SEIJI OZAWA MUSIC DIRECTOR
~ n V /3 >v r *••
/ y 1 1
1 1 Mb to »> ^^ .M^,,. * J r L 109TH SEASON 1989-90 / ~+
IMPORTED
750 ml 94.6P*00f
"
Q~ ,ct*»ii SPECIAL DRY A Q^ *>:
far 5f Wufi/£et& owa&^&jm
T: CHARLES TANQUERAY & C° L LONDON. ENGLAND.
ifip"<_. '•'--. '-i Of ENGLAND • IOO% GR A'N NtliTRiL i~-
« — ' — ' v «i mv| Lfim wfipy 'A?g raj § i
Tanqueray. A singular experience.
Imported English Gin. 47.3% Alc/Vol (94.6°). 100% Grain Neutral Spirits. © 1988 Schteffelin & Somerset Co.. New York. NY Seiji Ozawa, Music Director Carl St. Clair and Pascal Verrot, Assistant Conductors One Hundred and Ninth Season, 1989-90
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. Fitzpatriek, 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, Manager of Russell M. Hodsdon, Manager of Box Office Fund Reporting 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. Kcenum, Director of Pops and Youth Activities Tanglewood Music Center Development Joyce M. Serwitz, Director of Major Gifts/ Patricia Krol, Coordinator of Youth Activities Assistant Director 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 F. Cogan, Jr., Chairman R. Willis Leith. Jr., Vice-Chairman Mrs. Kay A. Goldberg, Vice-Chairman Mrs. K. Douglas Hall III, Secretary
Mrs. David Bakalar Haskell R. Gordon E. James Morton Bruce A. Real Steven Grossman David G. Mugar Mrs. Leo L. Beranek Joe M rlensoo David Nelson
Lynda Schubert Hodman Susan M. I lilies Robert P. O' Block
Donald C. Bowereock, Jr. Glen II. I liner Walter II. Palmer William M. Bulger Mrs. Marilyn Braehman Hoffman Andrall E. Pearson Mrs. Levin II. Campbell Ronald A. Homer John A. Perkins Earle M. Chiles Julian T. Houston Daphne Brooks Prout Mrs. C. Thomas Clagett, Jr. Lola Jaffe Millard H. Pryor. Jr. James F. Geary Anna Faith Jones Robert E. Remis William II. Congleton II. Eugene Jones John Ex Rodgcrs William F. Connell Susan B. Kaplan Mrs. William II. 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 Down is 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 H. 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, Eundraising 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
Business and Professional Leadership Association Board of Directors
Harvey Chet Krentzman, Chairman James F. Clearv, BPLA President Members
J. P. Barger Thelma Goldberg Malcolm L. Sherman Leo Beranek Joe Henson Ray Stata William F. Connell George H. Kidder Stephen J. Sweeney Walter J. Connolly Vincent M. O'Reillv Roger Wellington Nelson J. Darling
For their continued support of the Boston Symphony Orchestra, special thanks to the
Massachusetts Council on the and the National I I arts 1 and Endowment humanities for the Arts also serving science museums and environmental institutions Aje-#4trf/0%r /fAW/xfd^y-
/!/&* BSO
Friday-Afternoon Concert tas. Mr. Contas, a founding partner of the Endowed in Honor of Boston Consulting Group, a member of the Doriot Anthony Dwyer Massachusetts Council on the Arts and Humanities, a graduate of Harvard College This week's Friday-afternoon concert has been and Harvard Graduate School of Business endowed by a generous gift from Mrs. James Administration, and an Overseer of the Boston H. Perkins through the BSO Annual Fund's Symphony Orchestra from 1976 until his death Concert Sponsorship Program. Mrs. Perkins on February 1, 1987, at age fifty-five, remem- holds the distinction of being the first woman bered the Orchestra in his will with a very gen- elected to the BSO's Board of Trustees, in erous and greatly appreciated bequest to endow 1962; she was also deeply involved in the Ford the Arthur P. Contas Commissioning Fund. Foundation's fundraising efforts in the 1960s. Mr. Contas was a talented amateur musician For the past twenty-five years, Mrs. Perkins himself, studying the violin and the piano at has continued to support the Boston Sym- the New England Conservatory of Music. phony Orchestra through generous financial Besides his love for the traditional repertory, commitments and ongoing involvement in Mr. Contas also felt that a wide range of new Board-related activities. The April 27 concert, musical expression was essential and should be which marks BSO principal flutist Doriot fostered and sponsored. He believed that the Anthony Dwyer's retirement from the orches- Boston Symphony Orchestra, as one of the tra •with a new work commissioned especially world's foremost symphony orchestras, must for her ( "What wonderful music to play with be committed to the presentation of new Seiji and my colleagues — and with which to works; at the same time, as a BSO Overseer start my new career as a soloist!"), is the active on the Budget Committee, he was aware fourth concert to be sponsored by Mrs. Per- of the Orchestra's substantial need for funds. kins; the other three were a performance of Mr. Contas' bequest designated for the com- Strauss's Elektra in November 1988, a concert missioning of new works will help the Boston with guest soloist Murray Perahia in October Symphony Orchestra add new works to its 1987, and a performance of Bach's B minor repertory. Mass in December 1985. Mrs. Perkins notes that "it's great fun to be "Presidents at Pops" Slated for June 6 an Esterhazy" and chooses to give to the Orchestra through the Concert Sponsorship The ninth annual "Presidents at Pops" will Program because of its obvious and direct sup- take place Wednesday evening, June 6. Jack port of music. For a gift of $25,000 to the Sidell, President and CEO of U.S. Trust, is Annual Fund, the BSO will name a concert in chairman of the 1990 "Presidents at Pops" honor of, or in memory of, someone you care committee. More than 100 of the area's lead- about. If you are interested in this program, ing businesses will participate in this gala please call the BSO Development Office at event in support of the BSO. On Monday, May (617) 266-1492. 14, the senior executives of the participating organizations will be honored at the Leader- ship Dinner, a formal dinner dance held at The Arthur P. Contas S\-mphony Hall. Commissioning Fund A limited number of "Presi- dents at Pops" sponsorships are still available. for New Works The $6,000 full package includes two tickets to Ellen Taaffe Zwilich's new Concerto for Flute the Leadership Dinner and twenty floor and and Orchestra, which is receiving its first per- balcony seats for the "Presidents at Pops" con- formances on this week's Boston Symphony cert, complete with cocktails and dinner. Half- concerts, was commissioned by the BSO for packages are also available. For further infor- Doriot Anthony Dwyer through a fund estab- mation, please call Sarah Coldwell, BSO lished by a bequest of the late Arthur P. Con- Corporate Development, at (617) 266-1492. References furnished on request
^En~
Armenta Adams Aaron Copland Santiago Rodriguez American Ballet John Corigliano Abbott Ruskin Theater Phyllis Curtin Kathryn Selby Michael Barrett Rian de Waal George Shearing Leonard Bernstein Michael Feinstein Bright Sheng William Bolcom Lukas Foss Leonard Shure Jorge Bolet Philip Glass Abbey Simon
Boston Pops Orchestraa 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 Luciano Pavarotti John Williams Bradshaw and Buono Alexander Peskanov Yehudi Wyner Dave Brubeck Andre Previn and 200 others Baldwin TODAY'S STANDARD OF MUSICAL EXCELLENCE. -
BSO Members in Concert Nocturnes, Beethoven's Piano Concerto No. 3 with soloist Gilbert Kalish, and Stravinsky's BSO members Leone Buyse, flute, and Ann Firebird Suite on Sunday, May 6, at 8 p.m. at Hobson Pilot, harp, will perform music of Aquinas Junior College, 15 Walnut Park in Bach, Donizetti, Pierne, Faure, Bizet, Ibert, Newton. Tickets are $12; for further informa- Marcello, Honegger, Debussy, and Persichetti tion call 965-2555. on Sunday, April 29, at 4 p.m. at the Newman School in Needham, under the auspices of the Needham Concert Society. Tickets are $7.50 Art Exhibits in the Cabot-Cahners Room ($5 for students; children free with parent). For the sixteenth year, a variety of Boston- 444-7162 or 444-6080. For information, call area galleries, museums, schools, and non- Max Hobart leads the Civic Symphony profit artists' organizations are exhibiting t heir- Orchestra in John Adams' The Chairman work in the Cabot-Cahners Room on the first Dances, Ravel's Pavane a Dead Princess, for balcony level of Symphony Hall. On display 's and excerpts from Strauss Four Last Songs through May 14 are works from the Depot Ellen Chick- Verdi's La traviata with soprano Square Gallery of Lexington. In conjunction ering, and Respighi's Pines Rome on Sun- of with the Depot Square exhibit, there will be a p.m. at Hall. day, April 29, at 3 Jordan wine and cheese reception on Thursday, April Tickets are and for further informa- $12 $8; 26, from 5 to 7 p.m. in the Cabot-Cahners tion call 437-0231. Room. The artists represented in the exhibit BSO horn players Charles Kavalovski and will be present. All are welcome to attend. The Daniel Katzen will present a duo-horn faculty featured exhibit for May 14-June 11 will be recital at Jordan Hall at the New England amiounced; it will be followed by works from
Conservatory of Music on Tuesday, May 1, at the Nancy Lincoln Gallery (June 11-July 9). 8 p.m. They will be joined by members of the These exhibits are sponsored by the Boston BSO string section for a program including Symphony Association of Volunteers, and a works of Mozart, Beethoven, Hindemith, portion of each sale benefits the orchestra. Rossini, and Katzen. Admission is free; for Please contact the Volunteer Office at (617) more information call 262-1120. 266-1492, ext, 177, for further information. BSO flutist Leone Buyse will perform music of Bach, Schumann, de Leeuw, Amlin, Messi- Help the BSO Renovation Committee aen, Koechlin, and Bizet with Michael Web- ster, clarinet, and Martin Amlin, piano, on Sat- The Renovation Committee of the BSO Trus- urday, May 5, at 8:30 p.m. at the Unitarian tees is looking for some very special pieces of Church in Harvard, MA. For more informa- the highest quality period furniture, including tion, call (508) 839-5793. occasional tables and chairs, small-scale buf- The Melisande Trio — Susan Miron, harp, fets, and small couches or love seats, for some Fenwick Smith, flute, and Burton Fine, of the renovated areas of Symphony Hall. viola — perform music of Barber, Daniel Pink- After committee approval and professional ham, Persichetti, Piston, and Schuman with appraisal, such gifts of furniture will be con- guest artist D'Anna Fortunato, mezzo-soprano, sidered donations to the Boston Symphony on Sunday, May 6, at 3 p.m. General admis- Orchestra. If you are moving to a smaller sion is $12 ($10 for museum members). For home or have "one piece of furniture too further information call 267-9300, ext. 306. many" and would like to support the BSO in Ronald Knudsen leads the Newton Sym- this way, please call Lisa Lyles in the Develop- phony Orchestra in two of Debussy's ment Office at (617) 266-1492, ext. 131. s
Seiji Ozawa
include Richard Strauss's Elektra, recorded during concert performances at Symphony Hall in Boston with Hildegard Behrens in the title role; and Mahler's Second (Resur- rection) and Fourth symphonies, part of a continuing Mahler cycle on Philips that also includes the Symphony No. 8 (Sym- phony of a Thousand). Mahler's Symphony
No. 1, Symphony No. 7, and Kindertoten- lieder, with Jessye Norman, have been recorded for future release. Mr. Ozawa' recent recordings with the Boston Sym- phony Orchestra for Deutsche Grammo- phon include Poulenc's Gloria and Stabat mater with soprano Kathleen Battle and the Tanglewood Festival Chorus, the two Liszt piano concertos and Totentanz with Now in his seventeenth year as music Krystian Zimerman, an album of music by director of the Boston Symphony Orches- Gabriel Faure, and "Gaite parisienne," an tra, Seiji Ozawa was named the BSO's album of music by Offenbach, Gounod, thirteenth music director in 1973, follow- Chabrier, and Thomas. Other Deutsche ing a year as music adviser. His many Grammophon releases include Prokofiev's tours with the orchestra in Europe, Japan, complete Romeo and Juliet, Berlioz's and throughout the United States have Romeo et Juliette and Damnation of Faust, included the orchestra's first tour devoted and, with Itzhak Perlman, an award- exclusively to appearances at the major winning album of the Berg and Stravinsky European music festivals, in 1979; four violin concertos. Also available are Schoen- visits to Japan; and, to celebrate the berg's Gurrelieder, on Philips; the complete orchestra's centennial in 1981, a fourteen- Beethoven piano concertos with Rudolf city American tour and an international Serkin, on Telarc; the Dvorak Cello Con- tour to Japan, France, Germany, Austria, certo with Mstislav Rostropovich and and England. In March 1979 Mr. Ozawa Tchaikovsky's Pathetique Symphony, on and the Boston Symphony Orchestra made Erato; Strauss's Don Quixote and the an historic visit to China for a significant Schoenberg/Monn Cello Concerto with musical exchange entailing coaching, Yo-Yo Ma, the Mendelssohn Violin Con- study, and discussion sessions with Chi- certo with Isaac Stern, and Berlioz's Les nese musicians, as well as concert perform- Nuits d'ete with Frederica von Stade, on ances, becoming the first American per- CBS Masterworks; and Stravinsky's Fire- forming ensemble to visit China since the bird, on EMI/Angel. establishment of diplomatic relations. In Mr. Ozawa pursues an active interna- December 1988 he and the orchestra gave tional career, appearing regularly with the eleven concerts during a two-week tour to Berlin Philharmonic, the Orchestre de England, the Netherlands, France, Ger- Paris, the French National Orchestra, the many, Austria, and Belgium. In December Vienna Philharmonic, the Philharmonia of 1989 Mr. Ozawa and the orchestra trav- London, and the New Japan Philharmonic. eled to Japan for the fourth time, on a Recent appearances conducting opera have tour that also included the orchestra's first included La Scala, the Vienna Staatsoper, concerts in Hong Kong. and the Paris Opera; he has also con- Mr. Ozawa' s recent recordings for Phil- ducted at Salzburg and Covent Garden. In ips with the Boston Symphony Orchestra 1983, at the Paris Opera, he conducted the world premiere of Olivier Messiaen's While a student of Herbert von Karajan
8t. Francis ofAssisi. In addition to his in West Berlin. Mr. Ozawa came to the many Boston Symphony Orchestra record- attention of Leonard Bernstein. He accom- ings, he has recorded with the Berlin Phil- panied Mr. Bernstein on the New York harmonic, the London Philharmonic, the Philharmonic's 1961 tour of Japan and Philharmonia of London, the Chicago was made an assistant conductor of that Symphony Orchestra, the Orchestre orchestra for the 1961-62 season. In Janu- National, the Orchestre de Paris, the San ary 1962 he made his first professional Francisco Symphony, and the Toronto concert appearance in North America, with Symphony Orchestra, among others. His the San Francisco Symphony. Mr. Ozawa recording of Bizet's Carmen with Jessye was music director of the Chicago Sym- Norman and the Orchestre National was phony Orchestra's Ravinia Festival for five released by Philips this past summer. Forth- summers beginning in 1964. music director coming from Deutsche Grammophon is his of the Toronto Symphony Orchestra from recording of Les Contes d'Hoffmann with 1965 to 1969, and music director of the Placido Domingo and Edita Gruberova. San Francisco Symphony from 1970 to 1976, foDowed by a year as that orches- Born in 1935 in Shenyang. China, to tra's music advisor. He conducted the Japanese parents. Seiji Ozawa studied Boston Symphony Orchestra for the first Western music as a child and later gradu- time at Tanglewood, in 1964, and made ated with first prizes in composition and his first Symphony Hah appearance with conducting from Tokyo's Toho School of the orchestra in 1968. In 1970 he was Music, where he was a student of Hideo named an artistic director of the Tangle- Saito. In 1959 he won first prize at the wood Festival. International Competition of Orchestra Conductors held in Besancon. France, and Mr. Ozawa holds honorary doctor of was invited to Tanglewood by Charles music degrees from the L^niversity of Munch, then music director of the Boston Massachusetts, the New England Conser- Symphony Orchestra and a judge at the vatory of Music, and Wheaton College in competition. In 1960 he won the Tangle- Norton. Massachusetts. He has won an wood Music Center's highest honor, the Emmy for the Boston Symphony Orches- Koussevitzky Prize for outstanding student tra's "Evening at Symphony" PBS televi- conductor. sion series. « 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 First Violins Leonard Moss * Malcolm Lowe Harvey Seigel Concertmaster *Jerome Rosen Charles Munch chair * Sheila Fiekowsky Tamara Smirnova-Sajfar Ronan Lefkowitz Concertmaster Associate * Helen Horner Mclntyre chair Nancy Bracken Max Hobart *Jennie Shames Assistant Concertmaster *Aza Raykhtsaum Robert L. Beal, and *Valeria Vilker Kuchment Enid L. and Bruce A. Beal chair Lucia Lin *Bonnie Bewick 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 XOn sabbatical leave ^Substituting, 1989-90
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. Rem is chair fully funded in perpetuity Marc Jeanneret Wayne Rapier Norman Bolter Betty Benthin •Mark Ludwig English Horn Bass Trombone *Roberto Diaz Laurence Thorstenberg Douglas Yeo * Rachel Fagerburg Bera nek chair, fully funded in perpetuity Tuba Cellos ^Chester Schmitz Jules Eskin Clarinets Margaret and William C. Philip R. Allen chair Harold Wright Rousseau chair Ann S.M. Banks chair Martha Babcock §Gary Ofenloch Vernon and Marion Alien chair Thomas Martin Sato Knudsen Peter Hadcock Esther S. and Joseph M. Shapiro chair E-flat Clarinet Timpani Joel Moerschel Everett Firth Bass Clarinet Sandra and David Bakalar chair Sylvia Shippen Wells chair * Robert Ripley Craig Nordstrom Luis Leguia Farla and Harcey Chet Percussion Krentzman Hubert Bradford Newman chair 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 •Jerome Patterson Edward A. Taft chair Peter Andrew Lurie chair *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 Sinclair chair Maria Nistazoa Statu chair. Henderson fully funded in perpetuity Horns Joseph Hearne Charles Kavalovski Bel a Wurtzler Helen Sagoff 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 Harry7 Shapiro Flutes Doriot Anthony Dwyer Trumpets Librarians Walti r Piston chair Fenwick Smith Charles Schlueter Marshall Burlingame Roger Louis Voisin Myra and Robert Kraft chair chair William Shisler Leone Buyse Peter Chapman James Harper Ford H. Cooper chair Marian Ormjf Lewis chair Timothy Morrison Piccolo Stage Manager Steven Emery Position endowed by Lois Schaefer Angelica Lloyd Clagett Ecilyn and C. diaries Matron chair Alfred Robison
11 TlFFA vy& Co
Tiffany Service
Sterling silver flatware patterns of timeless elegance from Tiffany's exclusive collection. From top left: "Hampton" "Shell and Thread", "Chrysanthemum", "Century" and "Audubon".
Tiffany & Co. BOSTON COPLEY PLACE 100 HUNTINGTON AVENUE 02116 617-353-0222 ©T&CO. 1989 Farewell and Thanks
Lois Schaefer Charles Smith
Carl St. Clair Pascal Verrot
As the Boston Symphony Orchestra's 1989-90 subscription season draws to a close, the entire BSO family extends sincere thanks and best wishes to five retiring Boston Symphony members. Though she has continued to perform with the orchestra through the end of the subscription season, Doriot Anthony Dwyer officially retired from her position as the Boston Symphony Orchestra's principal flute this past December. Ms. Dwyer was appointed to the orchestra in 1952 by then music director Charles Munch and retires after thirty-nine years of service. Planning to retire at the end of the orchestra's 1990 Tanglewood season are violist Betty Benthin, who joined the orchestra in 1977 during Seiji Ozawa's music directorship (fourteen years of service); clarinetist Peter Hadcock, who joined the orchestra in 1965 when Erich Leinsdorf was music director (twenty-six years of service); piccolo player Lois Schaefer, who also joined the orchestra in 1965; and percussionist Charles Smith, who joined the orchestra in 1943 during Serge Koussevitzky's tenure as music direc- tor (forty-eight years of service). Also leaving the orchestra at the end of the Tangle- wood season are assistant conductors Carl St. Clair and Pascal Verrot.
All best wishes and many thanks to them all, for their devoted service to the Bos- ton Symphony Orchestra and for their distinguished contributions to Boston's musical community.
13 Come see how things are
.. «*
# riMS 1
\ml
.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 $195,000. 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.
VV/ Life Care Services Corporation Edgew< Call (508) 689*0202, 10284
14 BOSTON SYMPHONY ORCHESTRA
Seiji Ozawa, Music Director
Carl St. Clair and Pascal Verrot, Assistant Conductors One Hundred and Ninth Season, 1989-90
:' • ' w/ Tuesday, April 26, at 8 Friday, April 27, at 2 Saturday, April 28, at 8
SEIJI OZAWA conducting
ZWILICH Concerto for Flute and Orchestra (world premiere; commissioned for Doriot Anthony Dwyer by the Boston Symphony Orchestra through the Arthur P. Contas Commissioning Fund, established through a bequest from the late Arthur P. Contas to provide new works for the Boston Symphony Orchestra) Andante misterioso— Allegro Lento Allegro con spirito DORIOT ANTHONY DWYER
INTERMISSION
BRUCKNER Symphony No. 4 in E-flat, Romantic Bewegt, nicht zu schnell [With motion, not too fast] Andante quasi Allegretto Scherzo. Bewegt; Trio: Nicht zu schnell. Keinesfalls schleppend [Not too fast. On no account dragging] Finale. Bewegt, doch nicht zu schnell. [With motion, but not too fast]
The Friday-afternoon concert has been underwritten by Mrs. James H. Perkins in honor of Doriot Anthony Dwver.
The evening concerts will end about 10 and the afternoon concert about 4. RCA, Deutsche Grammophon, Philips, Telarc, CBS, EMI/Angel, New World, Erato, and Hyperion records Baldwin piano
Please be sure the electronic signal on your watch or pager is switched off during the concert.
The program hooks 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.
15 Week 24 Sometimes, the more successful you become, the more
you need to get away from it all. No car phones or appointment books. Just you and the sunrise. And at the end of the day, you don't even worry about how the stock market is going to close.
Then again, leaving it all behind requires a certain amount of confidence. A private banking service that's more than just an investment account. Someone who knows how to get things done.
A friend told me about BayBank. BayBank Private Banking.
I needed an equity line fast, to buy this spectacular property here on the lake - before the owners changed their minds (wouldn't
blame them). At BayBank, I finally found sophisticated bankers who realize solving a client's problem is the best way to establish a relationship.
This is the kind of attention I've been looking for. They
understood I wanted more than just a piece of property. I wanted peace of mind."
Ba^Bank mWATEBANKING For an introduction to Private Banking, call Pamela Henrikson, Senior Vice President, at (617) 556-6528 or Stephen Root, Senior Vice President, at (413) 781-7575. Member FDIC
16 Ellen Taaffe Zwilich Concerto for Flute and Orchestra
Ellen Taaffe Zwilich was born in Miami, Florida, on April 30, 1939, and lives in New York City. She composed the Concerto for Flute and Orchestra in 1989 for Doriot Anthony Dwyer on a commission from the Boston Symphony Orchestra through the Arthur P. Contas Commissioning Fund. The score, which bears the dedication "in memory of my beloved mother, Alice Virginia Hope, " was finished on November 17, 1989. These are the first perform- ances. In addition to the solo flute, the score calls for one oboe, one English horn, two clarinets, two bassoons, two cornets, two trombones and bass trom- bone, timpani, four suspended cymbals (small splash, large orchestral, high sizzle, low sizzle), triangle, tam- bourine, conga drum, crotales, harp, and strings.
Even before she won the 1983 Pulitzer Prize for her Symphony No. 1, Ellen Taaffe Zwilich was developing an enviable reputation for writing music that was original, identifiably hers, and accessible to performers and audiences alike. From 1975, when Pierre Boulez led the Juilliard Orchestra in her Symposium for orchestra (1973), she has not lacked for enthusiastic performers, including major orchestras and chamber ensembles well beyond the purview of the "new-music specialists." But the recognition that came with the Pulitzer was unusually large, simply because she happened to be the first — and still the only — woman to have won the prize. Along with the recogni- tion and the award, she had to endure many hundreds of variations of the standard interview question, "How does it feel to be the first woman to win a Pulitzer in music?" That she retained her sense of humor through the experience is evident from her remarks at the award ceremony, presided over by William Schuman, who had received the very first Pulitzer Prize in music back in 1943. She was especially glad to be there, she said, "because I've always wanted to ask Bill Schuman how it felt to be the first man to win a Pulitzer Prize."
Zwilich's professional training began at Florida State University in Tallahassee, where she received both her bachelor's and master's degrees. Then she went to Juil- liard, where she studied with Elliott Carter and Roger Sessions. In 1975 she became the first woman to be awarded a DMA in composition from Juilliard. During these years she was also active as a professional \iolinist, having studied at Florida State with longtime BSO concertmaster Richard Burgin and with Ivan Galamian in New York. No doubt one of the reasons performers enjoy her work is that she knows, from long personal experience, precisely what it is that makes music both challenging and enjoyable to play.
Though she has never been a resident of Boston, Zwilich has long enjoyed Boston connections. They began in 1976, when her String Quartet was premiered here in an international festival, the International Society of Contemporary Music World Music Days. Heard in that setting, the work attracted wide attention to the young composer as a new voice worth watching out for. Zwilich's Boston connections continued over the next few years particularly because of the work of Richard Pittman, founder of the ensemble Boston Musica Viva, who commissioned her Chamber Symphony (1979). Greatly taken with the work, Pittman performed it frequently in the United States and abroad, and later recorded it (the piece was issued on an LP along with the Vio- lin Sonata of 1973-74 performed by her husband, the late Joseph Zwilich, for whom it was written). Zwilich was in Boston again at the beginning of 1982 for the pre-
17 Week 24 mierc of another Musica Viva commission, a moving song cycle entitled Passages, to poems of A.R. Amnions, for mezzo-soprano and instrumental ensemble.
Only a few months later Gunther Schuller led the American Composers Orchestra in the first performance of a work that Zwilich had entitled Three Pieces for Orches- tra. It was favorably received, and Schuller made a significant suggestion: the work, he said, was truly symphonic, not simply a collection of pieces, and it deserved the title of symphony. Zwilich acceded to this proposal, and thus it was the Symphony
No. 1 (now subtitled "Three Pieces for Orchestra") that won the 1983 Pulitzer Prize.
Since 1983, Zwilich has been a very busy composer, having written various orches- tral pieces (including a second symphony for San Francisco, a piano concerto for Detroit, two concertos featuring the trombone for the Chicago Symphony, the new flute concerto for the Boston Symphony, and several shorter works) and a wide range of chamber music. While at the American Academy in Rome during the weeks preced- ing the premiere of the flute concerto, she completed a clarinet quintet. In the offing are an oboe concerto for the Cleveland Orchestra and a third symphony for the New York Philharmonic. In addition to performances by most of our major orchestras, she has been fortunate in the number of wr orks that have been recorded as wT ell.
Clearly there is something in Ellen Zwilich's music that attracts attention — and repeat performances. It is, to begin with, accessible — wThich is not the same as saying easy. Much of her musical language is based on the harmonic interval of the third, on the triad, the harmonies that are familiar to us from the great music of the past. Yet her treatment of it is fresh and new, not simply a rehash of familiar styles from the past. She likes to wTite long melodic lines (ahvays welcome after a generation that produced more than its share of clotted, complicated intricacy), and she spins out her lines with a lightness of touch that allowT s the idiomatic details of her orchestral wait- ing to be heard and appreciated.
eet your own high M expectations. Quality performance and personal excellence have been the expectation at The Williston Northampton School for 150 years.
THE Please send me a catalog and videotape. WILLISTON NORTHAMPTON SCHOOL Name
19PaysonAve.Box300 Street Easthampton, MA 01027 413/527-1520 FAX: 413/527-9494 City State Zip
18 J
As with many of the major composers from Beethoven to her own teacher Sessions, Zwilich lets her music grow from a striking gesture — a melodic motif, a harmonic- detail — that is heard at the very beginning of the piece and that generates much of what follows. This is certainly true of the new Concerto for Flute and Orchestra, the language of which is implicit in its first few bars. The piece is centered around C; the first three bars establish that pitch as fundamental. Then the violas and cellos begin a slow, melodic line, now in one part, now in the other, which gradually unfolds both a melodic gesture and a harmonic idea (in this example the two instrumental parts are fused into a single compound melody): T s tvp \> ± j
The melodic gesture is marked by the upper bracket. It traces the notes C, E-flat, A-flat, which make up an A-flat major triad in what harmony students learn to call first inversion, with the third degree of the scale at the bottom. This three-note melodic gesture is central to the discourse of the concerto. At the same time, the com- pound melody encompasses the three pitches of the C major triad (marked by the lower bracket); they are sustained as a chord in the lower strings. Thus, the concer- to's fundamental chord appears gradually in the course of this phrase, which at first suggested a different harmony, but eventually displaced the E-flat in the second meas- ure with the E -natural in the fourth.
Just as the C major chord (comprising the pitches C, E, G) is established in the strings, the soloist enters — on a D-sharp alternating with an E,
sub. PP first slowly, then faster and faster until the figure becomes a trill. To the listener, D-sharp is the same pitch as E-flat. Heard against the C major chord in the strings, it sounds like an attempt to turn the major chord to minor. Here we have the basic germ of the concerto: a triad that contains the essential pitch of both its major and minor versions (in the example, both E-natural and E-flat as the third between C and G). The slight acerbity growing out of the argument between E and E-flat (or D-sharp) highlights the interval of the semitone which, in various guises, appears throughout the flute's first soaring, lyrical solo.
The tempo doubles speed as the cornets sizzle with a little turn figure that we'll hear in all three movements.
I? q J 1 ?J J J T
The orchestra, kept discreetly subtle so far, builds to a momentary climax that sets
19 Week 24 The Essex
••••because comfort and grace are ageless
An inviting lifestyle of elegance and quality. THE ESSEX is a unique residential senior community designed to promote a fulfilling and dignified lifestyle in an atmosphere of caring and security. As a resident you wil enjoy the comfort and privacy of your own spacious apartment home, including the availability of service options, and the guarantee of our commitment to your continued well-being.
• Elegant dining room • Rental programs w/option to purchase • Guest Suites • Social, cultural and wellness programs • Chauffeured transportation • Valet parking • Assisted living • Personal Care • Emergency response call system • 24-hour security • Around the clock staffing • Guest suites • Williamsburg courtyard • Housekeeping • Indoor pool and Jacuzzi
Yes, send me information about The Essex Lifestyle! THE ESSEX
On Boston's North Shore Address Steps from the Peabody Museum 11 Church Street Historic Salem, MA State City Zip 744-4050 (508) Telephone Clip & Mail Coupon
ALSO INQUIRE ABOUT OUR OTHER SENIOR COMMUNITIES THE GEORGIAN ON BOSTONS JAMAICAWAY AND THE GARDENS OF CHESTNUT HILL.
20 off the galloping 6/16 Allegro. The principal elements of the Allegro are a little neighbor-note figure that can serve either to build up kinetic energy or- to bide time in rapid-fire alternations.
} * |n jm *n Once the activity gets fully underway, the figure is embedded into a mercurial theme that grows out of the melodic idea highlighted in the first example. But now it comes lickety-split with a sparkling twist. i£fi> fe|7> ff> tWEe The first three notes outline a triad of D major (again, as at the opening, in first inversion). But the very next note, F-natural, suggests instead D minor. At this speed, it can only be a near-instantaneous touch of color rather than a real harmonic perception, but it leaves a sense of a veritable whirlwind of activity, especially when it appears that the F-natural is not so much the end of the first figure as it is the beginning of yet another triad on a different harmony. Thus the merry game continues. Sometimes the figures seem to emphasize the lightning shift from major to minor. r i i nT< { , ^ f But for the most part, all of these tiny gestures are subsumed in the sweep of the whole, which dances along at a rapid clip, pausing only for the solo cadenza (a further elaboration on the basic material) and a restatement to close. The slow movement opens with steady reiterated chords in the full orchestra, begin- ning strongly but dying away as the flute begins its long-spanned melody. The march- ing repeated chords, which come back again and again (at different levels) throughout the movement, consist once again of a triad with both the major and minor forms of the third. The flute sustains itself above the fray, but falls exhausted as the orchestra dies away at the end of the movement. The finale, Allegro con spirito, is a delicious romp; on the surface, mostly a 2/4 galop (a la Offenbach, perhaps), it plays all kinds of rhythmic games while further elaborating the thematic and harmonic materials heard earlier. It capers energetically, with the orchestra now and then threatening to take over from the soloist, who, how- ever, is allowed the final brilliant word. — Steven Ledbetter 21 Week 24 >' y The Shreve Wedding For generations, New England brides have trusted the wedding experts at Shreve. From engagement rings and wedding bands to invitations, attendant gifts and the bridal registry, Shreve's is at your service. Let your elegant wedding begin at Shreve. SHREVECRUMP &LOW 330 BOYLSTON ST., BOSTON, MASS. 02116 (617) 267-9100 • THE MALL AT CHESTNUT HILL • SOUTH SHORE PLAZA 22 .Louis Vuitton. JL he art oi travel. "^yT Louis Vuitton luggage and accessories are sold only in the Jz-J exclusive Louis Vuitton stores in Paris and the other great cities of the world. Copley Place, 1(X) Huntington Avenue, Boston (617) 437-6519 At Saks Fifth Avenue, Prudential Center, Boston (617) 262-8500 x321 Also available at all Saks Fifth Avenue and Neiman Marcus stores. LOUIS VUITTON MAUETIERAPARIS MAISON FONDEE EN 1854 knows all about investment accounts, lines ofcredit, and quiet restaurants. You think about what you made last year, and you smile. You think about what you're going to do with it, and you scratch your head. Breakfast with your pri- vate banker could open up a lot of possibilities. Because at his fingertips are all the resources of Bank of Boston. From a range of investments, to the best credit options. Private banking makes it easier for you to do more with your money. Now you've got Bank of Boston at your convenience, on your own time, and even at your favorite restaurant. BANKOF BOSTON Put our strength towxk for you. Call Warren Bacon, Vice President, Private Banking Group at (617) 434-5302. © 1988 The First National Bank of Boston An Exclusively Residential Enclave on Boston's Waterfront Away from the shops, the traffic and the crowds, Burroughs Wharf stands alone. From $450,000 Telephone 61 7 227-8282 J Burroughs U H Wharf \t at Neiman Marcus Anton Bruckner Symphony No. 4 in E-flat, Romantic Joseph Anton Bruckner was born in Ansfelden, Upper Austria, on September 4, 1824, and died in Vienna on October 11, 1896. He began composing his Fourth Symphony late in 1873, completing a preliminary version in November of the following year. He undertook a thorough revision in 1878, bringing it to completion on June 5, 1880. The revision involved a substantial reworking of the first and second movements, rewriting of the fourth, and, finally, substitution of a completely different third movement, the "Hunting Scherzo" that is now in the score. Later changes, including some made for the unfortunate first edition of 1891, are of dubious authenticity; the 1878-80 version, edited by Robert Haas, is best taken as the authentic one and will be performed here. The first performance took place in Vienna on February 20, 1881, Hans Richter conducting. Anton Seidl introduced the work to the United States in a concert given at New York's Chickering Hall on March 16, 1888. Wilhelm Gericke conducted the first Boston Symphony Orchestra performances on February 10 and 11, 1899. The piece has also been performed on Boston Symphony concerts under the direction of Serge Koussevitzky, Erich Leinsdorf, Eugen Jochum, Seiji Ozawa, Klaus Tennstedt, who led the most recent subscription performances in 1982, and Gunther Herbig, who led the most recent performance in August 1986, at Tanglewood. The score calls for two each of flutes, oboes, clarinets, and bassoons, four horns, three trumpets, three trombones, tuba, timpani, and strings. Picture, if you will, Anton Bruckner upon his arrival in Vienna in 1868. He was forty-four years old and had come to take up the professorship in harmony and coun- terpoint at the Vienna Conservatory. This position of considerable prestige in the ele- gant and fashionable capital of the Austro-Hungarian Empire had been bestowed on a composer of extraordinarily refined technique (when Bruckner was tested in 1861 for a diploma from the Conservatory, one of his judges exclaimed, "He should have exam- ined us! If I knew one-tenth of what he knows, I'd be happy."). He had begun to make a name for himself as a composer of Masses, having already written his three major works in that medium, and he had composed his Symphony No. 1 (two earlier symphonic essays remained outside the official canon), though it was not yet known in the capital. But for all his growing reputation as a composer and the support that he had received in the reviews of the influential critic Eduard Hanslick, Bruckner must have been a strange apparition. A child of the country, born and raised in rural Upper Aus- tria, he continued to dress in the simplest costume characteristic of his peasant back- ground — baggy black pants (ending above the ankles so as not to interfere with his pedal-work when playing the organ), a loose coat of notably unstylish cut, and com- fortable white shirt with an unfashionably broad collar. Short and stocky, a valiant trencherman, bearing in his profile a sharp physiognomy, he could easily be taken for a peasant farmer. More important in its effect on his well-being and acceptance in Vienna was his characteristically simple nature — pious, trusting, deferential, and naive. He came, a true innocent, and found himself in that musico-political snakepit that was Vienna. Utterly unable to be anything other than himself, Bruckner quite simply failed to understand the intricate pattern of backbiting, of personal grudges and attacks, of quid pro quo that made up the Viennese musical scene. He made one 23 Week 24 1" Our BO V«"! 1S& Mdnam Ipwelers since Classical Harmonies: i / »us III Edition. LASSALE Lassale presents the perfect balance between elegance and practicality: The Opus III Edition for men and women. For men, gleaming white dials highlight four subdials showing moonphase, day, date and twenty-four hour time, one with gold case and brown padded lizard strap, the other with blue bezel and blue lizard strap. For ladies, elegance couldn't be simpler, with white dial and golden © Seiko Time 1989 markers in a gold toned case with our new brushed bracelet design. All with three-year warranty. E.B. HORN • 429 WASHINGTON ST. • BOSTON, MA ALL MAJOR CREDIT CARDS ACCEPTED BUDGET TERMS MAIL OR PHONE ORDERS 542-3902 ^r I OPEN MON. AND THURS., TILL 7 24 devastating political mistake and — characteristically — kept on repeating it, quite igno- rant of its consequences to himself: he expressed and constantly reaffirmed a strong admiration for Wagner. After arriving in Vienna Bruckner devoted almost his entire creative energy to the composition of symphonies. The years 1871 to 1876 saw the pouring out of sympho- nies 2, 3, 4, and 5. The Vienna Philharmonic (then as now an ensemble of conserva- tive, not to say reactionary, taste) refused to play the First on account of its "wild- ness and daring," then the Second, claiming that it was "nonsense." Yet when a patron was found to finance a performance of the Second, it received a standing ova- tion from the audience. But it was the next symphony that really set the cap on Bruckner's problems in Vienna. In sincere admiration of the musical accomplishments of Wagner, Bruckner showed him the manuscript of the Third Symphony, in I) minor, and even dedicated the score to him. He was delighted that Wagner accepted the dedi- cation and ever after naively referred to the symphony in all his letters as "my Wag- ner Symphony," apparently quite oblivious to the fact that he had thereby totally lost the good will of the critic Hanslick, who from that time on lost no opportunity to attack Bruckner and his works, even conveniently forgetting the favorable things he had said in the past. The Wagner party in Vienna was delighted to find a composer of symphonies in their camp, and they promptly hailed Bruckner as a master they could use to browbeat the Brahmsians. But the entrenched powers were all in the Brahms camp, and though Brahms himself seems to have respected Bruckner's work, the Brahmsians were relentless. Thus, after a devastating performance in 1877 of the Third Symphony, which Bruckner himself had to conduct, at which he heard catcalls and jeers during the per- ^j^ .1 silhouette by Otto Bolder: Bruckner's arrival in heaven. The welcoming party includes, among others, Liszt, Wagner, Schubert, Schumann, and Mozart; Bruck- m r is of the extreme left, being coaxed along by an angel. 25 Week 24 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 world's 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 Name. Phone. Addr City. State- Zip. Please send vour contribution to: Susan E. Tomlin, Director of Annual Giving, Boston Symphony Orchestra, Symphony Hall, Boston, MA 02115. (617) 266-1492. KEEP GREAT MUSIC ALIVE I_ J formance and saw the hall emptied of its audience before the end, leaving only some twenty-five young musicians (among them Mahler) to applaud the work, Bruckner began to revise his previously composed symphonies in an attempt to make them somehow more accessible. The Fourth underwent this process of rewriting without ever having been heard in public. But unlike most of his other symphonies, the revi- sion of 1878-80 that produced the first definitive version was also the last time that Bruckner seriously attacked the score, so that the inevitable problem of choosing an "authentic" version is, for No. 4 at least, a relatively simple one. (Bruckner did, to be sure, make some changes in 1886 for Anton Seidl's performances, but they were lim- ited to minor adjustments of the orchestration — and, in any case, he made a new fair copy of the original 1880 version as late as 1890, so that must be considered his final word on the subject. At about the same time Bruckner's devoted but misguided aco- lytes Franz Schalk and Ferdinand Lowe prepared a heavily cut version reorchestrated in the style of Wagner; it was this version that was published in 1890, but Bruckner himself refused to authorize it, and it has justly been repudiated.) The first performance of the Fourth, which took place in Vienna in 1881, was a considerable success, though it did not immediately overwhelm opposition to Bruck- ner. His symphonies are so individual and personal a treatment of the symphonic form inherited from his Viennese predecessors Haydn, Mozart, Beethoven, and Schu- bert that we still tend to misunderstand them. Until quite recently Bruckner's name was always linked in the same breath with Mahler's, as if Bruckner-and-Mahler were no less inseparable than Gilbert-and-Sullivan. Before either composer was deemed worthy of a volume all to himself in the Master Musicians series, they were treated in tandem (the only composers ever dealt with in that way), and the journal Chord and Discord, wiiich was the official journal of the Bruckner Society of America, dealt with Mahler as much as it did with Bruckner. But aside from the fact that the young Mahler admired Bruckner's music and provided the piano reduction of the Third Sym- phony at the time of its publication, the two composers had little in common. To be sure, Bruckner and Mahler each wrote lengthy and demanding symphonies that were rarely performed, but in other respects their music looked in opposite direc- tions. Mahler's symphonies involved (as he himself said) the creation of entire worlds, with all of the diversity that entails; they were, moreover, filled with existential doubt and anguish, and no matter how assertively positive the endings might be (in some cases!), the search and the doubt always remain at the core. Bruckner could hardly have been more different. Though in many respects insecure as an individual, when it BOSTON'S only gallery CAREY' dedicated exclusively to Eskimo art. LIMOUSINE •CHAUFFEUR DRIVEN SEDANS, VANS AND LIMOUSINES INUIT FOR ALL OCCASIONS •EXECUTIVE SERVICE IMAGES Est. 1924 The finest in 623-8700 sculpture, rare prints, books, 24 HR. SERVICE/BOSTON AREA and wall hangings A&A LIMOUSINE RENTING INC. SOLD • BOUGHT • APPRAISED 161 BROADWAY—SOMERVILLE, MA SERVICE IN 300 CITIES • 60 COUNTRIES • 6 CONTINENTS Call or write: P.O. Box 2501, Quincy, MA 02269 MAJOR CREDIT CARDS ACCEPTED (617) 471-2626, Mon.-Fri, 9:00-5:00 NATIONWIDE 1-800-336-4646 (617)471-1706 eve's & weekends 27 came to composing symphonies, he wrote music thai reflects throughout the absolute conviction of Ins faith, and cadi symphony seems from the beginning to he aiming for a predestined conclusion of grandeur and almost heavenly glory, [f Mahler's sympho- nies are in some sense acts of self-psychoanalysis. Bruekner's symphonies are liturgi- cal acts. Or, to use a very different comparison: Haydn, another composer who came from the peasantry in the Austrian countryside, wrote Mass settings that were pro- foundly symphonic in character; Bruckner wrote symphonies that were deeply litur^i- eal. It is not only that he often quoted themes from his Masses in his symphonies, but rather the nature of the musical rhythm, the grand, measured progress from certainty to certainly, Leading in confident assertion to the final gloiy, that gives his sympho- nies their special character. (And perhaps this is why today, in an age of endl- questioning of values. Mahler's symphonies seem to strike a more generally responsive chord than Bmckner's.) The Fourth is the only symphony to which Bruckner gave any kind of official nick- name or programmatic guide. But the epithet "Romantic" hardly reveals anything that is not immediately apparent in the music itself. The romanticism that is in ques- tion here is that "forest romanticism" so characteristic of early nineteenth-centuiy German literature — a love of pure unspoiled nature as depicted in the freshness of forest, field, and mountain, possibly a touch of antiquarianism in a passion for the BEFORE OR AFTER If you'd like to own a Theatre, Symphony or Ballgame, one-of-a-kind Pearson's has the selection to please your crowd. We serve dinner 'til 11 pm, treasure, offering steaks, seafood and pasta, just raise your and our Cafe Fare 'til midnight includes ribs, grilled steak sand- hand. wiches, chilled shellfish and more. Dine in our casual lounge, outside on the patio or in our fine dining room. Open until 1 am seven days, serving lunch and dinner, with SKINNER brunch on Sundays. Valet parking. Auctioneers andAppraisers ofAntiques and Fine Art Steak & Sea Grille 357 Main Street 2 Newbury Street Boston, 02116 Commonwealth Avenue, corner of Dartmouth Street Bolton, MA 01740 MA 617-236-1700 Boston, MA 617536-3556 508-779-6241 28 * simpler life of long ago, a celebration of the hunt and rural life All of this ean be found in the musie. and would be found then1 whether Bruckner had assigned the nickname or not. The first movement opens with a hushed rustle ot string tremolos barely break _ the stillness. A solo horn call sounds the notes B-tiat — B-flafl — B-fiat. then r the phrase, stretching the first note up an evocative half-step to C-flat, a note that will play an important role, both melodic and harmonic, throughout the symnb The fanfare figure moves to the woodwinds over the continuing string tremolo to I gradually to the first full orchestra] tutti and a new thematic idea built on Bruckner's favorite rhythmie gestures: two quarter-notes followed by three triplet quarters. This material provides the preparation for the dominant key ot B-riat. though at the last moment Bruckner shifts to D-tiat for the contrasting theme; its most noticeable element at first is the folk dance tiirure in the first violins, but gradu- ally an interior line first heard in the violas takes on greater significance. A span tutti brings us around to the B-flat we were denied earlier for a shortened statement of the folk danee figure and the conclusion of the exposition. The development dm in grand, stately sequential harmonic steps tlu-ough the harmonic universe, culminat- ing in a hushed string passage that treats the interior viola line of the secondary theme in an expressive expansion before moving — so quietly! — to the recapitulation, with a new flute countermekxiy to the string tremolos and horn ealls. The slow movement has the character of a subdued, muted funeral march in C minor, first heard in the cellos against muted strings. At its restatement in the woodwinds an accompaniment of plucked cellos and basses sets up the sound of steady marching that remains in the ear even during a mysterious chorale followed in its turn by a sustained cantabih melody in the violas that ends finally in C major. These various materials are developed richly in extended keys exploiting the brass and woodwinds (who have barely been heard to this point). An abbreviated restatement of the opening leads to a lengthy coda with wide-ranging expansion of the funeral march. The scherzo was the last movement to be composed when Bruckner wrote it to replace an earlier, discarded version. He himself described this as music for the limit 'with the Trio providing the musical entertainment at the hunt banquet ._.:in the musical gestures make this identification self-evident. The scherzo itself is a brilliant achievement, compounded of varying treatments of the composer's favorite rhythm, one beat divided into two even eighth-notes followed by another divided into triplets. Nothing could be simpler and more homey than the Landler of the Trio, though its second half has a chromatic turn that would certainly not be found in peasant day. s The scherzo is repeated literally. The finale begins in B-tlat minor with a melodic figure in the clarinets and first horn iG-flat to F 1 that will recall the C-flat-to-B-flat heard at the very opening of the symphony; it is. in fact, an echo of that figure at the higher fifth. A lengthy crescendo leads to the main theme of the finale, a forceful unison statement in E-flat (with an important role for the polar alternative of C-flat). The finale itself is an extremely complicated movement tilled with a number of diverse ideas (some of which seem too trivial for the role they are called upon to play, but at the end. Bruckner pulls him- self together in a grand, organ-like coda that sets the universe ringing in E-tiat with a hint of the opening fanfare now blared by the entire mass of brass instruments, while the single note of C-flat which represented the first pitch outside of the tonic chord back at the beginning^ continues to assert its presence in the strings until the last ssible moment. -SJ 2 Week 24 Garber TYavel gives you an For rates and opening night performance. BOsK >\ \ information on ( sYM PHONY \oRCHKSTRAy We invite you to step inside any one ol our 55 advertising in the offices and experience the Boston Symphony, talents of our travel **fK professionals They will Boston Pops, expertly plan your vacation, giving you a solo and performance you won't soon forget. We bet you'll Tanglewood program books even ask for an encore! please contact: Call us at 734-21 00 STEVE GANAK AD REPS Main Office: 1406 Beacon St., (617)-542-6913 Brookline Dinner at 6. Symphony at 8. $ Parking at 5. Make dinner at Boodle's part of your night out at the Symphony. When you do, you'll not only enjoy an award winning dining experi- ence from Boston's authentic grill, you'll also get special parking privileges at the Back Bay Hilton's Thelonious Monk. private garage. Just show us your tickets at dinner Outrageous Monkfisr on the night of the performance and park your car for just $5. And Not only do we serve up the freshest with a deal like that, a night at the seafood in town, we serve up the hottest Symphony never sounded better. jazz. Every night at 8 in our bar. So after the award-winning Chowder, smoked salmon, and black- turner , > . , r. • FISHERIES enedMonknsh,you can swing of bos™ to an exciting foursome. m 3 Reservations gladly accepted. BOODLE'S EAR & RESTAURANT OF • BOSTON Authentic Grill (617)424-7425 An Lunch and dinner daily. In Boston's Back Bay Hilton. 10 Avenue, Boston, Mass. 02116 Huntington Phone (617) BOODLES. 30 More . . . The best compact discussion of Ellen Zwilich, with a list of her works up to L985, is to be found in The New Grove Dictionary of American Music. A large number of her works, ranging over much of her career, are available on record and compact disc. The song cycle Einsame Nacht (1971) has been recorded by bass John Ostendorf with pianist Shirley Seguin (Leonarda LP, coupled with songs by Rebecca Clarke and Lee Hoiby). The Sonata in Three Movements for violin and piano (1973-74) was recorded by Joseph Zwilich and James Gemmell; it is included with the String Quartet (1974, performed by the New York String Quartet) and the Chamber Symphony (1979, per- formed by Boston Musica Viva) on a CRI recording (LP only). The String Trio (1982) can be heard with the eloquent song cycle Passages, on poems of A.R. Amnions, for soprano and chamber ensemble, on a Northeastern LP, featuring the performers who created the Passages, Boston Musica Viva, Richard Pittman, conduc- tor, and mezzo-soprano Janice Felty. Unfortunately the LP pressing is almost gone (it has already been dropped from the record catalogues, but a few copies remain; there are no plans yet to reissue it on compact disc). The Pulitzer Prize-winning Sym- phony No. 1 (1982) has been recorded by the Indianapolis Symphony Orchestra under the direction of John Nelson (New World compact disc, coupled with Celebration and Prologue and Variations for orchestra [both 1984]). The Double Quartet for Strings (1984), Concerto for Trumpet and Five Players (1984), and Symbolon for orchestra (1988) are all to be found on a single CD performed by the New York Philharmonic under the direction of Zubin Mehta (New World). Hans-Hubert Schonzeler's Bruckner is a brief, nicely illustrated life-and-works (Calder). The most penetrating musical discussion of the symphonies is to be found in Robert Simpson's The Essence of Bruckner (Chilton). Philip Barford's Bruckner Sym- phonies in the BBC Music Guides gives a sympathetic introduction to these works (University of Washington paperback). Dika Newlin's Bruckner, Mahler, Schoenberg is an interesting study that links the three composers as part of the great Viennese musical tradition (Norton). Tovey analyzes the Fourth in his Essays in Musical Anal- ysis (Oxford, available in paperback). Though not dealing with every movement of each symphony, Deryck Cooke's chapter on Bruckner in the first volume of the sym- posium The Symphony, edited by Robert Simpson, is sympathetic and enlightening (Pelican paperback). The complex series of scores, versions, and editions of Bruck- ner's music, brought on largely by the well-intentioned but misguided efforts of his disciples to spread performances of his work, have caused headaches for everyone per- forming, studying, or writing about this music. Deryck Cooke brought some order out of this chaos in a series of articles originally published in the Musical Times; it has been conveniently reprinted in a posthumous collection of Cooke's essays, Vindications (Oxford). The Fourth Symphony is available in a considerable range of performances, including recently reissued historical readings by Hans Knappertsbusch with the Ber- lin Philharmonic (1942/44) on a Nuova Era CD and Wilhelm Furtwangler with the Vienna Philharmonic (recorded in concert, 1951) on Price-Less. More recent perform- ances by conductors with a particular flair for Bruckner include Bernard Haitink with the Concertgebouw Orchestra (Philips), Eugen Jochum with the Berlin Philharmonic (DG), Herbert Blomstedt with the Dresden State Orchestra (Denon), and Herbert von Karajan with the Berlin Philharmonic (DG). -S.L. 31 Week 24 ongratulations to the Boston Symphony. May your 109th season be one of many high notes. Living the good life. Jordan marsh EST. 1851 MASSACHUSETTS • CONNECTICUT RHODE ISLAND • NEW HAMPSHIRE MAINE NEW YORK 32 Doriot Anthony Dwyer Doriot Anthony Dwyer joined the Boston Symphony Orches- tra as its principal flute, and first female first-desk player, in 1952, after successfully auditioning for then music direc- tor Charles Munch. At the same time she became the first woman ever permanently appointed to a principal chair of a major symphony orchestra. Ms. Dwyer studied with her mother, with Ernest Leigl, then principal flute of the Chi- cago Symphony Orchestra, and, later, with Georges Barrere, William Kincaid, and Joseph Mariano at the Eastman School of Music. Before coming to Boston she was a mem- ber of the National Symphony and the Los Angeles Phil- harmonic. An important career breakthrough came when Bruno Walter chose her as principal flute for the Hollywood Bowl Orchestra. Ms. Dwyer was also a frequent per- former in the well-known Los Angeles chamber music series "Evening on the Roof," now called "Monday Evening Concerts." Born in Illinois, and a descendant of famed suffragist Susan B. Anthony, Ms. Dwyer has been active in enlarging the repertory for the flute; new works have been written for and dedicated to her by such composers as Walter Piston, John La Mon- taine, Benjamin Lees, and William Bergsma. Ellen Taaffe Zwilich's new Concerto for Flute and Orchestra was commissioned for Ms. Dwyer by the Boston Symphony Orchestra on the occasion of her retirement from the orchestra this season; her per- formance of this concerto initiates a new phase in Ms. Dwyer' s career, reflecting her decision to concentrate on performance as a soloist. Ms. Dwyer has taught at Pomona College and at the New England Conservatory of Music; she is currently Adjunct Pro- fessor of Music at Boston University and a member of the Tanglewood Music Center faculty. A member of the Boston Symphony Chamber Players since the ensemble's founding in 1964, Ms. Dwyer has also appeared as soloist with the Boston Symphony and other orchestras in this country and abroad. She has given a televised recital and master class on the RTE (Radio Telefis Eirann) in Dublin, Ireland. The recipient of honorary doctorates from Harvard University and Simmons College, Ms. Dwyer received the Sanford Fellowship from the Yale School of Music in 1975; her receipt of the Harvard doctorate and the Sanford Fellowship marked the first time those honors were awarded to an orchestral artist rather than to an exclusively solo instrumental- ist, conductor, or composer. This year she will receive an honorary doctorate from Regis College. In October 1982 she celebrated the thirtieth anniversary of her appointment as BSO principal with recitals at Alice Tully Hall in New York and Sanders Theater in Cambridge. In recognition of her accomplishments as a woman and artist, Ms. Dwyer was nominated to the Women's Hall of Fame at the Seneca Falls Historical Museum in Seneca Falls, New York, and accepted the Woman of Achievement Award on behalf of her ancestor, Susan B. Anthony. Ms. Dwyer has recorded for the RCA, Deutsche Grammophon, Fredonia, and Northeastern labels. Her latest album, with the Manhattan String Quartet, and recently released by Koch International Classics, includes chamber music for flute and strings by William Bergsma, Donald Francis Tovey, Amy Beach, and Heitor Villa-Lobos. 33 1989-90 SEASON SUMMARY WORKS PERFORMED DURING THE BOSTON SYMPHONY ORCHESTRA'S 1989-90 SUBSCRIPTION SEASON Week ANTONIOU Pcean (world premiere; commissioned by the Boston Symphony Orchestra and Boston University) BACH, J.S. Prelude and Fugue in E-flat, BWV 552, 4 arranged for large orchestra by Arnold Schoenberg Ricercar a 6 from the Musical Offering, BWV 1079, 4 arranged for orchestra by Anton Webern Toccata and Fugue in D minor, BWV 565, 23 symphonic transcription by Leopold Stokowski BEETHOVEN Leonore Overture No. 3, Opus 72a 10 Piano Concerto No. 1 in C, Opus 15 23 ALFRED BRENDEL, piano Piano Concerto No. 3 in C minor, Opus 37 10 RADU LUPU, piano Piano Concerto No. 4 in G, Opus 58 19 MAURIZIO POLLINI, piano Symphony No. 3 in E-flat, Opus 55, Eroica 10 BERLIOZ Requiem {Grande Messe des morts), Opus 5 Opening Night, 1 FRANK LOPARDO, tenor; TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor Te Deum, for tenor soloist and three choruses, with 21 orchestra and organ DAVID GORDON, tenor; TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor; BOSTON BOY CHOIR, JOHN DUNN, director; JAMES DAVID CHRISTIE, organ BRAHMS Violin Concerto in D, Opus 77 15 IDA HAENDEL, violin Concerto in A minor for violin and cello, Opus 102 13 MALCOLM LOWE, violin; JULES ESK3N, cello Symphony No. 1 in C minor, Opus 68 12 PHILHARMONIA ORCHESTRA, GIUSEPPE SINOPOLI, conductor Symphony No. 2 in D, Opus 73 20 BRUCKNER Symphony No. 4 in E-flat, Romantic 24 COPLAND Appalachian Spring, Ballet for Martha 19 DEBUSSY Nocturnes 20 NEW ENGLAND CONSERVATORY WOMEN'S CHORUS, TAMARA BROOKS, director DVORAK Symphony No. 8 in G, Opus 88 34 ELGAR Cello Concerto in E minor, Opus 85 14 YO-YO MA, cello Variations on an Original Theme, Enigma, Opus 36 22 HAYDN Symphony No. 83 in G minor, The Hen 17 Symphony No. 104 in D, London 14 IVES Central Park in the Dark 7 janaCek Sinfonietta 6 MAHLER Svmphonv No. 2 in C minor, Resurrection 7 (Tuesday 'C') HENRIETTE SCHELLENBERG, soprano; NAOKO IHARA, mezzo-soprano; TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor Symphony No. 9 2 Adagio from the Symphony No. 10 in F-sharp 13,23 MENDELSSOHN Die erste Walpurgisnacht, Cantata, Opus 60, for soloists, 15 chorus, and orchestra GAIL DUBINBAUM, mezzo-soprano; JON GARRISON, tenor; HAIJING FU, baritone; TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor Symphony No. 4 in A, Opus 90, Italian 17 Symphony No. 5 in D, Opus 107, Reformation 3 SARGENT ESTATE BROOKLINE . . . Built in 1948 on 6.25 secluded acres in the exceptional Sargent Estate, this elegant residence features a recep- tion hall with antique mahogany paneling, a for- mal dining room (26' x 18') with random marble floor, an ultra modern designer kitchen with granite countertops, and a spacious family room with PLEASE CALL: a beamed cathedral ceiling and a fireplace. There is Aileen B. Cabitt John M. Riley garage parking for five cars, (617) 969-2447 Office (617) 731-2447 Office tennis courts, and the pos- (617) 731-2497 Residence (617) 489-5469 Residence sibility of additional build- Marketed By: able lots on the grounds. HUNNEMAN •^Better . . . $5,600,000 & COMPANY • REALTORS I ^^M T^TC )IT1CS -*- -*- and Gardens® Thirty-three offices throughout New England 35 A BROADCAST SERVICE OF THE CHRISTIAN SCIENCE MONITOR Listen to Your neighbor Monty Haas Pat Bodnar Since 1908 one newspaper, The Christian Science Monitor, has been bringing the world to your neighborhood. Now you can listen in on the world each weekday morning and evening on MONITORADIO. And during the weekend, too. Every morning Pat Bodnar talks to Monitor correspondents around the world. And Monty Haas wraps up the day with them in the evening. And, during the weekend you hear from top Monitor editors about what's happened, happening and could happen — as well as the best of the weeks reports. Listen to your neighbor— and to the world — on MONITORADIO brought to you by your neighborhood stations. EARLY EDITION BOSTON WUMB-FM 91.9 M-F 5:00 AM DAILY EDITION WORCESTER WICN-FM 90.5 M-F 5:30 PM CONCORD WADN-AM 1120 M-F 7:00 PM WEEKEND EDITION BOSTON WGBH-FM 89.7 SAT 6:00 AM FRAMINGHAM WK0X-AM 1200 SUN 9:00 AM nMV The Christian Science Monitor b Broadcast service for public radio 36 MOZART Violin Concerto No. 3 in G, K.216 18 ANNE-SOPHIE MUTTER, violin Symphony No. 32 in G, K.318 13 Symphony No. 36 in C, K. 42 5, Linz 22 Symphony No. 38 in D, K.504, Prague 11 PART Symphony No. 3 18 PROKOFIEV Lieutenant Kizhe, Symphonic Suite, Opus 60 8 HAIJING FU, baritone Violin Concerto No. 2 in G minor, Opus 63 8 TAMARA SMIRNOVA-&AJFAR, violin RAVEL he Tombeau de Couperin 14 RIMSKY-KORSAKOV Suite from Le Coq d'or 18 ROUSE Symphony No. 1 (Boston premiere) 5 SAINT-SAENS Piano Concerto No. 2 in G minor, Opus 22 4 ANDRfi WATTS, piano SCHNITTKE Concerto for Viola and Orchestra (United States premiere) 21 YURI BASHMET, viola SCHUBERT Symphony No. 1 in D, D.82 9 Symphony No. 5 in B-flat, D.485 7 SCHUMANN Symphony No. 2 in C, Opus 61 16 SHOSTAKOVICH Symphony No. 14, Opus 135, for soprano, bass, 11 string orchestra, and percussion LYUBOV KAZARNOVSKAYA, soprano; THOMAS PAUL, bass Piano Concerto No. 1 in C minor, Opus 35 22 EMANUEL AX, piano Violin Concerto No. 1, Opus 77[99] 3 VIKTORIA MULLOVA, violin SIBELIUS Symphony No. 5 in E-flat, Opus 82 18 SMETANA &drka, from Md \Jast 9 STRAUSS Death and Transfiguration, Tone poem for large orchestra, Opus 24 12 I'HILHARMONIA ORCHESTRA, GIUSEPPE SINOPOLI, conductor B?JiI? Don Juan, Tone poem after Lenau, Opus 20 16 Ein Heldenleben, Tone poem, Opus 40 7 37 PERFORMANCE YOU'LL APPRECIATE 3500-1 2800- 2100- 1400- 700 1975 1970 Don't worry about it anymore! 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 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)00^- 38 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. AG 100 High Street, Westwood, MA 02090 A TRADITION OF FINANCIALCOUNSEL OLDER THAN THE U.S. DOLLAR. State Street has been providing quality financial service since 1792. That's two years longer than the dollar has been the official currency of the United States. During that time, we have managed the assets of some of New England's wealthiest families. And provided investment advice and performance tailored to each client's individual goals and needs. Today our Personal Trust Division can extend that service to you. We've been helping people manage their money for almost 200 years. And you can only stay in business that long by offering advice of the highest quality. Let us help you get the highest performance from your assets. To enjoy today and to pass on to future generations. For more information contact Peter Talbot at 617-654-3227. State Street. Known for quality? § State Street Bank and Trust Company, wholly-owned subsidiary of State Street Boston Corporation, 225 Franklin Street, Boston, MA 02101. Offices in Boston, New York, Los Angeles, London, Munich, Brussels, Tokyo, Sydney, Hong Kong. Member FDIC. Copyright State Street Boston Corporation, 1989. A Special Life-style Carleton-Willard Village is an exceptional continuing care retirement community. Gracious independent living accommodations and fully licensed, long-term health care facilities exist in a traditional New England environment. CARLETON-WILLARD VILLAGE 100 Old Billerica Rd. I T I Bedford, MA 01730 (617) 275-8700 Owned and operated by Carleton-Willard *F\T M) Homes, Inc., a non-profit corporation TFG Back Bay Properties is honored to present an array of residential restorations in Boston's most coveted neighborhood, Back Bay. Property offerings at various market levels, each with The Finch Group signature of r quality and value. From ^w" $125,000 to $2,200,000. 31-33 & 109-111 Commonwealth Avenue 339-341-343 Beacon Street 416 Marlborough Street 184 Marlborough Street ft THE FINCH OROUP, IMC. Construction Financing Provided by 1st American Bank for Savings (617) 439-3000. STRAVINSKY Chorale Variations on J.S. Bach's Christmas song, 23 "Vom Himmel hoch da komm' ich her" Petrushka (original version, 1911) If) Symphonies of Wind Instruments 19 TCHAIKOVSKY Romeo and Juliet, Overture-Fantasy after Shakespeare 8 Symphony No. 1 in G minor, Opus 13, Winter Daydreams 6 Symphony No. 5 in E minor, Opus 64 5 TIPPETT Concerto for Double String Orchestra 4 Fantasia concertante on a Theme of Corelli 17 TSANG Prelude for Orchestra (world premiere) 8 WAGNER Prelude to Die Meistersinger von Niirnberg 16 ZWILICH Concerto for Flute and Orchestra (world premiere; 24 commissioned for Doriot Anthony Dwyer by the Boston Symphony Orchestra) DORIOT ANTHONY DWYER, flute CONDUCTORS OF THE BOSTON SYMPHONY ORCHESTRA DURING THE 1989-90 SUBSCRIPTION SEASON Week SEIJI OZAWA, Music Director Opening Night, 1, 2, 3, 4, 7, 13, 23, 24 DENNIS RUSSELL DAVIES 11 CHARLES DUTOIT 22 CLAUS PETER FLOR 15 BERNARD HAITINK 19, 20 NEEME JARVI 18 ZDENEK MACAL 9 ROGER NORRINGTON 17 ANDRfi PREVIN 14 GENNADY ROZHDESTVENSKY 21 CARL ST. CLAIR, BSO Assistant Conductor 5, 8 YURI SIMONOV 6 GIUSEPPE SINOPOLI 12, 16 STANISLAW SKROWACZEWSKI 10 39 SOLOISTS WITH THE BOSTON SYMPHONY ORCHESTRA DURING THE 1989-90 SUBSCRIPTION SEASON Week EMANUEL AX, piano 22 YURI BASHMET, viola 21 ALFRED BRENDEL, piano 23 JAMES DAVID CHRISTIE, organ 21 GAIL DUBINBAUM, mezzo-soprano 15 DORIOT ANTHONY DWYER, flute 24 JULES ESKIN, cello 13 HAIJING FU, baritone 8, 15 JON GARRISON, tenor 15 IDA HAENDEL, violin 15 NAOKO IHARA, mezzo-soprano 7b LJUBOV KAZARNOVSKAYA, soprano 11 FRANK LOPARDO, tenor Opening Night, 1 MALCOLM LOWE, violin 13 RADU LUPU, piano 10 YO-YO MA, cello 14 VIKTORIA MULLOVA, violin 3 ANNE-SOPHIE MUTTER, violin 18 THOMAS PAUL, bass 11 PHILHARMONIA ORCHESTRA, 12 GIUSEPPE SINOPOLI, conductor MAURIZIO POLLINI, piano 19 ANDRfi WATTS, piano 4 HENRIETTE SCHELLENBERG, soprano 7b TAMARA SMIRNOYA-SAJFAR, violin 8 BOSTON BOY CHOIR, JOHN DUNN, director 21 NEW ENGLAND CONSERVATORY WOMEN'S CHORUS, 20 TAMARA BROOKS, director TANGLEWOOI) FESTIVAL CHORUS, Opening Night, 1, JOHN OLIVER, ronductor 7b, 21, 23 §t '^otofpfoT^staur^Hl-' If it's formal . we present the^ classics, '£$, UNDER too! NEW MANAGEMENT A Charming 19th Century Townhouse serving Superb Continental Cuisine 99 St Botolph Street behind the Colonnade Hotel Boston, MA 02116 (617)266-3030 serving daily 11:30 - midnight minutes from Symphony Hall Tuxedo rentals and sales since 1914 41 THE SYMPHONY SHOP Dinner at 6. A fundraising project of The Boston Symphony Symphony at 8. Association of Volunteers $ Parking at 5. Make dinner at Boodle's part of your night out for Symphony, and you'll enjoy more than just award-winning dining at Boston's authentic wood grill. Because we're offering our customers special parking privileges in our private garage Featuring for spring — for just and on Tuesdays and $5, bunnies, lambs, Thursdays, a free "Symphony Express" shuttle service. and cuddly animal puppets Just show us your tickets at dinner, and we'll arrange for your $5 parking, take you to Symphony after your meal, and return you to your car after the perfor- Candy made exclusively mance. And with a deal like that, a night for the BSO at the Symphony never sounded better. by Harbor Sweets OF • BOSTON An Authentic Grill Mail order available Lunch and dinner daily. In Boston's Back Bay Hilton. (617)267-2692 Phone (617) BOODLES. Serving Greater Boston Residential Properties '#%* Sales and Rentals Condominiums 42 WORKS PERFORMED AT SYMPHONY HALL SUPPER CONCERTS DURING THE 1989-90 SUBSCRIPTION SEASON Week BEETHOVEN Septet in E-flat. Opus 20 19/23 String Quartet No. 1 in F. Opus 18. No. 1 19 BRAHMS Quartet No. 1 in G minor for piano, violin. 12/13 viola, and cello. Opus 25 Quartet Xo. 3 in C minor for piano, violin. 20 viola, and cello. Opus 60 Trio in E-flat for violin, horn, and piano. Opus 10 15 DAMASE Trio for flute, harp, and cello 20 DVORAK Terzetto in C for two violins and viola. Opu 71 19 HAYDN String Quartet in F minor. Opus 20. Xo. 5 14 JANACEK Mlddi ("Youth"), for wind sextet 6 LITTLEFIELD String Quartet Xo. 1 15 MENDELSSOHN Conceristiick Xo. 1 in F. Opus 113 3 SHOSTAKOVICH String Quartet Xo. 8, Opus 110 11 Trio in E minor for piano, violin, and cello. Opus 67 3 SMETANA String Quartet Xo. 1 in E minor. From My Life 6 TCHAIKOVSKY Piano Trio in A minor. Opus 50 5/6 SUPPER CONCERT PERFORMERS DURING THE 1989-90 SUBSCRIPTION SEASON Week MARTHA BABCOCK, cello 5/6 ROBERT BARNES, viola 14 BONNIE BEWICK, violin 19/23 NANCY BRACKEN, violin 6. 15 LEONE BUY8E, flute 20 JAMES COOKE, violin 15 DAVID DEVEAU, piano 15 R< BERTH ) DIAZ, viola 19/23 TATIAXA DIMITRIADES. violin 20 STEPHEN DRURT, piano 3 DEBORAH DeWOLF EMERY 12/13 RACHEL FAGERBURG, viola 15 RONALD PELDMAN, cello 19 PETER HADCOCK, clarinet 19/23 43 RANDALL HODGKIXSOX. piano 20 MARC JEANNEKET, viola 6 DANIEL KATZEX. horn 15 SATO KNUDSEN, cello 3, 6, 12/13 VALERIA YILKER KUCHMENT, violin 6 ROXAN LEFKOWITZ, violin 12/13 AMNON LEVY, violin 3 LUCIA LIN, violin 19 MARK LUDWIG, viola 19 RICHARD MACKEY, horn 19/23 THOMAS MARTIN, clarinet 3. 6 JONATHAN MENKIS, horn 6 JONATHAN MILLER, cello 20 IKUKO MIZUNO, violin 19 JOEL MOERSCHEL. cello 14. 19/23 CRAIG NORDSTROM, basset horn, bass clarinet 3, 6 ANN HOBSOX PILOT, harp 20 CAROL PROCTER, cello 15. 20 WAYNE RAPIER, oboe 6 RICHARD RAXTI, bassoon 6 AZA RAYKHTSAUM. violin 14 HARVEY SEIGEL, violin 5/6 ROLAND SMALL, bassoon 19/23 FEXWTCK SMITH, flute 6 JOHX STOVALL, double bass 19/23 VYACHESLAV URITSKY, violin 14 RONALD WILKISON, viola 12/13 TATIANA YAMPOLSKY, piano 5/6 MICHAEL ZARETSKY. viola 20 THE WORLD'S LARGEST RECORD STORE IS WALKING DISTANCE FROM SYMPHONY HALL Tower Records has the largest selection of classical recordings in a department with its own sound environment. OPEN TIL MIDNIGHT TO SERVE YOU! 1Q\M«M)S\VMQ BOSTON TKXmT///Z£lASTBf* Mass. Ave. At Newbury In Back Bay Above Auditorium X Stop on the Greenline 44 BOSTON SYMPHONY CHAMBER PLAYERS 1989-90 Subscription Season with Gilbert Kalish, piano October 29, 1989 C.P.E. BACH Quartet in A minor for piano, flute, viola, and cello, Wq 93 PERLE Sextet for Piano and Winds bartOk Contrasts, for violin, clarinet, and piano BRAHMS String Quintet No. 1 in F, Opus 88 February 18, 1990 with DAWN UPSHAW, soprano DEBUSSY Sonata for flute, viola, and harp FALLA Psyche DELAGE Four Hindu Poems STRAVINSKY Three Japanese Lyrics Two Poems of Konstantine Balmont RAVEL Three Poems of Stephane Mallarme RAVEL Introduction and Allegro for harp, accompanied by string quartet, flute, and clarinet March 15, 1990 MOZART Quartet in D for flute, violin, viola, and cello, K.285 DVOftAK Quartet in D for piano, violin, viola, and cello, Opus 23 LERDAHL Waltzes, for violin, viola, cello, and double bass MOZART Quintet in E-flat for piano, oboe, clarinet, bassoon, and horn, K.452 you are cordially invited to sample our Symphony Menu at cIhe Cafe (Promenade Jhc) oionnai BO S UIIIM T O ,M 7or Reservations Call, 61 7-424- 7000 Reduced paring rates zufun dining at cTht Colonnade for Symphony Matrons. The Colonnade. 'Hold is located, at 120 Huntington Avenue, 'Boston 45 Business/Professional Leadership Program 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. 46 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. Grafacon, Inc. Ray Stata H. Wayman Rogers, Jr. AT&T GTE Products Corporation Robert Babbitt Dean T. Langford of Boston Bank Hill, Holliday, Connors, Cosmopulos, Inc. Stepanian Ira Jack Connors, Jr. Bank of New England Corporation The Henley Group Walter Connolly J. Paul M. Montrone BayBanks, Inc. Hewlett Packard Company William M. Crozier, Jr. 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 Jonathan L. Isaacs John Hancock Mutual Life Insurance Company E. James Morton Boston Edison Company Stephen J. Sweeney Jordan Marsh Company 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 Coopers & Lybrand Nathan Kantor 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. Ilaskins & Sells Atsuyoshi Ouchi Mario Umana NEC Deutschland GmbH Digital Equipment Corporation Masao Takahashi Kenneth II. Olsen The New England Dynatech ( 'orporation 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. Electric Genera] Plastics Robert D. Happ Glen H. Hiner 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 Prudential-Bache Securities Keizo Saji 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 Discovering a brave new worldin time. The Christopher Columbus." A celebration of the enterprising spirit that led to the discovery of America 500 years ago. Made by Swiss craftsmen, the Christopher Columbus - comes in moonphase or multi-analog types. 48 The Boston Symphony Orchestra gratefully acknowledges these Business and Professional Leadership Program members for their generous and valuable support totaling $1,250 and above during the past fiscal year. Names which are both capitalized and underscored in the Business Leaders listing comprise the Business Honor Roll denoting support of $10,000 and above. Capitalization denotes support of $5,000-$9,999, and an asterisk indicates support of $2,500-$4,999. Business Leaders ($1,250 and above) Accountants J.N. Phillips Glass Company, Inc. Lee Kennedy Co., Inc. Norman S. Rosenfield ARTHUR ANDERSEN & CO. Lee M. Kennedy 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 Walter J. Connolly Consumer Goods/Distributors COOPERS & LYBRAXD *Barter Vincent M. O'Reilly BAYBANKS, INC. Connections William M. Crozier, Jr. Kenneth C. Barron DELOITTE, HASK3NS & SELLS Mario Umana THE BOSTON COMPANY FAIRWINDS GOURMET COFFEE George W. Phillips COMPANY ERNST & WHINNEY Michael J. Sullivan Thomas M. Lankford Cambridge Trust Company John Gilbert Jr. MARWICK Lewis H. Clark Co. PEAT Michael Facendola MAIN & CO. Chase Manhattan Bank Robert D. Happ John McCullough PEPSI-COLA BOTTLERS OF NEW ENGLAND CITICORP/CITIBANK PRICE WATERHOUSE 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. Willoughby Keizo Saji Tofias, Fleishman, First National Bank of Chicago Shapiro & Co., P.C. Robert E. Gallery Education Allan Tofias *GE Capital Corporate Finance Group BENTLEY COLLEGE Richard A. Goglia Gregory Adamian . Idvertising/Public Relations * Rockland Trust Company *Cabot Advertising John F. Spence, Jr. Electrical/HVAC William II. Monaghan SHAWMUT BANK, N.A. L. Rudolph Electrical Company, Inc. DELLA FEMIXA. MCNAMEE John P. Hamill Louis Rudolph WCRS, INC. *p.h. mechanical Corporation Michael II. Reingold STATE STREET BANK & TRUST COMPANY Paul A. Hayes HILL. IIOLLIDAY, CONNORS. William S. Edgerly COSMOPULOK, IXC. R&D ELECTRICAL COMPANY, INC. Jack Connors. Jr. USTRUST Richard D. Pedone James V. Sidell The Reflex Lighting Group Aerospac* Wainwright Bank & Trust Company Paul D. Mustone •Northrop < Corporation John M. Plukas Thomas V. Jones Electronics Workingmens Co-operative Bank Alden Electronics, Inc. Antiques/Coin Dealers John E. McDonald John M. Alden The Greal American Coin Company Bu tiding/'Contracting *Analytical Systems Bertram M. Cohen "A.J. Lane & Company Engineering Corporation Andrew J. Lane Architects Michael B. Rukin Bond Bros., Inc. ADD INC. ARCHITECTS Lucas Epsco, Inc. Edward A. Bond, Jr. Philip M. Briggs Wayne P. Coffin Chain Construction Corporation *LEA Group PARLEX CORPORATION Howard J. Mintz Eugene R. Eisenberg Herbert W. Pollack "Harvey Industries, Inc. Automotive/Servia Frederick Bigony Energy GANS TIRE COMPANY, INC. Mass. Electric Construction Company CABOT CORPORATION David Gans Francis Angino Samuel W. Bodman 49 IT'S QUITE OBVIOUS WHY SOME OF TODAY'S MOST SUCCESSFUL INVESTORS NEVER TOOK THEIR MONEY OUT OF THE BANK. In today's complex market, strong investment performance is more important than ever. That's why a growing number of investors rely on the expertise they receive from Shawmut's investment management. And why our total assets under management have grown a remark- able 104% since June 1984. When you invest with Shawmut, you receive the highest level of personalized, one-on-one service. Before doing anything else, your Personal Account Representative will sit with you and gain a complete understanding of your financial goals and risk preferences. Only then will a portfolio be custom designed to meet your individual objectives. What's more, you can count on Shawmut for highly personalized trust and estate planning. Stop by one of our investment management offices located throughout Massachusetts. Or for more information call 617-292-3885. You may never take your money out of the bank again. •Total assets under management at June 30 of each year, 1984-1989 HJ Shawmut banks are members FDIC and equal housing lenders. 50 Engineering THE STRIDE RITE CORPORATION DIGITAL EQUIPMENT Arnold S. Hiatt CORPORATION Goldberg-Zoino & Associates, Inc. Kenneth H. Olsen Donald T. Goldberg DYNATECH CORPORATION Stone & Webster Engineering Fumishings/Housewares J. P. Barger Corporation ARLEY MERCHANDISE Philip Garfinkel CORPORATION EG&G, INC. Dean W. Freed The Thompson & Lichtner David I. Riemer Inc. *General Eastern Instruments Co. Company, Barton Brass Associates Stelling Pieter R. Wiederhold John D. Barton Brass HELLX TECHNOLOGY BBF Corporation i nmen t/Media CORPORATION Enterta Boruch B. Frusztajer Robert J. Lepofsky GENERAL CINEMA Corona Curtain THE HENLEY GROUP CORPORATION Manufacturing Co., Inc. Smith Paul M. Mont rone Richard A. Paul Sheiber National Amusements, Inc. COUNTRY CURTAINS HEWLETT-PACKARD COMPANY Sumner M. Redstone Ben L. Holmes Jane P. Fitzpatrick IBM CORPORATION Jofran Sales, Inc. Finance/Venture Capital Paul J. Palmer Robert D. Roy *3i Corporation Instron Corporation Ivan N. Momtehiloff Harold Hindman Graphic Design Carson Limited Partnership *Intermetrics Inc. Herbert Carver *Clark/Linsky Design Joseph A. Saponaro Robert H. Linsky FARRELL, HEALER & IONICS, INC. COMPANY, INC. LABEL ART Arthur L. Goldstein Richard A. Farrell, Jr. Thomas Cobery Loral Hycor, Inc. THE FIRST BOSTON Joseph Hyman CORPORATION High Tech nology/Electron ics *M/A-Com, Inc. Malcolm MacColl Thomas F. Burke Alden Products Company Betsy Alden MASSCOMP Food Serrict /Industry ANALOG DEVICES, INC. Richard A. Phillips 'Boston Showcase Company Ray Stata MILLIPORE CORPORATION Jason E. Starr John A. Gilmartin *Apollo Computer, Inc. The Catered Affair Thomas A. Vandersliee *The MITRE Corporation Holly P. Safford Charles A. Zraket *Aritech Corp. Cordel Associates. Inc. James A. Synk NEC CORPORATION James B. Hangstefer AUGAT, INC. Atsuyoshi Ouchi Cookies ( 'ookin Marcel P. Joseph NEC DEUTSCHLAND GmbH Glen Bornstein Masao Takahashi Automatic Data Processing CREATIVE GOURMETS, LTD. Arthur S. Kranseler *Orion Research, Inc. Stephen E. Elmont Alexander Jenkins III *Bachman Information Systems daka. Inc. Arnold Kraft PRIME COMPUTER, INC. Allen R. Maxwell BOLT BERANEK AND Russell Planitzer Gourmel Caterers NEWMAN, INC. RAYTHEON COMPANY Robert A. Wiggins Stephen R. Levy Thomas L. Phillips BULL, WORLDWIDE SofTech, Inc. Footwear INFORMATION SYSTEMS Justus Lowe, Jr. Converse, Inc. Roland Pampel *TASC Gilbert Ford *Cerberus Technologies, Inc. Arthur Gelb J. Baker, Inc. George J. Grabowski TDK ELECTRONICS Sherman N. Baker Computer Power Group CORPORATION JONES & VTNING, INC. of America Takashi Tsujii Sven A. Vaule, Jr. David L. Chapman TERADYNE INC. MORSE SHOE, INC. ( ostar Corporation Alexander V. d'Arbeloff Manuel Rosenberg Otto Morningstar THERMO ELECTRON The Rockport Corporation CSC PARTNERS, INC. CORPORATION Anthony Tiberii Paul J. Crowley George N. Hatsopoulos 51 Tf//iat better toqy to start? tke c/qa? ($ira^&Ofiy&, mu&lo, a comforta/>/& companion/, a reasaaed'assessment oftA& c/aysks /iew&, a&en&& oftA& asea/AerftattesYi&, cvidtAesi/ — /nor&mu&ic. <3 ^/(mericasksmost? /ostenea^to-^royram/ of c/asslcal, trax/ltlonal and com^emMttrara^mu&io, t&breseat^eiherif afa%fromsssoen ti/lnoovv ovv stations (^tn^&^ and is Aeard'isi/ tA& Qoostofis area/ Jf£ofYiiwt>ro~mwsica/i&maakfo jj^antfr/rom; &a/6o£& and' ($ay£$anA&, and/h^ tflaoe/acA/. 52 Hotels/Restaurants FRANK B. HALL & CO. OF MORGAN STANLEY & COMPANY, MASSACHUSETTS, INC. INC. 57 Park Plaza Hotel William F. Newell John Lazlo Nicholas L. Vinios *Fred S. James & Company of PAINEWEBBER, INC. Back Bay Hilton New England, Inc. James F. Cleary William Morton P. Joseph McCarthy SALOMON BROTHERS, INC. The Bostonian Hotel International Insurance Group Sherif A. Nada Timothy P. Kirwan John Perkins State Street Development Boston Copley Marriott Hotel Company *The J. Peter Lyons Company John R. Gallagher III Jurgen Giesbert J. Peter Lyons TUCKER ANTHONY, INC. Cafe Amalfi JOHN HANCOCK MUTUAL John Goldsmith Patricia Nee LIFE INSURANCE COMPANY WOODSTOCK CORPORATION Christo's Restaurant E. James Morton Nelson J. Darling, Jr. Christopher Tsaganis Johnson & Higgins of Fynn's Massachusetts, Inc. James Dunn Robert A. Cameron Legal THE LAFAYETTE HOTEL Keystone Provident Life BINGHAM, DANA & GOULD Liam Madden Insurance Company Everett H. Parker THE RED LION INN Robert G. Sharp Choate, Hall & Stewart John H. Fitzpatrick LD3ERTY MUTUAL INSURANCE Allen M. Bornheimer The Ritz-Carlton, Boston GROUP Robert S. Frank, Jr. Sigi Brauer Gary L. Countryman Dickerman Law Offices Sheraton Boston Hotel & Towers THE NEW ENGLAND Lola Dickerman Edward E. Phillips Steve Foster FISH & RICHARDSON Sonesta International Robert D. Gordon Adjusters, Inc. Robert E. Hillman Corporation Robert D. Gordon Hotels Gadsby & Hannah Paul Sonnabend SAFETY INSURANCE COMPANY Jeffrey P. Somers Richard B. Simches St. Botolph's Restaurant GOLDSTEIN & MANELLO John Harris Sullivan Risk Management Group Richard J. Snyder John H. Sullivan Industrial Distributors GOODWIN, PROCTER AND HOAR Sun Life Assurance Company Robert B. Fraser Admiral Metals Servicenter of Canada Hubbard & Ferris Company Marcelle W. Farrington Charles A. Maxwell Burstein Hubbard ALLES CORPORATION Joyce & Joyce Investments Thomas J. Joyce Stephen S. Berman AMDURA NATIONAL Baring America Asset Management Lynch, Brewer, Hoffman & Sands DISTRIBUTION COMPANY Company, Inc. Owen B. Lynch Stephen D. Cutler Brian MacKenzie Melick & Porter Baring International Investment, Ltd. Richard P. Melick Brush Fibers, Inc. John F. McNamara Ian P. Moss Mintz, Levin, Cohn, Ferris, Glovsky & Popeo, P.C. Eastern Refractories Company BEAR STEARNS & COMPANY, INC. Francis X. Meaney David S. Feinzig Keith H. Kretschmer Millard Metal Service Center Nissenbaum Law Offices Gerald L. Donald Millard, Jr. FIDELITY INVESTMENTS/ Nissenbaum FIDELITY FOUNDATION Nutter, McClennen & Fish Insurana Goldman, Sachs & Company John K. P. Stone III Peter D. Kiernan •Arkwright PALMER & DODGE Frederick J. Bumpus KAUFMAN & COMPANY Robert E. Sullivan Sumner Kaufman CAMERON & COLBY CO., INC. Sarrouf, Tarricone & Flemming Lawrence S. Doyle THE KENSINGTON Camille F. Sarrouf INVESTMENT COMPANY •Charles II. Watkins & Company Sherburne, Powers & Needham Alan E. Lewis Paul D. Bertrand Daniel Needham, Jr. Kidder, Peabody & Company Chubb Group International Weiss, Angoff, Coltin, Koski & John G. Higgins John Gillespie Wolf, P.C. LOOMIS-SAYLES & COMPANY, Dudley A. Weiss Consolidated Group, Inc. INC. Woolsey S. Conover Mark W. Hollands " - / V / * JX , - /* S* / „«* n # #^ Hfc # J* «*v ^% V* *-fc V* *-* V* V* *> ^ •sic v \4 V *> 4 LIVING CENTERS ,-- % * Providers of Quality \i i Long-Term Nursing Care and Rehabilitative i Services \i #,-* 4 Cape Heritage sandwich ma 508-888-8222 r * ** Cape Regency centerville ma 508-778-1835 4 * * Easton Lincoln \i\ north easton ma 508-238-7053 4 % Lafayette 4 north kingstown ri 401-295-8816 4 Mayflower plymouth ma 508-746-4343 4 i northbridge northbridge ma 508-234-4641 4 northwood 4 #/* lowell ma 508-458-8773 4 OAKWOOD 4 Vi* newport ri 401-849-6600 South County 4 north kingstown ri 401-294-4545 \4 # # woodlawn 4 everett ma 617-387-6560 4 MANAGED TOR AMERICAN HEALTH FOUNDATION 4%^% V* *^> %^h %/*> V^ V* 4 .* * As *;% * #' #,* VI*" *,* \ Vl%" • >* *xV. * r* ' jnagement/Financial/Consulting The Biltrite Corporation *Textron, Inc. wa XCED MANAGEMENT Stanley J. Bernstein B.F. Dolan gOHATES Boston Acoustics, Inc. Wire Belt Company of America Frank Reed F. larvey Chet Krentzman Wade Greer ITIIUR D. LITTLE, INC. Boston Sand & Gravel Company Dean M. Boylan Media John F. Magee *C.R. Bard, Inc. THE BOSTON GLOBE lin & Company, Inc. McCaffrey William 0. Taylor William W. Bain Robert H. BOSTON HERALD HIE BOSTON CONSULTING CENTURY MANUFACTURING Patrick Purcell GROUP COMPANY J. Jonathan L. Isaacs Joseph Tiberio WCRB- 102.5 FM * Richard L. Kaye Corporate Decisions Chelsea Industries, Inc. Ronald G. Casty r> I David J. Morrison WCVB-TV, CHANNEL BOSTON LIMITED S. James Coppersmith The Forum Corporation CONNELL John W. Humphrey PARTNERSHIP William F. Connell Personnel Ilayncs Management, Inc. Dennison Manufacturing Company TAD TECHNICAL SERVICES G. Arnold Haynes Nelson G. Gifford CORPORATION Strategic Marketing Irma Mann David J. McGrath, Jr. Irma Mann Stearns *Erving Paper Mills Charles B. Housen Jason M. Cortell & Associates, Printing *FLEXeon Company, Inc. Inc. *Bradford & Bigelow, Inc. M. Cortell Mark R. Ungerer Jason John D. Galligan KAZMAIER ASSOCIATES, INC. GENERAL ELECTRIC PLASTICS Glen H. Hiner Courier Corporation Richard W. Kazmaier, Jr. Alden French, Jr. General Latex and Chemical Corp. Lochrid^e & ( ompany. Inc. Robert W. MacPherson CPS Richard K. Lochridge Phineas E. Gay III MCKIXSEY& COMPANY *Georgia-Pacifie Corporation Maurice W. Kring Customforms, Inc. Robert P. O'Block David A. Granoff PRUPEXTIAL-BACIIE THE GILLETTE COMPANY DANIELS PRINTING COMPANY SECURITIES Colman M. Mockler, Jr. Lee S. Daniels Da\id F. Remington GTE PRODUCTS CORPORATION Dean T. Langford *Espo Litho Co., Inc. *Rath & Strong David M. Fromer Dan Ciampa HARVARD FOLDING BOX COMPANY, INC. George H. Dean Company •Towers Perrin Melvin A. Ross Earle Michaud J. Russell Southworth U.K. Webster Company, Inc. GRAFACON, INC. •William M. Mercer Meidinger Dean K. Webster H. Wayman Rogers, Jr. Hansen Chester I). Clark IIMK Group Companies, Ltd. Publishing Joan L. Karol •TheWyatt Company Addison-Wesley Publishing Company, Michael II. Davis Hudson Lock, Inc. Inc. Norman Stavisky Yankelovich Clancy Shulman Warren R. Stone Kevin Clancy * Kendall Company CAHNERS PUBLISHING COMPANY J. Dale Sherratt Manufacturt r's Representatives Ron Segel LEACH & GARNER COMPANY BEX-MAO IXC. HOUGHTON MIFFLIN COMPANY ENTERPRISES, Philip F. Leach Lawrence G Benhardt Harold T. Miller Leggett & Piatt, Inc. KITCHEN, Little, Brown & Company & KUTOIIIX. INC. Alexander M. Levine Melvin Kutchin Kevin L. Dolan NEW ENGLAND BUSINESS PAIL R. CAIIX ASSOCIATES, SERVICE, INC. Estate/Development INC. Real Richard II. Rhoads Paul R. Calm THE BEACON COMPANIES •New England Door Corporation Norman Leventhal Uanufacturing/Indiistry Robert C. Frank Benjamin Schore Company Advanced Pollution Control Corp. *Pierce Aluminum Benjamin Schore Micha.-I F. Flaherty, Jr. Robert W. Pierce * Boston Capital Partners *Av<-(lis Zildjian Superior Brands, Inc. Company Christopher W. Collins Arrnand Zildjian Richard J. Phelps Herbert F. Collins *Bam- Wright Corporation *Termiflex Corporation Richard J. DeAgazio Ralph Z. Sorenson William E. Fletcher John P. Manning • The Privileged Client.LJUEJSTJl. mglm The Boston Company has a simple approach to personal investment banking: Hi Serve every client as if that client were our only m CLIENT. .mm For investment manage- ment. PERSONAL LENDING. money market investments. residential mortgages. or other financial services, our subsidiary. boston safe Deposit and Trust Company has a personal investment banker to meet your requirements.* We serve financially successful individuals through our boston office at One Boston Place. I TELEPHONE 1-800-CALL-BOS A subsidiary of (1-800-225-5267 EXT. 870). Shearson Lehman THE BOSTON COMPANY Hutton Inc. And enjoy the substantial Boston Safe Deposit and Trust Company An American advantages of being a Express company Privileged Client. Offices in Boston, New York, Los Angeles, Newport Beach, San Francisco, Palo Alto and London. Member FDIC. An Equal Housing Lender. (£> 'Certain products may not be available in all states. © 1989 The Boston Company, Inc. I NEIMAN MARCUS Shaughnessy Ahern Co. ,e Chiofaro Company & maid Chiot'aro William D. Roddy John J. Shaughnessy * ibined Properties, Inc. Purity Supreme Supermarkets Software/Information Services Frank P. Giacomazzi iton L. Black CULLINET SOFTWARE, INC. meter Realty Trust *Saks Fifth Avenue John J. Cullinane Demeter Alison Strieder Mayher ,rge P. International Data Group CORPORATION SEARS, ROEBUCK & Patrick J. McGovern ! FIRST WTNTHROP Halleran. Jr. COMPANY Arthur J. *LOTUS DEVELOPMENT S. David Whipkey The Flatley Company CORPORATION J. Flatley STOP & SHOP FOUNDATION Jim P. Manzi I Stomas Avram J. Goldberg ,e Fryer Group. Inc. *Phoenix Technologies Foundation ;alcolm F. Fryer, Jr. Stop & Shop Company Neil Colvin Lewis Schaeneman :afitz Development Company :wis 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. Xordblom Science/Medica I Dennis Barry, Sr. Northland Investment ( 'orporation 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 DKMOULAS FOUNDATION J A Webster, Inc. NYNEX CORPORATION T.A Demoulas John A Webster Delbert C. Staley FILKNK'S Lectrb-Med Health Screening David P Mullen Services, Inc. Utilities Allan Kaye Hills Department Stores BOSTON EDISON COMPANY Stephen A. Goldberg N* nrices Stephen J. Sweeney JORDAN MARSH COMPANY *Asquith ( 'orporation 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 57 Build A Riture With the BSO... CREATE A PERSONAL NAMED ENDOWMENT FUND WITH THE NEW BUILDING BLOCKS PROGRAM. W ith an initial gift of $10,000, you can: Tailor an endowment contributions program to meet your personal income flow and tax and estate planning needs. Work toward significant endowment goals over time. Give outright or in combination with planned gift arrangements. Strive toward higher and higher levels of recognition with accumulated levels of giving. Receive accumulated credit and recognition for market appreciation of 1Vf$I previous gifts contributed to the fund. c 3| Sound interesting? Call or write Joyce M. Serwitz, 1liiftii Director, Major Gifts Program, Boston Symphony Orchestra (617)266-1492, ext. 132 for addi- tional information. «' w 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 BOSTON SYMPHONY performs ten THE 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 mere 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. 59 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 AN ELEVATOR is located outside the you are already a Friend and you have 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 60 Conduct Electricity. ink you Boston Symphony Orchestra for music that shines brighter every year. Bank of New England ALIAN , T PEELeJ^S itflflCTTCWlt rSoUND PEELED^* fcstenj MATOPl