony Orchestra Young Artists Competition. Two years later he was invited to become principal tuba with the Minneapolis Sym- phony Orchestra, but he was unable to accept because he was serving in the military. From 1963 to 1966, Mr. Schmitz served with the U.S. Army Band in Washington, D.C., where he also performed as a double bass player with the Army Stage Band and the White House Strollings Strings. As part of his duties, he marched in the funeral procession of the late President John F. Kennedy. With William Steinberg conducting, Mr. Schmitz was soloist with the Boston Symphony Orchestra in the Tuba Concerto of Ralph Vaughan Williams. In 1970 he became the first member of the Boston Pops Orchestra to appear as soloist in a televised performance, in Tubby the Tuba, with Julia Child narrating and Arthur Fiedler conducting. In 1985 he gave the world premiere of the Concerto for Tuba and Orchestra by John Williams, a piece written for him during the hundredth-anniver- sary year of the Boston Pops Orchestra.

Raymond Sird

Born in Worcester, Massachusetts, violinist Raymond Sird was the first member of his family to undertake a musical career. He studied at of Music in Philadelphia, where he was a student of Jascha Brodsky and had chamber music coaching with both Jascha Brodsky and Orlando Cole. From 1952 to 1955 he was a member of the , after which he was appointed assistant concertmaster of the New Orleans Symphony. A member of the Boston Symphony Orchestra since 1960, Mr. Sird performs chamber music regu- larly and was a founding member of the Gabrielli String Quartet, performing in that group with several of his BSO colleagues for many years.

John Stovall Born in 1958 in Casper, Wyoming, bass player John Stovall studied piano while in grade school and high school; he began playing the double bass while in high school. Mr. Stovall began his college studies in 1978 with Stuart Sankey at the Univer- sity of Texas, then transferred to the New England Conser- vatory of Music to study with BSO assistant principal bass player Lawrence Wolfe; he received his bachelor's degree in double bass performance from the New England Conservatory in 1983. Following a year as a freelance performer in the Boston area, Mr. Stovall played with the Houston Symphony, / the New Orleans Symphony, and the Indianapolis Symphony before joining the Boston Symphony Orchestra at the start of the 1988-89 season. A Tanglewood Music Center Fellow during the summers of 1981 and 1982, he has also participated in the Grand Teton Music Festival, the Aspen Music Festival, and the Congress of Strings in Seattle, Washington. Great Artists, Great Art. BERNARD HA1TINK

'We have in Bernard Haitink, a newly emergent Wagnerian, who is going to lead us strongly and imaginatively through the great expanses of the Ring" — The Guardian (London)

///////////ritJA vsssss///////////////////////, WAGNER DIE WALKURE

MARION • MORRIS • STUDER GOLDBERG • MEIER • SALMINEN BAVARIAN RADIO SYMPHONY ORCHESTRA BERNARD HAITINK

'////////////sssss/rssjn

Angel Records is proud to present the first installment of a new Ring cycle conducted by Bernard Haitink. — —

BOSTON SYMPHONY ORCHESTRA

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

Thursday, April 27, at 8 Friday, April 28, at 2 Saturday, April 29, at 8

Tuesday, May 2, at 8

BERNARD HAITINK conducting

BEETHOVEN Symphony No. 6 in F, Opus 68, Pastoral Awakening of happy feelings upon reaching the countryside. Allegro ma non troppo Scene at the brook. Andante molto mosso Cheerful gathering of the country folk. Allegro Thunderstorm. Allegro Shepherd's song. Happy, grateful feelings after the storm. Allegretto

INTERMISSION

RAVEL Daphnis and Chloe TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor

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

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

21 Week 24 iiPi Bllfiilf

illu

MS 111

-. J; ;

:«!§

III

'.. 'a: .

Promises To Keep

Tiffany rings to celebrate weddings and engagements. From right: Sapphire with diamonds, $13,600. Eighteen karat gold band, $345. Sapphire with diamonds, $3,400. Diamond band, $7,100. Diamond solitaire in the classic six-prong Tiffany setting, $11,000.

Tiffany & Co. BOSTON • COPLEY PLACE • 100 HUNTINGTON AVENUE • 02116 TO ORDER CALL 617-353-0222 • ©T& CO. 1988 Symphony No. 6 in F, Opus 68, Pastoral

Ludwig van Beethoven was baptized in Bonn, Ger- many, on December 17, 1770, and died in Vienna on March 26, 1827. Beethoven did the bulk of the com- posing of the Sixth during the fall of 1807 and the early part of 1808 (a few sketches go back as far as 1803); he had sold the symphony to the publisher Breitkopf & H'drtel by September 1808. The Sixth Symphony was first performed—along with the Fifth Symphony, the Fourth Piano Concerto, the Choral Fantasy, and several movements of the Mass in C, Opus 86, all in their premiere performances as well—on December 22, 1808, at the Theater-an-

der-Wien in Vienna. The first American perform- ance took place in Philadelphia on November 26, 1829, at a concert of the Musical Fund Society, Charles Hupfeld conducting. Henry Schmidt led the first Boston performance, given by the Academy of Music at the Odeon on January 15, 1842. Forty years later the Boston Symphony Orchestra played the Pastoral Symphony under Georg Henschel in the inaugural season on January 6, 1882. Since then the BSO has performed it under the baton of Wilhelm Gericke, Arthur Nikisch, Emit Paur, Karl Muck, Max Fiedler, Henri Rabaud, Pierre Monteux, Serge Koussevitzky, Richard Burgin, Bruno Walter, Charles Munch, Lorin Maazel, Erich Leinsdorf, Joseph Krips, William Steinberg, Ferdinand Leitner, Leonard Bernstein, Klaus Tennstedt, Seiji Ozawa, and , who gave the most recent Tanglewood performance in August 1984. Klaus Tennstedt gave the most recent subscription performances in January 1987. The symphony is scored for two flutes and piccolo, pairs of oboes, clarinets, bassoons, horns, trumpets, and trombones, plus timpani and strings.

The delight that Beethoven took in the world of nature is attested by countless stories from many periods of his life. When in Vienna he never failed to take his daily walk around the ramparts (which would then have afforded a much more rural view than the same walk does today—especially because the ramparts themselves have been removed and turned into the giant Ringstrasse, the multi-lane thor- oughfare that girdles the old center of Vienna), and during his summers spent

Serving Greater Boston Residential Properties g^ Sales and Rentals Condominiums

Beacon Street, BrooRlinS, J MA 02146 (617)738-5700

23 RESERVOIR PLACE JULIUS

, TO F IAS> THE BEST PLACE L.I.J &COMPANY TO CONDUCT BUSINESS.

Reservoir Place 1601 Trapelo Road Waltham,MA0215 617-890-5511

BHH outside of town he would be outdoors most of the day. The notion of treating the natural world in music seems to have occurred to him as early as 1803, when he wrote down in one of his sketchbooks a musical fragment in 12/8 time (the same meter used in the Pastoral Symphony for the "Scene at the brook") with a note: "Murmur of the brook." Underneath the sketch he added, "The more water, the deeper the tone." Other musical ideas later to end up in the Sixth Symphony appear in Beethoven's sketchbooks sporadically in 1804 and during the winter of 1806-07, when he worked out much of the thematic material for all of the movements but the second. But it wasn't until the fall of 1807 and the spring of 1808 that he concen- trated seriously on the elaboration of those sketches into a finished work; the piece was apparently completed by the summer of 1808, since on September 14 he reached an agreement with the publisher Breitkopf & Hartel for the sale of this symphony along with four other major works. One thing that aroused discussion of the new symphony—a debate that lasted for decades—was the fact that Beethoven provided each movement of the work with a program, or literary guide to its meaning. His titles are really only brief images, just enough to suggest a setting:

I. Awakening of happy feelings upon reaching the countryside. II. Scene at the brook. III. Cheerful gathering of the country folk. IV Thunderstorm. V. Shepherd's song. Happy, grateful feelings after the storm.

Many romantic composers and critics saw in this program a justification for the most abstruse kinds of storytelling in symphonic writing, but the program is certainly not necessary for an understanding of the music as Beethoven finally left it, for there is nothing here that departs from expectation simply for narrative reasons. Still, there have been some unlikely, even bizarre attempts to illustrate the symphony, which go from an 1829 production in London with six actors and a ballet company up to the detailed Disney scenario for Fantasia, replete with amorous centaurs, cupids, and a mighty Zeus throwing thunderbolts until he is tired and then curling up for a nap under a convenient cloud—a far cry from the composer's intentions. Much more important for an understanding of Beethoven's view than the headings of the movements is the note that Beethoven caused to be printed in the program of the first performance: "Pastoral Symphony, more an expression of feeling than painting." He never intended, then, that the symphony be considered an attempt to represent events in the real world, an objective narrative, in musical guise. Rather, this symphony provided yet again what all of his symphonies had offered: subjective moods and impressions captured in harmony, melody, color, and the structured passage of time.

Beethoven's sketchbooks reveal that he was working on his Fifth and Sixth symphonies at the same time; they were finished virtually together, given consecutive opus numbers (67 and 68), and premiered on the same concert (where they were actually reversed in numbering—with the Pastoral Symphony, given first on the program, identified as "No. 5"). Yet no two symphonies are less likely to be confused, even by the most casual listener—the Fifth, with its demonic energy, tense harmonies, and powerful dramatic climaxes on the one hand, and the Sixth, with its smiling and sunny air of relaxation and joy on the other. Nothing shows more clearly the range of Beethoven's work than these two masterpieces, twins in their gestation, but not identical—rather fraternal twins of strongly differentiated characters. Popular biographies of Beethoven tend to emphasize the heaven-storm- ing, heroic works of the middle period—the Eroica and Fifth symphonies, the Egmont Overture, the Emperor Concerto, the Razumovsky string quartets, the Waldstein and Appassionata sonatas—at the expense of other aspects of his art. On 25 Week 24 the other hand, some critics of a "neo-classical" orientation claim to find the even- numbered symphonies including the Pastoral to be more successful than the overtly dramatic works. Both views are equally one-sided and give a blinkered representa- tion of Beethoven—his art embraces both elements and more, as is clear from the intertwining conception and composition of the Fifth and Sixth symphonies.

Even in works of such contrasting character, Beethoven's concern for balance and for carefully articulated musical architecture remains evident, though the means by which he achieves these ends are quite different. The Fifth Symphony deals in harmonic tensions—dissonant diminished-seventh and augmented-sixth chords that color the mood almost throughout. The harmonic character of the Sixth Symphony is altogether more relaxed. Beethoven builds his extensive musical plan on the very simplest harmonies, on the chord relations that harmony students learn in the first few days of the course—tonic, dominant, and subdominant. The symphony revels in major triads from the very beginning, and the diminished-seventh chord is withheld until the thunderstorm of the fourth movement. As in the Fifth Symphony, the melodic material of the first movement is derived from the very beginning of the work, but rather than piling up in urgent search of a climactic goal, the thematic motives that arise from the opening measures of the Pastoral Symphony—there are at least four of them—are repeated often in a leisurely way that implies no hurry to RIZZOLI How to order BOOKS . CLASSICAL & INTERNATIONAL MUSIC OBJETS D'ART wood in a Copley Place Boston 617.437.0700 restaurant. Open 10-10 p.m. Mon-Tnurs, 10-11 p.m. Fri, 12-6 Sun

Jfi You've probably never seen wood on a menu. Unless you've been to Boodle's, Boston's authentic grill. tf Our aged steaks, plump poultry, fresh fish, and native shellfish are grilled over sassafras, mesquite, wild fP fHWNW cherry, or hickory. You choose your frtf grill wood and your favorite of twenty sauces, butters, and condiments. And once you've ordered wood, *&* you'll stick with it.

0*1* - W1WH

O F BOSTON An Authentic Grill Lunch and dinner daily. In Boston's Back Bav Hilton. Indoor Parking. Phone (617) BOODLES. get anywhere. Still, for all the apparent ease of passage, our course through the first movement is perfectly balanced with slow swings from tonic to dominant and back or lengthy phrases reiterating a single chord, then jumping to another, rather distant chord for more repetition. The fact that all this sheer repetition does not lead to fatigue or exasperation on the listener's part is tribute to Beethoven's carefully planned and varied orchestral colors and textures. Indeed, George Grove remarked in his study of this symphony that Beethoven "is steeped in Nature itself; and when the sameness of woods, fields, and streams can be distasteful, then will the Pastoral Symphony weary its hearers."

Through the exposition and much of the development in the first movement, Beethoven seems to have had little difficulty in sketching the symphony. But in planning the retransition—the passage that returns to the home key for the begin- ning of the recapitulation—he encountered difficulties and sketched several possible courses. In the one finally used, Beethoven moves quickly from the rather distant key of E major by regular steps of closely related keys: A, D, G minor, to C, the dominant of the home key of F. Here we expect him to prolong the harmonic tension and give us a crashing, dynamic arrival at the home key—but he sidesteps. Instead, he slips past F to the subdominant, B-flat, and quietly returns home by that most unusual course (the subdominant to tonic progression is the same one that produces an "Amen"—it is relaxed, not at all dramatic). After sketching that version, Beethoven apparently suffered a momentary loss of nerve. Perhaps the return home was not clearly enough marked? It certainly differed from the corresponding point in most of his middle-period works. So he tried again and sketched a return by way of the dominant to a fortissimo statement of the main theme in the full orchestra. Further reconsideration apparently led him to realize that the louder, more powerful return was simply too strong for a movement as genial and relaxed as this one was, but he found a way of having his cake and eating it too. He returned to the original version, using the quieter subdominant approach to his home key; but, once having achieved F major, he could generate a loud statement in the orchestra by way of dominant harmony without its receiving undue weight, since it was no longer the return. Thus he reworked the more "dramatic" sketch and embedded it into the body of the recapitulation. This detail illustrates Beethoven's own sense of the kind of expressive character the Pastoral Symphony was turning out to have, and his determination to keep all parts of it consistent with its character, however much it might diverge from our expectations on the basis of his other works. This, of course, is the mark of a great composer: the so-called "standard" forms are not simply molds into which he pours so many tunes, but rather they are an organic response to the musical ideas generated from the very beginning of the piece.

One idea that does not appear at the very beginning but grows in importance throughout is a little figure of repeated notes in triplets first heard as a punctuation in clarinets and bassoons. As the movement progresses, that triplet rhythm insinu- ates itself more and more into the musical fabric until, by the beginning of the recapitulation, it is running along in counterpoint to the themes heard at the outset, and just before the close of the movement, the solo clarinet takes off on triplet arpeggios in what is virtually a cadenza.

The second movement is richly but delicately scored, with two muted solo cellos providing a background murmur along with second violins and violas, while the first violins and woodwinds embellish the melodic flow with a rich array of turns and trills. No one familiar with traditional means of musical expression in western music can fail to recognize the bucolic leisure of this Andante, even if Beethoven had never provided a title for the movement. The gentle running of water, bird song, soft breezes, and rustling leaves are all implicit in this music. At the same time, the

27 Week 24 Life looks SO good from here!

It was obvious from the start. Ruth and Ted were up to something!

First, they sold their house. And, they've been smiling ever since.

They say they're in love... with a new lifestyle! They say there's so much free- dom living right downtown in historic Salem.

If they want to, they can walk almost EVERYWHERE. To the museum.. .to the wharf.. .they actually LIVE in the middle of the Heritage Walking Trail.

The most unretiring people are moving to The Essex.

Call us and we'll tell you

why life looks SO good from here.

The Essex of the North Shore

1 1 Church Street Downtown, Historic Salem, MA The Essex 508-744-4050

A Prime Living community for active seniors.

28 .

J^ouisviiitton. Ike Artoi lravel.

The Louis Vuitton craftsmen possess the secret of constantly renewing » tradition while maintaining all of its qualities. They fashion trunks, hard-sided and soft-sided luggage, accessories and small leather goods that quickly become new companions for new journeys. The famous initials are the stamp of authenticity of these unique skills

Louis Vuitton. Exclusive stores:

Copley Place, 100 Huntington Avenue, Boston, MA 02116 (617) 437-6519 At Saks Fifth Avenue, Prudential Center, Boston, MA 02199 (617) 262-8500

MAISON FONDEE EN 1854 If you don't happen to be an expert on interest rates, tax laws, the stock market, 401(k)s, money markets,

universal life, mortgages, and unit trusts, perhaps you need a Shawmut Private Banker.

Most people of means have neither the time nor the special expertise required to properly manage their assets. That's why we created Shawmut Private Banking. Your Shawmut Private Banker can marshal on your behalf a complete network of Shawmut financial services and experts, to personally advise you on every detail of your specific financial needs. We believe there is no more responsive, no more comprehensive private banking service available to people of means today. For additional information, please call Lee Carlson in Boston at (617) 292-3339, ^«|w Elizabeth Hartmayer in Worcester at J FM /^L^ (508) 793-4202, or Richard Belisle in BpW WlSUCIl% WITflLIfff,MMI Springfield at (413) 737-4321. ^Bt"® * nn

vSJ/

ll U

A Home in Brookline

20 uncommonly gracious condominium residences will be available

for occupancy in spring 1989

For information call 23 2-2868

McCormack Development Corporation

WRiE-X

•

• . at Neiman Marcus

®

N°5 CHANEL PARFUM richness of material is most satisfying. Beethoven is in no hurry to get through it, and his sense of architectural balance remains engaged. Even the one explicitly "programmatic" passage—the song of nightingale, quail, and cuckoo labeled as such in the flute, oboe, and clarinet just before the end of the movement—fits perfectly well as a purely musical passage (how many real birds sing in classical four-measure phrases?).

Only twice in Beethoven's symphonic output did he link the movements of a symphony so that they would be performed without a break. Significantly, this happened in two symphonies composed almost simultaneously—the Fifth and the Sixth. In the Fifth Symphony, the scherzo is connected to the finale by an extended, harmonically tense passage demanding resolution in the bright C major of the closing movement. Much the same thing happens in the Pastoral Symphony, although the level of tension is not nearly so high, and the linking passage has grown to a full movement itself. But here again we see that the supposedly romantic, form-breaking elements of the Pastoral Symphony do not depend on the composer's program to make sense: the scherzo, a real dance movement in F major, is interrupted just at its last chord by a dramatic Allegro in F minor. The violence of that extended passage gradually dies down and returns to the major mode for the final passage of rustic simplicity, a release from the tension of the Allegro whether or not one thinks of it as "grateful feelings after the storm." In both symphonies the transition moves from harmonic darkness and tension to the light of a major key established at the beginning of a new movement. It is characteristic of Beethoven to demonstrate that he can reach his goal in two opposing ways: in the Fifth, by way of a massive crescendo to a powerful fortissimo point of arrival; in the Sixth, by a steady decrescendo from the height of the "storm" to the tranquility of the clear weather that follows.

All three movements are filled with felicitous touches. The dance has a delight- fully quirky offbeat strain for solo oboe, with the occasional appearance of a bassoon accompaniment consisting of three notes. This is supposed to be an intentional caricature of a village band that Beethoven encountered at a tavern near Modling.

The storm is imaginatively and picturesquely scored, providing a veritable quarry of techniques that were mined by composers for decades. Berlioz spoke of Beethoven's orchestration here with the greatest admiration, and he helped himself to such devices as the thick, "stormy" sound produced by double basses running up a four-note fragment of the scale in the same time that the cellos run up a five-note fragment, so that they are together only on the very first note, and the remainder produces atmospheric dissonance. Beethoven withheld his big orchestral guns to this point. The trumpets had not played in the symphony until the middle of the third movement. Now trombones and timpani appear for the first time (the timpani, in fact, play only here), and the piccolo joins in at the height of the storm.

As the storm ends, a ranz des vaches or Swiss herdsman's song introduces the final major key movement and the "hymn of thanksgiving." The ranz des vaches, a melody borrowed by Beethoven for this spot, unmistakably identifies the setting in a world of pastoral simplicity. Its use here was an afterthought on the composer's part, but it was a highly appropriate one, since the first theme of the movement proper (heard in the violins) is part of the same family group—an arpeggiation of the major triad in a different position. Thus, once more, an element that might be labeled "program- matic" can be seen to nestle snugly and fittingly into what Tovey has called "a perfect classical symphony." —Steven Ledbetter

29 Week 24 Perfect Harmony

The BSO— pulling together in perfect harmony. Just the way you work with your Private Banker at BayBanks. Together we can custom-tailor a financial plan that's in tune with your goals and your lifestyle. Your Private Banker is your personal

liaison with the entire BayBanks network for all the services you need. Plus, you'll receive special privileges as a Private Banking client.

For the complete story, call 617-556-6350.

It will be music to your ears. BayBanks mPrivatebanking Members FD1C Maurice Ravel Daphnis and Chloe

Joseph Maurice Ravel was born at Ciboures, Basses-

Pyrenees, France, on March 7, 1875, and died in Paris on December 28, 1937. Serge Diaghilev com- missioned the ballet Daphnis and Chloe in 1909; the piano score was published in 1910. Ravel completed the fully scored Daphnis and Chloe in 1911, though there was some recasting of the "Bacchanale" after a private hearing, so that the present form of the work was not ready until April 5, 1912. By that time the first concert suite had already been performed, on April 2, 1911, at a concert in the Theatre du Chatelet in Paris under the direction of Gabriel Piern'e.

Pierre Monteux conducted the first stage perform- ance in a production by Diaghilev's Russian Ballet

at the Chatelet on June 8, 1912. Scenario and chore- ography were by Michel Fokine, scenery and costumes by Leon Bakst; the principal dancers were Vaslav Nijinsky and Tamara Karsavina. By far the greater number of Boston Symphony Orchestra performances of Daphnis have been of the second suite, which was introduced to the orchestra's repertory by Karl Muck on December 14 and 15, 1917. It was also performed here under the direction of Pierre Monteux, Serge Koussevitzky (129 performances between 1925 and 1949!), Charles Munch (95 perform- ances between 1949 and 1965!), Richard Burgin, Eugene Ormandy, Seiji Ozawa, Milton Katims, , Rafael Fruhbeck de Burgos, Charles Dutoit, and Andre Previn. The complete ballet was introduced here by Charles Munch on January 21 and 22, 1955, with the New England Conservatory Chorus and Alumni Chorus directed by Robert Shaw in association with Lorna Cooke deVaron. Other complete BSO performances have been led by Michael Tilson Thomas, Seiji Ozawa, and Charles Dutoit, who conducted the most recent Tanglewood performance in August 1983. conducted the most recent subscription performances in March 1986, with the New England Conservatory Chorus, Lorna Cooke deVaron, conductor. Except for Boulez's performances, all the performances since 1974 in Boston and at Tanglewood have included the Tanglewood Festival Chorus, John Oliver, conductor. The score calls for three flutes, alto flute, and piccolo, two oboes and English horn, two clarinets, E-flat clarinet, and bass clarinet, three bassoons and contrabassoon, four horns, four trum- pets, three trombones, bass tuba, timpani, snare drums, cymbals, antique cymbals, triangle, tambourine, tam-tam, castanets, celesta, glockenspiel, wind machine, two harps, strings, and wordless chorus.

Margaret Drabble, writing in the Oxford Companion to English Literature, calls the literary source for Ravel's ballet Daphnis and Chloe "the finest of Greek romances." The tale, written in prose by a shadowy author known only as Longus (whose dates can only be estimated as second or third century A.D. through the problematic device of stylistic analysis), is unusual among Greek stories in prose for its attention to character. The setting was an idealized landscape of shepherds and shepherdesses, nymphs and satyrs—a tradition going back in lyric poetry to Theocritus (third century B.C.); it was to have a long history in post-classical literature as well. Greek literature was strongest in epic and lyric poetry, drama, and history; most of the surviving output of narratives rises only rarely above the level of "pulp fiction" (if the anachronism can be admitted for the sake of com- parison), with emphasis on plot alone, and very little attention to the other elements that make for high art. Typical Greek romances involve a potential love-relation that is thwarted by some obstacle—in this respect it is no different from modern popular

31 Week 24 A WORLD OF STYLE

32 .

fiction or television drama. The run-of-the-mill story often involved the carrying off of the maiden by a band of pirates and her rescue by the hero to reunite the couple at the predictable end where all obstacles are overcome.

Daphnis and Chloe has some of these elements, to be sure, but the emphasis is elsewhere: on a psychological description of the passion that grows between Daphnis and Chloe, two foundlings raised by shepherds on the island of Lesbos, from the first naive and confused feelings of childhood to full sexual maturity. So powerful is Longus' psychological analysis—and his description of the sex act—that the book has been regarded as pornographic throughout much of literary history. These circumstances, maintains Margaret Drabble, have kept Daphnis and Chloe from receiving the critical attention that its "charm and genuine artistry" would normally have won for it.

It is moot whether Ravel was concerned about this issue when he came to compose the ballet. The idea was more or less thrust upon him by the impresario Serge Diaghilev, whose chief choreographer Michel Fokine had wanted to do a Greek ballet since 1904, when he saw Isadora Duncan dance in St. Petersburg. He created a two- act scenario for a Daphnis and Chloe and proposed to the directors of the Maryinski

Theater in St. Petersburg that the work would show "artistic unity of conception . . a unity of the three elements—music, painting, and plastic art." Most important, "the whole meaning of the story can be expressed by the dance." Nothing came of the idea at the time, but Fokine continued to urge his scenario, and it was finally to reach fruition in France.

The Russians conquered Paris (artistically speaking) for the first time in 1907, when Diaghilev presented five concerts at the Opera. In 1908 he brought out Boris Godunov (with Chaliapin in the title role), and the following year he appeared for the first time with the Ballets Russes, which were to win him lasting fame. The earliest

Vaslav Nijinsky

33 Week 24 Whatwouldyou have given to hear Horowitz play Chopin when hewasIS? Howdoes $8 sound?

That's all it costs to hear some of tomorrow's most dis- tinguished performers today. And while you're discovering these future greats, you'll also hear musicians who are already world famous. It's all in the New England Conservatory Select Series 1989, at NEC's Jordan Hall.

So plan to attend. For just $8 a ticket, it's your opportunity to witness world class performances at economy class prices.

April-May Schedule April 27 NEC Wind Frank L. Battisti, Conductor Thursday Ensemble "A Salute to Georges Longy" Celebrating the Longy Club, Boston's first professional wind ensemble May 15 NEC Symphony Carl St. Clair, Conductor Monday Orchestra Tchaikovsky, Symphony No. 6 Debussy, Premiere Rhapsodie Daniel McKelway, clarinet, Artist Diploma Mahler, Songs of the Wayfarer Cory Miller, mezzo-soprano, Artist Diploma

New England w Conservatory

Jordan Hall at NEC, 30 Gainsborough Street at Huntington Avenue

All performances at 8 p.m. Tickets: $8 adults, $5 students and senior citizens. Jordan Hall at NEC Box Office: M-F 10 am. to 6 p.m., Sat. Noon to 6 p.m. For ticket information: 536-2412. Or through Bostix /Ticketron®/Teletron®; 617-720-3434 or 1-800-382-8080.

34 productions were brilliantly mounted versions of existing works—the Polovtsian Dances from Borodin's Prince Igor and a dance version of Rimsky-Korsakov's Scheherazade. But Diaghilev commissioned new scores as well, and to that end he sought out the brightest composers on the scene in Paris and Russia. His collabora- tion with Stravinsky over the course of two decades was to be epoch-making, but he also commissioned and performed important scores by Debussy, Ravel, Palla, Satie, Prokofiev, and many others. He commissioned artists like Picasso to design the sets and costumes for some of these, and the choreography of his ballets was created by Fokine, Mas sine, Nijinsky, and Balanchine.

Ravel was commissioned to write Daphnis and Chloe, his largest and finest orchestral score, in 1909, even before the Ballets Russes had become established as an artistic vanguard. He was dissatisfied with Fokine's scenario, though, and their collaboration was complicated by mutual unfamiliarity with one another's language. In June 1909 Ravel wrote to a friend:

I must tell you I've just had an insane week: preparation of a ballet libretto for the next Russian season. Almost every night, work until 3 a.m. What compli- cates things is that Fokine doesn't know a word of French, and all I know of Russian is how to swear. In spite of the interpreters, you can imagine the savor of these meetings.

Despite the long hours, the score was not finished for the "next" Russian season; it was barely begun. Ravel worked on it during the spring of 1910 and completed a piano score by May. But he was not entirely satisfied, and he substantially reworked the finale in 1911 and completed the scoring in that year. The problem then was to mount the work on the stage.

Fokine's original idea of setting a ballet in ancient Greece lost some of its novelty when Diaghilev insisted that he choreograph Nicholas Tcherepnin's Narcisse; Leon THE WORLD'S LARGEST RECORD STORE IS WALKING DISTANCE FROM SYMPHONY HALL

Tower Records has the largest selection of classical recordings

in a department with its own sound environment.

OPEN TIL MIDNIGHT TO SERVE YOU! WUilft R«QS\m BOSTON T7QCgf//7*asT»gyT3^ Mass. Ave. At Newbury In Back Bay Above Auditorium 'TT Stop on the Greenline

35 * * * \ * * V « /-^fr *

7 * *

** Y *

Quality Nursing Care and Rehabilitation Services in an Elegant Setting. *f * ^ * WO ** Y * LIVING CENTERS

* * Cape Heritage Sandwich MA 508-888-8222 Cape Regency Centerville MA 508-778-1835 Easton Lincoln North Easton MA 508-238-7053 * * *r*\ Lafayette North Kingstown RI 401-295-8816 Mayflower Plymouth MA 508-746-4343 Northbridge Northbridge MA 508-234-4641 Northwood Lowell MA 508-458-8773 Oakwood Newport RI 401-849-6600 South County North Kingstown RI 401-294-4545 irj( ^^ / Woodlawn 1 ^ Is Everett MA 617-387-6560

' sfc i$ ** in»7\

IflMa *

fi£E s

Bakst's ideas for the design of Daphnis were also used in this project. To make matters far more complicated, the premier danseur of the Russian Ballet, Vaslav Nijinsky, who was also Diaghilev's lover, was planning a Greek ballet of his own, one designed to imitate the figures on a Greek frieze, presented in profile. The musical score chosen for this work was Debussy's Prelude a VApres-midi d'unfaune. Diaghi- lev was determined to do everything in his power to make a success of Nijinsky' first essay as a choreographer, but he was at the same time concerned about Fokine's reaction. A second Greek ballet in the 1911 season might be construed as a slap in the face, given Fokine's long interest in such a subject. So he postponed the Faun to the 1912 season.

Even then, though, things were not noticeably better. Since Nijinsky was dancing the principal role in both his own Faun and Fokine's Daphnis, the works had to be given on different programs. The Debussy ballet came first; it was produced on May 29, 1912, and caused an immediate sensation, especially for Nijinsky's dancing, which was regarded as scandalously erotic. Daphnis was to be premiered a week later, on June 5, but Diaghilev asked Fokine to cancel it entirely. Ravel was caught in the middle of a bitter power struggle between impresario and choreographer. In the end, the premiere was postponed three days; Daphnis finally appeared on June 8, though not before Fokine and Diaghilev had argued more violently than ever over its placement on the program.

It is not clear whether Diaghilev's opposition to the production of Daphnis grew out of a dislike of Fokine's choreography (which was certainly more traditional than Nijinsky's for the Faun) or out of a desire to emphasize the piece in which Nijinsky was both principal dancer and choreographer. It was, in any case, the composer who suffered most. Ravel's experience with the production of the ballet—the seemingly endless delays, the arguments among the participants—quite naturally cooled his enthusiasm for such work in the future. Thus, even though Daphnis and Chloe is his largest and finest orchestral work, there was no likelihood of another such score to follow.

The typical ballet of the late nineteenth and early twentieth centuries was made up of isolated musical numbers whose character was determined by the kind of dance the choreographer wanted to create; this typically controlled the tempo, meter, and length of the music. At its most devastatingly dull, you can identify ballet music of this sort upon hearing a single phrase. The phrase is bound to be repeated, so that whatever the dancers have just done on the right foot they can now do on the left. Phrase after phrase piling up with such simpleminded squareness can leave the listener—especially in a concert performance, without dancing to take one's mind off the music—utterly stupefied.

Daphnis and Chloe, though, is an entirely different matter. When heard in its entirety, it offers ample evidence to counter the canard that Ravel was a miniaturist pure and simple, unable to sustain larger musical structures. Ravel himself called it a "Choreographic Symphony in Three Parts." He wrote in a biographical sketch that the work was "constructed symphonically on a very strict tonal plan, with a number of themes whose developments assure the homogeneity of the work." The harmonic structure and the development and transformation of the principal thematic ideas can only be perceived, of course, in performances of the complete score. When one of the two suites that Ravel drew from the ballet is heard by itself, the listener loses the sense of connection. However gorgeous the individual sections may be—and they are gorgeous!—they cannot have the same impact as when they become part of the entire structure. The ballet works in the theater because Ravel's music unfailingly supports the scenario with colorful and rhythmic invention; and it works in the concert hall because its harmonic and thematic structure make it memorable even when heard on its own, without the visual images of the stage. At the same time,

37 Week 24 The Privileged Investments.

i b - .•

The Boston Company has a simple approach to personal investment banking:

Serve every client as if that client were our only CLIENT. to that end, we offer the investment management expertise of our subsidiary Boston Safe Deposit and Trust Company Over the past five years, we've performed well by standard industry indices. Still, our reputation has been built by professionals

who know it's gauging performance against personal objectives that really counts. THE BOSTON COMPANY TELEPHONE 1-S00-CALL BOS Boston Safe Deposit and Trust Company (1-800-225-5267 Ext. 341) FOR Member FDIC. a complete description. And enjoy the advantages of being a privileged client. . f

Ravel's fabulous orchestration supports, intensifies, and enlivens the music in either venue.

The scene is a grotto in a sacred wood. The figures of three nymphs, sculpted in archaic style, stand on a rock. To the left is a large rock resembling the figure of Pan, half-man, half-goat. It is a sunny afternoon. The horns and the chorus offer a hushed dialogue in a gently hovering dotted figure that will be heard frequently throughout the work:

1 ^•W l gJ-J J pr f ^f A solo flute high above the sustained chords of the strings introduces a theme that will prove important:

and a solo horn, pianissimo, presents the most important theme of the entire score:

tres expressi

As the rhythm becomes more animated (in triplets), young men and women appear with baskets of fruit to be presented as offerings to the nymphs of the grotto. They

HOTEL MERIDIEN

Who could ask for anything more?

Elegant French cuisine in the Julien. The renowned Julien bar. The Festive Cafe Fleuri. Boston's best brunch* Successful business lunches. — Dancing under the stars. Live music: Jazz and classical.

And, yes, more.

MERIDIEN BOSTON

250 Franklin St., Boston 617451-1900 800543-4300

39 A little praise for a big accomplishment- congratulations to the Boston Symphony on their 108th season!

Living the good life. Jordan marsh

EST. 1851

MASSACHUSETTS CONNECTICUT RHODE ISLAND NEW HAMPSHIRE MAINE NEW YORK

40 perform a dignified "Religious dance." When Daphnis enters briefly in the back- ground, we hear Example 3 in the oboe, restated at once in the flute when Chloe arrives. The religious dance continues and builds to a climax. Daphnis and Chloe reenter downstage (their theme now in octaves in the woodwinds) and prostrate themselves before the altar. All present are sweetly moved (Example 2 in solo violin) by the sight of this innocent young couple.

The young girls induce Daphnis to join them in a lively 7/4 dance. When Chloe objects, the young men begin dancing with her (in a passage beginning with strings alone). She attracts the attention of a young drunkard, Dorcon. At the end of the dance, to some gestural miming music, Dorcon offers to embrace Chloe, but Daphnis pushes him away and approaches Chloe himself. The other young men form a circle around Chloe and propose a dance competition, the winner of which will win a kiss. Dorcon performs a grotesque dance in 2/4 time, with the bassoons leading the way and chattering woodwinds making fun of him, and by the end the entire crowd is laughing along. Now Daphnis performs a light and graceful dance in a slow 6/8 time. Eventually the crowd invites Daphnis to claim his reward. Dorcon attempts to steal a kiss as well, but the crowd sends him away with laughter.

The crowd is struck dumb at the sight of the innocent embrace of Daphnis and Chloe (expressive restatement of Example 3 in the strings). They lead Chloe away, leaving Daphnis to ponder the mysteries he is beginning to sense. He lies down at full length on the ground, his face cradled in his hands, thinking about what has happened.

A slithery clarinet figure in thirds marks the arrival of Lyceion, a married woman with lustful intentions toward Daphnis. She dances enticingly, artfully dropping a veil, then a second. (At this point the ballet departs from the plot of Longus' romance—certain things are not possible on the stage.) Suddenly there is a violent interruption. A horde of pirates is attacking. Daphnis runs off to find and protect Chloe, but he misses her, and she enters to take refuge by the altar. The pirates seize

Nijinsky and Ravel playing from a score of "Daphnis and Chloe, " 1912

41 Week 24 Without You, This Is The Whole Picture,

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

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

Name. .Tel.

Address.

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

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

42 —

her and carry her away. Daphnis reenters, finds her sandal, and curses the gods for failing to protect her (all this has taken place in less than a minute).

Suddenly a light appears around the statues of the nymphs at the altar (gentle tremolo in the strings). A flame burns in the grotto, illuminating the statues, which come to life and perform a stately dance. They become aware of the weeping Daphnis and lead him to the rock at the left, where they invoke Pan, who appears more and more clearly. A magical passage—magical because so utterly unexpected—for a cappella chorus marks the end of the scene.

The scene changes to the pirates' camp on the seashore. The pirates perform a vigorous, brutal dance. At its conclusion Chloe is brought in, her hands tied. The pirate chieftain Bryaxis orders her to dance, and she dances out her supplication though twice she attempts to flee, each time to be brought back before the pirates. She abandons herself to despair and thinks of Daphnis (English horn solo). Bryaxis lifts her up in triumph.

Suddenly the mood changes. Sinister rustlings in the strings mark the charged atmosphere. The lights flicker, fantastic figures appear, terrifying the pirates. This is the doing of the god Pan (whose effect on mankind is to spread "panic," as his name indicates). Satyrs surround the pirates; the earth shakes. As the profile of Pan appears in a gigantic shadow, the pirates take to their heels in terror.

The scene reverts to that of the opening. It is still night. Daphnis sleeps at the entrance to the grotto. In one of Ravel's most brilliantly achieved strokes, dawn arrives unmistakably, with the singing of birds, the plashing of the waterfall, and the sun increasingly penetrating the mists. Shepherds arrive looking for Daphnis and Chloe; they find Daphnis and awaken him. He looks around for Chloe and sees her arriving at last. They throw themselves into one another's arms (climactic statement,

"very expressive," for full orchestra of Example 3). Daphnis notices that Chloe's head is illumined by a mysterious glow, which Daphnis recognizes as the sign of Pan's intervention.

The old shepherd Lammon explains to them that if Pan did indeed help them, it was in remembrance of his lost love for Syrinx. Daphnis and Chloe mime the story of Pan and Syrinx: Pan expresses his love for the nymph Syrinx, who, frightened, disappears in the reeds. In despair, Pan forms a flute out of a reed and plays upon it to commemorate his love. (During the ravishing flute solo, Chloe reappears and echoes, in her movements, the music of the flute.) The dance becomes more and more animated. At its climax Chloe throws herself into Daphnis' arms, and they solemnly exchange vows before the altar (Examples 1 and 2 in combination). A group of young girls dressed as bacchantes enters with tambourines. Now the celebration can begin in earnest, in the extended Danse generate, one of the most brilliant and exciting musical passages ever written. —S.L.

43 Week 24 More . . .

The excellent Beethoven article by Alan Tyson and Joseph Kerman in The New Grove Dictionary of Music and Musicians is a short book in itself, and it has been reissued as such (Norton paperback). The standard Beethoven biography is Thayer's Life of Beethoven, written in the nineteenth century but revised and updated by Elliot Forbes (Princeton, available in paperback). It has been supplemented by Maynard Solomon's Beethoven, which makes informed and thoughtful use of the dangerous techniques of psychohistory to produce one of the most interesting of all the hundreds of Beethoven books (Schirmer, available in paperback). There have, of course, been many studies of the symphonies. George Grove's Beethoven and his Nine Symphonies, though written nearly a century ago from a now-distant point of view, is filled with perceptive observa- tions (Dover paperback). Basil Lam's chapter on Beethoven in the first volume of The Symphony, edited by Robert Simpson, is enlightening (Penguin), as is Simpson's own concise contribution to the BBC Music Guides, Beethoven Symphonies (University of Washington paperback). Donald Francis Tovey's classic essays appear in Essays in Musical Analysis (Oxford, available in paperback). One of the most enlightening of all discussions of Beethoven's sketches and the light they throw on his process of com-

CAREY8 Go to one of LIMOUSINE •CHAUFFEUR DRIVEN SEDANS, VANS AND LIMOUSINES our auctions FOR ALL OCCASIONS •EXECUTIVE SERVICE and you 11 be Est. 1924 623-8700 going once, 24 HR. SERVICE/BOSTON AREA A&A LIMOUSINE RENTING INC. goingtwice, 161 BROADWAY—SOMERVILLE, MA SERVICE IN 300 CITIES • 60 COUNTRIES • 6 CONTINENTS MAJOR CREDIT CARDS ACCEPTED NATIONWIDE 1-800-336-4646

three times...

SKINNER Auctioneers S9 Appraisers boston 54 chauncy street A real find. 542-7444 Rte. 117, Bolton, MA 01740 wellesley REV 53 central street 508-779-6241 235-7444 WH 2 Newbury Street, Boston, MA 02116 Tuxedo rentals and sales since 1914, 236-1700

44 Carleton-Willard Village is an exceptional continuing care retirement community. Gracious independent living accommodations and fully licensed, long-term health care facilities exist in a traditional New England environment. CARI£IONAMUARD VILLAGE 100 Old Billerica Rd. Bedford, MA 01730 (617) 275-8700

Owned and operated by Carleton-Willard Homes, Inc., a non-profit corporation Tanqueray. A singular experience.

Imported English Gin, 47.3% Alc/Vol (94.6°), 100% Grain Neutral Spirits. © 1988 Schieffelin & Somerset Co., New York, NY the Village.

At Fox Hill Village retirement The Village combines the security of community your lifestyle will continuing care with the many benefits mean an active social schedule — or of ownership through a unique coop- a quiet retreat to the library or the erative plan. greenhouse. Find out why more than 250 peo- Designed for comfort and ple have already reserved their convenience, Fox Hill Village is new home at Fox Hill Village. now under construction on 80 Call 329-4433 for more informa- wooded acres in Westwood. tion or visit our model apartment. Fox Hill Village at westwood

100 High Street, Westwood, MA 02090 A TRADITION OF FINANCIAL COUNSEL OLDER THAN THE U.S. DOLLAR. State Street has been providing quality financial service since 1792.

That's two years longer than the dollar has been the official currency of the United States. During that time, we have managed the assets of some of New England's wealthiest families. And provided investment advice and performance tailored to each client's individual goals and needs. Today our Personal Trust Division can extend that service to you. We've been helping people manage their money for almost 200 years. And you can only stay in business that long by offering advice of the

highest quality. Let us help you get the highest performance from your assets. To enjoy today and to pass on to future generations. For more information contact Peter Talbot at 617-654-3227. State Street. Known for quality?

State Street Bank and Trust Company, wholly-owned subsidiary of State Street Boston Corporation, 225 Franklin Street, Boston, MA 02101. Offices in Boston, New York, Los Angeles, London, Munich, Brussels, Tokyo, Sydney, Hong Kong. Member FDIC. Copyright State Street Boston Corporation, 1989. position is Philip Gossett's "Beethoven's Sixth Symphony: Sketches for the First Movement" in the Journal of the American Musicological Society for Summer 1974. Though necessarily technical, the article deals with certain fundamental problems and analyzes, among other things, the way Beethoven sketched and worked out the return to the first-movement recapitulation as discussed in the program note.

Recordings of Beethoven's works are, if anything, even more numerous than writings about him. Bernard Haitink has recorded Beethoven's Pastoral Symphony with the Concertgebouw Orchestra in his complete set for Philips (also available on a single compact disc). Of other complete sets, I have particularly enjoyed the record- ings by Herbert von Karajan with the Berlin Philharmonic (DG), Leonard Bernstein's most recent set, with the Vienna Philharmonic (DG), and 's recordings with the Cleveland Orchestra (CBS). Leonard Bernstein's live-perform- ance recording of the Pastoral Symphony with the Vienna Philharmonic is also available on a single CD, coupled with the Leonore Overture No. 3 (DG). The Pastoral has been very well treated on recordings. Some classic older readings have been reissued on compact disc, among them Bruno Walter's 1960 performance with the Columbia Symphony Orchestra, a mellow, glowing performance (CBS, coupled with the Leonore Overture No. 2). One of Otto Klemperer's most famous recordings, too, is of this symphony, now reissued on CD with music from Egmont, including vocal selections performed by (Angel). Vladimir Ashkenazy offers an unmannered, genial reading with the (London). Perhaps the most interesting of recent recordings is 's account on original instruments with the London Classical Players, noteworthy among other reasons for its very brisk tempos (EMI, coupled with the First Symphony).

The best Ravel book available has not yet been published in this country; it is Roger Nichols' new contribution to the Master Musicians series, replacing the older (but still useful) volume by Norman Demuth, which is particularly informative on the score of Daphnis and Chloe. Nichols is both insightful and enthusiastic in his treatment of Ravel's music. Arbie Orenstein's Ravel: Man and Musician (Columbia) is a thorough study, but very dry, all too clearly revealing its origin in a doctoral dissertation. A sensitive discussion of Ravel can be found in Romanticism and the Twentieth Century, the final volume of the four-volume study Man and His Music by Wilfred Mellers (Schocken). An excellent brief discussion of Ravel's orchestral music is to be found in the BBC Music Guide that Laurence Davies devotes to that subject (University of Washington paperback), though his treatment of Daphnis is limited to consideration of the suites; Davies has also written a fine book called The Gallic Muse with essays on Faure, Duparc, Debussy, Satie, Ravel, and Poulenc (Barnes). Bernard Haitink will record Daphnis and Chloe with the Boston Sym- phony Orchestra for Philips following these performances. Seiji Ozawa's perform- ance of Daphnis with the Boston Symphony Orchestra was included in a boxed set, now out of print, containing all of Ravel's works for orchestra (DG). It is available on cassette, however, coupled with Stravinsky's Petrushka (DG). Other excellent record- ings of the complete ballet on compact disc include Pierre Boulez's highly praised reading with the New York Philharmonic (CBS) and Charles Dutoit's version with the Montreal Symphony Orchestra (London). Charles Munch's older BSO perform- ance is still available on LP, on the budget-priced Victrola label. —S.L.

45 NATHANIEL PULSIFER & ASSOCIATES

Family Trustee and Investment Aduisor

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

t+fasvJp^

OnlyOne C^ HasBusiness (bursesAt Lunch.

Cafe Promenade

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

46 Bernard Haitink

One of today's most highly esteemed conductors, Bernard Haitink is music director at House, where he conducts opera and ballet as well as concerts with the orchestra. His performances with the Royal Opera in recent seasons have included Un hallo in maschera, Peter Grimes, Don Carlo, Arabella, Jenufa, Der Rosenkavalier, Figaro, and Parsifal. In 1978 he became music director at the Glynde- bourne Festival, a position he held through the summer of 1988. In addition to performances at the Royal Opera House and at Glyndebourne, he has conducted many for television and video with both companies. In 1980 he conducted Glyndebourne performances of The Rake's Progress in Paris, and he has conducted their performances at the Proms on many occasions. Mr. Haitink's career as an orchestral conductor is no less distinguished: he was chief conductor of the Concertgebouw Orchestra of Amsterdam from 1964 until the orchestra's cente- nary in April 1988, and he was principal conductor of the London Philharmonic from 1967 to 1979. He has toured widely with both these orchestras in Europe, the United States, and the Far East. With the Concertgebouw he has regularly visited the major festivals in the United Kingdom, including the Proms and Edinburgh; in the past few seasons he has appeared at the and at the Proms with the London Philharmonic, the Philharmonia, and the BBC Symphony. Although his appointments leave little time for guest engagements, Mr. Haitink works regularly with the Bayerische Rundfunk in Munich, the Berlin Philharmonic, and the Vienna Philharmonic. In the United States he has conducted in Boston, Chicago, Cleveland, and New York, and at the . Mr. Haitink has made many recordings for Philips, Decca, and EMI. Those with the London Philhar- monic include music by Shostakovich, Stravinsky, Liszt, Elgar, Hoist, and Vaughan Williams. His recordings with the Concertgebouw of the complete Mahler and Bruckner symphonies are ranked among the world's best. He has also recorded the complete symphonies and piano concertos of Beethoven with both those orchestras. With the Vienna Philharmonic he has recorded works by Brahms and Bruckner. Opera recordings for EMI include , Daphne, and Tannh'duser with the Bayerische Rundfunk, and , Cosi fan tutte, and Le nozze di Figaro with Glyndebourne and the London Philharmonic. His new recording of Die Walkure with the Bayerische Rundfunk has recently been released; he will finish recording the entire Ring during the next two seasons.

Bernard Haitink was created Honorary KBE in November 1977 in recognition of his enormous contribution to the artistic life of Great Britain. In April 1988, on the occasion of his final concert as chief conductor of the Concertgebouw, he was made a Commander of the Order of Oranje Nassau and was presented with the Gold Medal of the City of Amsterdam. He has also received the Gold Medal of the International Gustav Mahler Society and the Medal of Honor of the Bruckner Society of America. He is a Chevalier de l'Ordre des Arts et des Lettres, an officer of Belgium's Order of the Crown, an Honorary Member of the , and a Fellow of the Royal College of Music. In June 1988 he was awarded an honorary doctorate of music by the University of Oxford. Mr. Haitink made his initial Boston Symphony appearances in 1971 and 1973, then returned in November 1985 to conduct music of Mahler, Mozart, and Shostakovich. He will record Ravel's Daphnis and Chloe with the orchestra this season and will return next season for further performances and recordings.

47 Tanglewood Festival Chorus John Oliver, Conductor

Now in its nineteenth year, the Tanglewood Festival Chorus was organized in the spring of 1970 when founding conduc- tor John Oliver became director of vocal and choral activities at the Tanglewood Music Center. Co-sponsored by the Tanglewood Music Center and Boston University, and origi- nally formed for performances at the Boston Symphony's summer home, the chorus was soon playing a major role in the orchestra's Symphony Hall season as well. Now the official chorus of the Boston Symphony Orchestra, the Tanglewood Festival Chorus is made up of members who donate their services, performing in Boston, New York, and at Tanglewood, and working with Music Director Seiji Ozawa, John Williams and the Boston Pops, and such prominent guests as Leonard Bernstein, , and Charles Dutoit. Noteworthy recent performances have included the world premiere of Sir Michael Tippett's The Mask of Time under Sir in April 1984, the American premiere of excerpts from Olivier Messiaen's opera St. Francis ofAssisi under Seiji Ozawa in April 1986, and the world premiere in April 1987 of Donald Martino's The White Island, the last of the Boston Symphony Orchestra's centennial commissions, performed at a special Symphony Hall concert under John Oliver's direction. More recently, the chorus participated in performances under Seiji Ozawa's direction of 's , with Hildegard Behrens in the title role, in Boston, New York, and at Tanglewood; the performances this past November were recorded by Philips for future release on records and compact discs.

The Tanglewood Festival Chorus has collaborated with Seiji Ozawa and the Boston Symphony Orchestra on numerous recordings, beginning with Berlioz's The Damnation of for Deutsche Grammophon, a 1975 Grammy nominee for best choral performance, recently reissued on compact disc. An album of a cappella twentieth-century American music, recorded at the invitation of Deutsche Gram- mophon, was a 1979 Grammy nominee. Recordings with Ozawa and the orchestra available on compact disc also include Schoenberg's Gurrelieder, Mahler's Sym- phony No. 8, the Symphony of a Thousand, and Mahler's Symphony No. 2, Resurrec- tion, on Philips, and Beethoven's Choral Fantasy with pianist Rudolf Serkin, on Telarc. Last season the chorus recorded Poulenc's Stabat Mater and Gloria with Mr. Ozawa, the orchestra, and soprano Kathleen Battle for Deutsche Grammophon.

In addition to his work with the Tanglewood Festival Chorus, John Oliver is con- ductor of the MIT Choral Society, a senior lecturer in music at MIT, and conductor of the John Oliver Chorale, now in its twelfth season. The Chorale gives an annual concert series in Boston and has recorded for Northeastern and New World records. Mr. Oliver made his Boston Symphony Orchestra conducting debut at Tanglewood in 1985 and led performances of Bach's B minor Mass at Symphony Hall in Decem- ber that year.

The Tanglewood Festival Chorus, John Oliver, conductor, has recently been selected to help close a month-long International Choral Festival involving 4,000 performers and to take place in and around Toronto, Canada, throughout the month of June. The chorus will present an afternoon concert of music by Tallis, Ives, Brahms, and Gabrieli under John Oliver's direction on Friday, June 30, and take part in the festival's closing performance—Verdi's Requiem with the Toronto Sym- phony under the direction of Charles Dutoit—that same evening.

48 Tanglewood Festival Chorus John Oliver, Conductor

Sopranos Irene Gilbride David E. Meharry Margaret Aquino Toni Gustus Gary L. Miner Michele M. Bergonzi Thelma Hayes David R. Norris Margo Connor Elizabeth Johnstone David Raish April Ronald Severson Mary A.V. Crimmins Merriam Ada Park Snider Charles Wilson Christine P. Duquette Julie Steinhilber Carol S. Furneaux Alice Honner-White Dianne M. Terp Elizabeth Wallace-Taylor Jane C. Howell Basses Holly MacEwen Krafka Constance L. Turnburke Eddie Andrews Marguerite Weidknecht Sarah Jane Liberman Jose R. Coronado, Jr. Barbara S. MacDonald James W Courtemanche Jan Elizabeth Norvelle Edward E.Dahl Jennifer M. Pigg Antone Aquino John Duffy Carrol Shaw Richard A. Bissell Mark L. Haberman Joan Pernice Sherman Michael P. Gallagher Paul Koch

Noel Belanger Smith J. Stephen Groff Timothy Lanagan David M. Halloran Lee B. Leach Mezzo-sopranos Andrew David K. Lones Maisy Bennett George W Harper Greg Mancusi-Ungaro Sharon Carter John W Hickman Stephen H. Owades Barbara Clemens Warren D. Hutchison John Fitz Rogers Arnalee Cohen James R. Kauffman Peter Rothstein

Evelyn M. Eshleman-Kern Edward J. Kiradjieff Laurence West Paula Folkman John Vincent Maclnnis Pieter Conrad White

Jamith Hayashi, Manager Martin Amlin, Assistant to the Conductor

266-4727 Est. 1939 THE COLLEGE CLUB

RAYBURN Offers Elegant Function Facilities Musical Instrument Co. WEDDINGS, RECEPTIONS, Brass—Woodwinds—Strings—Keyboards PRIVATE LUNCHES, DINNERS, Repair—Rentals—Sales—New and Used TEAS, COCKTAIL PARTIES, CONCERTS, LECTURES

44 Commonwealth Avenue 263 Huntington Avenue Boston 02116 Boston, MA 02115 (617)536-9510 Next to Symphony Hall

49 1988-89 SEASON SUMMARY WORKS PERFORMED DURING THE BOSTON SYMPHONY ORCHESTRA'S 1988-89 SUBSCRIPTION SEASON Week BARTOK Piano Concerto No. 2 14 ANDRAS SCHIFF, piano BEETHOVEN Piano Concerto No. 5 in E-flat, Opus 73, Emperor 17 RUSSELL SHERMAN, piano Symphony No. 6 in F, Opus 68, Pastoral 24 Symphony No. 7 in A, Opus 92 7 Symphony No. 9 in D minor, Opus 125 Opening Night, 1 JOSEPHINE BARSTOW, soprano; JOAN KHARA, mezzo-soprano; JACQUE TRUSSEL, tenor; STEPHEN DICKSON, baritone; TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor BIZET Symphony in C 5 BRAHMS Symphony No. 1 in C minor, Opus 68 14 Symphony No. 4 in E minor, Opus 98 17 BRITTEN Nocturne, for tenor solo, seven obbligato instruments, 9 and string orchestra JOHN ALER, tenor Now Sleeps the Crimson Petal, for tenor, horn, and strings 9 JOHN ALER, tenor BRUCKNER Symphony No. 9 in D minor 23 CAGE 101 (world premiere) 22 CHABRIER Espana, Rhapsody for orchestra 12 COPLAND r Orchestral Variations 6 CHOPIN Piano Concerto No. 1 in E minor, Opus 11 3 _^ STANISLAV BUNIN, piano DEBUSSY La Mer, Three symphonic sketches 22 Prelude to the Afternoon of a Faun 22 DVORAK Symphony No. 7 in D minor, Opus 70 10 GLAZUNOV Violin Concerto in A minor, Opus 82 7 , violin HARBISON Piano Concerto 5 RUSSELL SHERMAN, piano

50 HARRISON Piano Concerto with selected orchestra (Boston premiere) URSULA OPPENS, piano HAYDN Die Jahreszeiten (The Seasons), with text by 19 Gottfried van Swieten, after the poem by James Thomson SYLVIA McNAIR, soprano; THOMAS RANDLE, tenor; MARK PEDROTTI, baritone; TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor Symphony No. 103 in E-flat, Drumroll 16,17 LIGETI Atmospheres 14 LISZT Piano Concerto No. 1 in E-flat 5 RUSSELL SHERMAN, piano MAHLER Symphony No. 1 in D 2,3 Symphony No. 7 18 Symphony No. 9 MASSENET "Adieu, notre petite table," from Manon 16 KATHLEEN BATTLE, soprano MENDELSSOHN Symphony No. 3 in A minor, Opus 56, Scottish 21 GEWANDHAUS ORCHESTRA OF LEIPZIG, KURT MASUR, conductor MOZART Piano Concerto No. 17 in G, K.453 2 BENJAMIN PASTERNACK, piano Piano Concerto No. 21 in C, K.467 23 MURRAY PERAHIA, piano Piano Concerto No. 26 in D, K.537, Coronation 12 YEFIM BRONFMAN, piano Piano Concerto No. 27 in B-flat, K.595 20 VLADIMIR FELTSMAN, piano Serenade No. 10 in B-flat for winds, K.361(370a) 11 Sinfonia concertante in E-flat for oboe, clarinet, 7 horn, and bassoon, K.Anh.C14.01 ALFRED GENOVESE, oboe; HAROLD WRIGHT, clarinet; CHARLES KAVALOVSKI, horn; SHERMAN WALT, bassoon Symphony No. 34 in C, K.338 6 Symphony No. 40 in G minor, K.550 15 NIELSEN Symphony No. 4, Opus 29, The Inextinguishable RACHMANINOFF Symphonic Dances, Opus 45 20 Symphony No. 2 in E minor, Opus 27 6 RANDS "... body and shadow ..." (world premiere) 16 RAVEL Alborada del gracioso 16 Daphnis and Chloe 24

51 Week 24 ROUSSEL Bacchus etAriane, Suite No. 2, Opus 43 5 Symphony No. 4 in A, Opus 53 20 SAXTON In the Beginning (United States premiere) 10 SCHMIDT Concerto in E-flat for piano and orchestra Opening Night LEON FLEISHER, piano SCHREKER Chamber Symphony 9 SCHUBERT Symphony No. 2 in B-flat, D.125 9 Symphony in C, D.944, The Great 15 SCHUMANN Overture to Hermann und Dorothea, Opus 136 4 Overture from the incidental music to Byron's Manfred, 13 Opus 115 Symphony No. 3 in E-flat, Opus 97, Rhenish 13 I STRAUSS Elektra, Opus 58, Tragedy in one act by Hugo von Hofmannsthal 7a HILDEGARD BEHRENS, soprano (Elektra); NADINE SECUNDE, soprano (Chrysothemis); , mezzo-soprano (Klytemnestra); RAGNAR ULFUNG, tenor (Aegisth); JORMA HYNNINEN, baritone (Orest); BRIAN MATTHEWS, bass (Guardian to Orest, Old Servant); EMILY RAWLINS, soprano (Confidante to Klytemnestra, 4th Maid); DOMINIQUE LABELLE, soprano (Klytemnestra's Trainbearer); JOAN KHARA, mezzo-soprano (1st Maid); WENDY HILLHOUSE, mezzo-soprano (2nd Maid); DIANE KE SLING, mezzo-soprano (3rd Maid); CYNTHIA HAYMON, soprano (5th Maid); MARITA NAPIER, soprano (Overseer); BRAD CRESSWELL, tenor (Young Servant); TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor Songs with orchestra: "Ich wollt' ein Strausslein binden," "Wiegenlied," 16 "Saiisle, Hebe Myrthe," "Morgen" (the latter as encore) KATHLEEN BATTLE, soprano

Investment Real Estate Management, Boston Symphony Orchestra Brokerage and Consulting Services Metropolitan Opera Since 1898 Perkins School for the Blind Boston Ballet Jimmy Fund Chicago Lyric Opera

Donald L. Saunders. Dwight R. Lueth Associates President & Chief Executive Officer Fund Raising Counsel SAUNDERS & ASSOCIATES 20 Park Plaza • Boston • MA • 021 16 (617)426*4000 Est. 1976 Boston (617) 266-7090 Exclusive Agent for the Statler Office Building

52 STRAVINSKY The Fairy's Kiss 12 Octet for Wind Instruments 12 Symphony in C 11 Violin Concerto in D 22 ANNE-SOPHIE MUTTER, violin TCHAIKOVSKY Symphony No. 4 in F minor, Opus 36 21 GEWANDHAUS ORCHESTRA OF LEIPZIG, KURT MASUR, conductor THOMAS "Je suis Titania," from Mignon 16 KATHLEEN BATTLE, soprano WAGNER Prelude to Die Meistersinger von Nurnberg 13 Prelude and "LiebestooV from Tristan und Isolde 13 WALTON Concerto for Violin and Orchestra 10 MALCOLM LOWE, violin WEBERN Five Pieces for Orchestra, Opus 10

CONDUCTORS OF THE BOSTON SYMPHONY ORCHESTRA DURING THE 1988-89 SUBSCRIPTION SEASON Week

SEIJI OZAWA, Music Director Opening Night, 1, 7a(Elektra), 7,8, 16, 17,18,22

DENNIS RUSSELL DAVIES 4 CHRISTOPH VON DOHNANYI 14 CHARLES DUTOIT 20 LEONFLEISHER 6 BERNARD HAITINK 23,24 MAREKJANOWSKI 13 ERICH LEINSDORF 11,12 JESUS LOPEZ-COBOS 15 HELMUTH RILLING 19 CARL ST. CLAIR, BSO Assistant Conductor 2 JEFFREY TATE 9,10 PASCAL VERROT, BSO Assistant Conductor 5,14* DAVID ZINMAN 3

''Christoph von Dohnanyi indisposed

53 Week 24

rm ffl WmmmMmmBE®m m 1989-90 BSO Schedule

Add your name to our mailing list.

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

Subscription Series for two!

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

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

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

permitted. Employees of the Boston Symphony Orchestra, Inc.

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

September. Please return coupon to:

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

YES, please send me your 1989-90 BSO schedule and

enter my name in the drawing to win a Thursday-Evening Subscription Series.

Name

Address

City .State Zip

Are you currently a BSO subscriber?

Which series do you attend?

54 SOLOISTS WITH THE BOSTON SYMPHONY ORCHESTRA DURING THE 1988-89 SUBSCRIPTION SEASON Week

ALER, JOHN, tenor 9 BARSTOW, JOSEPHINE, soprano Opening Night, 1 BATTLE, KATHLEEN, soprano 16 BEHRENS, HILDEGARD, soprano 7a BRONFMAN, YEFIM, piano 12 BUNIN, STANISLAS piano 3 CRESSWELL, BRAD, tenor 7a DICKSON, STEPHEN, baritone Opening Night, 1 FELTSMAN, VLADIMIR, piano 20 FLEISHER, LEON, piano Opening Night GENOVESE, ALFRED, oboe 7 GEWANDHAUS ORCHESTRA OF LEIPZIG, 21 KURT MASUR, conductor HAYMON, CYNTHIA, soprano 7a HILLHOUSE, WENDY, mezzo-soprano 7a HYNNINEN, JORMA, baritone 7a KAVALOVSKI, CHARLES, horn 7 KESLING, DIANE, mezzo-soprano 7a KHARA, JOAN, mezzo-soprano Opening Night, 1, 7a LABELLE, DOMINIQUE, soprano 7a LOWE, MALCOLM, violin 10 LUDWIG, CHRISTA, mezzo-soprano 7a McNAIR, SYLVIA, soprano 19 MATTHEWS, BRIAN, bass 7a MUTTER, ANNE-SOPHIE, violin 22 NAPIER, MARITA, soprano 7a OPPENS, URSULA, piano 4 PASTERNACK, BENJAMIN, piano 2 PEDROTTI, MARK, baritone 19 PERAHIA, MURRAY, piano 23 RANDLE, THOMAS, tenor 19 RAWLINS, EMILY, soprano 7a SCHIFF, ANDRAS, piano 14 SECUNDE, NADINE, soprano 7a SHERMAN, RUSSELL, piano 5,17 TRUSSEL, JACQUE, tenor Opening Night, 1 ULFUNG, RAGNAR, tenor 7a WALT, SHERMAN, bassoon 7 WRIGHT, HAROLD, clarinet 7 ZIMMERMANN, FRANK PETER, violin 7

TANGLEWOOD FESTIVAL CHORUS, Opening Night, 1, JOHN OLIVER, conductor 7a, 19, 24

55 Week 24 WORKS PERFORMED AT SYMPHONY HALL SUPPER CONCERTS DURING THE 1988-89 SUBSCRIPTION SEASON Week BARTOK Contrasts, for violin, clarinet, and piano 14

String Quartet No. 1, Opus 7 14/17 BEETHOVEN String Trio in C minor, Opus 9, No. 3 24 BRAHMS Trio in A minor for clarinet, , and piano, Opus 114 14 HARBISON Piano Quintet (1981) 5 HASENOEHRL Strauss's "Till EulenspiegeV—einmal anders 13 HAYDN Trio in C for piano, violin, and cello, Hob. XV:27 14/17 MOZART Divertimento No. 10 in F for two horns and strings, K.247, 23 with March, K.248 NIELSEN Woodwind Quintet in A, Opus 43 4 RAVEL String Quartet in F 24

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

REUNION PRODUCTIONS, INC. (617) 926-0300

photo: John Burke

56 ROUSSEL Trio for flute, viola, and cello, Opus 40 SCHUMANN M'drchenerz'dhlungen, Opus 132, for clarinet, 4 viola, and piano Trio No. 1 in D minor for piano, violin, and cello, Opus 63 13

SUPPER CONCERT PERFORMERS DURING THE 1988-89 SUBSCRIPTION SEASON Week BABCOCK, MARTHA, cello 14 BARNES, ROBERT, viola 4 BEWICK, BONNIE, violin 14/17 BRACKEN, NANCY, violin 14 BUYSE, LEONE, flute 5 CASSITY, GWINDALE, piano 14 COOKE, JAMES, violin 5 DEVEAU, DAVID, piano 4 DIAZ, ROBERTO, viola 24 DIMITRIADES, TATIANA, violin 14/17,24 GORDON, JUDITH, piano 5 HADCOCK, PETER, clarinet 14 HWANG, BO YOUP, violin 24 JEANNERET, MARC, viola 23 KATZEN, DANIEL, horn 23 KNUDSEN, SATO, cello 13 KUCHMENT, VALERIA VILKER, violin 23 LEFKOWITZ, RONAN, violin 5 LIN, LUCIA, violin 13

LUDWIG, MARK, viola 5, 14/17 MACKEY, RICHARD, horn 23 MARTIN, THOMAS, clarinet 4,13 McCARTY, PATRICIA, viola 5 MENKIS, JONATHAN, horn 4 MILLER, JONATHAN, cello 24 MIYAMOTO, SAYURI, piano 14/17 MOERSCHEL, JOEL, cello 5,23 ORLEANS, JAMES, double bass 13,23 PASTERNACK, BENJAMIN, piano 13 PROCTER, CAROL, cello 14/17 RAPIER, WAYNE, oboe 4 ROSEN, JEROME, violin 24 SMALL, ROLAND, bassoon 4,13 SMITH, FENWICK, flute 4 URITSKY, VYACHESLAY violin 23 WADENPFUHL, JAY, horn 13

57 Business/Professional Leadership Program

BUSINESS

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

Corporate Underwriters ($25,000 and above)

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

Bank of New England Corporation Opening Night at Symphony

BayBanks, Inc. Opening Night at Pops

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

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

NEC Corporation and NEC Deutschland GmbH Boston Symphony Orchestra European Tour

Nabisco Brands, Inc. Boston Pops Esplanade Orchestra Japan Tour

Digital Equipment Corporation Boston Pops Orchestra Public Television Broadcasts

Suntory Limited BSO recording oiElektra

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

58 1988-89 Business Honor Roll ($10,000 and Above)

ADD Inc. Architects HBM/Creamer, Inc. Philip M. Briggs Edward Eskandarian Advanced Management Associates The Henley Group Harvey Chet Krentzman Paul M. Montrone Analog Devices, Inc. Honeywell Bull Ray Stata Roland Pampel AT&T IBM Corporation Robert Babbitt Paul J. Palmer Bank of Boston John Hancock Mutual Life Insurance Ira Stepanian E. James Morton Bank of New England Corporation Liberty Mutual Insurance Company Walter J. Connolly Gary L. Countryman BayBanks, Inc. Loomis-Sayles & Company, Inc. Richard F. Pollard Peter G. Harwood Boston Edison Company McKinsey & Company Stephen J. Sweeney Robert P. O'Block Mobil Corporation William 0. Taylor Allen E. Murray Boston Herald Morse Shoe, Inc. Patrick J. Purcell Manuel Rosenberg Boston Safe Deposit & Trust Company Nabisco Brands, Inc. James N. von Germeten H. John Greeniaus Comet American Marketing NEC Corporation Douglas Murphy Atsuyoshi Ouchi Con Agra Incorporated NEC Deutschland GmbH Charles M. Harper Masao Takahashi Connell Limited Partnership The New England William F. Connell Edward E. Phillips Coopers & Lybrand New England Telephone Company Vincent M. O'Reilly Paul C. O'Brien Country Curtains Nynex Corporation Jane P. Fitzpatrick Delbert C. Staley

Creative Gourmets, Ltd. PaineWebber, Inc. Stephen E. Elmont James F. Cleary Digital Equipment Corporation Peat Marwick Main & Co. Kenneth G. Olsen Robert D. Happ

Dynatech Corporation Pepsico, Inc. J. P. Barger D. Wayne Calloway Eastern Gas & Fuel Associates Prudential-Bache Securities Robert W Weinig David F Remington EMC Corporation R&D Electrical Company, Inc. Richard J. Egan Richard D. Pedone Ernst & Whinney Rabobank Nederland Thomas M. Lankford Hugo Steemsa Fidelity Investments/ Raytheon Company Fidelity Foundation Thomas L. Phillips General Cinema Corporation The Red Lion Inn Richard A. Smith John H. Fitzpatrick General Electric Plastics Business Group Shawmut Bank, N.A. Glen H. Hiner John P. Hamill The Gillette Company The Sheraton Boston Hotel & Towers Colman M. Mockler, Jr. Robert McEleney Grafacon, Inc. Sonesta International Hotels Corporation H. Wayman Rogers, Jr. Paul Sonnabend GTE Products Corporation State Street Bank & Trust Company Dean T. Langford William S. Edgerly

59 1988-89 Business Honor Roll (continued)

The Stop & Shop Companies, Inc. Watson Mailing/Mail Communications, Inc. Avram J. Goldberg Irving Rawding Suntory Limited WCRB-102.5 FM Keizo Saji Richard L. Kaye Teradyne Inc. WCVB-TV; Channel 5 Boston Alexander V. d'Arbeloff S. James Coppersmith Tucker Anthony & R.L. Day, Inc. Wondriska Associates Gerald Segel William Wondriska USTrust Zayre Corporation James V Sidell Maurice Segall

HOW TO ENIOY

Play it loud or soft, but play it in grand style at Herring Run. These expansive homes have the features that matter: first- or second-floor master suite, vaulted ceilings, attached garage, and a lower level to finish as you please. Single-family style with condominium convenience, on a quiet ridgetop overlooking the Cape Cod Canal in mainland Bourne. ..less than an hour from Boston.

Priced from the low $300,000's. On-site sales office open Friday through Monday, 11-5, HERRM} and by appointment. Please call (508) 888-6436.

From Bos/on; Take Route 3, exit 2 to Herring Pond Road. Take a left; Herring Run is 2.5 miles on the left. Herring Pond Road Bourne, Massachusetts From 1-495; Take exit 2 (Route 6, Bourne-Sagamore). Proceed counter-clockwise around rotary to Route 6 east. Continue 2.5 mi. Left at Flashing light. Herring Run is x k mi. on the right.

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

Business Leaders ($1,250 and above)

Accountants Automotive/Service *Harvey Industries, Inc. Frederick Bigony ARTHUR ANDERSEN & COMPANY J.N. Phillips Glass Company, Inc. William F. Meagher Alan L. Rosenfield *J.F. White Contracting Company Philip Bonanno ARTHUR YOUNG & COMPANY Banking Thomas P. McDermott Moliterno Stone Sales, Inc. *Bank in Liechtenstein, AG Kenneth A. Castellucci Charles E. DiPesa & Company Christian Norgren * National Lumber Company William F. DiPesa BANK OF BOSTON Louis L. Kaitz COOPERS & LYBRAND Ira Stepanian Vincent M. O'Reilly PERINI CORPORATION BANK OF NEW ENGLAND David B. Perini DELOITTE HASKINS & SELLS CORPORATION

Mario Umana Walter J. Connolly Consumer Goods/Distributors ERNST & WHINNEY BAYBANKS, INC. * August A. Busch & Company Thomas M. Lankford Richard F. Pollard Christopher L. Stevens PEAT MARWICK THE BOSTON COMPANY Chiquita Brands MAIN & CO. BOSTON SAFE DEPOSIT & TRUST Baron M. Hartley Robert D. Happ COMPANY COMET AMERICAN MARKETING PRICE Hans P. Ziegler f WATERHOUSE Douglas Murphy Kenton J. Sicchitano Cambridge Trust Company CON AGRA INCORPORATED Theodore S. Samet & Company Lewis H. Clark Charles M. Harper Theodore S. Samet *Chase Manhattan Bank *Dry Creek Vineyards Tofias, Fleishman, William N. MacDonald David Stara Shapiro & Co., PC. Chase Manhattan Corporation FAIRWINDS GOURMET COFFEE Allan Tofias CITICORP/CITIBANK COMPANY Walter E. Mercer Michael J. Sullivan \Advertising/Public Relations First Mutual of Boston *Hawaiian Department of Agriculture HBM/CREAMER, INC. Keith G. Willoughby *International Paper Company Edward Eskandarian First National Bank of Chicago Marc F. Wray HILL, HOLLIDAY, CONNORS, Robert E. Gallery *Massachusetts Department of Food COSMOPULOS, INC. RABOBANK NEDERLAND and Agriculture Jack Connors, Jr. Hugo Steemsa NABISCO BRANDS, INC. Irma S. Mann, Strategic Marketing, H. John Greeniaus *Rockland Trust Company Inc. John F. Spence, Jr. PEPSICO, INC. Irma Mann Stearns D. Wayne Calloway SHAWMUT BANK, N.A. Aerospace John P. Hamill SUNTORY LIMITED Keizo Saji Northrop Corporation STATE STREET BANK & TRUST United Liquors, Ltd. Thomas V. Jones COMPANY PNEUMO ABEX CORPORATION William S. Edgerly Michael Tye

Norman J. Ryker USTRUST Vintners International Company, Inc. James V. Sidell Michael Doyle

Architects Workingmens Co-operative Bank *Winery Associates John E. McDonald David L. Ready ADD INC. ARCHITECTS Philip M. i Briggs Building/Contracting Electrical/HVAC

James Stewart Polshek and Partners *A.J Lane & Company, Inc. L. Rudolph Electrical Company, Inc. James Polshek & Tim Hartung Andrew J. Lane Louis Rudolph

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

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

61 . .

Fynn's for an elegant seating/ before the performance

Pre-Symphony menu, Seafood, Pasta and Prime Be, Dining from 5:30pm to 11pm nightly, valet parking. FYNNS of Boston 359 Newbury Street at the corner of

Massachusetts Avenue, just a few blocks away. .

Reservations call 536-1100

I was a woman with loss ...... the hair on the top and back of my head was so thin that I began to stand against walls (the true meaning of the word wallflower).

One week later at P. K. Walsh . . I had hair! I was attractive! The hairpiece took years off my age! Isfe^

1842 Beacon St. • Brookline, MA 02146 (617) 232-4521 Productsfor Thinning Hair Available Callfor FREE brochure Free Private Consultation • Ample Free Parking

62 R&D ELECTRICAL COMPANY, INC. Food Service/Industry BBF Corporation Boruch B. Frusztajer Richard D. Pedone *Boston Showcase Company Jason E. Starr BOLT BERANEK AND NEWMA> Electronics Cordel Associates, Inc. INC. Stephen R. Levy Alden Electronics, Inc. James B. Hangstefer John M. Alden CREATIVE GOURMETS, LTD. COMPUGRAPHIC CORPORATIO] Carl E. Dantas ANALYTICAL SYSTEMS Stephen E. Elmont CORPORATION ENGINEERING Different Tastes Catering COMPUTER PARTNERS, INC. Rukin Michael B. Jack Milan Paul J. Crowley Epsco Incorporated Costar Corporation daka Inc. Wayne P. Coffin Terry Vince Otto Morningstar Mitre Corporation The Federal Distillers, Inc. DIGITAL EQUIPMENT Charles A. Zraket CORPORATION Alfred J. Balerna PARLEX CORPORATION Kenneth G. Olsen Seasons and Occasions, Inc. Herbert W. Pollack Dalu Pearson Dynamics Research Corporation Albert Rand Energy Footwear DYNATECH CORPORATION CABOT CORPORATION J. P. Barger * Jones & Vining, Inc. Samuel Bodman Sven A. Vaule, Jr. EG&G, INC. MOBIL CORPORATION MORSE SHOE, INC. Dean W Freed Allen E. Murray Manuel Rosenberg EMC CORPORATION Newmont Mining Corporation The Rockport Corporation Richard J. Egan Gordon R. Parker Stanley Kravetz *General Eastern Instruments Co. STRIDE RITE CORPORATION Pieter R. Wiederhold Engineering THE Arnold S. Hiatt HELIX TECHNOLOGY Goldberg-Zoino & Associates, Inc. CORPORATION Donald T. Goldberg Furnishings/Housewares Robert J. Lepofsky Stone & Webster Engineering ARLEY MERCHANDISING THE HENLEY GROUP Corporation CORPORATION Paul M. Montrone Thomas J. Whelan David I. Riemer HEWLETT-PACKARD COMPANY The Thompson & Lichtner L. *Barton Brass Associates, Inc. Ben Holmes Company, Inc. Barton Brass HONEYWELL BULL John D. Stelling Corona Curtains Roland Pampel Paul Sheiber Entertainment/Media IBM CORPORATION COUNTRY CURTAINS Paul J. Palmer / Jane P. Fitzpatrick William D. Hassett Instron Corporation GENERAL CINEMA Jofran, Inc. Harold Hindman CORPORATION Robert D. Roy *Intermetrics Inc. Richard A. Smith Joseph A. Saponaro Graphic Design National Amusements, Inc. *Ionics, Inc. Sumner M. Redstone *Clark/Linsky Design Arthur L. Goldstein Robert H. Linsky *KYBE Corporation Finance/Venture Capital The Watt Group Charles Reed, Jr. Carson Limited Partnership Don Watt *M/A-Com, Inc. Herbert Carver WONDRISKA ASSOCIATES Vessarios G. Chigas FARRELL, HEALER & COMPANY, William Wondriska MASSCOMP INC. Richard A. Phillips Richard A. Farrell High Technology/Electronics MILLIPORE CORPORATION THE FIRST BOSTON ANALOG DEVICES, INC. John A. Gilmartin CORPORATION/BOSTON Ray Stata NEC CORPORATION Malcolm MacColl APOLLO COMPUTER, INC. Atsuyoshi Ouchi THE FIRST BOSTON Thomas A. Vanderslice NEC DEUTSCHLAND GmbH CORPORATION/NEW YORK *Aritech Corp. Masao Takahashi Pamela f Lenehan James A. Synk *Orion Research, Inc. I

! Investors in Industry Corporation AUGAT INC. Alexander Jenkins III Ivan N. Momtchiloff Roger D. Wellington

63 I

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

Frederick J. Bumpus LOOMIS-SAYLES & COMPANY, Weiss, Angoff, Coltin, Koski & Wolf, CAMERON & COLBY CO., INC. INC. PC. Lawrence S. Doyle Peter G. Harwood Dudley A. Weiss

65

i*W am m SHREVE,CRUMP &>LOW

J E,W E L E R S S I>JM C E 1 8

Memories of Boston Our exclusive design of the classic swan, a precious memory of Boston elegantly executed in 14K gold with sapphire $375.

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

66 Management/Financial/Consulting *Barry Wright Corporation *Rand-Whitney Corporation ADVANCED MANAGEMENT Ralph Z. Sorenson Robert Kraft ASSOCIATES The Biltrite Corporation *Sprague Electric Company Harvey Chet Krentzman Stanley J. Bernstein John L. Sprague ARTHUR D. LITTLE, INC. Boston Sand & Gravel Company *The Stackpole Corporation John P. Magee Dean M. Boylan Lyle G. Hall Superior Brands, Inc. *Bain & Company, Inc. CENTURY MANUFACTURING AND William W. Bain TY-WOOD CORPORATION Richard J. Phelps THE BOSTON CONSULTING Joseph Tiberio Termiflex Corporation GROUP CONNELL LIMITED William E.Fletcher Jonathan L. Isaacs PARTNERSHIP Textron, Inc. William Connell Dolan *Corporate Decisions, Inc. F B.F

David J. Morrison *C.R. Bard, Inc. *Towle Manufacturing Company The Forum Corporation Robert H. McCaffrey Christopher J. McGillivary John W. Humphrey Dennison Manufacturing Company Webster Spring Company, Inc. Nelson G. Gifford Alexander M. Levine *Haynes Management, Inc. G. Arnold Haynes Emhart Corp. Wire Belt Company of America *HCA Management T. Mitchell Ford F. Wade Greer Donald E. Strange *Erving Paper Mills Media Jason M. Cortell & Associates, Inc. Charles B. Housen THE BOSTON GLOBE Jason M. Cortell *FLEXcon Company, Inc. William 0. Taylor KAZMAIER ASSOCIATES, INC. Mark R. Ungerer BOSTON HERALD Richard W. Kazmaier, Jr. GENERAL ELECTRIC PLASTICS BUSINESS Patrick J. Purcell Keller Company, Inc. GROUP Glen H. Hiner Boston Magazine Joseph P. Keller James * Georgia-Pacific Corporation Kuhn Lochridge & Company, Inc. Richard K. Lochridge Maurice W King WCRB—102.5 FM THE GILLETTE Richard L. Kaye MCKINSEY & COMPANY COMPANY Colman M. Mockler, Jr. WCVB-TV, 5 Robert P. O'Block CHANNEL BOSTON S. James Coppersmith PRUDENTIAL-BACHE GTE PRODUCTS CORPORATION Dean T. Langford SECURITIES Personnel David F. Remington HARVARD FOLDING BOX * John Leonard Personnel COMPANY, INC. *Rath & Strong Linda J. Poldoian Dan Melvin A. Ross Ciampa TAD TECHNICAL SERVICES Robert Boyer CPA H.K. Webster Company, Inc. CORPORATION Dean K. Webster Robert Boyer David J. McGrath, Jr. *William M. Mercer Meidinger HMK Group Companies, Ltd. L. Printing Hansen, Inc. Joan Karol Chester D. Clark Hudson Lock, Inc. BOWNE OF BOSTON, INC. *The Wyatt Company Norman Stavisky William Gallant Michael H. Davis Kendall Company * Bradford & Bigelow, Inc. J. Dale Sherratt John D. Galligan Manufacturer's Representatives Kenett Corporation Customforms, Inc. *Ben-Mac Enterprises, Inc. Julius Kendall David A. Granoff Thomas F. McAuliffe DANIELS PRINTING COMPANY KITCHEN, & KUTCHIN, INC. LEACH & GARNER COMPANY Lee S. Daniels Melvin Kutchin Philip F Leach * Dickinson Direct Response *Paul R. Cahn Associates, Inc. NEW ENGLAND BUSINESS Donald Dickinson Paul R. Cahn SERVICE, INC. Richard H. Rhoads *Espo Litho Co., Inc. Manufacturing/Industry *New England Door Corporation David M. Fromer Alles Corporation Robert C. Frank George H. Dean Company liOJiK Stephen S. Berman Earle Michaud Warn Norton Co. 2?S& Ausimont Donaid R. Melville GRAFACON, INC. MKgP Leonard Rosenblatt * Polaroid Corporation H. Wayman Rogers, Jr. *Avedis Zildjian Company I.M. Booth ITEK GRAPHIX CORPORATION Armand Zildjian R. Patrick Forster H WzShfH 67 wfliftii HMKvinitfe 56s 2S 072-2 PH CD-. 422

© 1988 Philips/PolyGram Classics

OUR ( SALES

AND 1 A1MAYSA Audi PREMIERE PERFORMANCE. ANNIS PORSCHE + AUDI, INC. AmT.if.jL/lLfOXj New England'sEngh #1 Volume Dealer Route 9, Natick OPTIONAL. (617) 237-5759

68 LABEL ART, INC. Renaissance Properties *CompuChem Corporation Thomas J. Cobery Roger E.Tackeff Gerard Kees Verkerk MARK-BURTON PRINTING *Trammell Crow Company DAMON CORPORATION Robert Cohen Arthur DeMartino David I. Kosowsky * Johnson & Johnson MASSACHUSETTS ENVELOPE Retail COMPANY James E. Burke DEMOULAS SUPERMARKETS, Steven Grossman Lectro-Med Health Screening INC. Services, Inc. Rand Typography, Inc. T.A. Demoulas Mildred Nahabedian Allan Kaye *Dudwick Shindler Association Sherman Printing Dennis Krize Services Peter Sherman *Federated Department Stores, Inc. ASQUITH CORPORATION Howard Goldfeder Lawrence L. Asquith Publishing FILENE'S *Giltspur Exhibits/Boston Addison-Wesley Publishing Company, David P. Mullen Thomas E. Knott Inc. *Gitano The Prudential Property Company, Warren R. Stone Alison Belaza Inc.

CAHNERS PUBLISHING HARBOR SWEETS R.M. Bradley & Co., Inc. COMPANY Ben Strohecker *Victor Grillo & Associates Saul Goldweitz *Hills Department Stores Victor N. Grillo HOUGHTON MIFFLIN COMPANY Stephen A. Goldberger Harold T. Miller Software/Information Services J. Baker, Inc. Little, Brown & Company Sherman N. Baker CULLINET SOFTWARE, INC. Kevin L. Dolan John J. Cullinane J. BILDNER&SONS McGraw-Hill, Inc. James L. Bildner Data Architects, Inc. Harold W. McGraw, Jr. Martin Cooperstein * Jay B. Rudolph, Inc. The Robb Report Ronald Rudolph Interactive Data Corporation Samuel Phillips JORDAN MARSH COMPANY John M. Rutherfurd, Jr. * Time, Inc. Elliot Stone Lotus Development Corporation Jim P. Manzi George Ray Karten's Jewelers * Yankee Publishing Incorporated Joel Karten Phoenix Technologies, Ltd. Neil Colvin Rob Trowbridge *Loblaw Companies Limited David Nichol Travel/Transportation Real Estate/Development Louis, Boston GANS TIRE COMPANY, INC. THE BEACON COMPANIES Murray Pearlstein David Gans Norman Leventhal NEIMAN-MARCUS HERITAGE TRAVEL, INC. William D. Roddy Benjamin Schore Company Donald R. Sohn Benjamin Schore * Purity Supreme Supermarkets THE TRANS-LEASE GROUP Frank P. Giacomazzi Combined Properties, Inc. John J. McCarthy Stanton L. Black * Saks Fifth Avenue Ronald Hoffman Utilities Corcoran, Mullins, Jennison, Inc. * AT&T Joseph E. Corcoran Sears, Roebuck & Company S. David Whipkey Robert Babbitt Demeter Realty Trust BOSTON EDISON COMPANY George P. Demeter THE STOP & SHOP COMPANIES, INC. Stephen J. Sweeney FIRST WINTHROP CORPORATION Avram J. Goldberg EASTERN GAS & FUEL Arthur J. Halleran, Jr. 'Tiffany & Co. ASSOCIATES The Flatley Company William Chaney Robert W Weinig Thomas J. Flatley ZAYRE CORPORATION New England Electric System 'The Fryer Group, Inc. Maurice Segall Joan T. Bok Malcolm F. Fryer, Jr. NEW ENGLAND TELEPHONE Hilon Development Corporation Science/Medical COMPANY Haim S. Eliachar Baldpate Hospital Paul C. O'Brien Lucille M. Batal Historic Mill Properties NYNEX CORPORATION Bert Paley Cambridge BioScience Corporation Delbert C. Staley "John M. Corcoran & Company Gerald F Buck John M. Corcoran CHARLES RIVER Northland Investment Corporation LABORATORIES, INC. Robert A. Danziger Henry L. Foster

69 The Boston Symphony Orchestra extends its gratitude to the following corporations which have generously matched their employees' charitable contributions to the BSO during the past fiscal year. The Boston Symphony Orchestra received over $135,000 in corporate matching gifts between September

1, 1987 and August 31, 1988.

Adams, Harkness & Hill, Inc. Index Systems, Inc. Allendale Mutual Insurance Co. Instron Corporation Arkwright-Boston Insurance Co. Johnson & Higgins AT&T Johnson & Johnson Bank of Boston Corp. Kimberly-Clark Corporation Barry Wright Corporation Koppers Company, Inc. BASF Corporation Little, Brown & Co., Inc. Beatrice Companies Inc. The May Department Stores Co. Borden Inc. McGraw-Hill, Inc. Boston Edison Company Millipore Corporation The Boston Globe Mitre Corporation Cabot Corporation Mobil Corporation CBS, Inc. Monsanto Company Celanese Corporation Morgan Guaranty Trust Company The Chase Manhattan Corporation Morgan-Worcester Chevron Corporation Morton Thiokol, Inc. The Chubb Corporation New England Electric System Cigna Corporation New England Telephone & Telegraph Co. Citicorp Bell Telephone Co. Community Funds Newmont Mining Corporation Contel Corporation Norfolk Southern Corporation Continental Insurance Company Norton Company Copley Properties, Inc. NYNEX Corporation De Luxe Check Printers, Inc. Outboard Marine Corporation Dennison Manufacturing Company Palmer & Dodge Digital Equipment Corporation PepsiCo, Inc. ELSI, Inc. Pfizer, Inc. Emhart Corporation Phelps Dodge Corporation Equitable Life Assurance Society Polaroid Corporation of The United States Ralston Purina Company Exxon Corporation Reader's Digest Association, Inc. Fanny Farmer Candy Shops, Inc. Sanders Associates, Inc. Federated Department Stores, Inc. Saunders Associates Fiduciary Trust Company Scott Paper Company Fireman's Fund Insurance Company Joseph E. Seagram & Sons, Inc. General Cinema Corporation Shawmut Bank, N.A. General Dynamics Corp. Squibb Corporation General Electric Co. The Standard Oil Company GenRad, Inc. The Stanley Works The Gillette Company Sun Life Assurance Co. of Canada Gulf and Western, Inc. Texas Instruments Incorporated John Hancock Reinsurance Company Textron Charitable Trust Harding Acoustical Interiors Time, Inc. Hartford National Corporation Travelers Insurance Company Hartford Steamboiler Inspection & USAir, Inc. Insurance Company U.S. West, Inc. Hoechst Celanese Corporation United Technologies Corporation Home Owners Federal Savings & Loan Assn. The Washington Post Company Houghton Mifflin Company Winter, Wyman & Company, Inc. International Business Machines Corp. Xerox Corporation IDG Yankee Atomic Electric Company 70 Symphony Hall Information . . .

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

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

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

accounts, lines ofcredit, and quiet restaurants.

You think about what you made last year, and you smile. You think about what

you're going to do with it,

and you scratch your head. "r-

Breakfast with your pri- vate banker could open up a

lot of possibilities. Because; '

at his fingertips are all the resources of Bank of Boston. From a range of investments,

to the best credit options. Private banking makes

it easier for you to do more with your money. Now you've got Bank of Boston at your convenience, on

your own time, and even at your favorite restaurant.

i tiTsten? ITALIAN PEEUE?^

fOMATOfetBASIL P ^TwiTH LEAF ^ 4J| ?SbfND PKu£ ftsteni

iu V #0 PASTENE QUALITY yjOkhm tfkadif'l

H 35 OZS. (2 LBS. 3 ( BJ992T iJKATO PI ^^

1 maricais j I 3tTiiitti(»;t

Blftmet errItTgjCfl