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State Street Bank and Trust Company invites you to an evening with The Boston Symphony Orchestra every Friday at nine on WCRB/FM.

BOSTON SYMPHONY ORCHESTRA SEIfl OZAWA Musk Director

Seiji Ozawa, Music Director

Sir Colin Davis, Principal Guest Conductor Joseph Silverstein, Assistant Conductor Ninety-Ninth Season 1979-80

The Trustees of the Boston Symphony Orchestra Inc.

Talcott M. Banks, Chairman Nelson J. Darling, Jr., President

Philip K. Allen, Vice-President Sidney Stoneman, Vice-President

Mrs. Harris Fahnestock, Vice-President John L. Thorndike, Vice-President

Roderick M. MacDougall, Treasurer

Vernon R. Alden Archie C. Epps III Thomas D. Perry, Jr.

Allen G. Barry E. Morton Jennings, Jr. Irving W. Rabb Leo L. Beranek Edward M. Kennedy Paul C. Reardon

Mrs. John M. Bradley George H. Kidder David Rockefeller, Jr. George HA. Clowes, Jr Edward G. Murray Mrs. George Lee Sargent Abram T. Collier Albert L. Nickerson John Hoyt Stookey

Trustees Emeriti

Richard P. Chapman JohnT. Noonan Mrs. James H. Perkins

Administration of the Boston Symphony Orchestra Thomas W. Morris General Manager

Peter Gelb Gideon Toeplitz Daniel R. Gustin Assistant Manager Orchestra Manager Assistant Manager Joseph M. Hobbs Walter D.Hill William Bernell Director of Director of Assistant to the Development Business Affairs General Manager

Caroline E. Hessberg Dorothy Sullivan Anita R. Kurland Promotion Controller Administrator of Coordinator Youth Activities Richard Ortner \ lizabeth Dunton Assistant Administrator, Elisabeth Quinn Directo' Berkshire Music Center Director of Sales Volunteer Servu es James V. Kiley C hark-s Rawson Katherine Whitty ( )pentionS Manager, Manag< • Tanglnrood Coordinator of Box Office Boston Couru il James I Whitaker Hall Manager, Symphony Hall

Steven Ledbetter Jean Miller MacKen/ie Marc Mandel Diret d • Publu nitions Publu ations Publications Assistant Assistant

Programs copyright j I97M Boston Symphony ( )rchestra, Inc.

3 The Board of Overseers of the Boston Symphony Orchestra Inc.

1

1 Leo L. Beranek

Chairman

Mrs. Norman L. Cahners Weston P. Figgins Mrs. William H. Ryan

Vice-Chairman V ice-Chairman Secretary

Charles F. Adams Jordan L. Golding David Mugar

John Q. Adams Haskell R. Gordon Stephen Paine, Sr.

Mrs. Frank G. Allen Mrs. John L. Grandin David R. Pokross

Hazen H. Ayer Mrs. Howard E. Hansen William Poorvu Mrs. Richard Bennink Christian Halby Mrs. Curtis Prout

David W. Bernstein Mrs. R. Douglas Hall III Harry Remis

David Bird Mrs. Richard D. Hill Mrs. Peter van S. Rice

1 Gerhard D. Bleicken Mrs. Amory Houghton, Jr. Mrs. Samuel L. Rosenberry

1 William M. Bulger Richard S. Humphrey, Jr. Mrs. Jerome Rosenfeld

Mrs. Kelton Burbank Mrs. Louis I. Kane Mrs. George R. Rowland

Curtis Buttenheim Leonard Kaplan Francis P. Sears, Jr.

Mrs. Mary Louise Cabot Mrs. F. Corning Kenly, Jr. William A. Selke i The Hon. Levin H. Campbell III John Kittredge Gene Shalit

Julian Cohen Robert K. Kraft Donald Sinclair

Johns H. Congdon Benjamin H. Lacy Samuel L. Slosberg

Arthur P. Contas Mrs. Henry A. Laughlin Richard A. Smith

Mrs. C. Russell Eddy Mrs. Warren B. Manhard II Peter J. Sprague

William Edgerly C. Charles Marran Mrs. Edward S. Stimpson

Mrs. Fitzpatrick William Middendorf II Mrs. Richard H. Thompson 1 John J. Paul Fromm Colman M. Mockler Mark Tishler

Carlton P. Fuller Paul Montrone D. Thomas Trigg

Mrs. Thomas J. Galligan Mrs. Elting E. Morison Mrs. Donald Wilson Mrs. Thomas Gardiner Mrs. Stephen V. C. Morris Roger H. Woodworth

Mrs. Robert Gibb Richard P. Morse

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UnionWemen Savings Bank I Main Office -133 Federal Street, Boston

i 4 the right, That's my wife, those are the twins, and, on 1 my New England Merchants trust officer

Massachusetts 02 109. The Bank of New England. England Merchants National Bank. 28 State Street, Boston,

I The Boston Symphony Chamber Players embark on their 1980 European tour next month, performing fourteen concerts between 6 May, in London, and 22 May, in Vienna. Highlights of the tour include appearances at King's College Chapel in Cambridge, at the Brighton Festival, and at the Flanders Festival in Kortrijk, Belgium. The Chamber Players will be joined by members of the Academy of St. Martin-in-the-Fields for a Brahms Festival performance in Col- ogne, and they will also be heard in eight other cities, including Dusseldorf, Mannheim, Munich, and Prague. The tour has been made possible by grants from Bechstein Piano and the Digital Equipment Corporation.

BSO Chamber Preludes and Suppers

The Boston Symphony Orchestra is pleased to announce the continuation of its popular series of chamber music concerts and suppers during the 1980-81 season. Subscribers to Tuesday, Thursday, and Saturday evening BSO concerts can hear orchestra members perform chamber music at 6 pm in the intimate surroundings of the Cabot-Cahners Room, which will open for drinks at 5:15 pm; a light sup- per is served following the recital, and you'll be seated in plenty of time for the evening's 8 pm BSO concert. Only 150 seats are available for each Prelude series, so we urge you to place your order when you renew your BSO subscription this spring; the ticket price includes supper. No single tickets will be sold for these concerts, and, again, only subscribers may attend these special events.

Boston Symphony 1980-81 Subscriptions

Boston Symphony Orchestra subscribers will receive program and renewal information for 1980-81— the BSO's Hundredth Anniversary Season—by mid- May. New subscriptions will also become available at that time. Details of the 1980-81 season were announced at a Symphony Hall press conference on 15 April.

Tanglewood 1980

Complete program and ticket information for the Boston Symphony Orchestra's 1980 Tanglewood season is now available. Please address your inquiry to Tangle- wood Ticket Information, Press Office, Symphony Hall, Boston 02115. Art in Support of Art

• .» ., I Following its immensely successful preview showing at the John F. Kennedy Library, the first BSO/WCRB Marathon Art Exhibition and Sale has moved to the first floor corridors of Symphony Hall where it will hang through 26 April. Col- lected by the Marathon '80 Fine Arts Committee headed by Mrs. Peter Graneau and Mrs. Richard Thornton of Concord, the works for sale include Gardner Cox's portrait "Charles Munch," Jack Callahan's "Arthur Fiedler," Harel Kedern's "Bach Studio," Mark Steele's "The Rehearsal," and Marian Knapp's cold cast bronze, "Cello Woman." Over 100 New England artists and galleries have donated their works, in media ranging from watercolors to sculpture, as Marathon '80 premiums. Two pledge desks will be staffed for the remaining BSO concerts during the hour before, intermissions, and for a time afterwards. Any- one interested in purchasing a work may come to a pledge desk located in the Hall's first floor corridors, or may telephone the Marathon Office at Symphony Hall at 266-1492, ext. 130 during business hours. Brigitta Graneau can be reached by phone at 369-7936, and she will arrange to meet with possible buyers at Sym- phony Hall or in Concord.

Area Buses

Ten areas have provided bus service to and from Symphony Hall on Friday after- noons. In addition to providing a great convenience to subscribers, the buses make a profit which at the end of the year is donated to the BSO to help offset the annual deficit. We are indebted to the following BSO Council members who gave so much time and effort to this project: from the Andover Area, Mrs. Hart C. Leavitt and Mrs. Alexander Z. Warren; Cape Cod, Mrs. Daniel Bushnell; Con- cord, Mrs. Douglas Sears; Dedham/Dover, Mrs. Whitney Wright; Newton/ Wellesley, Mrs. Lewis S. Pilcher and Mrs. Worthing L. West; New Hampshire,

Mrs. George Foote; North Shore I, Mrs. Frank D'elseaux; North Shore II, Mrs. Richard S. Russell and Mrs. Lyon Weyburn; South Shore, Mrs. Winthrop Coffin; Weston, Mrs. Lovett Morse.

Friends' Contributions to the BSO

Beginning with the Symphony's Centennial Season of 1980-81, the benefits to Friends contributing to the BSO will be adjusted somewhat. As a current Friend, you will be mailed a full description of the new categories of contribution. For the immediate information of those concertgoers planning their '80-'81 season attendance at Stage Door Lecture/Luncheons and Pre-Symphony Suppers, how- ever, it must be noted that invitations to these very popular and stimulating events will now be received only by those Friends contributing $50 or more.

Annual BSO Council Meeting and Luncheon

The BSO Council's Annual Meeting and Luncheon will be held on Tuesday, 27 May at 12 noon in the Cabot-Cahners Room. William Pierce, "the Voice of the BSO," will be the featured speaker. Council members will receive their invitations the second week of May. HERE'S WORTH LIS

Please give

.1 There are countless reasi km why the name i 4 loved one with an the BSO is a cause worthy of your con- endowment, scholarship, orcapital tribution. Bur the performance you're improvement. Y< >ur contribution will

is attending now surely the best re be re< 1 agnized and identified in a last* of all. We need your support in order ing way. In addition, major benefac- mtinue to offer this same level of tors V or more will have musical quality in th< me. their names inscribed on ,\ Centennial

And now thai we'resoclosi ich- f [onor Roll in Symphony f lall. Ing our goal in th< LOOth Anni- I he End iwment ( )f: irv Drive, we need sour help more Mumc I )irect< >r\ p< >siti< >n. .$1 ,000,000 than ever! Front chairs in on hestra. . . .$250,000

( Jh< ose from our many gift Individual ( hairs ntunitfes, and link y »tu name or in any sec tion $1 50,000 KCAUSE fENING TO.

ID THE BSO100. juest Conductor $50,000 Soloist/Guest juest Soloist $25,000 Conductor's room $50,000 individual concert $50,000 Symphony Hall seats $5,000 outh concert series $500,000 onductorship of Pledges are accepted in youth concerts $250,000 year periods, and can also be special concerts through a life income plan. fund $100,0004500,000 For more information, hamberplayere $1,000,000 please contact Joseph trustees' room $250,000 Hohhs, Director of -obby and box office $150,000 Development, riends'room $100,000 BSO-100, Symphony

Conductor's green room . . . .$100,000 Hall, Boston, MA 02115 musicians' lounge $75,000 Telephone: 236^1823. Seiji Ozawa

In the fall of 1973, Seiji Ozawa became the thirteenth Music Director of the Boston Symphony Orchestra since the Orchestra's founding in 1881. Born in Shenyang, China in 1935 to Japanese parents, Mr. Ozawa studied both Western and Oriental music as a child and later graduated from Tokyo's Toho School of Music with first prizes in composition and conducting. In the fall of 1959 he won first prize at the Inter- national Competition of Orchestra Con- ductors, Besancon, France. Charles Munch, then Music Director of the Boston Symphony and a judge at the competition, invited him to Tanglewood for the summer following, and he there won the Berkshire Music Center's high- est honor, the Koussevitzky Prize for outstanding student conductor. While working with Herbert von Karajan in West Berlin, Mr. Ozawa came to the attention of Leonard Bernstein, whom he accompanied on the New York Philhar- monic's spring 1961 Japan tour, and he was made an Assistant Conductor of that orchestra for the 1961-62 season. His first professional concert appearance in North America came in January 1962 with the San Francisco Symphony Orchestra. He was Music Director of the Chicago Symphony's Ravinia Festival for five summers begin- ning in 1964, and Music Director for four seasons of the Toronto Symphony Orches- tra, a post he relinquished at the end of the 1968-69 season in favor ofguest conduct- ing numerous American and European orchestras. Seiji Ozawa first conducted the Boston Symphony in Symphony Hall in January of 1968; he had previously appeared with the Orchestra at Tanglewood, where he was made an Artistic Director in 1970. In December of that year he began his inaugural season as Conductor and Music Director of the San Francisco Symphony Orchestra. The Music Directorship of the Boston Symphony followed in 1973, and Mr. Ozawa resigned his San Francisco position in the spring of 1976, serving as Music Advisor there for the 1976-77 season. As Music Director of the Boston Symphony Orchestra, Mr. Ozawa has strength- ened the Orchestra's reputation internationally as well as at home. In February/ March of 1976 he conducted concerts on the Orchestra's European tour, and in March 1978 he took the Orchestra to Japan for thirteen concerts in nine cities. At the invitation of the People's Republic of China, he then spent a week working with the Peking Central Philharmonic Orchestra. A year later, in March of 1979, he returned to China with the entire Boston Symphony Orchestra for a significant musical and cultural exchange entailing coaching, study, and discussion sessions with Chinese musicians, as well as concert performances. Most recently, in August/September of 1979, the Orchestra under the direction of Mr. Ozawa undertook its first tour devoted exclusively to appearances at the major music festivals of Europe, playing concerts at Lucerne, Montreux, and Besancon, in Belgium at Brussels and Ghent, and at the Salzburg, Berlin, and Edinburgh festivals. Mr. Ozawa pursues an active international career and appears regularly with the orchestras of Berlin, Paris, and Japan. Since he first conducted opera at Salzburg in 1969, he has led numerous large-scale operatic and choral works. He has won an Emmy Award for outstanding achievement in music direction for the BSO's Evening at Symphony television series, and his recording of Berlioz's Romeo et Juliette has won a Grand Prix du Disque. Seiji Ozawa's recordings with the Boston Symphony Orchestra include works of Bartok, Berlioz, Brahms, Ives, Mahler, Ravel, and Ses- sions, with music of Berg, Hoist, and Stravinsky forthcoming. The most recently released of Mr. Ozawa's BSO recordings include Respighi's Pines of Rome, Fountains of Rome, and Roman Festivals, and Tchaikovsky's complete Swan Lake on Deutsche Grammophon, and, on Philips, Schoenberg's Gurrelieder, taped live in Symphony Hall last spring. Violas Bass Clarinet Burton Fine Craig Nordstrom

Charles S. Dana chair Patricia McCarty Bassoons Mrs. David Stoneman chair Sherman Walt Eugene Lehner Edward A. Taft chair Robert Barnes Roland Small ORCHESTRA Jerome Lipson Matthew Ruggiero SEIJI OZAWA , Bernard Kadinoff 'Music Pircctor.

11 When the BSO plays We are treated with balance Discipline and brilliance.

That's how we try To manage your money And help you Conduct your financial affairs.

U>T United States Trust Company

Trust Department 40 Court Street, Boston (617) 726-7250 FAREWELL AND THANKS

Bernard Zighera leaves the Boston Symphony Orchestra at the conclusion of the 1980 Tanglewood season. He has been principal harp with the BSO since 1926, and he also served as the orchestra's pianist for 18 years. Born in Paris and a

member of the French Legion of Honor, Mr. Zighera is a former member of the Societe des Concerts and the Paris Opera Orchestra; from 1936 to 1942 he orga- nized and conducted a successful series of chamber orchestra concerts in Boston. A devoted teacher, Mr. Zighera has been on the faculty of the Berkshire Music Center since its founding in 1940 and of the New England Conservatory since 1927.

13 September 1979-August 1980

BSO ANNUAL FUND APPEAL

GOAL: $2,000,000

We thank those who have already responded to the BSO's Annual Fund Appeal. However, additional help is still urgently needed to meet this year's goal of $2,000,000 so necessary to maintaining the Boston Symphony and the Orches- tra's present level of artistic excellence. Even if you have already contributed, please seriously consider an additional gift. And if you have not yet responded, please consider sending us your check now.

PROGRESS REPORT

BSO Friends have contributed $465,000 as of April 1st, 1980. Corporations and Foundations have added $128,000, bringing the present total to $593,000. With your help and that of thousands of others, we hope to raise an additional $800,000 from the MUSICAL MARATHON (April 18 to 20), OPENING NIGHT AT POPS (April 29), the GLASS HOUSE shop at Tanglewood (open all summer), and from such regular winter season activities as the PRE-SYMPHONY SUP- PERS and STAGE DOOR LECTURES. This $800,000 will be realized only if you support these activities and if you urge your friends to participate.

These important projects are carried out by the Boston Council, the Tanglewood Council, and the Junior Council. But even with that anticipated $800,000, we'll still need $607,000 to reach our goal of $2,000,000! So your contribution is vital, and we urge your support now. Remember that every donor becomes a Friend of the Boston Symphony Orchestra and that a gift of $25 or more entitles you to numerous benefits throughout the year. Please help us with your support.

Leo L. Beranek Nelson J. Darling, Jr. Trustee and Resources President Committee Chairman Board of Trustees

Mrs. John L. Grandin Overseer and Annual Giving Chairman

Please make your check payable to the Boston Symphony Orchestra and send it to: Joseph M. Hobbs, Director of Development, Symphony Hall, Boston, Massa- chusetts 02115. Contributions are tax-deductible. BOSTON SYMPHONY ORCHESTRA

Seiji Ozawa, Music Director

Sir Colin Davis, Principal Guest Conductor

Joseph Silverstein, Assistant Conductor Ninety-Ninth Season, 1979-80

Thursday, 24 April at 8 Friday, 25 April at 2 g°^ Saturday, 26 April at 8

SEIJI OZAWA conducting

MAHLER Symphony No. 7

Langsam (Adagio)— Allegro con fuoco Nachtmusik. Allegro moderato Schattenhaft. Fliessend, aber nicht schnell

(Phantomlike. Flowing, but not fast) Nachtmusik. Andante amoroso Rondo-Finale. Allegro ordinario

Thursday's and Saturday's concerts will end about 9:25 and Friday's about 3:25. Deutsche Grammophon, Philips, RCA, and New World records Baldwin piano

Program materials for the Pre-Symphony Chamber Concert begin on page 32.

The program books for the Friday series are given in loving memory of Mrs. Hugh Bancroft by her daughters Jessie Bancroft Cox and Jane Bancroft Cook.

15 the 99th season

Join morning pro musica WGBH (FM 90) host Robert J. Lurtsema Boston, MA for a series of informal WFCR(88.5fm) conversations with the Amherst, MA 99th season's featured soloists and conductors WAMC(90.3fm) on the stations of the Albany, NY Eastern Public Radio WNYC(93.9fm) Network. New York, NY WVPA(89.5fm) Vermont Public Radio WMEH(90.9fm) Bangor, ME

WMEA (90. 1 fm) Portland, ME WMEM(106. lfm) Presque Isle, ME WPBH(90.5fm) Hartford, New Haven, Waterbury, CT Gustav Mahler Symphony No. 7

Gustav Mahler was born at Kalischt (Kaliste) near the Moravian border of Bohemia on 7 July 1860 and died in Vienna on 18 May 1911. He composed the second and fourth movements of what became his Seventh Symphony during the

summer of 1904 and added the remaining three movements the following summer.

Mahler himself conducted the first per- formance of the work in Prague on 19 September 1908. Frederick Stock led the

Chicago Symphony in the first American performance on 15 April 1921. The

Boston Symphony Orchestra first played the Seventh under Serge Koussevitzky on 15 October 1948. The only other perfor- mances since then were with William

Steinberg in 1970 and 1971 (including performances on tour to London, Paris, and

Vienna in 1971). The symphony is scored for two piccolos, four flutes (the third doubling as second piccolo), three oboes, English horn, Eflat clarinet, three clarinets, bass clarinet, three bassoons, contrabassoon, tenor horn in B flat, four horns, three trumpets, three trom- bones, tuba, timpani, bass drum, cymbals, tamtam, triangle, glockenspiel, tambourine, cow bells, tubular bells, mandolin, guitar, two harps, and strings. No composer ever found the medium of song so powerful a generating force for his symphonies as did Mahler. Even his purely instrumental works are imbued with the spirit of his song compositions, and analysts have grouped them into categories according to their varying connections with his song output.

It was after completing his First Symphony (composed 1884-1887) that Mahler discovered and began to exploit the folk-oriented poems of Des Knaben Wun- derhorn. From that point to the turn of the century, all of his work was infused with the influence of the Wunderhorn poems, either because he set the texts as songs and incorporated them into the Second, Third, and Fourth symphonies, or because he adapted song settings into symphonic form ("St. Anthony of Padua's Sermon to the Fishes" was composed as a song and simultaneously expanded in purely instrumental form as a movement of the Second Symphony). Thus all three of the symphonies composed at that time are referred to as the Wunderhorn symphonies. But in 1901 Mahler began to set the poetry of Friedrich Riickert. The songs that came out of this new interest were less "folkish," more internalized; they are characterized by an almost chamber-music delicacy of orchestration, a feature that was to be more and more apparent in Mahler's symphonies, however large the orchestral forces grew. To Riackert's texts Mahler composed his greatest song cycle, Kindertotenlieder (Songs on the Death of Children), and a series of unrelated songs including one of his most typical and best known, "Ich bin der Welt abhanden gekommen."The "Riickert symphonies" — the Fifth, Sixth, and Seventh — are grouped together partly because of expressive connections with the Riickert songs, partly because they form a purely orchestral trilogy nestled

17 between symphonies that require vocal forces for their execution, and partly because of internal connections that make them as a group more similar than different.

All three of these purely orchestral symphonies lack any explicit program, but Mahler no doubt still felt the same way as he had in 1896, when he wrote to Max Marschalk concerning his First Symphony, which had once had a sort of literary program that Mahler later suppressed:

I worked out the title and these explanatory notes retrospectively. My reason for omit-

ting them this time was not only that I thought them inadequate— in fact, not even

accurate or relevant—but that I have experienced the way the audiences have been set on the wrong track by them. Believe me, even Beethoven's symphonies have their inner programs, and closer acquaintance with such a work brings understanding of the

development of feeling appropriate to the ideas. It will eventually be the same with my works.

As far as Mahler's Fifth, Sixth, and Seventh symphonies were concerned, "closer acquaintance" was for a long time difficult to achieve,, since they were performed rarely or only in excerpts (such as the famous Adagietto of the Fifth). But the availability of recordings— and no composer has benefited so much as Mahler

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18 from the arrival of long-playing records— allows anyone to develop the kind of familiarity Mahler felt was necessary to appreciate the "inner program." During the years of the "Riickert symphonies," Mahler spent the winter months in the post of General Music Director of the Vienna Opera, supervising one of the most brilliant periods in the history of that institution. Of necessity he was a "summer composer," since details of administration and performance took up his attention in the winter (and he characteristically threw himself into each project with full energy). So during the summers he and his family went to a vacation home in Maiernigg on Lake Worth in Carinthia; here he completed the Fourth and began the Fifth symphonies before his marriage and later finished the Fifth through Eighth symphonies, all with remarkable speed. (That region of

Austria must be overflowing with music; it is the same lake where Brahms had summered when he wrote his Second Symphony, Violin Concerto, and G major violin sonata.) These years of rapid and confident composition corresponded to the earliest and happiest years of Mahler's marriage to Alma Maria Schindler, a period that also saw the births of their two daughters, to whom Mahler was intensely devoted. Apparently Alma's influence and support and the joys of family life were a strong impetus to creation. This is especially obvious if we compare

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19 Mahler's output from his marriage in 1902 to 1907— four huge symphonies — with the entire twenty years preceding— four symphonies, a cantata, and songs. Clearly he was feeling his abilities in the most positive sense during these years, and he composed with remarkable fluency. And, despite the quite unflattering picture that Alma painted of Mahler in her memoir of their life together (written, of course, after his death, when he could not object), Mahler was not the neurotic psychological cripple filled with death-yearnings that is often portrayed. In fact, until very recently, most biographers have emphasized the undoubted oddities and quirks and ambivalent elements of his character, colored by Alma's recollec- tions, and overlooked the energy and vitality that he displayed as well.

Mahler's regimen in Maiernigg was vigorous. It began with a dive into the lake and an underwater swim as long as he could hold his breath; it continued later in the day with a hike— always taken at a bold clip— and mountain climbing. All this activity, it seems, was put to the service of generating and working out musi- cal ideas. He had already completed the Fourth Symphony there in 1900 and began the Fifth along with some Ruckert settings in 1901, the summer before he met Alma. By the following summer he was married to her, and she was expect- ing the birth of their first child (the wedding had been hastened a bit by her preg- nancy). During that summer he finished the Fifth Symphony, which Michael

Mahler with his daughter Maria Anna at his Maiernigg villa, with the Worthersee in the background

20 Kennedy has aptly characterized as Mahler's "Eroica," passing from tragedy to triumph. During the summers of 1903 and 1904 he wrote the Sixth Symphony and started in on the Seventh in the latter year. He finished the Seventh in 1905 and composed most of the Eighth in 1906.

It was during the summer of 1907 that the apparently steady upward course of his career came grinding to a halt. He had already handed in his resignation to the Vienna Opera, though no successor was found until late in the summer. But his elder daughter Maria died on 5 July, a devastating blow to the composer, who adored her almost to distraction. Alma's mother, who had come out from Vienna to help in this crisis, herself suffered a heart attack, and the strain affected Alma's heart too. When Mahler jokingly suggested to the doctor that perhaps his heart ought also to be examined, he learned for the first time of a heart lesion, subsequently confirmed by two Viennese specialists. From now on his active life was severely restricted; the pastimes he most enjoyed were to be omitted entirely or drastically cut down. Thoughts of death that had been purely philosophical or mystical now became impending reality. His music, too, responded to the change. Mahler's last three compositions — Das Lied von der Enteand the Ninth and unfinished Tenth symphonies— all express in various ways and with ineffa- ble delicacy his sense of the fragility of life and the sorrow of leavetaking. PERFORMANCE The Measure of Achievement

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22 But the Riickert symphonies predate the crisis, and although some of them deal with tragic themes, the overall character of the three is affirmative. This is especially true of the Fifth and Seventh, the pillars surrounding the "Tragic" Symphony, as Mahler called the Sixth for a time. The two gigantic flanking works show a number of similarities. Both begin in a minor key a semitone below the concluding key (which in both cases is in the major mode). In both, the overall structure consists of five movements grouped into a subdivision of three units (though the groupings are differently accomplished). When one adds to this the fact that the opening theme of the Seventh bears a striking resemblance to that of the Sixth, it is easy to see why the Seventh has been branded as "repeti- tive." But the sequence of moods is very different, and the diverse character of the different movements yields all in all an effect quite different from that of either of the earlier works. And the fact that Mahler confessed to having written the second and fourth movements a full year before the rest has allowed easy potshots to those who wish to claim that the piece lacks unity. But it is the end product that determines whether it is unified, not the circumstances of its composition.

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24 During the summer of 1904 Mahler wrote the two movements headed "Nachtmusik. "This was not a reference to Mozart's "little" night music; they reflect Mahler's interest in the moods, whims, and fancies of the night— espe- cially in the form the symphony finally attained, with an oddly dark and mysterious scherzo between the two nocturnes. This emphasis on things noctur- nal has caused the symphony to be nicknamed "The Song of the Night, "but the

name is neither authentic nor appropriate, since it does not in any way fit the two large outer movements. After he had finished the second and fourth movements, Mahler had great

difficulty in deciding how to fit them into a symphony. It was basically a problem of finding a way into the work, a way of beginning the other movements (and even of determining their basic mood), and of fitting the whole together. The problem lingered unsolved during the winter season of 1904-05. When the solu-

tion came to him during his vacation at Maiernigg, it was unexpected but wel- come, as he recalled in a letter to Alma written in 1910, five years after he saw the way out of his difficulty:

In art as in life I am at the mercy of spontaneity. If I had to compose, not a note would

come. . . I made up my mind to finish the Seventh, both Andantes of which were then

on my table. I plagued myself for two weeks until I sank into gloom. . . then I tore off to

the Dolomites. There I was led the same dance, and at last gave it up and returned

home. . . I got into the boat to be rowed across. At the first stroke of the oars the theme (or rather the rhythm and character) of the introduction to the first movement came into my head— and in four weeks, the first, third and fifth movements were done.

Mahler in the Dolomites

25 Once the impasse had been breached, the music came virtually in a flood, music of vigorous and assertive character, in the first and last movements, to provide the balancing "day" for the "night" of the three middle movements.

The symphony had to wait three years for its premiere, and Mahler's life had changed dramatically since he had written this music. The positive and vigorous man had been battered by death in the family and his own ill health. He had composed nothing during the fateful summer of 1907 and spent that of 1908 feel- ing ever more strongly the intimations of his own mortality. On the most casual stroll it was necessary to stop and check his pulse. As Alma recalled that sum- mer, "Every excursion, every attempt at distraction was a failure." In September he journeyed to Prague to conduct the premiere. Although a number of Mahler devotees followed him there for the event (among them Arnold Schoenberg, Alban Berg, Otto Klemperer, Ossip Gabrilovitch, and Artur Bodanzky), Mahler himself was uncertain about the piece and nervously kept revising the orchestra- tion up to and beyond the performance. All in all, the piece enjoyed no more than a succes d'estime with the public. Perhaps Mahler, as conductor, could no longer join in the sense of affirmation that the symphony as a whole produces. His mood at the time is aptly characterized by his philosophical reaction to an indignant trumpeter's query (which he reported in a letter to Alma):

One of the trumpeters asked Bodanzky in despair: 'I'd just like to know what's beautiful about blowing away at a trumpet stopped up to high C sharp.' This made me think deeply about the lot of man, who also cannot understand why he must endure

being 'stopped' to the piercing agony of his own existence, cannot see what it's for, and how his screech is to be attuned to the great harmony of the universal symphony of all creation.

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Though the public at large may have been cool to the new symphony, at least one composer expressed himself directly to Mahler in terms of warmest praise. Arnold Schoenberg wrote to him before the year was out that he had especially admired the Seventh Symphony (and the Third before it) for a sense of balance and artistic harmony, and an avoidance of artifically whipped-up excitement (which he had sometimes felt elsewhere in Mahler's work). Schoenberg con- cluded with words that might seem incredible: "I have regarded you as a classic.

But a classic which is still a model for me." Few observers of the time saw in these gigantic and complex symphonic structures an organization and control that might make them worthy of being called "classic!" As with most of Mahler's symphonies, the composer draws his ideas from a wide range of sources and creates with them a cosmos. Marches, fanfares, waltzes, Landler— these and more are taken up into Mahler's musical stew, to be transformed and recast through counterpoint and orchestral color into new pat- terns and relationships. The first movement is built up largely on march figures — fanfares and dotted rhythms. The slow introduction, on a B minor triad with added sixth, is a soft rhythmic tattoo in woodwinds and strings, over which a solo tenor horn introduces a wide-ranging theme with the same sharply dotted rhythm; the energy builds gradually to the E minor allegro of the principal theme. The falling fourth of this first allegro theme, played on horns and cellos, reappears in progressive intensifications, finally becoming entire chords built up of fourths, a striking new means of harmonic construction. (This may be, in part, what recommended the movement to Schoenberg, who had used similar kinds of

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28 chords in his Chamber Symphony, Opus 9, composed after Mahler had finished

his Seventh, but before it was performed.) The C major second theme (marked to be played "with great dash") is an expressive, sugar-sweet Viennese tune (though not in waltz time) with passing chromatic harmonies and pauses on

climactic high notes. The sprawling sonata structure is built on these few ideas and their derivatives. The second, third, and fourth movements form a trilogy of nocturnal pieces, with varying night moods, the first and last of the three specifically called "night

music" by the composer. Night Music I is about major and minor keys (simulta- neously sometimes), moonlit elegance, hints of a fandango rhythm. The scherzo

is skittery and uncanny, an ironic counterpoise to the other two movements.

Night Music II is an amorous serenade— this is clear from the plucked string sounds of mandolin, guitar, and harp. At the outset the solo violin sings a languishing lover's refrain that punctuates the proceedings. For the rondo-finale, Mahler composed an energetic C major movement that might bear, as a whole, the marking given to the timpani at the opening: "with

bravura." It is openhearted and jolly, with some apparent touches of parody. The purposeful theme marching up the scale in horns and strings against lively six- teenth-note figurations in the woodwinds could well be Wagner's mastersingers (who march to the same drummer in the same key). A huge long-held C major climax is cancelled by an overlapping A flat chord in the woodwinds, which

leads to a new tune in A flat. Some commentators have pointed out that it begins with the same contour as Lehar's famous Merry Widow waltz (though not in 3A)

and conclude that Mahler is parodying the popular operetta, which was pro- duced in 1905. But they overlook the fact that Mahler finished this movement during the summer, whereas Lehar's rich and charming widow did not begin winning hearts in Vienna and throughout the world until the following Decem-

ber. In a sense, this entire last movement is a reversion to the style of the Wun-

derhorn symphonies; it is lighter in mood than the rest of the piece until the very end, when the allegro theme from the opening movement returns with repeti-

tions in a kaleidoscopic series of keys, a powerful affirmation still hinting at questions that remain. —Steven Ledbetter

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30 .

More. .

Books on Mahler come in every size, but one of the very best is also the shortest: Michael Kennedy's Mahler in the Master Musicians series (Littlefield paperback). What will eventually be the standard biography —big and extremely detailed — Mahler by Henry-Louis de La Grange is still a one- volume torso that ends well before the composition of the Seventh Symphony (Doubleday). Alma Mahler's

memoirs And the Bridge is Love (Harcourt Brace Jovanovich) and Gustav Mahler: Memories and Letters (University of Washington) are full of interesting material, but they must be treated with care. Alma's original selection of Mahler's letters has been republished in a new, amplified edition by Knud Martner as Selected Letters of G ustav Mahler with revised dates and many corrections of Alma's notes (Farrar, Straus and Giroux). Mahlerby Kurt Blaukopf is a coffee-table book, often encountered on remainder tables; organization and content are rather indis-

criminate, but the pictures are wonderful (Oxford). Egon Gartenberg's Mahler is

the most recent popular biography; it is strong on the Viennese milieu, but the

musical discussion (in a separate section of the book) is quite trivial (Schirmer paperback). Philip Barford's Mahler Symphonies and Songs in the BBC Music

Guides is a useful brief guide (University of Washington paperback).

Although the Seventh is perhaps the least-recorded of Mahler's symphonies,

there are nonetheless performances representing a wide range of views. I am partial to recent trends that play down the neuroses and allow the music to

speak for itself rather more objectively. Given that preference, I find that I lean toward the reading of Bernard Haitink with the Concertgebouw Orchestra (Philips), which seems somewhat less "driven" than the other versions currently available. But the more hectic versions of Leonard Bernstein with the New York Philharmonic (Columbia) or Sir Georg Solti with the Chicago Symphony (Lon- don) may appeal to those looking for more intense Mahler; both recordings have

things to recommend them, but Solti's recorded sound is the more "present" of

the two. Of special interest, although it is not in the current catalogues, is Otto Klemperer's reading with the New Philharmonia, since Klemperer heard

Mahler conduct the premiere of the work. His version, predictably, is broadly paced, but with intricate attention to detail. -S.L.

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31 BOSTON SYMPHONY ORCHESTRA

Seiji Ozawa, Music Director

Sir Colin Davis, Principal Guest Conductor

Joseph Silverstein, Assistant Conductor Ninety-Ninth Season, 1979-80

PRE-SYMPHONY CHAMBER CONCERTS

Thursday, 24 April at 6 Saturday, 26 April at 6

GERALD ELIAS, violin RONAN LEFKOWITZ, violin PATRICIA McCARTY, viola BETTY BENTHIN, viola JONATHAN MILLER, cello

BRUCKNER String Quintet in F

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32 Anton Bruckner String Quintet in F

Chamber music was almost entirely neglected by a number of major orchestral composers in the nineteenth century, Berlioz, Wagner, Liszt, and Bruckner among them. Bruckner's output of major compositions was pretty much restricted to symphonies and masses; his smaller works were for the most part choral or organ compositions. Bruckner apparently wrote for the unusual (for him) medium of the string quintet at the invitation of Josef Hellmesberger, who in 1861 had been one of the examiners when Bruckner applied for a diploma that would qualify him to teach harmony and counterpoint in Austrian conservato- ries. The applicant passed the examination brilliantly and Hellmesberger invited him to compose a piece for his string quartet. The response was not forthcoming until June 1879, shortly after Bruckner had completed his Fifth Symphony, and even then he chose to write for the larger ensemble of quintet, including a second viola as the fifth instrument.

The resulting composition is one of those fascinating rare cases when a com- poser steps off his familiar and well-trodden paths to try a quite unusual line. Not that the quintet sounds like anyone but Bruckner: the thematic treatment that develops large forms out of small motives expanding and growing organically into new shapes, the wide-ranging chromatic harmony, and the con- trapuntal textures are equally characteristic of Bruckner the symphonist. Still, since this was his first venture into the realm of chamber music (with the excep- tion of a youthful string quartet from his student years), the wonder is that he so rarely fell into patterns of string writing characteristic of works composed for full orchestra. He does lapse noticeably at the very end, where he clearly tries to produce the kind of sonorous climax that a full orchestra is capable of, but for the most part the writing is detailed and intricate. A shift from F major to F minor in the opening bar generates much of the first movement — precisely the same shift (and in the same key) that opens the Third Symphony of Johannes Brahms, the greatest chamber music composer of Bruckner's time— and, ironically, the one composer least likely to have influenced him, since Bruckner was an ardent Wagnerite. The scherzo is a charmingly quirky movement, full of wide leaps and offbeat rhythms.

Hellmesberger said it was too difficult, and for a time it was replaced by an Inter- mezzo, but the original scherzo finally won out and returned to its position in the quintet. The adagio was originally the second movement, but Bruckner later exchanged its position with that of the scherzo. He often made slow movements into emotional highpoints of his works, and this one is no exception. It is richly and sensuously scored, calling up the world of the late Beethoven quartets. The finale opens with a search for the home key, tosses motives back and forth before setting out on a most unacademic fugato, and moves from its opening intima- tions of F minor to a massively scored F major conclusion. -S.L.

33 Gerald Elias

Gerald Elias joined the Boston Sym- phony Orchestra's violin section in 1975 shortly after graduating from Yale University, where he simulta- neously received degrees from Yale College and the Yale School of Music. Born in Westbury, New York, he began his private studies at the age of eight with A. William Liva; subse- quent teachers included Ivan Gala- mian of the Juilliard School and BSO concertmaster Joseph Silverstein. Mr. Elias has had considerable solo experience, having performed con- certos in Europe, Japan, Hong Kong, Australia, and New Zealand, and having given recitals in Ohio, Texas, and throughout New York and New England. A 1973 Berkshire Music Center fellow at Tanglewood, he has worked with the Guarneri String Quartet at Nor- folk, Connecticut, and he has performed in chamber music festivals at Sarasota, Florida, and Tanglewood.

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34 Ronan Lefkowitz

Born in Oxford, England, Ronan Lefkowitz joined the violins of the Boston Symphony Orchestra in 1976.

He is a graduate of Brookline High School and Harvard College, and he studied violin with Max Rostal, Joseph Silverstein, and Szymon Goldberg. He has been concertmaster and frequent soloist with the Greater Boston Youth Symphony, and was concertmaster under Leopold Stokowski of the International Youth Symphony Orchestra at St. Moritz, Switzerland in August 1969, for which he won first prize as the most promising young violinist at the International Festival of Youth Orchestras. A 1972 winner of the Gingold-Silverstein Violin Prize at Tangle- wood's Berkshire Music Center, Mr. Lefkowitz has performed chamber music at Tanglewood, with the Harvard Chamber Players, and at the Marlboro Music Festival, and he has made numerous recital appearances in the Boston area.

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36 Patricia McCarty

Assistant principal violist Patricia McCarty earned B.M. and M.M. degrees from the University of Michigan, where she was a student of Francis Bundra. A prizewinner in numerous competitions, most nota- bly the 1972 Geneva Concours, she has appeared as soloist with the Houston Symphony, l'Orchestre de la Suisse Romande, the Civic Orchestra of Chicago, the Ithaca College Orchestra in Lincoln Center, and many community orchestras in the U.S. Her recital appearances include the 1975 International Viola Con- gress, NET's Young Musical Artists Series, and campus guest residencies. A student at Tanglewood in 1975, she has also participated in the Marlboro and Interlochen festivals and performed before President Carter at the White House while on tour with Music from Marlboro. Before joining the Boston Symphony this season, Ms. McCarty was a member of the Lenox Quartet. She has held faculty positions at the University of Michigan, the National Music Camp, and Ithaca College.

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A native Oregonian, Betty Benthin is a violist, violinist, and pianist all in one. She came to the Boston Sym- phony's viola section in 1977 from the Minnesota Orchestra and the St. Paul Chamber Orchestra, for which she was associate principal viola, extra violinist, and chamber pianist. At Idaho State University, she was an artist-in-residence and lecturer on her three instruments. She has studied at the Curtis Institute and the Yale School of Music, and her teachers have included violist William Primrose, violinist Jascha Brodsky, and pianist Grant Johannesen.

Bequests to the BSO

Over the years, the Boston Symphony Orchestra has been the recipient of bequests from many friends who have in this way associated themselves with

the continuing life of the BSO. Every bequest, however modest, has been wel- come and important. The Boston Symphony Orchestra will be glad to assist in every possible way and review the phrasing of any proposed form of bequest to the BSO. A bequest to the Orchestra may take one of several forms. An unrestricted bequest to the BSO may be worded: "I give to the Boston Symphony Orchestra,

Boston, Massachusetts, the sum of . . . dollars. " A bequest for a specific purpose may be worded: "I give to the Boston Symphony Orchestra, Boston, Massachusetts, the sum of ..." . . . dollars, the income to he used for A residuary bequest maybe worded: ''All

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l Jonathan Miller

A two-week Pablo Casals master class in the spring of 1961 at the Uni- versity of California at Berkeley led Jonathan Miller to abandon his study of literature there and to devote him- self to the cello. In the years follow- ing, he studied with and played for such masters of the instrument as Pierre Fournier, Raya Garbousova, his principal teacher Bernard Greenhouse, Gregor Piatigorsky, Leonard Rose, Mstislav Rostropovich, and Harvey Shapiro, on scholarships and fellowships which took him to UCLA, Tangle- wood, the Hartt School, and Juilliard. He also studied chamber music with such teachers as Claus Adam, Lillian Fuchs, Felix Galimir, William Kroll, William Primrose, Joseph Silverstein, and David Soyer. Before joining the Boston Symphony in 1971, Mr. Miller held appointments as

principal cellist with the San Diego, Hartford, and Juilliard orchestras. He is a winner of the Jeunesses Musicales auditions, he has twice toured the country as a member of the New York String Sextet, and he has performed widely as soloist in recital. Until this year, he has performed on his Carlo Antonio Testore cello of 1742, but now plays his recently acquired Matteo Goffriller instrument of 1728.

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41 DACH WITH NO DREAKS In fact, an entire season of the Boston Symphony Orchestra, live and commercial free, sponsored by John Hancock on WCRB 102.5 FM radio. To highlight these spectacular concerts, during intermissions we bring you "Reflections from the HancockTower,"a series of fascinating interviews with people like Seiji Ozawa and actress Julie Harris. And in case you miss any part of the interview, most are broadcast again on Sunday at 12 noon. Don't miss these concerts every Saturday evening on WCRB 102.5 FM. John Hancock sponsors them live and commercial free because we believe that music should be heard and not interrupted.

42 1979-80 SEASON SUMMARY UKKX WORKS PERFORMED DURING THE BOSTON SYMPHONY ORCHESTRA'S 1979-80 SUBSCRIPTION SEASON

Week

BACH, J.S.

Ricercar a six from the Musical Offering, 21 BWV 1079, orchestrated by Anton Webern BEETHOVEN

Symphony No. 3 in E flat, Op. 55, Eroica Symphony No. 5 in C minor, Op. 67 l,TueB2 Symphony No. 6 in F, Op. 68, Pastoral 21 Violin Concerto in D, Op. 61 8 ITZHAK PERLMAN, violin BOULEZ Rituel, in memoriam maderna BRAHMS Symphony No. 2 in D, Op. 73 16

BRITTEN Suite on English Folk Tunes, "A Time 10 There Was...,"Op. 90 BRUCKNER Symphony No. 3 in D minor CHAUSSON Poeme for violin and orchestra, Op. 25 TueB2 JOSEPH SILVERSTEIN, violin CHOPIN Piano Concerto No. 2 in F minor, Op. 21 CHRISTIAN ZACHARIAS, piano COLGRASS Deja Vu for percussion and orchestra EVERETT FIRTH CHARLES SMITH ARTHUR PRESS THOMAS GAUGER FRANK EPSTEIN DUKAS Polyeucte, Overture to Corneille's tragedy

43 DVORAK Stabat Mater, Op. 58 11 PHYLLIS BRYN-JULSON, soprano JAN DeGAETANI, mezzo-soprano KENNETH RIEGEL, tenor BENJAMIN LUXON, baritone TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor

Symphony No. 9 in E minor, Op. 95, 14 From the New World FAURE

Pelleas et Melisande, Suite from the 14 (insert) Incidental Music to Maeterlinck's Tragedy, Op. 80 GLUCK Orfeo ed Euridice 18 D'ANNA FORTUNATO, mezzo-soprano MARGARET MARSHALL, soprano ELIZABETH KNIGHTON, soprano TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor HAYDN Symphony No. 49 in F minor, La Passione 6

Symphony No. 85 in B flat, La Reine 9 Symphony No. 101 in D, The Clock 15 Symphony No. 104 in D, London 4 HINDEMITH Concert Music for strings and brass, Op. 50 13 HOLST The Planets, Suite for large orchestra, Op. 32 NEW ENGLAND CONSERVATORY CHORUS, LORNA COOKE deVARON, conductor HONEGGER

Symphony No. 5 (di tre re) 14 (insert) JANACEK Sinfonietta 2 LIADOV The Enchanted Lake, Legend for orchestra, Op. 62 2 LISZT Piano Concerto No. 2 in A 15 RUSSELL SHERMAN, piano MAHLER Symphony No. 7 22 MARTINO Concerto for Piano and Orchestra 21 DWIGHT PELTZER, pianor 44 MENDELSSOHN Elijah, Op. 70 20 SHERRILL MILNES, baritone ELLY AMELING, soprano GWENDOLYN KILLEBREW, mezzo-soprano NEIL SHICOFF, tenor TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor BOSTON BOY CHOIR, THEODORE MARIER, director

Overture, The Hebrides (Fingal's Cave), Op. 26 4 MOZART Piano Concerto No. 20 in D minor, K.466 7 MURRAY PERAHIA, piano

Overture to Der Schauspieldirektor 7 (The Impresario), K.486

Symphony No. 39 in E flat, K.543 12 Symphony No. 40 in G minor, K.550 12 Symphony No. 41 in C, K.551, Jupiter 12 Violin Concerto No. 4 in D, K.218 10 JOSEPH SILVERSTEIN, violin PROKOFIEV Piano Concerto No. 3 in C, Op. 26 MARTHA ARGERICH, piano RACHMANINOFF The Bells, Poem for orchestra, chorus, and soloists, Op. 35 TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor SHERI GREENAWALD, soprano NEIL ROSENSHEIN, tenor JOHN CHEEK, bass-baritone Symphony No. 2 in E minor, Op. 27 10 RAVEL Bolero l,TueB2

^heherazade, Three poems for voice 1 and orchestra FREDERIC A VON STADE, mezzo-soprano

Pavane pour une Infante defunte 1 Tzigane, C oncert rhapsody for TueB2 violin and orchestra JOSEPH SILVERSTEIN, violin sc HUBERT

Symphony No. 2 in B flat, D.12^ 3 Symphony No. 8 in C, D.944 17

fold No. 7 or No. 9)

4S SCHUMANN Piano Concerto in A minor, Op. 54 17 CLAUDIO ARRAU, piano Symphony No. 2 in C, Op. 61 4 SIBELIUS Pohjola's Daughter, Symphonic fantasy, Op. 49 16

Symphony No. 7, Op. 105, in one movement 16 Violin Concerto in D minor, Op. 47 19 JOSEPH SILVERSTEIN, violin

STRAUSS, R. Till Eulenspiegel's Merry Pranks, Op. 28 13 STRAVINSKY Concerto in D for violin and orchestra 8 ITZHAK PERLMAN, violin Ode in three parts, for orchestra 8 Petrushka, Burlesque in four scenes (1947) 15 Le Sacre du printemps 8 TCHAIKOVSKY Manfred, Op. 58, Symphony in four scenes 19 after the dramatic poem by Byron Symphony No. 2 in C minor, Op. 17, Little Russian 9 Symphony No. 5 in E minor, Op. 64 13 VARESE Integrates 6 LUXURY IN 4 1£

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46 { CONDUCTORS OF THE BOSTON SYMPHONY ORCHESTRA DURING THE 1979-80 SUBSCRIPTION SEASON

: Week

i

SEIJI OZAWA, Music Director l,2,3,TueB2, 7,8,11,

20, 21, 22

SIR COLIN DAVIS, Principal Guest Conductor 16,17 JOSEPH SILVERSTEIN, Assistant Conductor 4,14*

VLADIMIR ASHKENAZY 19 GEORGE CLEVE 18 SERGIU COMISSIONA 15 EDODEWAART 5,6 KURT MASUR 12,13 LEONARD SLATKIN 9 DAVID ZINMAN 10

*Seiji Ozawa indisposed

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47 SOLOISTS WITH THE BOSTON SYMPHONY ORCHESTRA DURING THE 1979-80 SUBSCRIPTION SEASON Week

AMELING, ELLY, soprano 20 ARGERICH, MARTHA, piano 2 ARRAU, CLAUDIO, piano 17 BRYN-JULSON, PHYLLIS, soprano 11 CHEEK, JOHN, bass-baritone 6 DeGAETANI, JAN, mezzo-soprano 11 EPSTEIN, FRANK, percussion 9 FIRTH, EVERETT, percussion 9

FORTUNATO, D'ANNA, mezzo-soprano* 18 (insert) GAUGER, THOMAS, percussion 9 GREENAWALD, SHERI, soprano 6 KILLEBREW, GWENDOLYN, mezzo-soprano 20 KNIGHTON, ELIZABETH, soprano 18 LUXON, BENJAMIN, baritone 11 MARSHALL, MARGARET, soprano 18 MILNES, SHERRILL, baritone 20 PELTZER, DWIGHT, piano 21 PERAHIA, MURRAY, piano 7 PERLMAN, ITZHAK, violin 8 PRESS, ARTHUR, percussion 9 RIEGEL, KENNETH, tenor 11 ROSENSHEIN, NEIL, tenor 6 SHERMAN, RUSSELL, piano 15 SHICOFF, NEIL, tenor 20 SILVERSTEIN, JOSEPH, violin TueB2,10,19 SMITH, CHARLES, percussion 9 VON STADE, FREDERICA, mezzo-soprano 1 ZACHARIAS, CHRISTIAN, piano 5 BOSTON BOY CHOIR, 20 THEODORE MARIER, director NEW ENGLAND CONSERVATORY CHORUS, LORNA COOKE deVARON, conductor TANGLEWOOD FESTIVAL CHORUS, 6,11,18,20 JOHN OLIVER, conductor

*Jan DeGaetani indisposed

48 WORKS PERFORMED AT SYMPHONY HALL CHAMBER PRELUDES DURING THE 1979-80 SUBSCRIPTION SEASON Week BEETHOVEN String Quartet in C minor, Op. 18, No. 4 8

Trio in C minor for violin, viola, and cello, Op. 9, No. 3 1 BRAHMS

Sonata in F minor for clarinet and piano, Op. 120, No. 1 16 BRUCKNER String Quintet inF 22 COLGRASS Variations for four drums and viola 9 DOHNANYI

Serenade in C, Op. 10, for violin, viola, and cello 12 DVORAK Romance in F minor, Op. 11 2 HAYDN

Flute Quartet in G, Hob. 11:1 9 Trio in D for flute, violin, and cello, Hob. IV:11 9 Trio in C for piano, violin, and cello, Hob. XV:27 4 MENDELSSOHN Trio in D minor for piano, violin, and cello, Op. 49 4 MOZART Quartet in F for oboe and strings, K.370 (K.368b) 12 PROKOFIEV

March from Musk for Children 15

Sonata No. 1 in F minor for violin and piano, Op. 80 2 RAVEL

Sonata for violin and cello 1 SCHUBERT String Quartet in A minor, D.804 16 STRAVINSKY Duo Concertant 15 Suite Italienne 15 Three Pieces for String Quartet 8 TCHAIKOVSKY Valse-Scherzo, Op. 34

49 CHAMBER PRELUDE PERFORMERS DURING THE 1979-80 SUBSCRIPTION SEASON Week

BABCOCK, MARTHA, cello 12 BARNES, ROBERT, viola 9,12

BENTHIN, BETTY, viola & piano 1, 15, 22 BOROK, EMANUEL, violin 2 BRACKEN, NANCY, violin 8 CASSITY, GWINDALE, piano 16 ELIAS, GERALD, violin 22 EPSTEIN, FRANK, percussion 9 FELDMAN, RONALD, cello 4 FIEKOWSKY, SHEILA, violin 4*, 8 GENOVESE, ALFRED, oboe 12 HADCOCK, PETER, clarinet 16 HEDBERG, EARL, viola 16 KADINOFF, BERNARD, viola 8 LEFKOWITZ, RONAN, violin 22 LEGUIA, LUIS, cello 15 LEVY, AMNON, violin 9 Mccarty, Patricia, viola 22 MILLER, JONATHAN, cello 22 MOERSCHEL, JOEL, cello 1 O'RILEY, CHRISTOPHER, piano 4

OSTROVSKY, FREDY, violin 1 PROCTER, CAROL, cello 9 RIPLEY, ROBERT, cello 8 SCHNEIDER, ALFRED, violin 16 SEIGEL, HARVEY, violin 12 SIRD, RAYMOND, violin 16 SMITH, FENWICK, flute 9 SPEAKER, MARYLOU, violin 15 YAMPOLSKY, TATIANA, piano 2 ZEISE, KARL, cello 16

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52 .

SYMPHONY HALL AMENITIES . . SYMPHONY HALL, AND ALL CONCERT AND TICKET INFORMATION - (617)-266-1492

THE BSO IN GENERAL: The Boston Symphony performs twelve months a year, in Symphony Hall and at Tanglewood. For information about any of the Orches-

tra's activities, please call Symphony Hall, or write the Boston Symphony Orchestra, Symphony Hall, Boston, Massachusetts 021 15.

THE BOX OFFICE is open from 10 a.m. until 6 p.m. Monday through Saturday. Single tickets for all Boston Symphony concerts go on sale twenty-eight days before a given concert once a series has begun, and phone reservations will be accepted. For outside events at Symphony Hall, tickets will be available three weeks before the concert. No phone orders will be accepted for these events. FIRST AID FACILITIES for both men and women are available in the Ladies' Lounge on the first floor next to the main entrance of the Hall. On-call physi- cians attending concerts should leave their names and seat locations at the switchboard.

WHEELCHAIR ACCOMMODATIONS in Symphony Hall may be made by call- ing in advance. House personnel stationed at the Massachusetts Avenue entrance to the Hall will assist patrons in wheelchairs into the building and to their seats.

LADIES' ROOMS are located on the first floor, first violin side, next to the stair- way at the back of the Hall, and on the second floor on the Massachusetts Ave- nue side near the elevator.

MEN'S ROOMS are located on the first floor on the Massachusetts Avenue side by the elevator, and on the second floor next to the coatroom in the corridor on

the first violin side.

LOUNGES AND BAR SERVICE: There are two lounges in Symphony Hall. The Hatch Room on the first floor, and the Cabot-Cahners Room on the second, serve drinks from one hour before each performance and are open for a reasonable amount of time after the concert. For the Friday afternoon concerts, both rooms will be open at 12:15, with sandwiches available until concert time.

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

LOST AND FOUND is located at the switchboard near the main entrance. AN ELEVATOR can be found outside the Hatch Room on the Massachusetts Avenue side of the first floor.

COATROOMS are located on both the first and second floors in the corridor on the first violin side, next to the Huntington Avenue stairways.

TICKET RESALE: If for some reason you are unable to attend a Boston Symphony concert for which you hold a ticket, you may make your ticket avail- able for resale by calling the switchboard. This helps bring needed revenue to the Orchestra and makes your seat available to someone who wants to attend the concert. You will receive a tax-deductible receipt as acknowledgment for your contribution.

LATECOMERS are asked to remain in the corridors until they can be seated by ushers during the first convenient pause in the program. Those who wish to leave before the end of the concert are requested to do so between program pieces in order not to disturb other patrons.

53 .

uCtf^^ 3P itv« to a8 10 a in- arc *£ i.l3>*

( f.^r- de' t* i-\- cTV v^.,. c ' d<** tnt* dc° IV» ''.I-.-vi^v-";. ;.', ctio rv^ fu^ --. c at« t?-^:^,;;. rc» iv ,r SdcZ'^ ~"*~ K,B ^^r>>-;-~"'; ': ft [ ' ~- - ^' V?«' \^*'+ ' - fiSfe^c-r-5 -^- - ^»iw«ie>^~CVV», -ir*t'^«i:^i^lS

54 RUSH SEATS: There are a limited number of Rush Tickets available for the Fri- day afternoon and Saturday evening Boston Symphony concerts (subscription concerts only). The continued low price of the Saturday tickets is assured through the generosity of two anonymous donors. The Rush Tickets are sold at $3.50 each, one to a customer, in the Huntington Avenue lobby on Fridays begin- ning at 9 a.m. and on Saturdays beginning at 5 p.m. BOSTON SYMPHONY BROADCASTS: Concerts of the Boston Symphony are heard by delayed broadcast in many parts of the United States and Canada through the Boston Symphony Transcription Trust. In addition, Friday after- noon concerts are broadcast live by WGBH-FM (Boston 89.7), WFCR-FM (Amherst 88.5), WAMC-FM (Albany 90.3), WMEA-FM (Portland 90.1), WMEH- FM (Bangor 90.9), and WMEM-FM (Presque Isle 106.1). Saturday evening concerts are broadcast live by these same stations and also WCRB (Boston 102.5 FM). Most of the Tuesday evening concerts are broadcast live by WGBH-FM. If Boston Sym- phony concerts are not heard regularly in your home area, and you would like them to be, please call WCRB Productions at (617)-893-7080. WCRB will be glad to work with you to try to get the Boston Symphony on the air in your area.

BSO FRIENDS: The Friends are supporters of the BSO, active in all of its endeavors. Friends receive the monthly BSO news publication and priority ticket information. For information about the Friends of the Boston Symphony, please call the Friends' Office Monday through Friday between 9 and 5. If you are already a Friend and would like to change your address, please send your new address with the label from your BSO newsletter to the Development Office, Boston Symphony Orchestra, Symphony Hall, Boston, Massachusetts 02115. Including the mailing label will assure a quick and accurate change of address in our files.

THE BOSTON HOME, INC Established 1881—2049 Dorchester Avenue, Boston, Mass. A Home for the Care and Treatment of Women Who Are Afflicted with Incurable Diseases

Your Contributions and Bequests are Earnestly Solicited

President John H. Gardiner— Secretary John B. French Treasurer David W. Lewis, 1 Washington Mall, Boston, Mass. 02108

55 Symphony tickers, $30. Boiler, intensive"; many individuals are legislatures to lend assistance ro $24. Opera, $40. Museum involved, and in these fields the rhe arts. If you have spare rime,

Admissions, $10.50. If rhe arts were effects of inflation are particularly volunteer to help in fund raising forced to charge fees fhar reall y severe. adiviries. covered operating or production The difference between Encourage attendance and costs. ..if the arts went "pay as you operating costs and ticket receipts support among your friends and go," not many people would go. is an "income gap" made up by neighbors. Sponsor local And life would be immeasurably gifts—from individuals, govern- performances and exhibitions. Be duller. ment, foundations, and business. a patron, every way you con.

Thingsaren 'f that way, thankfully. Those who con afford to do so, Audiences for rhe visual and support the arts so rhat all can performing arts are expanding. benefif. SUPPORT Many museums are free to the If you support rhe arts financially, public. Ticket prices, while up, are we urge you to conrinue to do so THE ARTS possible. within reason. as generously as Bur Business Committee

But the arts face an enormous rhere are other ways to help. Urge for rhe Arts, Inc., 1 700 Broadway, cost problem. They are "labor your local, stare, and narional New York, N.Y. 10019 PRESENTED AS A PUBLIC SERVICE BY RCA CORPORATION IN COOPERATION WITH THE BUSINESS COMMITTEE FOR THE ARTS

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