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BOSTON SYMPHONY ORCHESTRA SEIJI OZAWA >,

L (ft Music Director -S^w

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Seiji Ozawa, Music Director

Colin Davis, Principal Guest Conductor Joseph Silverstein, Assistant Conductor

Ninety-Sixth Season 1976-77 The Trustees of the Boston Symphony Orchestra Inc Talcott M. Banks President

Philip K. Allen Sidney Stoneman Mrs. Harris Fahnestock Vice-President Vice-President Vice-President

John L. Thorndike Treasurer

Vernon R. Alden Archie C. Epps III Mrs. James H. Perkins Allen G. Barry David O. Ives Irving W. Rabb

Mrs. John M. Bradley E. Morton Jennings, Jr. Paul C. Reardon Richard P. Chapman Edward M. Kennedy David Rockefeller Jr. Abram T. Collier George Kidder Mrs. George Lee Sargent

Nelson J. Darling, Jr. Edward G. Murray John Hoyt Stookey Albert L. Nickerson Trustees Emeritus Harold D. Hodgkinson Henry A. Laughlin John T. Noonan

Administration of the Boston Symphony Orchestra

Thomas D. Perry, Jr. Thomas W. Morris Executive Director Manager Gideon Toeplitz Daniel R. Gustin Assistant Manager Assistant Manager

Joseph M. Hobbs Walter Hill Dinah Daniels Director of Development Director of Business Affairs Director of Promotion Richard C. White Anita R. Kurland Niklaus Wyss Assistant to the Manager Administrator of Youth Activities Advisor for the Music Director

Donald W. Mackenzie James F. Kiley Operations Manager, Symphony Hall Operations Manager, Tanglewood

Michael Steinberg Director of Publications

Programs copyright © 1976 Boston Symphony Orchestra Inc. Who's who in oil refineries.

Peter Durgin, Senior Investment Officer, New England Merchants National Bank. Few experts understand the energy supply industry like Peter Durgin. For over a decade his buy-sell recommendations have helped build an enviable invest- ment record in the Trust Department. A record that looks mighty good to our customers. Member F.D.I.C BOSTON SYMPHONY ORCHESTRA

Seiji Ozawa, Music Director Colin Davis, Principal Guest Conductor Joseph Silverstein, Assistant Conductor Ninety-Sixth Season

Thursday, 21 April at 8 : 30 Friday, 22 April at 2 &=*^y ^^ Saturday, 23 April at 8:30 Tuesday, 26 April at 7:30

SEIJI OZAWA, conductor

VIVALDI Concerto in C major for piccolo, P. 79

[Allegro] Largo Allegro molto LOIS SCHAEFER

VIVALDI Concerto in F major for bassoon, P. 318 Allegro non molto Andante Allegro molto SHERMAN WALT

INTERMISSION

SESSIONS When Lilacs Last in the Dooryard Bloom 'd (Poem by Walt Whitman)

ESTHER HINDS, soprano FLORENCE QUIVAR, mezzo-soprano DOMINIC COSSA, baritone TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor

Thursday's concert will end about 10:10, Friday's about 3:40, Saturday's

about 10 : 15, and Tuesday's about 9 : 10.

Seiji Ozawa and the Boston Symphony Orchestra record exclusively for Deutsche Grammophon. Baldwin piano Jerome Lipson Robert Karol Bassoons Bernard Kadinoff Sherman Walt Vincent Mauricci Edward A. Taft chair Roland Small Earl Hedberg Matthew Ruggiero Joseph Pietropaolo Robert Barnes Michael Zaretsky Contra bassoon Richard Plaster

Cellos Horns Jules Eskin Philip R. Allen chair Charles Kavalovski Martin Hoherman Helen Sagoff Slosberg chair Mischa Nieland Charles Yancich Peter Gordon violins Jerome Patterson First David Ohanian Joseph Silverstein Robert Ripley Richard Mackey Concertmaster Luis Leguia Ralph Pottle Charles Munch chair Carol Procter Emanuel Borok Ronald Feldman Assistant Concertmaster Joel Moerschel Trumpets Horner Mclntyre chair Helen Jonathan Miller Armando Ghitalla Max Hobart Martha Babcock Andre Come Rolland Tapley Rolf Smedvig Roger Shermont Gerard Basses Goguen Max Winder William Rhein Harry Dickson Harold D. Hodgkinson chair Trombones Gottfried Wilfinger Joseph Hearne Ronald Barron Fredy Ostrovsky Bela Wurtzler Norman Bolter Leo Panasevich Leslie Martin Gordon Hallberg Sheldon Rotenberg John Salkowski William Gibson Alfred Schneider John Barwicki Gerald Gelbloom Robert Olson Tuba Sird Raymond Lawrence Wolfe Chester Schmitz Ikuko Mizuno Henry Portnoi Cecylia Arzewski Timpani Amnon Levy Flutes Everett Firth Bo Youp Hwang Doriot Anthony Dwyer Sylvia Shippen Wells chair Walter Piston chair Second violins James Pappoutsakis Percussion Victor Yampolsky Paul Fried Charles Smith chair Fahnestock Arthur Press Marylou Speaker Piccolo Assistant timpanist Michel Sasson Lois Schaefer Thomas Gauger Ronald Knudsen Frank Epstein Leonard Moss Oboes Vyacheslav Uritsky Ralph Gomberg Harps Laszlo Nagy Mildred B. Remis chair Bernard Zighera Michael Vitale Ann Hobson Darlene Gray Wayne Rapier Ronald Wilkison Personnel Managers Harvey Seigel English Horn William Moyer Jerome Rosen Laurence Thorstenber^ Harry Shapiro Sheila Fiekowsky Gerald Elias Clarinets Librarians Lefkowitz Ronan Harold Wright Victor Alpert Ann 5.M. Banks chair William Shisler Violas Pasquale Cardillo Burton Fine Peter Hadcock Stage Manager Charles 5. Dana chair E-flat clarinet Reuben Green Alfred Robison Eugene Lehner Bass Clarinet George Humphrey Felix Viscuglia Seiji Ozawa, Music Director

Seiji Ozawa became Music Director of the the beginning of the 1965-66 season he Boston Symphony Orchestra in the fall became Music Director of the Toronto of 1973 and is the thirteenth conductor Symphony, a post he relinquished after to head the Orchestra since its founding four seasons to devote his time to study in 1881. and guest conducting.

He was born in Hoten, Manchuria, in In 1970 Mr. Ozawa became Artistic 1935, and graduated from the Toho Director of the Berkshire Music Festival, School of Music in Tokyo with first and in December of that prizes in composition and conducting. year he began his inaugural season as Conductor and When he won first prize at the Inter- Music Director of the national Competition of Conducting at San Francisco Symphony Orchestra, Besancon, France, shortly after his gradu- titles he held con- currently with his position ation, one of the judges of the competition as Music Director of the Boston was the late Charles Munch, then Music Symphony until he resigned them in the spring Director of the Boston Symphony, who of 1976. (He will be Honorary Conductor in invited him to study at Tanglewood San Francisco for the 1976-77 during the following summer. Mr. season). Ozawa's association with the Orchestra began during that session of the Berkshire Mr. Ozawa's recordings for Deutsche Music Center as a student of conducting Grammophon include Berlioz's Sym- in 1960. phonic fantastique, La damnation de Faust, and Romeo et Juliette (awarded a Beginning with the summer of 1964, Grand Prix du Disque). This spring, DG Mr. Ozawa was for five seasons Music will release the Ozawa/BSO recording of Director of the Ravinia Festival, and at Charles Ives's Fourth Symphony. The Board of Overseers of the Boston Symphony Orchestra Inc.

David O. Ives, Chairman Hazen H. Ayer, Vice Chairman

Mrs. Arthur I. Strang, Secretary

Charles F. Adams Weston P. Figgins Richard P. Morse Mrs. Frank G. Allen Paul Fromm David G. Mugar Mrs. Richard Bennink Carlton P. Fuller Dr. Barbara W. Newell

Dr. Leo L. Beranek Mrs. Thomas J. Galligan, Jr. Stephen Paine David W. Bernstein Mrs. Thomas Gardiner Mrs. Priscilla Potter David Bird Mrs. John L. Grandin Harry Remis Gerhard Bleicken Bruce Harriman Mrs. Peter van S. Rice Frederick Brandi Mrs. Richard D. Hill Mrs. Samuel L. Rosenberry

Curtis Buttenheim Mrs. Amory Houghton, Jr. Mrs. Jerome Rosenfeld

Mrs. Henry B. Cabot Richard S. Humphrey, Jr. Mrs. A. Lloyd Russell Mrs. Mary Louise Cabot Mrs. Jim Lee Hunt William A. Selke Mrs. Norman L. Cahners Leonard Kaplan Samuel L. Slosberg Levin H. Campbell, III Leon Kirchner Richard A. Smith Dr. George H.A. Clowes, Jr. Mrs. James F. Lawrence Mrs. Edward S. Stimpson Arthur P. Contas Roderick MacDougall Mrs. Richard H. Thompson The Hon. Silvio O. Conte John S. McLennan Stokley P. Towles Robert Cushman Colman M. Mockler, Jr. D. Thomas Trigg

Michael J. Daly Mrs. Elting E. Morison Mrs. C. Russell Eddv Frank E. Morris

We'd like to give handicapped kids

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Yes, free. | The Cotting School for Handicapped Children offers a 12-year academic program for physically and medically handicapped

children with mentally normal capabilities. Included in school services are both vocational and college preparatory training, transportation to and from, medical and dental care, speech and physical therapy, social development, noon meal, testing, recrea- tion and summer camping. Without any cost whatsoever to parents. Right now, we have openings for handicapped children. Please pass the word. Call or write William J. Carmichael, Superintendent, The Cotting School for Handicapped Children, 241 St. Botolph St., Boston, Mass. 021 15, 536-9632. (Formerly Industrial School for Crippled Children.) The Cotting School for Handicapped Children is a private, nonprofit, nonsectarian, tuition-free institution supported primarily by private legacies, bequests and contributions. Kaufman aroused interest by playing Notes The Four Seasons on a CBS broadcast, a summer substitute in the slot occupied Antonio Vivaldi during the winter by the New York Philharmonic-Symphony.** But it was Concerto in C major for piccolo, with the arrival of the long-playing P. 79 (F.VI,4) record, that period, as someone observed, Concerto in F major for bassoon, when a tape recorder seemed to be P. 318 (F.VIII,8) running 24 hours a day in Stuttgart, that Vivaldi came into his own once more. Or Antonio Lucio Vivaldi was born in Venice at least in part: an occasional perfor- on 4 March 1678 and died in Vienna on mance of the Gloria aside, the vocal 26 or 27 July 1741 (only the date of his music is as neglected as ever. burial in St. Stephen's Cemetery — 28 The concertos, of which there are over July — is known). Dates and other cir- 500, are, to be sure, everywhere. Many cumstances of the composition or early of them were written for performance at performances of these two concertos the Ospedale della Pieta, a Venetian are not established. The identifying P and orphanage for girls with which Vivaldi F numbers refer respectively to the was associated from about 1704 until catalogues of Marc Pincherle and Antonio 1740, and which, like three other such Fanna. Lois Schaefer played this same C establishments, I Mendicanti, Gli Incur- major Piccolo Concerto at Tanglewood abili, and L'Ospidaletto, was famous for in 1967, Antonio Janigro conducting. the quality of the music there. Venice, as Both concertos are scored for solo instru- a seaport, the principal port of entry for ment with strings and figured bass. trade with the Orient, as a place whose Jerome Rosen plays the harpsichord. location put it always in the forefront of In his lifetime, Vivaldi enjoyed renown conflict with the Turks, was a city in as a composer of instrumental, of opera, which the care of orphans, foundlings, and of sacred music, as a violin virtuoso, and unwanted illegitimate children was and as a bit of a character. One hundred an important sub-industry. Before joining years after his obscure death — forty the Pieta as music master, Vivaldi had years ago it wasn't even known that he studied violin with his father, a musician died in Vienna! — he was forgotten, as at St. Mark's Cathedral, and had become completely forgotten as could be. In the a priest. Congenital angina pectoris, how- mid-nineteenth century, scholars began ever, made it impossible for him to cele- to rediscover him, but only as a by- brate mass. His fame as a composer product of burgeoning Bach research, for grew: his operas were in demand, his the German master had transcribed music was published in Amsterdam, the several works by his older Italian con- commission for the famous Gloria came temporary. A couple of pieces found their from the court of Louis XV in Paris. He way into repertory, though in blown-up traveled to important musical cities like arrangements*. At the 200th anniversary Dresden, for whose orchestra he wrote of his death, scholars had some fair idea a series of inventive concertos. Over the of who he was, but he was still not much years, though, his relations with the of a name to the general public. In the late Pieta eroded, and in 1740 he elected to 1940s, the American violinist Louis leave. We know nothing about that last journey, where he went first, what plans *Koussevitzky was fond of such an arrange- or hopes he entertained. And Europe ment — actually one of the more modest in just then was torn by the War of the the genre — by Alexander Siloti of the Austrian Succession. His name appears Concerto in D minor, Opus 3, Nr. 11. The recording he made was for many years virtually the only one to be had of anything **Koussevitzky also played two of the Seasons, of Vivaldi's. presumably in their original form: Summer in 1928 and Spring in 1936. and a bassoon arrangement of an oboe concerto*). Many of these works showed up in private collections that made their way into the Turin National Library

earlier in this century. One of the title pages indicates that the music was written "for Gioseppino Biancardi or bassoon." Perhaps this virtuoso, whose name was synonymous with bassoon, is the ghostly presence behind many of these concertos. On the other hand, a visitor to the Pieta reported that there is "no musical instru- ment so large as to daunt the girls," and perhaps at some time that institution had a student extraordinarily skilled — and she would have had to be — on the bassoon. — Michael Steinberg

/—y f? > /

From Johann Christoph Weigel's Musicalisches Theatrum (Nuremberg, m '// 1722) An

in the Pieta account-books for the last time on 29 August 1740, and we next encounter Vivaldi in the Viennese burial- register for St. Stephen's parish, 28 July 1741. He died, according to the coroner's report, of an internal inflammation (an Innrem Brand). The two concertos on this program may have been written for girls at the Pieta or possibly for private patrons elsewhere. Vivaldi wrote more concertos for violin (or violins) than for anything else, but he was friendly to many other instruments, including those that have precious little other solo repertoire. The "Piccolo Concerto" is one of three for W7 flautino, actually a sopranino recorder. And when, one wonders, listening to Antonio Vivaldi, sketched by P.L. the on-and-on 16th-note figurations of Ghezzi, 1723 the first movement, did Vivaldi think a player might breathe? For bassoon, then an instrument with only two keys, he wrote an astonishing 36 solo concertos 'The F major Bassoon Concerto on this (plus a single movement of a 37th, a program also exists in an arrangement by Vivaldi for oboe. double concerto for bassoon with oboe,

8 d :

college. Though born in Brooklyn, he is Roger Sessions by temperament and heritage a New When Lilacs Last in the Dooryard Englander who refers to Hadley, Massa- Bloom' chusetts as "my ancestral hangout." Having started piano with his mother at four, he began composing at twelve, Roger Huntington Sessions was horn in and a year later he had written his first Brooklyn, New York, on 28 December opera Lancelot and Elaine. About then 1896 and now lives in Princeton, New he was also ready to admit his vocation Jersey. When Lilacs Last in the Dooryard Bloom'd, commissioned by the Uni- to his parents "I suppose they were a little anxious versity of California at Berkeley in com- about such a decision, and so, surrepti- memoration of the 100th anniversary of tiously, they asked the advice of a lot of its foundation, was completed in Princeton on 2 January 1970. Sessions musicians, including Humperdinck, who was in York at the time. father has dedicated the score to the memory New My was going to see Puccini but he didn't of Martin Luther King, Jr. and Robert F. succeed. I heard, years later in Italy, Kennedy. The first performances were that Puccini had told a story of having given on 23 and 24 May 1971 in Alfred been to see the of Hertz Hall on the Berkeley campus, asked music a young Michael Senturia conducting, with the boy in America and to advise his parents University Symphony Orchestra, the whether he ought to go on with it. He the floor all University Chorus, the Repertory paced night and decided he Chorus, soprano Helene Joseph, contralto couldn't take that responsibility, so he Stephanie Friedman, and baritone Allen called off the appointment. I don't know whether it I or not but I it Shearer. The cantata was heard here was assume was, because Puccini did call off the when two performances were given at a appointment." single concert sponsored by the Fromm Music Foundation at Harvard on 24 The reports being "generally favorable," March 1975 in Sanders Theater, Sessions did go on, first, at Harvard with Cambridge: Michael Senturia conducted Archibald Davison and Edward Burlin- the Harvard University Choir, John game Hill, then, because outbreak of war Ferris, conductor, soprano Diana Hoag- interfered with a plan to go to Maurice land, mezzo-soprano DAnna Fortunato, Ravel in Paris, at Yale with Horatio and baritone Alan Baker. Parker. As an instructor at Smith The cantata calls for soprano, con- College, sure that he knew too little, he tralto, and baritone solos, mixed chorus, continued his education through books and an orchestra of piccolo, two flutes by Cherubini and d'Indy, and after that (one doubling alto flute), two oboes, — crucially — by going to study with English horn, E flat clarinet, two Ernest Bloch. Soon after, he became clarinets, bass clarinet, two bassoons, Bloch's assistant at the Cleveland Institute contrabassoon, four horns, two trumpets, of Music and eventually succeeded him three trombones, bass tuba, strings, as Director. In 1923, he composed inci- kettledrums, vibraphone, xylophone, dental music for Andreyev's Black marimba, glockenspiel, tamtams, tenor Maskers, the first score to make a repu- drum, suspended cymbal, maracas, tation for him. From 1925 until 1933, woodblock, whip, bass drum, tam- thanks to a series of grants and prizes, bourine, military drum, tambourin he lived in Paris, Berlin, and Florence, provencal, cymbals, snare drum, composing, among other works, his Chinese drum, triangle, and claves. First Symphony, given its world premiere When Roger Sessions composed When here by Serge Koussevitzky exactly fifty Lilacs Last in the Dooryard Bloom'd, he years ago, on 22 and 23 April 1927, and used a copy of Leaves of Grass that he his Piano Sonata No. 1. During a six- bought at the Harvard Coop in 1911. month visit to New York in 1928, he He was fourteen, and a freshman at the became co-founder and co-director of the famous Copland-Sessions new-music concerts. When he returned for good in 1933, Sessions resumed his second career as teacher, to become the most important American teacher of composition in the last forty years: Leon Kirchner, Milton Babbitt, Hugo Weisgall, Vivian Fine, David Diamond, Edward T. Cone, Earl Kim, Andrew Imbrie, Donald Martino, John Harbison, and Fred Lerdahl are among his pupils. He worked briefly in New York and at Boston University, joined the Princeton faculty in 1935, spent seven years at the University of California at Berkeley, and eventually returned to Princeton, retiring in 1965. He has written several books as well as Roger Sessions countless articles and reviews. In 1968-69, he was Charles Eliot Norton professor at Harvard, and in 1974, the Pulitzer Prize committee, coming belatedly to its senses, awarded Sessions — and, for the same reason, Duke Ellington — a special CpV»Jj2#fc citation. He still teaches composition at i,p the Juilliard School and has written nearly half his music in the last twenty years. His catalogue includes eight symphonies, three concertos, two operas, The Trial of Lucullus and Montezuma (the latter produced last year by Sarah ESTABLISHED 1875 Caldwell), the huge scena for soprano More than a century and orchestra, The Idyll of Theocritus, of famous chamber music for various combinations, Italian foods three piano sonatas, a sonata for violin. TEL. 423-6340 He is now working on his Ninth Sym- 10 BOSWORTH ST., BOSTON, MASS. phony, "something I regard with both lack of superstition and lack of pretension." J5ft |S^<1' CASA ROMERO »> »OjJs?vf >**_ authentic Mexican cuisine ^ *S 30 Gloucester ^ \V\ 261-2146 * *$ Yfc^CAFE L'ANANAS rOv,^ restaurant & sidewalk cafe °*l 281a Newbury f^£ 3530176 267-3652 m *. m* % 955 Boylston * % Imperial Russian cuisine* HERMITAGE '*

10 .

His music is dense, active, highly day. When Lilacs Last in the Dooryard energetic (in the intellectual sense as Bloom'd was the 46-year old Whitman's well as the physical). Almost nothing response to that death and to the progress

in it is neutral, and even accompanying of the funeral train as it made its way figures are apt to be so specific as to take across the country to Springfield, Illinois. on a vivid life of their own. It throws It was published that Fall in Sequel to events at you at a tremendous rate and Drum-Taps and was eventually incor-

it is, as John Harbison has put it, all porated in Leaves of Grass*". "abundance and sublime wilfulness." No American poet has been set to

Its style has changed over the years, there music more than Whitman : Bacon, Bliss, being nothing left now of the Stravinskian Bloch, Carter, Castelnuovo-Tedesco, surface of the 1927 Symphony, but those Delius, Dello Joio, Hanson, Harris, characteristics have not. And the work Henze, Hindemith, Hoist, Loeffler,

is, at its center, profoundly traditional in rhythm and phrasing, in the tensions * Leaves of Grass grew over a period of 37 years and releases of its arching melodies, in from twelve poems to nearly 400. In 1865, its passionate commitment to what Whitman was fired from his clerkship in the Sessions likes to call "the long line," in Department of the Interior because Secretary its expressive and ethical intent. James Harlan thought Leaves of Grass The Whitman cantata continues a series indecent. of elegies begun with the Adagio of the Second Symphony, during whose writing the death of President Roosevelt oc- curred, and including the Piano Sonata No. 3, which is the composer's response to the death of President Kennedy, and the Canons for String Quartet, "written Dixieland at on the high seas" in memoriam Igor my place. Stravinsky*. The way into the music Consider me hep. is through the poem, as indeed the music After years oftrying, is the way — or a way — into the words. I have learned to like Dixieland. The Civil War, in which Whitman served The process was something like learn- in the offices of the Paymaster, the ing to like olives. Secretary of the Interior, the and Therefore, my restaurant in Boston Attorney-General, but also as a sort of now serves Dixielandjazz every nurse's aide and "consolant" in military Sunday evening. hospitals, was a critical emotional There's no cover charge and no mini- mum, and the prices are modest enough experience in his life. He always wanted to bring the family or friends, or anyone to put together a book in which he might else who might be a fan of good dining, gather that experience. It be part would good drinks, and goodjazzbands. mosaic, part history, he thought, but he Naturally, however, I'd rather appre-

never brought it about. (Walt Whitman's ciate it if, while you were here, youjoined Civil War, edited by Walter Lowenfels us for dinner: roast beef, fresh fish, J.C.

Irish . . — Alfred A. Knopf, 1960 — is something Hillary's English Father's Stew Or an olive or two, served within a like a realization of the plan, based on beverage. letters, lectures, journalistic reports, (The traditional drink of Martini etc.) poems, Abraham Lincoln was shot Street, or whatever, where Dixieland on 14 April 1865 and died early next was born.)

* These canons will be performed at the special J. C. HILLARY'S Music whose time has returned, LI D. convocation in honor of Roger Sessions at at precisely the same sort of restaurant. Boston University, Monday, 25 April, at 11 (see the announcement on page 33 of this 793 Boylston Street, directly land totally > opposite the Pru. 536-6300 program). Freevaletparking. Lunch 1 1:30-3:30. Dinnertill midnight

11 :

Schreker, Schuman, Valen, Vaughan in the second part, at the lines

Williams, Weill, make a very incomplete "O how shall I warble myself for the list of composers who have tackled his dead one there I loved? texts (and have sometimes, in turn, And how shall I deck my song for the been undone by them). Sessions turned to large sweet soul that is gone? Whitman for the first time in 1944, when And what shall my perfume be, to he set Turn O Libertad for mixed chorus adorn the grave of him I Love?" with piano duet. The sonorous "musi- If you know the poem, you will notice cality" in Whitman is seductive. The that Sessions has made some cuts in the sometimes inflated rhetoric is a potential second and third parts of the cantata. trap, and the recklessly large-breathed, Those parts of the poem, he points out, quasi-Biblical rhythms can present grave recapitulate and summarize, and that difficulties. And it is just there that expressive and structural task is one he Sessions is especially successful. His own has chosen to turn over to the music itself, art combines severity and control with which can accomplish it even more the "abundance, sublime wilfulness, powerfully and evocatively. (A few [and] Dionysian qualities" to which discrepancies in detail — "and" in place Harbison calls attention, and so, pro- of "with," for instance — arose because jecting the poetry now in simple chordal Sessions was working from memory: declamation, now in the long, high- some of these were later on caught and arched melodies of which he is the master, corrected, some were not.) From the he conveys wonderfully the feel and the beginning, Sessions establishes poetic variety of Whitman's lines. (Hindemith, and musical associations — of the figure in his setting of When Lilacs Last in the flute and clarinet play in the first measure,

Dooryard Bloom, 'd, completed in April for example, with the lilacs, or, more 1946 with Franklin D. Roosevelt in mind, broadly, with April ("fourth-month" in rather strait-laces those lines, while Delius, in the lovely Sea Drift, delicately and tenderly responsive to the poet's emotional world, tends to let everything run awfully liquid.) Sessions divides the text into three sections. The first presents the three symbols about which Whitman builds his poem — lilac, star, and thrush — and it is introductory in character, and very short. The second describes the progress

of the funeral train : it is pageantry and catalogues, public poetry, though ending in the quiet of "Sing on! sing on, you gray-brown ." bird! . . The third is Whitman's loving con-— templation of Death : its focal point and in fact that of the whole poem and

the whole cantata — is the Carol "Come, Lovely and soothing Death, Undulate round the world, serenely arriving, arriving, In the day, in the night, to all, to each, Sooner or later, delicate Death." For this moment, the composer reserves the sound of the solo contralto, a sound he has let us hear just once and briefly, Walt Whitman, young and old

12 Whitman's Quaker-borrowed language) and Spring and renewal; of a character- Thomas istic sequence and flavor of harmonies with the star in the western sky; of the Cook phrases for off-stage flute and piccolo, presents the SIXTH sometimes with xylophone, that evoke the song of the hermit thrush. Were there the space for it, one could Journey point to detail after detail in which that network of associations is elaborated; to the wonderfully fluid way in which the to Music composer moves the text in and out EUROPE 77 among the voices of the chorus and the soloists; to the special moments, like FROM BOSTON the undulating, swaying violin music for the "sea-winds blown from east and September 5-26, 1977 west;" the vaulted melody with which the violins follow the phrase. "Night and day journeys a coffin;" the "tolling, Tour conducted by tolling bells' perpetual clang;" the "glad John Salkowski serenades" and dances the poet proposes Member Boston Symphony Orchestra to Death, and the ecstasy in "I float this carol with joy, with joy to thee, O Death!"; the field after the battle and the obsessive, explosive returns to the word Many exciting performances "suffer'd;" the mixture near the end, part doublings, part variants, of chorus and sightseeing and orchestra at "Yet each I keep, and all, retrievements out of the night;" the last EDINBURGH phrase for bass clarinet, alto flute, trombone, clarinet, which does not MOSCOW cease so much as recede out of earshot . . . VLADIMIR -M.S. LENINGRAD NOVGOROD VIENNA MUNICH

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13 renditions of The Soldier's Farewell,

Whitman and music . . . My Mother's Bible, Lament of the Irish Emigrant, The Old Granite State, and

"But for the opera I could never have such sentimental and topical ballads. written Leaves of Grass, " Walt Whitman j At the outset he favored this sort of once said. Another time he described his music over "the agonized squalls, the "method" in the construction of poems as lackadaisical drawlings, the sharp ear- "strictly the method of the Italian Opera." piercing shrieks, the gurgling death- He had in mind not only the stage drama rattles" that had shaped his first and vocal expressiveness of Rossini, impressions of grand opera, the rage of Donizetti, Bellini, and Verdi, but their New York during the decade. Opera overtures, that had suggested to him an companies and lead singers from Paris, organizing principle for a new sort of Milan, London, Havana, and New poetry, unconventional, spontaneous, Orleans performed almost nightly during cadenced, and unrhymed. Few American the season at Niblo's, Palmo's, the poets have been as consciously and Broadway Theatre, the Park, the Bowery, deeply indebted to music as Whitman. Castle Garden, and the elegant new No other American poet, in turn, has had Astor Place. his work set to music by so many different Originally a narrow cultural nativist hands and to such good effect. in such matters, after about a year of As a journalist in Brooklyn during the opera-going Whitman came around to 1840s Whitman often crossed over to conceding that foreign composers and New York in the evening to listen performers exercised an elevating in- appreciatively enough to Mendelssohn's fluence on American musical taste. Soon oratorio St. Paul and to performances by his opera reviews moved from tolerance Henri Vieuxtemps, Ole Bull, and other to sophisticated enjoyment and finally foreign virtuosi. But for a while his to "passion." "Art-singing" and "heart-

"musical passion," as it called it, settled singing" were no longer opposed but had for homegrown and homelier manifes- been made one and the same by the tations: programs by itinerant family Italians. The music and drama of grand troupes — the Cheneys, the Hutchinsons, opera — rich, supple, expressive, the Alleghanians, Amphions, Harmon- liberating, and contemporary — had eons, and the like — who for him entered Whitman's sensibility and begun exemplified "heart-singing" as opposed to shape his poetic program. His con- to "art-singing." He was moved by their version became complete during the

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14 1852-1853 season when he attended all in the Dooryard Bloom 'd is one of the last the New York performances of the great of Whitman's major poems and among Marietta Alboni. "I hear the trained his fullest explorations in verse of the soprano," he was to write in Song of metaphors and formal latitudes of music. Myself in 1855, "she convulses me like True, the death of Lincoln, an archangel the climax of my love-grip." Music had in Whitman's imagination ("the sweetest, become for him the supreme "combiner, wisest soul of all my days and lands"), nothing more spiritual, nothing more also evoked the conventional and sensuous, a god, yet completely human." thoroughly uncharacteristic O Captain! "I remember where I was stopping at My Captain! To Whitman's disgust this the time," he recalled of Lincoln's became his most popular poem, a staple assassination on April 14, 1865, "the in recitations and school-readers. ("I say, season being advanced, there were many Damn My Captain . . . I'm almost sorry lilacs in full bloom. By one of those I ever wrote the poem," he remarked in caprices that enter and give tinge to 1888. "It had certain emotional immediate events without being at all a part of causes for being : that's the best I can say them, I find myself reminded of the great for it myself.") But When Lilacs Last in tragedy of that day by the sight and odor the Dooryard Bloom 'd did not lack of these blossoms. It never fails." The fervent admirers from the start. "The President's coffin was banked with sprays most sweet and sonorous nocturne ever of lilac. Written in intense emotion and chanted," Swinburne called it — the with great speed during the weeks terms he used acknowledge the poem's immediately following the tragedy (and fundamentally musical feeling and first published that fall), When Lilacs Last structure. There are three main symbols < N or motifs: the Star (the slain president), the Lilac (the poet's tribute), and the Bird "I ctesigned mq eqeuiear^ (voice of reconciliation and acceptance of "sane and sacred death"). Like musical for Ihe f(€€ spirit in qouf themes they are developed in a manner roughly analogous to the sonata form. — Justin Kaplan

Justin Kaplan, biographer of Mark Twain and of Lincoln Steffens, is writing a book on Walt Whitman.

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16 WHEN LILACS LAST IN THE DOOR-YARD BLOOM'D

I

When lilacs last in the door-yard bloom'd, And the great star early droop'd in the western sky in the night,

I mourn'd — and yet shall mourn with ever-returning spring.

O ever-returning spring! trinity sure to me you bring; Lilac blooming perennial, and drooping star in the west,

And thought of him I love.

O powerful, western, fallen star! O shades of night! O moody, tearful night! O great star disappear'd! O the black murk that hides the star! O cruel hands that hold me powerless! O helpless soul of me! O harsh surrounding cloud, that will not free my soul!

In the door-yard fronting an old farm-house, near the white-wash'd palings, Stands the lilac bush, tall-growing, with heart-shaped leaves of rich green,

With many a pointed blossom, rising, delicate, with the perfume strong I love, With ev'ry leaf a miracle and from this bush

A sprig, with its flower, I break.

In the swamp, in secluded recesses, A shy and hidden bird, Solitary, the thrush, The hermit, Sings by himself a song.

Song of the bleeding throat!

Death's outlet song of life — (for well, dear brother, I know, If thou wast not gifted to sing, thou would'st surely die.)

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II

Over the breast of the spring, the land, amid cities, Amid lanes, and through old woods, where lately the violets peep'd from the ground, Amid the grass in the fields, passing the endless grass; Passing the yellow-spear'd wheat, Passing the apple-tree blows of white and pink in the orchards;

Carrying a corpse to where it shall rest in the grave, Night and day journeys a coffin.

Coffin that passes through lanes and streets, Through day and night, with the great cloud darkening the land, With the pomp of inloop'd flags, with the cities drap'd in black, With the show of the States themselves, as of crape-veil'd women, standing, With processions long and winding, and the flambeaus of the night, With the silent sea of faces, With the waiting depot, the arriving coffin, and the sombre faces, And the dirges through the night, with the thousand voices rising strong and solemn; Pour'd around the coffin, The dim-lit churches and the shuddering organs, And the tolling, tolling bells' perpetual clang; Here! coffin that slowly passes,

I give you my sprig of lilac.

(Nor for you, for one, alone;

Blossoms and branches green to coffins all I bring

For fresh as the morning — this will I carol a song for you, O sane and sacred death.

All over bouquets of roses,

O death! I cover you over with roses and early lilies; But mostly and now the lilac that blooms the first,

With loaded arms I come, pouring for you, For you, and the coffins all of you, O death.)

O western orb, sailing the heav'n!

Now I know what you must have meant, As we walk'd up and down in the dark blue so mystic, As we walk'd in silence the transparent shadowy night,

As I saw you had something to tell, as you bent to me night after night,

As you droop'd from the sky low down, as if to my side, (while the other stars all look'd on ;

As we wander'd together, I saw, ere you went, how full you were of woe;

As I stood in the cold, transparent night,

As I watch'd where you pass'd, And my soul, in its trouble, sank.

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Sing on, there in the swamp!

O singer bashful and tender! I come — I understand you

But a moment I linger — for the star, my departing comrade, holds me.

O how shall I warble myself for the dead one there I loved?

And how shall I deck my song for the large sweet soul that is gone?

And what shall my perfume be, to adorn the grave of him I love?

Sea-winds, blown from east and west, Blown from the eastern sea, and blown from the western sea,

With these will I perfume the grave of him I love.

O what shall the pictures be that I hang on the chamber walls,

To adorn the burial-house of him I love?

Pictures of growing spring, and farms, and homes, With the Fourth-month eve at sundown, and the gray smoke lucid and bright, With floods of yellow gold of the gorgeous, indolent, sinking sun, burning, expanding the air With the fresh sweet herbage under foot, and the pale green leaves of the trees In the distance the flowing glaze of the river, with a wind-dapple here and there With ranging hills on the bank, with many a line against the sky, and shadows; And the city at hand, with dwellings so dense, and stacks of chimneys, And all the scenes of life, and the workshops, and the workmen homeward returning.

Lo! body and soul! this land! Mighty Manhattan, with spires, and the sparkling and hurrying tides, and the ships; This varied and ample land — the South and the North in the light — Ohio's shores, and flashing Missouri, And ever the far-spreading prairies, cover'd with grass and corn.

Lo ! the most excellent sun, so calm and haughty The violet and purple morn, with just-felt breezes The gentle, soft-born, measureless light:

The miracle, spreading, bathing all — the fulfill 'd noon The coming eve, delicious — the welcome night, and the stars, Over my cities shining all, enveloping man and land.

Sing on! sing on, you gray-brown bird! Sing from the swamps, the recesses — pour your chant Limitless out of the cedars and pines.

Sing on, dearest brother — warble your Loud human song, with voice of uttermost woe.

O liquid, and free, and tender! O wild and loose to my soul! O wondrous singer!

You only I hear the star holds (but will yet me, soon depart ; Yet the lilac, with its mastering odor, holds me. Ill

Now while I sat in the day, and look'd forth, In the close of the day, with its light, and the fields of spring, and the farmer preparing his crops, In the large unconscious scenery of my land, with its lakes and forests, In the heavenly aereal beauty, Under the arching heavens of the afternoon, and the voices of children and women, The many-moving sea-tides, and ships how they sail'd, And the summer approaching with richness, and the fields all busy with labor, And the infinite separate houses, each with its daily usages; And the streets, how their throbbings throbb'd, and the cities pent — lo! Falling upon them all, and enveloping me with the rest, Appear'd the cloud, appear 'd the long black cloud;

And I knew Death, its thought, and the sacred knowledge of death.

Then with the knowledge of death as walking one side of me, And the thought of death close-walking the other side of me, And, as holding the hands of companions,

I fled forth to the hiding, receiving night, Down to the shores of the water,

To the solemn shadowy cedars, and the ghostly pines so still.

And the singer so shy, receiv'd us comrades three;

And he sang what seem'd the carol of death, and a verse for him I love. And my spirit tallied the song.

Come, lovely and soothing Death, Undulate round the world, serenely arriving, arriving,

In the day, in the night, to all, to each, Sooner or later, delicate Death.

Prais'd be the fathomless universe, For life and joy, and for objects and knowledge curious; And for love, sweet love — But praise! praise! praise! For the sure-enwinding arms of cool-enfolding Death.

Dark Mother, always gliding near, with soft feet, Have none chanted for thee a chant of fullest welcome?

Then I chant it for thee — I glorify thee above all;

I bring thee a song that when thou must indeed come, come unfalteringly.

Approach, strong Deliveress!

When it is so — when thou hast taken them, I joyously sing the dead, Lost in the loving, floating ocean of thee, Laved in the flood of thy bliss, O Death.

From me to thee glad serenades,

Dances for thee I propose, saluting thee — adornments and feastings for thee; And the sights of the open landscape, and the high-spread sky, are fitting, And life and the fields, and the huge and thoughtful night.

The night, in silence, under many a star;

The ocean shore, and the husky whispering wave, whose voice I know; And the soul turneth to thee, O vast and well-veil'd Death, And the body gratefully nestling close to thee.

Over the tree-tops I float thee a song! Over the rising and falling waves — over the myriad fields, and the prairies wide- Over the dense-pack'd cities all, and the teeming wharves and ways,

I float this carol with joy, with joy to thee, O Death!

To the tally of my soul, Loud and strong kept up the grey-brown bird, With pure, deliberate notes, spreading, filling the night.

20 ; ; ; ; )

Loud in the pines and cedars dim, Clear in the freshness moist, and the swamp-perfume;

And I with my comrades there in the night.

While my sight unclosed, As to long panoramas of visions.

And I saw askant the armies,

I saw, as in noiseless dreams, hundreds of battleflags; Borne through the smoke of the battle, and pierc'd with missiles, I saw them, And carried hither and yon through the smoke, and torn and bloody; And at last for a few shreds left on the staffs, (and all in silence, And the staffs all splinter'd and broken.

I saw battle-corpses, myriads of them,

And the white skeletons of young men — I saw them

I saw the debris and debris of all the slain soldiers of the war; And we saw they were not as was thought They themselves were fully at rest — they suffer'd not The living remain'd and suffer'd — the mother suffer'd, And the wife and the child, and the musing comrade suffer'd, And the armies that remain'd suffer'd.

Passing the visions, passing the night; Passing, unloosing the hold of my comrades' hands; Passing the song of the hermit bird, and the tallying song of my soul,

Passing, I leave thee, lilac with heart-shaped leaves;

I leave thee there in the door-yard, blooming, returning with spring.

I cease from my song for thee; From my gaze on thee in the west, communing with thee, O comrade lustrous, with silver face in the night.

Yet each I keep, and all, retrievements out of the night

For the sweetest, wisest soul of all my days and lands . . . Lilac and star and bird, twined with the chant of my soul, There in the fragrant pines, and the cedars dusk and dim.

ON BEQUESTS . . .

Over the years, the Boston Symphony Orchestra has been the fortunate beneficiary of bequests from many persons. These bequests have added substantially to the orchestra's endowment, and it is unrestricted bequests that have played a critical role in making up the deficit each year. Bequests are a lasting tribute to one's belief in the Boston Symphony, and the orchestra is always deeply grateful to those who find it possible to remember it. Questions concerning bequests and other forms of gifts are welcomed in the Develop- ment Office, Symphony Hall, Boston, MA 02115 (617-266-1492, extension 131).

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MORE . .

Two excellent books on Vivaldi are Marc See three Pincherle's Vivaldi: Genius of the Baroque (Norton) and Walter Kolneder's sterling Antonio Vivaldi, his Life and Work (University of California). There are very good recordings of the Piccolo Concerto performances. by Sanvoisin with the Toulouse Chamber Orchestra (Seraphim — actually played The Museum's English on the flautino rather than the modern piccolo) and Hans Martin Linde with the Silver Collection . . . opening (Deutsche Seiler Chamber Orchestra April 6. Treasures of London Grammophon Archiv). No recording of

. . . April through May 8. the F major Bassoon Concerto is cur- 6 rently in print. The Folger's Coffee Collection Whitman's Leaves of Grass is available . . . April 6 through June 5. in many editions. The reprint of the 1855 edition, which of course does not include Seethe largest exhibi- When Lilacs Last in the Dooryard tion of English silver ever dis- Bloom'd, is worth having for its idio- played in the United States, syncratic introductory essay by Malcolm Cowley (Penguin paperback), and The at the Portable Walt Whitman, introduced by Mark van Doren, present a useful cross- section of Whitman's work (Viking, Museum of available in paperback). There is no book on Sessions, but Edward T. Cone's long Fine Arts, Boston interview with him in Perspectives on American Composers, from which the quotation on page 9 is taken, is ex- tremely interesting (ed. Benjamin Boretz and Edward T. Cone, Norton paperback: an essay on Session's music by Andrew

Imbrie, much of it fairly technical, is in the same volume). And you might find Sessions's Norton lectures, Questions About Music, of interest (Harvard, available in paperback). The Lilacs cantata being recorded for New World Records this month by the performers involved in these concerts. Two Sessions recordings of exceptional quality are those of the Violin Concerto, played by Paul Zukofsky, Gunther Schuller con- ducting the French Radio Orchestra (CRI) and of the Eighth Symphony and the Rhapsody for Orchestra, Frederik Prausnitz conducting the New Phil- harmonia (Argo, with works of Walling- ford Riegger and Thea Musgrave). — M.S.

25 Guest Artists FLORENCE QUIVAR

ESTHER HINDS Florence Quivar is a member of both the Metropolitan Opera and the New York Soprano Esther Hinds made her debut City Opera. She has sung with many of with the New York City Opera as the First the major U.S. orchestras including per- Lady in The Magic Flute. In 1974, she formances of Alexander Nevsky with the was Donna Elvira in Don Giovanni and Philadelphia Orchestra under Rostropo- Micaela in Carmen, which she sang at the vich", and with the Los Angeles Philhar- San Diego and Phoenix Opera Com- monic under Rozhdestvensky.Shehas done panies. She has also sung with Opera/ Verdi's Requiem with the Los Angeles South and the Cincinnati Opera. Her Philharmonic under Robert Shaw, and other roles include Ariadne at Juillard, with the Cleveland Orchestra under Lorin Cio-Cio-San in Madama Butterfly with Maazel and has also sung Mahler's Second the Houston Opera, the Countess in Le Symphony in Cleveland. Shortly after nozze di Figaro, and Bess in Porgy and her 1976 New York City Opera debut, Bess with the Detroit and Hartford Sym- Miss Quivar appeared with the Boston phonies. She has sung in concert and Symphony under Colin Davis in Handel's recital throughout the United States, Messiah and then performed with the Japan, Korea and has performed dur- Washington and Metropolitan Operas in ing summer months at the Aspen Music February. Festival under Walter Susskind and In May, she will make her Canadian James Levine, at the Dartmouth Music debut with Andrew Davis and the Toronto Festival, has sung Opera at the University Symphony in Berlioz's Romeo et Juliette. of Northern Colorado and concerts in She will also perform in the Cincinnati the New York City Parks as soloist with May Festival in' Mendelssohn's Elijah the Municipal Symphony of New York. conducted by James Levine. Miss Quivar In 1975, she sang Handel's Messiah with sang the role of Serena in Porgy and Bess the Syracuse Symphony and in July of at last year's Cincinnati May Festival, that year sang at the Spoleto Festival's and has recorded the work for London Homage to Samuel Barber. She also sang Records. In addition to the recording of the role of Cleopatra, under Gian-Carlo Porgy and Bess, she has recently recorded Menotti at the American Opera Center, Rossini's Stabat Mater with Thomas in the revised Antony and Cleopatra, by Schippers and the Cincinnati Symphony Samuel Barber. on Vox Records.

26 DOMINIC COSSA

Baritone Dominic Cossa was born in Jessup, Pennsylvania, to opera-loving parents who had emigrated from Perugia, Italy. Touring opera companies would visit nearby Scranton, and young Dominic heard his first opera at the age of four. However, as much as he loved music, he had no intention of pursuing it as a career and entered the University of Scranton to study psychology. It was after he had done graduate work in that subject that he heard of the Metropolitan Opera regional auditions. He knew no complete role, and had learned only a few arias, but he prepared Eri tu from Un ballo in maschera and entered the auditions. toire with the Metropolitan Opera Studio, Although he had never studied voice, he after winning the Met's National Council finished third and caught the attention of Auditions. His Metropolitan Opera debut one of the judges who had once sung with took place in 1970 and he has since ap- the Met. Anthony Marlowe wrote to peared with that company as Figaro, in Cossa praising his voice and Cossa de- the Barber of Seville, Marcello in La cided to study with him. Three years Boheme, Mercutio, in Romeo et Juliette, later, he auditioned for the New York and Valentin in Faust. City Opera and was immediately offered He has performed with both the New a contract for the fall season. He made his York City and Metropolitan Operas in European debut as Sharpless in Madama Europe, and has performed with the Butterfly in the Teatro Nuova in Milan, Strasbourg Opera du Rhin, and the and then returned to the U.S. He was Dallas Symphony, as well as with the engaged by the Cincinnati Summer Opera Company of Philadelphia, the Opera, the San Francisco Spring Opera, Chicago Symphony, the New Orleans the Fort Worth Opera, and many others, and Vancouver Operas and the Greater while at the same time learning the reper- Miami Opera Association. He was also invited to participate in the special Olym- LOIS SCHAEFER pic Games production of // Barbiere di Seviglia in Montreal, where he sang Lois Schaefer joined the Boston Symphony Figaro. Orchestra in 1965. She studied at the New England Conservatory with Georges Laurent, who was for many years prin- SHERMAN WALT cipal flute of the Boston Symphony. Before returning to Boston, she was Sherman Walt, Principal Bassoon, studied assistant first flute in the Chicago Sym- music at the University of Minnesota phony and first flute of the New York under the sponsorship of Dimitri Mitrop- City Opera Company. She has played in olous, and the Curtis Institute, where his the RCA Victor Orchestra, orchestras teachers included Ferdinand Del Negro, of major breadcasting companies in the and Marcel Tabuteau. Before joining the United States, and has been soloist with Orchestra in 1952, he was principal bas- the Boston Pops, Chicago and Springfield soon of the Chicago Symphony. Mr. Walt Symphonies. Miss Schaefer is a member teaches at Boston University, where he is of the New England Harp Trio with BSO Professor of Music, and at the Berkshire members Carol Procter and Ann Hobson. Music Center at Tanglewood.

27 TANGLEWOOD FESTIVAL CHORUS

The Tanglewood Festival Chorus was formed under the joint auspices of the Berkshire Music Center and Boston Uni- versity in 1970. The director since its foundation, John Oliver, is director of choral and vocal activities for Tangle- wood, a member of the MIT faculty and director of the MIT Choral Society. The Festival Chorus made its debut at Sym- phony Hall in a 1970 performance of Beethoven's Ninth Symphony, and has since taken part in concerts directed by William Steinberg, Seiji Ozawa, Eugene the Boston Symphony's Damnation of Ormandy, Colin Davis, Arthur Fiedler, Faust, conducted by Seiji Ozawa, was and Michael Tilson Thomas. Members of nominated for a Grammy as the best the chorus come from the Greater Boston choral recording of the year. They have area and from all walks of life, and they recently recorded 20th Century American rehearse throughout the year. The Choral Music for DGG with John Oliver Chorus's first appearance on records, in conducting.

Sopranos Altos Tenors Basses Cynthia Armstrong Mary Bennett Kent E. Berwick Peter Anderson Deborah London Berg Anne Butler Paul Blanchard Mitchell Brauner

Marie-Christine Casey Bette Carey Sewell E. Bowers, Jr. Neil Clark Susan Chapman Elizabeth H. Colt Albert R. Demers John W. Ehrlich

Victoria Clague Mary Crowe Paul Foster Bill Good Margo Connor Catherine Diamond Robert Greer Carl D. Howe

Susan R. Cook Ann Ellsworth Dean A. Hanson Daniel J. Kostreva

Lou Ann David June Fine Wayne Henderson Henry Magno, Jr. Kathrin Davidovich Roberta A. Gilbert James P. Hepp Martin Mason Yvonne Frazier Thelma Hayes Jeffrey Hoffstein Terry Melzer Marilyn L. Haskel Donna Hewitt Richard P. Howell Frank G. Mihovan Alice Honner Beth Holmgren Kent Kornmeyer John P. Murdock Beth Howard Karol Hommen Peter Krasinski Jules Rosenberg Frances Kadinoff Leah Jansizian Gregg Lange Peter Rothstein

Carole Stevenson Kane Alison D. Kohler Henry L. Lussier, Jr. Robert Schaffel Vivian LaMerder Dorothy Love Jack Maclnnis Eric Schwartz

Joyce Lucia Sharron J. Lovins Al Newcomb Frank Sherman Virginia Lambert Mason Nina Saltus Ray Parks Richard M. Sobel Betsy Moyer Janet Shapiro Stephen Pietrantoni Douglas Strickler H. Diane Norris Amy Wing Sheridan Peter D. Sanborn Jean Renard Ward Joan Pernice Lynne Stanton Robert W. Schlundt Nathaniel Watson Nancy Peterson Nancy Stevenson William Severson Pieter Conrad White Gail Ransom Laurie Stewart John Smith Robert T. Whitman

Rhonda Rivers Florence A. St. George Douglas Thompson Howard J. Wilcox Judith L. Rubenstein Lisa Tatlock Barbara A. Scales Kathi Tighe Francec Schopick Susan Watson

Bette L. Snitzer Maria E. Weber

Ann K. Staniewicz Mary J. Westbrook Jane Stein Janet Wade Pamela Wolfe 28 fd8?% 6ter(i*H} 6

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SYMPHONY HALL AMENITIES . . For the Friday afternoon concerts, both rooms will open at 12:15, with sand- SYMPHONY HALL, AND ALL wiches available until concert time. CONCERT AND TICKET CAMERA AND RECORDING EQUIP- INFORMATION - (617)-266-1492 MENT may not be brought into Symphony THE BSO IN GENERAL: The Boston Hall during the concerts. Symphony performs 12 months a year, LOST AND FOUND is located at the in Symphony Hall and at Tanglewood. switchboard near the main entrance. For information about any of the PUBLIC TELEPHONES AND AN Orchestra's activities, please call Sym- ELEVATOR can be found outside the phony Hall, or write the Boston Symphony Hatch Room on the Massachusetts Orchestra, Symphony Hall, Boston, Avenue side of the first floor. Massachusetts 02115. COATROOMS are located on both the THE BOX OFFICE is open from 10 a.m. first and second floors in the corridor on until 6 p.m. Monday through Friday. the first violin side, next to the Huntington Tickets for all Boston Symphony con- Avenue stairways. certs go on sale 28 days prior to the TICKET RESALE : If for some reason you concerts and phone reservations will are unable to attend a Boston Symphony be accepted. For outside events at Sym- concert for which you hold a ticket, you phony Hall, tickets will be available 3 may make your ticket available for resale weeks before the concert. No phone by calling the switchboard. This helps orders will be accepted for these events. bring needed revenue to the Orchestra, FIRST AID FACILITIES for both men and makes your seat available to some- and women are available in the Ladies one who wants to attend the concert. You Lounge on the first floor next to the will receive a tax deductible receipt as main entrance of the Hall. On-call acknowledgement for your contribution. physicians attending concerts should LATE COMERS are asked to remain in leave their names and seat locations at the corridors until they can be seated by the switchboard. ushers during the first convenient pause WHEELCHAIR ACCOMMODATIONS in the program. Those who wish to leave in Symphony Hall may be made by before the end of the concert are requested calling in advance. House personnel to do so between program pieces in order stationed at the Massachusetts Avenue not to disturb other patrons. entrance to the Hall will assist patrons in RUSH SEATS : There is a limited number wheelchairs into the building and to of Rush Tickets available for the Friday their seats. afternoon and Saturday evening Boston LADIES' ROOMS are located on the Symphony concerts (Subscription con- first floor, first violin side, next to the certs only). The Rush Tickets are sold at stairway at the back of the Hall, and on $1.50 each (one to a customer) in the the second floor on the Massachusetts Huntington Avenue Lobby on Fridays Avenue side near the elevator. beginning at 10 am and on Saturdays MEN'S ROOMS are located on the first beginning at 6 pm. floor on the Massachusetts Avenue side BOSTON SYMPHONY BROADCASTS: by the elevator, and on the second floor Concerts of the Boston Symphony are next to the coatroom in the corridor on heard in many parts of the United States the first violin side. and Canada by delayed broadcast. In LOUNGES AND BAR SERVICE: There addition, Friday afternoon concerts are are two lounges in Symphony Hall. The broadcast live by WGBH-FM (Boston Hatch Room on the first floor, and the 89.7), WMEH-FM (Bangor 90.9), WHEA- Cabot-Cahners Room on the second, FM (Portland 90.1), WAMC-FM (Albany serve drinks from one hour before each 90.3), and WFCR-FM (Amherst 88.5). performance and are open for a reason- Saturday evening concerts are also broad-

30 :

cast live by WGBH-FM, WMEH-FM, Friends of the Boston Symphony, please WHEA-FM, WCRB-AM & FM (Boston call the Friends Office Monday through 102.5 FM: 1330 AM), WFCR-FM and Friday between nine and five. If you are WPIB-FM (Providence 105.1). The already a Friend and would like to change majority of the Tuesday evening concerts your address, please send your new are broadcast live by WGBH-FM, address with the label from your BSO WAMC-FM, and WFCR-FM. newsletter to the Development Office, BSO FRIENDS: The Friends are sup- Boston Symphony Orchestra, Symphony porters of the BSO, active in all of its Hall, Boston, Massachusetts 02115. endeavors. Friends receive the monthly Including the mailing label will assure a BSO news publication and priority ticket quick and accurate change of address information. For information about the in our files.

Thursday* 28 April — 7 : 30-9 : 15 COMING CONCERTS . . . Thursday '10' series

Friday, 29 April — 2-3 : 45

SPECIAL CONCERT, OPEN TO THE Saturday, 30 April — 8 : 30-10 : 15 PUBLIC FREE OF CHARGE SEIJI OZAWA conducting Sunday, 24 April at 4, Sanders Theater, Mahler: Symphony No. 3 Cambridge Birgit Finnila, contralto Sessions: Piano Sonata No. 1 New England Conservatory Chorus, Russell Sherman, piano Lorna Cooke DeVaron, conductor Sonata for Violin Boston Boy Choir, Joseph Silverstein, violin Theodore Marier, conductor THESE ARE THE FINAL SYMPHONY CONCERTS OF THE SEASON

It's Bali

Come feast. On joyous platters of Polynesian delicacies. Roam through the mysteries of Bo-Bo Canton Sweet and Sour. Adventure through Mahi-Mahi Pineapple Spears and Pago Pago fruits. Present this ad for free hors d'oeuvres when ordering dinner for two. Open daily for Lunch and Dinner and our fabulous Polynesian Sunday Brunch KON TIKI PORTS fg ****r Sheraton-Boston Hotel SHERATON HOTELS & INNS. WORLDWIDE PRUDENTIAL CENTER. BOSTON, MASSACHUSETTS 617/236-2000

31 Take the Music home with you—

the <2S8t>

Harvard Sq., Cambridge

New England's Largest Record Center

Cod,Scrod, Schrod. Afish by any other name would still be a delight broiled to perfection at Parker's.

Come join us for lunch and dinner.

Come into the traditional warmth | of Parker's at the Parker House.

School and Tremont Street, Boston. Open for lunch, dinner and Sunday Brunch. Reservations 227-8600. Valet Dinner Parking.

32 . .

BOSTON SYMPHONY ORCHESTRA

SEIJI OZAWA Music Director

T Our Roger Sessions

Celebration Continues . . Sunday, April 24 at 4:00 pm in Sanders Theater, Harvard University: A FREE concert of Chamber Music by Roger Sessions. Joseph Silverstein performs the Sonata for Solo Violin and Russell Sherman performs the Piano Sonata No. 1

Monday, April 25 at 11:30 am at the Concert Hall, Boston University: A special convoca- tion—with music by Roger Sessions— for the awarding of an honorary doctorate in music, by the trustees of Boston University, to Roger Sessions. Sarah Caldwell will speak. (Open Free to the Public.

Share in the Celebration and Take the Opportunity to Meet Roger Sessions.

33 Are you a Friend?

A Friend is anyone who makes an annual con- tribution of any amount to support the Boston Symphony Orchestra. Please send your contri- bution to the Boston Symphony Orchestra today. Everyone who loves the Orchestra should con- tribute to help maintain its excellence.

A contribution of $25.00 or more entitles a Friend to receive the monthly BSO Newsletter and priority ticket information.

ANNUAL FRIENDS' MEETING

Friday, May 13, 1977 Symphony Hall

11:15 To hear an open rehearsal of the Boston Pops Orchestra Arthur Fiedler, conducting

Optional Box Lunch $5.00 A la Carte Bar

Yes, I would like to be a Friend and receive an invitation to the Annual Friends' Meeting.

The Orchestra's fiscal year is September 1 to August 31.

Name _ Address Zip Code

34 ,

elizabethgrady/face first Classics: Beethoven's Fifth Mozart's Jupiter Symphony Bach's Brandenburg Concertos

Zacharv's at The Colonnade

when it comes to the care of your skin trust only

elizabeth grady/face first Classic European cuisine for luncheon and dinner. never a charge for The Bar at Zacharv's. serving consultation/skin analysis classic drinks nightly, except Sunday

ELIZ4BEH GWDV '. FACE FUST t at the Colonnade Hotel 120 Huntington Avenue. Boston. V i pt. call ms. grady for J i ^y-* 536-4447 "- , _ rp r 39 newbury street, boston

How do you follow a great performance?

\X ith a late supper and a generous nightcap at

a most congenial rendezvous: The Cafe at The Ritz. It's an old

Boston friend with a new look . . . and delicious suppers are now served until half-past midnight. See you this evening?

The Ritz-Carlton v Hotel 35 Introducing the Bose 901® Series III in comparison to any

Series III: the most innovative new other speaker, regardless of size or speaker since the legendary price.

Bose 901 was introduced in 1968. For a full color 901 III

The 901 Series III reproduces brochure, write Bose, Dept. BSO, music with spaciousness and The Mountain, Framingham, realism unequalled, we believe, by Massachusetts »* any other speaker. Yet, due to its 01701. new, ultra-high-efficiency drivers, the 901 Series III requires less than Vs as much power as the original

901 : that means, for example, it can produce the same sound vol- ume with a 15 watt amplifier as the original 901 with a 50 watt ampli- fier. Outstanding bass perform- ance is made possible by the unique injection molded Acoustic Matrix™ enclosure (shown in this photograph of the 901 III with its grille and walnut veneer cabinet panels removed). To fully appreci- Patents issued and pending. Copyright © ate its spectacular performance, 1977 Bose Corp. Cabinets are walnut veneer. ask a Bose dealer to play the 901 Pedestals optional at extra cost

36 Accompanist to Boston Symphony Orchestra Boston Pops • Arthur Fiedler • Seiji Ozawa Andre Michel Schub • Tanglewood