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f Seiji Ozawa, Music Director One Hundred and Fifth Season, 1985-86

Trustees of the Boston Symphony Orchestra, Inc.

Leo L. Beranek, Chairman Nelson J. Darling, Jr., President

J. P. Barger, Vice-Chairman Mrs. John M. Bradley, Vice-Chairman

George H. Kidder, Vice-Chairman William J. Poorvu, Treasurer Mrs. George L. Sargent, Vice-Chairman

Vernon R. Alden Archie C. Epps Mrs. August R. Meyer David B. Arnold, Jr. Mrs. John H. Fitzpatrick E. James Morton Mrs. Norman L. Cahners Mrs. John L. Grandin David G. Mugar George H.A. Clowes, Jr. Francis W Hatch, Jr. Thomas D. Perry, Jr. William M. Crozier, Jr. Harvey Chet Krentzman Mrs. George R. Rowland Mrs. Lewis S. Dabney Roderick M. MacDougall Richard A. Smith Mrs. Michael H. Davis John Hoyt Stookey Trustees Emeriti

Philip K. Allen E. Morton Jennings, Jr. John T. Noonan Allen G. Barry Edward M. Kennedy Irving W. Rabb Richard P. Chapman Edward G. Murray Paul C. Reardon Abram T. Collier Albert L. Nickerson Sidney Stoneman Mrs. Harris Fahnestock John L. Thorndike Officers of the Corporation

Thomas W Morris, Vice-President, Special Projects and Planning

John Ex Rodgers, Assistant Treasurer Theodore A. Vlahos, Assistant Treasurer Jay B. Wailes, Assistant Treasurer Daniel R. Gustin, Clerk Mary Glenn Goldman, Assistant Clerk

Administration of the Boston Symphony Orchestra, Inc.

Daniel R. Gustin, Acting General Manager

Anne H. Parsons, Orchestra Manager Costa Pilavachi, Artistic Administrator Caroline Smedvig, Director of Promotion Josiah Stevenson, Director of Development Theodore A. Vlahos, Director of Business Affairs Arlene Germain, Financial Analyst Marc Mandel, Publications Coordinator Charles Gilroy, Chief Accountant Richard Ortner, Administrator of Vera Gold, Assistant Director of Promotion Tanglewood Music Center Patricia Halligan, Personnel Administrator Charles Rawson, Manager of Box Office Nancy A. Kay, Director of Sales Eric Sanders, Director of Corporate John M. Keenum, Director of Development Foundation Support Joyce M. Serwitz, Assistant Director Nancy Knutsen, Production Manager of Development Anita R. Kurland, Administrator of Diane Greer Smart, Director of Volunteers Youth Activities Nancy E. Tanen, Media/Special Projects Steven Ledbetter, Musicologist & Administrator Program Annotator Susan E. Tomlin, Director of Annual Giving

Programs copyright ©1986 Boston Symphony Orchestra, Inc. Cover photo by Christian Steiner m

Board of Overseers of the Boston Symphony Orchestra, Inc.

Harvey Chet Krentzman Chairman

Avram J. Goldberg Mrs. Carl Koch Vice-Chairman Vice-Chairman

Ray Stata Mrs. Gordon F. Kingsley Vice-Chairman Secretary

John Q. Adams Mrs. Thomas Gardiner Mrs. Hiroshi Nishino Mrs. Weston W. Adams Mrs. James G. Garivaltis Vincent M. O'Reilly Martin Allen Mrs. Ray A. Goldberg Stephen Paine, Sr. Mrs. David Bakalar Jordan L. Golding John A. Perkins Bruce A. Beal Joseph M. Henson Peter C. Read Peter A. Brooke Arnold Hiatt Robert E. Remis Mary Louise Cabot Mrs. Richard D. Hill Mrs. Peter van S. Rice Mrs. C. Thomas Clagett, Jr. Susan M. Hilles David Rockefeller, Jr. James F. Cleary Glen H. Hiner John Ex Rodgers John F. Cogan, Jr. Mrs. Marilyn Brachman Hoffman Mrs. Jerome Rosenfeld Mrs. Nat Cole Mrs. Bela T. Kalman Mrs. William C. Rousseau William H. Congleton Mrs. S. Charles Kasdon Mrs. William H. Ryan Arthur P. Contas Richard L. Kaye Gene Shalit Mrs. A. Werk Cook Robert D. King Mark L. Selkowitz Phyllis Curtin John Kittredge Malcolm L. Sherman A.V. d'Arbeloff Robert K. Kraft W. Davies Sohier, Jr. Mrs. Michael H. Davis John P. LaWare Ralph Z. Sorenson

Mrs. Eugene B. Doggett Mrs. James F. Lawrence Mrs. Arthur I. Strang Harriett Eckstein Laurence Lesser William F. Thompson Mrs. Alexander Ellis R. Willis Leith, Jr. Luise Vosgerchian Katherine Fanning Mrs. Charles P. Lyman Mrs. An Wang John A. Fibiger Mrs. Harry L. Marks Roger D. Wellington Kenneth G. Fisher Hanae Mori Mrs. Thomas H.R Whitney Gerhard M. Freche Richard P. Morse Mrs. Donald B. Wilson Peter H.B. Frelinghuysen Mrs. Thomas S. Morse Brunetta Wolfman

Mrs. Thomas J. Galligan Mrs. Robert B. Newman Nicholas T. Zervas

Overseers Emeriti

Mrs. Frank G. Allen Paul Fromm Mrs. Stephen YC. Morris Hazen H. Ayer Mrs. Louis I. Kane David R. Pokross David W. Bernstein Leonard Kaplan Mrs. Richard H. Thompson Benjamin H. Lacy

Symphony Hall Operations

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

Earl G. Buker, Chief Engineer Cleveland Morrison, Stage Manager Franklin Smith, Supervisor of House Crew

Wilmoth A. Griffiths, Assistant Supervisor of House Crew William D. McDonnell, Chief Steward

I Officers of the Boston Symphony Association of Volunteers

Mrs. Michael H. Davis President Mrs. R. Douglas Hall III Mrs. Carl Koch Executive Vice-President Treasurer Mrs. Harry F. Sweitzer, Jr. Mrs. Gilman W. Conant Secretary Nominating Chairman

Vice-Presidents

Mrs. Eugene B. Doggett, Development Services Mrs. BelaT. Kalman, Youth Activities Ms. Phyllis Dohanian, Fundraising Projects Mrs. Hart D. Leavitt, Regions Mrs. Craig W. Fisher, Tanglewood Mrs. August R. Meyer, Membership Mrs. Mark Selkowitz, Tanglewood Ms. Ellen M. Massey, Public Relations

Chairmen of Regions

Mrs. Thomas M. Berger Ms. Prudence A. Law Mrs. F.L. Whitney Mrs. Charles A. Hubbard Mrs. Robert B. Newman Mrs. Thomas H.P. Whitney Mrs. Herbert S. Judd, Jr. John H. Stookey Mrs. Norman Wilson Mrs. Thomas Walker m

How to conduct yourself on Friday night.

Aficionados of classical music can enjoy the Boston Symphony Orchestra every Friday night at 9 o'clock on WCRB 102. 5 FM. Sponsored in part by Honeywell.

Honeywell BSO

Pops Esplanade Orchestra to Perform at Space is limited to 42 people on a first-come, Statue of Liberty first-served basis. The cost of the weekend, $375 per person, double occupancy ($485 for John Williams and the Boston Pops Esplanade single occupancy), includes a $50 tax-deduct- Orchestra will participate in the national cele- ible contribution to the orchestra and covers bration surrounding the unveiling ceremony transportation, lodging, meals (excluding and relighting of the torch of the restored breakfast), and concert tickets. For further Statue of Liberty on 4 July as part of the information, please call the Volunteer Office at "Americana Music" segment of a live, nation- 266-1492, ext. 177. ally-televised program on ABC-TV from 8 to 10 p.m. Their salute to the Statue of Liberty will include music by such great American com- rat Boston Symphony Chamber Players at posers as John Philip Sousa, Irving Berlin, Jordan Hall George M. Cohan, George Gershwin, and Aaron Copland. Returning to Boston 5 July, The Boston Symphony Chamber Players will the Boston Pops Esplanade Orchestra and Mr. present the final concert of their 1985-86 three- Williams will present the traditional Indepen- concert subscription series at Jordan Hall this dence Day free concert on the Esplanade that Sunday, 6 April, at 3 p.m. The program will evening for the city of Boston. WNEV-TV- include Felix Mendelssohn's Concert Piece in Channel 7 will present a live telecast of the F for clarinet, bassoon, and piano, Op. 113, event, which will feature the annual perform- Aaron Copland's Quartet for piano and strings, ance of Tchaikovsky's 1812 Overture complete Pierre Boulez's Derive, and Franz Schubert's with bells, cannon, and fireworks. Trout Quintet, D.667, for piano and strings. Single ticket prices are $12, $9, and $6.50; for further ticket information, call Jordan Hall at 536-2412. Friends Weekend at Tanglewood

The Friends of the BSO have the opportunity to travel to Tanglewood via chartered bus for Season Opener for Pops three days of spectacular music by the Boston Invitations to "Opening Night at Pops" 1986 Symphony Orchestra the weekend of are already in the mail to BSO Friends and 25-27 July. This summer, the Friends Weekend subscribers, according to co-chairmen Molly includes the BSO concerts on Friday and Sat- Millman and Susan Reeder. Tickets for the urday evenings, as well as on Sunday after- event, which takes place on Tuesday, 6 May, are noon. Performances include Seiji Ozawa priced from $25 to $150 and include supper conducting music of Brahms, Haydn, and and wine. If you have not received an invita- Beethoven, Leonard Bernstein conducting tion, please call the Volunteer Office at music of Tchaikovsky and Bernstein, and solo 266-1492, ext. 178. appearances by violinist Mi Dori and pianists Peter Serkin and Alfred Brendel. The Friends will stay at the Red Lion Inn and will have Planned Giving Seminars door-to-door service provided by Greyhound Bus for all events. Dinner Friday night will be The Boston Symphony Orchestra is pleased at the Pittsfield Country Club. Lunch on Satur- once again to offer a series of Planned Giving day will be at Seranak, the former home of Seminars conducted by John Brown, noted Serge Koussevitzky, and dinner will be at authority in the area of deferred gifts. Mahkeenac Farm, adjacent to the Tanglewood Remaining seminars for the 1985-86 season grounds. Sunday luncheon at Blantyre will pre- will be held prior to the BSO concerts on cede the 2:30 p.m. concert. Anticipated arrival 11 April and 18 April. For further information time in Boston on 27 July is 8 p.m. please contact Joyce M. Serwitz, Assistant The weekend is available to Friends of the Director of Development, at 266-1492, BSO who have donated a minimum of $40. ext. 132. --$**. - ~m$sg&sm&m*

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Look tousfordirection. BSO Members in Concert A "Salute" Update

BSO assistant principal flutist Leone Buyse will The most important public fundraising event present a faculty recital with Barbara Lister- for the Boston Symphony Orchestra, "A Salute Sink, piano and voice, in the Concert Room of the to Symphony" (formerly the "Musical Mar- Boston Conservatory, 8 The Fenway, on Friday, athon"), takes place Friday, 11 April through 4 April at 8 p.m. The program will include music Monday, 14 April. A project of the Boston Sym- of Telemann, Devienne, Fulmshima, Martinu, phony Association of Volunteers and chaired by Roussel, and Prokofiev. Admission is free. Susan D. Hall, this year's Salute will focus on The Newton Symphony Orchestra under its the theme "Get to Know the BSO." WCRB- music director Ronald Knudsen will perform 102.5-FM will devote much of its radio pro- its free annual Youth Concert on Saturday, gramming to the BSO, featuring celebrity 5 April at 2 p.m. at Newton North High School interviews and musical selections from the past auditorium. The program will combine the thirty years. The broadcast schedule is as fol- shadow puppet wizardry of the Underground lows: Friday, 11 April from noon to 2 p.m. and Railway Puppet Theatre with the orchestra's 9 to 11 p.m.; Saturday, 12 April from 11 a.m. to performance of Strauss's Till Eulenspiegel's 1 p.m. and 6 to 8 p.m.; Sunday, 13 April from Merry Pranks, and will also feature the winner 10 a.m. to midnight; and Monday, 14 April from of the orchestra's Young Soloist Competition. 7 to 11 p.m. The kick-off activities, broadcast by For further information, call 965-2555. WCRB, take place at Quincy Market, begin- The Boston Artists Ensemble, founded in ning at noon on Friday, and feature Roger 1980 by its director, BSO cellist Jonathan Voisin and a student brass ensemble. Local Miller, performs Beethoven's Piano Trio in performing artists will continue to provide mid-

C minor, Opus 1, No. 3, and the Tchaikovsky day entertainment at Quincy Market each day A minor Piano Trio on Sunday, 6 April at of Salute beginning at noon. A highlight of 7 p.m. at Ellsworth Hall at Pine Manor College Salute weekend is the elegant brunch and in Brookline. Tickets are $7 ($5 students and promenade on Sunday, 13 April from 11:30 a.m. senior citizens); for further information, call to 2:30 p.m. at Neiman-Marcus, Copley Place, 266-2322. offering delights for the ear, the eye, and the palate on all three levels of the store. Tickets are $50 per person and are available by invita- tion only. To receive an invitation, please call A New BSO Poster the Volunteer Office, 266-1492, ext. 178. The

A new Boston Symphony Orchestra poster, culmination of "A Salute to Symphony" is the designed by William Wondriska Associates, live telecast, including a performance by Seiji will go on sale at the Symphony Shop at the Ozawa and the BSO, on WCVB-TV Channel 5 beginning of the Pops season. The multi-col- on Monday, 14 April from 7:30 to 9 p.m., simul- ored poster measures 20 x 28 inches and is cast on WCRB. Generous corporate support priced at $6. for Salute has been provided by Neiman-Mar- cus, Carter Hawley Hale, and Raytheon. Please join them and the many Friends of the orches- tra in saluting the great traditions of the BSO BSO Guests on WGBH-FM-89.7 and Pops. The featured guests with Ron Delia Chiesa dur- ing the intermissions of live Boston Symphony With Thanks broadcasts for the rest of the season will be BSO chief engineer Earl Buker (4 and 5 April), We wish to give special thanks to the National Harry Ellis Dickson (11 and 12 April), and the Endowment for the Arts and the Massachu- co-chairmen of this year's "Opening Night at setts Council on the Arts and Humanities for Pops," Susan Reeder (18 and 19 April) and their continued support of the Boston Sym- Molly Millman (25 and 26 April). phony Orchestra. Seiji Ozawa

Symphony Orchestra, a post he relin- quished at the end of the 1968-69 season.

Seiji Ozawa first conducted the Boston Symphony in Symphony Hall in January 1968; he had previously appeared with the orchestra for four summers at Tanglewood, where he became an artistic director in 1970. In December 1970 he began his inau- gural season as conductor and music director of the San Francisco Symphony Orchestra. The music directorship of the Boston Symphony followed in 1973, and Mr. Ozawa resigned his San Francisco posi- tion in the spring of 1976, serving as music advisor there for the 1976-77 season.

As music director of the Boston Sym- phony Orchestra, Mr. Ozawa has strength- The 1985-86 season is Seiji Ozawa's thir- ened the orchestra's reputation inter- teenth as music director of the Boston Sym- nationally as well as at home, beginning phony Orchestra. In the fall of 1973 he with the BSO's 1976 European tour and, in became the orchestra's thirteenth music March 1978, a nine-city tour of Japan. At director since it was founded in 1881. the invitation of the Chinese government, Born in 1935 in Shenyang, China, to Mr. Ozawa then spent a week working with Japanese parents, Mr. Ozawa studied both the Peking Central Philharmonic Orches- Western and Oriental music as a child and tra; a year later, in March 1979, he returned later graduated from Tokyo's Toho School to China with the entire Boston Symphony of Music with first prizes in composition for a significant musical and cultural and conducting. In the fall of 1959 he won exchange entailing coaching, study, and first prize at the International Competition discussion sessions with Chinese musi- of Orchestra Conductors, Besancon, cians, as well as concert performances. Also France. Charles Munch, then music in 1979, Mr. Ozawa led the orchestra on its director of the Boston Symphony and a first tour devoted exclusively to appear- judge at the competition, invited him to ances at the major music festivals of Tanglewood, where in 1960 he won the Europe. Seiji Ozawa and the Boston Sym- Koussevitzky Prize for outstanding student phony celebrated the orchestra's one-hun- conductor, the highest honor awarded by dredth birthday with a fourteen-city the Berkshire Music Center (now the American tour in March 1981 and an inter- Tanglewood Music Center). national tour to Japan, France, Germany, Austria, and England in October/November While working with Herbert von Karajan that same year. In August/September 1984, in West Berlin, Mr. Ozawa came to the Mr. Ozawa led the orchestra in a two-and- attention of Leonard Bernstein, whom he one-half-week, eleven-concert tour which accompanied on the New York Philhar- included appearances at the music festivals monic's spring 1961 Japan tour, and he was of Edinburgh, London, Salzburg, Lucerne, made an assistant conductor of that orches- and Berlin, as well as performances in tra for the 1961-62 season. His first profes- Munich, Hamburg, and Amsterdam. This sional concert appearance in North February he returned with the orchestra to America came in January 1962 with the San Japan for a three-week tour. Francisco Symphony Orchestra. He was music director of the Ravinia Festival for Mr. Ozawa pursues an active interna- five summers beginning in 1964, and music tional career. He appears regularly with the director for four seasons of the Toronto Berlin Philharmonic, the Orchestre de Add 100 years to her life

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America's Tax-Free Investment. Paris, the French National Radio Orches- music of Ravel, Berlioz, and Debussy with tra, the Vienna Philharmonic, the Philhar- mezzo-soprano Frederica von Stade and monia of London, and the New Japan the Mendelssohn Violin Concerto with Philharmonic. His operatic credits include Isaac Stern; in addition, he has recorded Salzburg, London's Royal Opera at Covent the Schoenberg/Monn Cello Concerto and Garden, La Scala in Milan, and the Paris Strauss's Don Quixote with cellist Yo-Yo Ma Opera, where he conducted the world for future release. For Telarc, he has premiere of Olivier Messiaen's opera recorded the complete cycle of Beethoven St. Francis ofAssisi in November 1983. piano concertos and the Choral Fantasy Messiaen's opera was subsequently with Rudolf Serkin. Mr. Ozawa and the awarded the Grand Prix de la Critique 1984 orchestra have recorded five of the works in the category of French world premieres. commissioned by the BSO for its centen- Mr. Ozawa will lead the Boston Symphony nial: Roger Sessions's Pulitzer Prize-win- Orchestra in the American premiere of ning Concerto for Orchestra and Andrzej scenes from St. Francis ofAssisi in April Panufnik's Sinfonia Votiva are available on 1986 in Boston and New York. Hyperion; Peter Lieberson's Piano Con- certo with soloist Peter Serkin, John Seiji Ozawa has won an Emmy for the Harbison's Symphony No. 1, and Oily Boston Symphony Orchestra's "Evening at Wilson's Sinfonia have been taped for New Symphony" television series. His award- World records. For Angel/EMI, he and the winning recordings include Berlioz's orchestra have recorded Stravinsky's Fire- Romeo et Juliette, Schoenberg's Gurrelieder, bird and, with soloist Itzhak Perlman, the and the Berg and Stravinsky violin concer- violin concertos of Earl Kim and Robert tos with Itzhak Perlman. Other recordings Starer. with the orchestra include, for Philips, Richard Strauss'svlZso sprach Zarathustra Mr. Ozawa holds honorary Doctor of and Ein Heldenleben, Stravinsky's Le Sacre Music degrees from the University of Mas- du printemps, Hoist's The Planets, and sachusetts, the New England Conservatory Mahler's Symphony No. 8, the Symphony of of Music, and Wheaton College in Norton, a Thousand. For CBS, he has recorded Massachusetts.

9 Classical, rock and all that jazz sound better on audio systems by ADS.

For proof see an ADS dealer. For information call (617) 658- 5100. Or write to Analog & Digital Systems, 425 Progress Way, Wilmington, MA 01887. Violas Bass Clarinet Burton Fine Craig Nordstrom Charles S. Dana chair Patricia McCarty Bassoons Anne Stoneman chair Sherman Walt Ronald Wilkison Edward A. Taft chair Robert Barnes Roland Small Jerome Lipson Matthew Ruggiero Bernard Kadinoff Contrabassoon Joseph Pietropaolo Richard Plaster Michael Zaretsky Marc Jeanneret Horns Music Directorship endowed by Betty Benthin Charles Kavalovski John Moors Cabot Mark Ludwig Helen Sagoff Slosberg chair *Roberto Diaz Richard Sebring BOSTON SYMPHONY Daniel Katzen ORCHESTRA Cellos Jay Wadenpfuhl Jules Eskin Richard Mackey 1985-86 Philip R. Allen chair Jonathan Menkis Martha Babcock Vernon and Marion Alden chair First Violins Trumpets Malcolm Lowe Mischa Nieland Charles Schlueter Esther 8. and Joseph M. Shapiro chair Concertmaster Roger Louis Voisin chair Charles Munch chair •Robert Ripley Andre C6me Max Hobart Luis Leguia Ford H. Cooper chair Acting Associate Concertmaster Carol Procter Charles Daval Helen Horner Mclntyre chair Ronald Feldman Peter Chapman Cecylia Arzewski *Jerome Patterson Acting Assistant Concertmaster Trombones Robert L. Beal, and tJoel Moerschel Enid and Bruce A. Beal chair Sandra and David Bakalar chair Ronald Barron Bo Youp Hwang *Jonathan Miller J.P. and Mary B. Barger chair Norman Bolter Edward and Bertha C. Rose chair *Sato Knudsen Max Winder Bass Trombone John and Dorothy Wilson chair Basses Douglas Yeo Harry Dickson Edwin Barker Forrest Foster Collier chair Harold D. Hodgkinson chair Tuba Gottfried Wilfinger Lawrence Wolfe Chester Schmitz Maria Stata chair Fredy Ostrovsky Margaret and William C. Leo Panasevich Joseph Hearne Rousseau chair Carolyn and George Rowland chair Bela Wurtzler Sheldon Rotenberg Leslie Martin Timpani Muriel C. Kasdon and John Salkowski Everett Firth Marjorie C. Paley chair Sylvia Shippen Wells chair Alfred Schneider John Barwicki Raymond Sird *Robert Olson Percussion flkuko Mizuno *James Orleans Charles Smith Amnon Levy Peter and Anne Brooke chair Flutes Arthur Press Doriot Anthony Dwyer Assistant Timpanist Second Violins Walter Piston chair Thomas Gauger Marylou Speaker Churchill Fenwick Smith Frank Epstein Fahnestock chair Myra and Robert Kraft chair Vyacheslav Uritsky Leone Buyse Charlotte and Irving W. Rabb chair Harp Ronald Knudsen Piccolo Ann Hobson Pilot Willona Henderson Sinclair chair Joseph McGauley Lois Schaefer Leonard Moss Evelyn and C. Charles Marran chair *Michael Vitale *Harvey Seigel Oboes *Jerome Rosen Ralph Gomberg Mildred B. Remis chair * Sheila Fiekowsky Personnel Managers Wayne Rapier fGerald Elias William Moyer Alfred Genovese Ronan Lefkowitz Harry Shapiro *Nancy Bracken English Horn Librarians *Joel Smirnoff Laurence Thorstenberg *Jennie Shames Phyllis Knight Beranek chair Marshall Burlingame *Nisanne Lowe William Shisler *Aza Raykhtsaum Clarinets James Harper * Lucia Lin Harold Wright Ann S.M. Banks chair Stage Manager * Participating in a system of rotated Thomas Martin Position endowed by seating within each string section. Peter Hadcock Angelica Lloyd Clagett t On sabbatical leave. E-flat Clarinet Alfred Robison

11 References furnished request

Aspen Music Festival Liberace Burt Bacharach Panayis Lyras David Bar-Man Marian McPartland Leonard Bernstein Zubin Mehta Bolcom and Morris Metropolitan Opera Jorge Bolet Mitchell-Ruff Duo Boston Pops Orchestra Seiji Ozawa Boston Symphony Orchestra Philadelphia Orchestra Brevard Music Center Andre Previn Dave Brubeck Ravinia Festival David Buechner Santiago Rodriguez Chicago Symphony Orchestra George Shearing Cincinnati May Festival Abbey Simon Cincinnati Symphony Orchestra Georg Solti Aaron Copland Tanglewood Music Center Denver Symphony Orchestra Michael Tilson Thomas Ferrante and Teicher Beveridge Webster Natalie Hinderas Earl Wild Interlochen Arts Academy and John Williams National Music Camp Wolf Trap Foundation for Billy Joel the Performing Arts Gilbert Kalish Yehudi Wyner Ruth Laredo Over 200 others Baldwin

12 —

A Brief History of the Boston Symphony Orchestra

For many years, philanthropist, Civil War personality proved so enduring that he veteran, and amateur musician Henry Lee served an unprecedented term of twenty- Higginson dreamed of founding a great and five years. permanent orchestra in his home town of In 1936, Koussevitzky led the orchestra's Boston. His vision approached reality in first concerts in the Berkshires, and a year the spring of 1881, and on 22 October that later he and the players took up annual year the Boston Symphony Orchestra's summer residence at Tanglewood. inaugural concert took place under the Koussevitzky passionately shared Major direction of conductor Georg Henschel. For Higginson's dream of "a good honest nearly twenty years, symphony concerts school for musicians," and in 1940 that were held in the old Boston Music Hall; dream was realized with the founding at Symphony Hall, the orchestra's present Tanglewood of the Berkshire Music Center home, and one of the world's most highly (now called the Tanglewood Music Center), regarded concert halls, was opened in 1900. a unique summer music academy for young Henschel was succeeded by a series of artists. German-born and -trained conductors Wilhelm Gericke, Arthur Nikisch, Emil Expansion continued in other areas as Paur, and Max Fiedler—culminating in the well. In 1929 the free Esplanade concerts appointment of the legendary Karl Muck, on the Charles River in Boston were inau- who served two tenures as music director, gurated by Arthur Fiedler, who had been a 1906-08 and 1912-18. Meanwhile, in July member of the orchestra since 1915 and 1885, the musicians of the Boston Sym- who in 1930 became the eighteenth conduc- phony had given their first "Promenade" tor of the Boston Pops, a post he would concert, offering both music and refresh- hold for half a century, to be succeeded by ments, and fulfilling Major Higginson's John Williams in 1980. The Boston Pops wish to give "concerts of a lighter kind of celebrated its hundredth birthday in 1985 music." These concerts, soon to be given in under Mr. Williams's baton. the springtime and renamed first "Popu- Charles Munch followed Koussevitzky as lar" and then "Pops," fast became a music director in 1949. Munch continued tradition. Koussevitzky's practice of supporting con-

During the orchestra's first decades, temporary composers and introduced much there were striking moves toward expan- music from the French repertory to this sion. In 1915, the orchestra made its first transcontinental trip, playing thirteen con- certs at the Panama-Pacific Exposition in San Francisco. Recording, begun with RCA in the pioneering days of 1917, continued with increasing frequency, as did radio broadcasts of concerts. The character of the Boston Symphony was greatly changed in 1918, when Henri Rabaud was engaged as conductor; he was succeeded the following season by Pierre Monteux. These appoint- ments marked the beginning of a French- oriented tradition which would be main- tained, even during the Russian-born Serge Koussevitzky's time, with the employment of many French-trained musicians.

The Koussevitzky era began in 1924. His extraordinary musicianship and electric Henry Lee Higginson

13 :

"There's no passion in the human soul. But finds its food in music."

George Lillo

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14 country. During his tenure, the orchestra abroad, and his program of centennial com- toured abroad for the first time, and its missions—from Sandor Balassa, Leonard continuing series of Youth Concerts was ini- Bernstein, John Corigliano, Peter Maxwell tiated. Erich Leinsdorf began his seven- Davies, John Harbison, Leon Kirchner, year term as music director in 1962. Peter Lieberson, Donald Martino, Andrzej Leinsdorf presented numerous premieres, Panufnik, Roger Sessions, Sir Michael restored many forgotten and neglected Tippett, and Oily Wilson—on the occasion works to the repertory, and, like his two of the orchestra's hundredth birthday has predecessors, made many recordings for reaffirmed the orchestra's commitment to RCA; in addition, many concerts were tele- new music. Under his direction, the orches- vised under his direction. Leinsdorf was tra has also expanded its recording activi- also an energetic director of the Tangle- ties to include releases on the Philips, wood Music Center, and under his lead- Telarc, CBS, Angel/EMI, Hyperion, and ership a full-tuition fellowship program was New World labels. established. Also during these years, the Boston Symphony Chamber Players were From its earliest days, the Boston Sym- founded, in 1964; they are the world's only phony Orchestra has stood for imagination, permanent chamber ensemble made up of a enterprise, and the highest attainable stan- major symphony orchestra's principal dards. Today, the Boston Symphony players. Orchestra, Inc., presents more than 250 concerts annually. Attended by a live audi- William Steinberg succeeded Leinsdorf ence of nearly 1.5 million, the orchestra's in 1969. He conducted several American performances are heard by a vast national and world premieres, made recordings for and international audience through the Deutsche Grammophon and RCA, media of radio, television, and recordings. appeared regularly on television, led the Its annual budget has grown from 1971 European tour, and directed concerts Higginson's projected $115,000 to more on the east coast, in the south, and in the than $20 million, and its preeminent posi- mid-west. tion in the world of music is due not only to Seiji Ozawa, an artistic director of the the support of its audiences but also to Tanglewood Festival since 1970, became grants from the federal and state govern- the orchestra's thirteenth music director in ments, and to the generosity of many foun- the fall of 1973, following a year as music dations, businesses, and individuals. It is adviser. Now in his thirteenth year as music an ensemble that has richly fulfilled director, Mr. Ozawa has continued to solid- Higginson's vision of a great and perma- ify the orchestra's reputation at home and nent orchestra in Boston.

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

15 :

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LISTEN TO WCRB-102.5-FM WATCH WCVB-TV CHANNEL 5 Orchestra Hear celebrity interviews, historic performances, trivia Seiji Ozawa conducts the Boston Symphony Curtis, Natalie Jacob- contests, and more! in a live performance. Join Chet son, Frank Avruch, and Lisa Karlin as they salute the Friday, April 1 1 noon to 2 p.m. great traditions of the BSO and Pops, Monday, April 14 9 to 1 1 p.m. from 7:30 to 9 p.m., simulcast on WCRB. Call 1 1 a.m. to 1 p.m. Saturday, April 12: 262-8700 and give your pledge to one of the volunteer to p.m. 6 8 telephone operators.

Sunday, April 13: 10 a.m. to midnight

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16 BOSTON SYMPHONY ORCHESTRA

Seiji Ozawa, Music Director

One Hundred and Fifth Season, 1985-86

Thursday, 3 April at 8 Friday, 4 April at 2 Saturday, 5 April at 8

JEFFREY TATE conducting

BEETHOVEN Piano Concerto No. 3 in C minor, Opus 37 Allegro con brio Largo Rondo: Allegro RUDOLF BUCHBINDER

INTERMISSION

ELGAR Symphony No. 2 in E-flat, Opus 63

Allegro vivace e nobilmente Larghetto Rondo: Presto Finale: Moderato e maestoso

Thursday's and Saturday's concerts will end about 10 and Friday's about 4. Philips, Telarc, CBS, Deutsche Grammophon, Angel/EMI, New World, Hyperion, and RCA records Baldwin piano Rudolf Buchbinder plays the Steinway 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.

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NAD(USA) INC. • 675 CANTON STREET • NORWOOD, MA 02062, U.S.A. Ludwig van Beethoven Piano Concerto No. 3 in C minor, Opus 37

Ludwig van Beethoven was baptized in Bonn, Germany, on 17 December 1770 and died in Vienna on 26 March 1827. Sketches for this concerto appear as early as 1796 or 1797, though the principal work of composition came in the summer of 1800. It may have been revised at the end of 1802 for the first performance, which took place in Vienna on 5 April 1803 with the composer as soloist. Some time after completing the concerto—but before 1809—Beethoven wrote a cadenza, possibly for the Archduke Rudolph; So? Rudolf Buchbinder will play that cadenza at this concert. The first perform- ance in America took place in Boston's Tremont Temple on 8 December 1842

with George J. Webb conducting the forces of the Musical Fund Society and J.L. Hatton as the pianist. The concerto entered the repertory of the Boston Symphony Orchestra on 21 April 1888 with soloist Amy Beach (or, as she was always billed, Mrs. H.HA. Beach) under the direction of Wilhelm Gericke. Since then Heinrich Gebhard and Katherine R. Heyman have performed the concerto under Gericke; Mrs. Emit Paur appeared as soloist with her husband conducting; Ferruccio Busoni with Max Fiedler; Alfred Cortot, Mischa Levitzki, and Rudolf Firkusny with Pierre Monteux; Eleanor Packard, Arthur Schnabel, and Myra Hess with Serge Koussevitzky; Harold Bauer and Byron Janis with Richard Burgin; Claudio Arrau, Clara Haskil, Firkusny, and Janis with Charles Munch; Grant Johannesen, Arthur Rubinstein, and Eugene Istomin with Erich Leinsdorf; Theodore Lettvin with William Steinberg; Rudolf Serkin with Max Rudolf; Vladimir Ashkenazy withAntal Dorati; Garrick Ohlsson with Seiji Ozawa; Malcolm Frager with Klaus Tennstedt; Serkin with Eugene Ormandy; Alexis Weissenberg with Emit Tchakarov; and Emanuel Ax with Kurt Masur, who gave the most recent performance at Tanglewood last August. The most recent Symphony Hall performance took place at the opening night gala concert of the 1982-83 season in September 1982, with Serkin and Ozawa. In addition to solo piano, the score calls for two each of flutes, oboes, clarinets, and bassoons, two horns, two trumpets, timpani, and strings.

One morning during the summer of 1799 Beethoven was walking through the Augarten* with Johann Baptist Cramer, one of the most brilliant pianists of his day

In the Leopoldstadt suburb of Vienna, on an island located between the Danube proper and a semicircular man-made arm called the Danube Canal, there is a stretch of open meadowland that was once part of the Imperial hunting preserve. Emperor Joseph II opened it to the public as a garden in 1775, and for nearly half a century, the "meadow garden" ^Augarten" in German) featured, in addition to the usual alfresco pleasures, a rich musical life centered in a concert- hall-with-restaurant built there by the early 1780s. The concerts were held outdoors on summer days, usually on Thursday mornings at the extraordinary hour of half-past-seven. Mozart played there in at least one series of concerts, and Beethoven introduced his Kreutzer Sonata there; moreover his first five symphonies and first three piano concertos all came to be regularly featured at the Augarten concerts. (Although the Augarten ceased to function as an important concert location by 1830, there remains even today at least one musical connection: the Vienna Choir Boys are housed on the grounds, where they can presumably soak up lingering resonances of Mozart and Beethoven.)

19 Week 19 and one of the few whom Beethoven found worthy of praise. Cramer was on a continental tour from his home town of London and had stopped in Vienna to look up Haydn, whose favorite he had been during Haydn's London visits a few years earlier. At this time he made the acquaintance of Beethoven. As the two men were strolling through the Augarten early one Thursday morning, they heard a performance of Mozart's C minor piano concerto, K.491. Beethoven suddenly stopped and drew Cramer's attention to a simple but beautiful theme introduced near the end of the concerto and exclaimed, "Cramer, Cramer! We shall never be able to do anything like that!" Opinions may (and do) differ as to exactly what passage affected Beethoven so strongly, but there is no doubt that Mozart's C minor concerto was one of his favorite works, and echoes of that enthusiasm are clearly to be found in his own C minor concerto, which was already in the works—at least in some preliminary way—at the time of the reported incident.

It is misleading to think of the concerto as "Opus 37," a number applied when the work was published four years after composition; rather it should be linked with the other compositions of 1799-1800: the six Opus 18 string quartets, the Septet, Opus 20, and the First Symphony, Opus 21. Still, even though it is an early work, the Third Piano Concerto shows a significant advance over its predecessors.

For some reason Beethoven withheld performance of the concerto for three years. When the performance finally took place, it was part of a lengthy concert that Beethoven himself produced to introduce several of his newest works (this concerto, the Second Symphony, and the oratorio Christ on the Mount of Olives); he also inserted the First Symphony, already becoming a favorite in Vienna, to attract the audiences. The performance was to take place on 5 April 1803 in the Theater-an-der-Wien, where Beethoven himself lodged gratis while working on his opera Fidelio, which was ultimately produced there. The last rehearsal for the concert, on the day of the WANTED HELP

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20 performance, was a marathon affair running without pause from 8 a.m. until 2:30 p.m., when everyone broke for a lunch provided by Prince Lichnowsky, after which the oratorio was given still another run-through. It is a wonder that any of the performers could manage the actual concert, which began at 6 p.m. and proved to be so long that some of the shorter pieces planned for the program were dropped. Still, audiences were accustomed to sitting through three or four hours of musical performances in those days, yet they can scarcely have been expected to hear three large new composi- tions in a completely fresh and receptive frame of mind. The fact that Beethoven made up the program entirely of his own works—and then charged elevated prices for tickets—clearly indicates that he expected the power of his name to work at the box office, and so it seems to have befallen, since he cleared 1800 florins on the event.

Ignaz Seyfried, the Kapellmeister of the Theater-an-der-Wien, had a special reason to remember the evening clearly:

In the playing of the concerto movements [Beethoven] asked me to turn the pages for him; but—heaven help me!—that was easier said than done. I saw almost nothing but empty leaves; at the most on one page or the other a few Egyptian hieroglyphs wholly unintelligible to me scribbled down to serve as clues for him; for he played nearly all of the solo part from memory, since, as was often the case, he had not had time to put it all down on paper. He gave me a secret glance whenever he was at the end of one of the invisible passages and my scarcely concealed anxiety not to miss the decisive moment amused him greatly and he laughed heartily at the jovial supper which we ate afterwards.

Seyfried's explanation for the empty pages in the solo part—that Beethoven had not had time to write it out—seems unlikely, since the concerto had been finished three years earlier (doubtless with details touched up in the interim). It is much more likely that the composer's failure to write out the solo part reflected his desire—for the moment, at any rate—to keep the concerto entirely to himself. Beethoven was still making his living in part as a piano virtuoso, and the pianist-composer's stock-in-trade was a supply of piano concertos that he and he alone could perform.

Critical response to the concerto at its first performance ranged from lukewarm to cold; in fact, the only thing that really pleased the audience, it seems, was the familiar First Symphony; even the delightful Second, receiving its first performance, put off the critic of the Zeitung fur die Elegante Welt with what he perceived to be too much "striving for the new and surprising." And in the concerto Beethoven's playing was apparently not up to his best standards. Perhaps he was tired from the strenuous day's rehearsal. Still, the concerto quickly established itself in the public favor. When Ferdinand Ries played the second performance, in July 1804, the prestigious Allge-

meine Musikalische Zeitschrift declared it to be "indisputably one of Beethoven's most beautiful compositions."

Although Beethoven refused to write a cadenza for Ries, he eventually did compose one, probably for another of his students who may not have been competent to do so himself. It was written as an entirely separate manuscript, and in fact the two manuscripts—one of the concerto proper and one of the cadenza—suffered different fates, which brings up a musicological detective story with a happy ending. The cadenza has for a number of years been safely housed in the library of the Paris Conservatory. The concerto proper was part of the extraordinary music collection of the Prussian State Library in Berlin which, during World War II, was divided up into several smaller components and shipped away for safekeeping (to avoid damage in the event that Berlin was bombed). One of the subsections of the library's holdings completely disappeared for decades. Among the missing manuscripts was the auto- graph of Beethoven's C minor concerto. The collection was the object of a long and intensive search on the part of scholars who hoped that it had not been destroyed

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22 during the war and who pursued various rumors regarding the whereabouts of the collection. Finally, a member of the staff of the Natural History Department of the British Museum, who was tracing an important collection of zoological drawings that had been part of the same library shipment, managed to trace the collection to a Benedictine monastery in Griissau (today the Polish village of Krzeszow), where it lay unidentified and uncatalogued long after the end of the war. The whole complicated account of secrecy, double-dealing, political pressure, and at least one violent death sounds more like James Bond than the usual activities of sober scholars.* Although there is still some dispute between Poland and East Germany as to the final disposi- tion of the collection, this discovery—or, rather, rediscovery—is surely the most significant musical find of our lifetime, including as it does the manuscripts for all or part of Beethoven's Seventh, Eighth, and Ninth symphonies, over one hundred Mozart works including most of his major operas, various Haydn symphonies, many Bach cantatas, and some of the most famous works of Mendelssohn, including Elijah, the Scottish Symphony, A Midsummer Night's Dream, and the Violin Concerto. The collec- tion is now largely located in the University Library of Krakow, and the autograph of Beethoven's Third Piano Concerto has happily been found again.

Although Beethoven knew and admired the Mozart concertos, he had not yet learned one important trick of Mozart's: that of withholding some tune for the soloist.

Invariably Mozart left something out of the orchestral exposition so that it could first be presented by the piano in the solo exposition, thereby helping to characterize the pianist as an individual personality against the orchestra. But in the C minor concerto, Beethoven lays out all of the thematic material at once in the longest and fullest orchestral statement that he ever wrote for a concerto. The main theme is typically Beethovenian in its pregnant simplicity, outlining a triad of C minor in the first measure, marching down the scale in the second, and closing off the first phrase with a rhythmic "knocking" motive that was surely invented with the timpani in mind (although Beethoven does not explicitly reveal that fact yet). Much of the "action" of the first movement involves the gradually increasing predominance of the "knocking" motive until it appears in one of the most strikingly poetic passages Beethoven had yet conceived—but that's anticipating.

As the orchestral statement proceeds, Beethoven modulates rather early to the secondary key of E-flat (something else Mozart wouldn't have done—he would let the soloist engineer the appearance of the new key) and introduces the secondary theme. But then, as if suddenly recognizing his faux pas, he returns to the tonic major, C, and passes on to the closing thoughts, once again in C minor. The orchestra's definite close on the tonic threatens stasis, but the soloist enters with forthright scales that run directly into the principal theme, whereupon the real forward momentum begins.

The piano exposition restates all the major ideas that the orchestra has already presented but makes the modulation to the new key definitive with an extended closing idea based on the rhythm of the "knocking" motive, which begins to grow in promi- nence. It completely dominates the development section, which twines other thematic ideas over the recurring staccato commentary of that rhythm. The recapitulation does not emphasize the knocking beyond what is minimally necessary for the restatement; Beethoven is preparing to spring one of his most wonderful ideas, the success of which requires him to build on the other themes for the movement. Even in the cadenza, which Beethoven composed some years after the rest of the concerto, he retains his long-range plan by basing it on all the important thematic ideas except the knocking

There is an excellent popular account of the search for the missing manuscripts—and the misunderstandings, errors, lying, treachery, and personal and political complexities of post-war Europe that kept them underground for so long: Nigel Lewis, Paperchase: Mozart, Beethoven,

Bach . . . The Search for Their Lost Music (London: Hamish Hamilton, 1980); for anyone even

mildly interested in the subject, it makes gripping reading.

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Exclusively ^LandVestt Headquarters 14 Kilby Street, Boston, Massachusetts 02109 Telephone (617) 723-1800, BOS TELEX 294-116 rhythm. The reason appears as the cadenza ends. Beethoven (following the example of Mozart's C minor concerto) allows the piano to play through to the end of the movement, rather than simply stopping with the chord that marks the reentry of the orchestra, as happens in most classical concertos. But it is what the soloist plays that marks the great expressive advance in this score: wonderfully hushed arabesques EHG against a pianissimo statement of the original knocking motive at last in the timpani, the instrument for which it was surely designed from the very start. Here for the first time in Beethoven's concerto output he produces one of those magical "after the cadenza" moments of otherwordly effect, moments for which listeners to his later concertos wait with eager anticipation.

The Largo seems to come from an entirely different expressive world, being in the unusually bright key of E major. It is a simple song-form in its outline but lavish in its ornamental detail. In his last two piano concertos, Beethoven links the slow movement and the final rondo directly. He has not quite done that here, though he invents a clever way of explaining the return from the distant E major to the home C minor: the last chord of the slow movement ends with the first violins playing a G-sharp as the top note of their chord, which also includes a B-natural; Beethoven reinterprets the G-sharp as A-flat (part of the scale of his home key) and invents a rondo theme that seems to grow right out of the closing chord of the slow movement. Nor does he forget that relationship once he is safely embarked on the rondo; one of the most charming surprises in the last movement is a solo passage in which the pianist takes over an A-flat from the orchestra and, while repeating it in an "oom-pah" pattern, reinterprets it again as a G-sharp to recall momentarily the key of the slow movement before the strings return with hints that it is high time to end such stunts and return to the main theme and the main key. But Beethoven has not yet run out of surprises; when we are ready for the coda to ring down the curtain, the pianist takes the lead in turning to the major for a brilliant ending with an unexpected 6/8 transformation of the material. —Steven Ledbetter

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26 —

Edward Elgar Symphony No. 2 in E-flat, Opus 63

Edward Elgar was born at Broadheath, near Worcester, England, on 2 June 1857 and died in Worcester on 23 February 1934. Musical ideas that became part of the Second Symphony were conceived certainly as early as 1903 and perhaps even in the late 1890s, but the real work of composing the symphony as known today came only in the first months of 1911. The score was completed in Febru- ary. It bears a dedication in memory of the then recently deceased King Edward

VII. The first performance took place at the London Music Festival, Queen's Hall, on 24 May 1911; Elgar himself conducted. Leopold Stokowski con-

ducted the first American performance with the Cincinnati Symphony Orches- tra on 24 November 1911; the Boston Symphony performed it for the first time just three weeks later, on 11 December, under the direction of Max Fiedler. Since then the symphony has been performed here fairly infrequently, and almost always under the baton of an English conductor. Performances have been given by Sir Adrian Boult, Sir John Barbirolli, William Steinberg, and Andrew Davis, who led the most recent performances in January 1976. The score calls for three flutes (third doubling piccolo), two oboes and English horn, two clarinets, E-flat clarinet, and bass clarinet, two bassoons and contrabassoon, four horns, three trumpets, three trombones and tuba, timpani, bass drum, side drum, cymbals, tambourine (ad lib.), two harps, and strings.

In recent years Elgar's two symphonies have begun again to achieve an interna- tional popularity. Immediately after their premieres they were heard all around the world. Then artistic tastes changed, in large part because of the horrors of World

War I, which brought a dramatic end Goodbye to All That, as Robert Graves entitled his memoir of those years—to the notion that chivalry was always a great and noble thing and that Imperialism meant the inevitable betterment of "lesser breeds without the law." Elgar has always tended to be connected with the vanished glories of the pre-war years, with the close of Victoria's reign and the whole of Edward VII's. Probably because of the wonderful energy and swing of the Pomp and Circumstance marches, audiences who know little else of Elgar think of him as a musical spokesman for the British Empire—with the inevitable result these days that they consider him, if at all, in a merely patronizing tone.

This common view of Elgar is sadly mistaken. Few composers of his time wrote such intensely personal music. If he could sometimes be a tub-thumper for patriotic glories, he was far more often a complex man of strong and conflicting emotional crosscurrents, which are revealed in his best music. The range of musical styles within his large symphonic structures is broader than that of almost any composer except Mahler. In fact, Michael Kennedy, the author of valuable studies of both composers, finds the two men to be similar in a number of respects: both of them tended to write their autobiographies in their compositions (whether or not it was explicitly admitted); both conceived their music with reference to external events, though the material was eventually worked into an abstract formal pattern of some complexity and abstraction; and both filled their music with internal cross-refer- ences. Perhaps, then, it is the recent emergence of Mahler as a central figure in the

27 Week 19 symphonic tradition that has played a role in the new interest given to Elgar. In the last decade, for the first time in many years, conductors of many nationalities have programmed and recorded the music of Elgar, who, for a long time, was regarded as too English to be performed by anyone else.

The Second Symphony has been slower to come into its own than the concertos or the First (the Enigma Variations, on the other hand, has long been part of the international repertory). Part of the reason may be its length and complexity, but I suspect that the principal reason is a purely external one that has prejudiced the score out of court. The score bears the following dedication: Dedicated to the Memory of His late Majesty King Edward VII

This Symphony designed early in 1910 to be a loyal tribute bears its present dedication with the gracious approval of His Majesty the King. March 16th, 1911.

King Edward VII died on 6 May 1910, during a period when Elgar was thinking about the Second Symphony and actively involved in completing the Violin Concer- to. The composer wrote to a friend, "These times are too cruel & gloomy. It is awful to be here now—that dear sweet-tempered King-Man was always so 'pleasant' to me ..." His sense of loss was partly that of a patriotic Englishman, but it was also a personal loss. Audiences at the premiere of the Second automatically assumed that the elegiac second movement was a memorial tribute to the recently deceased monarch. By a natural logical leap, the entire symphony could be interpreted as a

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28 glorification of the entire Edwardian era—unless one listens attentively to the music and hears how wide-ranging in mood it is, how utterly personal in feeling. In any case, the music that was regarded as a lament and a tribute to the late king had actually been written in 1904, as a response to the death of Alfred Rodewald, one of Elgar's closest friends. Thus the idea that the Second Symphony was intended by its composer as a glorification of the nation and the times simply has no basis either in the nature of the music itself or in the history of its composition.

Virtually all of Elgar's major compositions underwent a long period of gestation, though the actual act of final composition may have been rather rapid. We know for certain that some of the material that found its way into the Second Symphony existed as early as May 1904. Elgar wrote the music—which formed the basis of the second movement—while still in shock at the sudden death of his friend Rodewald, a textile magnate, conductor, and double bass player, to whom Elgar, a few years earlier, had given the right of first performing his first two Pomp and Circumstance marches. The forty-three-year-old Rodewald had suddenly become ill in November 1903, and had died before Elgar could see him. The composer was shattered. "He was the dearest, kindest, best friend I ever had . . . —forgive me. I am utterly broken up."

There may well be other old themes in the Second Symphony as well. We know that in the late 1890s Elgar was contemplating a symphony on the subject of General Gordon (who had been killed by the forces of the Mahdi at Khartoum). Whether or not he actually wrote down anything at the time, he did have a notebook labelled "Symphony" as early as 1901, when the young woman immortalized as "Dorabella" in the Enigma Variations saw it and heard Elgar play some of the themes. He also promised a symphony to his friend Hans Richter, who had conducted the brilliantly successful premiere of the Enigma Variations in 1899 and the much less successful

Alfred Rodewald in 1903, with his dog "Sam

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30 premiere of The Dream of Gerontius in 1900. In fact, in 1903-04, Elgar wrote a sketch as a musical portrait of Richter, labelled "Hans himself." This became an important theme in the finale of the Second Symphony eight years later. (In the meantime, Richter, who had triumphantly introduced the First Symphony in 1908, had been forced by failing eyesight to retire, so he never did conduct the symphony that contained his own portrait—and he may not even have been aware that Elgar had given the theme this label.)

After 1904 the work was put aside in favor of other projects. When Elgar came to write his First Symphony, it made use of entirely different musical material. It was also sensationally successful, achieving nearly 100 performances worldwide within the first year of its existence. The First Symphony marked the beginning of a flood of orchestral composition that continued with the Violin Concerto and the Second Symphony. Both of these last-named pieces were in the works at about the same time, and Elgar turned from one to another at various moments. Hi

A visit to Venice in the late spring of 1909 gave him a musical idea that turned up in the third movement of the symphony. The summer, though, was devoted to the Violin Concerto, which was to keep him occupied most of the following year. By the Jmtr beginning of October, however, Elgar started looking over his old sketches from Hi 1903-04, possibly also whatever sketches he may have had for the unwritten "Gordon" symphony; he found himself eager to proceed with a second symphony. All during the winter the symphony and the concerto contended for his attention. Certain events—such as an April visit to Cornwall and Devon, with a stop at Tintagel—affected some passages and images in the symphony. He was in London on 6 May, when Edward VII died, but though the event was a sad one for Elgar, he had already conceived suitably elegiac music for Rodewald several years earlier, so it affected the new symphony scarcely at all.

The summer of 1910 was devoted to the completion of the Violin Concerto, which enjoyed a tremendous reception at its premiere in November. Not until the begin- ning of the new year did Elgar settle down to concentrate fully on the Second—but when he did, he pulled together the many strains noted in his sketchbooks over the years and organized them with extraordinary speed into a large and complex work. The gestation had been long, but he was ready for parturition. Starting in the middle of January 1911, he completed the elaborate first movement—finishing and orches- trating it—in just two weeks. On 29 January he wrote to "Windflower," Alice Stuart-Wortley, the daughter of the painter Millais and one of Elgar's closest

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32 confidantes, that the just-completed first movement was a record of the preceding year. "And I must tell you this: I have worked at fever heat and the thing is tremendous in energy."

He already had fully in mind the lines from Shelley that he was to write on the manuscript: "Rarely, rarely comest thou, Spirit of Delight." In fact, he referred to the work-in-progress as the " 'Spirit of Delight' Symphony," and on 1 February he quoted some other lines of Shelley's in reference to the work:

I do but hide Under these notes, like embers, every spark Of that which has consumed me.

By this time he was working on the second movement, finishing it within a week. By mid-February he reported to "Windflower" that the third movement was done, "and very wild and headstrong it is with soothing pastoral strains in between and very brilliant." All that remained was "the great serene movement." This he completed by 28 February, thus putting the entire long score down on paper in the remarkably short period of six weeks. The composer's wife and staunchest supporter wrote in her diary, "E. finished his Symphony. It seems one of his very greatest works, vast in design and supremely beautiful" She found in it a summary of "our human life, delight, regrets, farewell, the saddest mood & then the strong man's triumph."

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Elgar's sketch for the opening of his Symphony No. 2

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34 The first performance took place less than three months later. Since Elgar was widely recognized as the greatest living English composer, and since his First *m Symphony in 1908 and Violin Concerto in 1910 had both enjoyed tumultuous success, one would have expected a sellout crowd for the new work. Strangely enough the hall was far from filled. The audience response, moreover, was distinctly subdued. Elgar himself, always ready to perceive the worst, remarked to conductor Henry Wood, who was waiting at the edge of the platform when Elgar came off, "Henry, they don't like it." And to his friend W.H. Reed, the concertmaster of the orchestra, he simply said, "What's the matter with them, Billy? They sit there like a lot of stuffed pigs."

It may be that the audience expected the kind of grandiose ending that the First Symphony had offered, and that they were simply nonplussed by the calm conclusion of the new work. It is well-known among performers that soft endings almost never get the same degree of applause as big ones, unless they are played so magnificently that they entrance everyone in the audience. Conductors who play to the galleries prefer to end a concert with something loud rather than something hushed (this is surely the reason why the Brahms Third Symphony is the least frequently performed of his four essays in the medium). Moreover the year of mourning for the late king had ended, and concertgoers, in a festive mood for an impending coronation, may have felt the elegiac character of the second movement to be too subdued. If the audience response was not all Elgar could have hoped, the press recognized the importance of the new work. The Telegraph insisted that the Second Symphony was a better work than the First.

Nonetheless, the new score did not really enter the repertory until after World

War I, and by the time of the composer's death twenty years later it was widely regarded as passe. The Second Symphony is more complicated in its moods than the First. Elgar insisted that it is about joy, yet it is a joy that is peculiarly transient, either just disappeared or perhaps not quite arrived. During a visit to America in the spring of 1913, Elgar wrote back to a friend offering some remarks that could be used as the basis of program notes for the first performance:

To get near the mood of the Symphony the whole of Shelley's poem may be read, but the music does not illustrate the whole of the poem, neither does the poem entirely elucidate the music. The spirit of the whole work is intended to be high & pure joy: there are retrospective passages of sadness but the whole of the sorrow is smoothed out & ennobled in the last movement, which ends in a calm &, I hope & intend, elevated mood. N.B. private.

The symphony is not, indeed, a "translation" of Shelley's poem in anything like a direct way, but clearly Shelley spoke to Elgar, and a familiarity with the poem will certainly not get in the way of feeling Elgar's music. (Anyone desiring to make the attempt will find Shelley's "Song" reprinted at the end of these notes.)

The symphony opens with an air of confident energy—surely, this, at least, is the "Spirit of Delight" in our midst:

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The figure marked by a bracket might even be called a "Spirit of Delight" theme; it recurs at many points throughout the score and lends itself to varying expressive moods. (Most important, it will end the entire symphony in a transformation of nostalgic character.) The skipping rhythm of the 12/8 meter is characteristic of most

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36 of the ideas that follow in Elgar's long musical paragraphs, which are filled with various short figures that grow to substantial lengths.

The basic rhythmic and melodic figure of the principal theme turns itself into a new idea, harmonized in a rapidly changing series of keys: £

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Most commentators consider this the second theme, though Elgar himself specified as such the broad cello melody that comes a few moments later.

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Typically with Elgar, the musical discourse proceeds through the interaction of various elements, often fragmented and barely recognized at first hearing, set forth in contrapuntal array with the most varied and sensuous orchestral colors. It is filled with conflicting emotions so wide-ranging that Elgar's biographer Michael Kennedy is reminded of Mahler, not in the musical style, but in the sense of being often at the edge of hysteria. One particularly uncanny passage has the cellos playing in a high register against mysteriously pulsing percussion, muted strings, flickering chro- matic runs in the flutes, and sustained soft brass:

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After completing the movement, Elgar described this passage to Alice Stuart - Wortley: "I have written the most extraordinary passage I have ever heard—a sort of malign influence wandering thro' the summer night in the garden." This theme will return to haunt the superficially cheerful third movement.

The second movement is the elegiac tribute that has sometimes been described as a funeral march. The main theme, presented in horns, clarinets, and flutes after a brief introduction, features hushed punctuation in the strings, harp, and percussion on the offbeats. This may be heard, perhaps, as the muffled drumbeats of a funeral

march. Elgar himself did not think of it in these terms:

The second movement formed part of the original scheme—before the death of King Edward—it is elegiac but has nothing to do with any funeral march & is a "reflection" suggested by the poem!

What follows, including three new themes in different styles and degrees of lamenta- tion, creates as noble a movement as was ever composed by the man who invented the term "nobilmente" thinking it was a real Italian word. In the central climactic passage, the march figure returns with the off-the-beat punctuations now elaborated somberly in the strings and a poignant countermelody in triplets played quasi rubato by the solo oboe. Further working of the other themes leads to another climax and a dying away to the gentle close, soothed by references to the "Spirit of Delight."

Elgar noted that the third movement had been sketched on the busy, sunlit piazza of St. Mark in Venice. "I took down the rhythm of the opening bars from some itinerant musicians who seemed to take a grave satisfaction in the broken accent of the first four bars." The lively rhythm and bright colors of the flutes and clarinets

37 Week 19 lend an air of gaiety, yet not utterly dispersing an undertone of foreboding. This is not due simply to the frequent trick of having the two-beat rhythmic figure

% I fall athwart the barline; that device is common enough in Italian popular music (which Elgar is suggesting here) of lighthearted, dancelike character. Elgar's apt description was "wild and headstrong with soothing pastoral strains in between and very brilliant." The pastoral strain was a little drooping figure for woodwind, which Elgar labeled "Windflower" on the sketches, a nickname he used for Mrs. Stuart- Wortley:

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The principal material returns, determined to be cheerful, but it is enigmatically wiped aside by the return of the "malign influence" theme from the first movement. The percussion begins a relentless pounding, and the brass instruments burst any conception of the lyrical that this tune might have had. Elgar later told someone that he associated this passage with lines from Tennyson's "Maud" describing rolling wheels and horses' hooves:

Dead, long dead, Long dead! And my heart is a handful of dust And the wheels go over my head.

And the hoofs of the horses beat, beat The hoofs of the horses beat, Beat into my scalp and brain.

After the emotional wringing of the third movement, the finale apparently begins in a quite abstract way. Elgar himself commented that it "speaks for itself, I think: a broad, sonorous rolling movement throughout—in an elevated mood." Compared to the emotion-laden themes of some of the earlier passages, this opening seems almost to invite fugal elaboration, as if its invention was architectural not affective. A new theme now seems confident, assertive: 6foUQ w a £2 3f^m% ^*- IPS-J> "O* *y C? *y m df »*«. A»l64»

And it is followed by another noble theme sketched years earlier as a tribute to Hans Richter, and labeled "Hans himself":

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The ending brings elevated repose from the emotional trials of the first three movements and the energetic outpouring of the last. We seem to be ready for a conventional triumphant close (like that of the First Symphony) when the orchestra begins a long diminuendo and gradually reintroduces the "Spirit of Delight" very

38 —

slowly, like an extended sigh. The quiet, understated, wistful cadence is pure Elgar, an expression of the composer whose moods could change almost instantly from utter ebullience to severe depression. The first audiences were nonplussed by this ending, it seems. Nothing grandiose, nothing pompous, and above all, no intimations m of Imperial glory. Anyone who can hear the Second and maintain that Elgar was H nothing but the house composer of the British Empire just hasn't been listening! The

I close is "calm" and "elevated," as Elgar intended, but it is also tinged with regret: the "Spirit of Delight" has proven evasive; she still comes but rarely and never lingers long. —S.L.

SONG V

Rarely, rarely comest thou. I love all that thou lovest, Spirit of Delight! Spirit of Delight! Wherefore hast thou left me now The fresh earth in new leaves dressed, Many a day and night? And the starry night; Many a weary night and day Autumn evening, and the morn *\*„ 'Tis since thou are fled away. When the golden mists are born.

II VI

How shall ever one like me I love snow, and all the forms Win thee back again? Of the radiant frost; With the joyous and the free I love waves, and winds, and storms, Thou wilt scoff at pain. Everything almost Spirit false! thou hast forgot Which is Nature's, and may be All but those who need thee not. Untainted by man's misery.

Ill VII

As a lizard with the shade I love tranquil solitude, Of a trembling leaf, And such society Thou with sorrow art dismayed; As is quiet, wise, and good; Even the sighs of grief Between thee and me Reproach thee, that thou art not near, What difference? but thou dost possess And reproach thou wilt not hear. The things I seek, not love them less. IV VIII

Let me set my mournful ditty I love Love—though he has wings, To a merry measure; And like light can flee, Thou wilt never come for pity, But above all other things, Thou wilt come for pleasure; Spirit, I love thee Pity then will cut away Thou art love and life! Oh, come. Those cruel wings, and thou wilt stay. Make once more my heart thy home. —Percy Bysshe Shelley

39 Week 19 . — .

More . .

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 recently been supplemented by Maynard Solomon's Beethoven, which makes informed and thoughtful use of the dangerous techniques of psychohis- tory to produce one of the most interesting of all the hundreds of Beethoven books (Schirmer, available in paperback). Tovey's essay on the Third Concerto is available in his Essays in Musical Analysis (Oxford paperback), and Roger Fiske has contributed a short volume on Beethoven Concertos and Overtures to the BBC Music Guides (Univer- sity of Washington paperback). The Boston Symphony Orchestra has recorded the Beethoven Third Concerto with pianist Rudolf Serkin; Seiji Ozawa conducts (Telarc compact disc, coupled with the Choral Fantasy). Russell Sherman's reading with Vaclav Neumann and the Czech Philharmonic can be found on the Pro Arte label. Alfred Brendel's reading with the Chicago Symphony under James Levine has just been reissued on a compact disc (Philips). The classic set of the five concertos

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performed by Leon Fleisher with George Szell conducting the Cleveland Orchestra is happily still available (CBS). Other strong contenders include Serkin's older record- ing with the New York Philharmonic under Leonard Bernstein (CBS), and the version by Maurizio Pollini with Karl Bohm and the Vienna Philharmonic (DG).

Recent years have seen a plethora of new Elgar publications to complement the large older literature, of which the personal recollections still retain their interest and n importance. Among the older books, there are recollections by violinist W.H. Reed in IBB Elgar As I Knew Him (Oxford), and by two of the composer's personal friends, Mrs. Richard Powell (the "Dorabella" of the Enigma Variations) in Edward Elgar: Memories of a Variation (Methuen), and Rosa Burley, headmistress of the school where he taught for some years, in Edward Elgar: The Record of a Friendship (Barrie & Jenkins); all are filled with interesting insights into the complexities of Elgar's personality. Some of them are currently out of print, but they can be found in many music libraries. The best and most up-to-date single study is Michael Kennedy's Portrait of Elgar (Oxford), which has just appeared in a revised second edition taking into account the most recent research. The same author's Elgar Orchestral Music in the BBC Music Guides (University of Washington paperback) provides brief, but very informative, descriptions of the music. Other worthwhile studies include Percy M. Young's older book Elgar O.M. and Ian Parrott's briefer volume Elgar in the Master Musicians series (Dent). Elgar's letters are vivid reflections of his personality and his sometimes rapid shifts of mood. The most recent large study is a book dealing with Elgar as a creative artist by Jerrold Northrup Moore (Oxford), who has also produced a thorough discography of Elgar's own work as a conductor. Two volumes of letters published in England and not, apparently, in this country, are essential sources; both are edited by Percy M. Young: Letters of Edward Elgar and Other Writings (Geoffrey Bles, 1956) and Letters to Nimrod: Edward Elgar to August Jaeger, 1897-1908 (Dennis Dobson, 1965). Donald Francis Tovey's analysis of the Second Symphony may be found in his Essays in Musical Analysis (Oxford paperback).

Considered rather passe just a short time ago, Elgar's symphonies have been making something of a comeback in recent years, though they still are most frequently performed by English conductors, even when they appear outside of the composer's homeland. The record companies' habit of dropping recordings that are only a few years old has deprived us of some fine readings, including a number by non-British conductors, a sign that Elgar is beginning truly to enter the international repertory. Currently available recordings include readings by Sir Alexander Gibson with the Scottish National Orchestra (Chandos) and James Loughran with the Halle Orchestra (Nonesuch). I am informed that Bernard Haitink has recorded the Second with the Philharmonia Orchestra on an EMI compact disc, but it is available—with difficulty only from foreign sources. —S.L.

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42 Jeffrey Tate

Stravinsky "triple bill" of The Rite of Spring, Le Rossignol, and Oedipus Rex. He made his Royal Opera debut in 1983 with Mozart's La clemenza di Tito and appeared there last June conducting Strauss's Ariadne auf Naxos, which he had conducted as a new production at the Paris Opera in 1984. Last summer, Mr. Tate made his Salzburg Festival debut con- ducting the world premiere of Hans Werner Henze's adaptation of Monteverdi's R ritorno d'JJlisse in patria.

Following his debut with the London Sym- phony Orchestra in July 1984, Mr. Tate has made important orchestral appearances with the Orchestre National de France, the Rotter- dam Philharmonic, the Orchestre de la Suisse Romande, and the Tonhalle Orchestra of One of the world's most sought-after con- Zurich. In North America, following his ductors, Jeffrey Tate becomes principal orchestra debut with the Toronto Symphony conductor of the Royal Opera, Covent Gar- last season, he appeared with the Montreal den, in September 1986. As principal con- Symphony. This season he makes his debut ductor of the English Chamber Orchestra, with the Boston Symphony Orchestra and the the first in that ensemble's twenty-five-year San Francisco Symphony, and also returns to history, he appears frequently with them in Toronto. In addition, he recently conducted London, on tour, in festival performances, Capriccio at Carnegie Hall as part of its and on recordings. Mr. Tate appears regu- Strauss opera series. For EMI, Jeffrey Tate larly at the Metropolitan Opera, where he is recording the complete Mozart wind con- conducts Mozart's Idomeneo during the cur- certos, a series of Haydn symphonies, and rent season and leads a new production of selected Mozart symphonies, and later in the Die Fledermaus next year. At the Geneva season he begins a long-term recording proj- Opera, where he is principal guest conduc- ect with the Dresden Staatskapelle. For tor, he conducts Verdi's Falstaff this coming Philips, Mr. Tate is recording the complete June. Mozart piano concertos with Mitsuko Uchida

Born in Salisbury, England, Jeffrey Tate and the English Chamber Orchestra. Recent studied at the London Opera Centre after releases include two albums of Canteloube's graduating from Cambridge with a doctor of Songs of the Auvergne with Kiri Te Kanawa medicine degree. He gained early experience and the English Chamber Orchestra on the at the Royal Opera, Covent Garden, assisting Decca label. such conductors as Sir Georg Solti, Sir Colin Davis, Rudolf Kempe, and Carlos Kleiber. He assisted Pierre Boulez at Bayreuth on the 1976 Chereau Ring cycle and in the 1979 world premiere of the complete three-act Lulu by Alban Berg at the Paris Opera. Mr. Tate has been associated with the Cologne Opera and Goteborg Opera of Sweden. Since his Metropolitan Opera debut in 1980 with Lulu, Mr. Tate has conducted performances there of Der Rosenkavalier, The Rise and Fall of the City of Mahagonny, Don Giovanni, Cosi fan tutte, Wozzeck, Lohengrin, and the Met's

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binder's current season includes solo appearances with the San Francisco Sym- phony with Herbert Blomstedt, the St. Paul Chamber Orchestra with Pinchas Zukerman, and the Oregon Symphony. He will also be heard in more than 120 engagements throughout Europe. Since the 1981-82 sea- son, Mr. Buchbinder has been performing the complete cycle of Beethoven sonatas in such major European cities as Zurich, Vienna, Munich, Frankfurt, Paris, Rome, Turin, and Geneva. He has recorded more than fifty albums for Telefunken, including the com- plete Beethoven sonatas and an eighteen-disc set of Haydn's complete works for piano, which was awarded the Grand Prix du Disque in 1976. Equally respected for his Recognized as one of the important pianists chamber music performances, Rudolf Buch- on the international scene, Rudolf Buch- binder has appeared with Kyung-Wha binder performs regularly with such distin- Chung, Henryk Szeryng, Nathan Milstein, guished conductors as Abbado, Giulini, and Heinrich Schiff, and he has recorded the Jochum, Blomstedt, Kempe, Martinon, complete Beethoven cello works with Janos Marriner, Dorati, Leinsdorf, and Sawallisch, Starker. and with such renowned orchestras as the Born to Viennese parents in 1946, Rudolf Vienna Philharmonic, the Berlin Philhar- Buchbinder has lived his entire life in monic, the Vienna Symphony, the London Vienna, where he began his piano studies Philharmonic and Royal Philharmonic, the when he was five. At age fifteen he earned Orchestre de Paris, Concertgebouw Orches- first prize at the ABD (German Radio Net- tra of Amsterdam, Chicago Symphony, Los work) competition in Munich; a year later he Angeles Philharmonic, New York Philhar- won first prize at the Harriet Cohen Com- monic, Cleveland Orchestra, and National petition. When he was twenty, he received a Symphony. During the 1982-83 season, Mr. special award at the Cliburn Competition. Buchbinder made his debut with the New Mr. Buchbinder' s first tours outside Europe York Philharmonic under the direction of were to Central and South America and Zubin Mehta in Beethoven's Piano Concerto Japan when he was nineteen; he now appears No. 3 and with the Cleveland Orchestra regularly on five continents. This week's per- under the direction of Christoph von formances of the Beethoven Third Piano Dohnanyi in the Schumann Piano Concerto Concerto are his first appearances with the at the Blossom Festival. That same season he Boston Symphony Orchestra. appeared with the Los Angeles Philharmonic and Michael Tilson Thomas performing the Mozart Piano Concerto in E-flat, K.271. Returning to North America during the 1984-85 season, he appeared as soloist with the Detroit Symphony and Herbert Blomstedt, the Minnesota Orchestra with Neville Marriner, the Los Angeles Philhar- monic, and the Montreal Symphony, and made his recital debut on the Ambassador International Cultural Foundation Perform- ing Arts Series of Pasadena. Mr. Buch-

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49 1

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50 CABOT CORPORATION *Federal Distillers, Inc. High Technology

FOUNDATION Alfred J. Balerna ALLIED-SIGNAL, INC. Ruth C. Scheer Garelick Farms, Inc. Paul M. Montrone EXXON CORPORATION Peter M. Bernon ""Computer Partners, Inc. Stephen Stamas *Johnson, O'Hare Co., Inc. Paul J. Crowley MOBIL CHEMICAL Harry O'Hare *Data Packaging Corporation CORPORATION KIKKOMAN CORPORATION Otto Morningstar Rawleigh Warner, Jr. Katsumi Mogi *Encore Computer Corporation *Yankee Companies, Inc. *0'Donnell-Usen Fisheries Kenneth G. Fisher Paul J. Montle Corporation General Eastern Instruments Arnold S. Wolf Engineering Corporation THE PRINCE COMPANY, INC. Pieter R. Wiederhold Stone & Webster Engineering Joseph P. Pellegrino Corporation *Helix Technology Corporation William F. Allen, Jr. *Roberts and Associates Frank Gabron Richard J. Kunzig Hycor, Inc. Entertainment/Media Ruby Wines Joseph Hyman GENERAL CINEMA Theodore Rubin POLAROID CORPORATION CORPORATION Silenus Wines, Inc. William J. McCune, Jr. Richard A. Smith James B. Hangstefer RAYTHEON COMPANY National Amusements, Inc. *The Taylor Wine Company, Inc. Thomas L. Phillips Sumner M. Redstone Michael J. Doyle Hotel/Restaurant *New England Patriots Football Club WESTON/LOBLAW William H. Sullivan, Jr. COMPANIES LTD. Boston Park Plaza *Williams/Gerard Productions, Inc. Richard Currie Hotel & Towers

William J. Walsh Roger A. Saunders Footwear FOUR SEASONS HOTEL Finance/Venture Capital Seamus McManus Chelsea Industries, Inc. *Farrell, Healer & Company Ronald G. Casty *The Hampshire House Richard Farrell Thomas A. Kershaw THE FIRST BOSTON *Jones & Vining, Inc. *Howard Johnson Company CORPORATION Sven A. Vaule, Jr. G. Michael Hostage George L. Shinn *Mercury International Mildred's Chowder House Kaufman & Company Trading Corporation James E. Mulcahy Sumner Kaufman Irving A. Wiseman MORSE SHOE, INC. THE RED LION INN *Narragansett Capital Manuel Rosenberg John H. Fitzpatrick Corporation * Arthur D. Little THE SPENCER Sheraton Boston INC. Hotel & Towers Pioneer Financial COMPANIES, C. Charles Marran Gary Sieland Richard E. Bolton Sonesta International Hotels *TA Associates STRIDE RITE Corporation Peter A. Brooke CORPORATION Arnold S. Hiatt Paul Sonnabend Food Service/Industry THE WESTIN HOTEL ARCHER DANIELS Furnishings/Housewares Bodo Lemke MIDLAND COMPANY COUNTRY CURTAINS Insurance Dwayne 0. Andreas Jane P. Fitzpatrick Azar Nut Company *A.I.M. Insurance Agency, Inc. Hitchcock Chair Company James A. Radley Edward Azar Thomas H. Glennon Arkwright-Boston Insurance Boston Showcase Company The Jofran Group Frederick J. Bumpus Jason Starr Robert D. Roy *Cameron & Colby Co., Inc. CREATIVE GOURMETS, LTD. Graves D. Hewitt Stephen E. Elmont Graphic Design "Consolidated Group, Inc. daka Food Service Management, Inc. Clark/Linsky Design, Inc. Woolsey S. Conover Terry Vince Robert H. Linsky Frank B. Hall & Company of Dunkin' Donuts, Inc. *Weymouth Design, Inc. Massachusetts Robert M. Rosenberg Michael E. Weymouth Colby Hewitt, Jr.

51 Great performances happen one at a time,

A banquet or reception, like a Quincy Suite, served by Seasons, symphony, demands a staff de- the crown jewel of Boston •• •. voted to just one thing: restaurants. A perfect THE Bring your special performance. occasions to The That's why we have Josiah Quincy Suite. just one function One at a time. room, The Josiah uM SUITE

The Bostonian Hotel AT FANEUIL HALL MARKETPLACE (617) 523-3600 JOHN HANCOCK MUTUAL Moseley, Hallgarten, Rath & Strong, Inc. LIFE INSURANCE COMPANY Estabrook & Weeden, Inc. Arnold 0. Putnam Morton E. James Fred S. Moseley The Wyatt Company Fred S. James & Co. * Putnam Mutual Funds, Inc. Michael H. Davis

of New England, Inc. Lawrence J. Lasser P. Joseph McCarthy *Tucker, Anthony & * Johnson & Higgins R.L.Day, Inc. Manufacturers Representatives Robert A. Cameron Gerald Segel LIBERTY MUTUAL *Woodstock Corporation *Paul R. Cahn & Associates, Inc. INSURANCE COMPANIES Frank B. Condon Paul R. Cahn Melvin B. Bradshaw *Richard Dean Associates G. Dean Goodwin MANUFACTURERS LIFE Legal INSURANCE COMPANY Bingham, Dana & Gould Paul K. O'Rourke, Inc. Paul K. O'Rourke E. Sydney Jackson Everett H. Parker Shetland Co., Inc. NEW ENGLAND MUTUAL Cargill, Masterman & Culbert W.M. Sherman LIFE INSURANCE COMPANY Thomas E. Cargill, Jr. Total Market Impact Edward E. Phillips Dickerman Law Offices Ronald J. Monahan Prudential Life Insurance Lola Dickerman Company of America Gadsby & Hannah Robert J. Scales Harry R. Hauser Sullivan Risk Management GOLDSTEIN & MANELLO Manufacturing/Industry Group Richard J. Snyder Acushnet Company John Herbert Sullivan *Mintz, Levin, Cohn, Ferris, Glovsky John T. Ludes Sun Life Assurance Company and Popeo, PC. Alles Corporation of Canada Francis X. Meaney Stephen S. Berman David D. Horn Nissenbaum Law Offices Ames Safety Envelope 'Charles H. Watkins & Gerald L. Nissenbaum Company Company, Inc. Sherburne, Powers & Needham Robert H. Arnold Richard P. Nyquist Daniel Needham, Jr. Avondale Industries, Inc. Investments William F. Connell *ABD Securities Corporation Management/Financial C.R. Bard, Inc. Theodor Schmidt-Scheuber Consulting Robert H. McCaffrey Amoskeag Company ADVANCED MANAGEMENT Checon Corporation Joseph B. Ely II ASSOCIATES, INC. Donald E. Conaway Harvey Chet Krentzman Bear, Stearns & Company Dennison Manufacturing Stuart Zerner BLP Associates Company Bernard L. Plansky Nelson S. Gifford *E.F. Hutton & Company, Inc. S. Paul Crabtree *Bain & Company Econocorp, Inc. FIDELITY INVESTMENTS William W Bain, Jr. Richard G. Lee Samuel W. Bodman THE BOSTON ERVING PAPER MILLS CONSULTING GROUP 'Fidelity Service Co. Charles B. Housen Arthur P. Contas Robert W. Blucke Flexcon Company, Inc. Goldman, Sachs & Company General Electric Consulting Mark R. Ungerer Stephen B. Kay Services Corporation GENERAL ELECTRIC James J. O'Brien, Jr. HCW, Inc. COMPANY John M. Plukas Kazmaier Associates, Inc. John F. Welch, Jr. Richard W. Kazmaier, Jr. 'Kensington Investment GENERAL ELECTRIC Company * Killingsworth Associates, Inc. COMPANY/LYNN Alan E. Lewis William R. Killingsworth Frank E. Pickering KIDDER, PEABODY & CO., McKINSEY& COMPANY, INC. THE GILLETTE COMPANY INCORPORATED Robert P. O'Block Colman M. Mockler, Jr. John G. Higgins Mitchell and Company Harvard Folding Box Co., Inc. LOOMIS SAYLES & Carol B. Coles Melvin A. Ross COMPANY Nelson Communications, Inc. The Horn Corporation Robert L. Kemp Bruce D. Nelson Robert H. Lang, Jr.

53 R>r everyone whoever

*$' wished they could play beautiful music.

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54 Kendall Company *WNEVTV 7 *Boston Financial Technology

J. Dale Sherratt Seymour L. Yanoff Group, Inc. Kenett Corporation Fred N. Pratt, Jr. Musical Instruments Julius Kendall Combined Properties, Inc. * Baldwin Piano & Organ Stanton L. Black * Leach & Garner Company Company Philip F. Leach *John M. Corcoran & Co. R.S. Harrison Corcoran L.E. Mason Company John M. Avedis Zildjian Company Harvey B. Berman *Corcoran, Mullins, Jennison, Inc. Zildjian Armand Joseph E. Corcoran Monsanto Company *The Flatley Company John P. Dushney Personnel Thomas J. Flatley NEW ENGLAND BUSINESS Dumont Kiradjieff & Moriarty SERVICE, INC. *Fowler, Goedecke, Ellis & Edward J. Kiradjieff Richard H. Rhoads O'Connor *Emerson Personnel, Inc. William J. O'Connor * Plymouth Rubber Company, Inc. Rhoda Warren Hilon Development Corporation Maurice J. Hamilburg *TAD Technical Services Haim S. Eliachar Princess House, Inc. Corporation Robert Haig Historic Mill Properties David J. McGrath, Jr. Bert Paley *Rand-Whitney Corporation Robert Kraft Printing *McGregor Associates Kathleen McGregor *Soundesign Corporation *Bowne of Boston, Inc. Grew, Incorporated Robert H. Winer Albert G. Mather *Meredith & George M. Lovejoy, Jr. Superior Pet Products, Inc. * Bradford & Bigelow, Inc. Northland Investment Richard J. Phelps John D. Galligan Corporation Customforms, Inc. Tech Pak, Inc. Robert A. Danziger William F. Rogers, Jr. David A. Granoff Ryan, Elliott & Coughlin DANIELS PRINTING Termiflex Corporation John Ryan William E.Fletcher COMPANY Benjamin Schore Company *Towle Manufacturing Company Lee S. Daniels Benjamin Schore Leonard Florence *Espo Litho Company Stanmar, Inc. *Trina, Inc. David Fromer Stanley W Snider Thomas L. Easton In memory of Joseph B. Fromer Urban Investment & H.K. Webster Company, Inc. *Label Art, Inc. Development Corp. Dean K. Webster J. William Flynn R.K. Umscheid Inc. Webster Spring Company, Inc. *United Lithograph, Leonard A. Bernheimer A.M. Levine Retail

Wire Belt Company of America Child World, Inc. Publishing F. Wade Greer, Jr. Dennis H. Barron *ADCO Publishing Company, Inc. FILENE'S Media Samuel D. Gorfinkle Michael J. Babcock THE BOSTON GLOBE/ Addison-Wesley Publishing AFFILIATED Company Herman, Inc. Bernard A. Herman PUBLICATIONS Donald R. Hammonds William 0. Taylor CAHNERS PUBLISHING Hills Department Stores Stephen A. Goldberger *The Boston Herald COMPANY, INC. Patrick J. Purcell Norman L. Cahners * Jordan Marsh Company WBZ-TV4 HOUGHTON MIFFLIN Elliot Stone Thomas L. Goodgame COMPANY Karten's Jewelers WCIB-FM Marlowe G. Teig Joel Karten Lawrence K. Justice Marshall's, Inc. WCRB/CHARLES RIVER Real Estate/Development Frank H. Brenton BROADCASTING, INC. Amaprop Developments, Inc. *Neiman-Marcus Richard L. Kaye Gregory Rudolph William D. Roddy

WCVB-TV 5 "J.L. Beal Properties, Inc. *Purity Supreme, Inc. S. James Coppersmith Joanne Beal Frank P. Giacomazzi

55 CQDINTHIAs Gallery of Needle Arts HAND PAINTED CANVASES CUSTOM DESIGNS KNITTING YARNS

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56 BANKOF BOSTON Call Dean Ridlon, Managing Director, Private Banking Group at (617) 434-5302

ANDOVER • BOSTON (FINANCIAL DISTRICT & BACK BAY) • BURLINGTON • HAVERHILL MARBLEHEAD • PITTSFIELD • SPRINGFIELD • WELLESLEY HILLS • WORCESTER © 1985 The Kirst National Bank of Boston. 4 I

A Special Life-style 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. CAI 1RD VILLAGE 100 Old Billerica Rd. Bedford; MA 01730 (617)275-8700 Owned and operated by Carfeton#i/iWard

Homes, I nc, a non-profit corporation Saks Fifth Avenue HEALTH PROGRAMS *Heritage Travel, Inc.

Ronald J. Hoffman INTERNATIONAL, INC. Donald R. Sohn Donald B. Giddon Shaw's Supermarkets *Lily Truck Leasing Corp. Stanton W. Davis *J.A. Webster, Inc. John A. Simourian THE STOP & SHOP John A. Webster, Jr. THE TRANS-LEASE GROUP John J. McCarthy, Jr. COMPANIES, INC. Services Avram J. Goldberg Travel Consultants International American Cleaning Co., Inc. Phoebe L. Giddon ZAYRE CORPORATION Joseph A. Sullivan, Jr. Maurice Segall *Asquith Corporation Laurence L. Asquith Science/Medical Utilities *Victor Grillo & Associates *Charles River Breeding BOSTON EDISON Victor N.Grillo Laboratories, Inc. COMPANY Stephen J. Sweeney Henry L. Foster Software/Information Services EASTERN GAS & FUEL *Compu-Chem Laboratories, Inc. * First Software Corporation ASSOCIATES Claude L. Buller Rick H. Faulk William J. Pruyn Damon Corporation Interactive Data Corporation David I. Kosowsky John Rutherfurd New England Electric System Guy W. Nichols *HCA Foundation Travel/Transportation Hospital Corporation of NEW ENGLAND America Federal Express Corporation TELEPHONE COMPANY Donald E. Strange Frederick W Smith Gerhard M. Freche

For rates and Jfip '18*3. information on BOSTON advertising in the SYMPHONY Boston Symphony, ORCHESTRA Boston Pops, SEIJI OZAWA and Music Director Tanglewood program books please contact:

STEVE GANAK AD REPS 51 CHURCH STREET (617)-542-6913 BOSTON, MASS. 02116

57 fUpsfi'XT' Elegant suppers 5:30-12:00, Mon.-Thurs.; 5:30-8:00, Fri. and Sat.

Boston's classic 4-star restaurant at the Dave McKenna, resident pianist . At the Copley Plaza Hotel. Valet parking. 267-5300. Copley Plaza Hotel. Valet parking. 267-5300. MORE MUSIC FORYOUR MONEY. Whether you're looking for an opera or an oratorio, a ballet or a baroque trumpet fanfare, you're sure to find what you want at the Classical Record Center at Barnes & Noble.

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BARNES Mon.-Fri., 9:30-6:30 Sat., 9:30-6:00 &NOBLE Sun., 12:00-6:00

58 . The following Members of the MASSACHUSETTS * Massachusetts High Technology HNH TECHNOLOGY Council support the BSO through COUHCt the BSO Business & Professional Ll .ft Leadership Program: \Fts?!jI

AT&T DYNATECH LOTUS DEVELOPMENT Peter Cassels CORPORATION CORPORATION ANALOG DEVICES, INC. J. P. Barger Mitchell D. Kapor Ray Stata *EG&G, Inc. *M/A-COM, Inc. The Analytic Sciences Dean W Freed Vessarios G. Chigas Corporation *Epsilon Data Management, *Masscomp Arthur Gelb Inc. August P. Klein APOLLO COMPUTER, Thomas 0. Jones Massachusetts High INC. The Foxboro Company Technology Council, Inc. Thomas A. Vanderslice Earle W Pitt Howard P. Foley Aritech Corporation GTE ELECTRICAL MILLIPORE James A. Synk PRODUCTS CORPORATION *Augat, Inc. Dean T. Langford John G. Mulvany Roger D. Wellington GenRad Foundation *Orion Research Incorporated BBF Corporation Linda B. Smoker Alexander Jenkins III B. Frusztajer Boruch *Haemonetics, Inc. * PRIME COMPUTER, INC. Barry Wright Corporation John F. White Ralph Z. Sorenson Joe M. Henson Harbridge House, Inc. * Printed Circuit Corporation BOLT BERANEK AND George Rabstejnek INC. Peter Sarmanian NEWMAN Hewlett-Packard Company Stephen R. Levy SofTech, Inc. Alexander R. Rankin *Compugraphic Corporation HONEYWELL Justus Lowe, Jr. Carl E. Dantas *Sprague Electric Company Warren G. Sprague Computervision Corporation John L. Sprague IBM CORPORATION Martin Allen *Tech/Ops, Inc. Paul J. Palmer Corning Glass Works Marvin G. Schorr Foundation Impact Systems, Inc. TERADYNE, INC. Richard B. Bessey Melvin D. Platte Alexander V. d'Arbeloff *Cullinet Software, Inc. Instron Corporation Harold Hindman Thermo Electron Corporation John J. Cullinane George N. Hatsopoulos *Dennison Computer *Ionics, Incorporated Supplies, Inc. Arthur L. Goldstein WANG LABORATORIES, Charles L. Reed, Jr. *Arthur D. Little, Inc. INC. DIGITAL EQUIPMENT John F. Magee An Wang CORPORATION *XRE Corporation Kenneth H. Olsen John K. Grady

59 " .

TWO SUNDAYAFTERNOONS AT 3PM

SYMPHONY CnQfflUCf

AT JORDAN

'The Chamber Players have lovingly refined their talent, surrendering themselves to thejoys ofensemble music. LE MONDE

The extraordinary instrumentalists of the renowned Boston Symphony Orchestra

were. . . musically impeccable. NAZIONEFIRENZE

GILBERT KALISH, PIANIST

XV:25 Haydn Trio in G for flute, cello, and piano, Hob. SUNDAY and piano iamksabv 10 LoefflerTwo Rhapsodies for oboe, viola, JANUAHY 14 Ljeberson 'Accordance,' for eight players 1986 Mozart String Quintet in G minor, K.516

SUNDAY Mendelssohn Concert Piece in F for clarinet, bassoon, and piano, Op. 113 APRIL 6 Copland Quartet for piano and strings 1986 Boulez 'Derive,' for six players Trout Schubert Quintet in A for piano and strings, D.667,

Single Ticket Prices $12.00 Orchestra, Balcony 9.00 Orchestra, Balcony 6.50 Orchestra, Balcony

Single tickets can be purchased three weeks before each concert. Please call the Jordan Hall box office (617-536-2412) for ticket availability.

60 Coming Concerts . . . k££-*tf^*fe Thursday 'A'—10 April, 8-10:05 Friday 'A'—11 April, 2-4:05 Saturday 'A'—12 April, 8-10:05 Tuesday 'C—-15 April, 8-10:05 SEIJI OZAWA, conductor US* WITH 1/ Messiaen Three Tableaux from Our performance will St. Francis of Assist please you. ^^^ (American premiere) JOSE VAN DAM, baritone KATHLEEN BATTLE, soprano KENNETH RIEGEL, tenor PHILIPPE ROUILLON, baritone TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor

Friday 'B'—18 April, 2-3:55 Saturday 'B'—19 April, 8-9:55 SEIJI OZAWA conducting

Chopin Piano Concerto No. 1 Chopin Fantasy on Polish Airs ELYENA FOSTER ALEXIS WEISSENBERG Strauss Don Juan Pianist and Musicologist M.A. Moscow Conservatory Tuesday 'B'—22 April, 8-9:55 Faculty Member SEIJI OZAWA conducting Dorothy Taubman School of Piano Chopin Piano Concerto No. 1 Accepting Advanced and ALEXIS WEISSENBERG Artist Level Students Tchaikovsky Symphony No. 6, Pathetique 617-244-0403

Thursday '10'—24 April, 8-9:50 Friday 'A'—25 April, 2-3:50 Saturday 'A'—26 April, 8-9:50 SEIJI OZAWA conducting Maderna Aura Mozart Violin Concerto No. 3 Successful business trips inG,K.216 MALCOLM LOWE are music to my ears. Elgar Enigma Variations Garber Travel has been orchestrating travel plans for some of the finest companies in Programs subject to change. New England and we've never missed a beat. Call me at 734-2100

I know we can work in perfect harmony.

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61 I

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Ticket sales do not cover operating costs. Generous friends do! Your contribution to Boston the Boston Symphony Annual Fund makes ymmmm the difference between &n orchestra and a Annual world-class orchestra. Fund

Gifts may be sent to the Development Office Symphony Hall Boston, MA 021 15 Symphony Hall Information . . .

FOR SYMPHONY HALL CONCERT AND make your ticket available for resale by call- TICKET INFORMATION, call (617) ing the switchboard. This helps bring 266-1492. For Boston Symphony concert needed revenue to the orchestra and makes program information, call "C-O-N-C-E-R-T." your seat available to someone who wants to attend the concert. A mailed receipt will THE BOSTON SYMPHONY performs ten acknowledge your tax-deductible months a year, in Symphony Hall and at contribution. Tanglewood. For information about any of the orchestra's activities, please call Sym- RUSH SEATS: There are a limited number phony Hall, or write the Boston Symphony of Rush Tickets available for the Friday- Orchestra, Symphony Hall, Boston, MA afternoon and Saturday-evening Boston 02115. Symphony concerts (subscription concerts only). The continued low price of the Satur- THE EUNICE S. AND JULIAN COHEN day tickets is assured through the gener- ANNEX, adjacent to Symphony Hall on osity of two anonymous donors. The Rush Huntington Avenue, may be entered by the Tickets are sold at $5.00 each, one to a Symphony Hall West Entrance on Hunt- customer, at the Symphony Hall West ington Avenue. Entrance on Fridays beginning 9 a.m. and FOR SYMPHONY HALL RENTAL Saturdays beginning 5 p.m. INFORMATION, call (617) 266-1492, or LATECOMERS will be seated by the write the Function Manager, Symphony ushers during the first convenient pause in Hall, Boston, MA 02115. the program. Those who wish to leave THE BOX OFFICE is open from 10 a.m. before the end of the concert are asked to until 6 p.m. Monday through Saturday; on do so between program pieces in order not concert evenings, it remains open through to disturb other patrons. intermission for BSO events or just past SMOKING IS NOT PERMITTED in any starting-time for other events. In addition, part of the Symphony Hall auditorium or in the box office opens Sunday at 1 p.m. when the surrounding corridors. It is permitted there is a concert that afternoon or evening. only in the Cabot-Cahners and Hatch Single tickets for all Boston Symphony rooms, and in the main lobby on Massachu- concerts go on sale twenty-eight days setts Avenue. before a given concert once a series has begun, and phone reservations will be accepted. For outside events at Symphony Hall, tickets will be available three weeks before the concert. No phone orders will be Rental apartments accepted for these events. for people who'd rather hear French horns THE SYMPHONY SHOP is located in the than Car horns. Enjoy easy living within Huntington Avenue stairwell near the easy reach of Symphony Hall. Cohen Annex and is open from one hour New in-town apartments before each concert through intermission. with doorman, harbor The shop carries all-new BSO and musical- views, all luxuries, health motif merchandise and gift items such as club, calendars, appointment books, drinking land 2 glasses, holiday ornaments, children's bedrooms and books, and BSO and Pops recordings. All penthouse duplex apartments. proceeds benefit the Boston Symphony Orchestra. For merchandise information, please call 267-2692. THE DEVONSHIRE

O .». One Devonshire Place. (Between Washington TICKET RESALE: If for some reason you _, i = l and Devonshire Streets, off State Street) Boston. are unable to attend a Boston Symphony 3 _ Renting Office Open 7 Days. Tel: (617) 720-3410. 2 Park free in our indoor garage while inspecting models. concert for which you hold a ticket, you may

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

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