BOSTON

SEIJI OZAWA MUSIC DIRECTOR

109TH SEASON 1989-90

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After the show, enjoy the limelight.

Tanqueray. A singular experience.

Imported English Gin, 47.3% Alc/Vol (94.6°), 100% Grain Neutral Spirits. © 1988 Schieffelin & Somerset Co.. New York. N.Y. Seiji Ozawa, Music Director Carl St. Clair and Pascal Verrot, Assistant Conductors One Hundred and Ninth Season, 1989-90 irtaor \jm»gi-

Trustees of the Boston Symphony Orchestra, Inc.

Nelson J. Darling, Jr., Chairman Emeritus

J. P. Barger, Chairman George H. Kidder, President Mrs. Lewis S. Dabney, Vice-Chairman Archie C. Epps, Vice-Chairman Mrs. John H. Fitzpatrick, Vice-Chairman William J. Poorvu, Vice-Chairman and Treasurer

David B. Arnold, Jr. Mrs. Eugene B. Doggett Mrs. August R. Meyer Peter A. Brooke Avram J. Goldberg Mrs. Robert B. Newman James F. Cleary Mrs. John L. Grandin Peter C. Read John F. Cogan, Jr. Francis W. Hatch, Jr. Richard A. Smith Julian Cohen Mrs. Bela T. Kalman Ray Stata

William M. Crozier, Jr. Mrs. George I. Kaplan William F. Thompson Mrs. Michael H. Davis Harvey Chet Krentzman Nicholas T. Zervas

Trustees Emeriti

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

Other Officers of the Corporation John Ex Rodgers, Assistant Treasurer Michael G. McDonough, Assistant Treasurer Daniel R. Gustin, Clerk Administration

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

Michael G. McDonough, Director of Finance and Business Affairs Evans Mirageas, Artistic Administrator Anne H. Parsons, Orchestra Manager Caroline Smedvig, Director of Public Relations and Marketing Josiah Stevenson, Director of Development

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

Programs copyright ©1990 Boston Symphony Orchestra, Inc.

Cover by Jaycole Advertising, Inc./Cover photo by Steve J. Sherman Board of Overseers of the Boston Symphony Orchestra, inc.

John P. Cogan, Jr., Chairman R. Willis Leith, Jr., Vice-Chairman Mrs. Ray A. Goldberg, Vice-Chairman Mrs. R. Douglas Hall III, Secretary

Mrs. David Bakalar Haskell R. Gordon E. James Morton Bruce A. Beal Steven Grossman David G. Mugar ' Mrs. Leo L. Beranek Joe M. Henson David Nelson Lynda Schubert Bodman Susan M. Hilles Robert P. O' Block Donald C. Bowersock, Jr. Glen H. Hiner Walter H. Palmer William M. Bulger Mrs. Marilyn Brachman Hoffman Andrall E. Pearson Mrs. Levin H. Campbell Ronald A. Homer John A. Perkins Earle M. Chiles Julian T. Houston Brooks Prout

Mrs. C. Thomas Clagett, Jr. Lola Jaffe Millard II. Pryor, Jr. James F. Cleary Anna Faith Jones Robert E. Remis William H. Congleton H. Eugene Jones John Ex Rodgers William F. Connell Susan B. Kaplan Mrs. William H. Ryan Walter J. Connolly, Jr. Mrs. S. Charles Kasdon Keizo Saji Albert C. Cornelio Richard L. Kaye Roger A. Saunders Mrs. Eugene B. Doggett Robert D. King Mrs. Raymond H. Schneider Phyllis Dohanian Mrs. Gordon F. Kingsley Mark L. Selkowitz Hugh Downs Mrs. Carl Koch Mrs. Donald B. Sinclair Goetz B. Eaton Robert K. Kraft W. Davies Sohier, Jr. Harriett M. Eckstein George Krupp Ralph Z. Sorenson Edward Eskandarian Mrs. Hart D. Leavitt Ira Stepanian

Katherine Fanning Stephen R. Levy Mrs. Arthur I. Strang John A. Fibiger Frederick H. Lovejoy, Jr. Mark Tishler, Jr. Peter M. Flanigan Mrs. Charles P. Lyman Luise Vosgerchian Henry L. Foster C. Charles Marran Roger D. Wellington Dean Freed Nathan R. Miller Robert A. Wells Peter H.B. Frelinghuysen Hanae Mori Mrs. Thomas H.P. Whitney Mrs. James Garivaltis Mrs. Thomas S. Morse Mrs. John J. Wilson Jordan L. Golding Richard P. Morse Brunetta R. Wolfman Mark R. Goldweitz

Overseers Emeriti

Mrs. Weston W. Adams Mrs. Louis I. Kane Mrs. Peter van S. Rice Mrs. Frank G. Allen Leonard Kaplan Mrs. Jerome Rosenfeld Mrs. Richard Bennink Benjamin H. Lacy Mrs. William C. Rousseau Mary Louise Cabot Mrs. James F. Lawrence Francis P. Sears, Jr. Johns Congdon Mrs. Stephen V.C. Morris Mrs. Richard II. Thompson Mrs. Thomas J. Galligan Stephen Paine, Sr. Mrs. Donald B. Wilson Mrs. Richard D. Hill David R. Pokross

Symphony Hall Operations

Robert L. Gleason, Facilities Manager James E. Whitaker, House Manager

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

Nina Doggett, President Thelma Goldberg, Executive Vice-President Pat Jensen, Secretary Goetz B. Eaton, Treasurer Florence T. Whitney, Nominating Chairman

Vice-Presidents

Mary Bates, Hall Services Denise Mujica, Membership Charles Jack, Adult Education Susan Robinson, Fundraising Projects Marilyn Larkin, Tanglewood Carol Scheifele-Holmes, Public Relations Kathy Massimiano, Tanglewood Preston Wilson, Development Services Molly Millman, Regions Pat Woolley, Youth Activities

Chairmen of Regions

Krista Kamborian Baldini Kathleen G. Keith Patti Newton Joan Erhard Helen Lahage Pamela S. Nugent Bettina Harrison Janet Landry Beverly J. Pieper Betty Hosage Elaine Miller Patricia L. Tambone

For their continued support of the Boston Symphony Orchestra, special thanks to the

Massachusetts Council on the ^ and the National arts and Endowment humanities for the Arts also serving science museums and environmental institutions References furnished on request

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Armenta Adams Aaron Copland Santiago Rodriguez American Ballet John Corigliano Abbott Ruskin Theater Phyllis Curtin Kathryn Selby Michael Barrett Rian de Waal George Shearing Michael Feinstein Bright Sheng William Bolcom Lukas Foss Leonard Shure Jorge Bolet Philip Glass Abbey Simon He Boston Pops Orchestra Karl Haas Stephen Sondheim Boston Symphony David Korevaar Herbert Stessin Chamber Players Fernando Laires Tanglewood Music Center

Boston Symphony Garah Landes Virgil Thomson Orchestra Marian McPartland Nelita True Boston University John Nauman Craig Urquhart School of Music Seiji Ozawa Earl Wild Joanne Brackeen John Williams Bradshaw and Buono Alexander Peskanov Yehudi Wyner Dave Brubeck Andre Previn and 200 others Baldwin TODAY'S STANDARD OF MUSICAL EXCELLENCE.

4 able to choose from a variety of incentive gifts when they pledge to the BSO, including the BSO "Salute" compact disc for a donation of $50, this year featuring Leonard Bernstein leading A Gala Operatic Evening with the Boston Pops Orchestra. In addition, a con- Mirella Freni, Peter Dvorsky, tribution of $50 or more will make yon a

entitling yon to ;i Seiji Ozawa, and the BSO, "Friend" of the orchestra, Sunday, February 11 variety of benefits. Watch this column tor more information on "Salute" as the weekend of The Boston Association is pleased to March 2-5 approaches! present a gala evening of music by Puccini and Tchaikovsky with world-renowned soprano Symphony Spotlight Mirella Freni, tenor Peter Dvorsky, Seiji

Ozawa, and the Boston Symphony Orchestra This is one in a series of biographical sketches on Sunday, February 11, 1990, at 8 p.m. at that focus on some of th£ generous individuals Symphony Hall. Tickets at $50, $40, $30, and who have endowed chairs in ths Boston Sym- $16 are available from Symphony-Charge at phony Orchestra. Their backgrounds are varied, (617) 266-1200, Monday through Saturday but each felt a special commitment to the Bos- from 10 a.m. to 6 p.m. A limited number of ton Symphony Orchestra. Gala Tickets at $200, including dinner and a Farla and Harvey Chet Krentzman Chair post-concert reception, are available by calling (617) 482-2840 or by writing the Boston Recognized as the "Vince Lombardi" of the Opera Association, 270 Tremont Street, small business world, Harvey Chet Krentzman Boston, MA 02116. This special, non- has infused the musical life of the BSO with subscription concert is not included on any his outstanding business accomplishments. As BSO subscription series. founding chairman of the Business and Profes- sional Leadership Committee, he was responsi- NYNEX Sponsors ble for creating "Presidents at Pops" and "A Company Christmas at Pops," which have "Salute to Symphony' 1990 March 2-5 become Boston Symphony traditions, as well as the marketing committee. Mr. Krentzman For the second consecutive year, NYNEX is was named to the Board of Overseers in 1980 corporate sponsor of "Salute to Symphony," and became its chairman four years later. He the BSO's annual fundraising event and was voted a member of the BSO Board of community outreach project. "Salute to Sym- Trustees in 1986. Over the years Chet Krentz- phony" 1990, to take place Friday, March 2, man has been deeply involved with Boston's through Monday, March 5, marks the twenti- business community as an entrepreneur, educa- eth year that the Boston Symphony Orchestra tor, author, and management consultant. Both and WCRB 102.5 FM have collaborated in Mr. Krentzman and his wife Farla accompa- producing a radiothon. WCRB will again dedi- nied the BSO on its recent European and cate more than forty hours of on-air time to Japan tours. Chet and Farla Krentzman chose "Salute," and WCVB-TV-Channel 5 will again to recognize his sixtieth birthday by endowing telecast a live BSO concert, on Monday the bass clarinet position, currently held by evening, March 5. This year's performance, led Craig Nordstrom. by Seiji Ozawa and John Williams, will cele- brate Mr. Williams's tenth-anniversary season In Appreciation as Conductor of the Boston Pops Orchestra. On Sunday, March 4, Symphony Hall will once The BSO expresses its gratitude to the follow- again open its doors to the greater Boston ing communities that, through providing bus community for a day of free musical perform- transportation to Symphony Hall on Friday ances and activities for the entire family. afternoons, have made a substantial contribu- Members of the Boston Symphony Associa- tion to the Annual Fund. During the 1988-89 tion of Volunteers will be answering phones in season, these communities generously donated the Cabot-Cahners Room to accept pledges at $9,600 to the orchestra: Andover, Cape Cod, (617) 262-8700 throughout the weekend. Concord, Dedham, Marblehead, Newton/Welles- Donors to "Salute to Symphony" 1990 will be ley, and North Shore in Massachusetts; The Essex

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ALSO INQUIRE ABOUT OUR OTHER SENIOR COMMUNITIES THE GEORGIAN ON BOSTONS IAMAICAWAY AND THE GARDENS OF CHESTNUT HILL. Concord, New Hampshire; and Rhode Island. Randall Hodgkinson on Monday, February 12, The area buses are a project of the Boston at 8 p.m. at BU's Tsai Performance Center, Symphony Association of Volunteers. If you 685 Commonwealth Avenue in Boston. The would like further information about bus program includes music of Schubert, Ilinde- transportation to Friday-afternoon concerts, mith, Glinka, and Shostakovich. Admission is please contact the BSO Volunteer Office at free. (617) 266-1492. Founded by BSO percussionist Frank Epstein, Collage New Music presents a program entitled "Towards the Center Out," BSO Members in Concert including music of Michael Torke, Joyce Harry Ellis Dickson leads the Boston Classical Mekeel, Lori Dobbins, and Tod Machover Orchestra at Faneuil Hall on Wednesday, on Friday, February 16, at 8 p.m. at the January 24, and Friday, January 26, at 8 p.m. Longy School of Music in Cambridge. Stephen The program includes the overture to Rossini's Mosko conducts; soprano Joan Heller is Barber of Seville, Haydn's in G and the featured soloist. Admission is $10 ($5 stu- Hummel' s Potpourri with BSO assistant prin- dents and seniors); for further information call cipal viola Patricia McCarty as soloist, and (617) 776-3166. Schubert's Symphony No. 6. Tickets are $18 The Richmond Performance Series, Mark and $12 ($8 students and seniors). For further Ludwig, artistic director and founder, presents information call 426-2387. the New England String Quartet in music of Max Hobart conducts the Civic Symphony Haydn, Ravel, and Beethoven on Sunday,

Orchestra in its annual Pops concert on March 4, at 3 p.m. at the Richmond Congrega- Friday, January 26, at 8 p.m. at the Royal tional Church. Admission is $10 ($8 students Sonesta Hotel in Cambridge. The program is and seniors). For further information call "A Salute to Arthur Fiedler," with pianist (617) 437-0204 or (413) 698-2837. Virginia Eskin featured in Gershwin's Rhap- Ronald Knudsen leads the Newton Sym- sody in Blue. Champagne and dessert are phony Orchestra in Tchaikovsky's Violin included in the ticket price; for information call Concerto with soloist Lynn Chang and (617) 326-8483. Dvorak's Symphony No. 8 on Sunday, March The John Oliver Chorale performs Frank 4, at 8 p.m. at Aquinas Junior College, 15 Martin's Le Vin herbe, based on the legend of Walnut Park in Newton. Tickets are $12; for Tristan and Isolde, on Friday, February 2, at further information call 965-2555. 8 p.m. at Old South Church at Copley Square. Soprano Dominique Labelle and tenor Brad Cresswell are the featured soloists. Tickets are Art Exhibits in the Cabot-Cahners Room $18, $14, and $7; for further information call 965-0906. For the sixteenth year, a variety of Boston The New England Trombone Choir at New area galleries, museums, schools, and non- England Conservatory, directed by BSO bass profit artists' organizations are exhibiting their trombonist Douglas Yeo, will present a concert work in the Cabot-Cahners Room on the first- at the 6th Annual Trombone Convention spon- balcony level of Symphony Hall. On display sored by the Trombone Association of Western through February 12 are works from the Massachusetts, on Sunday, February 11, at 8 Arden Gallery, to be followed by works of p.m. at Holyoke Community College in Holy- members of the Cambridge Art Association oke, MA. Other activities that day will include (February 12-March 12) and works from the master classes and recitals by trombonists Priscilla Heartley Gallery (March 12-April 16). David Taylor and Jiggs Whigham. For further These exhibits are sponsored by the Boston information contact the Trombone Association Symphony Association of Volunteers, and a of Western Massachusetts at (413) 732-4137. portion of each sale benefits the orchestra. BSO violist Michael Zaretsky performs a Please contact the Volunteer Office at (617) Boston University faculty recital with pianist 266-1492, ext. 177, for further information. Juwvetmv) W /«39 jewelers *'«<*

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Seiji Ozawa was named music director of the Boston Sym- phony Orchestra in 1973 following a year as the orchestra's music adviser; he is now in his seventeenth year as the BSO's music director. With the Boston Symphony Orches- tra he has led concerts in , Japan, and throughout the ; in March 1979 he and the orchestra made an historic visit to China for a significant musicai exchange entailing coaching, study, and discussion sessions with Chinese musicians, as well as concert performances, becoming the first American performing ensemble to visit China since the establishment of diplomatic relations. Ear- lier this season Mr. Ozawa and the orchestra traveled to Japan for the fourth time, on a tour that also included the orchestra's first concerts in Hong Kong.

Mr. Ozawa pursues an active international career, appearing regularly with the Philharmonic, the Orchestre de , the French National Orchestra, the Vienna Philharmonic, the Philharmonia of London, and the New Japan Philharmonic. Recent appearances opera have included , the Vienna Staatsoper, and the Paris Opera; he has also conducted at Salzburg and Covent Garden. In 1983, at the Paris Opera, he conducted the world premiere of Olivier Messiaen's St. Francis ofAssisi.

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

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

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

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

Second Violins Music Directorship endowed by Marylou Speaker Churchill John Moors Cabot Fahnestock chair Vyacheslav Uritsky BOSTON SYMPHONY Charlotte and Irving W. Rabb chair ORCHESTRA Ronald Knudsen Edgar and Shirley Grossman chair 1989-90 Joseph McGauley Leonard Moss First Violins * Harvey Seigel Malcolm Lowe * Concertmaster Jerome Rosen Charles Munch chair * Sheila Fiekowsky Tamara Smirnova-Sajfar Ronan Lefkowitz Associate Concertmaster * Nancy Bracken Helen Horner Mclntyre chair Max Hobart *Jennie Shames m Assistant Concertmaster *Aza Raykhtsaum Robert L. Beal, and *Valeria Vilker Kuchment ffl Enid L. and Bruce A. Beal chair *Bonnie Bewick Lucia Lin Assistant Concertmaster *Tatiana Dimitriades •*••- Edward and Bertha C. Rose chair *James Cooke Bo Youp Hwang *Si-Jing Huang John and Dorothy Wilson chair, fully funded in perpetuity Max Winder Violas Forrest Foster Collier chair Burton Fine Fredy Ostrovsky Charles S. Dana chair Dorothy Q. and David B. Arnold, Jr., Patricia McCarty chair, fully funded in perpetuity Anne Stoneman chair, Gottfried Wilfinger fully funded in perpetuity Ronald Wilkison Robert Barnes * Participating in a system of rotated seating within each string section %0n sabbatical leave ^Substituting, 1989-90 m

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

11 THE 1990 U.S. TOUR OF THE BH BUI Vi « BRITISH

" ' . ^\( • . PHILHARMONIA

B I Hii ORCHESTRA

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12 BOSTON SYMPHONY ORCHESTRA

Seiji Ozawa, Music Director

Carl St. Clair and Pascal Verrot, Assistant Conductors One Hundred and Ninth Season, 1989-90

Thursday, January 25, at 8 Friday, January 26, at 2 Saturday, January 27, at 8

The Boston Symphony Orchestra is pleased to present THE , Music Director and Conductor

GIUSEPPE SINOPOLI conducting

STRAUSS Death and Transfiguration, Tone poem for large orchestra, Opus 24

INTERMISSION

BRAHMS Symphony No. 1 in C minor, Opus 68 Un poco sostenuto— Allegro Andante sostenuto Un poeo allegretto e grazioso Adagio — Piu Andante— Allegro non troppo ma con brio — Piu Allegro

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Deutsche Grammophon records

The evening concerts will end about 9:50 and the afternoon concert about 3:50.

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.

13 Week 12 ^Sometimes, the more successful you become, the more

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14 Death and Transfiguration, Tone poem for large orchestra, Opus 24

Richard Strauss was born in , , on June 11, 1864, and died in Garmisch-Partenkir-

chen, , on September 8, 1949. He began composing Tod und Verkldrung (Death and Trans- figuration,) in the late summer of 1888, completing the score on November 18, 1889. Strauss himself conducted the first performance, at the Eisenach Festival on June 21, 1890. The first American per- formance was given by Anton Seidl and the Phil- harmonic Society of New York at the Metropolitan

Opera House on January 9, 1892. Emil Paur and the Boston Symphony Orchestra gave the first Bos-

ton performances on February 5 and 6, 1897, on which occasion BSO program annotator William Foster Apthorp wrote in his capacity as critic for — the Boston Transcript that "Strauss' 'Death and Damnation' — we beg pardon 'Death and Transfiguration' — is an unholy terror. It is like a musical reflection of all the deadly and noisome diseases flesh is heir to, viewed through a magnifying glass of three thousand diameters. Such a farrago of hospital sounds vividly suggests hospital sights!

The worst of it is, the man does show talent. He has something really grand and great in his mind, and moreover a certain vague inkling of how to say it grandly. " Death and Transfiguration has also been given at BSO concerts by Wilhelm Gericke, Max Fiedler, Karl Muck, Ernst Schmidt, Pierre Monteux, Serge Koussevitzky, Richard Bur- gin, , Eleazar de Carvalho, Charles Munch, , , Joseph Silverstein, and Seiji Ozawa. The most recent Tanglewood perform- ance was Stokowski's, in August 1964; the most recent subscription performances, under Seiji Ozawa, were given in April 1988. Strauss's score calls for three flutes, two oboes and English horn, two clarinets and bass clarinet, two bassoons and contrabassoon, four horns, three trumpets, three trombones, bass tuba, timpani, tam-tam, two harps, and strings.

In the summer of 1889, Strauss was between posts, serving as rehearsal assistant at Bayreuth where Cosima Wagner held sway. He had just completed a three-year contract as third conductor at the Munich Court Opera, and that fall he would assume the assistant conductorship of the Weimar Opera. In hand were three projects which had been occupying him: the completed score of , whose premiere under his own baton at Weimar on November 11, 1889, would secure his reputation as "the most significant and progressive German composer since Wagner"; the libretto for , his first opera; and a rough sketch for Death and Transfiguration. Strauss had referred to this sketch already in a letter to his friend (and perhaps lover) Dora Wihan* written from Munich on April 9 that year:

. . . the artist Richard Strauss is in excellent shape, particularly since he ceases

to be the Munich Hofmusikdirector. . . . True, it is difficult for me to leave

Munich, away from my family and from friends such as Ritter . . . With the help

of Ritter, I have now acquired a stronger viewpoint of art and life . . . Just think!

*Dora's husband (for four years) was Hanus Wihan, for a while principal cellist of the Munich orchestra, and for whom Strauss wrote his Opus 6 sonata, completed in 1883. Wihan's career as a soloist took him throughout Europe; in 1888 he became professor of cello and chamber music at the Prague Conservatory. It was Wihan for whom Dvorak wrote his B minor cello concerto of 1894-95.

15 Week 12 >'•

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16 I have joined the ranks of the Lisztians! In short, it is hard to imagine a more progressive viewpoint than the one which I now hold. I feel wonderful; a new clar-

ity has overcome me . . . Where am I going? ... To the city of the future, Weimar, to the post where

Liszt worked so long! I have great hopes . . . In addition, I have sketched out a new tone poem, to be entitled probably Death and Transfiguration. I plan to begin to write the score right after Easter.

Of Alexander Ritter, an ardent Wagnerian who had married Wagner's niece Julie, Strauss wrote that "his influence was in the nature of the storm-wind. He urged me on to the development of the poetic, the expressive in music, as exemplified in the works of Liszt, Wagner, and Berlioz." Strauss's first essay in music of this kind was his "symphonic fantasy," , of 1886, deriving from impressions of his first visit to that summer. By this time, Strauss had come to be noticed as both a composer and conductor of significance. In Munich, where his father Franz Joseph Strauss was principal horn of the Court Opera for forty-nine years, he had written his first compositions when he was six, begun piano lessons at four and violin lessons at eight, and had studied theory, harmony, and instrumentation from the time he was eleven. His musically conservative father wouldn't let him near a Wagner score, restricting him to "the classics" until he was in his early teens, and his appreciation for Wagner came only when he secretly studied the score of Tristan, which along with Mozart's Le nozze di Figaro would remain throughout his life one of his two favorite . In March 1881, Hermann Levi (who would conduct the premiere of Parsifal at Bayreuth the following year) led the Munich Court Orchestra in Strauss's D minor symphony, and in December 1882 Strauss accompanied the violinist Benno Walter in a piano reduction of his own violin concerto in Vienna. But his first work really to

make the rounds was the Serenade in E-flat for thirteen wind instruments, Opus 7, which was performed by Franz Wullner at Dresden and by Hans von Bulow in Meiningen. Bulow, who declared Strauss "by far the most striking personality since Brahms," offered the young composer the post of assistant conductor at Meiningen in the summer of 1885. Before returning to the Munich Opera in April 1886, Strauss

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A telegram dated February 12, 1906, from Edvard Grieg to Richard Strauss: "Once again moved to tears by 'Death and Transfiguration' yesterday at the National Theater under Halvorsen. Edvard Grieg."

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18 met Alexander Ritter, who was himself a composer as well as a violinist in the Meiningen Orchestra, and who converted him to the cause of Berlioz, Liszt, and War- ner. The immediate result was Aus Italien. The original version of was com- pleted in 1888, followed by Don Juan in 1888-89. Death and Transfiguration was next in the succession of that continued with Till Eulenspiegel's Merry Pranks (1895), Tlius Spake Zarathustra (1896), (1897), (1898), and the (1903) before Strauss gave his full attention to opera, completing in 1905 and in 1908.

The piece had a great success when Strauss led the premiere at the Eisenach new music festival in 1890, and it continued to hold its own well into this century; but in recent times the popularity of Death and Transfiguration has declined, perhaps because its subject matter is less immediately engaging and less consistently appeal- ing than that of, say, Till Eulenspiegel. But there are undeniably great pages in this score: the opening is brilliantly evocative of the deathbed setting; the flood of memo- ries relived by the protagonist in the face of the struggle with death is, for the most part, convincingly and excitingly traced*; and the final transfiguration can be both

* Those interested in a detailed thematic guide to Death and Transfiguration can find it in the first volume of Norman Del Mar's biography of the composer.

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K£ moving and transcendent. For the time, Strauss does not require an exceptionally large orchestra: the use of two harps is the only real novelty, and percussion is restricted to just timpani and tam-tam, the latter first heard at the moment of death. In his demands upon the orchestra, however, the composer knows no hounds, and he extends even further the difficulties already imposed by the score of Don Juan.

Strauss felt that audiences could only understand Death and Transfiguration if they knew quite specifically what it was about, and he saw to it that the programs distrib- uted at the first performance included Alexander Ritter's verse treatment of his sce- nario; this sixteen-line poem he also included on the title page of his score. The pub- lished score incorporated an even more expansive verse treatment by Ritter, this one running sixty-two lines (see page 42). But the best introduction to Death and Trans- figuration is the composer's own, from a letter he wrote in 1894:

It was six years ago that it occurred to me to present in the form of a tone poem the dying hours of a man who had striven towards the highest idealist aims, maybe indeed those of an artist. The sick man lies in bed, asleep, with heavy irregular breathing; friendly dreams conjure a smile on the features of the deeply suffering man; he wakes up; he is once more racked with horrible agonies; his limbs shake with fever — as the attack passes and the pains leave off, his thoughts wander through his past life; his childhood passes before him, the time of his youth with its strivings and passions and then, as the pains already begin to return, there appears to him the fruit of his life's path, the conception, the ideal which he has sought to realize, to present artistically, but which he has not been

able to complete, since it is not for man to be able to accomplish such things. The hour of death approaches, the soul leaves the body in order to find gloriously achieved in everlasting space those things which could not be fulfilled here below.

As the title of the piece suggests, the music is in two main sections: an "Allegro molto agitato" depicting the struggle with death, and the "Moderate" transfiguration of the final pages. These two parts are preceded by a slow introduction, which sets the scene and introduces two important themes that will figure prominently during the sick man's recollections. Both are presented rather dreamily, the first in the flute:

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The flute theme will recur in, among other forms, a lively variant for the horns to represent, in Ritter's words, "the impudent play of youth." The oboe theme suggests the innocence of "childhood's golden time" and will play a significant role in the clos- ing transfiguration. The death struggle begins with (what should be) a frightening thwack of the kettledrum followed by the syncopated rhythm of the opening measures, the labored breathing of the sick man now greatly intensified. Just before the first phase of the struggle subsides, giving way to recollections of childhood and youth, a new idea emerges, played full out by the brass. This becomes the most important

21 Week 12 theme of the work, that of "the ideal" that the dying man throughout his life 'has

sought to realize . . . but whieh he has not been able to complete":

It is this theme (a close relative of the two themes quoted earlier: "the ideal" is an outgrowth of "childhood" and "youth") upon which the successive climaxes of the piece are built and which, together with the theme of "childhood," will achieve its apo- theosis in the score's final pages.

Strauss never forgot this music. Nearly sixty years later, in Im Abendrot, the last of his posthumously published , he quoted the theme of "the ideal" just after the last line of text, "1st dies etwa der TodV ("Is this perhaps death?"). And his view of death — and, one hopes, its aftermath — as he imagined it when he was only twenty-five must at the end have seemed very right to him. Among his last words were these, spoken to Ins daughter-in-law Alice when he was on his deathbed: "Death is just as I composed it in Death and Transfiguration." -Marc Mandel

Alexander Ritter's preface to the published score of "Death and Transfiguration":

In der armlich kleinen Kammer, In the small, wretched room,

Matt vom Lichtstumpf nur erhellt, dimly lit only by a candle stump, Liegt der Kranke auf dem Lager. - the sick man lies upon his bed. — Eben hat er mit dem Tod Even now he has been struggling Wild verzweifelnd noch gerungen. ferociously, despairingly, with death. Nun sank er erschopft in Schlaf, Now he has sunk, exhausted, into sleep, Und der Wanduhr leises Ticken and the quiet ticking of the clock Nur vernimmst du im Gemach, is all that you hear in the room, Dessen grauenvolle Stille whose dreadful silence Todesnahe ahnen lasst. gives heed to death's approach. Um des Kranken bleiche Ziige Upon the sick man's pale features Spielt ein Lacheln wehmutsvoll. plays a melancholy smile.

Traumt er an des Lebens Grenze At the end of his life, does he dream now Von der Kindheit goldner Zeit? of childhood's golden time?

Doch nicht lange gonnt der Tod But death does not grant his victim Seinem Opfer Schlaf und Traume. sleep and dreams for long. Grausam riittelt er ihn auf, Cruelly he shakes him awake, Und beginnt den Kampf aufs neue. and the battle begins anew. Lebenstrieb und Todesmacht! The will to live and the power of death! Welch entsetzenvolles Ringen! — What frightful struggling! — Keiner tragt den Sieg davon, Neither is victorious, Und noch einmal wird es stille! and yet again there is silence!

22 Kampfesmiid zuriickgesunken, Battle-weary, sunk back, Schlaflos, wie im Fieberwahn, sleepless, as in a delirium, Sieht der Kranke nun sein Leben, the sick man now sees his life, Zug um Zug und Bild um Bild, successively, scene by scene, Inn'rem Aug voruberschweben. pass before his inner eye. Erst der Kindheit Morgenrot, First the morning-red of childhood, Hold in reiner Unsehuld leuchtend! shining bright in pure innocence! Dann des Junglings keckres Spiel — Then the impudent play of youth — — Krafte iibend und erprobend — exercising and testing its strength — Bis er reift zum Mannerkampf, until he ripens to manhood's struggle, Der um hochste Lebensgiiter which to life's highest achievements Nun mit heisser Lust entbrennt. — is now kindled with burning passion. — Was ihm je verklart erschien, What once appeared glorified to him Noch verklarter zu gestalten, now takes clearer shape, Dies allein der hohe Drang, this alone the lofty impulse Der durchs Leben ihn geleitet. which leads him through his life. Kalt und hohnend setzt die Welt Cold and mocking, the world sets Schrank' auf Schranke seinem Drangen. obstacle after obstacle against his strivings. Glaubt er sich dem Ziele nah, Each time he believes himself nearer his goal, Donnert ihm ein «Halt" entgegen. a "Halt!" thunders against him. uMach die Schranke dir zur Staffel! "Treat each obstacle as another rung, Immer hoher nur hinan!" climbing ever and always higher!" Also drangt er, also klimmt er, So he presses forward, so climbs higher, Lasst nicht ab vom heil'gen Drang. never desisting from his sacred striving. Was er so von je gesucht What he has always sought Mit des Herzens tiefstem Sehnen, with his heart's deepest yearning

Sucht er noch im Todesschweiss, he seeks still in the grip of death, Suchet — ach! und findet's nimmer. he seeks — alas!— yet never finds. Ob er's deutlicher auch fasst, Whether he grasps it yet more clearly,

Ob es mahlich ihm auch wachse, whether it gradually grows upon him,

Kann er's doch erschopfen nie, still he can never exhaust it,

Kann es nicht im Geist vollenden. it can never, in his spirit, be fulfilled. Da erdrohnt der letzte Schlag Then the last stroke Von des Todes Eisenhammer, of death's iron hammer resounds, Bricht den Erdenleib entzwei, breaks the earthly body asunder, Deckt mit Todesnacht das Auge. covers the eye with death's night.

Aber machtig tonet ihm But resounding mightily round him Aus dem Himmelsraum entgegen, from the expanse of heaven, Was er sehnend hier gesucht: is what he sought here, ever yearning: Welterlosung, Weltverklarung! World-redemption, world-transfiguration!

—Alexander Ritter — translation by MM.

23 Week 12 Only you can help the pieces fall into place.

The BSO started the 1989-1990 season thereby weakening the Orchestras long- with a $10 million difference between what term financial foundation. we will earn— and what we must spend to Your generous gift will help us fund make our music. What is more, our annual outreach, educational and youth programs, grant support from the Massachusetts and attract the worlds finest musicians and

Council on the Arts and Humanities has guest artists. been severely reduced due to state budget Become a Friend of the Boston cuts. Unless these funds are found else- Symphony Orchestra today. This year, where, continuing all current programs will more than ever, only you can help the result in reductions in our endowment, pieces fall into place.

i 1 ; Yes, I want to help keep great music alive. I'd like to become a Friend of the BSO for the 1989-1990 season.

(Friends' benefits begin at $50. ) Enclosed is my check for $ payable to the Boston Symphony Annual Fund

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Address.

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Please send your contribution to: Susan E. Tomlin, Director of Annual Giving, Boston Symphony Orchestra, Symphony Hall, Boston, MA 02115. (617) 266-1492. KEEP GREAT MUSIC ALIVE L J Symphony No. 1 in C minor, Opus 68

Johannes Brahms was born in Hamburg, Germany, -** on May 7, 1833, and died in Vienna on April 3, 1897. He completed his First Symphony in 1876, though some of the sketches date back to the 1850s. Otto Dessoff conducted the first performance at

Karlsruhe on November 4, 1876, and Leopold Damrosch introduced the symphony to America on December 15, 1877, in New York's Steinway Hall. Boston heard it for the first time when Carl Zer- rahn conducted it at a Harvard Musical Associa-

tion concert in the Music Hall on January 3, 1878, and the Boston Symphony played it during its first season on December 9 and 10, 1881, Georg Henschel conducting. It has also been played at BSO concerts under Wilhelm Gericke, Arthur Nikisch, Emit Paur, Karl Muck, Max Fiedler, Pierre Monteux, Serge Koussevitzky, Richard Burgin, Sir , Charles Munch, Guido Cantelli, Carl Schuricht, , Erich Leinsdorf, William Steinberg, Rafael Kubelik, , Joseph Silverstein, Seiji Ozawa, Sir , Eugene Ormandy, and Leonard Bernstein, who gave the most recent Tanglewood performance in July 1985. Christoph von Dohndnyi and Pascal Ver- rot led the most recent subscription performances in February 1989. The symphony is scored for two flutes, two oboes, two clarinets, two bassoons and contrabassoon, four horns, two trumpets, three trombones, timpani, and strings.

When Brahms finished his First Symphony in September 1876, he was forty-two years old. (Beethoven was thirty, Schumann thirty-one, Mahler twenty-eight at the completion of their respective first ; Mozart was eight or nine, but that's another story altogether.) As late as 1873, the composer's publisher Simrock feared that a Brahms symphony would never happen ("Aren't you doing anything any more? Am I not to have a symphony from you in '73 either?" he wrote the composer on February 22), and Eduard Hanslick, in his review of the first Vienna performance, noted that "seldom, if ever, has the entire musical world awaited a composer's first symphony with such tense anticipation."

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

Beethoven's influence is certainly to be felt in Brahms's First Symphony: in its C minor-to-major progress, in the last-movement theme resembling the earlier com- poser's Ode to Joy (a relationship Brahms himself acknowledged as something that "any ass could see")*, and, perhaps most strikingly, in the rhythmic thrust and tight, motivically-based construction of the work — in some ways quite different from the melodically expansive Brahms we know from the later symphonies. But, at the same time, there is really no mistaking the one composer for the other: Beethoven's rhyth-

* Perhaps less obvious is the relationship between the theme itself and the violin phrase of the last movement's opening measures.

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mic drive is very much his own, whereas Brahms's more typical cxpansivencss is

still present throughout this symphony, and his musical language is unequivocally nineteenth-century-Romantic in manner.

Following its premiere at Karlsruhe on November 4, 1876, and its subsequent appearance in other European centers, the symphony elicited conflicting reactions. Brahms himself had already characterized the work as "long and not exactly amia- ble." Clara Schumann found the ending "musically, a bit flat . . . merely a brilliant afterthought stemming from external rather than internal emotion." Hermann Levi, court conductor at Munich and later to lead the 1882 Bayreuth premiere of Wagner's Parsifal, found the two middle movements out of place in such a sweeping work, but the last movement he decreed "probably the greatest thing [Brahms] has yet created in the instrumental field." The composer's close friend Theodor Billroth described the last movement as "overwhelming," but found the material of the first movement "lacking in appeal, too defiant and harsh."

One senses in these responses an inability to reconcile apparently conflicting ele- ments within the work, and the two inner movements do indeed suggest a world quite different from the outer ones. At the same time, these reactions also point to the seeming dichotomy between, as Hanslick put it, "the astonishing contrapuntal art" on the one hand and the "immediate communicative effect" on the other. But the two go

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i ' hand in hand: the full effect of the symphony is dependent upon the compositional craft that binds the work together in its progress from the C minor straggle of the first movement through the mediating regions of the Andante and the Allegretto to the C major triumph of the finale.

The first Allegro's two principal motives — the three eighth-notes followed by a longer value, representing an abstraction of the opening timpani strokes, and the hesi- tant, three-note chromatic ascent, across the bar, heard at the start in the violins — are already suggested in the sostenuto introduction, which seems to begin in mid-struggle. The movement is prevailingly sombre in character, with a tension and drive again suggestive of Beethoven. The second idea's horn and wind colorations pro- vide only passing relief: their dolce and espressivo colorings will be spelled out at greater length in the symphony's second movement.

The second and third movements provide space for lyricism, for a release from the tension of the first. The calmly expansive oboe theme of the E major Andante is threatened by the G-sharp minor of the movement's middle section (whose sixteenth- note figurations anticipate the main idea of the third movement), but tranquility prevails when the tune returns in combined oboe, horn, and solo violin. The A-flat

Allegretto is typical of Brahms in a grazioso mood — compare the Second Symphony's third movement — and continues the respite from the main battle. And just as the middle movements of the symphony are at an emotional remove from the outer ones, so too are they musically distant, having passed from the opening C minor to third- related keys: E major for the second movement and A-flat major for the third.

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

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~*« • -; The big biography of Richard Strauss is Norman Del Mar's, which gives equal space to the composer's life and music (three volumes, now available in paperback from Cor- nell University Press); Death and Transfiguration is given detailed consideration in

Volume I. Michael Kennedy's account of the composer's life and works for the Master Musicians series is excellent (Littlefield paperback), and the symposium Richard Strauss: The Man and his Music, edited by Alan Walker, is worth looking into (Barnes and Noble). Kennedy has also provided the Strauss article in The New Grove Diction- ary of Music and Musicians, also available in paperback in The Modern Masters I (Norton). Giuseppe Sinopoli has recorded Death and Transfiguration with the New York Philharmonic (DG, coupled with ). Klaus Tennstedt's recording with the London Philharmonic is deeply felt and highly personalized (EMI/ Angel, coupled with a fine performance of the Four Last Songs with soprano Lucia Popp). Herbert von Karajan's recording with the Berlin Philharmonic is gorgeously played, sometimes at the expense of the drama (DG, with Strauss's rarely heard for twenty-three solo strings). 's fine recording with the is available on a mid-priced CD that also includes Don Juan and Till Eulenspiegel (CBS). Toscanini's intense 1953 recording with the NBC Symphony will doubtless be remastered for compact disc now that RCA has settled negotiations over the CD reissue of the conductor's recorded legacy with the conductor's heirs. Meanwhile, a 1938 broadcast performance with the NBC is available on a single disc that also includes Don Quixote with cellist Emanuel Feuermann and the Dance of the Seven Veils from Salome (Hunt Productions).

Florence May, an Englishwoman who knew Brahms and studied piano with him, produced a comprehensive two-volume biography of the composer which is available in an expensive reprint of the original 1905 edition (Scholarly). Karl Geiringer's Brahms: His Life and Work is a smaller but no less important biography (Oxford). Also useful are Peter Latham's Brahms in the Master Musicians series (Littlefield paperback); John Horton's Brahms Orchestral Music in the series of BBC Music Guides (Univer- sity of Washington paperback); and Julius Harrison's chapter on Brahms in The

Symphony: Vol. I, Haydn to Dvorak, edited by Robert Simpson (Penguin paperback). Donald Francis Tovey's program note on the Brahms First is included in his Essays in Musical Analysis (Oxford paperback). Of special interest are Arnold Schoenberg's essay "Brahms the Progressive" in Style and Idea (St. Martin's), and an interview with " on Brahms" in Bernard Jacobson's Conductors on Conduct- ing (Columbia Publishing Company). Recommended recordings of the Brahms First include — in alphabetical order by conductor— Leonard Bernstein's with the Vienna Philharmonic (DG), Christoph von Dohnanyi's with the Cleveland Orchestra (Teldec), Wilhelm Furtwangler's powerful statement with the Berlin Philharmonic (DG, with the Haydn Variations; monaural), Herbert von Karajan's with the Berlin Philhar- monic (DG); and Georg Solti's with the Chicago Symphony (London). Besides his studio recording with the NBC Symphony for RCA (LP only at present), two - nini performances on compact disc vie for attention: a powerful 1940 NBC broadcast available on Melodram (coupled with the opening movement of the Serenade No. 1; monaural), and the Philharmonia performance that was part of his 1952 Brahms cycle in London, on the occasion of his last concerts in that city (on a single Fonit- Cetra disc, with the Tragic Overture from that cycle, or in a three-disc Hunt Produc- tions box including all four symphonies, the Haydn Variations, and the Tragic Over- ture). Worth watching for is Guido Cantelli's beautiful and moving performance with the Philharmonia Orchestra, likely to be reissued on compact disc by EMI. -M.M.

31 Week 12 ii SHHBJiSJ'^iiy Deutsche Grammophon <"' 81 welcomes WSm GIUSEPPE SINOPOLI ^Sgrnpfa,

Wagner

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Baltsa • Salminen SINOPOLI Philharmonia

PUCCINI Puccini

'firm D rwiwwv DUTTERPIX Wtj) Freni • Carreras FRENI- DOMINGO Sinopoli ^ SINOPOLI

and from Mr. Sinopoli's catalogue with the New York Philharmonic: Wagner: Flying Dutchman, Meistersinger and Lohengrin Overtures Strauss: Death & Transfiguration and Also sprach Zarathustra

© 1990 DG / PolyGram Records

32 Giuseppe Sinopoli

Giuseppe Sinopoli was appointed music director of the Phil- harmonia Orchestra in January 1987, having been principal conductor since 1984. In the autumn of 1990, Mr. Sinopoli becomes music director of the Deutsche Oper, Berlin. The 1989-90 season is a busy one for Mr. Sinopoli. Immediately after an extended period conducting Tannhauser at the Bay- reuth Festival this past summer, including a televised per- formance, he made history conducting that company's first performances outside of Bayreuth, in Japan. The occasion also marked the inauguration of Tokyo's newest performing arts center, the Tokyo Bunkamura; the repertoire included Tannhauser and several concerts, including Beethoven's Missa Solemnis. Upon return- ing to Europe, Mr. Sinopoli led a new production of in Berlin, followed by concerts and recordings with the New York Philharmonic. The conductor then trav- eled back to Europe, for four performances of at the . After the Philharmonia Orchestra's United States tour, Mr. Sinopoli conducts perform- ances of Siegfried at Santa Cecilia in Rome, leads concerts in Prague, and records the next installment of a complete Bruckner symphony cycle in Dresden. He returns to Symphony Hall at the end of February to conduct the Boston Symphony Orchestra in music of Wagner, Strauss, and Schumann; he made his Boston Symphony debut in October 1985. In the summer of 1990 he returns to Bayreuth for a new production of Der fiiegende Hollander. Born in 1946, Giuseppe Sinopoli began his musical studies at age twelve. He con- tinued to study music with various distinguished professors while simultaneously pur- suing a doctor of medicine degree. In 1972 he was appointed professor for contempo- rary and electronic music at the Venice Conservatory. He moved shortly afterwards to Vienna, where he studied conducting with . He took on additional duties as a lecturer in Siena in 1973 and in 1976 before accepting the post of teacher of conducting at the Paris Conservatory in 1977. During this period Mr. Sinopoli was also active as a composer, receiving numerous commissions, includ- ing one for his full-length opera Lou Salome, which received its world premiere with the Bavarian State Opera in 1981. Under exclusive contract to Deutsche Grammo- phon, Mr. Sinopoli records both operatic and symphonic works, with the Philharmo- nia, the New York Philharmonic, and other major orchestras. Recent releases include Strauss 's Also sprach Zarathustra and Death and Transfiguration, Elgar's Symphony No. 2, Puccini's Madama Butterfly with Mirella Freni, and Wagner's Tannhauser with Placido Domingo. Other recordings include works by Bussotti, Maderna, Manzoni, Mendelssohn, Schumann, Schoenberg, and Schubert. Mr. Sinopoli's recording with the Philharmonia and Mirella Freni of won the 1983 Grand Prix Interna- tional du Disque and the International Record Critics Award at Montreux. His recordings of Mahler's Second, Fifth, and Sixth symphonies have become best-sellers for Deutsche Grammophon; the recording of the Fifth was named Stereo Review's Record of the Year in 1986. His Deutsche Grammophon recording of Verdi's Laforza del destino was named Best Record of 1987 by Gramophone. For Philips, he has made complete recordings of Verdi's Macbeth, , and Rigoletto, and a disc of Verdi overtures.

33 The Philharmonia Orchestra

Patron: HRH The Prince of Wales, KG, KT, PC, GCB President: Vincent Meyer Music Director: Giuseppe Sinopoli Principal Guest Conductor: Esa-Pekka Salonen Composer-in-Residence: Oliver Knussen E-flat Clarinet Leader: Bradley Creswick Michael Angress Chairman: Rodney Stewart Damaris Wollen Managing Director: David Whelton Bass Clarinet First Violins Cellos Peter Seago Bradley Creswick George Ives Bassoons Stephen Levine Michael Hurwitz John Orford John Gralak Jenifer Curtis Michael Cole David Thomas Jocelyn Gale Nicholas Reader Imogen East Ann Barber Contrabassoon Eleanor Wilkinson Mark Stephenson Bogdan Offenberg Sara Gilford Nicholas Reader Martin Jones Anne Baker Horns Justin Jones Katherine Thulborn Linda Speck David Daniels Peter Blake David Ellis James Handy Robert Atchison Basses Robert Maskell Angus Anderson Gerald Drucker Colin Horton Deborah Preece Richard Lewis Jason Crouch Catherine Craig David H. Jones James Rattigan Sarah White Rodney Stewart Roger Clark Celia Johnson Second Violins Ian Eyres Trumpets Nicholas Whiting Timothy Lyons John Wallace Brian Moyes Mary Scully David Munden Anders Fog- Nielsen John Miller Andrew Wickens Flutes William Stokes Timothy Colman Kenneth Smith Robert Farley Julian Milone June Scott William Kitchen Simon Horsman Keith Bragg Andrew Mitchell Gillian Costello Sarah Newhold Roy Bilham Gillian Bailey Trombones Susan Hedger Piccolos Samantha Reagan Keith Bragg Dudley Bright Andrew Thurgood June Scott Simon Gunton Ann Morfee Sarah Newhold Robert Hughes Robert Chew David Purser Oboes Tuba Violas John Anderson John Jenkins Stephen Shakeshaft Margaret Tindale Timpani John Chambers Jane Marshall Michael Lloyd Keith Marshall Andrew Smith Michael Turner Jacqueline Kendle English Horn Graham Griffiths Percussion Margaret Lamb Jane Marshall David Corkhill Susan Salter Kevin Hathway Rebecca Carrington Clarinets Peter Fry Mary Whittle Michael Collins Georgina Payne Peter Seago Harps Kathryn Burgess Michael Angress Bryn Lewis Deborah Lander Damaris Wollen Miriam Keogh

34 The Philharmonia Orchestra

One of the world's most recorded orchestras, the Philharmonia Orchestra is also one of the most widely traveled, regularly appearing at the Royal Festival Hall in London and in concert throughout the United Kingdom and Europe. In addition to its United States tour in 1990, the orchestra is currently planning tours of Italy, Spain, Switzer- land, Austria, Germany, Australia, Hong Kong, and Japan. The Philharmonia Orchestra last visited the United States during the 1987-88 season, on a tour that featured New York appearances at and Avery Fisher Hall, the latter as part of Lincoln Center's "Great Performers" series. The orchestra's extraordinarily extensive record catalogue features works by virtually every major orchestral com- poser. Nearly one hundred conductors, including , Sir , Karl Bohm, , Guido Cantelli, Wilhelm Furtwangler, Carlo Maria Giulini, , Herbert von Karajan, , , Lorin Maazel, , , Giuseppe Sinopoli, and Leopold Stokowski, have recorded with the orchestra. Among the soloists who have recorded with the Philhar- monia are , , , , Anne-Sophie Mutter, , Charles Rosen, , , and Elisabeth Soderstrom. Founded by Walter Legge, the Philharmonia Orchestra gave its first concert at London's Kingsway Hall in October 1945, under the baton of Sir . It was soon established as one of the world's truly great orchestras, attracting such legendary conductors as Wilhelm Furtwangler, , Guido Cantelli, Richard Strauss, and Herbert von Karajan, who became its first principal conductor. When the was founded in 1957, the orchestra appointed Wilhelm Pitz of the as its first chorus master. Karajan was suc- ceeded by Otto Klemperer, who was appointed principal conductor for life in 1959; it was under his leadership that the orchestra entered into an epic era. In 1964, Walter Legge's withdrawal threatened the administrative stability of the orchestra, but the players immediately formed themselves into a self-governing cooperative under the name "New Philharmonia Orchestra," with Klemperer as honorary president of both the orchestra and the chorus. In 1970 Lorin Maazel became associate principal con- ductor. In 1972, a year after Klemperer's retirement from the concert platform, Ric- cardo Muti was appointed principal conductor. At the opening of the 1977-78 season, the orchestra reverted to its original name and reestablished its close association with Carlo Maria Giulini. Riccardo Muti became the orchestra's first music director in August 1979. The following year, His Royal Highness the Prince of Wales became the orchestra's first Patron. In February 1983, immediately after giving his first concert with the Philharmonia Orchestra, Giuseppe Sinopoli was offered the post of principal conductor. He accepted the title in January 1984, going on to become music director in 1987. Today, Giuseppe Sinopoli's leadership builds upon the heritage of Karajan, Klemperer, and Muti, sustaining the Philharmonia Orchestra as a major force on the international concert platform, and ensuring a continuing tradition of excellence.

35 TlFFAltV^& Co

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At last, a retirement community that acres in Westwood and will open in the offers the benefits of homeownership! Summer of 1990. Fox Hill Village combines the security of Discover why over 350 people have continuing care with the many benefits decided that Fox Hill Village is more of ownership through our unique than just a retirement community, cooperative plan. it is a sound investment. Designed for comfort and con- Call (617) 329-4433 for more venience, Fox Hill Village is now information, or make an appoint- under construction on 80 wooded ment to visit our model unit. A TRADITION OF FINANCIAL COUNSEL OLDER THAN THE U.S. DOLLAR. State Street has been providing quality financial service since 1792.

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BUSINESS

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

Corporate Underwriters ($25,000 and above)

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

Bank of New England Corporation Opening Night at Symphony

BayBanks, Inc. Opening Night at Pops

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

NEC Corporation and NEC Deutschland GmbH Boston Symphony Orchestra European Tour Boston Symphony Orchestra Asian Tour MCI Boston Pops Esplanade Orchestra National Tour

Digital Equipment Corporation Boston Pops Orchestra Public Television Broadcasts

Pepsi-Cola Bottlers of New England Boston Pops Esplanade Orchestra, Esplanade Concerts

TDK Electronics Corporation Tanglewood Tickets for Children

Suntory Limited BSO recording of Elektra

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

37 v ^^ ^P The Boston Opera Association O^Js^ Is Honored to Present

of Puccini and Tchaikovsky with Mirella Freni, soprano Peter Dvorsky, tenor Seiji Ozawa, conductor and the "J Boston Symphony Orchestra Sunday, February 11, 1990 8:00 P.M. Symphony Hall The Best of Two Musical Worlds Opera and Symphony

Tickets priced at $50, $40, $30, $16 may be ordered as of November 6 by calling Symphony-Charge (617) 266-1200, M-Sat, 10 a.m. to 6 p.m.

Gala Tickets at $200 are limited and include dinner, performance, reception following, and program recognition. To order now call (617) 482-2840 or write the Boston Opera Association, 270 Tremont Street, Boston, MA 02116.

This event is not available on any Boston Symphony Orchestra subscription series.

Program subject to change.

you are cordially invited to sample our Symphony Menu

at Ihe Cafe (Promenade

7or Reservations Call, 617-424-7000 $1a Reduced parking rates when dining at The Colonnade for is Symphony Patrons. Wj?P

The Colonnade Hotel is located at 120 Huntington Avenue,

38 1989-90 Business Honor Roll ($10,000 and Above)

Advanced Management Associates The Gillette Company Harvey Chet Krentzman Colman M. Mockler, Jr.

Analog Devices, Inc. Grafaeon, Inc. Ray Stata H. Wayman Rogers, Jr.

AT&T GTE Products Corporation Robert Babbitt Dean T. Langford

Bank of Boston Hill, Holliday, Connors, Cosmopulos, Inc. Ira Stepanian Jack Connors, Jr.

Bank of New England Corporation The Henley Group Walter J. Connolly Paul M. Montrone BayBanks, Inc. Hewlett Packard Company Richard F. Pollard Ben L. Holmes Bolt Beranek & Newman Houghton Mifflin Company Stephen R. Levy Harold T. Miller The Boston Company IBM Corporation George W. Phillips Paul J. Palmer The Boston Consulting Group John Hancock Mutual Life Insurance Company Jonathan L. Isaacs E. James Morton Boston Edison Company Jordan Marsh Company Stephen J. Sweeney Richard F. Van Pelt The Boston Globe William O. Taylor The Lafayette Hotel Liam Madden Boston Herald Patrick J. Purcell Liberty Mutual Insurance Group Gary L. Countryman Bull, Worldwide Information Systems Roland Pampel Loomis-Sayles & Company, Inc. Peter G. Harwood Connell Limited Partnership William F. Connell MCI Nathan Kantor Coopers & Lybrand Vincent M. O'Reilly McKinsey & Company Country Curtains Robert P. O'Block

Jane P. Fitzpatrick Morse Shoe, Inc. Creative Gourmets, Ltd. Manuel Rosenberg Stephen E. Elmont NEC Corporation Deloitte, Haskins & Sells Atsuyoshi Ouchi Mario Umana NEC Deutschland GmbH Digital Equipment Corporation Masao Takahashi Kenneth H. Olsen The New England Dynatech Corporation Edward E. Phillips J. P. Barger New England Telephone Company Eastern Enterprises Paul C. O'Brien Robert W. Weinig Northern Telecom, Inc. Ernst & Whinney John Craig Thomas M. Lankford Nynex Corporation Fidelity Investments/ Delbert C. Staley Fidelity Foundation PaineWebber, Inc. General Cinema Corporation James F. Cleary Richard A. Smith Peat Marwick Main & Co. General Electric Plastics Robert D. Happ Glen H. Hiner t I

.ou don't need a crystal ball environment within easy to see into your future. A visit to our reach of Boston. If you're age 62 or newly opened information office will older, Edgewood offers you an inde- show you the shape ofthings to come. pendent lifestyle, combined with There, you can see a site model the peace of mind of a professional of the Edgewood life- care retirement on-site Health Center and a Return- community, planned to be built on of-Capital™ Plan which refunds up 62 acres bordering Edgewood Farm to 90 percent of your entrance fee on Lake Cochichewick. You'll also to you or your estate. Entrance fees be able to walk through a furnished begin at $190,000. model apartment; examine floor plan Call for an appointment at options; pick up some literature for (508)689-0202 or drop by 1060 review at your leisure; and ask any Osgood Street in North Andover questions that come to mind. during business hours. What you'll discover is a promis- And get a firsthand look at ing vision of life in a countryside what your future could hold.

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40 1989-90 Business Honor Roll (continued)

Pepsi-Cola Bottlers of New England The Stop & Shop Companies, Inc. Pepsi Cola — East Avram J. Goldberg Michael K. Lorelli Suntory Limited Keizo Saji Prudential-Bache Securities David F. Remington TDK Electronics Corporation R&D Electrical Company, Inc. Takashi Tsujii Richard D. Pedone USTrust Raytheon Company James V. Sidell Thomas L. Phillips WCRB-102.5 FM The Red Lion Inn Richard L. Kaye John H. Fitzpatrick WCVB-TV, Channel 5 Boston Shawmut Bank, N.A. S. James Coppersmith John P. Hamill

State Street Bank & Trust Company William S. Edgerly

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41 Discovering a brave new worldin time.

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42

OH

'.•'•'. *y$ m9k The Boston Symphony Orchestra gratefully acknowledges these Business and Professional Leadership Program members for their generous and valuable support totaling $1,250 and above during the past fiscal year. Names which are both capitalized and underscored in tin- Business Leaders listing comprise the Business Honor Roll denoting support of $10,000 and above. Capitalization denotes support of $5,000-$9,999, and an asterisk indicates support of $2,500-$4,999. Business Leaders ($1,250 and above)

Accountants J.N. Phillips Glass Company, Inc. Lee Kennedy Co., inc. Norman S. Rosenfield Lee M. Kennedy ARTHUR ANDERSEN & CO. William F. Meagher Banking National Lumber Company ARTHUR YOUNG & COMPANY BANK OF BOSTON Louis L. Kaitz Thomas P. McDermott Ira Stepanian PERINI CORPORATION David B. Perini Charles E. DiPesa & Company BANK OF NEW ENGLAND William F. DiPesa CORPORATION Consumer Goods/Distribulors Walter J. Connolly COOPERS & LYBRAND Barter Connections BAYBANKS, INC. Vincent M. O'Reilly Kenneth C. Barron Richard F. Pollard DELOITTE, HASKINS & SELLS FAIRWINDS GOURMET COFFEE Mario Umana THE BOSTON COMPANY COMPANY George W. Phillips ERNST & WHINNEY Michael J. Sullivan Cambridge Trust Company Thomas M. Lankford John Gilbert Jr. Co. Lewis H. Clark PEAT MARWICK Michael Facendola MAIN & CO. Chase Manhattan Bank PEPSI-COLA BOTTLERS Robert D. Happ John McCullough OF NEW ENGLAND PRICE WATERHOUSE CITICORP/CITIBANK PEPSI COLA -EAST Kenton J. Sicchitano Walter E. Mercer Michael K. Lorelli

Theodore S. Samet & Company First Mutual of Boston SUNTORY LIMITED Theodore S. Samet Keith G. WUloughby Keizo Saji

Tofias, Fleishman, First National Bank of Chicago Education Shapiro & Co., P.C. Robert E. Gallery BENTLEY COLLEGE Allan Tofias GE Capital Corporate Finance Group Gregory Adamian Richard A. Goglia Advertising/Public Relations Electrical/HVAC Rockland Trust Company Cabot Advertising L. Rudolph Electrical Company, Inc. John F. Spence, Jr. William H. Monaghan Louis Rudolph SHAWMUT BANK, N.A. DELLA FEMINA, MCNAMEE *p.h. mechanical Corporation John P. Hamill WCRS, INC. Paul A. Hayes Michael H. Reingold STATE STREET BANK & TRUST COMPANY R&D ELECTRICAL COMPANY, INC. HILL, HOLLIDAY, CONNORS, Richard D. Pedone William S. Edgerly COSMOPULOS, INC. The Reflex Lighting Group Jack Connors, Jr. USTRUST Paul D. Mustone James V. Sidell Aerospace Wainwright Bank & Trust Company Electronics Northrop Corporation John M. Plukas Alden Electronics, Inc. Thomas V. Jones Workingmens Co-operative Bank John M. Alden

Antiques/Coin Dealers John E. McDonald ''Analytical Systems Engineering Corporation The Great American Coin Company Building/Contracting Michael B. Rukin Bertram M. Cohen A.J. Lane & Company Andrew J. Lane Lucas Epsco, Inc. Architects Wayne P. Coffin Bond Bros., Inc. ADD INC. ARCHITECTS Edward A. Bond, Jr. * The Mitre Corporation Philip M. Briggs Charles A. Zraket Chain Construction Corporation LEA Group Howard J. Mintz PARLEX CORPORATION Eugene R. Eisenberg Herbert W. Pollack Harvey Industries, Inc. Automotive/Service Frederick Bigony Energy

GANS TIRE COMPANY, INC. Mass. Electric Construction Company CABOT CORPORATION David Gans Francis Angino Samuel W. Bodman

43 A BROADCAST SERVICE OF THE CHRISTIAN SCIENCE MONITOR

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44 Engineering The Rockport Corporation DIGITAL EQUIPMENT Anthony Tiberii CORPORATION Goldberg-Zoino & Associates, Inc. Kenneth II. Olseri Donald T. Goldberg THE STRIDE RITE CORPORATION Arnold S. Hiatt DYNATECH CORPORATION Stone & Webster Engineering J. P. Barger Corporation Furnishings/Housewares Philip Garfinkel ARLEY MERCHANDISE EG&G, INC Dean W. Freed The Thompson & Lichtner CORPORATION Company, Inc. David I. Riemer *General Eastern Instruments Co. John D. Stelling Barton Brass Associates Pieter R. Wiederhold Barton Brass HELIX TECHNOLOGY CORPORATION Entertain men t/Media BBF Corporation Boruch B. Frusztajer Robert J. Lepofsky GENERAL CINEMA CORPORATION Corona Curtain THE HENLEY GROUP Paul M. Mont rone Richard A. Smith Manufacturing Co., Inc. Paul Sheiber HKWLETT-PA( ( National Amusements, Inc. 'KARD 'OMPANY Sumner M. Redstone COUNTRY CURTAINS Ben L. Holmes Jane P. Fitzpatrick IBM CORPORATION Jofran Sales, Inc. Paul J. Palmer Finance/Venture Capital Robert D. Roy Instron Corporation Corporation *3i Harold Hindman Ivan N. Momtchiloff Graphic Design *Intermetrics Inc. Carson Limited Partnership *Clark/Linsky Design Joseph A. Saponaro Herbert Carver Robert H. Linsky IONICS, INC. FARRELL, HEALER & LABEL ART Arthur L. Goldstein COMPANY, INC. Thomas Cobery Richard A. Farrell, Jr. Loral Hycor, Inc. Joseph Hyman THE FIRST BOSTON High Technology/Electronics CORPORATION Alden Products Company *M/A-Com, Inc. Malcolm MacColl Betsy Alden Thomas F. Burke ANALOG DEVICES, INC. MASSCOMP Ray Stata Richard A. Phillips Food Service/Industry *Apollo Computer, Inc. MILLIPORE CORPORATION * Boston Showcase Company Thomas A. Vanderslice John A. Gilmartin Jason E. Starr *Aritech Corp. NEC CORPORATION *The Catered Affair James A. Synk Atsuyoshi Ouchi Holly P. Safford AUGAT, INC. Cordel Associates, Inc. NEC DEUTSCHLAND GmbH Marcel P. Joseph Takahashi James B. Hangstefer Masao Automatic Data Processing *Orion Research, Inc. Cookies Cookin Arthur S. Kranseler Glen Bornstein Alexander Jenkins III CREATIVE GOURMETS, LTD. *Bachman Information Systems PRIME COMPUTER, INC. Arnold Kraft Russell Planitzer Stephen E. Elmont BOLT AND daka, Inc. BERANEK RAYTHEON COMPANY INC. Allen R. Maxwell NEWMAN, Thomas L. Phillips Stephen R. Levy Gourmet Caterers SofTech, Inc. Robert A. Wiggins BULL, WORLDWIDE Justus Lowe, Jr. INFORMATION SYSTEMS *The Analytical Sciences Corporation Roland Pampel (TASC) Footwear *Cerberus Technologies, Inc. Arthur Gelb Converse, Inc. George J. Grabowski TDK ELECTRONICS Gilbert Ford Computer Power Group CORPORATION J. Baker, Inc. of America Takashi Tsujii Sherman N. Baker David L. Chapman TERADYNE INC. JONES & VINING, INC. Costar Corporation Alexander V. d'Arbeloff Sven A. Vaule, Jr. Otto Morningstar THERMO ELECTRON MORSE SHOE. INC. CSC PARTNERS, INC. CORPORATION Manuel Rosenberg Paul J. Crowley George N. Hatsopoulos

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in a department with its own sound environment.

OPEN TIL MIDNIGHT TO SERVE YOU! itn n«Qs\ra BOSTON THX^/lluZSTBr**& Mass. Ave. At Newbury In Back Bay Above Auditorium T Stop on the Greenline

48 Management/Financial/Consulting The Biltrite Corporation "Textron, Inc. ADVANCED MANAGEMENT Stanley J. Bernstein B.P. Dolan ASSOCIATES Boston Acoustics, Inc. Win- Bell Company of America Harvey Chet Krentzman Frank Reed F. Wade Greer ARTHUR D. LITTLE, INC. Boston Sand & Gravel Company Media John F. Magee Dean M. Boylan THE BOSTON' GLOBE Bain & Company, Inc. *C.R. Bard, Inc. William 0. Taylor William W. Bain Robert H. McCaffrey THE BOSTON CONSULTING CENTURY MANUFACTURING BOSTON HERALD GROUP COMPANY Patrick J. Purcell Jonathan L. Isaacs Joseph Tiberio WCKB- 102. 5 FM Richard Corporate Decisions *Chelsea Industries, Inc. L. Kaye David J. Morrison Ronald G. Casty WCVB-TV, CHANNEL 5 BOSTON

S. James ( The Forum Corporation CONNELL LIMITED loppersmith John W. Humphrey PARTNERSHIP William F. Connell Personnel Haynes Management, Inc. G. Arnold Haynes Dennison Manufacturing Company TAD TECHNICAL SERVICE8 Nelson G. Gifford CORPORATION Irma Mann Strategic Marketing David J. McGrath, Jr. Irma Mann Stearns *Erving Paper Mills Charles B. Housen Jason M. Cortell & Associates, Printing Inc. FLEXcon Company, Inc. Bradford & Bigelow, Inc. Jason M. Cortell Mark R. Ungerer John D. Galligan KAZMAIER ASSOCIATES, INC. GENERAL ELECTRIC PLASTICS Courier Corporation Richard W. Kazmaier, Jr. Glen H. Hiner Alden French, Jr. Lochridge & Company, Inc. General Latex and Chemical Corp. CPS Richard K. Lochridge Robert W. MacPherson Phineas E. Gay III MCKINSEY & COMPANY * Georgia-Pacific Corporation Customforms, Inc. Robert P. O'Block Maurice W. Kring David A. Granoff PRUDENTIAL-BACHE THE GILLETTE COMPANY SECURITIES Colman M. Mockler, Jr. DANIELS PRINTING COMPANY' Lee S. Daniels David F. Remington GTE PRODUCTS CORPORATION Dean T. Langford *Espo Litho Co., Inc. *Rath & Strong Dan Ciampa HARVARD FOLDING BOX David M. Fromer George H. Dean Company Towers Perrin COMPANY, INC. Melvin A. Ross Earle Michaud J. Russell Southworth H.K. Webster Inc. GRAFACON, INC. *William M. Mercer Meidinger Company, Hansen Dean K. Webster H. Wayman Rogers, Jr. Chester D. Clark HMK Group Companies, Ltd. Publishing *The Wyatt Company Joan L. Karol Addison-Wesley Publishing Company. Michael H. Davis Hudson Lock, Inc. Inc. Yankelovich Clancy Shulman Norman Stavisky Warren R. Stone Kevin Clancy Kendall Company CAHNERS PUBLISHING COMPANY' J. Dale Sherratt Manufacturer's Representatives Ron Segel LEACH & GARNER COMPANY BEN-MAC ENTERPRISES, INC. MTFFLLN COMPANY Philip F. Leach HOUGHTON Lawrence G. Benhardt Harold T. Miller Leggett & Piatt, Inc. KITCHEN, & INC. Little, Brown Company KUTCHIN, Alexander M. Levine & Melvin Kutchin Kevin L. Dolan NEW ENGLAND BUSINESS PAUL R. CAHN ASSOCIATES, SERVICE, INC. INC. Real Estate/Development Richard H. Rhoads Paul R. Cahn THE BEACON COMPANIES *New England Door Corporation Norman Leventhal Manufacturing/Industry Robert C. Frank Benjamin Schore Company Advanced Pollution Control Pierce Aluminum Corp. Benjamin Schore Michael F. Flaherty, Jr. Robert W. Pierce Boston Capital Partners *Avedis Zildjian Company Superior Brands, Inc. Christopher W. Collins Armand Zildjian Richard J. Phelps Herbert F. Collins *Barry Wright Corporation *Termiflex Corporation Richard J. DeAgazio Ralph Z. Sorenson William E. Fletcher John P. Manning A NEW SENIOR

LIFECARE RESIDENTIAL

COMMUNITY IN THE FIVE

COLLEGE AREA,

SURROUNDED BY SCENIC

BEAUTY, AND A WEALTH

OF CULTURAL AND EDUCATIONAL OPPORTUNITIES.

Please call 413-253»9833 or write: Applewood at Amherst, P.O. Box 829 Amherst MA 0]004

PERFORMANCE YOU'LL APPRECIATE.

PULSIFER & ASSOCIATES Investments managed with integrity.

Pulsifer & Associates Trustee and Investment Managers 27 North Main Street • P.O. Box 170 • Ipswich, MA 01938-0170 508-356-3530 In Boston: 617-227-7904

50 "The Chiofaro Company NEIMAN MARCUS Shaughnessy & Ahern Co Donald Chiofaro William D. Roddy .John J, Shaughnessy Combined Properties, Inc. *Purity Supreme Supermarkets S'lfhran/Itijoiriiulioii Frank P. Giacomazzi Stanton L. Black CULLINBT SOFTWARE, INC

Demeter Realty Trust *Saks Fifth Avenue -John .]. ( hillinane Demeter Alison Strieder Mayher George P. •International Data Group FIRST WPNTHROP CORPORATION SEARS, ROEBUCK & Patrick J McGovern Arthur J. Halleran, Jr. COMPANY LOTUS DEVELOPMENT S. David Whipkey The Flatley Company CORPORATION Thomas J. Flatley Stop & Shop Foundation Jim P. Manzi Avram J. Goldberg, Trustee The Fryer Group, Inc. Phoenix Technologies Foundation Malcolm F. Fryer, Jr. Stop & Shop Company Neil Colvin Lewis Schaeneman, Chairman Heafitz Development Company Lewis Heafitz Suzanne Travel/Transportation Suzanne Seitz Hilon Development Corporation Crimson Travel Service Haim S. Eliachar Tiffany & Co. David Paresky William Chaney *John M. Corcoran & Company Garber Travel John M. Corcoran THE TJX COMPANIES, INC. Bernard Garber Sumner Feldberg Nordblom Company The Hallamore Companies Roger P. Nordblom Science/Medical Dennis Barry, Sr.

Northland Investment Corporation Baldpate Hospital, Inc. Heritage Travel, Inc. Robert A. Danziger Lucille M. Batal Donald R. Sohn

Trammell Crow Company Blake & Blake Genealogists Arthur DeMartino Richard A. Blake, Jr. Telecommunications Urban Investment & Development CHARLES RIVER AT&T Rudv K. Umscheid LABORATORIES, INC. Robert Babbitt Henry L. Foster MCI Portsmouth Regional Hospital Nathan Kantor Retail William J. Schuler NEW ENGLAND TELEPHONE Beverly Hills Flowers of Boston CompuChem Corporation COMPANY Anthony DePari Gerard Kees Verkerk Paul C. O'Brien

Child World, Inc. DAMON CORPORATION NORTHERN TELECOM, INC.

Dennis II. Barron David I. Kosowsky John Craig

DEMOULAS FOUNDATION J.A. Webster, Inc. NYNEX CORPORATION TA. Demouias John A. Webster Delbert C. Staley

FILENE'S Lectro-Med Health Screening David P. Mullen Services, Inc. Utilities Allan Kaye "Hills Department Stores BOSTON EDISON COMPANY Stephen A. Goldberger Services Stephen J. Sweeney

JORDAN MARSH COMPANY Asquith Corporation EASTERN ENTERPRISES Richard F. Van Pelt Lawrence L. Asquith Robert W. Weinig

Karten's Jewelers Giltspur Exhibits/Boston New England Electric System Joel Karten Thomas E. Knott Joan T. Bok

51 P\> *iu« t?i mm

Next Program . . .

Thursday, February 1, at 8 Friday, February 2, at 2

Saturday, February 3, at 8

SEIJI OZAWA conducting

MOZART Symphony No. 32 in G, K.318

Allegro spiritoso— Andante — Tempo I

MAHLER Adagio from the Symphony No. 10 in F-sharp

INTERMISSION

BRAHMS Concerto in A minor for violin and cello, Opus 102 Allegro Andante Vivace non troppo

MALCOLM LOWE, violin JULES ESKIN, cello

Supper Concerts at Symphony Hall

Supper Concerts feature members of the Boston Symphony Orchestra performing caBSSu chamber music in Symphony Hall's Cabot-Cahners Room at 6 p.m., followed by a buffet supper. For ticket information or reservations, please call the Volunteer Office at (617) 266-1492, ext. 177.

Thursday, January 25, and Thursday, February 1, at 6 p.m.

JEROME ROSEN, violin SATO KNUDSEN, cello RONALD WILKISON, viola DEBORAH EMERY, piano

BRAHMS Piano Quartet in G minor, Opus 25

Tuesday, February 6, and Saturday, February 10, at 6 p.m. w> AZA RAYKHTSAUM, violin ROBERT BARNES, viola VYACHESLAV URITSKY, violin JOEL MOERSCHEL, cello

HAYDN String Quartet in F minor, Opus 20, No. 5 SHOSTAKOVICH String Quartet No. 8 in C minor, Opus 110

52 Coming Concerts . . . BEFORE OR AFTER Thursday 'A' -February 1, 8-9:50 Friday 'A' -February 2, 2-3:50 Saturday 'A' - February 3, 8-9:50 SEIJI OZAWA conducting MALCOLM LOWE, violin Theatre, Symphony or Ballgame, JULES ESKIN, cello Symphony No. 32 Pearson's has the selection to please MOZART MAHLER Adagio from your crowd. We serve dinner 'til 11 pm, Symphony No. 10 BRAHMS Double Concerto offering steaks, seafood and pasta,

and our Cafe Fare 'til midnight Tuesday 'C -February 6, 8-10 includes ribs, grilled steak sand- Friday Evening— February 9, 8-10 Saturday 'B' -February 10, 8-10 wiches, chilled shellfish and more. SEIJI OZAWA conducting

Dine in our casual lounge, outside YO-YO MA, cello HAYDN Symphony No. 104, on the patio or in our fine dining London room. Open until 1 am seven days, SHOSTAKOVICH Cello Concerto No. 2 ROSSINI Overture to Semiramide serving lunch and dinner, with

brunch on Sundays. Valet parking. Wednesday, February 14, at 7:30 Open Rehearsal Marc Mandel will discuss the program n^ at 6:30 in Symphony Hall. Thursday 'D'- February 15, 8-9:55 Friday 'B'- February 16, 2-3:55 Steak & Sea Grille Saturday 'A' -February 17, 8-9:55 Tuesday 'B'- February 20, 8-9:55 Commonwealth Avenue, corner of Dartmouth Street CLAUS PETER FLOR conducting Boston, MA 617536-3556 IDA HAENDEL, violin GAIL DUBINBAUM, mezzo-soprano JON GARRISON, tenor HAIJING FU, baritone BRAHMS Violin Concerto MENDELSSOHN Die erste Walpurgisnacht

Garber TVavel gives you an Thursday 'A' -February 22, 8-9:35 Friday 'A' -February 23, 2-3:35 opening night performance. Saturday 'B'- February 24, 8-9:35 GIUSEPPE SINOPOLI conducting We invite you to step inside any one of our 55 offices and experience the WAGNER Prelude to . talents of our travel Die Meistersinger professionals. They will L'V STRAUSS Don Juan expertly plan your SCHUMANN Symphony No. 2 vacation, giving you a solo performance you won! soon forget. We bet you'll Programs and artists subject to change. even ask for an encore! Call us at 734-2 100

Main Office: 1406 Beacon St., Brookline

53 David & Company

Graduate Gemolog7\A Sellers & Buyers of Fine Jewelry

Diamonds Precious Colored Gems Fine Estate Jewelry

< •• David & Company, Inc. Specializes in the finest quality custom-made diamond and precious stone jewelry at conservative prices.

Visit us at our new location. 180 Linden Street, Wellesley, MA 02181 617-235-5139 800-696-5267 FAX 617-235-7683

We are interested cash buyers of Diamonds, Precious Stones and Fine Jewelry.

For rates and information on BOSTON advertising in the SYMPHONY Boston Symphony, ORCHESTRA Boston Pops, SEIJI OZAWA Ji

and Music Director x$ , yr Tanglewood program books please contact:

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

54 Symphony Hall Information . . .

FOR SYMPHONY HALL CONCERT IN CONSIDERATION of our patrons and AND TICKET INFORMATION, call (617) artists, children under four years of age will 266-1492. For Boston Symphony concert not be admitted to Boston Symphony program information, call "C-O-N-C-E-R-T" Orchestra concerts. (266-2378). THE SYMPHONY SHOP is located in the performs ten THE BOSTON SYMPHONY Huntington Avenue stairwell near the Cohen months a year, in Symphony Hall and at Wing and is open from one hour before each Tanglewood. For information about any of concert through intermission. The shop car- the orchestra's activities, please call Sym- ries BSO and musical-motif merchandise phony Hall, or write the Boston Symphony and gift items such as calendars, clothing, Orchestra, Symphony Hall, Boston, MA appointment books, drinking glasses, holiday 02115. ornaments, children's books, and BSO and THE EUNICE S. AND JULIAN COHEN Pops recordings. All proceeds benefit the WING, adjacent to Symphony Hall on Boston Symphony Orchestra. For merchan- Huntington Avenue, is currently undergoing dise information, please call (617) 267-2692. renovations. TICKET RESALE: If for some reason you FOR SYMPHONY HALL RENTAL are unable to attend a Boston Symphony INFORMATION, call (617) 266-1492, or concert for which you hold a ticket, you may write the Function Manager, Symphony make your ticket available for resale by call- Hall, Boston, MA 02115. ing the switchboard. This helps bring needed THE BOX OFFICE is open from 10 a.m. revenue to the orchestra and makes your until 6 p.m. Monday through Saturday; on seat available to someone who wants to concert evenings it remains open through attend the concert. A mailed receipt will intermission for BSO events or just past acknowledge your tax-deductible starting-time for other events. In addition, contribution. the box office opens Sunday at 1 p.m. when there is a concert that afternoon or evening. RUSH SEATS: There are a limited number Single tickets for all Boston Symphony sub- of Rush Tickets available for the Friday- scription concerts are available at the box afternoon, Tuesday-evening, and Saturday- office. For outside events at Symphony Hall, evening Boston Symphony concerts (sub- tickets are available three weeks before the scription concerts only). The continued low concert. No phone orders will be accepted price of the Saturday tickets is assured for these events. through the generosity of two anonymous donors. The Rush Tickets are sold at $6 TO PURCHASE BSO TICKETS: American each, one to a customer, on Fridays as of Express, MasterCard, Visa, a personal 9 a.m. and Saturdays and Tuesdays as of check, and cash are accepted at the box 5 p.m. office. To charge tickets instantly on a major credit card, or to make a reservation PARKING: The Prudential Center Garage and then send payment by check, call offers a discount to any BSO patron with a "Symphony-Charge" at (617) 266-1200, ticket stub for that evening's performance. Monday through Saturday from 10 a.m. There are also two paid parking garages on until 6 p.m. There is a handling fee of $1.75 Westland Avenue near Symphony Hall. for each ticket ordered by phone. Limited street parking is available. As a GROUP SALES: Groups may take advan- special benefit, guaranteed pre-paid parking tage of advance ticket sales. For BSO con- near Symphony Hall is available to subscrib- certs at Symphony Hall, groups of twenty or ers who attend evening concerts on Tuesday, more may reserve tickets by telephone. To Thursday, Friday, or Saturday. For more place an order, or for more information, call information, call the Subscription Office at Group Sales at (617) 266-1492. (617) 266-7575.

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

56 InBare CasesWoodDoi onduct Electricity.

. .lank you Boston Symphony Orchestra for music that shines brighter every year.

Bank of New England asteii?

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