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Hundredth Season

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601 Old Willets Path. Hauppauge, NY 11787 so *** '.<<*.

Seiji Ozawa, Music Director

Sir , Principal Guest Conductor Joseph Silverstein, Assistant Conductor

One Hundredth Season, 1980-81

The Trustees of the Boston Symphony Orchestra, Inc.

Abram T. Collier, Chairman Nelson J. Darling, Jr., President Philip K. Allen, Vice-President Mrs. Harris Fahnestock, Vice-President Leo L. Beranek, Vice-President Sidney Stoneman, Vice-President Roderick M. MacDougall, Treasurer John Ex Rodgers, Assistant Treasurer

Vernon R. Alden E. Morton Jennings, Jr. Irving W. Rabb Mrs. John M. Bradley Edward M. Kennedy Paul C. Reardon

Mrs. Norman L. Cahners George H. Kidder David Rockefeller, Jr.

George H.A. Clowes, Jr. David G. Mugar Mrs. George Lee Sargent

Archie C. Epps III Albert L. Nickerson William A. Selke

Mrs. John L. Grandin Thomas D. Perry, Jr. John Hoyt Stookey

Trustees Emeriti

Talcott M. Banks, Chairman of the Board Emeritus Allen G. Barry Edward G. Murray Mrs. James H. Perkins Richard P. Chapman John T. Noonan John L. Thorndike

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

Peter Gelb Gideon Toeplitz Daniel R. Gustin Assistant Manager Orchestra Manager Assistant Manager

Joseph M. Hobbs Walter D. Hill William Bernell Director of Director of Assistant to the Development Business Affairs General Manager Joyce M. Snyder Theodore A. Vlahos Richard Ortner Development Controller Administrator, Coordinator Berkshire Music Center Arlene Germain Katherine Whitty Financial Analyst Marc Solomon Coordinator Production of Elizabeth Dunton Boston Council Assistant Director of Sales Caroline E. Hessber^ Anita R. Kurland Charles Rawson Promotion Administrator of Coordinator Manager of Box Office Youth Activities E. Judith Gordon James Whitaker James F. Kiley Assistant Promotion Hall Manager, Operations Manager, Coordinator Symphony Hall Tanglewood

Steven Ledbetter Jean Miller MacKenzie Marc Mandel Director of Printing Production Editorial

PublicationsiwTii K^oorainawrCoordinator vCoordinator

Programs copyright ©1980 Boston Symphony Orchestra, Inc Cover photo by Peter Schaaf ''-/

tijflA

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

Mrs. Norman L. Cahners Chairman

William J. Poorvu Mrs. William H. Ryan Vice-Chairman Secretary

Charles F. Adams Jordan L. Golding J. William Middendorf II John Q. Adams Haskell R. Gordon Paul M. Montrone Mrs. Frank G. Allen Graham Gund Mrs. Hanae Mori Hazen H. Ayer Christian G. Halby Mrs. Stephen V.C. Morris

J.P. Barger Mrs. R. Douglas Hall III Richard P. Morse Mrs. Richard Bennink Mrs. Howard E. Hansen Stephen Paine, Sr.

David W. Bernstein Frank Hatch, Jr. David R. Pokross

Mrs. Edward J. Bertozzi, Jr. Ms. Susan M. Hilles Mrs. Curtis Prout

David Bird Mrs. Amory Houghton, Jr. Peter C. Read

Gerhard D. Bleicken Richard S. Jackson, Jr. Harry Remis William M. Bulger Mrs. Bela T. Kalman Mrs. Samuel L. Rosenberry

Curtis Buttenheim Mrs. Louis I. Kane Mrs. Jerome Rosenfeld Mrs. Mary Louise Cabot Leonard Kaplan Mrs. George R. Rowland

Julian Cohen Mrs. S. Charles Kasdon Francis P. Sears

Mrs. Nat King Cole Mrs. F. Corning Kenly, Jr. Gene Shalit Johns H. Congdon Mrs. Carl Koch Donald B. Sinclair Arthur P. Contas Robert K. Kraft Richard A. Smith

Mrs. Lewis S. Dabney Harvey C. Krentzman Peter J. Sprague Mrs. Michael H. Davis Benjamin H. Lacy Mrs. Edward S. Stimpson Mrs. C. Russell Eddy Mrs. Henry A. Laughlin Mrs. Richard H. Thompson

William S. Edgerly Mrs. James F. Lawrence Mark Tishler, Jr. Mrs. John H. Fitzpatrick Mrs. Charles P. Lyman Ms. Luise Vosgerchian Peter H.B. Frelinghuysen C. Charles Marran Robert A. Wells Paul Fromm Mrs. August R. Meyer Mrs. Donald Wilson

Carlton P. Fuller Edward H. Michaelsen John J. Wilson

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Centennial News

As the Boston Symphony Orchestra approaches its hundredth birthday next 22 Octo- ber, plans for the major event of the BSO's centennial celebrations are proceeding full speed ahead. Sunday, 18 October is the date for a gala concert and dinner dance: Seiji Ozawa will lead the orchestra in an unprecedented program featuring world-renowned guest artists , , , Rudolf Serkin, and

Isaac Stern, all of whom will be guests of honor at the dinner dance to follow at the Park Plaza Hotel. Invitations — 15,000 of them — will be mailed early in April, to all Boston Symphony Friends, Tanglewood Friends, and BSO subscribers, as well as members of the New York Friends.

Another highlight of the BSO's hundredth-anniversary celebrations is a poster specially commissioned from one of America's most prominent artists, Robert Rauschenberg, to commemorate the orchestra's one hundredth birthday; Mr.

Rauschenberg's creation is a strikingly colorful montage designed to symbolize the

Boston Symphony Orchestra. The poster is available in two forms: a special limited edition of 300 signed and numbered lithographs, available at $200 each, and a commercially printed edition available at $20 each. The lithograph is available through the Friends' Office in Symphony Hall, 266-1492, ext. 142; the commercial poster is available at the centennial exhibit sales booth in Symphony Hall.

The centennial exhibit, "The First Hundred Years," is another major focus of the BSO's hundredth-anniversary season; the exhibit opened in Symphony Hall on 26 February and continues through the end of the season. The display focuses on both the history of the orchestra and its broad range of activities — in Symphony Hall and at Tanglewood, the Berkshire Music Center and Pops— through a fascinating collection of historic photographs, press clippings and other original documents, and such original scores as Stravinsky's Symphony of Psalms and Prokofiev's Symphony No. 4, both commissioned for the orchestra's fiftieth anniversary a half-century ago. The BSO's centennial souvenir book, "The First Hundred Years," is available at the exhibit sales booth along with the commercially printed Rauschenberg poster.

BSO/100 Memorial Funds

The BSO/100 campaign has provided for the establishment of memorial funds to help bring guest soloists of exceptional distinction to the orchestra's concerts from time to time; these funds are permanent, and contributions may be made to them at any time after they have been established. To date, such funds have been established in memory of Elisa C Banks (Mrs. Talcott M. Banks) and Roberta Strang (Mrs. Arthur Strang) by gifts from their relatives and friends.

Radu Lupu's appearances as soloist this week are made possible in part by the Roberta Strang Memorial Fund. BSOonWGBH

Throughout the season, Morning Pro Musica host Robert J. Lurtsema has been interview- ing BSO personalities and guest artists. His final such interview of the season, with bass- baritone John Shirley-Quirk, who appears here for performances of Bach's St. John

Passion next week, can be heard on Monday, 13 April at 1 1 a.m. over WGBH-FM-89.7.

Reception for New Friends

New Friends of the Boston Symphony Orchestra — those who have given to the BSO for the first time as of 1 September 1980— are cordially invited to attend a special closed rehearsal of Bach's St. John Passion, Seiji Ozawa conducting, in Symphony Hall on Tuesday evening, 14 April promptly at 7:30 p.m. A reception will be held in the Cabot- Cahners Room during intermission. Please contact the Friends' Office in Symphony Hall, 266-1492, ext. 142, by Monday, 13 April.

1981 '82 Boston Symphony Subscriptions

Subscribers please note that renewal brochures for the Boston Symphony Orchestra's 1981-82 hundredth-birthday season will be mailed in early May, even though news of the season has already reached local papers. Current subscribers will be given priority in renewing their present seats and series. Information for new subscribers will be made available through newspaper advertisements in mid-May, after which subscription brochures will be available from Symphony Hall.

A Memorable Friend

Usually, it's not very difficult to spot the Symphony enthusiasts. Summer transports everyone to Tanglewood and a seat in the Shed. The rest of the year is devoted to an endless array of concerts, lectures, meetings, galas, benefits, and Friends' activities.

Yet some Symphony lovers are more reclusive, forming an invisible backbone of support through donations of time, energy, and dedication. Many of these friends are unknown to us and seem to appear suddenly, as if from nowhere, although they have been supporters of the BSO all along.

One such friend made nominal annual donations and came every Thursday for her evening at Symphony. She was not active in Symphony affairs, never choosing to attend receptions or social events. We knew her as one of the many people who supported us in any small way they could. When our friend passed away recently, she left the Boston Symphony Orchestra $100,000.

There are many ways in which you can help the BSO, especially during this critical centennial season. We are very grateful to those friends who have not only made the first hundred years possible, but have insured our success in the next hundred. If you would like more information about planned giving and bequests, please contact Joseph Hobbs in the Symphony Hall Development Office, 266-1492, ext. 131. Planned-Giving Luncheon Seminars

A Planned-Giving Luncheon Seminar hosted by Mrs. Lewis Dabney and Francis T. Sears will be offered on three consecutive Fridays — 10, 17, and 24 April — in the Symphony Hall Annex, with luncheon beginning at 12 noon. The seminar will begin at 12:30 p.m. and be conducted by John Brown, well-known expert on the tax advantages of charitable giving. These seminars are designed to provide an informative and educational opportunity for participants to become better acquainted with the many facets of Planned Giving, e.g., bequests, trusts, gifts of appreciated securities, and gifts of life insurance. Mr. Brown will explain some of the ways in which individuals may participate in a program designed to support the BSO and which at the same time offers many attractive tax incentives for the donor. Such gifts can result in both income-tax and estate-tax savings and at the same time provide contributors with income for the rest of their lives. If you are interested in attending one of these three seminars, please contact Joseph Hobbs in the Symphony Hall Development Office, 266-1492, ext. 131.

Symphony Hall Tours

Guided tours of Symphony Hall are available on most Tuesdays, and some Wednesdays, from 12:30 p.m. to 2 p.m. until the end of the Pops season in mid-July; other days may be available by special arrangement. The tours will be conducted for a minimum often and a maximum of fifty people, and groups must reconfirm 24 hours ahead of their date by calling the Friends' Office at 266-1348. Dates may be reserved by writing to

Symphony Hall Tours, Friends' Office, Symphony Hall, Boston, Massachusetts 021 15.

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Seiji Ozawa

In the fall of 1973, Seiji Ozawa became the thirteenth music director of the Boston Sym- phony Orchestra since the orchestra's founding in 1881. Born in 1935 in Shenyang, China, to Japanese parents, Mr. Ozawa studied both western and Oriental music as a child and later graduated from Tokyo's Toho School of Music

with first prizes in composition and conducting.

In the fall of 1959 he won first prize at the International Competition of Orchestra Con- ductors, Besancon, France. Charles Munch, then music director of the Boston Sympho- ny and a judge at the competition, invited him to Tanglewood for the summer follow- ing, and he there won the Berkshire Music Center's highest honor, the Koussevitzky Prize for outstanding student conductor. While working with in West Berlin, Mr. Ozawa came to the attention of , whom he accompanied on the 's spring 1961 tour, and he was made an assistant conductor of that orchestra for the 1961-62 season. His first professional concert appearance in North America came in January 1962 with the San Francisco Symphony Orchestra. He was music director of the Chicago Symphony's Ravinia Festival for five summers beginning in 1964, and music director for four seasons of the Toronto Symphony Orchestra, a post he relinquished at the end of the 1968-69 season in favor of guest conducting numerous American and European orchestras. Seiji Ozawa first conducted the Boston Symphony in Symphony Hall in January of 1968; he had previously appeared with the orchestra at Tanglewood, where he was made an artistic director in 1970. In December of that year he began his inaugural season as conductor and music director of the San Francisco Symphony Orchestra. The music directorship of the Boston Symphony followed in 1973, and Mr. Ozawa resigned his San Francisco position in the spring of 1976, serving as music advisor there for the 1976-77 season. As music director of the Boston Symphony Orchestra, Mr. Ozawa has strengthened the orchestra's reputation internationally as well as at home, leading concerts on the BSO's 1976 European tour and, in March 1978, on a nine-city tour of Japan. At the invitation of the Chinese government, Mr. Ozawa then spent a year working with the Peking Central Philharmonic

Orchestra; a year later, in March of 1979, he returned to China with the entire Boston Symphony for a significant musical and cultural exchange entailing coaching, study, and discussion sessions with Chinese musicians, as well as concert performances. Also in 1979, Mr. Ozawa led the

orchestra on its first tour devoted exclusively to appearances at the major music festivals of Europe. Here at home, he and the orchestra have just recently returned from the BSO's fourteen-

city Centennial Tour, the orchestra's first transcontinental tour in seventeen years, celebrating the BSO's hundredth birthday.

Seiji Ozawa pursues an active international career and regularly conducts the orchestras of Berlin, Paris, and Japan; his operatic credits include appearances at Salzburg, London's Covent

Garden, and La Scala in Milan, and he is scheduled to conduct Puccini's Turandot at the Paris Opera this spring. Mr. Ozawa has won an Emmy for the BSO's "Evening at Symphony" television series, the Grand Prix du Disque for his recording of Berlioz's Romeo et Juliette, a Grammy award and the Edison prize for his recording of the Berg and Stravinsky violin concertos with Itzhak Perlman, and several awards for his recording of Schoenberg's Gurrelieder, taped live in Symphony Hall. Recent releases with the orchestra include, from Philips, Stravinsky's he Sacre du printemps and, from CBS, a Ravel collaboration with mezzo-soprano Frederica von Stade. Slated for future release are Mahler's Symphony No. 8 and Hoist's The Planets from Philips; and, digitally recorded for Telarc, music of Beethoven— the Egmont Overture, Fifth Symphony, and, with pianist Rudolf Serkin, the Emperor Concerto. Violas Clarinets Burton Fine Harold Wright

Charles S. Dana chair Ann S. M. Banks chair Patricia McCarty Pasquale Cardillo Mrs. David Stoneman chair Peter Hadcock Eugene Lehner E-flat Clarinet Robert Barnes Jerome Lipson Bass Clarinet Bernard Kadinoff Craig Nordstrom Vincent Mauricci Bassoons Earl Hedberg Sherman Walt Joseph Pietropaolo Edward A. Taft chair Michael Zaretsky Roland Small * Marc Jeanneret BOSTON SYMPHONY Matthew Ruggiero * Betty Benthin ORCHESTRA Contrabassoon 1980/81 Cellos Richard Plaster Jules Eskin First Violins Horns Philip R. Allen chair Joseph Silverstein Charles Kavalovski Concertmaster Martin Hoherman Helen Sagoff Slosberg chair Vernon and Marion Alden chair Charles Munch chair Roger Kaza Mischa Nieland Emanuel Borok Daniel Katzen Estrier S. and Joseph M. Shapiro chair Assistant Concertmaster Patterson David Ohanian Helen Horner Mclntyre chair Jerome * Richard Mackey Max Hobart Robert Ripley Ralph Pottle Robert L. Deal, and Luis Leguia Enid and Bruce A. Deal chair * Carol Procter Charles Yancich Cecylia Arzewski * Ronald Feldman Edward and Bertha C. Rose chair Trumpets * Joel Moerschel Bo Youp Hwang Rolf Smedvig * Jonathan Miller Max Winder Roger Louis Voisin chair * Martha Babcock Harry Dickson Andre Come Eorrest F. Collier chair Timothy Morrison Gottfried Wilfinger Basses Trombones Fredy Ostrovsky Edwin Barker Ronald Barron Leo Panasevich Harold D. Hodgkinson chair J. P. and Mary B. Barger chair Sheldon Rotenberg Joseph Hearne Norman Bolter Alfred Schneider Bela Wurtzler Gordon Hallberg * Gerald Gelbloom Leslie Martin * Raymond Sird John Salkowski Tuba * Ikuko Mizuno John Barwicki Chester Schmitz * Amnon Levy * Robert Olson Timpani * Lawrence Wolfe Second Violins Everett Firth Marylou Speaker Sylvia Shippen Wells chair Fahnestock chair Flutes Vyacheslav Uritsky Doriot Anthony Dwyer Percussion Charlotte and Irving W. Rabb chair Walter Piston chair Charles Smith Ronald Knudsen Fenwick Smith Arthur Press Assistant Timpanist Leonard Moss Paul Fried Laszlo Nagy Thomas Gauger * Michael Vitale Frank Epstein Piccolo * Darlene Gray Lois Schaefer Harp * Ronald Wilkison Evelyn and C. Charles Marran chair Ann Hobson Pilot * Harvey Seigel * Jerome Rosen Personnel Managers Oboes * Sheila Fiekowsky William Moyer Ralph Gomberg * Gerald Elias Harry Shapiro Mildred B. Remis chair * Ronan Lefkowitz Wayne Rapier Librarians * Joseph McGauley Alfred Genovese Victor Alpert * Nancy Bracken William Shisler * Smirnoff Joel James Harper * Jennie Shames English Horn Laurence Thorstenber^ Stage Manager Phyllis Knight Deranek chair Alfred Robison * Participating in a system of rotated seating u ithin each string section. For100 years, their music has filled this great hall.

Now it can fill the nation. The Boston Symphony Orchestra. It's one of the world's best. And along with other top orchestras, it's part of the Bell System's "American Orchestras on Tour" program. Over a four-year period, this program is bringing great concert music to more than 100 American cities. And at New England ' e eph ne e re p rou d to hei; my^di sponsor it. (^mencan&rctwstr^ Because listening to beauti- / OfPJoUT ful music is nice. But sharing, / 4^ it is even nicer. /$

(O) New England Telephone BOSTON SYMPHONY ORCHESTRA

Seiji Ozawa, Music Director

Sir Colin Davis, Principal Guest Conductor

Joseph Silverstein, Assistant Conductor One Hundredth Season, 1980-81

Thursday, 9 April at 8 Friday, 10 April at 2 &=-^y-^^

Saturday, 1 1 April at 8

SIR COLIN DAVIS conducting

MOZART Serenade No. 6 in D, K.239, Serenata notturna

Marcia: Maestoso Menuetto Rondeau: Allegretto

JOSEPH SILVERSTEIN, violin MARYLOU SPEAKER, violin PATRICIA McCARTY, viola EDWIN BARKER, bass

MOZART No. 12 in A, K.414

Allegro Andante Allegretto

INTERMISSION

SCHUBERT Symphony No. 5 in B flat, D.485 (American premiere given by the Boston Symphony Orchestra on 10 February 1883)

Allegro Andante con moto Menuetto: Allegro molto Allegro vivace

Radu Lupu's appearances this week are made possible in part by the Roberta Strang Memorial Fund.

Thursday's and Saturday's concerts will end about 9:50 and Friday's about 3:50. Philips, Telarc, CBS, Deutsche Grammophon, and RCA records Baldwin piano Mr. Lupu plays the Steinway.

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

11 Week 20 wc mHi STCH mac Take a seat and help make the BSO comfortable* The BSO- 100 Fund was established three years ago to provide an endowment that will help support the BSO and its programs in the future. And although our goal of $15,7 million is now in sight, we are still

$1 Million short . . . and time is running out. The BSO- 100 Fund Drive must be completed this year. One of the ways you can help us reach our goal is to endow a seat in Symphony Hall, In appre- ciation of your $5,000 donation, your name will be engraved on a handsome brass plaque attached to a seat. You will become a part of one of the world's greatest concert halls, and your contribution to great music will be remembered by music-lovers in Symphony Hall for generations to come. There are other ways to show your support, too, from having your name inscribed on the Centennial Honor Roll to endowing a chair in the Orchestra, Please, stand up and be counted for the BSO- 100 Fund Drive. We need more than your applause; we need your support, ^3#fflW^f* For complete information on en- dowment opportunities and commem- orative gifts in the BSO-100 Fund, BSO please contact Joseph Hobbs, Director of Development, Boston Symphony lOO Orchestra, Symphony Hall, Boston, MA 02115, Tel. (617) 236-1823, 5°vy HMKlQKJKIKSlTIU^IttKsnSM,'';'

Drexel Burnham Lambert salutes the BSO on its centennial.

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Federal Street, Boston, MA 02110 (617 ) 482-3600. Offices in principal financial centers worldwide. Wolfgang Amade Mozart Serenade No. 6 in D, K.239, Serenata notturna Piano Concerto No. 12 in A, K.414 (385p)

Joannes Chrisostomus Wolfgang Gottlieb 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 "Serenata notturna" in Janu-

ary 1776; the date and location of its first performance are not known. Vincent d'lndy

conducted the first Boston Symphony Orchestra performances on 9 and 10

December 1921. Since then it has been per-

formed at Tanglewood in I960 under

Charles Munch and in Symphony Hall in February and March of 1971 under . The score calls for a solo ensemble consisting of two violins, viola, and double bass and a larger ensemble of timpani and strings. Mozart composed the A major piano concerto, K.414, late in 1782; the date of its first performance (most likely with the composer as soloist) is not known. The Boston Symphony Orchestra first performed the concerto in Worcester in April 1953, with soloist Lili Kraus and Pierre Monteux conducting. Erich Leinsdorfled a Tanglewood performance with Malcolm Frager in 1965, and Colin Davis conducted the most recent Symphony Hall performances in March 1976, with Peter Frank! as soloist. In addition to the solo piano, the score calls for two oboes, two horns, and strings.

A large part of Mozart's musical output— especially during the years before he went to Vienna for good— consisted of what we would call background music, compositions written for a party given by some socially prominent Salzburger, to be played perhaps during dinner to the inevitable non-musical accompaniment of conversation and the clatter of silverware and crockery. The lucky patrons who had the good fortune to find a genius providing the music for their party (whether they appreciated this fact or not) usually remain unidentified. Such is the case with the Serenata notturna. The title of the piece, "nocturnal serenade," suggests that it was intended for an outdoor performance on a summer's evening under the windows of a beloved, or of a distinguished personage being granted a special musical homage. But from Mozart's own dated manuscript, we know that he composed it in the month of January, when al fresco musical activity' would have been out of the question. It seems, then, that Mozart was instead recalling the fresh night air of in summer the deep mid-winter, and not for the first or last time. As with so many eighteenth-century serenades, the first movement is a march, theoretically designed to allow the musicians to enter and, if played again at the end, to exit. (Of course, string players— especially cellists and bassists— are not likely to march while playing, but the tradition grew up at a time when most serenades were for wind ensembles.) The playing off of solo quartet against the larger string ensemble punctu- ated by timpani lends a concerto grosso quality to the piece, and the occasional pizzicatos in the larger string group suggest guitars and other plucked strings that would

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16 often be part of a real serenade. The minuet has a Gallic grace, varied by the use of the

solo ensemble alone for the Trio. The closing rondo is the largest movement of this short, delightful work. One of the episodes comes as quite a surprise, with a sudden shift to a 3/4 Adagio for a stately dance-like passage presented by the solo quartet, soon followed by a 2/4 Allegro in the full ensemble. Both of the tunes presented here are interpolations, apparently melodies well-known to Mozart's audience but forgotten today. They are included as a kind of joke, but even though we have lost the key to

understanding its point, we can't complain, since the rondo theme recurs and concludes with the greatest charm and good humor.

One of Mozart's urgent concerns upon settling permanently in Vienna and entering into the state of matrimony, which meant that there would soon also be children to

provide for, was to establish himself financially. And one oi the best ways was to write and play piano concertos, which would serve the double function of promoting him as composer and performer. Thus began the series of the great Mozart concertos, starting with three rather modest works composed late in 1782 and early in the following year,

identified as Nos. 413, 414, and 415 in the Kochel catalogue. Actually it is now known

that K.414 was the first to be composed of the three, and the latest edition of Kochel

provides new numberings to indicate that fact. It was probably finished before the end

of 1782, since on 28 December Mozart wrote to his father to the effect that he still had

two more concertos to write (since he was planning to sell the group of three as manuscript copies on subscription). No doubt he was already quite advanced in the

sketching out of the two later concertos, because he was able to describe all three of them to his father in these enthusiastic terms:

These concertos are a happy medium between what is too easy and too difficult; they

are very brilliant, pleasing to the ear, and natural, without being vapid. There are passages here and there from which connoisseurs alone can derive satisfaction; but

these passages are written in such a way that the less learned cannot fail to be pleased, though without knowing why.

Mozart shows in this letter that one of his primary concerns was to please the general public, not just the "high-brows," a concern that he had already revealed in the Rondo for piano and orchestra, K.382, composed the preceding March as a decorative and

slightly fluffy new finale for the still older concerto, K.175.

More than simply pleasing the audience in performance, Mozart wanted to sell Charles River Concerts

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17 copies of the music, and the only way he could do that was to make it practical for performance not only by virtuosos appearing in public concert but also by the many ladies of the aristocracy and the middle class who played well but rarely if ever appeared in public. In order to attract this much larger audience of purchasers, Mozart took a leaf from the Opus 3 concertos of Johann Samuel Schroeter, which he had come to know several years earlier (on at least one occasion, he had recommended Schroeter's works highly, and he wrote cadenzas for several of them, proof enough that he either played them himself or assigned them to his students). Schroeter's trick was to write the orchestral part in such a way that the strings carry all of the essential material, with the winds supplying only color and reinforcement. That way, a concerto could be played successfully at home by a pianist with a string quartet. The effect would not, of course, be the same as a performance with the full orchestra in a public hall, but it would offer great musical satisfaction to the performers themselves, and that was the main point.

That this was in fact Mozart's intention with this group of three concertos is demon- strated by his letter to the Parisian publisher Sieber on 26 April 1783: "Well, this letter is to inform you that I have three piano concertos ready, which can be performed with full orchestra, or with oboes and horns, or merely a quattro [i.e., with a string quartet}."

This description can, however, apply only to the first two of the three concertos, K.414 and 413; the C major concerto K.415 requires larger orchestral forces for performance, and it is, in fact, K.415 that Mozart performed on 23 March and again in early April 1783. There is no evidence that he ever played K.414 in public, except for the fact that he wrote complete sets of cadenzas for the work, although that might only mean that one of his students played the piece. The earlier group of cadenzas may have been written at about the time of the original composition; the later set apparently dates from the winter of 1785-86 (they survive on a sheet containing sketches for Mozart's MORE MUSIC FORYOUR MONEY.

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18 later A major concerto, K.488, which was being composed at that time). It is possible that Mozart planned to include K.414 in one of the three concerts he intended to give in December 1785 and that the later set of cadenzas was written at that time.

Throughout the A major concerto, the keyboard seems to dominate more than it does in those concertos with larger orchestral complements, as if to compensate in some way for the diminutive orchestra. This appears not only in the normal "composed" parts of the concerto, but also in the "improvised" cadenza-like passages, of which there are a considerable number— one full cadenza in each of the three movements, as well as an additional Eingang (or "lead-in" to the return) in the middle of the second movement and two in the final movement. And, aside from having less of an orchestral battery to contend with, the piano dominates as always in Mozart's concertos by controlling the musical discourse and introducing new musical ideas of its own. The first-movement "development" section scarcely develops anything that has been heard in the exposition, but rather provides a comfortable interlude of modulatory activity leading back to the home key for the restatement, never suggesting any hint of severely intellectual thematic working-out. The slow movement opens with a quotation from a J.C. Bach symphony. Since the "London Bach," whom Mozart had met and admired as a child on his first London visit, had died on New Year's Day of 1782, Stanley Sadie suggests that the quotation makes the Andante an "elegy" composed in response to that event. The concluding rondo is a sprightly Allegretto, possibly Mozart's second solution to the choice of a finale, since in October 1 782 he had already composed a rondo in A that may have been intended for this position. But that earlier rondo kept its independence as a concert piece (K.386), and the Allegretto that now stands as the concluding member of the concerto is, in any case, both livelier and more fitting as a conclusion to this graceful and witty work.

— Steven Ledbetter

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HV& Symphony No. 5 in B flat, D.485

Franz Peter Schubert was born in Liechten-

tal, a suburb of Vienna, on 31 January 1797 and died in Vienna on 19 November 1828. The Symphony No. 5 was completed on 3

October 1816 and first played that fall at the

house of the composer and violinist Otto

Hatvuig in Vienna. The first public perfor-

mance was given at the Josefstddter Theater,

Vienna, on 17 October 1841, Michael Leiter- mayer conducting. Georg Henschel and the

Boston Symphony Orchestra gave the first American performances on 9 and 10 Febru- ary 1883. Later BSO performances were conducted by Karl Muck, Serge Koussevitzky, Charles Munch, Richard

Burgin, Erich Leinsdorf Seiji Ozawa, Charles Wilson, , Joseph

Silverstein, and David Zinman. Pinchas Zukerman led the most recent subscription perfor- mances in February 1979. The most recent Tanglewood performance was given by with the New York Philharmonic in August 1979, while the BSO was in Europe. The score calls for flute, two each of oboes, bassoons, and horns, plus strings.

When Schubert was fifteen years old, his voice changed, his five years as a choirboy in the Imperial chapel came to an end, and with them his residence at the Stadtkonvikt or City Seminary Like every boy in a boarding school he had complained about the food,

but he had also learned a lot. Under the guidance of the eminent Antonio Salieri, whose pupils included Beethoven and Liszt, he had become firmly grounded in composition (and had acquired the habit of dating his manuscripts, for which scholars are profoundly grateful). Playing in the orchestra under the direction of Joseph Spaun, a law student who would later become Schubert's closest and most constant friend, he also acquired invaluable knowledge of orchestral practice.

The presence of Salieri in Schubert's life continued to be a factor over the next four years, but the time from his leaving the seminary to his writing the Fifth Symphony was otherwise full of change and event. He spent a year in a teachers' training school and in August 1814 took a job at his father's school, teaching the tiniest tads their ABC. When that year of training began, he had just finished his First Symphony, after which he got

to work on his first large-scale opera, Des Teufels Lustschloss (The Devil's Pleasance). The year 1814 saw the revision of that work, the composition of major pieces in many genres,

and, most amazingly, the writing on 19 October of Gretchen am Spinnrade, his first

Goethe setting, his first masterpiece, and an achievement in musical fantasy and human

insight that no boy of seventeen has any business knowing how to bring off. The next

year, 1815, was a year with 145 songs in it, among them Erlkbnig, Heidenrbslein, and Rastlose Liebe, and there was time besides for two symphonies and other large-scale works for church, stage, and chamber. There were personal setbacks in 1816, notably the failure to land a teaching post at Laibach (now Ljubljana) and Goethe's frosty non- response to receiving a package of Schubert's songs. But the catalogue grew to include,

among other things, masterful songs like An Schwager Kronos, Seligkeit, Litanei, Der Wanderer, and a series from Goethe's Wilhelm Meister, the sonatas (falsely known as

21 Week 20 Boston Music Hall

SEASON 1883 - 83.

BOSTON SYMPHONY ORCHESTRA,

MR. CEORC HENSCHEL, CONDUCTOR.

Saturday, February 10th, at 8, P. M PROGRAMME.

OVERTURE. (Midsummer-night's Dream.) MENDELSSOHN.

CONCERTO FOR PIANO-FORTE in D minor, No. 4, op. 70. RUBINSTEIN. Moderate Poco animate Allegro Moderato assai Allegro assai

SYMPHONY in B flat. (1816.) SCHUBERT. Allegro Andante con moto Menuetto. (Allegro molto.)_Allegro vivace (MS. First time.)

Piano Solo.

a. Largo. Bach—Saint Saens. b. Etude C major, op. 23. Rubinstein.

SYMPHONIC POEM. (Tasso. Lamento e Trionfo.) LISZT.

SOLOIST:

MR. HIRAM G. TUCKER.

Mr. Tucker will use a Chickering Piano.

From the first American performance of the Schubert Fifth

22 sonatinas) for violin and piano, and the Tragic Symphony. In sum, the Schubert who wrote the Symphony No. 5, though a very young man whose twentieth birthday was about four months away, was an experienced and thoroughly professional composer.

In every way, this symphony is a brilliant achievement. We sense it in the utterly natural, breath-stoppingly original opening gesture that is both a beginning and a preparation for another beginning. We sense it not only in so piquant a moment but also in the grand harmonic strategy and the polyphonic skill upon which the powerful development is built. The songful second movement beautifully makes one of Schubert's favorite and most characteristic modulations to the key a major third below home (here from E flat to C flat). The minuet, fast, fiery, and really not minuet-like at all, confirms what Schubert's friends tell us — that Mozart's great G minor symphony was a special favorite. From this tight storm, however, the Trio brings relief in Schubert's most blissful vein. With the quick finale, Schubert returns to something like the mood, energy, and unostentatious, rich skill that informed the first movement.

—Michael Steinberg

Michael Steinberg, for many years music critic of the Boston Globe and from 1976 to 1979 the

Boston Symphony's Director of Publications, is now Artistic Adviser of the San Francisco Symphony Orchestra.

Where little do-re-mi can Uintoan n Ode toJoy,

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23 We wish the BSO A second century

As brilliant as the first.

When the BSO plays We are treated to balance Discipline and creativity

That's how we Manage your money And help you Conduct your financial affairs.

U/T United States Trust Company

Trust Department 40 Court Street, Boston (617) 726-7250 Bequests to the BSO

Over the years, the Boston Symphony Orchestra has been the recipient of bequests from many friends who have in this way associated themselves with the continuing life of the BSO. Every bequest, however modest, has been welcome and important. The Boston Symphony Orchestra will be glad to assist in every possible way and review the phrasing of any proposed form of bequest to the BSO. A bequest to the Orchestra may take one of several forms. An unrestricted bequest to the BSO may be worded: "I give to the Boston Symphony Orchestra, Boston, Massachusetts, the sum of . . . dollars." A bequest for a specific purpose may be worded: "I give to the Boston

Symphony Orchestra, Boston, Massachusetts, the sum of . . . dollars, the income to be used for ..." A residuary bequest may be worded: "All the rest, residue and remainder of my real and personal estate, 1 give to the Boston Symphony Orchestra, Boston, Massachusetts."

A bequest to the BSO may save you many dollars in estate taxes and probate costs. For further information or assistance, please contact the Symphony Hall Development

Office, Symphony Hall, Boston, Massachusetts 021 15, or call 266-1492, ext. 131.

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26 More. .

Stanley Sadie's Mozart (Grossman, also paperback) is a convenient brief life-and-works survey with nice pictures. Philip Radcliffe's Mozart Piano Concertos in the BBC Music

Guides (University of Washington paperback) is filled with valuable information; Cuthbert Girdlestone's rather overly poetic but detailed discussion of the Mozart concertos is available as a Dover paperback. There are two fine chapters on the piano concertos in The Mozart Companion, edited by H.C. Robbins Landon and Donald Mitchell (Norton paperback): one, by Friedrich Blume, deals with their sources, the other, by Robbins Landon, with musical origin and style. Sir Colin Davis leads the Philharmonia Orchestra in a performance of the Serenata notturna coupled with Eine kleine Nachtmusik and some German dances at a bargain price (Seraphim). Radu Lupu has recorded the K.414 concerto with the English Chamber Orchestra under , paired with the C major concerto, K.467 (London). is both soloist and conductor with the English Chamber Orchestra in a fine performance of K.414, coupled with Mozart's last piano concerto, K.595 in B flat (Columbia). Another recommended performance, by with the Academy of St. Martin-in-the-

Fields under , is coupled with the G major concerto, K.453 (Philips).

Geza Anda's splendid performance with the orchestra of the Salzburg Mozarteum is available now only as part of a twelve-record set of the complete concertos (DG).

There has been a great deal of new Schubert research in recent years, and no single book is entirely up-to-date, but Maurice J.E. Brown's Schubert: A Critical Biography (Da

Capo) is very good. Brown has also written the Schubert article in the New Grove and contributed an excellent booklet on Schubert Symphonies to the BBC Music Guides (University of Washington paperback). Basic source material, providing a close, person- al view of the composer that is both absorbing and moving, can be found in two compilations of fundamental importance, both edited by Otto Erich Deutsch (whose last initial is the "D." of the catalogue numbers of Schubert's works): The Schubert

Reader, consisting of assembled documents, concert programs, press notices, letters, diaries, and the like (currently out of print, but available in a good music library), and

Schubert: Memoirs by his Friends, in which many people who knew Schubert closely recalled him for early researchers in a kind of early oral history project (Da Capo). The earliest full-scale biography of Schubert, by Kreissle von Hellborn, is fascinating for its views of a composer just beginning to be established as one of the great masters (in 1865 — more than thirty years after his death!); the 1869 English translation by A.D.

Coleridge has been reissued by Vienna House. On recordings, the Symphony No. 5 is almost always coupled with the Unfinished, as in all but the last of those mentioned here

(in which the Fifth fills the entire record): Bernard Haitink and the Concertgebouw (Philips), Karl Bohm and the (DG), and and the

Columbia Symphony (Columbia). Dennis Russell Davies leads the St. Paul Chamber Orchestra in a reading that emphasizes the chamber-music character of this symphony compared to all of Schubert's other works in the genre; the direct-to-disc recording is extraordinarily clear in sound, but makes for a somewhat cautious performance here and there (Sound 80).

-S.L.

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28 Sir Colin Davis

came in 1965. He was principal conductor of the BBC Symphony Orchestra until 1971, at which time he became music director of the Royal Opera. New productions he has led at Covent Garden include Mozart's Le nozze di Figaro, Don Giovanni, La clemenza di Tito, and Idomeneo; Sir Michael Tippett's Midsummer Marriage, The Knot Garden, and The Ice Break; Wagner's Ring cycle, Berlioz's Les Troyens, and 's Peter Grimes. Sir Colin made his debut at New York's Metropolitan Opera in 1967 with a new production of Peter Grimes, and he has returned there for Pelleas

et Melisande and Wozzeck. The first British conductor ever to appear at Bayreuth, he opened the 1977 festival there with Wagner's Tannhauser, a production filmed by Unitel.

Sir Colin records regularly with the Amsterdam Concertgebouw, the Boston Symphony, the London Symphony, and the Royal Opera House orchestras. Among his Knighted a year ago February, Sir Colin many recordings for Philips are Mozart's he Davis is principal guest conductor of the nozze. di Figaro, Don Giovanni, Cosi fan tutte, Boston Symphony Orchestra, music director and Die Entfiihrung aus dem Serail; Puccini's of the Royal Opera, Covent Garden, and Tosca and La boheme; Verdi's Un hallo in principal guest conductor of the London maschera; Britten's Peter Grimes; symphonic Symphony Orchestra. He has been decorated and operatic works by Tippett; a Berlioz cycle the governments of England, France, and by for which he has received the Grosse Italy, and his European engagements include Deutscher Schallplattenpreis; and, with the regular concerts with the Amsterdam Con- Boston Symphony, the complete symphonies certgebouw, the Berlin Philharmonic, and the of Sibelius, for which he was awarded the Orchestre de Paris. Since his American debut Sibelius Medal by the Helsinki Sibelius in 1960 with the Minneapolis Symphony, Sir Society. Recent releases with the Amsterdam Colin has appeared with the orchestras of Concertgebouw include a digitally recorded New York, Philadelphia, Los Angeles, and Mussorgsky/Ravel Pictures at an Exhibition, Boston, where he has conducted the BSO the Dvorak Violin Concerto with Salvatore annually since 1967, and where he became Accardo, and Haydn Symphonies 86, 98, 101, the BSO's principal guest conductor in 1972. and 102. Forthcoming BSO releases include From 1959 to 1965, Sir Colin was music Schubert's Great C major symphony, and the director of Sadler's Wells (now English Schumann and Grieg piano concertos with National) Opera. He made his Covent , whose recording of the Garden debut with the Royal Ballet in 1960, Tchaikovsky concerto with Sir Colin and the and his operatic conducting debut there BSO was issued last year.

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30 Radu Lupu

monic and the Berlin Philharmonic — his Berlin Philharmonic debut was with Herbert von Karajan at the Salzburg Easter Festival in 1978— and he has appeared with the Philharmonic, the Amsterdam Con- certgebouw, and the Orchestre de Paris.

Radu Lupu was born in Rumania in 1945. He began studying piano at age six, making his public debut with a complete program of his own music at twelve and continuing his studies for a number of years with Florica Muzicescu and . In 1961 he was awarded a scholarship to the and remained there for seven

years; during this time he won first prize in three competitions: the 1966 Van Cliburn, the 1967 Enesco International, and the 1969 Leeds. In addition to numerous recital engagements throughout North America, Since winning the 1969 Leeds Piano Com- Mr. Lupu performed last season with the Los petition, Radu Lupu has established himself Angeles Philharmonic, the Philadelphia as one of the most prominent pianists of his Orchestra, the , the New generation. Although based in London, York Philharmonic, the National Symphony where he has played with all the leading in Washington, D.C., and the symphony British orchestras, his concert career has orchestras of San Francisco, Baltimore, taken him all over the world. Following his Toronto, Montreal, Detroit, and Vancouver. first major American appearances with the Cleveland Orchestra and Mr. Lupu has a long-term contract with in New York in 1972, and an enormous Decca-London records and has so far made success with the Chicago Symphony under more than twenty records, including the , Mr. Lupu has appeared complete Mozart violin and piano sonatas and been re-engaged in every important with and the complete

American city. He has played with the Los Beethoven piano concertos with Zubin Angeles Philharmonic under Mehta and Fos- Mehta and the Israel Philharmonic. His

ter, the Chicago Symphony under Solti, the recording of Beethoven's Third Piano Con- New York Philharmonic, and the certo with and the London Philadelphia Orchestra; with the Boston Symphony was voted the outstanding concer- Symphony Orchestra, Mr. Lupu performed to disc of 1972 both in this country and in Mozart's Piano Concerto No. 23, K.488, Europe, and he has recently begun recording

under the direction of Kazuyoshi Akiyama in all the piano sonatas of Franz Schubert. Mr.

December 1977. In Europe, he is a regular Lupu has recorded the Mozart Piano Concer-

visitor to all the great music centers both in to No. 12, which he performs here this week, recital and orchestral concerts. He has been with Uri Segal and the English Chamber soloist many times with the Vienna Philhar- Orchestra.

31

WBBi This is a Coach Bag It io nno r\f tu/Qnh;_oiv email nr»Q/Hiiim an/H larna ^—J It is one of twenty-six small, medium and large Shoulder Bags, Pouches, Clutches, Totes, Satchels and Portfolios that we make in ten colors of real Glove Tanned Cowhide. Coach® Bags are sold in selected stores throughout the country. If you cannot find the one you want in a store near you, you can also order it directly from the Factory. For Catalogue and Store List write or call: Consumer Service, Coach Leatherware, 516 West 34th St., 10001. Tel: (212) 594-3914.

:*w FRIENDS' WEEKEND AT TANGLEWOOD by chartered Greyhound motor coach July 24 through July 26, 1981

FRIDAY, JULY 24 12:30 p.m. Leave Boston Stay at Red Lion Inn, Stockbridge 5:00 p.m. Cocktails and dinner in Tent, Tanglewood 7:00 p.m. Prelude 9:00 p.m. Concert (best seat locations)

SATURDAY, JULY 25 Free for breakfast 10:00 a.m. Open rehearsal followed by picnic lunch at Seranak 6:00 p.m. Cocktails and dinner at private home in Berkshires 8:30 p.m. Concert (best seat locations) followed by nightcap in Tent with special guests SUNDAY, JULY 26

Free for breakfast 10:00 a.m. Chamber concert 12:00 noon Leave Tanglewood — box lunch on bus en route home RESERVATIONS FOR FRIENDS ONLY!!

I enclose check for reservation(s) at $300.00 each (double occupancy) including

$50.00 tax-deductible gift to the Friends of the Boston Symphony Orchestra, Inc. $315.00 for single occupancy.

Name

Add ress

Please make checks payable to Council, Boston Symphony Orchestra and mail to

Friends' Office, Symphony Hall, Boston, Mass. 02 1 1 5.

Reservations accepted in order received.

33 Join morning pro musica's host Robert J. Lurtsema as he surveys the Boston Symphony Orchestra's 100th Anniversary sea- son through a series of informal conversations with featured soloists, conductors, and composers.

Morning pro musica is now heard coast to coast on stations of the Public Radio Cooperative in- cluding, in the New York/New England area:

WGBH (fm 90) Boston, MA WFCR(88.5fm) Amherst, MA

WAMC (90.3 fm) Albany, NY

WNYC (93.9 fm) New York, NY WVPR(89.5fm) Vermont Public Radio

WMEH (90.9 fm) Bangor, ME WMEA(90.1fm) Portland, ME

WMEM (106.1 fm) Presque Isle, ME WPBH(90.5fm) Hartford, New Haven, Waterbury, CT .

Coming Concerts Howabout Wednesday, 15 April at 7:30 Open Rehearsal Steven Ledbetter will discuss the program dinner at 6:45 in the Annex Function Room. Thursday, 16 April-8-10:30 at my place?" Saturday 'odd' series Friday, 17 April -2-4:30 SEIJI OZAWA conducting

Bach St. John Passion SHEILA ARMSTRONG, soprano LORNA MYERS, mezzo-soprano KENNETH RIEGEL, tenor JOHN ALER, tenor BENJAMIN LUXON, baritone JOHN SHIRLEY-QUIRK, bass-baritone

Friday, 24 April— 2-4 Saturday, 25 April— 8-10 SEIJI OZAWA conducting Haydn Symphony No. 39

Wagner Tristan und Isolde,

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36 TheBoston Symphony Orchestra.

At your place. Friday night.

Tune in at9p.m.WCRB 102.5 FM A Honeywell presentation

Honeywell is also sponsoring the Pops this summer on WGBH-TV, Channel 2, Sundays at 8 p.m. Man marsh New England has a store of its own. " A UNIT OF AILED STORES Symphony Hall Information

SYMPHONY HALL, AND CONCERT AND TICKET INFORMATION -call (617) 266-1492. For Boston Symphony concert program information, call "C-O-N-C-E-R-T."

THE BSO IN GENERAL: The Boston Symphony performs ten months a year, in Symphony Hall and at Tanglewood. For information about any of the orchestra's activities, please call Symphony Hall, or write the Boston Symphony Orchestra, Symphony Hall, Boston, Massachusetts 021 15. THE SYMPHONY HALL ANNEX, adjacent to Symphony Hall on Huntington Avenue, may be entered by the new Symphony Hall West Entrance on Huntington Avenue. FOR SYMPHONY HALL RENTAL INFORMATION, call (617) 266-1492 or write the Hall Manager, Symphony Hall, Boston, Massachusetts 021 15.

THE BOX OFFICE is open from 10 a.m. until 6 p.m. Monday through Saturday; on concert evenings, it remains open through intermission for BSO events or just past starting-time for other events. In addition, the box office opens Sunday at 1 p.m. when there is a concert that afternoon or evening. Single tickets for all Boston Symphony concerts go on sale twenty-eight days before a given concert once a series has begun, and phone reservations will be accepted. For outside events at Symphony Hall, tickets will be available three weeks before the concert. No phone orders will be accepted for these events.

FIRST AID FACILITIES for both men and women are available in the annex on the first floor near the Huntington Avenue west entrance. On-call physicians attending concerts should leave their names and seat locations at the switchboard near the main entrance to Symphony Hall on the Massachusetts Avenue side of the building.

A WHEELCHAIR RAMP is available at the Huntington Avenue west entrance to the Symphony Hall Annex.

LADIES' ROOMS are located on the first floor, first violin side, next to the stairway at the stage side of the hall, and on the second floor on the Massachusetts Avenue side near the elevator.

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

COATROOMS are located on both the first and second floors in the corridor on the first violin side, next to the Huntington Avenue stairways. The BSO is not responsible for personal apparel or other property of patrons.

LOUNGES AND BAR SERVICE: There are two lounges in Symphony Hall. The Hatch Room on the orchestra level and the Cabot-Cahners Room on the first-balcony level serve drinks starting one hour before each performance. For the Friday afternoon concerts, both rooms open at 12:15, with sandwiches available until concert time.

SMOKING is forbidden in any part of the Symphony Hall auditorium and is permitted only in the lobbies and lounges. CAMERA AND RECORDING EQUIPMENT may not be brought into Symphony Hall during the concerts.

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

39 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 switchboard. This helps bring needed revenue to the orchestra and makes your seat available to someone who wants to attend the concert. You will receive a receipt acknowledging your tax-deductible contribution.

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

RUSH SEATS: There are a limited number of Rush Tickets available for the Friday afternoon and Saturday evening Boston Symphony concerts (subscription concerts only). The continued low price of the Saturday tickets is assured through the generosity of two anonymous donors. The Rush Tickets are sold at $4.00 each, one to a customer, at the west entrance to the Symphony Hall Annex on Huntington Avenue on Fridays beginning at 9 a.m. and Saturdays beginning at 5 p.m.

BOSTON SYMPHONY BROADCASTS: Concerts of the Boston Symphony Orchestra are heard by delayed broadcast in many parts of the United States and Canada through the Boston Symphony Transcription Trust. In addition, Friday afternoon concerts are broadcast live by WGBH-FM (Boston 89.7), WAMC-FM (Albany 90.3), WMEA-FM (Portland 90.1), WMEH-FM (Bangor 90.9), and WMEM- FM (Presque Isle 106.1). Live Saturday evening broadcasts are also carried by WGBH- FM and WAMC-FM, as well as by WCRB-FM (Boston 102.5), WFCR-FM (Amherst 88.5), and WPBH-FM (Hartford 90.5). Most of the Tuesday evening concerts are broadcast live by WGBH-FM. If Boston Symphony concerts are not heard regularly in your home area, and you would like them to be, please call WCRB Productions at (617) 893-7080. WCRB will be glad to work with you and try to get the BSO on the air in your area.

BSO FRIENDS: The Friends are supporters of the Boston Symphony, active in all of its endeavors. Friends receive BSO, the orchestra's newsletter, as well as priority ticket information. For information, please call the Friends' Office at Symphony Hall week- days between 9 and 5. If you are already a Friend and would like to change your address, please send your new address with your newsletter label to the Development Office, Symphony Hall, Boston, Massachusetts 021 15. Including the mailing label will assure a quick and accurate change of address in our files.

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