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6 HERE’S THE HALL by William Livingstone

17 THE PROGRAM

27 GALA GREETINGS by Allan Kozinn LOOKING 32 WHO WROTE BOLERO? by Robert Markow TO BUY AN

36 SEASONAL CELEBRATIONS APARTMENT, by Leslie Kandell call, M.J. RAYNES INCORPORATED. 38 DECEMBER You’ll benefit from the CALENDAR OF EVENTS services of over 300 real estate professionals, 43 VARIED STAGES including over 70 brokers, by James M. Saslow each equipped with a computer networked to our 48 CREATIVE SPIRIT: data bank of exclusive and ALEXANDER SCHNEIDER open listings. But it takes by Leslie Rubinstein more than a good broker to help you find the right 54 YOUR NEW CARNEGIE HALL apartment. We know. Last Cover photograph by Yoichi R. Okamoto: year, we bought over 10,000 Carnegie Hall auditorium, a celebration of lights of them. Photograph on page 51 by Joan Marcus And we are proud to be exclusive sales and Joseph P. Barbieri, President management agent for Charles F. Buccieri, Publisher some of the City’s most Teresa Barbieri, General Manager prestigious addresses. Our William J. Kofi, Jr., Production Manager commanding knowledge Barry Laine, Senior Editor and experience in the Tracey Jones, Art Editor residential marketplace can Maureen Harrigan, Production Assistant make finding the right Maureen Townsend, Program Editor apartment so much easier Patricia M. Hewlett, Account Manager for you. So give us a call STAGEBILL is published monthly at Carnegie Hall and Lincoln and... Center in New York, Kennedy Center and the National Theatre in Washington, D.C., and in Chicago. Other Stagebill editions are published in San Francisco, Dallas, Detroit, St. Louis and Philadelphia. The Carnegie Hall Stagebill is published by B&B PROFIT FROM Enterprises, Inc. Program Office, Studio 306, 881 Seventh Avenue, New York, N.Y. 10019, (212) 581-0169. Copyright 1986 OUR EXPERIENCE. B&B Enterprises, Inc. All rights reserved. Printed in U.S.A. Advertising Offices—New York: 144 East 44th Street, New York, N.Y. 10017, (212) 687-9275. Washington, D.C.: Program Office, ------HH____ The Kennedy Center, Washington, D.C. 20566, (202) 833-2897. Chicago: 500 North Michigan Avenue, Chicago, Illinois 60611, _____ UbJ------(312) 565-0890,685-3911. The Carnegie Hall edition of Stagebill aynes ncorporated is available on monthly publication to subscribers for S12 per M.J. R I year (U.S.): $21 (outside U.S.). Back issues available. For details 488 Madison Avenue, New York, write: Stagebill, P.O. Box 5348, Grand Central Station, New York, N.Y. 10163 (Dept. S). New York 10022 (212) 303-5800 5 “It’s nice to know you’re making history.

like watching the removal of bandages about the hall’s superb acoustics around following surgery on a beloved face. It was the world. a relief to see that just as skilled cosmetic In the late 1950s, however, it looked as surgeons work subtly to erase the ravages though the hall might be razed to make of time, those in charge of the renovation way for a 44-story red skyscraper. In 1960 of Carnegie Hall have sought gently to it was saved from demolition as the result restore its original beauty. The changes of efforts by a group of musicians and that have been made were to provide concerned citizens led by violinist Isaac improved amenities for patrons and for Stern. performing artists while preserving the Today Stern is its President, and in hall’s famous acoustics. speaking of the importance of Carnegie Lawrence Goldman, Vice President of Hall he said recently, “It is not just a the Carnegie Hall Society and Director of building with an acoustically perfect hall. Real Estate Planning and Development, It is the national symbol of the best that said, “While getting the rest of the hall America can be.” Although he has a full ready for the twenty-first century, we are schedule of performances, Stern is tireless taking the main auditorium back to the in his support of this institution, and he has nineteenth century.” Radiant in its re­ been active in the renovation of the stored condition, Carnegie Hall is clearly a building. Last October he donned a hard building with a past. hat and led a pep rally for the ironworkers, When it was completed in 1891, the painters, and other laborers who were Russian composer Piotr Ilyich Tchaikov­ preparing the hall for its official reopening sky was invited to come to New York to on December 15. conduct some of his music at the opening As construction work neared comple­ concert on May 5. By engaging one of the tion, I toured the hall to see how it was world’s greatest living musicians the first progressing. Chatting with a couple of managers of the hall set a standard of young hard-hatted employees of the quality that has been maintained through­ Tishman Construction Corporation of out the history of this internationally New York, I learned that like most people renowned musical landmark. who get a chance to walk across the stage at Tchaikovsky was touched by the Carnegie Hall, they had felt obliged to sing warmth, generosity, and hospitality of a few notes from those hallowed boards New Yorkers, and, like European visitors just to be able to say they had sung there. to the city even today, he was impressed by Like everybody in New York, these its tall buildings. The Hotel Normandie, workers knew the old story about the where he stayed, was at the corner of tourist who asks directions, “How do you Broadway and 38th Street, just a block get to Carnegie Hall?” The man in the south of the original yellow-brick Metro­ street answers, “Practice!” Some of the politan Opera House, and some of the workers obviously had a sense of humor nearby buildings were as much as nine about the deadline. On the door to the stories high. small Carnegie Recital Hall one of them It surprised Tchaikovsky to discover had written the words “North Bellevue,” that his music was better known in New and below that someone else had written York than in Europe. Almost a century has “54 days till total madness.” When I asked passed since then, and Carnegie Hall one of the workers whether it felt any remains a goal for the finest concert artists. different to be working on a national These performers have spread the word historic monument instead of a modern

8 building, he thought for a minute and said, “It’s nice to know you’re making history.” One senses very much that history is being made by bringing the building into the present. From the outside you notice immediately that the coffee shop at the corner of Seventh Avenue and 57th Street has been reclaimed, and the corner’s arched entryways and exterior have been restored to the original 1891 design. The lobby has been rebuilt at street level, increasing its available space, and for the first time elevators on either side of the lobby will service the parquet, first tier, second tier, and dress circle levels. Relo­ cated interior stairways at the east and west ends of the lobby will divide the traffic flow into the main auditorium which should reduce crowding at performance time. One of the most dramatic improvements is the relocation of the box office to a position opposite the entrance doors. Box office facilities have been enlarged, and instead of the two windows we had before, Remember Carnegie's formerly crowded lobby? there are now five. Many similar changes have been made backstage to improve will take place there this season. General amenities for performers, and when the Manager Judith Arron has announced a new building adjacent to the east side of dazzling 1986-87 lineup worthy of Carne­ Carnegie Hall is completed, its lower levels gie Hall’s history and tradition. It includes will contain additional backstage facilities international orchestras, American or­ and space for patrons. chestras, keyboard virtuosos and other Upstairs the intimate recital hall has instrumental soloists, chamber ensembles, needed both architectural renovation and great singers. (such as the removal of a useless plywood In the auditorium the stage shell has proscenium) and acoustical improvement. been restored to its original condition by This smaller hall did not have the excellent repairing holes made in it during the sonic characteristics of the main audito­ filming of a 1946 movie. According to rium, and efforts have been made to Isaac Stern, as a result of this step, increase its reverberation time and other­ Carnegie’s “glorious, burnished, warm wise fine tune its acoustics. On November sound will be a little more burnished and a 5 it was renamed Weill Recital Hall at little warmer than in recent years.” Carnegie Hall in honor of Joan and The interior somehow has an indefina­ Sanford I. Weill in recognition of their bly warmer look. Commenting on its support of Carnegie Hall and its goals. appearance, Managing Director Norton With James D. Wolfensohn, Mr. Weill is Belknap said, “I like the warmth. It Co-Chairman of the Campaign for Carne­ suggests the warmth of the music.” gie Hall. The Weills’ recent contribution is When I asked Lawrence Goldman if this among the largest made to the hall since it look was achieved by the addition of more was built. cream to the paint, he said, “No, the color The most intense interest focusses, of is the same. It looks warmer because we course, on the main auditorium and what have handled the gold details much more

11 delicately. Instead of splashes of gilt paint, Tchaikovsky was here. If he came back we have used gold with greater subtlety, today, he wouldn’t recognize Broadway. utilizing dutch metal, which is applied in The Hotel Normandie is no longer stand­ thin sheets on an adhesive. The old ing, and neither is the old yellow-brick linoleum tile is gone, and finally we have a Metropolitan Opera House. Any nine- real mahogany floor.” story buildings left over from 1891 would With their talk of the hundredth anni­ be dwarfed by the new ones four or five versary coming up in 1991 and their casual times as tall. mentions of the twenty-first century, Although he traveled a lot, Tchaikovsky Arron, Belknap, Goldman, and Stern hated the unfamiliar and was unhappy in make it clear that Carnegie Hall is now strange places. Despite the kindness of assuredly a building with a future. Shortly Americans, he wrote his family that while before the reopening, Chairman of the in New York he often cried himself to sleep Board James D. Wolfensohn spoke of the from homesickness. Surely, if he came success of the whole renovation campaign: back today it would please him that New “I refer to it as a miracle because we have Yorkers still know and love his music. I raised almost $50 million against a $60 think he would like the restoration of million goal, and we had never raised more Carnegie Hall. That’s one place in the city than $2 million in any year before. It’s where he would feel right at home. wonderful that so many people shared the dream of ensuring the future of the hall for William Livingstone is Editor-in-Chief of Stereo Review and a regular quiz panelist on the another 100 years.” Saturday broadcasts of the Metropolitan A lot has changed about New York since Opera. Carnegie Hall at the time of its opening—May 1891

14 CARNEGIE HALL 1986-87 SEASON

Monday Evening, December 15, 1986, at 8:00

Carnegie Hall The Gala Reopening NEW YORK PHILHARMONIC ZUBIN MEHTA, Conductor

MARILYN HORNE, Mezzo-Soprano YO-YO MA, Cello FRANK SINATRA ISAAC STERN, Violin BENITA VALENTE, Soprano PETER DUCHIN AND HIS ORCHESTRA NEW YORK CHORAL ARTISTS Joseph Flummerfelt, Director

BERNSTEIN Opening Prayer (Composed for the Reopening of Carnegie Hall) World Premiere KURT OLLMANN, Baritone

HAYDN Concerto for Cello and Orchestra in C major, Hob.VIIb:l Third movement: Allegro molto Mr, MA

BACH Erbarme dich, from the "St. Matthew Passion" BWV 244 Ms. HORNE and Mr. STERN

WAGNER Prelude to "Die Meistersinger"

Intermission

(Program continued)

Carnegie Hall's Gala Reopening is made possible by a generous grant from Bankers Trust Company. Carnegie Hall wishes to express its appreciation to all the participating artists for the contribution of their efforts and enthusiasm for the Gala Reopening of Carnegie Hall.

The photographing or sound recording of any performance or the possession of any device for such photographing or sound recording inside this theater, without the written permission of the management, is prohibited by law. Offenders may be ejected and liable for damages and other lawful remedies.

17 Selections by Frank Sinatra Peter Duchin and His Orchestra

Intermission

MAHLER Symphony No. 2 in C minor ("Resurrection") Fifth movement: Im Tempo des Scherzo; Langsam; Maestoso—Allegro energico— Kräftig; Langsam; Der Grosse Appell; Langsam misterioso; Mit Aufschwung, aber nicht eilen; Langsam Ms. VALENTE and Ms. HÖRNE, NEW YORK CHORAL ARTISTS

Carnegie Hall gratefully acknowledges the generosity and unique contribution of Ralph Lauren, whose talent is reflected in the design of the new uniforms worn by the Carnegie Hall front-of-the-house staff.

Carnegie Hall is owned by the City of New York, which has contributed public funds to its maintenance and improvement.

Don Mischer Productions is honored to record tonight's Gala Reopening of Carnegie Hall for future broadcast on the CBS Television Network.

Executive Producer Don Mischer Producers Jan Cornell David J. Goldberg Director Gary Halvorson Associate Producer Geoff Bennett Assistant to the Producers Lesley Maynard Lighting Director Alan Adelman Associate Director Greg Fera Stage Manager Henry Z. Neimark

For Carnegie Hall Media Consultant Ray Wellbaum Production Stage Manager Frank Hartenstein

19 Notes on the Program by DAVID WRIGHT

Concerto for Cello and Orchestra in C his unshakeable faith—is so unnerved by major, Hob.VIIb:I fear and despair that, when questioned JOSEPH HAYDN about Jesus, he answers three times "I Born March 31, 1732, in Rohrau know not the man." At this point, Bach Died May 31, 1809, in Vienna inserts the aria "Erbarme dich," expressing the guilt and contrition that believers feel Haydn listed his Cello Concerto in C major when their courage fails them: in a catalogue he kept of his works, but the music was unknown until 1961, when a set Erbarme dich, mein Gott, um meiner Zahren of parts was found in the National Mu­ willen. seum at Prague. Like every important Schaue hier, Herz und Auge weint vor dir musician of his time, Haydn was a compe­ bitterlich. tent performer on string and keyboard Have pity, Lord, for my tears. instruments, but because he was not a true See here, where my heart and eyes weep virtuoso on any of them, the concerto was bitterly before you. not one of his favorite forms, and he wrote A notable feature of this aria is its inter­ relatively few of them. This one is an weaving of the violin's opening solo with agreeable, conventional work in the spirit the voice, which borrows the violin's first of the times, written early in his career, phrase for the words Erbarme dich, then scored for a small orchestra of two horns goes its own way in counterpoint. Bach and strings. Its third movement is a brings back the first line of text at the end, vivacious Allegro molto. —Leonard Burlcat as in a da capo aria, but instead of setting it to the original music he lets the aria Erbarme dich, from the "St. Matthew continue to unfold, choosing a natural, Passion," BWV 244 psychological way of composing instead of JOHANN SEBASTIAN BACH the more stylized conventions of opera. Born March 21, 1685, in Eisenach Died ]uly 28, 1750, in Leipzig Prelude to "Die Meistersinger von The interaction between Christian liturgy Num burg" and drama goes back at least to the steps of RICHARD WAGNER medieval cathedrals and perhaps to the Born May 22, 1813, in Leipzig earliest days of the faith; nowhere has it Died February 13, 1883, in Venice been more fruitful than in the cantatas and Richard Wagner described his last stage passions of J.S. Bach. More than once, in work, Parsifal, as a Buhnenweihfestspeil, a fact, the Cantor of St. Thomas' Church "festival of consecration in a theater." But brought down the wrath of the Leipzig it is his next-to-last work, Die Meistersinger town fathers by enlivening his church von Nürnburg, that later generations have music with the language of Baroque opera: most often turned to on great musical picturesque text-setting, vocal virtuosity, occasions. Tonight, as we sit in a "new" and embellished da capo arias. Even a Carnegie Hall, the age that built it—an age penitential work such as the St. Matthew full of awakening national pride, enter­ Passion combined biblical narrative with prise, and-democratic impulses—speaks to solo arias and chorales, and took on the us through Wagner's music. character of a tragic drama. It was a matinee performance of Die Bach composed the St. Matthew Passion in Meistersinger that made history on March the late 1720s for performace on Good 21, 1891, simply by closing the 1890-91 Friday, the most somber and holy day of season at the Metropolitan Opera House. the Christian calendar. The text is both an At the time, German opera appeared to be account of the events surrounding the breathing its last at the Met. Despite suffering and death of Jesus, and a medita­ enthusiastic crowds of Wagner-loving tion on them. At one point in the story, as German immigrants, and despite a stellar recounted in Matthew's gospel, Jesus' company under the baton of Wagner's disciples begin to desert him one by one. protégé Anton Seidl, "the music of the Even St. Peter—nicknamed "the Rock" for future" was not paying ts way. The Met's

20 socially-prominent boxholders, whose [Emphasis original]" Even without the subscriptions had built the auditorium added drama of a Met farewell, nostalgia eight years before, now announced plans looms large in Meistersinger: nostalgia for to reinstate more tuneful French and the simplicity of sixteenth-century Ger­ Italian repertoire in “their" opera house. man village life, for the musical discipline That afternoon, Seidl—a flamboyant learned from one's elders, and for the Hungarian who had lived for six years in gorgeous self-contained melodies that Wagner's house as his personal secre­ ruled the operatic stage before Wagner's tary—took his company out with flags own "music dramas" made dramatic conti­ flying. The packed house responded to Die nuity—not high C's—the standard. In fact, Meistersinger, and its joyful evocation of the the "set pieces" that dot the score of Die deep folk roots of German music, with a Meistersinger seemed to the ultra-Wagner- mass demonstration unsurpassed in the ians an outright betrayal by their leader— Met's history. For half an hour after the especially the Prize Song with which final curtain, the audience stood and young Walther wins both the singing cheered, stamping, waving handkerchiefs, contest and the girl. The Prelude (Vorspiel) calling the artists out again and again. to Act I combines this and other tunes into "Finally," reported the Times, "Mr. Seidl a delicious confection, overripe or not. had to appear alone, when the enthusiasm Wagner the music dramatist wouldn't was deafening. He was called upon for a have called it anything so operatic as an speech, contrived to stammer out 'Thank "overture"—and yet, excerpted for the you' and then, overcome with emotion, concert hall, it is as much of a knockout as hastily retired." anything by Rossini. Thus ended one chapter in the history of classical music for the masses in America. Symphony No. 2 in C minor (Many more, of course, would be written ("Resurrection") at the Met.) Six weeks later and 18 blocks GUSTAV MAHLER further uptown, another chapter began, Born July 7, 1860, in Kalischt, Bohemia with the opening of the Music Hall on 57th Died May 18, 1911, in Vienna Street, a gift to the American people from New York was not the only city that saw a grateful immigrant, Andrew Carnegie. momentous musical events in 1891. The Later that year, Anton Seidl took charge Hamburg Philharmonic, for example, of the New York Philharmonic, making his welcomed a new conductor that year, the debut with Beethoven's Pastoral Sym­ 30-year-old Gustav Mahler. Although he phony—like Meistersinger, a disarmingly was experienced in the opera pit, Mahler earthy and unbuttoned work by a supreme had never held a symphonic post before. German master. After the Met was gutted But no less a figure than the distinguished by fire in 1892, the Philharmonic moved to conductor-pianist Hans von Bülow had Carnegie's Music Hall, where it would picked Mahler to succeed him in Hamburg. remain for over 70 years. Once there, Seidl Mahler hoped that this influential musi­ wasted no time making more musical cian would also encourage his efforts at history: On Beethoven's birthday, Decem­ composing, and one day he played his ber 16, 1893, he conducted the raptu­ symphonic poem Totenfeier ("Funeral Rite") rously-received premiere of Dvorak's on the piano for von Bülow. Several times, Symphony in E minor (From the New World), Mahler looked up and saw von Bülow a "populist" work that aimed to revitalize holding his hands over his ears. When the German symphonic tradition with Mahler finished playing, the old man American folk melodies. sighed and said, "If that is still music, then I Those were heady times, the more so know nothing at all about music." because large segments of the public still It took Mahler some months to recover considered new music their music. In 1891, from von Bülow's rebuff, but finally he Die Meistersinger was only a little over 20 began revising the piece and expanding it years old—"contemporary music" by most into a symphony. The original piece was definitions. the first movement: funeral music for a In at least one critic's view, however, the hero, in the craggy Beethoven mold, but Meistersinger Prelude was already old when overlaid with a mood of tenderness and it was born. "It has fire and courage," questioning; Mahler said he was asking, wrote Friedrich Nietzsche in his 1886 book "Why have you lived?" The next two Beyond Good and Evil, "and, at the same time, movements—a deeply nostalgic, waltz­ the flaccid skin of fruit that ripen too like Ländler and a grotesque parody of late... This music admirably expresses Mahler's own song "St. Anthony's Ser­ what I think of the Germans: They belong mon to the Fishes"—only reinforced that to the day before yesterday and the day question. Mahler hinted at an answer in after tomorrow—they still have no today. the fourth movement, adapting his naively

20C spiritual song "Urlicht" as a brief introduc­ ingale, like a last trembling echo of tion to—what? Mahler was stopped in his earthly life. Softly there sounds a choir tracks. He did not know what the answer of saints and heavenly creatures: was, and worry as he might about it, it "Aufersteh'n.. .Rise again, yes, thou shalt would not come. rise again." And the glory of God While the symphony lay unfinished, appears. Hans von Bulow died. On March 28,1894, To Klopstock's verses about physical while attending his mentor's memorial rebirth, Mahler added three stanzas that service, Mahler found the answer he had express his own faith in the immortality of been looking for. "The mood in which I sat his soul and his art. They begin with the there and thought of the departed," he words O glaube, mein Herz ("Believe, my later wrote, "was exactly that of the work heart"), which Mahler sets with an under­ which, at the time, occupied me con­ current of agitation—the soul must, after stantly—at that moment the chorus near all, both choose and earn this blessed state. the organ intoned the chorale by Klop- But soon, as the "resurrection" theme stock [the eighteenth-century German climbs upward in waves from orchestra poet], Aufersteh'n! It struck me like a and chorus, it is clear that suffering thunderbolt and everything stood clear humanity's triumph will be complete. The and vivid before my soul. The creator composer's note continues: waits for this lightening flash, this is his 'holy annunciation.' What I then experi­ And beholdi there is no judgment; there enced, I had now to shape into tones." are no sinners, no righteous, no great and no humble—there is no punishment And what Mahler shaped into tones, we and no reward! will hear tonight: the triumphant conclu­ An almighty love shines through us sion of what has become known as his Resurrection Symphony. with blessed knowing and being. As the fifth movement begins, the We should not leave this subject without "Urlicht" movement, gently intoned by linking Gustav Mahler to New York, and the contralto soloist, is shattered by a clap to the hall in which we sit. In 1907, Mahler of doom from the full orchestra. After a was appointed conductor of the Metropo­ dreadful silence, faraway horns announce litan Opera; that November 24, he con­ the Day of Judgement. Then, wrote Mah­ ducted the Resurrection Symphony at his ler in a program note, Vienna farewell concert. In New York he conducted both opera and concerts, gra­ the earth quakes, the graves burst open, dually yielding the Met podium to Tosca­ the dead rise and stride hither in endless nini while taking charge of the New York procession. The great and the humble of Philharmonic in 1909. The two Philhar­ this earth: kings and beggars, the just monic seasons he conducted in Carnegie and the unjust—all are coming—and Hall marked a new era of fiscal stability their cry for mercy, for grace, sounds and artistic distinction for the orchestra. terror-stricken on our ears. Our senses In February 1911, his health deteriorating, fail us...Amid the ghastly silence we he returned to Europe for rest and medical seem to hear a distant, distant night­ care. He died in Vienna on May 18.

Aufersteh'n! Rise again! (G.F. Klopstock, first stanza; Gustav Mahler, stanzas 2-4) Aufersteh'n, ja aufersteh'n wirst du, Rise again, yes, thou shalt rise again, mein Staub, nach kurzer Ruh! my dust, after a short rest! Unsterblich Leben! Immortal life! wird der dich rief dir geben. will He grant who called thee. Wieder aufzublühn wirst du gesät! Thou shalt be sowed like seed to flower Der Herr der Ernte geht again. und sammelt Garben The Lord of harvests goes forth. Uns ein, die starben. to gather sheaves of those who died. O glaube, mein Herz Believe, my heart, es geht dir nichts verloren! naught shall be lost to thee! Dein ist, dein, ja dein, was du ersehnst! Thine, yes thine is what thou hast longed Dein was du geliebt, was du gestritten! for! O glaube: du wardst nicht umsonst geboren! Thine is what thou hast loved, what thou hast nicht umsonst gelebt, gelitten! hast striven for! O believe: thou wast not born in vain! Thou hast not lived and suffered in vain! (please do not turn page until completion of the song) 20D Was entstanden ist, das muss vergehen! All that has arisen must pass! Was vergangen, aufersteh'n! All that has passed, must rise again! Hör auf zu beben! Now cease to tremble! Bereite dich zu leben! Prepare thyself to live! O Schmerz, du Alldurchdringer! O ever-present suffering, Dir bin ich entrungen. Thee have I escaped. O Tod, du Allbezwinger! O all-conquering Death, Nun bist du Bezwungen! Now thou art conquered! Mit Flüglen die ich mir errungen, With wings I have won for myself, In Liebesstreben werd' ich entschweben I shall soar in fervent love aloft Zum Licht zu dem kein Äug' gedrungen! to the Light no eye has yet beheld! Sterben werd' ich um zu leben! I shall die to live again! Aufersteh'n, ja aufersteh'n wirst du mein Herz in Thou shalt rise again, yes again, my heart, einem Nu! in a single moment! Was du geschlagen Thy battle's brave heartbeat Zu Gott wird es dich tragen! Will bear thee up to God!

A BRIEF INTRODUCTION TO THE NEW YORK PHILHARMONIC The New York Philharmonic was founded in 1842 and is the oldest symphony orchestra in the United States. The Philharmonic has made history throughout its 145 years of existence. It has been a leader in premiering the music of the day, from Dvorak's New World Symphony to William Schuman's On Freedom's Ground. The roster of Philharmonic music directors includes Mahler, Toscanini, Bernstein, Boulez, and now Mehta. The Philharmonic has made over eight-hundred recordings since its first in 1917. Since 1965 the Orchestra has performed free concerts in the parks of New York City reaching better than seven million people in this venue. The Orchestra has also toured internationally since 1930. The Philharmonic performed its ten-thousandth concert in 1982, a milestone reached by no other orchestra in the world.

Meet the Artists Zubin Mehta is now ment to reciprocate a similar joint concert in his ninth season as held in Avery Fisher Hall in June 1982 music director of the when the Israel Philharmonic visited New New York Philhar­ York. The tour was the Orchestra's monic, with which he second visit with Mr. Mehta to the musical spends an average of capitals of Europe and marked the fifty­ twenty weeks a year. fifth anniversary of the Philharmonic's In October 1983, Mr. inaugural European tour with Arturo Mehta's contract was Toscanini in 1930. In July 1986, Mr. Mehta extended through the led the New York Philharmonic in a 1989-90 season, which Central Park performance that broke all will make him the records for classical concert attendance, longest tenured music director in the attracting 800,000 people and qualifying Orchestra's history. In his role as music for The Guinness Book of World Records. director, Mr. Mehta led the Philharmonic Born in Bombay, Mr. Mehta grew up in on a triumphant 19-city tour of Europe a musical household. His father, Mehli and Israel in 1985. The final concert of the Mehta, currently music director of the tour was a joint concert with the Israel American Youth Orchestra in Los An­ Philharmonic on June 30 in Tel Aviv, geles, co-founded the Bombay Symphony which honored a long-standing commit­ Orchestra. At 16, Zubin Mehta abandoned (program continued on page 62) 20F t’s a curious society we live in now. Even as we careen towards a high-tech Ihorizon, with both its joys and its compli­ cations, we’ve become obsessed with having things of the past as they were. In fact, we seem to want the present to be an amalgam of both the past and future, with the newest elements being so novel as to dazzle and confound, while the older ones must convey a sense of tradition and elegance, and an aura that binds them to their increasingly distant times. Gala Greetings

Carnegie Hall celebrates its restoration with a pair of festive galas

That Carnegie Hall has now been night gala, on December 15, is a special restored to its original grandeur, after benefit concert featuring the New York nearly a century of alterations and accre­ Philharmonic and the New York Choral tions, would seem to be a sign of the Artists under the baton of Zubin Mehta, times—something not unrelated, in its with Isaac Stern, Marilyn Horne, and way, to our current fascination with Benita Valente among the soloists. The hearing Baroque, Classical, and early second gala, on New Year’s Eve, will Romantic music played on period instru­ feature the baritone Benjamin Luxon and ments and in meticulously researched the tenor Robert Tear—along with guest performance styles germane to those eras. appearances by Isaac Stern, Yo-Yo Ma, And the fact that, within the context of the Richard Stoltzman, and Nancy Allen—in hall’s restoration, Carnegie’s facilities have an evening of Victorian parlor music. also been modernized, represents the other In their own ways, each gala refers— side of this late-20th century coin. either obliquely, as in the case of the To celebrate its reopening after the brief Opening Night benefit, or more directly, as hiatus occasioned by the restoration work, in the case of the New Year’s Eve Victorian Carnegie Hall is treating itself, and its evening—to the time Carnegie Hall (then patrons, to a pair of galas. The opening known simply as the Music Hall) was Above: Isaac Stem performs at both the Opening Night and New Year’s Eve galas Allan Kozin n 27 opened, in May 1891. the White House; and in Europe, the Imagine the world New Yorkers of 1891 concept of divine right was alive and well. knew. Most of the city still lay in lower Russia was ruled by Alexander III (for Manhattan, and until 1883, when the whose enthronement Tchaikovsky had Metropolitan Opera House was opened, written the Marche solennelle, played at the music world was centered around the Music Hall’s opening concert), and his Union Square. Uptown was largely farm­ family’s reign would last another 26 years. land, dotted by the first outposts of city In Germany, the headstrong Kaiser Wil­ life. The Dakota, for instance, had gone up helm II was devising ways to win his at 72nd Street in 1885; and the American country a place in the sun; and in England, Museum of Natural History already stood Queen Victoria ruled over an Empire on a few blocks to the north. Still, when which the sun never set. Carnegie Hall was planned and built, 57th And of course, it’s an interesting time to Street was considered to be near the city’s look back at with an eye to the arts: in northern frontier. Travel, in New York, Paris, Henri Toulouse-Lautrec was pre­ was by horse carriage for the well-heeled; paring the first of his famous music hall those using public transportation had a posters. In London, George Bernard Shaw choice of trolleys or elevated railways. The was working as a music critic, Thomas first working model of Henry Ford’s Hardy and Rudyard Kipling published automobile lay five years in the future; and major works, and Arthur Conan Doyle’s air travel was, of course, still a science Sherlock Holmes tales were making their fiction fantasy. first appearance in the Strand magazine. At the time, Benjamin Harrison sat in Among American writers, Henry James,

28 The parlor song was music for home performance

Mark Twain, and Stephen Crane were in Leonore Overture No. 3, and Tchaikovsky their primes. In music, Gustav Mahler was leading his Marche solennelle. After at work on his Second Symphony, and intermission, Damrosch returned to the Anton Bruckner was at work on his Ninth. podium to lead the New York premiere of Brahms, Dvordk, Grieg, Rimsky-Korsa­ Berlioz’ Te Deum. kov, Gounod, Saint-Saëns, Rachmani­ Zubin Mehta and the New York Phil­ noff, Puccini, and Verdi were alive and at harmonic recreated that program on the work, and some of their contributions to occasion of Carnegie Hall’s ninetieth what we today think of as the standard birthday, five years ago; so rather than literature still lay before them. Debussy resurrect it again for this season’s opening was not yet 30, Ravel was 15; and Stravin­ festivities, the hall’s management decided sky, Bartdk, Berg, and Webern were on a gala more suited to contemporary children. tastes. The evening begins with some In the United States, the living compos­ Wagner—ironically, since Tchaikovsky ers of note included Ethelbert Nevin, spent part of his 1891 New York visit Edward MacDowell, George Chadwick, writing a polemical attack on Wagner for John Knowles Paine, Horatio Parker, and one of the New York newspapers. Also to Amy Cheney, better known as Mrs. be included are a selection from Bach’s St. H.H.A. Beach. All of them had works Matthew Passion,a. new orchestral work performed regularly; but of course, it was composed for the occasion by Leonard still to Europe that American conductors Bernstein, and the final movement of the looked when searching for new works. One Mahler Second Symphony—a work composer New Yorkers of the time held in which, as noted, was on the composer’s particularly high esteem was Piotr Ilyich desk in 1891. Tchaikovsky; thus, in planning the open­ Carnegie Hall’s New Year’s Eve Gala ing festivities for Andrew Carnegie’s new looks more directly at the music of the Music Hall, the New York Symphony 1890s, but from an entirely different angle. Society’s young conductor, Walter Dam- For the occasion, Benjamin Luxon, Robert rosch, invited Tchaikovsky to lead some of Tear, and their guests will offer an evening his own music. of Victorian parlor ballads, a genre that The first concert—which a reporter has no exact analogue today, although it from the New York Herald claimed was akin to today’s pop songs. One major took place before a crowd of around difference, of course, is the level of listener 5,500—was a quaint affair by today’s participation required. Like today’s varie­ standards. It got underway with a choral ty, these songs became “hits” when they rendering (with audience participation) of were taken up by well-known singers; but a hymn tune, the “Old Hundredth”. A brief whereas today’s mega-hits come on pieces welcoming address was delivered by of plastic that put forth complete perform­ Morris Reno, president of the Music Hall ances as we listen passively, the Victorian Company (a distant predecessor of the model came as a piece of sheet music that Carnegie Hall Corporation), followed by a sat mute on the piano stand until someone lengthy oration by Bishop Henry C. played and sang it. Potter. The audience then stood to sing The parlor song was, in essence, music America, with the chorus, and only then for amateur after-dinner performance in did the concert proper get underway, with the home, and it was all the rage from the Walter Damrosch leading Beethoven’s (continued on page 66)

30 miniature by Schumann—No. 32 of his there are no fewer than five Pastorals to Album for the Young, in which Schehera­ choose from, beginning with Beethoven’s zade is depicted in softly rippling arpeggios Symphony No. 6 and continuing through and undulating accompaniments as a Gretchaninov (No. 2), Glazunov (No. 7), gentle, dreamy, and slightly mysterious Vaughan Williams (No. 3), and the con­ figure. No aficionado of Scheherazade temporary English composer Wilfred should miss Karol Szymanowski’s rather Josephs (No. 5). And let us not forget that different portrayal of the Oriental beauty exquisite orchestral interlude in Handel’s in the first of his Masques Op. 34, also for Messiah, also subtitled “Pastoral Sym­ piano. Here she is a truly exotic creature, phony.” surrounded with fantastic, impressionistic For the “Romantic”-ally inclined, there flickering, filigree and capricious moods are also five symphonies to assuage your alternating between dark musings and passion—Bruckner’s Fourth appeared in exuberant outpourings of narrative vigor. 1874, followed by the Fifth of Swiss Although Richard Strauss has left the composer Hans Huber (1906), the Second most enduring account of the fifteenth­ of Howard Hanson (1930), the Fourth of century rogue Till Eulenspiegel [Till Carlos Chavez (1953), and tne Eleventh of Eulenspiegel’s Merry Pranks, 1895), this Darius Milhaud (1960). legendary character has been clothed in There may be enough Water Music to musical expression more often than is gen­ float a battleship, and much of it has been erally realized. Being a Flemish character, written within the last few years. After Till not surprisingly became Thyl Uylen- Handel’s and Telemann’s (the Suite or spiegel, the subject of an opera by the Bel­ Overture in C, sometimes referred to as gian composer Jan Blackx. This opera, Hamburger Ebb und Fluht), we note John which incorporated Flemish folk dances as Cage’s curious work of 1952, written for well, received its premiere in Brussels in piano, drums, and radio receiver; a piece by 1900. Other operatic treatments of merry Ned Rorem for violin, clarinet, and small of Till come from Emil Nikolaus von Rez- orchestra (1966); an electronic composi­ nicek (of Donna Diana fame, 1902), and tion by Paul Earls (1971); the parodisti- the German composer Cyrill Kistler (1889). cally entitled Water Muzak of John On the subject of merry characters in Damian (1976); and most recently, Libby opera, it is interesting to note that Wag­ Larsen’s Symphony No. 1, (1985). ner’s grim, serious saga of the Nibelungs There may be only four seasons, but the was turned into an operetta by Oscar number of composers who have written Straus (no relation to either Johann or music to the title The Seasons or The Four Richard) entitled Die lustigen Nibelungen Seasons is closer to 44. Just for starters, [The merry Nibelungs] in 1904. It is also there’s Vivaldi, Haydn, Tchaikovsky, Gla­ noteworthy that Heinrich Dorn beat zunov, Busoni, Milhaud, Krenek, Albeniz, Wagner to the stage with his own opera Die Cage, and Liszt (sketches only for a string Niebelungen, presented in 1854. quartet, 1880). Symphonies with this subti­ The world of the symphony may be a bit tle have been written by Henry Hadley wider than some people imagine. Take the (No. 2), Jozsef Soproni (No. 2), Louis Italian Symphony—besides Mendels­ Spohr (No. 9), and Joachim Raff (Nos. 8- sohn’s well-known Symphony No. 4 11, each subtitled with a different season). bearing this subtitle, there exists an unpub­ The next time you are asked to name the lished work by Vincent d’Indy. Turning to composer of The Four Seasons, you just London, Haydn’s Symphony subtitled might respond with Mario Tarenghi, with the name of this city (No. 104) was Tommasso Traetta, or Thomas Peterson. matched in 1914 by Vaughan-Williams, a And you would be right. Londoner himself. If the symphonic coun­ Robert Markow is program annotator for the tryside appeals to you more than its cities, Montreal Symphony.

35 Varied Stages he very word “theater,” which refers of seats into the solid rock of the Acropolis. to both a type of building and the That semi-circular amphitheater, along Tactivity that takes place in it, suggests thatwith its well-preserved descendants at Epi- the performing arts are especially identi­ dauros and elsewhere, are still in use today fied with the distinctive architecture that for revivals of ancient drama, a living testi­ houses them. Yet, while drama, dance, and monial to their long influence. The basic song have been universal human functions forms and terminology for modern theater since the ancients, permanent structures to buildings thus descend from Greek and house performers and audience and to “set later Roman prototypes, though the path the stage” of the action did not develop from Aeschylus-outdoor horseshoe to the until the Classical period in Greece. cavernous and technologically sophisti­ Greek comedies and epic tragedies were cated interiors of Radio City Music Hall or a regular feature of major holidays and the Metropolitan Opera House has been religious festivals, but until 498 B.C. long, slow, and full of detours. viewers were accommodated in temporary The standard Greek theater was a vast wooden stands. In that year, a particularly open-air bowl of concentric stone benches rambunctious audience caused the rickety seating up to 25,000 spectators. At the bleachers in the Athenian agora (public center of the seating rings was a flat cir­ square) to collapse, prompting safety­ cular area called the orchestra', beyond conscious authorities to cut stepped rows that, facing the seats, was a low rectangular Above: Blackfriars Theatre (ca. 1597)—frequent home to Shakespeare’s troupe James M. Sa slow 43 platform for the principal actors. This During the Middle Ages, when secular rudimentary stage was later enriched by a theater was supplanted by religious per­ small room along one side for prop storage formances given only for holidays and and costume changes, called the skene fairs, no permanent buildings were needed. (“booth”), from which comes our modern Biblical legends were often presented out­ term “scene.” doors on movable scene-wagons, though Other Greek names for building ele­ at times actors would declaim from be­ ments reveal much about the sources of neath the sheltering portals of a church. On theatrical spectacle and its early form. holy days, pageants used the church Orchestra comes from orcheisthai, “to interior, fusing theater with ritual. The dance,” because the familiar Greek chorus earliest “scenic designer” may have been (from choros, “a dance”) was located there, the Italian architect-engineer Filippo performing as much movement as spoken Brunelleschi, who designed special effects or sung recitation. The orchestra area was for San Felice, Florence in 1429—including circular in imitation of a functional angels in candlelit clouds of cotton batting threshing-floor, linking the theater to its who descended on wires to foretell Christ’s roots in the ancient ritual dances of the birth. harvest festival. The importance of the Independent theater structures returned visual aspect of the chorus is underscored as part of the Renaissance revival of all by the word theater, derived from theas- things Classical. Theater buildings as we thei, “to see”; the Latin word auditorium, know them today appeared first in Italy, by contrast, emphasizes audition—that is, inspired by the architectural handbook of hearing. the ancient Roman designer Vitruvius. The The Romans built their theaters on the oldest surviving building still in use is the Greek model, but added a number of Teatro Olimpico in Vicenza, begun in 1580. practical refinements. The Theater of Its architect, Andrea Palladio, faithfully Marcellus in Rome, or the well-preserved re-created a stepped amphitheater facing a smaller one at Pompeii, are still semi­ shallow stage and backdrop, but enclosed circular amphitheaters, but their free­ them for the first time under a permanent standing structures are built atop a series wooden roof; this un-Classical concession of continuously-arched basements that to the elements was nostalgically painted provided more efficient crowd circulation. to resemble the sky. The simple Greek stage-house was ela­ In Florence six years later, Bernardo borated into a three-story service building Buontalenti took the decisive step of called the proscaenium (whence our “pro­ boxing off the stage area behind a true scenium,” though there was then no arch proscenium arch, allowing him to indulge separating stage from seating). Its façade, his engineering talents in the invention of richly decorated with columns and statua­ flylofts, trapdoors, sliding platforms, and ry, formed an unchanging backdrop for perspective scenery. His 3,000-seat Medici the actors, who entered the stage directly Theater in the Uffizi Palace provided an from their dressing rooms through arched opulent setting for court ceremonials full doorways in the lowest tier. Some small of fire-breathing dragons and magically theaters, especially the type of recital hall descending goddesses. As these mannerist called an odeum (Greek odeon, still a extravaganzas led directly to the Baroque popular name for music-halls), had wooden arts of opera and ballet, so Buontalenti’s roofs. Larger ones, such as the Colos­ chamber for them was the direct ancestor seum—a huge elliptical arena, essentially of the horseshoe-shaped court theaters of two amphitheaters joined end-to-end— the age of absolutism. could be protected from sun and rain by Throughout the seventeenth and eigh­ canvas canopies strung from the upper teenth centuries, theaters varied little from walls. the established model, as designers con­

44 centrated on improving sets, machinery, pit (borrowed from Besançon) and the and lighting. From the Comédie-Française custom of darkening the house lights in Paris (1786) to Milan’s La Scala (1776), during performance. most had a sloped ground-floor seating Like so much of modern architecture, area surmounted by curved rows of walled- twentieth-century theater design has been in private boxes. The axial location of the pluralistic, sometimes embracing radical “court box” dramatically expressed the advances, at other times seeking to pre­ ruler’s central place in the ancien régime, serve traditional form and spirit. Play­ since only from his or her vantage point wrights’ and directors’ desires to involve would the one-point perspective framed by spectators more intimately led to the stage the proscenium look mathematically penetrating the proscenium’s “fourth wall” correct. Even after the French Revolution in thrust or in-the-round configurations. toppled many dynasties, the proliferating This process was abetted by developments opera houses of the nineteenth century in steel, concrete, and mechanical equip­ continued to adopt a Renaissance-Baroque ment, which permitted unprecedented revival style. Grandest of all is the Paris spans and flexibility; as early as 1927 the Opera (1861-75), which aimed to dignify Bauhaus architect Walter Gropius de­ the new French aristocracy by stylistic signed a machinelike “total theater” in association with the past glories of Ver­ which whole sections of stage and seating sailles; New York’s old Metropolitan areas could be rotated at will to suit differ­ Opera House (1883) did the same for the ent performance styles. Radio City Music New World’s more democratic elite. Hall, whose vast interior and rotating stage Attempts to reform this tradition had depend on the same technology, eschewed begun in the far-reaching political and austere Modern style for the festive social utopianism of the Revolutionary opulence and formal spaces of Art Deco. era. The visionary eighteenth-century Its fellow movie palaces, which mush­ French architect Ledoux condemned the roomed after World War I, wrought only implied inequality of private box seating; minor changes on the traditional theater other critics inveighed against bad acous­ plan (film sightlines require a narrower tics or the immoralities committed in auditorium, though it can be deeper) and confined darkness. Ledoux’ solution, for dressed them in an eclectic array of exotic his theater at Besançon of 1778, was to revival styles. return to an indoor amphitheater with no With more recent projects ranging from boxes above: other architects simply the aggressive modernism of Minneapolis’ turned the upper levels into open, linear Tyrone Guthrie Theater or the Sydney balconies with row seating. (Both alterna­ Opera House to the classicism of Lincoln tives are still with us, in varying combina­ and Kennedy Centers, contemporary tions: the New York State Theater at theater-building remains active and di­ Lincoln Center, a state-sponsored insti­ verse. Many new theaters incorporate the tution, has only balconies, while across the latest technical refinements, yet the current plaza the present Metropolitan Opera restoration of New York’s Carnegie Hall House accommodates all levels of society and the movement to preserve the Broad­ in ascending tiers from the parterre boxes way theater district testify to the increasing to the Family Circle standing-room.) appreciation of our historical legacy. If Composer Richard Wagner carried Euripides awoke tomorrow in Times Ledoux’ ideas further; in his foreword to Square, he might be surprised at how much the Ring text published in 1862, he called has changed since the theater of his day, for a theater with democratic seating. but he’d no doubt be pleased that some of When he finally built the Bayreuth Fest- these newfangled buildings can still stage spielhaus to his own specifications, Wag­ his plays more or less as he intended them. ner also made other more purely esthetic James M. Sas low is a professor of art history at innovations, notably the sunken orchestra Columbia University.

46 indelible gift to the young people whose ideas he shapes (“Mistakes help you! Casals, Hubermann, they all made them!”), whose feelings he pierces (“Play like you are in love, from the gut and the heart, it’s all the same thing!”), and whose futures he possibly influences (“These kids are at the crucial age of deciding if they are pas­ sionate enough about music to make a career.”) What Sasha communicates, in an age where technical proficiency and de­ personalization often appear to be vital for acceptance in the musical community, is a reassurance that many values of his great Romantic predecessors are being kept alive. And, how, they are—no matter what he does, he has the uncanny knack of making young people make good music, “better than professional orchestras,” he table spirit which soars out to his players says. “My kids are fresh, enthusiastic, and audiences alike. He is fiercely single- spontaneous.” minded, outspoken, and idiosyncratic. “I “Chamber music is where you define live with the whole world,” he says to the yourself, tell your deepest story,” says New York Times, “but I live my way.” And longtime friend, Marlboro Music School one wonders, in the centuries to come, colleague, double bass player Julius when Sasha is fiddling with the great Levine. (He and such pals as violinists orchestra in the sky, if someone will be Itzhak Perlman, Isaac Stern, Jaime La­ around to carry his legacy. It is unique. redo, Felix Galimir, Isidore Cohen; violist Home is a two-story Manhattan loft Michael Tree; conductor Gerard Schwarz; with a yellow refrigerator and blue bath­ cellist Yo-Yo Ma; and pianists Peter room sink, among other surprises, over Serkin, Claude Frank, Lilian Kallir, which are scores of snapshots of chums among others, volunteer to help Sasha ranging from Golda Meir to Alexander prod and cajole the ensemble from time to Calder to Saul Steinberg, whose nearby time). “Sasha teaches these kids about life, drawing of the violinist in baseball togs is about feelings,” he continues. “His genius signed, “to Abrasha Schneider, Sensa­ is in these instincts, and his insights into the tional Southpaw from Vilna.” Not far emotional content of music. He listens to from recordings of Bruno Walter and a the sound of his own voice, and shares the framed invitation from President Kennedy sense of freedom that comes with this to appear at the White House is vast, understanding.” eclectic memorabilia. Up the stairs there’s Indeed, if “music is the manifestation of a coffee table fashioned from a drum, the highest energy,” as Thomas Mann has velvet couches, a chair made from antlers, suggested, “.. .almost the definition of a dining table, and a brass four-poster bed God,” one suspects that this frizzy-haired surrounded by velvet drapes. (“So? Tho­ dynamo, the 78-year-old Schneider, has mas Jefferson had his bed next to the been singled out to transmit such energy— kitchen, too.”) all of this, of course, with the approval of Here in this loft he entertains, as a The Almighty, whose name (“My Gott! closing gesture, the String Ensemble. Re­ Did you ever hear such a beautiful pas­ members alumnus, violinist Cho Liang sage?”) he invokes at the slightest excuse. (Jimmy) Lin, “We waltzed until early What emanates from Sasha is an indomi­ morning until the landlord complained.

51 And Sasha was more awake than any of us. During the seminars when we would fall apart from exhaustion, Sasha would take us down to Chinatown for Tonkinese crab at Hop Kee. And, on stage, he’s got the energy of Michael Jackson or Mick Jag­ ger.” Here, too, he whips up dinners (“Clams from Long Island, olive oil from my country house in Provence. .. .Did you read what Craig Claiborne says about my cooking?” he charms.) And from here hundreds of invitations, the hottest tickets in town, are sent for Sasha’s free-spirited birthday parties, at which he is likely to show up in an outrageous costume. for “He never stops going,” says Lin, “he PRIVATE PARTIES makes each of us feel he or she is the only BARBETTA person in the orchestra. To me, music­ offers the original dining room, wood- making in the style of Casals was invalu­ paneled library and drawing rooms of the able.” The guiding hand behind the Casals 1874 townhouse in which it is ensconsed. Festival, Schneider has been a vibrant 321 West 46 St. 246-9171 force in reviving chamber music in this country, creating ensembles, and giving countless pleasure as a member, for nearly a quarter of a century, of the Budapest Quartet. (According to a former secretary, “HOORAY FOR LOVE!" Marjory Hanson, “Sasha invited Albert Einstein, an excellent amateur musician, to Julie Wilson sit in with the Quartet. Sasha was then CELEBRATES THE MARVELOUS heard addressing him, ‘Von two, von two, MUSIC OF HAROLD ARLEN Dr. Einstein, ven vill vill you ever learn to count?’ ”) He gives his String Ensemble no less attention; at rehearsals at once sitting, standing, fiddling, tucking his violin under his bow arm, singing out melodies, ur­ gently beckoning, calming, soothing, swaying, bending his torso to indicate rhythm. The electricity is acute, every note a celebration. There is a jVew Yorker cartoon by Opie, in which a merry reveler holding a horn is BILLY ROY AT THE PIANO in custody of two stern-faced cops, one of Shows: 9:15 and 11:15 P.M. Tues, thru Sat. Supper reservations from 8 P.M. whom is explaining to the Chief of Police, “We picked him up outside Carnegie Hall. He says he was celebrating Stravinsky’s 100th birthday.” It could be Sasha. 59 West 44th Street. New York Reservations: 840-6800 Leslie Rubinstein is a regular contributor to & Stagebill.

52 medical studies to pursue a career in music No other American at the Academy of Music in Vienna. Nine musician has achieved years later, at the age of 25, he became the a worldwide reputa­ youngest person ever to conduct the tion like Leonard Vienna Philharmonic, and the following Bernstein's. He is season achieved the same distinction when known everywhere, he conducted the Berlin Philharmonic. as a conductor, com­ From 1961 to 1967, Mr. Mehta was music poser, pianist, au­ director of the Montreal Symphony. In thor, and teacher. He 1962, the Los Angeles Philharmonic ap­ was appointed music pointed Mr. Mehta its music director, director of the New thereby making him the youngest music York Philharmonic in director of a major American orchestra. In 1958, the first American-born and the 16 years of his tenure there, the -trained musician named to such a promi­ orchestra rose to the prominence that it nent post, and in 1969 was given the now enjoys. lifetime title of laureate conductor. More Concurrent with his Philharmonic recently he was made an honorary mem­ duties, Mr. Mehta is music director for life ber of the New York and Vienna Philhar­ of the Israel Philharmonic. For over monic orchestras. In addition to the twenty years he has been an annual visitor world's major orchestras, Mr. Bernstein to the Berlin Philharmonic and the Vienna has conducted at the Metropolitan, La Philharmonic. Mr. Mehta also regularly Scala, and Vienna State operas. conducts at the Vienna Staatsoper and the As a composer, Mr. Bernstein's works Royal Opera at Covent Garden. He was include those for the concert hall (among appointed artistic director on an honorary them three symphonies, Chichester Psalms, basis of the Maggio Musicale Fiorentino, Serenade, and Halil), for the ballet (including the summer festival of Florence, Italy, Fancy Free and Dybbuk), for film (On the effective 1986, for three years. Waterfront), and for Broadway (the scores Mr. Mehta's many honors include the to On the Town, Wonderful Town, West Side Padma Bhushan from India and the Com- Story, and Candide). In the field of opera, he mendatore of Italy, along with honorary has written Trouble in Tahiti and A Quiet degrees from Sir George Williams Univer­ Place, the latter being the first trans- sity in Montreal, Occidental College in Atlantic commission ever. California, Colgate University in Hamil­ During 1986 Mr. Bernstein conducted ton, New York, Brooklyn College, West­ the production of A Quiet Place for the first minster Choir College in New Jersey, and time at the Vienna State Opera. This opera the Weizmann Institute in Israel. The was written jointly for the Houston Mehli Mehta and Zubin Mehta Music Opera, where it was premiered in 1983, La Wing of the Hebrew University's Mount Scala, Milan, where it was produced in Scopus campus was dedicated in 1981. 1984, and the Kennedy Center, where it More recently, Mr. Mehta received the was performed later that same year. From Medal d'Or Vermeil of the City of Paris April 11 to May 11, the London Symphony and was awarded a Doctor of Letters Orchestra, in cooperation with the Barbi­ honorary degree from the Jewish Theolo­ can Centre, produced a Leonard Bernstein gical Seminary of America. Festival, the largest of its kind honoring a Mr. Mehta has made more than twenty- living musician. In June Paris saluted Mr. five recordings with the Philharmonic. Bernstein, and President François Mitte- Among the most recent are Wagner's Die rand presented him with the coveted Walküre, Act I, with Eva Marton, Peter Commandeur de la Legion d'Honneur. Hofmann, and Martti Talvela (recorded Other appearances last season included live in concert, CBS Masterworks, digital); concerts in Rome, Munich, and New York. Brahms' Symphony No. 3 (CBS Master­ This season Mr. Bernstein toured with the works, digital); Beethoven's Symphony Israel Philharmonic and was honored with No. 9, with Margaret Price, Marilyn a festival by the city of Milwaukee. Horne, Jon Vickers, Matti Salminen, and Mr. Bernstein's best-selling books on the New York Choral Artists (Joseph music are published around the world in a Flummerfelt, director), in a set with variety of languages. The Norton Lectures Beethoven's Fantasy for Piano, Chorus at Harvard, The Unanswered Question, were and Orchestra with Emanuel Ax (RCA, published, recorded, and televised. Re­ digital); Richard Strauss' Ein Heldenleben; nowned for his "Young People's Con­ Mahler's Symphony No. 1; music of certs," and known throughout the world Wagner with Montserrat Caballé; Proko­ through many television concerts and fiev's two violin concertos with Isaac hundreds of recordings, Mr. Bernstein has Stern; and excerpts from Wagner's Ring won ten Emmys, ten Grammys for his cycle (all CBS Masterworks, digital). records, and a Grammy for Lifetime

62 Achievement. Council on the Arts, American Jazz Alli­ A favorite of Manhattan audiences, Philharmonic, among others. He often "The complete perso­ ance (co-founder), and the National Sym­ Miss Horne received the city's highest performs with such eminent conductors as nality," novelist F. phony Orchestra. He is an advisor for the cultural award, the Handel Medallion, in Claudio Abbado, Sergiu Comissiona, Scott Fitzgerald once Congressional Arts Caucus Educational 1980. This season, she performs in Samson Herbert von Karajan, Lorin Maazel, Zubin remarked, "has six­ Program, Musicians Emergency Fund, and Delilah at the Metropolitan Opera Mehta, Seiji Ozawa, and André Previn and teen well-cut facets." Planned Parenthood, and the Studio House, while at Avery Fisher Hall she regularly participates in the festivals of Peter Oelrichs Du- Museum of Harlem. appears with the New York Philharmonic Tanglewood, Ravinia, Blossom, Salzburg, chin comes very close Mr. Duchin is married to Brooke Hay­ under Zubin Mehta. and Edinburgh. During the summer of to epitomizing Fitz­ ward, a celebrated author, and he has At least fifty percent of Miss Horne's 1986 Mr. Ma was the guest artist at the gerald's definition. He three children by an earlier marriage. performing life consists of recital appear­ opening gala of the new summer festival is a pianist, conductor, ances. One of a few vocalists in the world Great Woods. composer, author, Marilyn Horne's place who can sell out a house in this most Highly acclaimed for his ensemble outdoorsman, board is assured in the annals exacting realm of singing, she has sung playing, Mr. Ma is deeply committed to member, and, perhaps most importantly, a of operatic achieve­ over one thousand performances in reci­ performing and recording the vast cham­ husband and father. Succeeding presi­ ment. A familiar pre­ tal. She has performed five recitals at La ber music literature. He has played in a dents—John F. Kennedy, Lyndon B. John­ sence in all the major Scala, including the first ever broadcast string quartet consisting of Gidon Kre­ son, Jimmy Carter, and Ronald Reagan— opera houses of the live from that venerable opera house. mer, Kim Kashkashian, and Daniel Phil­ have all invited him to perform at inaugu­ United States and Eu­ Born in Bradford, Pennsylvania, Miss lips, whose album of Schubert and Mozart ral balls or private parties. Lady Bird rope, she has enjoyed a Horne began her musical studies with her quartets will be released this spring. Each Johnson picked Mr. Duchin's orchestra for high degree of esteem father and first sang in public at the age of year, he teams up with Emanuel Ax for both of her daughter's weddings, as well as worldwide, especially four. When she was 11 the family moved duo recitals, a collaboration which has for the great ball given by President in Italy: in 1982 Italian to Long Beach, California, where, after resulted in many recordings including the Johnson in honor of Princess Margaret. critics selected her to be completing high school at Long Beach complete Beethoven and Brahms cello Mr. Duchin served as music director of the the first recipient of the Rossini Founda­ Polytechnic, she studied voice with Wil­ sonatas. Mr. Ma and Mr. Ax also play in 1976 and 1980 Democratic Conventions tion's Golden Plaque—which honored her liam Vennard and song/recital works with trio performances with Young Uck Kim. and coordinated music for all the inaugu­ as "il piu grande cantante del mondo (the Gwendolyn Koldofsky (her accompanist Another chamber music project is the ral galas. greatest singer in the world)''—and in for ten years thereafter) at the University recording of Ravel/Kodâly duos with Isaac Mr. Duchin graduated from Eaglebrook, 1983 she received the award of "Commen­ of Southern California. She also partici­ Stern. In November 1986, he joined Isaac Hotchkiss ('54), and Yale ('58) with honors. datore al merito della Republica Italiana" pated in many masterclasses conducted by Stern, Emanuel Ax, Jaime Laredo, Cho- His junior college year was spent in Paris, from President Pertini. Lotte Lehmann. Her early career included Liang Lin, and Mark Peskanov in Japan for studying and living on a barge on the Miss Horne's 1980 interpretation of performances with Igor Stravinsky con­ the inaugural concert of Tokyo's new Seine. Like many of his contemporaries, he Isabella in L'lfaliana in Algeri at the Ham­ ducting various orchestras (Maestro Stra­ Suntory Hall and a two-week festival of donned Army khaki shortly after gradua­ burg Staatsoper received an incredible vinsky dedicated his last work, instrumen­ chamber music concerts and concerto tion from college and served on active duty 40 curtain calls; she sang this opera live tal arrangements of two of Hugo Wolf's performances. in Panama for two years. from the Met in January 1986. Among the Sacred Songs, to Miss Horne), and as An exclusive CBS Masterworks artist, After returning to civilian life, his career singer's many other operatic triumphs Dorothy Dandridge's singing voice in the Mr. Ma was honored with two Grammys as a musician blossomed quickly, following have been the first performances—after motion picture of Oscar Hammerstein's in 1985 for his recordings of the Elgar and in many respects that of his late father, 275 years—of Vivaldi's Orlando Furioso at Carmen Jones. After four years in Europe Walton concertos with the London Sym­ Eddy, who had died of leukemia in 1951. Verona (televised by the RAI), Paris, and in performing under the batons of Stravin­ phony Orchestra conducted by André He soon became well-known and played at Dallas with the Dallas Civic Opera (re­ sky, Paul Hindemith, and Dimitri Mitro­ Previn and the aforementioned Brahms the top hotels. Business soared and his corded on Erato/RCA); the American poulos (among others), Miss Horne made cello sonatas. He also won a Grammy in regular fans included the Duke and Duch­ premieres of Tancredi and La Donna del Lago her debut in Wozzeck. The mezzo-soprano's 1984 for the six Bach Suites for Unaccom­ ess of Windsor, the John F. Kennedys, with the Houston Grand Opera; and autobiography, Marilyn Horne—My Life, panied Cello. Soon to be released is his prominent Wall Streeters and Broadway Metropolitan Opera performances of written with Jane Scovell and published by album of the Dvorak Cello Concerto with and Hollywood stars. Rosina in II Barbiere di Siviglia and Isabella in Atheneum, was released in 1984. the Berlin Philharmonic under Lorin Mr. Duchin is the music director of the L'lfaliana in Algeri. Maazel. Future recording plans include famous Waldorf-Astoria Hotel in New A major force in the revitalization of the Cellist Yo-Yo Ma collaborations with Isaac Stern in both the York and he and his band play for more works of Handel and Rossini, Miss gave his first public Brahms Double Concerto with the Chi­ than one hundred public and private Horne was the first artist to bring Handel recital at the age of cago Symphony and a Mozart sinfonia parties and concerts each year all over the to the Met, in a production of Rinaldo which five and by the time concertante transcribed for cello. world. The Duchin Orchestras play an coincided with Handel's three-hundredth he was 19 he was Highlighting the 1986-87 season are additional eight hundred dates each year birthday and the Metropolitan Opera's being compared with engagements with the Israel Philharmonic and he has affiliations with orchestras in one-hundredth anniversary. She has such masters as Ros­ and Pinchas Zukerman under Zubin Washington, D.C., New Orleans, and continued to triumph as Arsace in Ros­ tropovich and Casals. Mehta at Avery Fisher Hall, Royal Philhar­ Palm Beach. sini's Semiramide since she first delivered He is now 31, and one monic Orchestra and Los Angeles Philhar­ Mr. Duchin's major private interests her now historic performances at Car­ of the most sought monic directed by André Previn, Chicago include membership in the prestigious negie Hall in 1964 with Joan Sutherland. after instrumentalists Symphony with Isaac Stern and Claudio New York State Council on the Arts and Featured during Carnegie Hall's Inaugural in the world. In 1978 Abbado, Cleveland Orchestra conducted the Yale University Council, representing Rossini Opera Festival (1982-83) in the Mr. Ma won the coveted Avery Fisher by Vladimir Ashkenazy, Philadelphia the Yale School of Music. Board member­ leading roles from La Donna del Lago, Prize and since that time has gone on to Orchestra and the Montreal Symphony ships include Boys Harbor, The Dance Semiramide, and Tancredi, Miss Horne re­ appear with all the major orchestras with Charles Dutoit at Carnegie Hall. Theater of Harlem, Young Audiences, The turned to this Carnegie Hall opera series in throughout the world, including the Additional dates include a recital at Avery Boy Scouts of America, The International 1984-85 for concert productions of the Berlin Philharmonic, Boston Symphony, Fisher Hall and a tour with the Bamberg Atlantic Salmon Foundation, American Handel operas Orlando and Semele. Chicago Symphony, Israel Philharmonic, Symphony throughout Germany. London Symphony, and the New York Born in Paris in 1955 of Chinese par- ents, Mr. Ma began his cello studies with by new albums, film roles, concert tours in his father at the age of four. Later, he the United States and abroad, a record­ studied with Janos Scholz and in 1962 he breaking Broadway engagement with entered The Juilliard School and began his Count Basie and Ella Fitzgerald, television studies with Leonard Rose. A graduate of movies and music specials, and, in 1979, Harvard University, Mr. Ma resides with the celebration of his fortieth anniversary his wife Jill, son Nicholas, and daughter in show business, which was broadcast as Emily in Winchester, Massachusetts. At an NBC-TV special. present, he is playing on two cellos: a During the past few years Mr. Sinatra's Montagnana made in 1733 from Venice worldwide travels have taken him to and a 1712 Stradivarius loaned to him by Japan, England, France, Austria, South Jacqueline du Pre. America, the Dominican Republic, Spain, Frank Sinatra, re­ and Italy. He starred in a number of turning to Carnegie television specials and released the albums Hall, where he has Trilogy, She Shot Me Down, and his current broken several box hit L.A. Is My Lady. Early this year office records he es­ MGM/UA Home Video brought out tablished himself, has "Portrait of an Album," a videocassette long been acclaimed documenting the making of L.A. Is My Lady. the world's leading Among his recent honors are the Presi­ performer of popular dential Medal of Freedom, the nation's music. He also is, of highest award; an honorary Doctorate of course, an actor, re­ Engineering from the Stevens Institute of cording artist, cabaret Technology in Hoboken, New Jersey; and concert star, radio and television Austria's Medal of Honor for Science and personality, and, on occasion, a producer, Art, First Class; Variety Clubs Interna­ director, and conductor. An entertainer tional Award; and, in 1983, a Kennedy for more than four and a half decades, he Center Honor. On that occasion fellow has enjoyed a career marked by prodigious honoree Virgil Thomson said of Mr. activity in all areas of the performing arts Sinatra, "...he's a truly great vocalist... and in such special undertakings as Presi­ the model most other pop singers dent Reagan's 1981 and 1985 Inaugural follow...' Galas, for which he served as producer and Currently in the planning stages is a director of entertainment. He has also television mini-series about Mr. Sinatra's received dozens of professional awards life, to be produced by his daughter Tina and numerous honors for his humanita­ for CBS-TV and scheduled for the 1986- rianism. 87 season. Despite his heavy schedule of Born in Hoboken, New Jersey, Mr. commitments, Mr. Sinatra manages to Sinatra decided to become a singer after find time for philanthropic causes. Among hearing the music of his idols, Bing Crosby the organizations which have benefited and Billie Holiday. His big break came in from his activities are: Memorial Sloan- 1939 when he became Harry James' band Kettering Cancer Center, the Red Cross, vocalist. He later joined Tommy Dorsey the Desert Hospital in Palm Springs, the and then struck out on his own, appearing World Mercy Fund, University of Nevada in theaters and on radio's "Your Hit at Las Vegas, New York City PAL, Cabrini Patade" and his own program, "Songs by Medical Center, and the National Multiple Sinatra." Sclerosis Society. In late 1942 he made his now historic Isaac Stem has been appearance at the Paramount Theatre on hailed as one of the Times Square and went on to make his foremost violinists of movie debut the following year. Over the this century. The image years he starred in more than fifty films, he evokes is much lar­ winning an Academy Award for From Here ger than that of an To Eternity and a special Oscar for the instrumental virtuo­ documentary The House I Live In. He has so. He is one of the released dozens of award-winning albums, most influential cul­ starred in numerous television specials, tural forces here and and appeared in theaters and concert halls abroad, dedicating his throughout the world and in such enter­ mind and artistry to tainment capitals as Las Vegas, Atlantic the good of music and the benefit of City, Reno, and Tahoe. mankind. He spearheaded the drive to save In 1971 he took time out to relax, but Carnegie Hall from demolition which returned to performing within two years. earned him the gratitude of countless The decade of the 1970s was highlighted music lovers, and he now serves as its

64B president. Throughout his 50 years as a Albert Schweitzer Music Award for "a life performer he has been selfless in looking dedicated to music and devoted to huma­ States, Canada, and Europe. prised of freelance professional singers. beyond his career and helping others to nity." In December 1984 he was presented A beloved artist to Carnegie Hall audi­ The New York Choral Artists made their develop important careers of their own, with the Kennedy Center Award by Presi­ ences, Miss Valente during the past 20 first appearance with the New York amongst whom are some of the leading dent Reagan at the White House. Last years has been heard as soloist with many Philharmonic in December 1979, in per­ violinists, cellists, and pianists in the world year, CBS Masterworks honored Mr. visiting orchestras for such notable events formances of Mozart's Mass in C minor today. He was a founder-member of the Stern as their first "Artist Laureate" and as Penderecki's Te Deum, and Handel's and Stravinsky's Symphony of Psalms. Subse­ National Council on the Arts and through signed him to what is, in effect, a lifetime Radamisto. She was a featured soloist in the quent performances with the Philharmo­ the years has been a fervent advocate of contract. He was also named Musical hall's 1984 New Year's Eve Gala. She will nic have included Handel's Messiah, Bee­ government recognizing the importance America's 1986 "Musician of the Year." be heard on April 1 in a solo recital in the thoven's Ninth Symphony, Britten's Can­ of the arts. His concerts are invariably sell­ Great Singers at Carnegie Hall series and tata Misericordium, Bach's Mass in B minor, outs, his many recordings on the CBS Benita Valente has on April 17 she appears with the Juilliard Janacek's From the House of the Dead, Mozart's Masterworks label have won numerous been acclaimed as one String Quartet in Haydn's The Seven Last Requiem, Handel's Creation,Orff's Carmina Grammy Awards and are best-sellers, and of America's most ce­ Words of Christ. Burana, and the world premiere perfor­ the film From Mao to Mozart: Isaac Stern in lebrated interpreters Gala performances have been greatly in mances of William Schuman's On Freedom's China won the Academy Award for the of lieder, oratorio, evidence on Miss Valente's recent and Ground. The New York Choral Artists best full-length documentary of 1981 and and opera. Her teach- upcoming schedule. She was soloist in were featured with the Philharmo­ received a special mention at the Cannes ers include Lotte Beethoven's Ninth Symphony with the nic in the May 1985 "Live from Lincoln Film Festival. Even with his ebullient Lehmann, Margaret Los Angeles Philharmonic and Zubin Center” telecast. Other engagements personality and wit—so evident as he Harshaw, and Martial Mehta, for the recent opening of the include several seasons of the Mostly teaches master-classes to the young Chi­ Singher, with whom Orange County Performing Arts Center, Mozart Festival at Avery Fisher Hall, the nese students in From Mao to Mozart—iMr. she studied at the and returns shortly for a New Year's Eve Richard Tucker Memorial Concert at Stern remains an unexplainable natural Curtis Institute. A Gala with the Los Angeles Philharmonic Carnegie Hall, and two recordings on force. winner of the Metropolitan Opera conducted by John Williams. In January, Angel records, one with Kathleen Battle Mr. Stern began his career in San Auditions in 1960, she became soprano-in- Miss Valente sings a gala performance and one with Kiri Te Kanawa. The con­ Francisco where, two years after his recital residence at the Marlboro Festival, with the Philadelphia Orchestra, a benefit tractor for the New York Choral Artists is debut, he made his San Francisco Sym­ Vermont, where her performances and for the Academy of Music. During 1987, Jacqueline Pierce and the group is under phony debut playing the Brahms Concerto recordings with pianist Rudolf Serkin won Pantheon, Erato, and Pro Arte records will the overall auspices of Lydian Productions. in 1936. His New York debut came in 1936, great renown. be releasing nine solo albums in which the Director Joseph Flummerfelt, in addition his Carnegie Hall debut in 1943, and his Miss Valente made her Metropolitan soprano sings songs and chamber works to leading the New York Choral Artists, is New York Philharmonic debut, under Opera debut in 1973 as Pamina in The by Wolf, Schubert, Mozart, Schumann, director of choral activities at Westminster Arthur Rodzinski, in 1944. Since that year Magic Flute, a role she has sung over two Debussy, Villa-Lobos, Strauss, Handel, Choir College in Princeton, New Jersey. he has performed with this orchestra over hundred times in the United States and and Haydn. He is also director of choral activities at the eighty times, more than any other violinist Europe. In recent seasons she has starred Festival of Two Worlds in Spoleto, Italy in its history. in new productions of Mozart's Idomeneo The New York Choral Artists were orga­ and the Spoleto Festival U.S.A. Dr. Flum­ Besides his highly acclaimed interpreta­ and Handel's Rinaldo. In appearances with nized in 1979 by Joseph Flummerfelt at the merfelt is listed in Who's Who in Music, tions of the standard repertoire, both in the opera companies of Boston, Houston, request of Zubin Mehta. Ranging in size Outstanding Young Men in America, and concert and on his many recordings, Mr. Washington, Cincinnati, Santa Fe, Pitts­ from 30-105 singers, the group is com­ Outstanding Educators in America. Stern is an avowed champion of contem­ burg, Philadelphia, Ottawa, and Montreal porary music. As such he has given pre­ she has been heard in a great variety of mieres of violin works by Bernstein, roles including Liu, Mimi, Violetta, Euri- Hindemith, Penderecki, Rochberg, Schu­ dice, Marguerite, and the Countess in The man, Dutilleux, and Peter Maxwell Davies. Marriage of Figaro. In recent seasons she The Philharmonic-Symphony Society of New York, Inc. His career has also included both feature sang the role of Melisande for the first OFFICERS AND DIRECTORS films and television. Following the Six Day time (in a concert performance) with the Amyas Ames Mrs. William S. Beinecke Mrs. Richard B. Salomon War of 1967, he performed the Mendels­ Philadelphia Orchestra and made three Chairman Emeritus Edgar R. Berner George L. Shinn sohn Concerto atop Mount Scopus with opera debuts in Europe including The Carlos Moseley Donald M. Blinken Donald R. Sloan the Israel Philharmonic Orchestra con­ Marriage of Figaro conducted by Daniel Chairman Emeritus Mrs. George A. Carden Carleton Sprague Smith ducted by Leonard Bernstein. This memo­ Stephen Stamas Jack G. Clarke Mrs. John W. Straus Barenboim in Paris, Rinaldo in Parma, and President Sampson R. Field Morris Tanenbaum rial concert was made into a film entitled A Handel's Samson in Florence. Francis Goelet Avery Fisher Miss Alice Tully Journey to Jerusalem. Other films in which he Miss Valente is a favorite soloist with Vice Chairman Mrs. Robert M. Frehse, Jr. Sophie G. Untermeyer has performed are Tonight We Sing, the film the nation's major orchestras, appearing Gurnee F. Hart Neal Gilliatt Mrs. Arnold van Ameringen biography of impresario Sol Hurok, in regularly with the New York Philharmo­ Vice Chairman Rita E. Hauser which he appeared as Eugene Ysaye, and nic, Chicago Symphony, Boston Sym­ Peter S. Heller H. Frederick Krimendahl, II TRUSTEES "ghosting" for John Garfield in Humoresque. phony, Philadelphia Orchestra, Cleveland Vice Chairman Mrs. Frank Y. Larkin H. Frederick Krimendahl, II He also played the sound track for the Orchestra, San Francisco Symphony, and Phyllis J. Mills Edith S. Lynch Chairman movie Fiddler on the Roof. Vice Chairman Hon. Fredric R. Mann Jack G. Clarke the Los Angeles Philharmonic, among Anthony P. Terracciano Robert Nathaniel Mann Edward L. Palmer Mr. Stern holds many honorary posts others. She is a frequent guest artist at all Treasurer Edward L. Palmer Harvey Picker and is chairman of the board of the of the leading summer festivals, including J. Buckhout Johnston Charles I. Petschek George L. Shinn America-Israel Cultural Foundation. He Tanglewood, Ravinia, Cincinnati May Secretary Harvey Picker HONORARY MEMBERS has received numerous honors from heads Festival, Saratoga, Caramoor, and Mostly Albert K. Webster Barbara Scott Preiskel OF THE SOCIETY of government, the music and business Mozart. The busy soprano has been a Executive Vice President Mrs. Leon Root Leonard Bernstein community, and from humanitarian insti­ Great Performer at Lincoln Center and Maynard E. Steiner Frederick P. Rose Aaron Copland tutions. He is the first recipient of the appeared in recital throughout the United Vice President-Finance Axel G. Rosin Rudolf Serkin NEW YORK PHILHARMONIC ZUBIN MEHTA, Music Director LEONARD BERNSTEIN, Laureate Conductor Felix Kruglikov, Assistant Conductor

VIOLINS Nancy Donaruma John Carabella Glenn Dicterow Valentin Hirsu Ranier De Intinis Concertmaster, Avram A. Lavin Aubrey Facenda The Charles E. Culpeper Thomas Liberti Asher Richman TRUMPETS Charles Rex John Ware Associate Concertmaster BASSES CoPrincipal The William Petschek Eugene Levinson Family Chair Philip Smith Principal CoPrincipal Kenneth Gordon The Redfield D. Beckwith Vincent Penzarella Assistant Concertmaster Carmine Fornarotto Enrico Di Cecco Jon Deak* Carol Webb Orin O'Brien Yoko Takebe James V. Candido TROMBONES Joseph Alessi Bjoern Andreasson William Blossom Gabriel Banat Walter Botti Principal David Finlayson Emanuel Boder Randall Butler Nathan Goldstein Lew Norton Edward Erwin""' Marina Kruglikov Michele Saxon Newton Mansfield John Schaeffer BASS TROMBONE Kerry McDermott Donald Harwood Gino Sambuco Allan Schiller FLUTES Jeanne Baxtresser TUBA Richard Simon Principal Warren Deck Max Weiner Principal Donald Whyte The Lila Acheson Wallace

Marc Ginsberg Paige Brook* TIMPANI Principal Renée Siebert Roland Kohloff Jacques Margolies Principal Oscar Ravina PICCOLO Morris Lang* Matitiahu Braun Mindy Kaufman Mary Corbett-Laven"** PERCUSSION Marilyn Dubow OBOES Christopher S. Lamb Martin Eshelman Joseph Robinson Principal The Constance R. Hoguet Michael Gilbert Principal Friends of the Philharmonic Chair Judith Ginsberg The Alice Tully Chair Elden Bailey Hae-Young Ham Sherry Syiar" Morris Lang Myung-Hi Kim Jerome Roth Hanna Lachertt Daniel Reed ENGLISH HORN HARP Mark Schmoockler Myor Rosen Thomas Stacy Fiona Simon Principal Vladimir Tsypin CLARINETS Oscar Weizner ORGAN Stanley Drucker Leonard Raver VIOLAS Principal Paul Neubauer The Edna and W. Van Alan Principal Clark Chair Leonard Davis Peter Simenauer* ORCHESTRA PERSONNEL Co-Principal Michael Burgio MANAGER Eugene Becker" Carl R. Schiebler Irene Breslaw E-FLAT CLARINET Peter Kenote Peter Simenauer ASSISTANT ORCHESTRA Barry Lehr PERSONNEL MANAGER Kenneth Mirkin John Schaeffer Judith Nelson BASS CLARINET Stephen Freeman Henry Nigrine LIBRARIANS Dorian Renee Lawrence Tarlow Dawn Riggs BASSOONS Library Services Administrator Rebecca Young Judith LeClair Robert DeCelle Principal Principal CELLOS David Carroll" Thad Marciniak Lome Munroe Leonard Hindell STAGE REPRESENTATIVE The Fan Fox and Leslie R. CONTRABASSOON Samuels Chair Louis J. Patalano Bert Bial Nathan Stutch* Gerald K. Appleman Evangeline Benedetti HORNS "Aswmtr Principal Philip Myers ‘‘Assistant Principal Bernardo Altmann Principal ‘‘‘Charles H. Rei'son Orchestral Fellow. Lorin Bernsohn Jerome Ashby* Music Assistance Fund Paul Clement L. William Kuyper tOn Sabbatical A GALA GREETINGS (cont. from p. 30) 1860s until soon after the turn of the century, when the embryonic phonograph began making its first serious inroads. Interestingly, not all historians blame the decline of the parlor song on the gramo­ Q’Afexts' phone; rather, one writer blames the bicycle, arguing that young men and ladies who formerly whiled away their spare hours at the piano began devoting their BAR-RESTAURANT energies to riding, and that as a conse­ 6th Ave. & 57th St. quence, they were too tired to play and sing later on. “Just a few steps from Be that as it may, the ballad vogue was Carnegie Hall" actually a middle-class revival of a much older tradition. In the late fifteenth LUNCH DINNER* SUPPER century, when music publishing made the SUNDAY BRUNCH dissemination of composers’ works possi­ ble, English composers (most notably Free PARKING John Dowland) issued collections of songs with Dinner* at designed to be sung and played in the Sylvan Garage 65 W. 56th St. home, to the accompaniment of the lute. During the next few centuries, homespun 399-2361 music-making was obscured by the rise of the professional concert performer, a phenomenon that made it possible for the rising middle class to enjoy performances of a quality previously available only to those wealthy enough to maintain their own household ensembles. Even so, the tradition persisted. At its most exalted, it ON THE PARK was kept alive in the salon concerts of “Spirited American Cuisine Schubert, in Vienna, and Chopin, in Paris; but a more amateur brand thrived, too— for a Sophisticated witness the array of piano reductions of Clientele.” symphonies, opera arias, and chamber • Elegant pre-theatre dining works published for home use throughout the nineteenth century. Enticing 3 course menu >25. The popular ballad captured the public’s Short stroll to Lincoln Center or Broadway imagination in the middle of the nineteenth century. In the United States, just after the • Special post-theatre menu Civil War, many of the most fashionable of ■ Open 7 days—7 AM-Midnight these were either based on, or patterned after, the songs of the newly freed black At The Essex House slaves—“Ethiopian melodies,” as they Central Park South nr. 7th Avenue were described by one of the genre’s Reservations—247-0300 greatest exponents, Stephen Foster. Also popular were songs more akin to the variety in vogue in England. These were sentimental love ballads, songs of patrio­ tism, bravery, and mortality, and paeans to

66 the charms of the home. for this populist entertainment genre that Behind the public’s passion for this flourished in the days before television, music, of course, stood the owners of the radio, and the phonograph and they have major publishing houses, who understood collaborated on several programs of that a demand for the songs they were ballads both in concert and on disc. The selling could only materialize if the songs program they will present on New Year’s were heard, and who therefore sponsored Eve is one that would probably have regular concert series at which the most pleased Andrew Carnegie—who was beloved singers—not only those from known to prefer simple ballads and Scot­ popular revues, but also opera and orato­ tish folk tunes to symphonic music or rio stars like Jenny Lind and Adelina opera. And in keeping with the spirit of Patti—sang the latest ballads (often with Carnegie Hall’s restoration, it has been instrumental interludes between them). In suggested that those who attend this gala fact, to further foster the associations wear Victorian attire (or failing that, black between the singers and their songs, the tie). publishers often printed the performers’ A word of caution, though: If you want names in large letters on the songs’ title to be truly authentic in your dress for the pages; and while they paid the composers evening, you’ll have to find garments that and lyricists modest flat fees, they offered close by means of buttons and hooks only; the singers handsome royalties on sheet for although one W.L. Judson actually music sales. devised the clothing zipper in 1891, his Benjamin Luxon and Robert Tear, invention did not come into common use although certainly renowned for their until 1919. operatic work and for their art song Allan Kozinn is a regular contributor to recitals, have long had an abiding passion Stagebill.

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No wonder it’s a favorite with performers from the theatre and music worlds! You'll notice the lively and friendly atmosphere the moment you enter the cheerful room. Enjoy its relaxed informality Then discover the fabulous food! Fine but unpretentious Northern Italian. Join the stars in-the-know—make it your regular stop before the concert or after the movie.

dt Call for reservations—247-5683 Fontana di Trevi, 151 West 57th Street

69 THE CARNEGIE HALL CORPORATION CARNEGIE HALL THE CARNEGIE HALL SOCIETY, INC. 1986-87 SEASON Isaac Stern Mary Johnston Evans Joseph E. Slater President Hon. Roy M. Goodman Lee N. Steiner James D. Wolfensohn Philip Hampton Isaac Stern* Chairman of the Board Mrs. Dorothy H. Hirshon Sanford I. Weill* Lester S. Morse, Jr. Klaus Jacobs* Lawrence A. Weinbach Chairman of the Gilbert E. Kaplan* James D. Wolfensohn* Executive Committee Stephen M. Kellen John W. Zick Klaus Jacobs William T. Knowles Treasurer George Lang John W. Zick Laurence C. Leeds, Jr. HONORARY TRUSTEES Assistant Treasurer Bella L. Linden Marian Anderson Maximilian W. Kempner Bayless Manning Mrs. Marshall Field Secretary Edward H. Michaelsen Jacob M. Kaplan Richard A. Debs Hon. MacNeil Mitchell* Mrs. Albert D. Lasker Hon. John V. Lindsay Chairman Emeritus Lester S. Morse, Jr.* Rupert Murdoch Hon. Fredric R. Mann Hon. Bess Myerson Mrs. George W. Naumburg BOARD OF TRUSTEES Roberta Peters Raymond S. Rubinow Betty Allen* Mrs. Jane Cahill Pfeiffer Martina Arroyo Shepard P. Pollack Hon. Robert F. Wagner Lucien Wulsin Ralph M. Baruch Felix G. Rohatyn David L. Yunich Hon. Eugene M. Becker Kenneth Roman, Jr. Norton Belknap Robert V. Roosa Mrs. Isaac Stern, Kenneth S. Davidson Lewis Rudin Walter M. Scheuer Martin S. Davis Walter M. Scheuer Co-chairpersons of the Richard A. Debs Constantine Sidamon- Friends of Carnegie Hall Jack deSimone Eristoff Alvin H. Einbender Bonnie Ward Simon ♦ Member, Executive Committee

ADMINISTRATION

NORTON BELKNAP Suzanne K. Ponsot Rudolph Stewart Beth Bergman Managing Director Director, Friends of Associate Janice L. McNeil JUDITH ARR0N Carnegie Hall Carol Milbank Annette Poyar Central Manager Lcnore Zerman Marcus Ticotin Janice Aubrey Director. Corporate Fund Assistants REAL ESTATE Office Manager Elizabeth Cheteny Molly McCormack PLANNING and Harriet De Veto Director, Foundation DEVELOPMENT Administrative Assistant and Government Gifts Lawrence P. Goldman Anthony Felton Anne P. Thomas MANAGEMENT INFORMATION Vice President and Director Office Services Director. Special Events Stanley P. Mongin Paul Hardy Maureen Meloy SYSTEMS Inkyoung Kim Real Estate Manager Receptionist Campaign Administrator Director Carl K. Panero Richard Malenka Dong Sohng Owner's Representative Development Associate for Design and Construction ARTISTIC PROGRAMMING Mary T. Vogel Patrick Stephens Judith Arron Thomas Reid Michele Posner Evelyn Gonzalez Artistic Director Building Superintendent David Rees Henry A. Urbach Susan D. Clines Karen Cohen PUBLIC AFFAIRS Director. Special Projects Associate Judith W. Kuker Lois Cohn Ellen Schuyler McCabe Kristin Kuhr Director Director. Recital Hall Rhoda Marks Janet A. Kessin TICKET OPERATIONS and Educational Projects Volunteer Coordinator Assistant Director Dennis Green Gilda Barias Wessberger David Kitto Box Office Treasurer Booking Manager FINANCE Richard Matlaga Marketing Director and Supervisor Elaine Georges Robert Kessler John Lettieri Assistant Director Ronald J. Geraghty Publicist Subscription Treasurer Julie Burstein Raymond Farrell Comptroller Jennifer Wada Radio Producer Publicist CarnegieCharge Manager Steve Mencher Carmen C. Parrilla Head Bookkeeper David Samuels Nina Dimas Associate Radio Producer Marketing Assistant Group Sales Manager Margaret O'Brien Carol Rutman Assistant Amanda Green Sherry Novembre Radio Production Assistant Telemarketing Manager Gregg Bryon Felicita Calderon Mina Yasuda Schuyler G. Chapin Mary Guido Antoinette Vivar Geraldine Biondi Art Director Special Consultant Claudia Boynton Gino Francesconi Webster and Sheffield Archivist Counsel DEVELOPMENT HALL OPERATIONS Ann Rosenthal James Stewart Polshek James C. McIntyre Bernard J. Brannigan Calendar Editor and Partners Director Director Christopher Willard Architect Bonnie Helms James A. Gerald Program Coordinator C.W. Shaver Company Campaign Manager House Manager Jane Callender Fund Raising Counsel 70 CELEBRATIONS (cont. from p. 36) mas concert with the folksinging talents of Lincoln Center, shifts to Carnegie for a conceived of the “Sing-In” and acts as The sixth annual concert of the New Peter, Paul and Mary. The roots of this second run-through. The audience, having emcee (“Raise your hand if you come from York City Gay Men’s Chorus is called five-year-old event go back to Mary’s high brought scores or purchased them at the New Jersey”) reports that some people Deck the Halls: a sumptuous feast of olde school days, when conductor Robert door, sings the choruses, each of which is have bought tickets for both “Sing-Ins”: English carols. With their simple, charm­ DeCormier was her teacher. Folk and directed by a different choral conductor— “Part of the excitement is the people ing verses and refrains, carols are a natural choral music are blended in DeCormier’s Joseph Flummerfelt, David Randolph, dimension.” for general singing; either religious or arrangements for trio, chorus, and or­ John Grady, and Fenno Heath are a few Classical music is universally perceived seasonal but always festive, they are char­ chestra, but the groups have individual regulars. This year’s soloists, in descending as dignified. While known colloquially as acterized in Grove’s Dictionary as “for the moments as well: the chorus sings “Shout order of vocal range, are Crail Conner, “longhair music,” it is not considered an enjoyment and edification of ordinary for Joy,” a DeCormier piece based on Jeffrey Dooley, Mukund Marathe, and activity where you can “let your hair people.” In addition to popular carols and Christmas-related spirituals, and the trio John Ostendorf. (On occasions of last- down.” Yet at Christmas, while churches Hanukkah songs, this chorus performs the offers such time-honored favorites like minute soloist cancellations, the audience resound with the most exalted of sacred premiere of Then and Now, commissioned “Puff the Magic Dragon.” There is some sails ecstatically through the solo on its music, the secular world seeks the lighter from Mark Riese. The conductor of the audience participation. own, living out who-knows-what dreams side, either in pop-style arrangements of December 23 program is Gary Miller. The ultimate chance for everyone to get of glory.) As ever, the redoubtable Kenneth classical favorites or in outright musical The New York Choral Society is work­ in on the act comes December 28, when the Bowen presides at the organ, managing to satire. ing on a tradition of combining its Christ­ Messiah “Sing-In,” a 19-year tradition at keep a straight face. Martin Josman, who As the lion lies down with the lamb,

The critics haveaWord for it:

it What a knockout of a place this is for eye and palate. 99 Malcolm Forbes The much-applauded, most conven­ ient spot for all pre-theatre dinners and post-theatre libations. At the Hotel Parker Meridien, 118 West Handling the intricate financial needs of persons with 57th Street. Reservations recom- widespread interests has become a specialty of ours. Please contact Mary B. Lehman, Senior Vice President. United States Trust Company of New York. 11 West 54th Street. New York, NY 10019. (212) 887-0446. U.S.Trust When you do something very well you simply cannot do it for everyone.

70 pop mixes with classical at the Carnegie Before or after Hall debut of the Empire Brass quintet, the curtain, which is fresh from its fourth tour of Japan the show continues and cutting its twentieth recording. This concert will also show off the hall’s AROUND THE CORNER legendary acoustics, because players are at

• Great Food • Fun Oversized Drinks • Giant Video Screens • Live Jazz Band on Thursday Nights 1409 6th Ave. at 57th St. Reservations 212-560-1659

Peter, Paul and Mary stationed in the balconies for antiphonal versions of short works by Gabrieli and lake Monteverdi. Eventually the ensemble unites on stage, where it is joined by members of the New York Philharmonic. Together they blare their way through a wholesome selection of Bach, Handel, bow Copland, Gershwin, Bernstein (a West Side Story medley), and Christmas music. Each performer is given time for solos and Carnegie even casual banter, though the orchestra members have to play it straight. And for over 20 years, at least half in Hall Carnegie Hall and frequently at holiday time, Peter Schickele has been lampooning Best of Luck the mighty image of J.S. Bach with from P.D.Q., the master’s (imaginary) wayward son and a hilariously dismal composer. Entertainment Publications, Inc. Through the personality and “newly publishers of discovered” works of P.D.Q., Schickele, as a dishevelled professor in a torn tux and CiifehfoyMHeMt ’87 hiking boots, brings down the music we (9141693-7077 most revere. Beethoven’s Fifth Symphony

74 becomes a sportscast, a bass drum is played with a fish, antiphonal orchestras are “hostile bands,” and a piccolo made by shrivelling a flute in hot Italian olive oil is “a Mediterrantean flute fry.” The more one knows about music, the greater is the delight in Schickele’s marksmanship. His four performances (December 26, 27, 28, and 30) include the Birthday Ode to “Big Daddy” Bach and the New York premiere of Oedipus Tex. P.D.Q.’s fans can also choose from among his 10 record albums or the Definitive Biography of P.D.Q. Bach, now in its eighth Random House We printing. Christmas would be unthinkable with­ out youngsters, who are traditionally a Listen cause for hope. And every Christmas Eve and empathize with you who at midnight Carnegie Hall hosts the New endure the problems of dentures York String Orchestra, whose 60 members or face the embarassing prospect are aged 15 to 22. These carefully selected of wearing them. students come from all over the country for WEPROVIDETHEALTERNATIVE... a fully-subsidized 10 days of rehearsal ATTRACTIVE under Alexander Schneider and chamber music workshops coached by Felix Gal- PERMANENT TEETH imir, Isidore Cohen, Jaime Laredo, and others. The stellar alumni list stretches OMNICARE® from Yo-Yo Main 1971 to Matt Heimovitz, an award-winning cellist who at 16 is now A unique experienced caring Team touring with Ma, Laredo, Isaac Stern, dedicated to Excellence in Modern, Michael Tree, and Cho-Liang Lin. Alumni Dental-Medical Care. sometimes return to solo with orchestra, as ( Affiliated offices world-wide. Limousine and have Ma and Shlomo Mintz. The Christ­ accommodation services available. mas Eve concert, all Bach, is followed by OMNICARE • 745 FIFTH AVENUE (off 57th St.) an appearance at the Kennedy Center and New York, N.Y. 10022 a December 29 return to Carnegie for a (212) 355-6122 Dr. Robert Spalten, Director program of Mozart, Haydn, Stravinsky, and Hugo Wolf. And to end one year in a joyful mood while inaugurating a fresh new calendar, Carnegie Hall celebrates New Year’s Eve * FREErestaurant ! with a gala “Evening of Victorian Song INFORMATION SERVICE and Music.” To further the evening’s GET PERSON TO PERSON DETAILS ON NY'S musical theme, patrons are encouraged to OUTSTANDING RESTAURANTS: TYPE OF CUI­ SINE, PRICE, LOCATION, CREDIT CARD POLICY, attend in Victorian costume. And so we ■ AMBIANCE, RESERVATIONS ABSOLUTELY FREE. can end the season with yet another favorite pastime: dressing up for the holidays. î DIAL DINE Leslie Kandell has written on musicfor the New York Times, Musical America, and other ! (212) 226-3388 I publications. fa»»»».»».» J 76