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EXCLUSIVELY FINE CHAMPAGNE COGNAI Imported By Remy Martin Amerique. Inc NY. NY 80 Prool Seiji Ozawa, Music Director One Hundred and Fourth Season, 1984-85
Trustees of the Boston Symphony Orchestra, Inc.
Leo L. Beranek, Chairman Nelson J. Darling, Jr., President
J.R Barger, Vice-President George H. Kidder, Vice-President
Mrs. George L. Sargent, Vice-President William J. Poorvu, Treasurer
Vernon R. Alden Mrs. Michael H. Davis E. James Morton
David B. Arnold, Jr. Archie C. Epps David G. Mugar
Mrs. John M. Bradley Mrs. John H. Fitzpatrick Thomas D. Perry, Jr. Mrs. Norman L. Cahners Mrs. John L. Grandin Irving W Rabb
George H.A. Clowes, Jr. Harvey Chet Krentzman Mrs. George R. Rowland
William M. Crozier, Jr. Roderick M. MacDougall Richard A. Smith
Mrs. Lewis S. Dabney John Hoyt Stookey
Trustees Emeriti
Philip K. Allen E. Morton Jennings, Jr. John T. Noonan Allen G. Barry Edward M. Kennedy Mrs. James H. Perkins
Richard P. Chapman Edward G. Murray Paul C. Reardon Abram T. Collier Albert L. Nickerson Sidney Stoneman Mrs. Harris Fahnestock John L. Thorndike
Administration of the Boston Symphony Orchestra, Inc.
Thomas W. Morris, General Manager
William Bernell, Artistic Administrator Daniel R. Gustin, Assistant Manager Anne H. Parsons, Orchestra Manager Caroline Smedvig, Director of Promotion Josiah Stevenson, Director ofDevelopment Theodore A. Vlahos, Director ofBusiness Affairs
Charles S. Fox, Director ofAnnual Giving Anita R. Kurland, Administrator of Youth Activities Arlene Germain, Financial Analyst Richard Ortner, Administrator of Charles Gilroy, ChiefAccountant Tanglewood Music Center Vera Gold, Assistant Director ofPromotion Robert A. Pihlcrantz, Properties Manager Patricia Halligan, Personnel Administrator Charles Rawson, Manager ofBox Office Nancy A. Kay, Director ofSales Eric Sanders, Director of Corporate Development John M. Keenum, Director of Joyce M. Serwitz, Assistant Director of Development Foundation Support Diane Greer Smart, Director of Volunteers Nancy Knutsen, Production Manager Nancy E. Tanen, Media/ Special Projects Administrator
Steven Ledbetter Marc Mandel Jean Miller MacKenzie Musicologist & Publications Print Production Program Annotator Coordinator Coordinator
Programs copyright ®1985 Boston Symphony Orchestra, Inc. Cover photo by Walter H. Scott Board of Overseers of the Boston Symphony Orchestra, Inc.
Harvey Chet Krentzman Chairman
Avram J. Goldberg Mrs. August R. Meyer Vice-Chairman Vice-Chairman
Ray Stata Mrs. Gordon F. Kingsley Vice-Chairman Secretary-
Mrs. Weston W. Adams Mrs. Ray A. Goldberg Mrs. Hiroshi Nishino Martin Allen Jordan L. Golding Vincent M. O'Reilly Bruce A. Beal Haskell R. Gordon Stephen Paine, Sr. Mrs. Richard Berinink Mrs. R. Douglas HaU III John A. Perkins
Peter A. Brooke Francis W. Hatch, Jr. Mrs. Curtis Prout William M. Bulger Mrs. Richard D. Hill Peter C. Read Mary Louise Cabot Susan M. Hilles Robert E. Remis
James F. Cleary Glen H. Hiner Mrs. Peter van S. Rice
John F Cogan, Jr. Mrs. Marilyn Brachman Hoffman David Rockefeller, Jr. Julian Cohen Mrs. Bela T. Kalman John Ex Rodgers Mrs. Nat King Cole Mrs. S. Charles Kasdon Mrs. Jerome Rosenfeld
Arthur P. Contas Richard L. Kaye Mrs. William C. Rousseau Mrs. A. Werk Cook John Kittredge Mrs. William H. Ryan Phyllis Curtin Mrs. Carl Koch Gene Shalit A.V. d'Arbeloff Mrs. E. Anthony Kutten Malcolm L. Sherman
D.V. d'Arbeloff John P. LaWare Donald B. Sinclair Mrs. Michael H. Davis Mrs. James F Lawrence Ralph Z. Sorenson
Mrs. Otto Eckstein Laurence Lesser Mrs. Arthur I. Strang
William S. Edgerly Mrs. Charles P. Lyman Mrs. Richard H. Thompson
Mrs. Alexander Ellis Mrs. Harry L. Marks William F. Thompson John A. Fibiger C. Charles Marran Mark Tishler, Jr.
Kenneth G. Fisher J. William Middendorf II Luise Vosgerchian Gerhard M. Freche Paul M. Montrone Mrs. An Wang Peter H.B. Frelinghuysen Hanae Mori Roger D. Wellington
Mrs. Thomas J. Galligan Richard P. Morse John J. Wilson Mrs. Thomas Gardiner Mrs. Robert B. Newman Brunetta Wolfman Mrs. James G. Garivaltis Nicholas T. Zervas
Overseers Emeriti
Mrs. Frank G. Allen Paul Fromm Benjamin H. Lacy
Hazen H. Ayer Mrs. Louis I. Kane Mrs. Stephen V.C. Morris David W Bernstein Leonard Kaplan David R. Pokross Officers of the Boston Symphony Association of Volunteers
Mrs. Michael H. Davis President Mrs. Hart D. Leavitt Mrs. Carl Koch
Executive I ice-President Treasurer Mrs. Barbara W. Steiner Mrs. August R. Meyer Secretary \ominating Chairman
Vice-Presidents
Mrs. Gilman W. Conant, Regions Mrs. Craig W. Fischer, Tanglewood Phyllis Dohanian, Fundraising Projects Mrs. Hiroshi Nishino, Youth Activities
Mrs. R. Douglas Hall III, Mrs. Mark Selkowitz, Tanglewood Development Services Mark Tishler, Public Relations
Chairmen of Regions
Mrs. Roman W DeSanctis Mrs. Charles Hubbard Mrs. Frank E. Remick
Mrs. Russell J. Goodnow, Jr. Mrs. Herbert S. Judd, Jr. John H. Stookey
Mrs. Baron M. Hartley Mrs. Robert B. Newman Mrs. Arthur I. Strang
Symphony Hall Operations
Cheryl Silvia Tribbett, Function Manager James E. Whitaker, House Manager
Earl G. Buker, ChiefEngineer Cleveland Morrison, Stage Manager Franklin Smith, Supervisor ofHouse Crew
Wilmoth A. Griffiths, Assistant Supervisor ofHouse Crew William D. McDonnell, ChiefSteward WE HELPED ED MILLER GET BY ON $125,000. LAST YEAR
Most people assume that success automatically brings with it a sub- stantially brighter -• and easier -- financial picture. Yet when they reach a comfortable income level, too many find themselves wondering where it all goes. This is one of the most common reasons people come to The Cambridge Group for financial planning. Because success depends as much on preserving and investing your money as on earning it. At The Cambridge Group, our job is to help you focus on your goalsThen help you achieve them. All of them. We can help with business management Investment objectives. Retirement plans Educational needs. Estate planning. And any other special objectives you might have, business or personal. It's only through careful planning All while keeping your taxes at that someone like Ed Miller can feel their lowest legitimate level. comfortable with his income. Knowing To achieve this, we develop an that his money is working as hard for overall, comprehensive financial plan. him as he worked for his money. Our specialists optimize your posi- If you'd like a closer look at what tion in each area giving you a balanced financial planning can do for you, financial picture. Mot a plan skewed we'd be happy to arrange a private toward the stock market by a broker. consultation at no cost or obligation Or toward life insurance by an agent. to you. Just call Charlie Gerrior at But a truly objective perspective. (617)965-7480.
Cambridge Group YOU SET THE GOALS WE HELP YOU REACH THEM Boston Symphony Chamber Players at Jordan Hall
The Boston Symphony Chamber Players will give BSO the final concert of their 1984-85 Jordan Hall series on Sunday afternoon, 31 March at 3 p.m.
Gearing Up For "A Salute to Symphony"' The program will feature mezzo-soprano Jan and "Symphony Sunday" DeGaetani performing Schumann's Liederkreis,
Op. 24. The concert will also include The Boston Symphony Orchestra will celebrate Schumann's Quintet in E-flat for piano and A Salute to Symphony" the weekend of 20 and strings, Op. 44; the same composer's Two Melo- 21 April in a community- wide effort to benefit the dramas for voice and piano, with Ms. DeGaetani; BSO and the Boston Pops. Sponsored by the and Robin Holloway's Fantasy-Pieces, Op. 16, on Boston Symphony Association of Volunteers, this Schumann's Liederkreis, for piano and twelve massive fundraising effort—formerly the instruments. For ticket information, call the "Musical Marathon"— will begin with a gala Jordan Hall box office at 536-2412. Kick-Off Party at the Chestnut Hill Mall on
Sunday, 14 April, and be capped by a live, 2Vi- 'hour telecast from Symphony Hall featuring the BSO Members in Concert
Boston Symphony under Seiji Ozawa and the Ronald Feldman leads the Mystic Valley Orches- Boston Pops under John Williams on Sunday, 21 tra in Stravinsky's Symphony in C and the April on WCVB-TV-Channel 5. That day will be Brahms Double Concerto for violin and cello on declared "Symphony Sunday" by Massachusetts Sunday, 31 March at 3:00 p.m. at Dwight Hall, Governor Michael S. Dukakis, and radio station Framingham State College. BSO members WCRB-FM-102.5 will devote its programming to Harvey Seigel and Martha Babcock are the
"Symphony Sunday" from 9 a.m. to midnight. soloists in the Brahms. For ticket information,
As in the past, an illustrated premium cata- call 924-4939. logue containing hundreds of gifts will be the Guest artists David Hoose, conductor, and the focal point of "Salute to Symphony" activities, Underground Railway Theatre Company join the with one-of-a-kind musical offerings from orches- contemporary music ensemble Collage on Mon- tra members; restaurant, theater, and store gift day, 1 April at 8 p.m. at Sanders Theater in certificates, and an exclusive line of "Salute to Cambridge for music of Andrew Imbrie and Fred
Symphony" merchandise. Premiums will be Lerdahl, and Igor Stravinsky's UHistoire du available at Chestnut Hill Mall beginning 15 April soldat. For complete program and ticket infor- and at Quincy Market the weekend of 20 and 21 mation, call 437-0231. April. In addition, more than 60,000 catalogues will be mailed, and they will also be available at Correction
Symphony Hall. This year, all premium orders On the program page for the concerts of 14, 15, will be filled immediately upon receipt. and 16 March, and at the head of the program The volunteer effort to plan and produce "A note in that week's program book, the C major Salute to Symphony" involves more than 400 Mozart symphony conducted by Maurizio Pollini persons, with hundreds more donating merchan- was inadvertently listed as K.388. The correct dise or their services as premium offerings. This listing for that symphony should have been important project is supported this year by Kik- K.338, as printed correctly in the body of the koman, the Weston/Loblaw Group, and the program note. Prince Company. "Salute to Symphony" Chair- man Thelma Goldberg hopes that "everyone who With Thanks loves great music or who is proud of Boston and We wish to give special thanks to the National what the BSO offers the city will be a part of Endowment for the Arts and the Massachusetts 'Salute to Symphony.' If the commitment to date Council on the Arts and Humanities for their is any indication, this year's effort should be a continued support of the Boston Symphony tremendous success. We are extremely grateful Orchestra. to all who are making it possible." Discover the classics all over again.
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Audio Apart
1984 ANALOG & DIGITAL SYSTEMS INC Roger Sessions Eugene Ormandy 28 December 1896-16 March 1985 18 November 1899-12 March 1985
Roger Huntington The Boston Sym- Sessions, one of the phony Orchestra lost
finest composers and a good friend and a most influential devoted guest con- teachers of our cen- ductor of many tury, died after an years with the death
extended illness at at 85 of Eugene age 88. Though Ormandy. The
born in Brooklyn, Budapest-born con- Sessions was a New ductor, an American Englander by training and long residence. While citizen since 1927, was music director of the a student at Harvard, he began subscribing to Philadelphia Orchestra for 44 years, stepping Boston Symphony concerts, and as he wrote in down from that post at the end of the 1979-80 the BSO program book for the world premiere of season to become its conductor laureate. Before his Concerto for Orchestra (a BSO centennial his appointment as the Philadelphians' music commission which won the Pulitzer Prize for director in 1936, he was music director of the 1981), "the orchestral sound of the Boston Sym- Minneapolis Symphony Orchestra from 1931 to phony as I first heard it impressed itself on my 1936; prior to that he had appeared in New York musical memory and strongly affected my own both as a violinist and a conductor. Ormandy style of orchestral writing." made the "Philadelphia Sound" famous all over the world, leading his orchestra throughout the Sessions was aware that his dense and complex United States, to Western and Eastern Europe, music had the reputation for being intrinsically to Latin America, Japan, and mainland China. "difficult," but he himself expressed his prefer- He and the Philadelphia Orchestra gave the first ence "to write music which has something fresh televised concert, that orchestra under his to reveal at each new hearing [rather] than direction was the first American orchestra to visit music which is completely self-evident the first China, and together they made more than 400 time." Over the years he was a much sought- recordings, many of them still available. after teacher at Princeton and Berkeley, his stu- dents including Leon Kirchner, Andrew Imbrie, Ormandy made his first appearance with the Milton Babbitt, David Diamond, Hugo Weisgall, Boston Symphony Orchestra in 1957 at Sym- Vivian Fine, Earl Kim, Edward T. Cone, Miriam phony Hall. He led more than 25 programs with
Gideon, Donald Martino, John Harbison, Fred the orchestra in the years following, most of
Lerdahl, Peter Maxwell Davies, and Ellen Taaffe them at Tanglewood, near his summer home in Zwilich—an extraordinary list in terms of the Berkshires. In addition to the more standard accomplishment and diversity of style. repertory, Ormandy's BSO programs in the '50s
As he grew older, Sessions had more and more and '60s included numerous twentieth-century to say in his composition. He composed seven of composers—Schuman, Hindemith, Messiaen, Elgar. the his nine symphonies after turning 60; the first of Harris, Prokofiev, Stravinsky, and By these works was the Third Symphony, commis- time of his last Tanglewood appearances, in 1981 sioned for the BSO's 75th anniversary. He was and 1983, his programs focused on the nine- 85 when he finished the Concerto for Orchestra. teenth-century composers whose music he had Up to the end, Sessions wished to do nothing felt most deeply throughout his career, among them Brahms, Beethoven, Tchaikovsky, more than compose—there was still so much he Rachmaninoff, Strauss, and Mussorgsky. But to wanted to say. Now the composer of vision is gone, but a large and challenging body of music the end, he remained the self-effacing musician
remains as the record of an artistic journey of breathing life into works he had led countless
unusual independence and integrity. times, reflecting the many years he had devoted to his art. Seiji Ozawa
The 1984-85 season is Seiji Ozawa's twelfth 1961 Japan tour, and he was made an assistaii as music director of the Boston Symphony conductor of that orchestra for the 1961-62
Orchestra. In the fall of 1973 he became the season. His first professional concert orchestra's thirteenth music director since it appearance in North America came in was founded in 1881. January 1962 with the San Francisco
Born in 1935 in Shenyang, China, to Symphony Orchestra. He was music director Japanese parents, Mr. Ozawa studied both of the Ravinia Festival for five summers begin Western and Oriental music as a child and ning in 1964, and music director for four later graduated from Tokyo's Toho School of seasons of the Toronto Symphony Orchestra,
Music with first prizes in composition and con- post he relinquished at the end of the ducting. In the fall of 1959 he won first prize 1968-69 season. at the International Competition of Orchestra Seiji Ozawa first conducted the Boston Syro Conductors, Besancon, France. Charles phony in Symphony Hall in January 1968; he Munch, then music director of the Boston had previously appeared with the orchestra fo Symphony and a judge at the competition, four summers at Tanglewood, where he invited him to Tanglewood, where in he 1960 became an artistic director in 1970. In won the Koussevitzky Prize for outstanding December 1970 he began his inaugural seasor student conductor, the highest honor awarded as conductor and music director of the San by the Berkshire Music Center (now the Francisco Symphony Orchestra. The music Tanglewood Music Center). directorship of the Boston Symphony followed While working with Herbert von Karajan in in 1973, and Mr. Ozawa resigned his San West Berlin, Mr. Ozawa came to the attention Francisco position in the spring of 1976, serv- of Leonard Bernstein, whom he accompanied ing as music advisor there for the 1976-77 on the New York Philharmonic's spring season.
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60 Federal Street Boston, MA 02110 As music director of the Boston Symphony the Grand Prix de la Critique 1984 in the Orchestra, Mr. Ozawa has strengthened the category of French world premieres. orchestra's reputation internationally as well Mr. Ozawa has won an Emmy for the as at home, beginning with concerts on the Boston Symphony Orchestra's "Evening at BSO's 1976 European tour and, in March Symphony" television series. His award- 1978, on a nine-city tour of Japan. At the winning recordings include Berlioz's Romeo et invitation of the Chinese government, Mr. Juliette, Schoenberg's Gurrelieder, and the Ozawa then spent a week working with the Berg and Stravinsky violin concertos with Peking Central Philharmonic Orchestra; a Itzhak Perlman. Other recordings with the year later, in March 1979, he returned to orchestra include, for Philips, Richard China with the entire Boston Symphony for Strauss's Also sprach Zarathustra and Ein a significant musical and cultural exchange Heldenleben, Stravinsky's Le Sacre du entailing coaching, study, and discussion ses- printemps, Hoist's The Planets, and Mahler's sions with Chinese musicians, as well as con- Symphony No. 8, the Symphony ofa Thou- cert performances. Also in 1979, Mr. Ozawa sand. For CBS, he has recorded music of led the orchestra on its first tour devoted Ravel, Berlioz, and Debussy with mezzo- *, exclusively to appearances at the major music soprano Frederica von Stade and the Men- festivals of Europe. Seiji Ozawa and the Boston delssohn Violin Concerto with Isaac Stern; in Symphony celebrated the orchestra's one- addition, he has recorded the Schoenberg/ hundredth birthday with a fourteen-city Amer- Monn Cello Concerto and Strauss's Don Qui- ican tour in March 1981 and an international xote with cellist Yo-Yo Ma for future release. tour to Japan, France, Germany, Austria, and For Telarc, he has recorded the complete England in October/November that same cycle of Beethoven piano concertos and the year. Most recently, in August/September Choral Fantasy with Rudolf Serkin. Mr. Ozawa 1984, Mr. Ozawa led the orchestra in a two- and the orchestra have recorded five of the and-one-half-week, eleven-concert tour which works commissioned by the BSO for its cen- included appearances at the music festivals of tennial: Roger Sessions's Pulitzer Prize- Edinburgh, London, Salzburg, Lucerne, and winning Concerto for Orchestra and Andrzej Berlin, as well as performances in Munich, Panufnik's Sinfonia Votiva are available on Hamburg, and Amsterdam. Hyperion; Peter Lieberson's Piano Concerto
Mr. Ozawa pursues an active international with soloist Peter Serkin, John Harbison's
career. He appears regularly with the Berlin Symphony No. 1, and Oily Wilson's Sinfonia Philharmonic, the Orchestre de Paris, the have been taped for New World records. For French National Radio Orchestra, the Vienna Angel/EMI, he and the orchestra have Philharmonic, the Philharmonia of London, recorded Stravinsky's Firebird and, with so-
and the New Japan Philharmonic. His operatic loist Itzhak Perlman, the violin concertos of credits include Salzburg, London's Royal Earl Kim and Robert Starer. Mr. Ozawa holds Opera at Covent Garden, La Scala in Milan, honorary Doctor of Music degrees from the and the Paris Opera, where he conducted the University of Massachusetts, the New England world premiere of Olivier Messiaen's opera Conservatory of Music, and Wheaton College St. Francis ofAssist in November 1983. in Norton, Massachusetts. Messiaen's opera was subsequently awarded
BR POSTER AVAILABLE AT THE KENNEDY STUDIOS THE HARVARD COOP. THE ARTIST WORKS (B.U. BOOK STORE) AND PARTICIPATING BALDWIN DEALERS
BALDWIN IS THE OFFICIAL PIANO OF THE BOSTON SYMPHONY AND TANGLEWOOD
PHOTOGRAPHER WILLIAM TAYLOR Hal vi»
Violas Thomas Martin Burton Fine Peter Hadcock Charles S. Dana chair E-Jlat Clarinet Patricia McCarty Bass Clarinet Anne Stoneman chair Nordstrom Ronald Wilkison Craig Robert Barnes Bassoons Jerome Lipson Sherman Walt Bernard Kadinoff Edward A. Taft chair Joseph Pietropaolo Roland Small Michael Zaretsky Matthew Ruggiero Music Directorship endowed by Marc Jeanneret John Moors Cabot Contrabassoon Betty Benthin Richard Plaster BOSTON SYMPHONY * Mark Ludwig Horns ORCHESTRA Cellos Charles Kavalovski 1984/85 Jules Eskin Helen SagoffSlosberg chair Philip R. Allen chair Violins Richard Sebring First Martha Babcock Daniel Katzen Malcolm Lowe Vernon and Marion Alden chair Concertmaster Wadenpfuhl Mischa Nieland Jay Charles Munch chair Esther S. and Joseph M. Shapiro chair Richard Mackey Emanuel Borok Jerome Patterson Jonathan Menkis Assistant Concertmaster * Helen Horner Mclntyre chair Robert Ripley Trumpets Luis Leguia Max Hobart Charles Schlueter Robert L. Beal, and Carol Procter Roger Louis Voisin chair Enid and Bruce A. Beal chair Ronald Feldman Andre Come Cecylia Arzewski * Joel Moerschel Ford H. Cooper chair Edward and Bertha C. Rose chair Sandra and David Bakalar chair Charles Daval Bo Youp Hwang * Jonathan Miller Peter Chapman John and Dorothy Wilson chair * Sato Knudsen Max Winder Trombones Harry Dickson Ronald Barron Forrest Foster Collier chair Basses and Mary B. Barger chair Barker J.P. Gottfried Wilfinger Edwin Harold D. Hodgkinson chair Norman Bolter Fredy Ostrovsky Lawrence Wolfe Panasevich Tuba Leo Maria Stata chair Carolyn and George Rowland chair Chester Schmitz Joseph Hearne Sheldon Rotenberg Margaret and William C. Bela Wurtzler Muriel C Kasdon and Rousseau chair Paley chair Leslie Martin Marjorie C. Timpani Alfred Schneider John Salkowski Everett Firth Sird John Barwicki Raymond Sylvia Shippen Wells chair Ikuko Mizuno * Robert Olson Amnon Levy * James Orleans Percussion Charles Smith Violins Second Flutes Peter and Anne Brooke chair Marylou Speaker Churchill Doriot Anthony Dwyer Arthur Press Fahnestock chair Walter Piston chair Assistant Timpanist Vyacheslav Uritsky Fenwick Smith Thomas Gauger chair Charlotte and Irving W. Rabb chair Myra and Robert Kraft Frank Epstein Ronald Knudsen Leone Buyse Joseph McGauley Harp Leonard Moss Piccolo Ann Hobson Pilot Laszlo Nagy Lois Schaefer Willona Henderson Sinclair chair and Charles Marran chair * Michael Vitale Evelyn C * Harvey Seigel Oboes Personnel Managers * Jerome Rosen Ralph Gomberg William Moyer * Sheila Fiekowsky Mildred B. Remis chair Harry Shapiro * Gerald Elias Wayne Rapier Librarians * Ronan Lefkowitz Alfred Genovese * Nancy Bracken Marshall Burlingame Shisler * Joel Smirnoff English Horn William * Jennie Shames Laurence Thorstenberg James Harper * Lowe Phyllis Knight Beranek chair Nisanne Stage Manager * Aza Raykhtsaum Clarinets Position endowed by * Lloyd Clagett Nancy Mathis DiNovo Harold Wright Angelica Ann S.M. Banks chair Alfred Robison * Participating in a system ofrotated seating within each string section. - -v. ^Q- - #
How to conduct yourself on Friday night.
Aficionados of classical music can enjoy the Boston Symphony Orchestra.every Friday night at 9 o'clock on WCRB 102. 5 FM. Sponsored in part by Honeywell.
Honeywell
12 A Brief History of the Boston Symphony Orchestra
For many years, philanthropist, Civil War fulfilling Major Higginson's wish to give veteran, and amateur musician Henry Lee "concerts of a lighter kind of music." These Higginson dreamed of founding a great and concerts, soon to be given in the springtime permanent orchestra in his home town of and renamed first "Popular" and then Boston. His vision approached reality in the "Pops," fast became a tradition. spring of 1881, and on 22 October that year the Boston Symphony Orchestra's inaugural During the orchestra's first decades, there concert took place under the direction of con- were striking moves toward expansion. In ductor Georg Henschel. For nearly twenty 1915, the orchestra made its first transconti- years, symphony concerts were held in the old nental trip, playing thirteen concerts at the Boston Music Hall; Symphony Hall, the Panama-Pacific Exposition in San Francisco. orchestra's present home, and one of the Recording, begun with RCA in the pioneering world's most highly regarded concert halls, days of 1917, continued with increasing fre- was opened in 1900. Henschel was succeeded quency, as did radio broadcasts of concerts. by a series of German-born and -trained con- The character of the Boston Symphony was ductors—Wilhelm Gericke, Arthur Nikisch, greatly changed in 1918, when Henri Rabaud Emil Paur, and Max Fiedler— culminating in was engaged as conductor; he was succeeded the appointment of the legendary Karl Muck, the following season by Pierre Monteux. These who served two tenures as music director, appointments marked the beginning of a 1906-08 and 1912-18. Meanwhile, in July French-oriented tradition which would be 1885, the musicians of the Boston Symphony maintained, even during the Russian-born had given their first "Promenade" concert, Serge Koussevitzky's time, with the employ- offering both music and refreshments, and ment of many French-trained musicians.
The first photograph, actually a collage, ofthe Boston Symphony Orchestra under Georg Henschel, taken 1882
13 The Koussevitzky era began in 1924. His extraordinary musicianship and electric per- sonality proved so enduring that he served an unprecedented term of twenty-five years. In
1936, Koussevitzky led the orchestra's first concerts in the Berkshires, and a year later he
and the players took up annual summer resi- dence at Tanglewood. Koussevitzky passion- ately shared Major Higginson's dream of "a good honest school for musicians," and in 1940 that dream was realized with the found- ing at Tanglewood of the Berkshire Music Center, a unique summer music academy for
young artists. To broaden public awareness of the Music Center's activities at Tanglewood, Henry Lee Higginson the Berkshire Music Center will be known as the Tanglewood Music Center beginning with the 1985 session.
Expansion continued in other areas as well. In 1929 the free Esplanade concerts on the Charles River in Boston were inaugurated by Arthur Fiedler, who had been a member of the orchestra since 1915 and who in 1930 became the eighteenth conductor of the Boston Pops, a post he would hold for half a century, to be succeeded by John Williams in 1980. The
Boston Pops will celebrate its hundredth birth- day in 1985 under Mr. Williams's baton.
Charles Munch followed Koussevitzky as music director in 1949. Munch continued
Koussevitzky' s practice of supporting contem- Georg Henschel porary composers and introduced much music
Karl Muck Pierre Monteux Serge Koussevitzky
14
i from the French repertory to this country. gram of centennial commissions—from pet. During his tenure, the orchestra toured abroad Sandor Balassa, Leonard Bernstein, John
for the first time, and its continuing series of Corigliano, Peter Maxwell Davies, John Youth Concerts was initiated. Erich Leinsdorf Harbison, Leon Kirchner, Peter Lieberson, began his seven-year term as music director in Donald Martino, Andrzej Panufnik, Roger 1962. Leinsdorf presented numerous pre- Sessions, Sir Michael Tippett, and Oily mieres, restored many forgotten and neglected Wilson—on the occasion of the orchestra's works to the repertory, and, like his two prede- hundredth birthday has reaffirmed the orches-
cessors, made many recordings for RCA; in tra's commitment to new music. Under his
addition, many concerts were televised under direction, the orchestra has also expanded its his direction. Leinsdorf was also an energetic recording activities to include releases on the director of the Berkshire Music Center, and Philips, Telarc, CBS, Angel/EMI, Hyperion,
under his leadership a full-tuition fellowship and New World labels. program was established. Also during these From its earliest days, the Boston Sym- years, the Boston Symphony Chamber Players phony Orchestra has stood for imagination, were founded, in 1964; they are the world's enterprise, and the highest attainable stan- only permanent chamber ensemble made up of dards. Today, the Boston Symphony Orches- a major symphony orchestra's principal play- tra, Inc., presents more than 250 concerts ers. William Steinberg succeeded Leinsdorf in annually. Attended by a live audience of nearly 1969. He conducted several American and 1.5 million, the orchestra's performances are world premieres, made recordings for heard by a vast national and international Deutsche Grammophon and RCA, appeared audience through the media of radio, tele- regularly on television, led the 1971 European vision, and recordings. Its annual budget has tour, and directed concerts on the east coast, grown from Higginson's projected $115,000 in the south, and in the mid-west. to more than $20 million. Its preeminent posi-
Seiji Ozawa, an artistic director of the tion in the world of music is due not only to the
Berkshire Festival since 1970, became the support of its audiences but also to grants from
orchestra's thirteenth music director in the fall the federal and state governments, and to the of 1973, following a year as music advisor. generosity of many foundations, businesses,
Now in his twelfth year as music director, Mr. and individuals. It is an ensemble that has
Ozawa has continued to solidify the orchestra's richly fulfilled Higginson's vision of a great
reputation at home and abroad, and his pro- and permanent orchestra in Boston.
Charles Munch William Steinberg per«form«ailce (par-fof-mans) n. IThe act or style of performing a work or role before an audience. 2. What you can expect from Mutual Bank, whether you're looking for outstanding customer service, con- venient downtown locations or innovative banking and investment services.
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16 BOSTON SYMPHONY ORCHESTRA
Seiji Ozawa, Music Director
One Hundred and Fourth Season, 1984-85
Thursday, 28 March at 8 Friday, 29 March at 2 Saturday, 30 March at 8 Tuesday, 2 April at 8
ANDREW DAVIS conducting
MOZART Symphony No. 39 in E-flat, K.543
Adagio—Allegro Andante con moto Menuetto: Allegro
Finale: Allegro
STRAVINSKY Violin Concerto in D
Toccata
Aria I
Aria II Capriccio CHO-LIANG LIN
INTERMISSION
RAKHMANINOV Symphonic Dances, Opus 45
Non allegro
Andante con moto (Tempo di valse) Lento assai—Allegro vivace
Thursday's, Saturday's, and Tuesday's concerts will end about 9:55 and Friday's about 3:55.
Philips, Telarc, CBS, Deutsche Grammophon, Angel/EMI, New World, Hyperion, and RCA records
Baldwin piano
Please be sure the electronic signal on your watch or pager is switched off during the concert. The program books for the Friday series are given in loving memory of Mrs. Hugh Bancroft
J by her daughters Mrs. A. Werk Cook and the late Mrs. William C. Cox.
17 Week 18 LOCATION The Fairways at Chestnut Hill gives you downtown Boston from the perfect vantage point: within sight and within a 15-minute drive. You'll also have a bricked ten-ace and a balcony overlooking a golf course, where you can relax and look back on the day's accomplishments.
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18 Wolfgang Amade Mozart
Symphony No. 39 in E-flat, K.543
Johannes Chrysostomus Wolfgang Gott- lieb Mozart, who began to call himself Wolfgango Amadeo about 1770 and Wolfgang Amade in 1777, was born in Salzburg, Austria, on 27 January 1756 and died in Vienna on 5 December
1791. He composed the E-flat sym- phony, K.543, in June 1788, complet-
ing the score on the 26th; along with its siblings, the G minor and C major sym- phonies, K.550 and 551, both com-
pleted by 10 August, it was probably intended for a series ofsubscription con- certs that seem not to have taken place. The dates of the first performance are
not known. It was first heard in America in a performance by the New York Phil- harmonic Society under Henry C. Timm on 9 January 1847 and came to Boston five years later in a performance by the Germania Musical Society under Carl Bergmann on 7 February 1852. Georg Henschel conducted the first performance by the Boston Symphony Orchestra on 25 January 1884. Since then the symphony has been given here under the direction ofWilhelm Gericke, Arthur Nikisch, Emil Paur, Max Fiedler, Karl Muck, Ernst Schmidt, Pierre Monteux, Michael Press, Serge Koussevitzky, Richard Burgin, Victor de Sabata, Charles Munch, Erich Leinsdorf Adrian Boult, Colin Davis, Stanislaw Skrowaczewski, Eduardo Mata, and Klaus Tennstedt. The most recent Symphony Hall performances were given by Kurt Masur in February 1980; Andre Previn gave the most recent BSO performance at Tanglewood in July 1983. The score calls for flute, two each ofclarinets, bassoons, horns, and trumpets, timpani, and strings.
From time to time in the history of music we are confronted with a case of such astonishing fluency and speed of composition that we can only marvel: Handel composing his Messiah almost in less time than it would take a copyist to write it out, then, after taking a week off, beginning the composition of his dramatic oratorio Samson, also completed in less than a month; Johann Sebastian Bach turning out church cantatas that were planned, composed, rehearsed, and performed all between one Sunday and the next for week after week during his first years in Leipzig; Mozart writing his Linz Symphony (K.425) "at breakneck speed" in a matter of days because the opportunity for a performance arose suddenly while he was traveling and had no other symphony at hand. But few examples of such high-voltage composition are as impressive as Mozart's feat in the summer of 1788, composing his last three symphonies along with a number of smaller pieces in something under two months.
In the case of the symphonies, our awe stems not so much from the sheer speed with which the notes were put down on paper or even from the evident mastery displayed in the finished works, but rather from the extraordinary range of mood and character repre- sented in these three symphonies. We'd be hard put to find three more strikingly varied works from the pen of a single composer; how much more miraculous it is, then, that the
18 19 Week «,• «*&
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^//aaie/ eJTV : [ uy»&iii££ % rare postage stamps manuscripts ||JM0 autographs AppraiS( and iwd and , archives A .. i\jinci Auclior 40 BROAD STREET BOSTON, MASSACHUSETTS 02109 617-523-3676 617-742-0883 617-542-445O Richmond, Proprietor Stanley J. 20 three symphonies were written almost at one sitting, and not in the happiest of circumstances. By June 1788 Mozart had entered on the long, steady decline of his fortunes that culminated in his death, at age thirty-five, three-and-a-half years later. Gone were the heady days of 1784, when his music was in constant demand in Vienna (during one hectic eleven-day period, he gave ten concerts) and he was writing a sheaf of piano concertos and other works. That was, perhaps, the happiest year of his life, certainly the most remunerative. But he seems to have been the sort of openhanded and generous type who could never stop spending money faster than he earned it, and when the Viennese public found other novelties for their amusement, Mozart's star began to fall. He had hoped to obtain financial stability through the performance of his operas, but The Marriage ofFigaro achieved only nine performances during its season in the repertory (1786), partly, at least, because other composers, more conventional and more influentially placed, had their own fish to fry and were not interested in supporting Mozart. (There is, incidentally, no evidence that Mozart ever suffered from the active opposition of the court composer Salieri, or that Salieri was jealous of Mozart's genius—though he ought to have been! Peter Shaffer's Amadeus is superb drama but contorted history, as the dramatist himself knew perfectly well.) Then came Don Giovanni, composed for the citizens of Prague, who had taken Figaro completely to their hearts. Although it was a sensation in Prague in 1787, the first Viennese performances the following spring did not attract much attention; the piece was simply too serious to suit the taste of the court. Neither opera, then, had much improved the Mozart family exchequer, and by early June 1788, only weeks after the Vienna performance of Don Giovanni, Mozart was forced to write to his friend and fellow Mason, Michael Puchberg, requesting the loan of 100 gulden. Again on 17 June he needed money to pay his landlord and asked Puchberg for a few hundred gulden more "until tomorrow." Yet again on the 27th he wrote to Puchberg to thank him for the money so freely lent him, but also to report that he needed still more and didn't know where to turn for it. It is clear from these letters that Mozart was in serious financial difficulty (a situation that scarcely changed for the rest of his life). How astonishing, then, to realize that between the last two letters cited he composed the Symphony No. 39! This, the most lyrical of the final three symphonies, gives no hint of the composer's distraught condition (thus eloquently disproving the old romantic fallacy that a composer's music was little TOURJAPAN A Ooutheast Asian Ireat Kyoto and Nara with Mr. Kaji Aso Aug. 15-29, 1985 A rare opportunityfor Tf^MANDALAY a most meaningful and BURMESE RESTAURANT fantastic voyage: An Unforgettable Memory v For information: Kaji Aso Studio, Inc. •Celebrates lenth Y 21 Anytime you invest you're going out on a limb. The trick is knowing which limb togo out on. There are a lot of ways to invest your money these days. And though some appear to be strong and firmly rooted at first, closer inspection reveals they're risky and won't carry much weight. So call our Personal Financial Management Group at 1-800- SHAWMUT. You'll find we select investments as strong as oak. Shawmut Financial Management » Division Look tousfordirection. 22 more than a reflection of his state of mind). Mozart's attempt to improve his family's situation during this difficult summer is clearly apparent in the "minor" works he was composing along with the three symphonies. They are all either educational pieces, which could serve students well, or small and easy compositions that might be expected to have a good sale when published. But it is hardly likely that Mozart would have composed three whole symphonies at a time when he was in desperate financial straits if he didn't have some hope of using them in a practical way to support his family. His first letter to Puchberg referred to "concerts in the Casino," from which he hoped to obtain subscription money in order to repay his debts. Probably he wrote all three of the symphonies with the aim of introducing them at his own concerts. But, as far as we know, the concerts never took place. We can only be grateful that the symphonies were composed in any case. Mozart entered the opening measures of the Symphony No. 39 into his thematic catalogue on 26 June 1788; on the same day he entered "a little march," the famous C major piano sonata "for beginners," and an Adagio for string quartet to precede the C minor fugue he had already composed. The last entry before 26 June in the thematic catalogue is that of a piano trio in E major (K.542) noted on 22 June. It seems hardly likely that even Mozart composed an entire large symphony plus other tidbits in just four days. More likely, all the works had been in progress for some time and were simply finished more or less together. Clarinets were relatively new in the symphony orchestra (although long since a standard component of Mozart's opera orchestra), and it was by no means a foregone conclusion that they would be included. Mozart's choice of clarinets instead of oboes , m£ % -. i '*' V-* 4* -*-' ?'f<&-i: ''+&i From Mozart's own thematic catalogue, with the G minor and "Jupiter" symphonies entered on the second and third musical staves 23 Week 18 O^uD^^n^ i $NV Svll ^°J< a* $^VvV Listen to WCRB, 102.5 FM 9 am - midnight Watch WCVB-TV, Channel 5 5:30 - 8 pm Call 262-8700 - Gift Premiums for your pledge - Turn Your Money Into Music "Salute to Symphony" gratefully acknowledges the contributions ofKikkoman Corporation, Weston/Loblaw Group, and The Prince Co, , Inc. 24 JBi Si produces a gentler woodwind sonority especially appropriate to the autumnal lyricism of Symphony No. 39. The first movement opens with a stately slow introduction with dotted rhythms providing a nervous background for scale figures (which recur in the body of the movement), culminating in a grindingly dissonant appoggiatura. Just as we seem about to settle onto the dominant, ready to begin the Allegro, the activity decelerates and we are confronted with a stark, hushed chromatic figure recalling some of the "uncanny" moments in Don Giovanni. The melodic line of the introduction only comes to a close in the opening phrase of the smiling allegro theme in the violins (with echoes in horns and bassoons), a calm pastoral scene following the tension of the preceding passage. The development section is one of the shortest in any Mozart symphony, never moving far afield harmonically. Following a passage on the nearby key of A-flat, a vigorous modula- tion seems to be leading to C minor, but at the last moment a wonderful woodwind extension brings it around to the home key and ushers in the recapitulation. The slow movement, in A-flat, opens with deceptive simplicity; it is, in fact, a richly detailed movement, with progressive elaborations of the material throughout. Among these delicious moments are the woodwind additions to the main theme in the strings at the recapitulation. The main theme ends with a momentary turn to the minor just before the cadence; at the corresponding point in the recapitulation, this generates a surprising but completely logical passage in C-flat minor (written, however, as B minor) before the imitative woodwind theme returns in the tonic. The hearty minuet provides a strong contrast to the delicacies of the Andante; its Trio features a clarinet solo with little echoes from the flute. The finale is often called the most Haydnesque movement Mozart ever wrote, largely because it is nearly monothematic. The principal theme, beginning with a group of scurrying sixteenth-notes followed by a hiccup, produces a series of motives that carry the bulk of the discourse. The scurrying turn appears alone or in combinations, turning to unexpected keys after a sudden silence; the "hiccup" often comes as a separate response from the woodwinds to the rushing figure in the strings. —Steven Ledbetter where handcraftsmanship M is a tradition MARK WHITE ASSOCIATES COMMERCIAL INTERIOR DESIGNERS PROVIDING PRACTICAL SOLUTIONS TO YOUR NEED FOR QUALITY INTERIOR SPACE. BMJU HWmmi upstairs Main Street, Concord, MA NASHUA. N.H. 603-883-7407 WNfflm Mon.-Safc '0-5 "Tel. (617) 371-1088 25 . : Ill III cier dgold? ...... ;..„, .. ., ...... i: ' : -: - .."-:; /: . ... :: r.: : t :: : - :'• '" " .-- - •;;: i :: . : . :: : . v ./ \: world-renowned designers. " :- ' . : :. . : : . : .. : : £- '.:: " ; -:.\n ;d \ : : . ?.: : . .. ; . .-:; .-. ..' ... . .:,...... ~ : -. .-..-. ; ;: : ::: :: - : ; :• - ; ' ::..', ".'-;. ::. . . . : . . ... : : : : . :. :: v: : ;::. : : : :\ : \ Igor Stravinsky Concerto in D for violin and orchestra Igor Stravinsky was born at Oranien- baum, Russia, on 17 June 1882 and died in New York on 6 April 1971. The Violin Concerto was composed between mid-March and 25 September 1931. The first performance took place on 23 Octo- ber that year with Samuel Dushkin as soloist and the composer conducting the « Berlin Radio Orchestra. With Serge Koussevitzky conducting, Dushkin gave the first performances in the United States at the Boston Symphony concerts ofl and 2 January 1932. After that it was only played here once in the next thirty years (by Nathan Milstein, with Richard Burgin conducting, in 1941), IB but starting in the '60s it began to be performedfrequently by Joseph Silverstein under Erich Leinsdorf Seiji Ozawa, and Michael Tilson Thomas. The most recent BSO performance in Symphony Hall was given by Ozawa with Itzhak Perlman in December 1979. Kyung-Wha Chung gave the most recent Tanglewood performance, under the direction ofAndre Previn, in August 1981. Stravinsky mistrusted virtuosos: In order to succeed they are obliged to lend themselves to the wishes of the public, the great majority of whom demand sensational effects from the player. This preoccupation naturally influences their taste, their choice of music, and their manner of treating the piece selected. How many admirable compositions, for instance, are set aside because they do not offer the player any opportunity of shining with facile brilliancy! These thoughts were prompted by the suggestion made in 1931 by Willy Strecker, one of the directors of the music publisher B. Schott's Sons, that Stravinsky write something for a remarkable young violinist named Samuel Dushkin, whom Strecker admired. Dushkin was a Polish-born musician who had been adopted by an American benefactor, Blair Fairchild, and given training with Leopold Auer. Stravinsky hesitated for two reasons: he doubted that he was familiar enough with the violin to write a really virtuosic part for it, and he was afraid the usual type of "virtuoso performer" would not in any case be interested in playing his piece. A meeting with Dushkin dispelled the latter doubt: "I was very glad to find in him, besides his remarkable gifts as a born violinist, a musical culture, a delicate understanding, and—in the exercise of his profession—an abnegation that is very rare." In the meantime Paul Hindemith encouraged Stravinsky to undertake the work despite his lack of familiarity with the violin; this could be a positive advantage, Hindemith insisted, since it would prevent the solo part from turning into a rehash of other violin concertos, employing the same old runs and turns of phrase. . So Stravinsky and Dushkin began to work together. The first movement was largely 27 Week 18 Elegant suppers 5:30-12:00, Mon.-Thurs.; 5:30-8:00, Fri. and Sat. Boston's classic 4-star restaurant at the Dave McKenna, resident pianist . At the Copley Plaza Hotel. Valet parking. 267-5300. Copley Plaza Hotel. Valet parking. 267-5300. "Lighthouse" by Charles Gruppe from Our Gallery of Fine Art. Also featuring Superior Selections in Fine Jewelry, Handwrought Silver & Pewter, Antiques, Porcelains & Other Accents. In the Heart of Newburyport 's Historic Restoration. 6 Inn St. •Newburyport, MA 01950 • (617)462-9891 28 composed between 11 March and 27 March 1931; the second movement was written between 7 April and 20 May, the third between 24 May and 6 June, and the finale between 12 June and 4 September. Early in the collaboration, Dushkin recalled, at lunch in a Paris restaurant, Stravinsky took out a piece of paper and wrote down this chord ¥ and asked me if it could be played. I had never seen a chord with such an enormous stretch, from the E to the top A, and I said, "No." Stravinsky said sadly, "Quel dommage" ("What a pity"). After I got home, I tried it, and to my astonishment, I found that in that register the stretch of the eleventh was relatively easy to play, and the sound fascinated me. I telephoned Stravinsky at once to tell him it could be done. When the concerto was finished, more than six months later, I understood his disappointment when I first said, "No." This chord, in different dress, begins each of the four movements. Stravinsky himself calls it his "passport" to that concerto. As the work progressed, Stravinsky would show Dushkin the materials, little by little, as they were composed; the violinist tried them out and made suggestions as to how they might be made easier or more effective for the solo instrument. Dushkin suggested ways to make the material "violinistic," suggestions that Stravinsky rejected at least as often as he accepted them. Whenever he accepted one of my suggestions, even a simple change such as extending the range of the violin by stretching the phrase to the octave below and the octave above, Stravinsky would insist upon altering the very foundations accordingly. He behaved like an architect who if asked to change a room on the third floor had to go down to the foundation to keep the proportions of the whole structure. Compliments of GUILD, MONRAD & OATES Personal Trustees 50 Congress Street Boston, Massachusetts 02109 Telephone: (617) 523-1320 For Those Who Want Specialized Individual Attention and Care in Management of Investments Henry R. Guild, Jr. Ernest E. Monrad William A. dates, Jr. Robert B. Minturn, Jr. 29 COQINTHIAs Gallery of Needle Arts HAND PAINTED CANVASSES CUSTOM DESIGNS KNITTING YARNS 1160 BOYLSTON STREET, CHESNUT HILL MA 02167, (617) 277-7111 HOURS: 10:00 A.M. TO 4:30 P.M. MONDAY THROUGH SATURDAY Weknowa good investment whenwe hear one. IrJilfc. Let's all support the BSO. Tucker, Anthony & R.L. Day, Inc. Serving investors in 33 offices in the U.S. Since 1892. One Beacon Street, Boston (617) 725-2000. Tucker Anthony A John Hancock Company 30 The one thing Stravinsky sought to avoid throughout was the kind of flashy virtuosity of which many romantic concertos—and especially those by violinists —were made: Once [recalls Dushkin] when I was particularly pleased with the way I had arranged a brilliant violinistic passage and tried to insist on his keeping it, he said: "You remind me of a salesman at the Galeries Lafayette. You say, 'Isn't this brilliant, isn't this exquisite, look at the beautiful colors, everybody's wearing it.' I say, 'Yes, it is bril- liant, it is beautiful, everyone is wearing it — I don't want it." Despite Dushkin's assistance, the resulting concerto is unmistakably Stravinsky's own. In the opening Toccata, the parts for woodwind and brass predominate so thoroughly and to such bright effect that one is tempted to think that Stravinsky completely omitted the upper strings (as he had done in the Symphony ofPsalms a year earlier) to allow the soloist to stand out. Actually the orchestra is quite large (and includes the full body of strings), but Stravinsky scores the solo violin in a wide variety of chamber-music groupings. The result is thus less like a grand romantic concerto, in which the soloist is David pitted against an orchestral Goliath, and rather more like one of the Brandenburgs, with the soloist enjoying the role of primus inter pares. As is often the case when Stravinsky uses elements of an older style in this period, he takes gestures that sound stable and solid —the turn figure in the trumpets right after the opening chords, the repeated eighth-notes—and uses them in different ways, so that the expectations they raise are sometimes confirmed and sometimes denied. What is an upbeat? a downbeat? What meter are we in, anyway? The witty play of older stylistic Samuel Dushkin and Igor Stravinsky during intermission of the concert on which the Violin Concerto was premiered 31 Week 18 Jordan Marsh m A Unit of Allied Stores. cliches in a new and unexpected arrangement is one possible meaning of "neo-classic" in Stravinsky's work. The two middle movements are both labeled "Aria," a name sometimes given by Bach to predominantly lyrical slow movements. Aria I is the minor-key lament of the concerto, but a gentle one; Aria II is the real lyric showpiece. The melodic lines have the kind of sinuous curve found in an embellished slow movement by Bach. Stravinsky himself commented that the one older concerto that might reveal an influence on his work was the Bach concerto for two violins. His predilection for instrumental pairs hinted at that in the earlier movements, especially the Toccata, but the last movement is most charmingly explicit: after the solo violin has run through duets with a bassoon, a flute, even a solo horn, the orchestra's concertmaster suddenly takes off on a solo of his own—or rather a duet with the principal soloist —thus creating the two-violin texture of the Bach concerto. —S.L. Perfect Trio: Rizzoli, CBS Masterworks and the BSO Rizzoli Bookstore, now open on the first level at Copley Place, is pleased to make a special offer to Boston Symphony Orchestra concert-goers. Present your BSO or Boston Pops ticket stub at Rizzoli and you will receive $1 off the price of any CBS record, cassette or compact disc. Offer good through August 31, 1985. "CBS,' "Masterworks" are trademarks of CBS Inc 33 ^*fr-« condominiums recr GOLDWEIT2& COMPANY 267-8000 ^ /.y. Hawes, circa 1870 Sergey Rakhmaninov Symphonic Dances, Opus 45 Sergey Vasilievich Rakhmaninov was born in Semyonovo, Russia, on 1 April 1873 and died in Beverly Hills, California, on 28 March 1943. He com- posed his Symphonic Dances at Orchard Point, Long Island, during the summer of1940 and completed the orchestra- tion between 10 August and 29 October 1940, during his fall concert tour. The score is dedicated to the Philadelphia Orchestra and conductor Eugene Ormandy who gave the first perform- ance on 3 January 1941. The only pre- vious Boston Symphony performances of the Symphonic Dances were given in Symphony Hall and Carnegie Hall in October 1974; Seiji Ozawa conducted. The score calls for two flutes and piccolo, two oboes and English horn, two clarinets and bass clarinet, alto saxophone, two bassoons and contrabassoon, four horns, three trumpets, three trombones and tuba, harp, piano, timpani, triangle, tambourine, bass drum, side drum, tam-tam, cymbals, xylophone, bells, glockenspiel, and strings. The saxophonist in these performances is Ken Radnofsky Most of Rakhmaninov's activity in his last years was devoted to concertizing as a pianist and committing his works to records. After completing the Third Symphony in 1936 he did little original composition, though he spent some time revising a movement of his older choral work The Bells and reworking parts of the Third Symphony. Only in 1940 did he compose a new work, one that proved to be his last. Oddly enough, though he had spent a good part of his time in this country from as early as 1918, the Symphonic Dances was the first score actually composed here. Previously he had retreated during summer breaks from his exhausting concert tours to a villa near Lucerne, Switzerland, and he had composed his Corelli Variations (for piano solo), the Rhapsody on a Theme of Paganini, and the Third Symphony in that idyllic locale. The outbreak of war in 1939 had caused Rakhmaninov to leave Europe for the last time and to settle first on Long Island and later in the still-salubrious air of Beverly Hills. As with so many of his compositions, the Symphonic Dances caused him a great deal of anxiety, but he finished the main work of composition rather quickly. When, on 21 August 1940, he first announced completion of the score to its dedicatee Eugene Ormandy, it bore the title "Fantastic Dances.'''' Rakhmaninov added that the beginning of his concert tour would probably delay completion of the orchestration. Still, he managed to complete the score in time for a Philadelphia performance that season. By then he had changed the name to Symphonic Dances, which is fully appropriate given the scope and richness of the score. Rakhmaninov's original intention had been to give the three move- ments the titles "Midday," "Twilight," and "Midnight" (possibly intended as an analogy with youth, maturity, and death), but these did not survive the process of orchestration, and he eventually settled on the tempo designations alone. 35 Week 18 . Even before giving Ormandy a look at the score, Rakhmaninov played part of it for the choreographer Leonid Fokine, in the expectation that Fokine might use the work for a ballet, as he had already done with the Rhapsody on a Theme ofPaganini. Fokine wrote Rakhmaninov of his reactions on 23 September, the day after his preview, on the basis of this partial hearing of the music on the piano: Though I'm a poor musician and I don't grasp everything immediately, the music has caught me up and I feel that I have mastered all that you played and that I can guess the whole. Perhaps fragments, with a few words, sneak into the head better than a harmonious and unbroken performance. Before the hearing I was a little scared of the Russian element that you had mentioned, but yesterday I fell in love with it, and it seemed to me appropriate and beautiful. The intended collaboration came to nothing, however. Fokine died the following August without creating the ballet. And Rakhmaninov's reaction was bitter in expressing the loss of the giants of his generation in Russian culture: "Chaliapin, Stanislavsky, Fokine—this was an epoch in art. Now all are gone! And there's no one to take their place. Only trained walruses are left, as Chaliapin used to say." Rakhmaninov decided to write in the first movement an extended part for saxophone, an instrument for which he had never written before. Concerned to choose the proper IGOR 5TRAVIM5KY THE SOLDER'S TALE PACKAGING NEW ENGLAND'S AM ANIMATED FILM BY R.O. FINEST PRODUCTS BLECMMAM Manufacturers of HOME VIDEO Quality Folding Cartons. Extraordinary Animation on Home Video This is a dazzling version of Stravinsky's magical musical, based on a classic Russian fable . Also available . . The Four Seasons The Nutcracker Turnadet See it today from a video dealer below. Box Office Video Entertainment Inc. 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Bennett's recollections give us a charming and unusual glimpse at the usually sombre and dour Rakhmaninov: At that time he played over his score for me on the piano and I was delighted to see his approach to the piano was quite the same as that of all of us when we try to imitate the sound of the orchestra at the keyboard. He sang, whistled, stamped, rolled his chords, and otherwise conducted himself not as one would expect of so great and impeccable a piano virtuoso. Another musician offered professional advice of a different sort. Rakhmaninov, a pianist and not a string player, customarily asked for the professional advice of a violinist with regard to the bowings in the string parts. In the case of the Symphonic Dances, the bowings were prepared by one of the greatest of violin virtuosi, Fritz Kreisler. The premiere performance was reasonably successful—enough so that Ormandy and the players wrote a letter of gratitude to the composer—but a repetition in New York soon after was critically panned. The accessibility of the score argued against it in an environ- ment more attuned to novelty, and the phrase "a rehash of old tricks" used by one The seafood restaurant that takes you to newhorizons. c c mrvor lerrace Monkfish in Brandy & Cream. Trout Stuffed with Crabmeat. And dozens of other dishes that present new horizons in seafood dining. All served in an elegantly relaxed atmosphere with sweeping views of Boston Harbor. HarborTerrace. Join us. BOSTON^Marriott LONG WHARF 296 State Street, Boston, MA 02109 (617) 227-0800 37 MORE MUSIC FORYOUR MONEY. Whether you're looking for an opera or an oratorio, a ballet or a baroque trumpet fanfare, you're sure to find what you want at the Classical Record Center at Barnes & Noble. When it comes to classical music, you always get more for your money at Barnes & Noble. Classical Record Center at Barnes &NoWe 395 Washington Street (at Downtown Crossing) BARNES Mon.-Fri., 9:30-6:30 Sat., 9:30-6:00 &NOBLE Sun., 12:00-6:00 d&* M* ^*>^*v** 38 — reviewer was characteristic of the views that put a cloud over the work for a number of years. Rakhmaninov was hurt that Ormandy and the Philadelphia Orchestra did not choose to record this new score, though they had been committing to disc virtually all of his earlier works for orchestra. Only recently has the work begun to emerge again into the repertory. It is a change that has come about concurrent with a general reevaluation of Rakhmaninov's work as a whole, with the recognition that his music offers much of interest despite its conservative cast. Generally regarded as a reactionary in a world dominated by the new ideas of Stravinsky's neo-Classicism on the one hand and Schoen- berg's twelve-tone technique on the other, Rakhmaninov has, until recent years, been largely written off by the musical intelligentsia. Times are changing, though, and his star is rising again. At least we can now begin to assess his contribution without fighting our way through a battlefield of entrenched avant-gardists. It is particularly instructive to compare the sarcastic, denigrating article on the composer in the fifth edition (1955) of Grove's Dictionary of Music and Musicians with the much more informative and balanced contribution in The New Grove Dictionary (1980). One would hardly guess that the two articles were about the same composer! Like so much of his music, the Symphonic Dances contain some references to the chants of the Russian Orthodox church, and it quotes the Roman Catholic Dies irae melody as well, a tune used by Rakhmaninov probably more frequently than by any other composer in the history of music. The score also gave the composer an opportunity to come to terms with the most catastrophic failure of his life —and this coming-to-terms was, in his mind, an entirely private affair, one that he did not expect us ever to recognize. The premiere of his First Symphony in 1897 under the baton of Alexander Glazunov reputedly drunk at the time—must have been indescribably bad, to such an extent that Jaeger salutes tiie Boston Symphony Orchestra. Jaeger International Shop - Copley Place, Boston, MA. (617) 437-1163 - Jaeger International Shop The Mall at Chestnut Hill, Newton, MA. (617) 527-1785 39 th 1984 is our 75 Anniversary c Ganteaume & M Mullen , Inc. 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When visiting the Milton Health Care rehabilitative programs, organized Facility, You experience an elegant activities as well as social services. atmosphere of residents enjoying This individual quality care is carried gourmet in the gracious meals 18th into the Adult Day Care Program, also century dining room, socializing in the available at Milton, offering to its clients Tavern, or relaxing in the Greenhouse a complete program on a dairy basis. charming ice cream parlour or movie At Milton, industry theatre. we go beyond the nursing standards to provide the More important, is the dedicated The very best health care possible. staff of health care profes- For more information, visit sionals providing traditional or call (617) 333-0600. skilled nursing care, com- Milton bined with individual HEALTH CARE AND RETIREMENT FACILITY 1200 Brush Hill Road, Milton, MA 02186 A Mayo Health Facility Division of The Flatley Company 40 the manuscript was put aside for revisions (which Rakhmaninov never made) and then apparently lost in the Russian Revolution. Only two years after his death did the orchestral parts turn up in the Leningrad Conservatory; this made possible the copying of the score in full and a new performance—only the second that the work had received. The failure of the symphony at its premiere had so deeply affected Rakhmaninov that he gave up composing entirely for several years; only after extensive therapy and hypnosis did he undertake the composition of one of his most successful works, the Second Piano Concerto. Evidently he still recalled his greatest failure in 1940, since the coda to the first movement of the Symphonic Dances quotes the first theme of his First Symphony, music that he was sure no one would ever hear again—only he turned the darkly sombre melody into something altogether more resigned, as if all that he had produced in the meantime had somehow laid to rest the bogey of that first bitter failure. A brief introduction hints at the most prevalent rhythm of the first movement before presenting one of the two main themes in the orchestra's aggressive block chords. Immediately the principal material, built on a descending triad in a characteristic rhythm (two sixteenth-notes as pickup to an eighth-note), begins its elaboration, through varied harmonies and orchestral colors. It dies away almost in a reversal of the introduction, and the middle section begins wonderfully with woodwinds alone: oboes and clarinets set up a gently rocking figure that becomes the background to a ravishing melody in the alto saxophone. It is repeated with orchestral dress of a different color when violins and strings begin the melody in octaves with sweetly percussive articulations from the piano and harp. The return to the opening material comes by way of a developmental passage based on the principal themes of the opening. These are elaborately developed in the home key of C minor ending in C major; here begins the coda, in which Rakhmaninov converts the dark, chantlike theme from his failed First Symphony iff i W.'twlf] fftnKjsJ into something altogether consoling in the major, $c J i r if f | i a broad melody in the strings against brightly kaleidoscopic figures elsewhere in the orchestra. This single recollection suffices, and the movement ends with another version of its introductory material in a dying fall. Though written in 6/8 time, the second movement is a waltz, but not one of those lilting carefree Viennese waltzes that seduces the listener into jo ie de vivre; it is altogether more melancholy. After a motto figure in stopped horns and muted trumpets, eerie flourishes in flute and clarinet, and a fiddler's warm-up in the solo violin, the waltz proper begins. It is oddly chromatic, turning strange melodic corners. When the violins take up the theme in parallel thirds (a technique characteristic of the most sugary romantic waltzes), we hear that the sweetness has turned to vinegar. These waltzes are not festive, but resigned and anxious by turn. They recall the end of an era—much as Ravel's La Valse does, and as Stephen Sondheim was later to do in his waltz score to A Little Night Music, the harmonic turns of which recall Rakhmaninov's waltz etched in acid. 41 Week 18 T,he principals of Dumont Kiradjieff & Moriarty invite you to tap the expertise which has built our firm's success in the placement of professional and managerial people throughout New England. DUMONT KIRADJIEFF 79 Milk Street &MORIARTY Boston, MA EMPLOYMENT K51-9212 CONSULTING (6 j4 §t ^otofpk/T^stauratH MAHLER'S SYMPHONY #9 with Solti conducting Chicago Symphony on Digital's Grammy Award Winning Recording. 16.58 Rarely ps ted. Rarely recorded. GRIEG' NTwithEdoDe W< iucting the San A charming 19th Century Townhouse serving superb continental cuisine I Symphony in contemporary informal elegance. and Chorus Offering lunch and dinner with a variety aiz9 of fresh seafood specials daily, and our after theatre cafe menu till midnight. Serving - Lunch: 12:00-2:30 weekdays Dinner: 6:00-10:30 Sun.-Thurs. 6:00-12:00 Fri.-Sat. Brunch: 11:00-3:00 Sat. & Sun. reservations: 266-3030 Available at Harvard Square, M.I.T. Student Center, Children's 99 St. Botolph Street Medical Center and One Federal St., Boston. Coop behind the Colonnade Hotel 42 The last movement draws on two of Rakhmaninov's favorite sources for thematic inspiration: the chant of the Russian Orthodox liturgy, and the Dies irae melody of the Roman Catholic Mass for the Dead—unlikely source material for a dance piece! But here, as in many of his earlier pieces, Rakhmaninov subjects his musical ideas to rhythmic syncopations which some commentators have wanted to link to the influence of American jazz or other dance music; but given his old predilection for the device, the connection seems unlikely. The Dies irae appears in the outer sections of the movement, sometimes quite plainly, sometimes cleverly disguised. An important new theme, first heard on the English horn 9- iir mjjLiJtx. \wuswum * is a rhythmically disguised version of the Russian chant sung to the words "Blessed be the Lord" as set by Rakhmaninoff himself in his Ail-Night Vigil of 1915. It forms the basis for a lengthy exhilarating dance passage. Shortly before the end of the work, Rakhmaninov introduces a new chant-related melody in clarinets and violins over bassoons and trumpets, the remainder of the orchestra being silent: VillifllllWUiA, At this point he wrote in his score "Alliluya," which is at once another reference to his Ail-Night Vigil, since this coda is, in effect, an orchestral transcription of part of that a cappella choral work. It is perhaps at the same time the composer's own hymn of thanks for having the strength and imagination to finish this, his last, score. Rakhmaninov's thoughts are made still clearer at the end of the manuscript, where he wrote the words, "I thank thee, Lord." —S.L. FIELD CORP. REALTORS !•• • Houses • Condominiums • Apartments Sales Rentals Management 1412 B Beacon Street, Brookline, Massachusetts 02146 Telephone: (617) 738-5700 m MLS 43 Inside Stories MusicAmerica host Ron Delia Chiesa takes you "Inside the BSO" — a series of special intermission features with members of the Boston Symphony Orchestra and the people behind the scenes at Symphony Hall. Inside the BSO Fridays at 2 pm Saturdays at 8pm WGBH89.7FM More . . . Stanley Sadie's fine Mozart article in The New Grove has been published separately by Norton (available in paperback); Sadie is also the author of Mozart (Grossman paper- back), a convenient brief life-and-works survey with nice pictures. Alfred Einstein's classic Mozart: The Man, the Music is still worth knowing (Oxford paperback). Much of the older literature on Mozart (including Einstein) needs reconsideration in the light of Wolfgang Hildesheimer's Mozart (Farrar Straus Giroux, available also as a Vintage paperback). When first published in German in 1977, it climbed promptly to the top of the best-seller lists! Much of Mozart's character as presented in the play and the film Amadeus is derived from this book, though with some conscious twisting of historical fact for dramatic purpose. Hildesheimer's book is an extended essay built up out of many short sections dealing primarily with Mozart's character, personality, and genius. Though it is sometimes frustrating to read in this format, the cumulative effect of the author's observations and criticism of the old "haloed" Mozart is to provide a stimulating new point of view to readers who have not followed the recent specialist literature on the composer. There are chapters on the Mozart symphonies by Jens Peter Larsen in The Mozart Companion, edited by Donald Mitchell and H.C. Robbins Landon (Norton paperback), and by Hans Keller in The Symphony, edited by Robert Simpson (Pelican paperback). Specialists in authentic early music performance practice have now progressed beyond J.S. Bach to Mozart, and an important new series of records has recently appeared with all of the Mozart symphonies performed on original instruments by an orchestra the precise size and physical placement of the various orchestras for which Mozart composed them (neither size nor arrangement was standardized in his day, and the music sometimes reflects the character of a given ensemble). Symphony No. 39 is included in Volume 6 of the series; played by the Academy of Ancient Music (Oiseau-Lyre), it provides a sound and style of Mozart playing different from anything you have ever heard. I personally find the recordings fresh and bracing. For stylish performance with modern instruments, I would recommend Neville Marriner's reading with the Academy of St. Martin-in-the- Fields (Argo, coupled with Symphony No. 36) or Colin Davis's with the Dresden State Orchestra (Philips, coupled with Symphony No. 29). For the traditional German approach, Karl Bbhm's recording of Symphony No. 39 (DG, coupled with the Prague Symphony) was always a touchstone to me of Mozart playing; and don't overlook the version by George Szell and the Cleveland Orchestra on the budget Odyssey label (coupled with the Jupiter). Stravinsky is without any doubt the best-documented composer of the twentieth century. Eric Walter White has produced a catalogue of Stravinsky's output with analyses of every work, prefaced by a short biography, in Stravinsky: The Composer and His Works (U. of California). The most convenient brief survey of his life and works is the volume by Francis Routh in the Master Musicians series (Littlefield paperback), though it suffers from the standardized format of the series (which deals with the works by genre in individual chapters) since Stravinsky's development often involved work on several different types of music in close proximity. The most recent and large-scale study is an indispensable, incomplete, undigested, fascinating volume by Vera Stravinsky and Robert Craft, Stravinsky in Pictures and Documents (Simon and Schuster). It is a cornucopia of material, but confusingly organized, with a wealth of detail about the composition of some works (often more than one can usefully assimilate) while skimming over others. The most thorough and enlightening discussion of Stravinsky's work is both the newest and one of the oldest books about the composer: Boris Asafyev's A Book About Stravinsky, written 45 Week 18 COPLEY PLACE at Copley Square in the Back Bay Prelude. Copley Place is where beautiful evenings begin. Here you can shop for every fashion need. From elegant occasions to casual gatherings with friends. In The Shopping Galleries at Copley Place you will find all that's new and beautiful from this country and abroad. Nei man-Marcus and 100 exceptional shops and boutiques await you! To add to your pleasures there are 9 cinemas, 13 restaurants and the new Westin and Marriott hotels. in Russian (under the pseudonym Igor Glebov) and published in Leningrad in 1929. It has recently been translated into English by Richard F. French and published in this country (UMI Research Press, 300 N. Zeeb Road, Ann Arbor, MI 48106). Though the book obviously cannot deal with any of Stravinsky's later works, it is full of enlightening analytical commentary on all of the works up to the instrumental compositions of the mid-1920s, to which is appended a short added chapter dealing with Stravinsky's return to the theater in Oedipus Rex, Apollo, and The Fairy's Kiss. Since Stravinsky's style had a very distinct and recognizable personality throughout his life, despite the frequent surface changes evident in his music, the richness of observation in this book explains a good deal about the composer and his work even beyond its cutoff date. Itzhak Perlman's recording of the Violin Concerto with Seiji Ozawa and the Boston Symphony (DG) beautifully balances the work's requirements in crispness and lyricism; it is coupled with a ravishing performance of the Berg Violin Concerto. Stravinsky's own recording of the Violin Concerto features Isaac Stern as the soloist in an energetic, highly articulated performance (CBS). I am also fond of Kyung-Wha Chung's performance with Andre Previn conducting the London Symphony Orchestra (London). The most accessible brief introduction to the life and works of Rakhmaninov is to be found in Geoffrey Norris's excellent contribution to the Master Musicians series, Rakhmaninov (Littlefield paperback). Patrick Piggott's volume, titled with the older I transliteration of the Russian composer's name, Rachmaninoff, in the Great Composers series (Faber & Faber) is useful, too. For a closer look at the orchestral music, Piggott's volume in the BBC Music Guides (U. of Washington paperback) is both informative and inexpensive. First-hand statements by the composer, compiled mostly from letters and interviews, can be obtained in the older book Sergei Rachmaninoff, A Lifetime in Music, compiled by Sergei Bertensson and Jay Leyda with the assistance of the composer's sister- in-law Sophie Satin (New York University Press, now out of print). After some years of neglect, the Symphonic Dances now thrive in recorded performances, including fine, flavorful readings by Andre Previn with the London Symphony Orchestra (Angel, coupled with Isle of the Dead), Vladimir Ashkenazy with the Concertgebouw Orchestra (London, coupled with Isle ofthe Dead), and Simon Rattle with the City of Birmingham Symphony Orchestra (Angel, coupled with the Vocalise). —S.L. JUCHAJtt M- MNA, inc.- JEWELERS We are specialists in custom design and restoration work in platinum and gold. 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A development of Hines Industrial Marketed by On-Site Dynamics 48 Andrew Davis Philharmonic, and the Vienna Symphony. Summer festival appearances have included Edinburgh, Berlin, Glyndebourne, and Tangle- wood, among others. Born in Hertfordshire, England, Andrew Davis studied at Kings College, Cambridge, where he was Organ Scholar from 1963 to 1967 and where his talent for conducting first became apparent. He spent a year studying with Franco Ferrara in Rome and, upon his return to England, worked extensively as a keyboard player, notably with the Academy of St. Martin-in-the-Fields, with which he made many recordings. His career began in October 1970 when he took over a performance of Janacek's Glagolitic Mass with the BBC Sym- Music director of the Toronto Symphony, phony Orchestra to unanimous critical and Andrew Davis is one of his generation's most public acclaim. He then spent two years work- sought-after conductors. Following auspicious ing with the BBC Scottish Symphony in North American debuts in New York and Glasgow, and in 1973 he was appointed asso- Cleveland in 1974 and his appointment to the ciate conductor of the Philharmonia Orches- Toronto Symphony in 1975, Mr. Davis has tra. The same year, his international career appeared regularly with the orchestras of got under way with a tour of the Far East with Boston, Chicago, New York, Philadelphia, and the English Chamber Orchestra and the first of Los Angeles, as well as with the Cleveland many visits to the Israel Philharmonic. Since Orchestra, which he has taken on two Amer- then he has made three overseas tours with ican tours. His current season has included a the Philharmonia and taken the Toronto Sym- return engagement with the New York Phil- phony in 1978 to Japan and China and in harmonic and Metropolitan Opera perform- 1983 to Europe. Mr. Davis has recorded a ances of Strauss' s Ariadne aufNaxos with large number of albums in an extensive reper- Jessye Norman in the title role. Mr. Davis's tory with the Toronto Symphony and with the 1985-86 season will be highlighted by per- British orchestras; he was awarded two Grand formances of Salome at Covent Garden, guest Prix du Disques for his recording of Maurice appearances with the Philharmonia of London, Durufle's Requiem with the Philharmonia. Mr. the Zurich Tonhalle, the Stockholm Philhar- Davis has returned frequently to conduct the monic, and the Israel Philharmonic, and a tour Boston Symphony Orchestra since his first of Germany with the London Philharmonic. appearances here in January 1976, including His 1983-84 season included a tour of the Tanglewood appearances in 1977 and 1981 American southwest with the Toronto Sym- and his most recent subscription performances phony, a tour to major cities with the Los prior to this season, in November 1983. Angeles Philharmonic, and appearances with the New York Philharmonic and the Boston Symphony. Other recent European engage- ments have included his acclaimed Covent Garden debut with Der Rosenkavalier and appearances with the Philharmonia, the Lon- don Symphony, the BBC of London, the Berlin 49 . SINCE 1792, FAMILIES HAVE PUT THEIR Thrift and foresight have been bringing families to State I RUST IN fTATE Street for generations 5 |J§| E Our services are sought out because we are more than a MQPPf discreet and attentive trustee . We also provide particularly 9 1 KEE I* well-informed investment management. Whether your objective is the education of your children, a secure retirement, or preservation of capital, we will work closely with you and your lawyer to devise a suitable trust. Naturally, you are welcome to participate in all decisions, or you may choose to leave matters in our care. Whichever you decide, you will be kept regularly apprised of the pro- gress of your account. We invite you to put your trust in us. Call S. Walker Merrill, Jr., Senior Vice President, Investment Management. (617) 786-3279. State Street Bank and Trust Company. Quality since 1792. State Street Bank and Trust Company, wholly-owned subsidiary of State Street Boston Corporation, 225 Franklin Street, Boston, MA 02101. Offices in Boston, New York, San Francisco, London, Munich, Hong Kong, Singapore. Member FDIC. © Copyright State Street Boston Corporation 1982. 50 Cho-Liang Lin included a Carnegie Hall recital and reengage- ments with the orchestras of Baltimore, Min- nesota, New York, and Pittsburgh. In Europe he performed in recital in many of the major cities, in addition to appearances with the Amsterdam Philharmonic, the London Phil- harmonic, and the Philharmonia. During the summer he toured Taiwan and Hong Kong with the New York Philharmonic under the direction of Zubin Mehta. In addition to his debut appearances with the Boston Symphony Orchestra, Mr. Lin appears this season with the English Chamber Orchestra at Barbican Hall, the Philharmonia, the Los Angeles Phil- harmonic, the Montreal Symphony, and the Detroit Symphony, under such conductors as Michael Tilson Thomas, Andrew Davis, Simon ince his arrival in the United States when he Rattle, Charles Dutoit, and Gunther Herbig. Was fifteen, violinist Cho-Liang Lin has Additional engagements include a tour of Aus- received increasing international acclaim. He tralia with the Minnesota Orchestra under (has made solo appearances with many of the Neville Marriner's direction and a tour with world's major orchestras, including the David Zinman and the Rochester Philhar- ' Bavarian Radio Symphony, Chicago Sym- monic which will include an appearance at phony, Cleveland Orchestra, Detroit Sym- Carnegie Hall. Under an exclusive recording phony, Israel Philharmonic, London contract with CBS Masterworks, Mr. Lin's Symphony, Los Angeles Philharmonic, New debut album included Haydn's First Violin York Philharmonic, Philadelphia Orchestra, Concerto and the Vieuxtemps Concerto No. 5. Royal Philharmonic, Rotterdam Philharmonic, His latest album, with Michael Tilson Thomas San Francisco Symphony, and Toronto Sym- and the Philharmonia, includes the Men- phony, among others. Summer engagements delssohn concerto and the Saint-Saens Violin have included the Aspen, Hollywood Bowl, Concerto No. 3. Born in Taiwan in 1960, Mr. Marlboro, Mostly Mozart, Ravinia, and Lin began violin studies when he was five and Spoleto festivals. In 1979, Mr. Lin was invited continued at the Sydney Conservatorium in by Mstislav Rostropovich to perform with the Australia with Robert Pikler. He made his first National Symphony Orchestra on the United public appearance when he was seven, and Nations Day Concert at the Kennedy Center. three years later he won the Taiwan National Soon after, he joined Isaac Stern in a chamber Youth Competition. He entered the Juilliard music concert celebrating Mr. Stern's sixtieth School as a scholarship student in 1975 to birthday at Carnegie Hall, and he subse- study with Dorothy Delay. Two years later, quently appeared in a Carnegie Hall Festival Mr. Lin won first prize at the Queen Sofia series in Carnegie Hall and at the Kennedy International Competition in Madrid. Center. Mr. Lin has toured China twice in the past three years, giving recitals and master classes and appearing as soloist with orches- tras in Peking, Shanghai, Canton, Sian, and Chengdu. More recently, he has toured Japan, Hong Kong, Singapore, and New Zealand. Highlights of Mr. Lin's 1983-84 season 51 Self-portrait of a genius With wit and charm, Aaron Copland, America s greatest living composer looks back on the first four decades of his life in music. It is a monumental work about an exceptional era in America s artistic history and the events, here and abroad, that spawned his genius. Enhanced by "interludes" that feature reminiscences by friends and colleagues like Nadia Boulanger, Virgil Thompson, Agnes DeMille, and Leonard Bernstein, Copland is a stirring^chronicle of our cultural times. 1900 through 1942 "Aaron Copland and Vivian Perlis With over 100 photographs, $24.95 at bookstores or direct from ST. MARTIN'S/MAREK, 175 Fifth Avenue, New York, NY 10010 (Mail orders: Add $1.50 extra for postage. Send Attn: PY) 'I love dining with four stars." A 'I said join me at AplC" The Boston Globe gave it four stars. Then Esquire called \% terrific. Oh, and Boston Magazine raved. J habit. It's becoming a = Apfeys, please.' 52 The Boston Symphony Orchestra gratefully acknowledges the following corporations and professional organizations for their generous and important support in the past or current fiscal year. (* denotes support of at least $2,500; capitalized names denote support of at least $5,000; underscored capitalized names within the Business Leaders' listing comprise the Business Honor Roll.) ! 1984-85 Business Honor Roll ($10,000+ ) Advanced Management Associates, Inc. John Hancock Mutual Life Insurance Company Harvey Chet Krentzman E. James Morton Analog Devices, Inc. Stanley H. Kaplan Educational Center Ray Stata Susan B. Kaplan Bank of Boston Liberty Mutual Insurance Company William L. Brown Melvin B. Bradshaw Bank of New England Mobil Chemical Corporation Peter H. McCormick Rawleigh Warner, Jr. BayBanks, Inc. New England Mutual Life Insurance Company / William M. Crozier, Jr. Edward E. Phillips Boston Consulting Group, Inc. New England Telephone Company 1 Arthur P. Contas Gerry Freche Boston Edison Company Raytheon Company Thomas J. Galligan, Jr. Thomas L. Phillips Boston Globe /Affiliated Publications Red Lion Inn William 0. Taylor John H. Fitzpatrick Cahners Publishing Company, Inc. State Street Bank & Trust Company Norman Cahners William S. Edgerly Country Curtains The Sheraton Corporation Jane P. Fitzpatrick John Kapioltas Digital Equipment Corporation The Signal Companies Kenneth H. Olsen Paul M. Montrone Dynatech Corporation Teradyne Corporation J. P. Barger Alexander V. d'Arbeloff Exxon Corporation Urban Investment & Development Stephen Stamas Company/ Wm. Filene's & Sons Company Copley Place R.K. Umscheid Michael J. Babcock GTE Electrical Products WCRB/Charles River Broadcasting, Inc. Dean T Langford Richard L. Kaye General Cinema Corporation WCVB-TV 5 Richard A. Smith S. James Coppersmith General Electric Company Wang Laboratories An Wang John F. Welch, Jr. Gillette Company Colman M. Mockler, Jr. 53 Handicapped kids have a lot to give i and the Cotting School has a lot to give handicapped children. i.^M. we are a 12-year day school providing quality education, medical support services, and pre-vocational training to physically handicapped boys and girls. Support services include occupational, physical and speech therapies, counselling, vision and dental clinics, and fulltime nursing supervision Computer-based learning programs, summer camping, adapted physical education, art, music and training for independent living help students develop daily living and social skills and increased self-esteem. If you know a child we can help, please pass the word. Call or write Dr. Carl W. Mores, Superintendent, Cotting School for Handicapped Children, 241 St. Botolph Street, Boston, Massachusetts 02115 (617) 536-9632. Cotting School for Handicapped Children is a private, non-profit Ch. 766-approved institution, 'supported primarily by gifts, grants, legacies and bequests. COACH The Gift. It should express your feelings. Celebrate the occasion. Touch the heart. And mean as much years from now, as it does today. 17" x 11 " x 2" NG 5050 For that special someone, The Gift Handle Portfolio $130 is waiting to be discovered at Wild Goose Chase. We make this soft, uncon- structed, legal size portfolio in six colors of real Glove Tanned Cowhide: Black, Burgundy, Mocha, Red, British Tan and Tahac. You can order it by mail or telephone, and we will ship it to you from our factory at no extra cost. Send for our free catalogue. WILD GOOSE CHASE The CoacK Store Contemporary American Crafts and Gifts 75-B Newbury Street, Boston, Mass. 021 16 1431 Beacon St. Brookline, MA 02146, 738-8020 Hours: Mon.-Sat., 10-6; Sun., 12-5 (617) 536-2777 54 Business Leaders ($1,000+) Accountants BAYBANKS, INC. Electronics William M. Crozier, Arthur Andersen & Co. Jr. Mitre Corporation William F. Meagher Chase Manhattan Corporation Robert R. Everett Robert M. 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Brooke 55 '-'w ***** •- *V "'A ft4 MA of recipes get your m if copy of THE BOSTON SYMPHONY COOKBOOK $18.95 at bookstores everywhere ^ *.«>* 500 carefully-tested recipes from BSO X <«v musicians and their families, distinguished guest artists, staf£ and friends. fife: %^ f 368 pages bound in hard cover with f4^ ^ captioned photographs of BSO personalities and historic events, including the BSO One Hundredth Birthday celebration 5Si£Ifc Published by Houghton Mifflin Company COOKBOOK ORDER FORM The Cookbook Office Symphony Hall Boston, MA 02115 books® $18.95 Please send copies of the Mass. residents cookbook to: add 5% sales tax teL# Postage & handling street $2 per book* city state & zip code Total $. * Books may be picked up at Symphony Hall by arrangement with the Cookbook office, 266-1492 ext. 248 Check One Payment enclosed (please make check payable to Boston Symphony) Charge purchase to Master Charge Visa Account # Exp. date Signature 56 : Pora p^rso^a|?pQ^mei^t . call Dean Ridldn, Vice President, Private Banking Group, Bank ofBoston (617) 434-5302- V Boston s Financial District and Back Bay (£) 1 984 The First National Bank of Boston; Member FBId Food/ Hotel/ Rest an ran t *Computer Partners, Inc. 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Moseley ^O'Donnell-Usen Fisheries Corporation * Systems Engineering & *Tucker, Anthony & R.L. Day, Arnold Wolf Manufacturing Corporation Inc. RED LION INN Steven Baker Gerald Segel John H. Fitzpatrick *Transitron Electric Corporation * Woodstock Corporation David Bakalar Frank B. Condon Roberts and Associates Warren Pierce Insurance THE SHERATON Arkwright-Boston Legal CORPORATION Insurance Frederick J. Bumpus Gadsby & Hannah John Kapioltas *Cameron & Colby Co., Inc. Jeffrey P Somers Silenus Wines, Inc. Graves D. Hewitt Goldstein & Manello James B. Hangstefer *Commercial Union Assurance Richard J. Snyder Sonesta International Hotels Companies *Herrick Smith Corporation & Howard H. Ward Malcolm D. Perkins Paul Sonnabend *Frank B. Hall of & Company Nissenbaum Law Offices THE STOP & SHOP Massachusetts, Inc. Gerald L. Nissenbaum COMPANIES, INC. Colby Hewitt, Jr. Avram Goldberg J. JOHN HANCOCK MUTUAL ; THE WESTIN HOTEL LIFE INSURANCE COMPANY Manufacturing Bodo Lemke E. James Morton Acushnet Company LIBERTY MUTUAL John T. Ludes Furnishings / Housewares INSURANCE COMPANY Bell Manufacturing Company COUNTRY CURTAINS Melvin B. Bradshaw Irving W Bell Jane P. Fitzpatrick NEW ENGLAND MUTUAL Checon Corporation LIFE INSURANCE COMPANY Donald E. Conaway High Technology/ Computers Edward E. Phillips Dennison Manufacturing AT&T PRUDENTIAL INSURANCE Company COMPANY OF AMERICA Charles R. Grafton Nelson S. Gifford Robert J. Scales Analytical Systems Engineering Econocorp, Inc. Sun Life Assurance Company of Corporation Richard G. Lee Michael B. Rukin Canada FLEXcon Company, John D. McNeil Inc. Aritech Corporation Mark R. Ungerer James A. Synk Investments GENERAL ELECTRIC Automatic Data Processing *ABD Securities Corporation COMPANY Josh Weston 1 Theodor Schmidt-Scheuber John F. Welch, Jr. 57 GENERAL ELECTRIC Superior Pet Products, Inc. Westinghouse Broadcasting & COMPANY/LYNN Richard J. Phelps Cable, Inc. Lawrence P. Fraiberg James P. Krebs *Towle Manufacturing Company GILLETTE COMPANY Leonard Florence Musical Instruments Colman M. Mockler, Jr. *Trina, Inc. * Baldwin Piano & Organ Guzovsky Electrical Corporation Thomas L. Easton Company Edward Guzovsky Webster Spring Company, Inc. R.S. Harrison Inland Steel-Ryerson A.M. Levine Avedis Zildjian Company Foundation, Inc. Wellman, Inc. Armand Zildjian Robert L. Atkinson Arthur 0. Wellman, Jr. Kendall Company Printing/ Publishing J. Dale Sherratt Media *ADC0 Publishing Company, Inc. L.E. Mason Company BOSTON GLOBE/ Samuel Gorfinkle Harvey B. Berman AFFILIATED PUBLICATIONS Bowne of Boston Ludlow Corporation William 0. Taylor William Gallant Arthur Cohen * Boston Herald CAHNERS PUBLISHING NEW ENGLAND BUSINESS Patrick J. Purcell COMPANY, INC. SERVICE, INC. GENERAL CINEMA Norman L. Cahners Richard H. Rhoads CORPORATION CLARK-FRANKLIN- Norton Company Richard A. Smith KINGSTON PRESS Donald R. Melville *WBZ-TV 4 Lawrence Dress * Packaging Industries, Inc. Thomas L. Goodgame Customforms, Inc. John D. Bambara WCIB-FM David A. Granoff Parker Brothers Lawrence K. Justice * Daniels Printing Company Richard E. Stearns WCRB/CHARLES RIVER Lee Daniels * Plymouth Rubber Company, Inc. BROADCASTING, INC. HOUGHTON MIFFLIN Richard L. Maurice J. Hamilburg Kaye COMPANY Teig Scully Signal Company WCVB-TV 5 Marlowe G. Robert G. Scully S. James Coppersmith * Label Art, Inc. *Simplex Time Recorder *WNEV-TV 7/New England J. William Flynn Company Television McGraw Hill, Inc. Glenn R. Peterson Seymour L. Yanoff Joseph L. Dionne \sin£ if*£%±uin A Distinctive Selection of Oriental Rugs and Wall Hangings 1643 Beacon Street, Waban Square Hours: Tues-Sat 11-5, Thurs Evenings til 8 Phone (617) 964-2686 "Ok cMo-u- tyou D 58 Real Estate/ Development Kay Bee Toy & Hobby Shops, MORSE SHOE, INC. Inc. Manuel Rosenberg Combined Properties, Inc. Howard Kaufman Stanton L. Black THE SPENCER COMPANIES, Marshall's, Inc. INC.. Corcoran Mullins Jennison, Inc. Frank H. Brenton C. Charles Marran Joseph Corcoran *Saks Fifth Avenue STRIDE RITE CORPORATION Hilon Development Corporation Ronald Hoffman Arnold S. Hiatt Haim Eliachar J. Stuart's Department Stores, Inc. Northland Investment Paul Cammarano Software/ Information Services Corporation Henco Software, Inc. Robert A. Danziger *Zayre Corporation Maurice Segall Henry Cochran Stanmar, Inc. Interactive Data Corporation Stanley W. Snider Science/ Medical Carl G. Wolf URBAN INVESTMENT & * Charles River Breeding DEVELOPMENT COMPANY/ Laboratories, Inc. Travel/Transportation COPLEY PLACE Henry L. Foster * Heritage Travel R.K. Umscheid Damon Corporation Donald Sohn *Winthrop Securities Co., Inc. David I. Kosowsky *The Trans-Lease Group David C. Hewitt Hospital Corporation of America John J. McCarthy, Jr. Retailing HCA Foundation Donald E. Strange Utilities WM. FILENE'S & SONS BOSTON EDISON COMPANY COMPANY Shoes Thomas J. Galligan, Jr. /Michael J. Babcock * Jones & Vining, Inc. * Eastern Gas & Fuel Associates lills Department Stores Sven Vaule, Jr. Stephen A. Goldberger William J. Pruyn * Mercury International Trading NEW ENGLAND TELEPHONE Jordan Marsh Company Corporation Gerry Freche Elliot Stone Irving Wiseman 59 • • lim 5^f S following of the Massa- The Members MASSACHUSETTS chusetts High Technology Council HKH TECHNOLOGY COUHCL support the BSO through the BSO Business & Professional Leadership H^Sllj Program: Alpha Industries, Inc. DYNATECH CORPORATION M/A-COM, INC. George S. Kariotis J.P Barger Vessarios G. Chigas EPSCO, Inc. Massachusetts High Technology ANALOG DEVICES, INC. | Wayne P Coffin Council, Inc. Ray Stata Foxboro Company Howard P. Foley The Analytic Sciences Earle W Pitt Millipore Corporation Corporation GCA Corporation Dimitri d'ArbelofF Arthur Gelb Milton Greenberg PRIME COMPUTER, INC. *Augat, Inc. GTE ELECTRICAL Joe M. Henson Roger D. Wellington PRODUCTS * Printed Circuit Corporation Barry Wright Corporation Dean T. Langford Peter Sarmanian Ralph Z. Sorenson *GenRad Foundation SofTech, Inc. *Bolt Beranek and Newman Inc. Lynn Smoker Justus Lowe, Jr. Stephen Levy *Haemonetics, Inc. TERADYNE, INC. Computervision Corporation John F. White Alexander V. d'Arbeloff Martin Allen Honeywell Information Systems Thermo Electron Corporation *Cullinet Software, Inc. Warren G. Sprague George N. Hatsopoulos John J. Cullinane Instron Corporation Unitrode Corporation DIGITAL EQUIPMENT Harold Hindman George M. Berman CORPORATION Arthur D. Little, Inc. WANG LABORATORIES, INC. Kenneth H. Olsen John F. Magee An Wang \- One word is worth a thousand pictures. Daniels Daniels Printing Company 40 Commercial Street Everett, MA 02149 (617) 389-7900 Serving New England's business and financial communities. . Coining Concerts . . . 4 Thursday B'—4 April, 8-9:55 Friday 'A'— 5 April, 2-3:55 Saturday 'A'—6 April, 8-9:55 ANDREW DAVIS conducting Knussen Symphony No. 3 Delius Sea Drift RICHARD STILWELL, baritone TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor Vaughan Williams Symphony No. 2, An Authentic Grill London with Aged Steaks Plump Poultry Wednesday, 10 April at 7:30 Fresh Fish Native Shellfish Open Rehearsal Steven Ledbetter will discuss the program grilled on at 6:45 in the Cohen Annex. Woods & Charcoals Thursday '10'— 11 April, 8-10 of Friday 'B — 12 April, 2-4 Mesquite Apple Saturday 'B'— 13 April, 8-10 Sassafras Hickory CHARLES DUTOIT conducting In Boston's Dutilleux Metaboles Mozart Piano Concerto No. 24 Back Bay Hilton inC minor, K.491 ANDRAS SCHIFF, piano INC, Just steps away between Stravinsky Petrushka (1911) The Christian Science Complex and Prudential Center with ample indoor parking. Dial-(617) BOODLES. Thursday '10'— 18 April, 8-9:50 Friday 'A'—9 April, 2-3:50 Saturday 'A'— 10 April, 8-9:50 Tuesday 'B'— 23 April, 8-9:50 SEIJI OZAWA conducting Mendelssohn Symphony No. 5, Reformation Real Estate Management Lalo Symphonie espagnole Brokerage and Consulting Services ANNE-SOPHIE MUTTER, violin Ravel Alborada del gracioso Since 1898 Programs subject to change. SAUNDERS & ASSOCIATES 20 Park Plaza Boston MA • 02116 (617)426-0720 61 " We invite you to join us before or after Symphony for a fine dining experience. We're so close you can almost hear the music. I Lunch - 11:30 - 3 pm Dinner - 5 -11pm BAR SPECIALS-4 - 6 pm 10 - 12 pm CAFE AMALFI ITALIAN RESTAURANT SPECIAL FUNCTIONS and 8-10 WESTLAND AVENUE LARGE GROUPS ACCOMMODATED BOSTON, MASS./ 536-6396 RESERVATIONS RECOMMENDED Bose® Corporation here can you invites you to find the best seats experience the in the house? revolutionary At DCH. Because we Acoustic Wave" sell the world's most elegant and distinctive Music System. furniture. And we sell it at up to 70% off. So if you're looking for the best seats, lamps, sofas, tables and art in the house, visit our salon. You'll agree the selec- tion is worth blowing our own horn about. "At a recent demonstration, this listener shook his head in polite disbelief at hearing such sound coming from a single unit the size of an office typewriter. Hans Fantel, The New York Times Hear it for yourself in the Salute to Decorator's Clearing House. Symphony Office, 3rd floor, or call Bose Furniture as unique as you are. Corporation, 877-6234 to schedule a free home demonstration. 1029 Chestnut St., Newton Upper Falls, MA 965-6363 Mon.-Sat. 9:30 AM-5:30 PM MC, Visa, AmEx Open to the Public 62 Symphony Hall Information . . . FOR SYMPHONY HALL CONCERT AND each, one to a customer, at the Symphony Hall- TICKET INFORMATION, call (617) 266-1492. West Entrance on Fridays beginning 9 a.m. and For Boston Symphony concert program informa- Saturdays beginning 5 p.m. tion, call "C-O-N-C-E-R-T." LATECOMERS will be seated by the ushers dur- THE BOSTON SYMPHONY performs ten ing the first convenient pause in the program. months a year, in Symphony Hall and at Tangle- Those who wish to leave before the end of the wood. For information about any of the orches- concert are asked to do so between program tra's activities, please call Symphony Hall, or pieces in order not to disturb other patrons. write the Boston Symphony Orchestra, Sym- SMOKING IS NOT PERMITTED in any part of phony Hall, Boston, MA 02115. the Symphony Hall auditorium or in the sur- THE EUNICE S. AND JULIAN COHEN rounding corridors. It is permitted only in the ANNEX, adjacent to Symphony Hall on Hunt- Cabot-Cahners and Hatch rooms, and in the ington Avenue, may be entered by the Symphony main lobby on Massachusetts Avenue. Hall West Entrance on Huntington Avenue. CAMERA AND RECORDING EQUIPMENT FOR SYMPHONY HALL RENTAL INFORMA- may not be brought into Symphony Hall during TION, call (617) 266-1492, or write the Func- concerts. tion Manager, Symphony Hall, Boston, MA FIRST AID FACILITIES for both men and 12115. women are available in the Cohen Annex near HE BOX OFFICE is open from 10 a.m. until 6 the Symphony Hall West Entrance on Hunt- p.m. Monday through Saturday; on concert eve- ington Avenue. On-call physicians attending con- nings, it remains open through intermission for certs should leave their names and seat locations BSO events or just past starting-time for other at the switchboard near the Massachusetts Ave- events. In addition, the box office opens Sunday nue entrance. at 1 p.m. when there is a concert that afternoon WHEELCHAIR ACCESS to Symphony Hall is or evening. Single tickets, for all Boston Sym- available at the West Entrance to the Cohen ; phony concerts go on sale twenty-eight days Annex. before a given concert once a series has begun, and phone reservations will be accepted. For AN ELEVATOR is located outside the Hatch and outside events at Symphony Hall, tickets will be Cabot-Cahners rooms on the Massachusetts Ave- available three weeks before the concert. No nue side of the building. phone orders will be accepted for these events. TICKET RESALE: If for some reason you are unable to attend a Boston Symphony concert for which you hold a ticket, you may make your ticket available for resale by calling the switch- board. This helps bring needed revenue to the orchestra and makes your seat available to some- one who wants to attend the concert. A mailed receipt will acknowledge your tax-deductible contribution. RUSH SEATS: There are a limited number of Rush Tickets available for the Friday-afternoon and Saturday-evening Boston Symphony con- certs (subscription concerts only). The continued low price of the Saturday tickets is assured 1 through the generosity of two anonymous donors. The Rush Tickets are sold at $5.00 63 LADIES' ROOMS are located on the orchestra concerts are broadcast live by the following FM I level, audience-left, at the stage end of the hall, stations: WGBH (Boston 89.7), WFCR (Amherst and on the first-balcony level, audience-right, 88.5), and WAMC (Albany 90.3); in Maine by outside the Cabot-Cahners Room near the WMED (Calais 89.7), WMEA (Portland 90.1), elevator. WMEH (Bangor 90.9), WMEW (Waterville 91.3), and WMEM (Presque Isle 106.1); and in MEN'S ROOMS are located on the orchestra Connecticut by WMNR (Monroe 88.1), WNPR level, audience-right, outside the Hatch Room (Norwich 89.1), WPKT (Hartford 90.5), and near the elevator, and on the first-balcony level, WSLX (New Canaan 91.9). Live Saturday- audience-left, outside the Cabot-Cahners Room evening broadcasts are carried by WGBH and near the coatroom. WCRB (Boston 102.5). If Boston Symphony COATROOMS are located on the orchestra and concerts are not heard regularly in your home first-balcony levels, audience-left, outside the area and you would like them to be, please call Hatch and Cabot-Cahners rooms. The BSO is not WCRB Productions at (617) 893-7080. WCRB responsible for personal apparel or other prop- will be glad to work with you and try to get the erty of patrons. BSO on the air in your area. LOUNGES AND BAR SERVICE: There are two BSO FRIENDS: The Friends are annual donors * lounges in Symphony Hall. The Hatch Room on to the Boston Symphony Orchestra. Friends the orchestra level and the Cabot-Cahners Room receive BSO, the orchestra's newsletter, as well on the first-balcony level serve drinks starting as priority ticket information and other benefits one hour before each performance. For the Fri- depending on their level of giving. For informa- day-afternoon concerts, both rooms open at tion, please call the Development Office at Sym-g 12:15, with sandwiches available until concert phony Hall weekdays between 9 and 5. If you time. are already a Friend and you have changed yourj BOSTON SYMPHONY BROADCASTS: Con- address, please send your new address with youn certs of the Boston Symphony Orchestra are newsletter label to the Development Office, heard by delayed broadcast in many parts of the Symphony Hall, Boston, MA 02115. Including United States and Canada, as well as interna- the mailing label will assure a quick and accurate}1 tionally, through the Boston Symphony Tran- change of address in our files. scription Trust. In addition, Friday-afternoon Rental apartments for people who'd rather hear French horns than Car horns. Enjoy easy living within easy reach of Symphony Hall. New in-town apartments with doorman, harbor views, all luxuries, health club, land 2 V/^EjjsffiT jj^BjS^jffiiEy' bedrooms and duplex 1 penthouse ? V^^^!/ k \^Sftw?!^^ apartments o a z THE DEVONSHIRE IS) 3 O One Devonshire Place. (Between Washington X ^». A Boston Tradition fssT and Devonshire Streets, off State Street) Boston. 3 Renting Office Open 7 Days. Tel: (617) 720-3410. 41 UNION STREET 227-2750 2f Park free in our indoor garage while inspecting models 64 , V7, iiiv/1 Caerlaverock cai kvi 61 1"/II 1 1 1 • 1 1 1 1 1 1 on the very eve '--.' --T she returns. „ .... . • vva< 'f S( I '' -. x , White Label :r vanes. <&VVW! St wineyou PI _„. and dine you. >% % PASTEHE PasteneWine& Fo Somerville,MA02 GoodfoodGood^ Since 1874.