BOSTON Symphony Orchestra

Seiji Ozawa MUSIC DIRECTOR

One Hundred Eleventh Season LASSALE THE ART SEIKOOF Seiji Ozawa, Music Director

One Hundred and Eleventh Season, 1991-92

Trustees of the Boston Symphony Orchestra, Inc.

Nelson J. Darling, Jr., Chairman Emeritus

J.P. Barger, Chairman George H. Kidder, President Mrs. Lewis S. Dabney, Vice-Chairman Archie C. Epps, Vice-Chairman Mrs. John H. Fitzpatrick, Vice-Chairman William J. Poorvu, Vice-Chairman and Treasurer

David B. Arnold, Jr. Dean Freed Mrs. August R. Meyer Peter A. Brooke Avram J. Goldberg Molly Millman James F. Cleary Francis W. Hatch Mrs. Robert B. Newman John F. Cogan, Jr. Julian T. Houston Peter C. Read Julian Cohen Mrs. Bela T. Kalman Richard A. Smith

William M. Crozier, Jr. Mrs. George I. Kaplan Ray Stata Deborah B. Davis Harvey Chet Krentzman Nicholas T. Zervas Nina L. Doggett R. Willis Leith, Jr. Trustees Emeriti Vernon R. Alden Mrs. Harris Fahnestock Mrs. George R. Rowland Philip K. Allen Mrs. John L. Grandin Mrs. George Lee Sargent Allen G. Barry E. Morton Jennings, Jr. Sidney Stoneman Leo L. Beranek Albert L. Nickerson John Hoyt Stookey Mrs. John M. Bradley Thomas D. Perry, Jr. John L. Thorndike Abram T. Collier Irving W. Rabb

Other Officers of the Corporation

John Ex Rodgers, Assistant Treasurer Michael G. McDonough, Assistant Treasurer Daniel R. Gustin, Clerk

Administration Kenneth Haas, Managing Director Daniel R. Gustin, Assistant Managing Director and Manager of Tanglewood

Michael G. McDonough, Director of Finance and Business Affairs Evans Mirageas, Artistic Administrator Caroline Smedvig, Director of Public Relations and Marketing Josiah Stevenson, Director of Development Ray F. Wellbaum, Orchestra Manager

Robert Bell, Manager of Information Systems Patricia Krol, Coordinator of Youth Activities Peter N. Cerundolo, Director of Steven Ledbetter, Musicologist & Corporate Development Program Annotator Constance B.F. Cooper, Director of Boston Marc Mandel, Publications Coordinator Symphony Annual Fund John C. Marksbury, Director of Madelyne Cuddeback, Director of Foundation and Government Support Corporate Sponsorships Julie-Anne Miner, Manager of Fund Reporting Patricia Forbes Halligan, Director of Richard Ortner, Administrator of Personnel Services Tanglewood Music Center Sarah J. Harrington, Budget Manager Scott Schillin, Assistant Manager, Margaret Hillyard-Lazenby, Pops and Youth Activities Director of Volunteers Joyce M. Serwitz, Associate Director of Russell M. Hodsdon, Manager of Box Office Development/Director of Major Gifts Bernadette M. Horgan, Public Relations Cheryl L. Silvia, Function Manager Coordinator Michelle Leonard Techier, Media and Production Craig R. Kaplan, Controller Manager, Boston Symphony Orchestra Nancy A. Kay, Director of Sales & Robin J. Yorks, Director of Tanglewood Marketing Manager Development Susan E. Kinney, Assistant Director of Development

Programs copyright ©1992 Boston Symphony Orchestra, Inc. Cover by Jaycole Advertising, Inc. Board of Overseers of the Boston Symphony Orchestra, Inc.

John F. Cogan, Jr., Chairman Thelma E. Goldberg, Vice-Chairman Mrs. Susan D. Hall, Secretary

Mrs. Herbert B. Abelow Mrs. Haskell R. Gordon Richard P. Morse Amanda Barbour Amis John P. Hamill E. James Morton Harlan Anderson Daphne P. Hatsopoulos David G. Mugar Caroline Dwight Bain Bayard Henry Robert J. Murray Mrs. Leo L. Beranek Glen H. Hiner David S. Nelson Lynda Schubert Bodman Mrs. Marilyn Brachman Hoffman Mrs. Hiroshi H. Nishino Donald C. Bowersock, Jr. Ronald A. Homer Robert P. O'Block William M. Bulger Lola Jaffe Paul C. O'Brien Mrs. Levin H. Campbell Anna Faith Jones Vincent M. O'Reilly Earle M. Chiles H. Eugene Jones Andrall E. Pearson Gwendolyn Cochran Hadden Susan B. Kaplan John A. Perkins William F. Connell Mrs. S. Charles Kasdon Millard H. Pryor, Jr. Walter J. Connolly, Jr. Richard L. Kaye Robert E. Remis Jack Connors, Jr. Mrs. Gordon F. Kingsley William D. Roddy Albert C. Cornelio Allen Z. Kluchman John Ex Rodgers Phyllis Curtin Koji Kobayashi Keizo Saji JoAnne Dickinson Mrs. Carl Koch Roger A. Saunders

Harry Ellis Dickson David I. Kosowsky Mrs. Raymond H. Schneider Phyllis Dohanian George Krupp Malcolm L. Sherman Hugh Downs John R. Laird Mrs. Donald B. Sinclair Goetz B. Eaton Mrs. Hart D. Leavitt L. Scott Singleton Harriett M. Eckstein Laurence Lesser Ira Stepanian Deborah A. England Stephen R. Levy William F. Thompson Edward Eskandarian Frederick H. Lovejoy, Jr. Mark Tishler, Jr. Peter M. Flanigan Diane H. Lupean Roger D. Wellington Eugene M. Freedman Mrs. Charles P. Lyman Robert A. Wells Mrs. James G. Garivaltis Mrs. Harry L. Marks Margaret Williams-DeCelles Jordan L. Golding Nathan R. Miller Mrs. John J. Wilson Mark R. Goldweitz

Overseers Emeriti

Mrs. Weston W. Adams Leonard Kaplan Mrs. Peter van S. Rice Mrs. Frank G. Allen Robert K. Kraft Mrs. Jerome Rosenfeld Bruce A. Beal Benjamin H. Lacy Mrs. William C. Rousseau Mrs. Richard Bennink Mrs. James F. Lawrence Mrs. William H. Ryan Mary Louise Cabot C. Charles Marran Francis P. Sears, Jr. Johns H. Congdon Hanae Mori Ralph Z. Sorenson Peter H.B. Frelinghuysen Mrs. Stephen V.C. Morris Mrs. Edward S. Stimpson

Mrs. Thomas J. Galligan Stephen Paine, Sr. Mrs. Arthur I. Strang Mrs. Richard D. Hill David R. Pokross Luise Vosgerchian Susan M. Hilles Daphne Brooks Prout Mrs. Donald B. Wilson

Mrs. Louis I. Kane

Symphony Hall Operations

Robert L. Gleason, Facilities Manager James E. Whitaker, House Manager

Cleveland Morrison, Stage Manager Franklin Smith, Supervisor of House Crew Wilmoth A. Griffiths, Assistant Supervisor of House Crew William D. McDonnell, Chief Steward H.R. Costa, Lighting Officers of the Boston Symphony Association of Volunteers

Molly Beals Millman, President Flornie Whitney, Executive Vice-President Joan Erhard, Secretary Bonnie B. Schalm, Treasurer Betty Sweitzer, Nominating Chairman

Vice-Presidents

Helen A. Doyle, Hall Services Maureen Hickey, Tanglewood Goetz B. Eaton, Fundraising Ileen Cohen, Tanglewood Una Fleischmann, Development Ann Macdonald, Youth Activities Paul S. Green, Resources Development Carol Scheifele-Holmes, Symphony Shop Patricia M. Jensen, Membership Patricia L. Tambone, Public Relations Kathleen G. Keith, Adult Education

Business and Professional Leadership Association Board of Directors

Harvey Chet Krentzman, Chairman James F. Cleary, BPLA President

J. P. Barger George H. Kidder William D. Roddy Leo L. Beranek William F. Meagher Malcolm L. Sherman William F. Connell Robert P. O'Block Ray Stata Nelson J. Darling Vincent M. O'Reilly Stephen J. Sweeney Thelma E. Goldberg

Boston Symphony Orchestra concerts are funded in part by the National Endowment for the Arts and the Massachusetts Cultural Council, a state agency.

The Boston Symphony Orchestra and "The Revolution of Expression," 1911- 13

"The Revolution of Expression" celebrates artistic achievements around the world between the years 1911 and 1913. To mark this celebration, the Boston Symphony Orchestra Archives has mounted an historical display in the Cohen Wing lobby. Using photographs, letters, programs, and other historical documents preserved in the Archives, the exhibit explores the BSO between the years 1911 and 1913 and the orchestra's performances of important works composed during those years. In the photograph above, Pierre Monteux, music director of the BSO from 1919 to 1924, is shown with the score for Igor Stravinsky's Le Sacre du printemps (The Rite of Spring). Monteux conducted the first performance of the ballet production by Diaghilev's Ballet Russe at the Theatre des Champs-Elysees in Paris on May 29, 1913. 1 OPEN HOUSE

1 * SuSttA*" KV&&0*0&**'

• Musical Performances • Tours of Historic Symphony Hall

• Performances on Symphony Hall's Famous Organ • Meet Conductors and Musicians

• Win BSO Tickets at the NYNEX Booth • A Live WCRB 1025 FM Broadcast • Refreshments Available for Purchase

The Symphony Hall Open House is part of the Boston Symphony Orchestra's weekend-long "Salute to Symphony^ which will take place April 10-13. Other events include daily broadcasts on WCRB 102.5 FM and a live BSO telecast conducted by Seiji

Ozawa andJohn Williams on WCVB Channel 5, Monday,

April 13, from 7:30 to 9 pm. For further information, call (617) 638-9390.

litvfe t& G/mptfam NYNEX & WCRB 102.5 FM RADIO • NYNEX • WCVB-TV CHANNEL 5 ^^^HHII^^^^H^^^^BB^HI BSO

"Salute to Symphony" This Weekend "Supper Talks" combine a buffet supper at 6:30 p.m. in the Cohen Wing's Higginson Hall NYNEX Corporation, WCRB, WCVB, and the with an informative talk by a BSO player or Boston Symphony Association of Volunteers other distinguished member of the music com- join forces to celebrate the Boston Symphony munity. "Supper Concerts" offer a chamber and Boston Pops Orchestras during "Salute to music performance by members of the Boston Symphony" weekend, April 10-13. WCRB Symphony Orchestra in the Cabot-Cahners 102.5 FM Classical Radio Boston will begin Room at 6 p.m., followed by a buffet supper dedicating on-air time to BSO and Boston served in Higginson Hall. Doors open for all Pops performances on April 1. The station will Suppers at 5:30 p.m. for a la carte cocktails broadcast "Announcers' Choice: Best of the and conversation. These events are offered on BSO" on Saturday, April 11, at 8 p.m., and an individual basis, even to those who are not will broadcast live from the Symphony Hall attending that evening's BSO concert. Speak- Open House the following day. WCRB will also ers for the final Supper Talks of the season be on hand on Friday, April 10, as "Salute to include BSO viola Mark Ludwig (Thursday, Symphony" begins in style with a kickoff event April 16), BSO Managing Director Kenneth at South Station from 11 a.m. to 2 p.m. For Haas (Thursday, April 30), and BSO Musicol- the fourth consecutive year, NYNEX is spon- ogist & Program Annotator Steven Ledbetter soring the Symphony Hall Open House, a day (Friday, May 1). The final Supper Concerts of free activities and performances for the will feature music of Brahms (Thursday, April entire community, to take place on Sunday, 23, and Tuesday, April 28). The suppers are April 12, from 11 a.m. to 4 p.m. This year's priced at $22 per person. Advance reservations instrument demonstrations will include music must be made by mail. For reservations the synthesizers as well as modern instruments. week of the Supper, please call Symphony- Bringing the "Salute" festivities to a close will Charge at (617) 266-1200. All reservations be a live telecast from Symphony Hall on must be made at least 48 hours prior to the Monday, April 13, on WCVB-TV Channel 5 Supper. There is a $.50 handling fee for each from 7:30 to 9 p.m. Hosted by WCVB's ticket ordered by telephone. For further infor- Natalie Jacobson, Chet Curtis, and Frank mation, please call (617) 266-1492, ext. 516. Avruch, the program will feature the BSO led by Seiji Ozawa and John Williams. Mem- bers of the Boston Symphony Association of BSO Members in Concert Volunteers will be answering in phones the Ronald Feldman conducts the Berkshire Sym- Cabot-Cahners Room to accept pledges at phony in Strauss's Serenade for Thirteen (617) 262-8700 or 1-800-325-9400 throughout Winds, the world premiere of F. John Adams's the weekend. Donors to "Salute to Symphony" Violin Concerto with soloist Victor Romanul, 1992 may choose from a number of exclusive Ravel's Tzigane also with Mr. Romanul, and incentive gifts, including a brass keychain in Sibelius 's Symphony No. 6 on Friday, April the shape of a concert ticket a child's ($15), 17, at 8 p.m. at Chapin Hall at Williams Col- bookbag (also $15), a BSO mug or t- shirt lege. General admission is $5 (free with ($25), a limited-edition "Salute" or cas- CD Williams ID). For more information, call sette and a golf umbrella or ($40), BSO (413) 597-3146. Boston Pops beach blanket In addition, ($60). The Boston Artists' Ensemble performs the a contribution of $50 or more will make you a world premiere of Andrew Frank's String Friend of the orchestra, entitling you to a vari- Quartet No. 4 on a program with Boccherini's ety of benefits. D major quintet for guitar and strings and Mendelssohn's E minor string quartet on Fri- Suppers at Symphony Hall day, April 24, at 8 p.m. in the Chapel Gallery The Boston Symphony Association of Volun- of the Second Church in Newton, and on Sun- teers is pleased to continue its sponsorship of day, April 26, at 2:30 p.m. at the Peabody the BSO's evening series of pre-concert events. Museum in Salem. Guitarist Anthony Weller References furnished on request

Armenta Adams David Korevaar American Ballet Theatre Garah Landes Michael Barrett Michael Lankester John Bayless Elyane Laussade Leonard Bernstein Marian McPartland William Bolcom John Nauman Jorge Bolet Seiji Ozawa Boston Pops Orchestra Luciano Pavarotti Boston Symphony Alexander Peskanov Chamber Players Andre Previn Boston Symphony Steve Reich Orchestra Santiago Rodriguez Boston University School George Shearing of Music Bright Sheng Brooklyn Philharmonic Leonard Shure Dave Brubeck Abbey Simon Aaron Copland Stephen Sondheim John Corigliano Herbert Stessin Phyllis Curtin Tanglewood Music Rian de Waal Center Micha el Feinstein Nelita True Lukas Foss Craig Urquhart Philip Glass Earl Wild Karl Haas John Williams John F. Kennedy Center Yehudi Wyner for Performing Arts and 200 others BALDWIN OF BOSTON

98 Boylston, Boston, MA 02116, (617) 482-2525 " '

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joins the ensemble's founder, BSO cellist Pianist Grant Johannesen joins Ronald Jonathan Miller, along with violinists Tatiana Knudsen and the Newton Symphony Orchestra Dimitriades and Sharan Leventhal and violist as soloist in Chopin's F minor piano concerto Edward Gazouleas. Single tickets are $12 ($10 on Sunday, May 3, at 8 p.m. at Aquinas Col- students and seniors). For more information, lege, 15 Walnut Park, Newton, on a program call (617) 527-8662. also including music from Tchaikovsky's Swan Music Director Max Hobart conducts the Lake and the orchestral movement of Charles Chic Symphony Orchestra on Sunday, April Fussell's Wilde, which was premiered by the 26, at 3 p.m. at Jordan Hall at New England Newton Symphony last season. Single tickets Conservatory. BSO violinist Lucia Lin is solo- are $14 and $12. For more information, call ist in Beethoven's F major Romance and (617) 965-2555. Chausson's Poeme for violin and orchestra, on a program also including Dvorak's Symphony Personal Financial Planning Seminars No. 6 and the Boston premiere of Samuel On Tuesday, April 28, at 5:30 p.m., the Bos- Adler's Elegy for Strings. Tickets are $15 and ton Symphony Orchestra is offering the final $10 ($6 students and seniors on the day of the complimentary Personal Financial Planning performance). For more information, call Seminar of the season. Featuring the BSO's (617) 566-2219. gift planning consultant John Brown, the semi- The 1992 Artists Series at the First Presby- nar will be held in the Nathan R. Miller Room terian Church, 270 Franklin Street, in Quincy, of Symphony Hall's Cohen Wing and includes presents "Put a Little Spouse in Your Life," a complimentary dinner for those attending. including music of Poulenc, Haydn, and Wolf Learn how you can bypass capital gains taxes, and featuring musical husband-and-wife teams. increase current income, reduce current income Participating BSO members include Richard tax, reduce federal estate taxes, and conserve Ranti, bassoon, Richard Sebring, horn, Laura estate assets for those you love. Advance reser- Park, violin, Bonnie Bewick, violin, Todd See- vations are necessary. If you are interested in ber, bass, and Lawrence Wolfe, bass. The con- attending, please call Joyce Serwitz, Associate cert takes place on Sunday, April 26, at 6:30 Director of Development, at (617) 638-9273. p.m. Admission is free. For more information, call (617) 773-5575. Harry Ellis Dickson conducts the Boston Attention, Subscribers from New Hampshire Classical Orchestra on Wednesday, April 29, A member of the Boston Symphony Associa- and Friday, May 1, at 8 p.m. at Old South tion of Volunteers from Grantham, New Meeting House at Downtown Crossing. The Hampshire is interested in initiating bus trans- program includes an orchestral suite drawn portation to the Friday-afternoon BSO con- from ballet music of Rameau, Ravel's Le certs from her area. If you are a Friday- Tombeau de Couperin and Pavane for a Dead afternoon subscriber from Grantham, New Princess, and Haydn's Symphony No. 45, London, Sunapee, Springfield, Newport, or Farewell. Single tickets are $20 and $13 ($4 another community in the vicinity and would discount for students and seniors). For further be interested in this service, please call the information, call (617) 426-2387. Volunteer Office at (617) 638-9390. Max Hobart and the North Shore Philhar- monic present "Spring Pops—An American Ticket Resale Extravaganza," on Sunday, May 3, at 3 p.m. at the North Shore Music Theater in Beverly. If, as a Boston Symphony subscriber, you find The program includes Copland's Fanfare for yourself unable to use your subscription ticket, the Common Man, Gould's American Salute, please make that ticket available for resale by Ives's The Unanswered Question, Copland's calling (617) 266-1492. In this way you help Lincoln Portrait with WBZ-TV's John Hen- bring needed revenue to the orchestra and at ning as narrator, Grofe's Grand Canyon Suite, the same time make your seat available to and big band favorites by Duke Ellington. For someone who might otherwise be unable to ticket information, call (617) 286-0024 in attend the concert. A mailed receipt will Revere or (617) 631-6513 in Marblehead. acknowledge your tax-deductible contribution. OFFICERS

H. GILMAN NICHOLS President

JOHN L. THORNDIKE JOHN W. COBB DANIEL A. PHILLIPS JOHN M. MEYER ROBERT N. KARELITZ JONATHAN R. PHILLIPS JOHN F. WINCHESTER DOUGLAS R. SMITH-PETERSEN

EDWARD P. THOMPSON RICHARD W. STOKES GEORGE BLAGDEN LAURA N. RIGSBY SUSAN R. GUNDERSON CHARLES R. EDDY, JR. FREDERIC C.R. STEWARD

WILLIAM J. O'KEEFE GEORGE L. GRAY

CHARLES C.J. PLATT ANTHONY B. BOVA

FRANK WOODARD III JAMES ROCHE © J. ARTHUR C. PICKETT JONATHAN B. LORJNG DENISE CRONIN

ALTON L. CIRIELLOJR. STEVEN H. BRAVEMAN

J. BRIAN POTTS NANCY B. SMITH ELLEN COPE-FLANAGAN MARY JANE SMITH

DONALD P. LEE JOHN R. LAYTON SARAH A. PHILLIPS ROSALYN M. SOVIE MAUREEN W. BURKE PAUL G. CURTIS © FIDUCIARY BOSION IRUS1IIS

Fiduciary Trust Company 175 Federal Street, Boston, Massachusetts 02110

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EXPLORING THE CULTURAL IMPACT OF THE YEARS 1911, 1912, AND 1913

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"The Revolution of Expression: 1911-1912-1913"

"The Revolution of Expression: 1911-1912-1913" is an innovative arts and education project conceived by Frank Salomon/International Arts Foundation in connection with the current United States tour by the City of Birmingham Symphony Orchestra. The project in Boston has been coordinated by the Boston Symphony Orchestra. By expe- riencing a combination of performances, exhibits, lectures, and educational activities, the public is enabled to explore one of the most remarkable periods in history. The "Revolution of Expression" that occurred just prior to World War I defied the estab- lishment and transformed the world as powerfully and irrevocably as the bloody war that followed. The artistic challenges to tradition that shocked and outraged audi- ences of the day laid a foundation for our own modern sensibilities, the controversial works having since been accepted as twentieth-century masterpieces.

While electric lights and motor cars transformed the western world, Pablo Picasso and Georges Braque fractured perspective with cubism, Igor Stravinsky shocked audi- ences with his rhythmic inventiveness, Arnold Schoenberg pared down music to its bare elements, Jelly Roll Morton set rooms afire with his powerful jazz piano playing,

Irving Berlin provided a soundtrack for American fife, D.W. Griffith's films captured the public's imagination, the Woolworth Building punctured the sky in lower Manhat- tan, and women and blacks organized to fight for their rights against discrimination.

Concerts by Simon Rattle and the City of Birmingham Symphony Orchestra will highlight "The Revolution of Expression" as produced by Frank Salomon/Inter- national Arts Foundation in New York City. In the Boston area, "The Revolution of Expression" includes a month-long series of artistic events exploring the cultural impact of the years 1911, 1912, and 1913. Participating organizations include not only the Boston Symphony Orchestra, which gave the opening concert event earlier this week, and the visiting City of Birmingham Symphony Orchestra, but also Boston Ballet, the Boston Public Library, the Busch-Reisinger Museum, the Gardner

9 Museum, the Harvard University Music Department, The Museum of Fine Arts, and New England Conservatory of Music.

International Arts Foundation was founded by Frank Salomon in 1990 with the goal of stimulating new initiatives to address the growing crisis in the arts and educa- tion. For teachers and students, International Arts Foundation has produced "The Revolution of Expression" Classroom Guide to Visual Art and a cassette including music and information on historical events of the period. Through such projects as "The Revolution of Expression," International Arts Foundation seeks to establish a model of how new partnerships can be formed among educational and arts institu- tions, and of how existing resources can be used to produce a vital and exciting learn- ing experience for both students and the general public.

The CBSO's tour of the United States is given with financial support from the British Council.

Additional support of the CBSO's tour and the activities of "The Revolution of Expression: 1911-1912-1913" project has been provided by the following donors: Mr. and Mrs. Emanuel Ax Ralph and Jean Baruch Boston Symphony Orchestra Ann E. Cooper Michael A. Cooper EMI Classics/Angel Records Gertrude Lobbenberg Sylvia Menzies-Armstrong Mr. and Mrs. Lester Morse, Jr. Simon Rattle Elise Ross Martha and Frank Salomon Walter and Marge Scheuer and Family Vera and Isaac Stern Washington Performing Arts Society Elaine and James D. Wolfensohn

10 m^^^^^M

BOSTON SYMPHONY ORCHESTRA.

Seiji Ozawa, Music Director One Hundred and Eleventh Season, 1991-92

The Boston Symphony Orchestra is pleased to present the CITY OF BIRMINGHAM SYMPHONY ORCHESTRA Simon Rattle, Music Director

SIMON RATTLE conducting

Thursday, April 9, at 8

MUSIC OF 1911

NIELSEN Symphony No. 3, Opus 27, Sinfonia espansiva

Allegro espansivo Andante pastorale Allegretto un poco Finale: Allegro

ELISE ROSS, soprano ROBIN BUCK, baritone

INTERMISSION

RAVEL Daphnis and Chloe (complete) TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor

Program notes for this concert begin on page 21.

This concert will end about 9:55.

Please be sure the electronic signal on your watch or pager is switched off during the concert.

11 Week 22 EMANUEL AX ON SONY CLASSICAL

SK 48046 SK 45933

"Emanuel Ax whittles Brahms' mightiest

sonata down to size in a performance that

combines majesty with might."

—Time Magazine

MUSIC IS OUR VISION

w\ , "Sony Classical" are trademarks of Sony Corporation I© 1992 Sony Classical GmbH. BOSTON SYMPHONY ORCHESTRA

Seiji Ozawa, Music Director One Hundred and Eleventh Season, 1991-92

The Boston Symphony Orchestra is pleased to present the CITY OF BIRMINGHAM SYMPHONY ORCHESTRA Simon Rattle, Music Director

SIMON RATTLE conducting

Friday, April 10, at 2

MUSIC OF 1912

SCHOENBERG Pierrot Lunaire (Three-times-seven poems from Albert Giraud's Pierrot Lunaire), Opus 21 ELISE ROSS, soprano EMANUEL AX, piano BIRMINGHAM CONTEMPORARY MUSIC GROUP LYN FLETCHER, violin COLIN LILLEY, flute and piccolo CHRISTOPHER YATES, viola COLIN PARR, clarinet ULRICH HEINEN, cello MARK O'BRIEN, clarinet

INTERMISSION

PROKOFIEV Piano Concerto No. 1 in D-flat, Opus 10

Allegro brioso andante Assai — allegro scherzando— Anhnato

Mr. AX

DEBUSSY Images Gigues Rondes de printemps (Spring round) Iberia In the streets and byways The fragrance of the night The morning of a festival day

Program notes for this concert begin on page 27. Text for Pierrot Lunaire begins on page 34.

This concert will end about 4:05.

Please be sure the electronic signal on your watch or pager is switched off during the concert.

13 Week 22 Simon Rattle "He inspires players and elates audiences, holding them intent on every line, every color, every turn."

- THE NEW YORKER

Recent Recordings:

Ravel: Daphnis et Chloe CDC 54303 * new! >ebussy: Images CDC 49947

ravinsky: Rite of Spring CDC 49636 Please call 1-800-648-4844 to order.

MRWM World Classics* EMI Classics. >92 Angel Records/EMI Cla BOSTON SYMPHONY ORCHESTRA

Seiji Ozawa, Music Director One Hundred and Eleventh Season, 1991-92

The Boston Symphony Orchestra is pleased to present the CITY OF BIRMINGHAM SYMPHONY ORCHESTRA Simon Rattle, Music Director

SIMON RATTLE conducting

Saturday, April 11, at 8:30

MUSIC OF 1913

DEBUSSY Jeux—Poeme danse

ELGAR Falstaff, Symphonic study, Opus 68

Falstaff and Prince Henry Eastcheap — Gadshill — The Boar's Head, Revelry, and Sleep Falstaff s March — Return through Gloucestershire The New King— The Ride to London King Henry V's Progress to his Coronation — The Repudiation of Falstaff and his Death

INTERMISSION

STRAVINSKY The Rite of Spring, Pictures from pagan Russia

Part I: The Adoration of the Earth Introduction— Auguries of spring (Dances of the young girls)— Mock abduction — Spring Khorovod (Round dance) — Games of the rival clans — Procession of the wise elder— Adoration of the earth (wise elder) — Dances of the earth

Part II: The Sacrifice

Introduction — Mystical circles of the young girls — Glorification of the chosen victim — The summoning of the ancients — Ritual of the ancients — Sacrificial dance (the chosen victim)

Program notes for this concert begin on page 43.

This concert wall end about 10.

Please be sure the electronic signal on your watch or pager is switched off during the concert.

15 Week 22 Perfect prelude or grand finale.

fe

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THE REVOLUTION OF EXPRESSION, 1911-1913

If August 1914 marked the opening of the abyss — the start of four years of the most mindless, searing horror yet known to humanity — there had been inklings of gather- ing crisis throughout the preceding generation. Today, with the excellent vision afforded by hindsight, we can see the perilous developments in politics, science, eco- nomics, and social organization in Europe throughout that time. And we can see, too, that in some ways the arts portended the future. Uninhibited industrialization had created a whole new series of complex social problems, largely dehumanizing the masses of working people in airless, cheerless factories that offered no opportunity to escape from the new poverty of the factory towns, with their filth and squalor, their anonymity. By the mid-century, novelists like Charles Dickens found in this new urban community, lacking any sense of mutual dependency among its members, the likelihood of individual tragedy and social decay. And even before the War began, Thomas Hardy wrote the poems published as Satires of Circumstance which created a vocabulary of ironic images that were to become all too familiar.

In the middle classes, tunnel vision could make things look better for a time. Edu- cation, new inventions, and hard work still might lead to success. But hidden strains

stretched the social fabric there, too, and it was reflected in the arts. Siegmund Freud may have defined the terminology of modern psychology, but even before he completed or published his work, Henrik Ibsen and Arthur Schnitzler projected "Freudian" ideas in their plays. The music of Gustav Mahler — think of the slow movement of the Fourth Symphony, beginning gently lyrical but gradually reaching an intensity almost hysterical — seems to project the psychic torments of an anguished soul.

At the highest levels of society, Europe remained, as it had been for centuries, a group of fairly small countries headed by kings or emperors who formed an elite clique. Indeed, by the beginning of our century, most of the crowned heads of Europe were related by marriage, and an astonishing number of them were grandchildren of Queen Victoria. They could hardly have guessed that the age of autocratic monarchs was teetering to a dramatic fall. By 1918, Germany, Austria, and Russia, to say nothing of a host of smaller dominions, would be forced after four years of violence and bloodshed to change the political habits of centuries.

The composers active in the quarter-century before the outbreak of The Great War rarely took a role — either direct or through their creations — in the political and eco- nomic scene of the day. But insofar as art is the mirror of humanity at a particular

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17 Without You, This Is The Whole Picture

This year, there is a $10.4 million difference educational and youth programs, and to attract between what the BSO will earn — and what the world's finest musicians and guest artists. we must spend to make our music. Make your generous gift to the Annual Your gift to the Boston Symphony Annual Fund — and become a Friend of the Boston Fund will help us make up that difference. Symphony Orchestra today. Because without It will help us continue to fund outreach, you, the picture begins to fade. r ~i Yes, I want to keep great music alive.

I'd like to become a Friend of the BSO for the 1991-92 season. (Friends' benefits

begin at $50.) Enclosed is my check for $ payable to the Boston Symphony Annual Fund.

Name Tel.

Address.

City .State Zip

Please send your contribution to: Constance B.F. Cooper, Director of Boston Symphony Annual Fund, Boston Symphony Orchestra, Symphony Hall, Boston, MA 02115. A portion of your gift may not be tax-deductible. For information call (617) 638-9251. KEEP GREAT MUSIC ALIVE L J 18 time and place, it can scarcely fail to reflect the state of the human soul, and we can look to it for some understanding of a time that was to prove revolutionary in so many ways. For, just as The Great War violently compassed the end of old traditions and the beginnings of new experiments, so too did the music that was composed in the three years before the start of the war turn out to be a turning point that has affected virtually all music composed for the rest of the century.

Though Berlin and London and St. Petersburg played a part, the crucial centers were Vienna and Paris, representing two great waves of musical culture, German and French. In Vienna the long symphonic tradition that had begun with Haydn, Mozart, and Beethoven had recently reached an apex with Wagner and Brahms. Wagner's challenge to harmonic thinking in the thoroughgoing chromaticism of Tristan und Isolde continued to dominate the outlook of German-oriented composers. In different ways, Wagner and Brahms each developed an extraordinarily elaborate technique of thematic variation, which, combined with total chromaticism, led in natural progres- sion to twelve-tone music. Vienna was also the city of Freud, and the first place where his psychological insights seem to have shaped musical works. In 1911, Gustav Mahler died; by that time, too, Richard Strauss had written his most advanced score, Elektra, and backed away from its implications for future musical development. But a new group of composers that had grown up on Beethoven, Wagner, Brahms, Strauss, and Mahler had already begun to make its mark. Arnold Schoenberg was ready to take what he felt was a simple natural step in his work, but it turned out to be epochal.

Paris, on the other hand, was filled with composers who were trying to break away from the influence of Wagner, using color, sonority, and proportion, rather than the- matic development, to suggest images through indirection and subtle assertion instead of through the linear working-out of a thematic dialectic. They drew frequently on the work of "decadent" poets, whose images were purposely bizarre, haunting, dark, mys- terious. They avoided the squareness of much German music and sought a greater rhythmic fluidity and variety. And in Paris there was also a strong exotic influence from a new generation of Russian musicians whose work centered in the productions of the Russian Ballet, bringing a forcefulness and color that appealed immediately to the French taste. Debussy was at the high point of his career, and Ravel was well- established next to him. The young Igor Stravinsky had made a sensation the year before with a ballet called The Firebird.

Elsewhere, composers found their own way to accept tradition and to rebel against it. In England, Elgar had, after a late start, found his audience and become a virtual public monument. Though deeply indebted to the thematic techniques of Wagner and the tone poems of Strauss, he found his own way to make them both personal and national. In Scandinavia Carl Nielsen still composed abstract symphonies in multiple movements yet created an internal musical drama in what was ostensibly an abstract genre. And in Russia, the young Sergei Prokofiev, still a conservatory student, was about to assert his personality both as pianist and composer with a work that upset most of his teachers.

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20 MUSIC OF 1911

Carl Nielsen Symphony No. 3, Opus 27, Sinfonia espansiva

Carl Nielsen was born in Sortelung, near Norre Lyndelse on Funen, Denmark, June 9,

1865, and died in Copenhagen, October 3, 1931. He completed the Sinfonia espansiva on April 30, 1911, and conducted the premiere with the Royal Opera Orchestra of Copenhagen on February 28, 1912. The score calls for three flutes and piccolo, three oboes and English horn, three clarinets, three bassoons and contrabassoon, four horns, three trumpets, three trombones and tuba, timpani, and strings. The second movement calls also for solo soprano and baritone voices.

Carl Nielsen grew up in a rural environment, but his musical gift was discovered early because his father played violin and cornet as a much sought-after village musi- cian. His mother sang him simple songs, and he learned to imitate them, at the age of six, on a small violin. By the age of nine he had become part of an amateur orches- tra, thus extending his horizons to orchestral dance movements and a few symphonic exceipts from Haydn and Mozart. Yet he remained a product of the country, earning some of the family's income by looking after geese during school holidays and develop- ing a realistic and utterly down-to-earth character, which remained an important part of his music.

Though he long earned his living as an orchestral violinist, Nielsen's real interest quickly turned to composing. His First Symphony (1894) revealed a strong Brahm- sian influence, but his Second, The Four Temperaments, was already wonderfully per- sonal, characteristic. To many of his symphonies he gave a title, intended to suggest u the general character and no more. Like the others, the Expansive Symphony" grew out of purely musical concerns and makes its dramatic and lyrical points with purely musical techniques. Most significant of these is Nielsen's tendency to shape a sym- phony in what has been called "progressive tonality," written not so much in a key as

toward it. The Third Symphony, for example, begins undeniably in D minor, but it ends in A major; throughout its entire course, Nielsen sets up conflicts of tonality that eventually resolve in the latter key.

The Sinfonia espansiva is Nielsen's last symphony to be cast in the traditional four movements. Its driving energy never flags, even in the relatively serene passages. The symphony opens with a repeated pounding A in the strings and brass, first affirming, then concealing in syncopations the basic triple meter. The woodwinds enter with the wide-ranging D minor tune of basically waltz character — and how the moods of the waltz dominate this opening movement! Throughout the movement the home key is never so much established as sought. A tranquil rocking figure in A-flat — harmonically at the opposite end of the universe from the opening D — appears in the clarinets and flute, to be joined by bassoons and oboe, for the secondary theme of a movement that makes all the appropriate gestures toward sonata form, though its

tonal plan ranges far more widely than convention would allow. The development cli- maxes in a "cosmic waltz" for the full orchestra, fortissimo, dying away to solo viola and cello. The remainder of the movement combines recapitulation and coda, though Nielsen is still seeking the final key. Finally an unexpected tutti in A major offers the first really firm appearance of what will ultimately prove to be "home base," but the issue is not yet settled.

The second movement, Andante pastorale, opens in C major with a gentle waltz of rural character over a series of long-sustained pedal notes that gradually rise through- out the movement. The most wonderful coloristic stroke comes as a surprise near the end of the movement, when, suddenly, two new "wind" instruments appear in the orchestra — soprano and baritone solos, vocalizing wordlessly. This sudden entry of the

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The third movement is a vigorous scherzo beginning in C-shaip minor; much of the movement is assertive or stormy, and it displays yet again Nielsen's particular mas- tery of the woodwinds. A climactic arrival at the key of D dissolves back to C-sharp for the conclusion, but the emphasis on D both recalls the symphony's beginning in D minor and anticipates the D major that will open the last movement. The finale grows from an almost simpleminded duple-meter tune, but one that contains rich possibili- ties for development, which Nielsen uses contrapuntally to move gradually but inexo- rably to a climactic arrival at A major, toward which all has been pointing from the beginning, though the path was sometimes wayward. The journey is ended, and its conclusion is as vibrant as it is satisfying.

Maurice Ravel Daphnis and Chloe, complete ballet

Joseph Maurice Ravel was born at Ciboures, Basses-Pyrenees, France, on March 7, 1875, and died in Paris on December 28, 1937. Serge Diaghilev commissioned the ballet Daphnis and Chloe in 1909; Ravel completed the full score in 1911, though he recast the "Bacchanale" in the spring of 1912. By that time the first concert suite had already been performed, on April 2, 1911, at a concert in the Theatre du Chatelet in Paris under the direction of Gabriel Pierne. Pierre Monteux conducted the first stage perform- ance at a production by Diaghilev 's Russian Ballet at the Chatelet on June 8, 1912. Scenario and choreography were by Michel Fokine, scenery and costumes by Leon Bakst; the principal dancers were Vaslav Nijinsky and Tamara Karsavina. The score calls for three flutes, alto flute, and piccolo, two oboes and English horn, two clarinets, E-flat clarinet, and bass clarinet, three bassoons and contrabassoon, four horns, four trumpets, three trombones, bass tuba, timpani, snare drums, cymbals, antique cymbals, triangle, tambourine, tam-tam, castanets, celesta, glockenspiel, wind machine, two harps, strings, and wordless chorus.

The Greek romance Daphnis and Chloe attributed to a shadowy author known only as Longus (of the second or third century A.D.) is unusual among Greek stories in

Carl Nielsen Maurice Ravel

23 Week 22 prose for its attention to character. Daphnis and Chloe has some of the traditional elements of pastoral romance: an idealized landscape of shepherds and shepherdesses, nymphs and satyrs, a potential love-relation that is thwarted by some obstacle, the carrying off of the maiden by a band of pirates and her rescue by the hero to reunite the couple at the predictable ending. But here the emphasis is on a psychological description of the passion that grows between Daphnis and Chloe, two foundlings raised by shepherds on the island of Lesbos, from the first naive and confused feel- ings of childhood to full sexual maturity.

The idea for the ballet was more or less thrust upon Ravel by the impresario Serge Diaghilev, whose chief choreographer Michel Fokine had long wanted to do a Greek ballet. He created a two-act scenario for a Daphnis and Chloe, but nothing came of the idea at the time. Then the Russian Ballet triumphed in Paris in 1907, and Diaghilev began commissioning original ballets for return visits. To that end he sought out the brightest composers on the scene in Paris and Russia. Ravel got the commission for Daphnis and Chloe, his largest and finest orchestral score, in 1909. The collaboration between choreographer and composer was complicated by mutual unfamiliarity with one another's language. Even after the work was finished, difficulties — related to personal entanglements within the company — continued. The premiere of Daphnis was nearly canceled, but finally only postponed a few days. Ravel never attempted such a large-scale work again.

Ravel called Daphnis and Chloe a "Choreographic Symphony in Three Parts," say- ing that it was "constructed symphonically on a very strict tonal plan, with a number of themes whose developments assure the homogeneity of the work." The principal themes occur in the first few measures: horns and chorus in a gently hovering dotted figure, solo flute high above the rest, and then, in solo horn, the most important theme of the score.

The scene is a grotto in a sacred wood. It is a sunny afternoon; young men and women appear with baskets to present as offerings to the nymphs of the grotto. They perform a dignified "Religious dance." Daphnis and Chloe enter and prostrate them- selves before the altar. All present are sweetly moved by the sight of this innocent young couple. The young girls induce Daphnis to join them in a lively 7/4 dance. When Chloe objects, the young men begin dancing with her (in a passage beginning with strings alone). She attracts the attention of a young drunkard, Dorcon. At the end of the dance, to some gestural miming music, Dorcon offers to embrace Chloe,

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24 but Daphnis pushes him away and approaches Chloe himself. The men propose a dance competition, the wanner of which will win a kiss. Dorcon performs a grotesque dance in 2/4 time, with the bassoons leading the way; Daphnis performs a light and graceful dance in a slow 6/8 time. Eventually the crowd invites Daphnis to claim his reward, only to be struck dumb at the sight of the innocent embrace of Daphnis and Chloe. They lead Chloe away, leaving Daphnis to ponder the mysteries he is beginning to sense.

Lyceion, a married woman with lustful intentions toward Daphnis, attempts to seduce him. Suddenly there is a violent interruption. A horde of pirates is attacking. Daphnis runs off to find and protect Chloe, but he misses her; the pirates carry her away. Daphnis finds her sandal and curses the gods for failing to protect her. The statues of the nymphs at the altar come to life and lead Daphnis to invoke Pan. A magical passage for a cappella chorus marks the end of the scene.

The scene changes to the pirates' camp; the pirates perform a vigorous, brutal dance. The pirate chieftain Bryaxis orders Chloe to dance; twice she attempts to flee, each time to be brought back before the pirates. She abandons herself to despair and thinks of Daphnis. Bryaxis lifts her up in triumph. Suddenly the mood changes. Lights flicker, fantastic figures appear, terrifying the pirates. This is the doing of the god Pan (whose effect on mankind is to spread "panic," as his name indicates). The earth shakes. The pirates take to their heels in terror.

The scene reverts to that of the opening. It is still night; Daphnis is asleep. Dawn arrives, with the singing of birds. Shepherds awaken Daphnis, and he sees Chloe arriving at last. They throw themselves into one another's arms. An old shepherd, Lammon, explains that Pan helped in remembrance of his lost love for Syrinx. Daph- nis and Chloe mime the story of Pan and Syrinx, which includes the famous and rav- ishing flute solo. The dance becomes more and more animated. At its climax, Chloe throws herself into Daphnis' arms, and they solemnly exchange vows before the altar. The celebration begins in earnest for an exciting, extended Danse generate.

Nijinsky and Ravel playing from a score of "Daphnis and Chloe, " 1912

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26 MUSIC OF 1912

Arnold Schoenberg Pierrot Lunaire, Opus 21, Three-times-seven poems

Arnold Schonberg was born in Vienna on September 13, 1874, and, having changed the spelling of his name to Schoenberg after coming to the United States in 1933, died in Brentwood Park, Los Angeles, California, on July 13, 1951. He composed Pierrot Lun- aire between March 12 and July 9, 1912, and conducted the first performance in Vienna on October 16, 1912. The score calls for a speaker, violin (doubling viola), cello, flute (doubling piccolo), clarinet (doubling bass clarinet), and piano.

The phrase "words and music" suggests the art of the lyric singer in the bel canto tradition or the dramatic outburst of the musical theater. But singing — whether lyric or dramatic — is only one way in which the voice can be used, and composers in the twentieth century have been particularly inventive in trying new ideas, in "updating" the oldest instrument, the human voice.

Our voices' range of expression goes all the way from the guttural grunt of the cave to the primal scream, from normal speech to coloratura song. But only a very limited part is normally used in western music. Arnold Schoenberg' s epoch-making Pierrot Lunaire, one of the seminal works of our century, expands that range to expressive effect; it draws on and extends the tradition of the Berlin cabaret, heightening speech with pitched declamation.

Pierrot Lunaire ("Moon-struck Pierrot") sets O.E. Hartleben's German translation of modish French verses by Albert Guiraud. The poems draw on images and charac- ters from the commedia dell'arte, especially the clownish Pierrot and his beloved Col- umbine (in whose costume the first performer of Pierrot Lunaire was dressed), put into modern situations that range from the grotesque to the sentimental. The surprise here is that Schoenberg decided to have his vocal soloist recite on pitch, but not sing (except in a few carefully designated spots). He termed the device "Sprechstimme" which means, literally, "speaking voice," though the speaking voice required here is by no means the usual one of normal conversation.

Composers had occasionally made use of spoken effects in nineteenth-century Ger- man opera, sometimes even employing a notation for it, as Schoenberg did. But in Pierrot, his source seems to be not so much the passionate outbursts of romantic opera but rather the cool distancing of the Berlin cabaret, in which a chanteuse, a woman dressed in a tuxedo, would sing (or half- sing or even speak) songs with texts written from a distinctly male point of view. The effect of Sprechstimme is, indeed, a distancing from too dramatic an emotional involvement, a light ironic tone overall. No doubt the kind of work he wrote was affected by the fact that Schoenberg composed it at the request of a non-singing actress, Albertine Zehme. Her evident commitment to the piece at the first performance — given on October 16, 1912, after more than forty rehearsals— was total; even the critics who did not care for Pierrot found her perform- ance compelling.

The work itself became, as Stravinsky once remarked, "the solar plexus as well as the mind of early twentieth-century music." Schoenberg had been struggling with ways to organize his musical material naturally and effectively without reference to the harmonic architecture that had shaped nineteenth-century music, the expressive value of which he felt to be exhausted. This struggle had led to a series of tiny pieces composed at great effort. But with Pierrot, Schoenberg suddenly recaptured the extraordinary fluency he had known earlier when writing such masterful scores as the String Quartet No. 1 (completed in ten days). His best work almost always came at white heat, put down on paper almost as fast as he could write. Two-thirds of the twenty-one songs in Pierrot Lninaire were composed in a single day each, and, except

27 Week 22 for numbers 14 and 15, the piece as a whole occupied the ten weeks from March 12

to May 30, 1912. (The two remaining songs were composed on June 6 and July 9.)

The ensemble called for in Pierrot — flute, clarinet, violin, cello, and piano, with vocalist (and with doubling on related instruments, such as piccolo or bass clarinet) — has become a standard instrumentation for contemporary music. The twenty-one songs of Pierrot are arranged into three sets of seven each, but the groupings show the greatest possible internal variety. Scoring changes from song to song in an unpre- dictable way (though with certain obvious illustrative and parodistic elements, such as the "Serenade," in which Pierrot "scratches on his viola with a grotesque giant bow" — and the cellist erupts in virtuoso display). Sooner or later just about every pos- sible combination of instruments occurs. At the same time the various numbers draw upon or refer to a dizzying range of musical styles, sometimes for direct expression, at others with grotesque or parodistic intent.

Much of the music is built up out of tiny motives of three or four notes each — heard sometimes melodically, sometimes as chords. This intense motivic working is varied in many ways. No. 5 ("Valse de Chopin"), for example, has an obvious element of parody, but at the same time the waltz genre gives Schoenberg a reference point for rhythmic and melodic gestures. Some of the most famous movements are the most contrapuntal in conception — No. 8 ("Night"), a sombre passacaglia growing out of a

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tiny three-note motive elaborated with extraordinary ingenuity, and No. 18 ("The Moonfleck"), a canon in which the top two parts, at the midpoint of the piece, start running literally backwards, while their companion parts in the piano continue run- ning forward at half-speed. But each song has its own expressive and technical adventure.

Of the fifty poems in Giraud's original collection, Schoenberg chose slightly less than half to make up the particular arrangement found in Pierrot Lunaire. The songs may be seen to trace a progress through the depths from a divine intoxication and sexual longings to blasphemy and despair, finally emerging in a homecoming that offers some promise of healing. Whatever significance Schoenberg had in mind in making this arrangement seems to have been subconscious; certainly he expressed the thought in a letter, ten years after the premiere of Pierrot, that he had read the poems far more naively than some of his commentators. "Anyway," he went on, "I am not responsible for what people insist on reading into the words. If they were musical, not one of them would give a damn for the words. Instead they would just go away whistling the tunes."

Sergei Prokofiev Piano Concerto No. 1 in D-flat, Opus 10

Sergei Sergeyevitch Prokofiev was born in Sontsovka, Russia, on April 23, 1891, and died near Moscow on March 4, 1953. His score for the First Piano Concerto is dated 1911. It ivas first performed at Moscow on July 25, 1912, the composer playing the piano part. The score hears a dedication to Nikolai Tcherepnin. In addition to the solo piano, the instrumentation includes two flutes and piccolo, two oboes, two clarinets, two bassoons and contrabassoon, four horns, two trumpets, three trombones and tuba, tim- pani, glockenspiel, and strings.

During his ten years at the St. Petersburg Conservatory, the young Prokofiev dis- covered that his music grated on the ears of most of his teachers, and he quickly began to revel in the image of the "bad boy" of the place. No one doubted his musi- cianship. He got his best marks in piano, at which he was clearly brilliant, but his interest in composition grew, despite the disfavor with wThich his composition teacher

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Sergei Prokofiev Arnold Schoenberg

29 Week 22 Glazunov looked upon everything he turned out. Indeed, his only real supporter, by the time he had finished his degree, was Nikolai Tcherepnin, a composer who had taught his orchestration class. Fittingly, then, Prokofiev dedicated his first piano con- certo to this enthusiastic and helpful teacher.

During the ten years he spent at the St. Petersburg Conservatory, the young Prokofiev developed his own piano playing to a remarkable degree of brilliance and turned out in quick succession his first two piano concertos. The premiere of his First

Concerto gave him a taste of what it was like to be somewhat controversial, to be dis- cussed by the leading critics in both St. Petersburg and Moscow. Moreover, the French critic M.D. Calvocoressi was highly complimentary and promised to report on Prokofiev in Paris. Enough of the audience expressed its approval of the young man for him to play three encores (he had to repeat one of them, because he had only pre- pared two pieces against such an eventuality). Cheers and catcalls at the performance, and at a repetition a few weeks later in St. Petersburg, put the young composer's name on everyone's lips. Prokofiev astutely used the excitement when, in his final year at the conservatory (1913-14), he aimed for the Rubinstein Prize, the top piano award offered by the institution, choosing as his competition piece not a classical con- certo but his own work, even going to the extent of having the score printed for the occasion! (He won the prize, though the judges were not unanimous.)

What impressed the first audience was the explosive rhythm and assertively percus- sive qualities of the piano part. The concerto is brief— a single movement lasting barely fifteen minutes— yet it contains most of the elements of a traditional three- movement concerto, including a middle Andante section and an Allegro scherzando

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that develops material from the opening. This energetic, driving music was a far cry from the current standard of "modern" Russian concertos, which had been set by Rachmaninoff and Scriabin. When the work was first heard at the Pasdeloup concerts in Paris, the program annotator described it as an allegro movement in sonata form, a description with which the composer concurred. Already Prokofiev reveals the twin trademark aspects of his style: on the one hand, glittering showmanship with sassy turns and surprising chromatic twists, and, on the other, a ready vein of lyricism in the long, rounded melody (heard on the clarinet) in the contrasting slow section.

Claude Debussy Images, for orchestra

Achille-Claude Debussy was born at St. Germaine-en-Laye, Department of Seine-et- Oise, France, on August 22, 1862 and died in Paris on March 25, 1918. His Images occupied him in several stages between 1905 and 1912: he composed "Gigues" in 1909- 12, "Iberia" in 1906-08, and "Rondes de printemps" in 1905-09. Gabriel Pierne con- ducted the orchestra of the Concerts Colonne in the premiere of "Iberia, " which took place in Paris on February 20, 1910; "Rondes de printemps" was heard soon after, on March 2. "Gigues" did not receive its first performance until January 26, 1913. The full orchestra for Images includes three flutes (third doubling second piccolo), piccolo, two oboes and English horn (plus oboe d'amore in "Gigues"), four clarinets, three bassoons and contrabassoon, four horns, four trumpets, three trombones and tuba, timpani, tam- bourine, snare drum, castanets, xylophone, celesta, cymbals, chimes, two harps, and strings.

After completing his opera Pelleas et Melisande, which is all hints and subtleties, pastel shades and mists, Debussy was eager to move into a different mode, to com- pose livelier, more outgoing music. The years following Pelleas were busy, seeing the composition of La Mer, the Danse sacre and Danse profane, the two books of Images for piano, and the triptych entitled Images for orchestra. These were the years in which Debussy began to become voguish; Pierre Lalo noted in 1906, "The Debussyist

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Claude Debussy

31 Week 22 religion has replaced the Wagnerian religion." His popular success, however, was short-lived. Debussy's constant search for new paths, though enormously fruitful to his fellow composers, outstripped the willingness of his audiences to follow much beyond La Mer and Iberia, so that, just as his health was beginning to decline with the first signs of the cancer that was eventually to prove fatal, he was also starting to lose the audience that had so recently discovered him.

The orchestral Images started in Debussy's mind as a set of works for two pianos, obviously intended as a counterpart to the Images for piano. All three works in the score evoke folk music and folk traditions of England, Spain, and France, respec- tively. As published, the orchestral Images consists of three pieces: Gigues, Iberia, and Rondes de printemps. The order, however, is purely arbitrary, not reflecting the order of composition.

The title Gigues ("Jigs") would lead us to expect a lively and cheerful score, partic- ularly when we learn that Debussy bases much of his material on an English folk tune, "The Keel Row." But the baleful sound of the oboe d'amore undercuts any dancing character in the work, giving it rather an air of desperate jollity. Debussy found "The Keel Row" tune in a collection by Charles Bordes, who had set to the

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Iberia, composed first, is further subdivided into three sections, reflecting aspects of Debussy's imaginative picture of Spain. Like Bizet, whose Carmen so richly evokes the Spanish scene, Debussy knew his Spain only by way of literature and art. He quoted no actual folk tunes in his "Spanish" score yet brilliantly recreated the imag- ined "feel" of a day in Spain. So successful was he in this respect that Iberia is widely regarded as the finest "Spanish" music ever written, even by native Spanish compos- ers like Manuel de Falla, who found here the way to treat their own cultural heritage in music. The first movement, Par les Rues et par les chemins ("Through the streets and byways"), is built of a series of brief ideas that weave in and out like fragments of songs half-heard while passing from street to street. The central nocturne, Les Parfums de la nuit ("The perfumes of the night"), is sultry and laden with suppressed passion. Debussy avoids a cheap erotic climax by linking the movement directly to the final section, he Matin d'un jour de fete ("The morning of a festival day"), a transition from night to day of which he was particularly proud, writing1 to his friend Andre Caplet after rehearsals were underway:

You cannot imagine how naturally the transition ... is achieved. It sounds like music which has not been written down! And the whole rising feeling, the awak- ening of people and of nature. There is a watermelon vendor and children whistling— I see them all clearly.

The last movement is replete with splashes of one thing and another — the composer called them "realities" — thrown out in a display of seemingly incoherent energy, bril- liantly lighted throughout by the masterful treatment of the orchestra.

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33 Week 22 Arnold Schoenberg Three-Times-Seven Poems from Albert Giraud's Pierrot Lunaire

PART I

1. Mondestrunken 1. Moondrunk

Den Wein, den man mit Augen trinkt, The wine that only eyes can drink Giesst Nachts der Mond in Wogen nieder, Pours nighttimes from the moon in waves, Und eine Springflut iibersehwemmt And its springtime tide floods over

Den stillen Horizont. The horizon's quiet bowl.

Geliiste, schauerlich und siiss, Aching lusts, shocking and sweet, Durchschwimmen ohne Zahl die Fluten! Float beyond measure in the gushing philter!

Den Wein, den man mit Augen trinkt, The wine that only eyes can drink, Giesst Naehts der Mond in Wogen nieder. Pours nighttimes from the moon in waves.

Der Dichter, den die Andaeht treibt The poet, under piety's cover Berauscht sich an dem heilgen Tranke, Gets ruddled on the holy brew; Gen Himmel wendet er verzuckt Towards Heaven, rapt, tilts back his head

Das Haupt und taumelnd saugt und And giddily reeling laps and swills schlurft er Den Wein, den man mit Augen trinkt. The wine that only eyes can drink.

Pierrot Lunaire — The Production

Schoenberg' s Pierrot Lunaire has always held a special place in the repertoire of Elise Ross, and this production belongs particularly to her. In the 1970s Ms. Ross worked closely with composer-producer-designer Sylvano Bussotti, a con- troversial figure of the European avant-garde scene, and became the leading interpreter of his work. During this period Ms. Ross commissioned a costume

for Pierrot Lunaire from Bussotti; it is that costume, made of 100-year-old Italian silk and based on the commedia delVarte figure, that she will wear for tonight's performance. Together, Bussotti and Ross created this choreographed production of Pierrot Lunaire based on the mime movements of commedia

delVarte. It is, at once, simple, stylish, and intensely dramatic, relying for its impact on the extravagance of the costume and a single shaft of light repre- senting moonlight. Elise Ross has given many performances of this production, including a performance at one of the Birmingham Contemporary Music Group's first concerts in 1987, and a performance with pianist Emanuel Ax and members of the Boston Symphony Orchestra at Tanglewood last summer.

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2. Colonibine 2. Columbine Des Mondlichts bleiche Bliiten, The moonlight's pallid blossoms, Die weissen Wunderrosen, The white and wondrous roses, Bliihn in den Julinachten — Bloom in midsummer midnights — brach ich eine nur! 0! could I pluck but one!

Mein banges Leid zu lindern, To still my luckless grieving Such ich am dunklen Strome I seek in Lethe's murky stream Des Mondlichts bleiche Bliiten, The moonlight's pallid blossoms, Die weissen Wunderrosen. The white and wondrous roses.

Gestillt war all mein Sehnen, All my yearning would be sated

Diirft ich so marchenheimlich, Could I, in fairytale secret, So selig leis — entblattern In gentle bliss ... rip petal from petal Auf deine braunen Haare And scatter in your auburn hair Des Mondlichts bleiche Bliiten! The moonlight's pallid blossoms.

3. Der Dandy 3. The Dandy Mit einem phantastischen Lichtstrahl With a fantastical ray of light Erleuchtet der Mond die krystallnen The moon strikes sparks from the crystal Placons flacons Auf dem schwarzen, hochheiligen On that ebony high altar, the washstand Waschtisch Des schweigenden Dandys von Bergamo. Of the laconic dandy from Bergamo.

In tonender, bronzener Schale In the resonant bronze basin Lacht hell die Fontane, metallischen Water spurts noisily with metallic Klangs. laughter. Mit einem phantastischen Lichtstrahl With a fantastical ray of light Erleuchtet der Mond die krystallnen The moon strikes sparks from the crystal Flacons. flacons.

Pierrot mit dem wachsernen Antlitz He of the waxworks face, Pierrot, Stent sinnend und denkt: wie er Racks his brain and thinks: How shall I heute sich schminkt? make me up today? Fort schiebt er das Rot und des Orients Vetoes rouge and Orient green Griin Und bemalt sein Gesicht in erhabenem And paints his phizz in loftier Stil style — Mit einem phantastischen Mondstrahl. With a fantastical ray of light.

4. Eine blasse Wascherin 4. A Pale Washerwoman Eine blasse Wascherin A washerwoman pale as a sheet Wascht zur Nachtzeit bleiche Tiicher, Washes nights her bleachpale linen, Nackte, silberweisse Arme Dips naked arms white as silver Streckt sie nieder in die Flut. Glistening down into the stream.

Durch die Lichtung schleichen Winde, Through the clearing sidle breezes Leis bewegen sie den Strom. Gently ruffling up the river. Eine blasse Wascherin A washerwoman pale as a sheet Wascht zur Nachtzeit bleiche Tiicher. Washes nights her bleachpale linen.

Und die sanfte Magd des Himmels, Heaven's lovely livid scullion, Von den Zweigen zart umschmeichelt, By the branches gently tickled, Breitet auf die dunklen Wiesen Lays out upon the darkling meadows Ihre lichtgewobnen Linnen — Her bedlinen woven of threads of light Eine blasse Wascherin. A washerwoman pale as a sheet.

Please turn the page quietly.

35 Week 22 5. Valse de Chopin 5. Valse de Chopin Wie ein blasser Tropfen Bluts Like a spitwatered drop of blood Rouging Farbt die Lippen einer Kranken, the lips of the phthisic sick, Also raht auf diesen Tonen So upon these morbid tones Ein vernichtungssuchtger Reiz. There lies a soul-destroying spell.

Wilder Lust Accorde storen Crimson chords of fierce desire Der Verzweiflung eisgen Traum — Splatter despair's white-icy dream — Wie ein blasser Tropfen Bluts Like a spitwatered drop of blood Rouging Farbt die Lippen einer Kranken. the lips of the phthisic sick.

Heiss und jauchzend, siiss und Hot exultant, sweetly longing, schmachtend, Melancholisch diistrer Walzer, Melancholy nightwood waltz Kommst mir nimmer aus den Sinnen! Nagging sleepless at my brain, Haftest mir an den Gedanken, Cleaving to my every thought, Wie ein blasser Tropfen Bluts! Like a spitwatered drop of blood!

6. Madonna 6. Madonna

Steig, o Mutter aller Schmerzen, Mount, Madonna of all sorrows, Auf den Altar meiner Verse! Upon the altar of my verses! Blut aus deinen magren Briisten Blood from out thy milkless breasts Hat des Schwertes Wut vergossen. Spilled at the saber's angry slash.

Deine ewig frischen Wunden Thy wounds, fresh always, weeping blood, Gleichen Augen, rot und offen. Are sleepless eyes, red and staring. Steig, o Mutter aller Schmerzen, Mount, Madonna of all sorrows, Auf den Altar meiner Verse! Upon the altar of my verses!

In den abgezehrten Handen In thy fleshless wasted hands Haltst du deines Sohnes Leiche, Thou holdst the corpse that was thy Son Ihn zu zeigen aller Menschheit — As tidings to a careless world

Doch der Blick der Menschen meidet But still they turn their eyes away Dich, o Mutter aller Schmerzen! Prom thee, Madonna of all sorrows.

7. Der kranke Mond 7. The Sick Moon

Du nachtig todeskranker Mond You darkgloomed lifesick deathbed moon Dort auf des Himmels schwarzem Pfuhl, Splayed white on night-sky's pillow, Dein Blick, so fiebernd iibergross, Your huge and feverswollen face Bannt mich wie fremde Melodie. Holds me fast, like alien tones.

An unstillbarem Liebesleid From stanchless quenchless ache of love Stirbst du, an Sehnsucht, tief erstickt, You'll die of yearning, choked and smothered, Du nachtig todeskranker Mond You darkgloomed lifesick deathbed moon Dort auf des Himmels schwarzem Pfuhl. Splayed white on night-sky's pillow.

Den Liebsten, der im Sinnenrausch The lovedrunk lover on his way Gedankenlos zur Liebsten schleicht, Thoughtless to his lover's bed Belustigt deiner Strahlen Spiel — Applauds as charming silver rays Dein bleiches, qualgebornes Blut, The hueless pain-born blood you spill, Du nachtig todeskranker Mond. You darkgloomed lifesick deathbed moon.

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PART II

8. Nacht (Passacaglia) 8. Night (Passacaglia)

Finstre, schwarze Riesenfalter Sinister giant black butterflies Toteten der Sonne Glanz. Eclipse the blazing disk of sun. Ein geschlossnes Zauberbuch, Like a sealed-up book of wizard's spells Ruht der Horizont— verschwiegen. Sleeps the horizon — secret silent.

Aus dem Qualm verlorner Tiefen From dank forgotten depths of Lethe Steigt ein Duft, Erinnrung mordend! A scent floats up, to murder memory. Finstre, schwarze Riesenfalter Sinister giant black butterflies Toteten der Sonne Glanz. Eclipse the blazing disk of sun.

Und vom Himmel erdenwarts And from heaven downward dropping Senken sich mit schweren Schwingen To the earth in leaden circles, Unsichtbar die Ungetiime Invisible, the monstrous swarm

Auf die Menschenherzen nieder . . . Descends upon the hearts of men, Finstre, schwarze Riesenfalter. Sinister giant black butterflies.

9. Gebet an Pierrot 9. Prayer to Pierrot Pierrot! Mein Lachen Pierrot! My laughter's Hab ich verlernt! All forgot! Das Bild des Glanzes The radiant image Zerfioss — Zerfloss! Dissolved — dissolved!

Schwarz weht die Flagge Black blows the flag Mir nun vom Mast. That flies at my mast. Pierrot! Mein Lachen Pierrot! My laughter's Hab ich verlernt! All forgot!

gieb mir wieder, give me back — Rossarzt der Seele, Soul's Veterinarian, Schneemann der Lyrik, Snowman of Verse, Durchlaucht vom Monde, Your Way-Up-Highness the Moon, Pierrot — mein Lachen! Pierrot — my laughter!

10. Raub 10. Theft

Rote, furstliche Rubine, Red and princely rubies, Blutge Tropfen alten Ruhmes, Bloody drops of fabled fame, Schlummern in den Totenschreinen, Slumber with dead men's bones Drunten in den Grabgewolben. Beneath the vaults of sepulchers.

Nachts, mit seinen Zechkumpanen, At night, with fellow tipplers, Steigt Pierrot hinab — zu rauben Pierrot breaks in — to steal Rote, furstliche Rubine, Red and princely rubies, Blutge Tropfen alten Ruhmes. Bloody drops of fabled fame.

Doch da — strauben sich die Haare, But there!— their hair's on end — Bleiche Furcht bannt sie am Platze: Livid fear turns them to stone: Durch die Finsternis— wie Augen! — Through the dark like gleaming eyes Stieren aus den Totenschreinen Goggle from the chests of bones Rote, furstliche Rubine. Red and princely rubies.

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37 Week 22 11. Rote Messe 11. Red Mass Zu grausem Abendmahle, At the gruesome Eucharist, Beim Blendeglanz des Goldes, In the trumpery golden glare, Beim Plackerschein der Kerzen, In the shuddering candlelight, Naht dem Altar — Pierrot! To the altar comes — Pierrot!

Die Hand, die gottgeweihte, His hand, by Grace anointed, Zerreisst die Priesterkleider Rips open his priestly vestment Zu grausem Abendmahle, At the gruesome Eucharist, Beim Blendeglanz des Goldes. In the trumpery golden glare.

Mit segnender Geberde With hand upraised in blessing Zeigt er den bangen Seelen He holds aloft to trembling souls Die triefend rote Hostie: The holy crimson-oozing Host: Sein Herz — in blutgen Fingern - His ripped-out heart — in bloody fingers Zu grausem Abendmahle! At the gruesome Eucharist.

12. Galgenlied 12. Gallows Ditty

Die diirre Dime The wood-dry whore Mit langem Halse With rope-long neck Wird seine letzte Will be the last lover Geliebte sein. To hold him tight.

In seinem Hirne She sticks in his brain Steckt wie ein Nagel Like a hammered-in nail, Die diirre Dime The wood-dry whore Mit langem Halse. With rope-long neck.

Schlank wie die Pinie, Pinetree-scrawny Am Hals ein Zopfchen With hank of hair,

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Wolliistig wird sie The lecher, she'll grab Den Schelm umhalsen, The wretch's neck, Die diirre Dime! The wood-dry whore!

13. Enthauptung 13. Beheading Der Mond, ein blankes Tiirkenschwert The moon, a naked scimitar Auf einem schwarzen Seidenkissen, Upon a black silk cushion, Gespenstisch gross — draut er hinab Ghostly huge hangs threatening down Durch schmerzensdunkle Nacht. Through night as dark as woe.

Pierrot irrt ohne Rast umher Pierrot, who paces about in panic, Und starrt empor in Todesangsten Stares up and feels the clutch of death Zum Mond, dem blanken Tiirkenschwert At sight of moon, a naked scimitar Auf einem schwarzen Seidenkissen. Upon a black silk cushion.

Es schlottern unter ihm die Knie, Knees atremble, quaking, shaking, Ohnmachtig bricht er jah zusammen. He falls into a faint of fright, Er wahnt: es sause strafend schon Convinced it's slashing down already Auf seinen Siinderhals hernieder On his guilty sinful neck, Der Mond, das blanke Tiirkenschwert. The moon, the naked scimitar.

14. Die Kreuze 14. The Crosses

Heilge Kreuze sind die Verse, Poems are poets' holy crosses Dran die Dichter stumm verbluten, Where they, silent, bleed to death, Blindgeschlagen von der Geier Eyes struck blind by beating wings Flatterndem Gespensterschwarme! Of a spectral vulture swarm.

In den Leibern schwelgten Schwerter, Their ragged flesh the prey of daggers Prunkend in des Blutes Scharlach! Reveling in their scarlet blood! Heilge Kreuze sind die Verse, Poems are poets' holy crosses Dran die Dichter stumm verbluten. Where they, silent, bleed to death.

Tot das Haupt — erstarrt die Locken- Bowed and wounded sinks the head, Fern, verweht der Larm des Pobels. Afar the silly mob still prattles. Langsam sinkt die Sonne nieder, Slowly solemn sinks the sun, Eine rote Konigskrone. — Gold and red of royal crown. Heilge Kreuze sind die Verse! Poems are poets' holy crosses.

PART HI

15. Heimweh 15. Homesickness

Lieblich klagend — ein kristallnes Seufzen Gently keening, a crystalline sighing Aus Italiens alter Pantomime Voice out of Italy's old pantomime Klingts heriiber: wie Pierrot so holzern, Complains how Pierrot's grown so wooden, So modern sentimental geworden. So trite and mawkish, inanely a la mode.

Und es tont durch seines Herzens Wiiste, When its voice is heard in the wilderness Tont gedampft durch alle Sinne wieder, Of his heart and all his senses, Lieblich klagend — ein kristallnes Seufzen Gently keening, a crystalline sighing Aus Italiens alter Pantomime. Voice out of Italy's old pantomime,

Da vergisst Pierrot die Trauermienen! Pierrot drops his churlish sulking, Durch den bleichen Feuerschein des And through wan flame of moonlight, Mondes,

Durch des Lichtmeers Fluten — schweift Through tides of light, his homesick die Sehnsucht yearning Kuhn hinauf, empor zum Heimathimmel, Soars abroad to happier skies, Lieblich klagend — ein kristallnes Seufzen! Gently keening, a crystalline sighing.

Please turn the page quietly. Week 22 16. Gemeinheit! 16. Vidgar Horseplay! In den blanken Kopf Cassanders, Into Pantaloon's bonebald head — Dessen Schrein die Luft durchzetert, Who screams and shrieks and rends the air — Bohrt Pierrot mit Heuchlermienen, Pierrot, that ace of hypocrites, Zartlich — einen Schadelbohrer! Drills — tenderly!— with a surgeon's borer.

Darauf stopft er mit dem Daumen Then uses his thumb to pack and tamp Seinen echten tiirkschen Taback His choicest blend of Turkish tobacco In den blanken Kopf Cassanders, Into Pantaloon's bonebald head — Dessen Schrein die Luft durchzetert! Who screams and shrieks and rends the air.

Dann dreht er ein Rohr von Weichsel Then screws a stem of cherrywood Hinten in die glatte Glatze Into the back of the polished pate, Und behabig schmaucht und pafft er Lights up and nonchalantly puffs away Seinen echten tiirkschen Taback At his choicest blend of Turkish tobacco Aus dem blanken Kopf Cassanders! Through Pantaloon's bonebald head!

17. Parodie 17. Parody Stricknadeln, blank und blinkend, With knitting needles steely bright In ihrem grauen Haar, Stuck in her mousegray hair, Sitzt die Duenna murmelnd, The duenna sits there all atwitter Im roten Rockchen da. In her best red party frock.

Sie wartet in der Laube, She's waiting 'neath the bower, Sie liebt Pierrot mit Schmerzen, Ablaze for Pierrot with passion, Stricknadeln, blank und blinkend, With knitting needles steely bright In ihrem grauen Haar. Stuck in her mousegray hair.

Da plotzlich — horch!— ein Wispern! Suddenly — hark! — a whisper, Ein Windhauch kichert leise: The titter of a puff of wind: Der Mond, der bose Spotter, The moon, coldhearted cynic, Afft nach mit seinen Strahlen — Is aping with quicksilver beams Stricknadeln, blink und blank. Those knitting needles steely bright.

18. Der Mondfleck 18. The Moonfleck

Einen weissen Fleck des hellen Mondes With a fleck of white — bright patch of moonlight — Auf dem Riicken seines schwarzen Rockes, On the back of his black jacket, So spaziert Pierrot im lauen Abend, Pierrot strolls about in the mild evening air Aufzusuchen Grluck und Abenteuer. On his night-time hunt for fun and good pickings.

Plotzlich stort ihn was an seinem Anzug, Suddenly something strikes him as wrong, Er beschaut sich rings und findet richtig— He checks his clothes over and sure enough finds Einen weissen Fleck des hellen Mondes A fleck of white— bright patch of moonlight — Auf dem Riicken seines schwarzen Rockes. On the back of his black jacket.

Warte! denkt er: das ist so ein Gipsfleck! Damn! he thinks, There's a spot of white plaster!

Wischt und wischt, doch— bringt ihn nicht Rubs and rubs, but can't get rid of it, herunter! Und so geht er, giftgeschwollen, weiter, So goes on his way, his pleasure poisoned, Reibt und reibt bis an den fruhen Rubbing and rubbing till dawn comes up — Morgen — Einen weissen Fleck des hellen Mondes. At a fleck of white, a bright patch of moonlight!

40 19. Serenade 19. Serenade Mit groteskem Riesenbogen With grotesquely giant-sized bow Kratzt Pierrot auf seiner Bratsche, Pierrot draws cat-squeals from his viola. Wie der Storch auf einem Beine, Like a stork, on one leg balanced, Knipst er triib ein Pizzicato. He plucks a doleful pizzicato.

Plotzlich naht Cassander— wiitend Out pops furious Pantaloon Ob des nachtgen Virtuosen — Raging at the night-time virtuoso — Mit groteskem Riesenbogen With grotesquely giant-sized bow Kratzt Pierrot auf seiner Bratsche. Pierrot draws cat-squeals from his viola.

Von sich wirft er jetzt die Bratsche: So the player drops his fiddle; Mit der delikaten Linken Delicately, with his skilled left hand, Fasst den Kahlkopf er am Kragen — Grabs old baldy by the collar — Traumend spielt er auf der Glatze And dreamily plays upon his pate Mit groteskem Riesenbogen. With grotesquely giant-sized bow.

20. Heimfahrt (Barcarole) 20. Homeward Journey (Barcarole)

Der Mondstrahl ist das Ruder, With moonbeam as his rudder,

Seerose dient als Boot: His boat a water lily, Drauf fahrt Pierrot gen Siiden Pierrot sails softly southward Mit gutem Reisewind. Driven onward by the wind.

Der Strom summt tiefe Skalen The river hums its watery scales Und wiegt den leichten Kahn. And gently rocks his skiff, Der Mondstrahl ist das Ruder, With moonbeam as his rudder,

Seerose dient als Boot. His boat a water lily.

Nach Bergamo, zur Heimat, To Bergamo, his native land, Kehrt nun Pierrot zuriick; Pierrot is homeward bound. Schwach dammert schon in Osten Pale dawns already in the east Der grime Horizont. The green of morning's rim — Der Mondstrahl ist das Ruder. —With moonbeam as his rudder.

21. O alter Duft 21. O Scent of Fabled Yesteryear alter Duft aus Marchenzeit, scent of fabled yesteryear, Berauschest wieder meine Sinne! Befuddling my senses with bygone joys! Ein narrisch Heer von Schelmerein A silly swarm of idle fancies Durchschwirrt die leichte Luft. Murmurs through the gentle air.

Ein gliickhaft Wunschen macht mich froh A happy ending so long yearned for Nach Preuden, die ich lang verachtet: Recalls old pleasures long disdained: alter Duft aus Marchenzeit, scent of fabled yesteryear, Berauschest wieder mich! Befuddling me again!

All meinen Unmut gab ich preis; My bitter mood has turned to peace; Aus meinem sonnumrahmten Fenster My sundrenched window opens wide Beschau ich frei die liebe Welt On daytime thoughts of world I love,

Und traum hinaus in selge Weiten... To daydreams of a world beyond . . . alter Duft — aus Marchenzeit! scent of fabled yesteryear!

—Albert Giraud, German trans, — translation by Robert Erich Wolf by 0. E. Hartleben [Used by permission of Nonesuch Records]

41 Week 22 GIORGIO ARMAM 22 Newbury Street, Boston, (617) 267-3200

42 MUSIC OF 1913

Claude Debussy Jeux — Poeme danse

Achille-Claude Debussy was born at St. Germain-en-Laye on August 22, 1862, and died in Paris on March 25, 1918. He composed his "danced poem" entitled Jeux ("Games") during the late summer of 1912. It was first performed, with Nijinsky's choreography, by the Ballets Russes in Paris on May 15, 1913. The score calls for two piccolos, two flutes, three oboes and English horn, three clarinets and bass clarinet, three bassoons, sarrusophone (replaced here by contrabassoon), four horns, four trumpets, three trom- bones, tuba, timpani, tambourine, triangle, cymbals, celesta, xylophone, two harps, and strings.

Serge Diaghilev, a successful impresario, knew the importance of publicity. A succes de scandale meant drawing1 public attention to the performances he presented. So his first collaboration with Claude Debussy, a ballet version of the twenty-year-old score Prelude to "The Afternoon of a Faun," first danced in 1909, had shocked for bringing the erotic theme of Mallarme's poem onto the stage in the performance of Vaclav Nijinsky; the controversy helped business. Jeux came in part from the desire to have another piece by the composer whose work had created such notoriety. Nijinsky sug- gested a scenario involving the erotic encounter of three young men, but Diaghilev knew that there was a difference between a succes de scandale and a scandal pure and simple; he was not prepared to risk the latter. Two of the young men were turned into girls. The rest of Nijinsky's proposal was communicated to Debussy by telegram:

it was to be a small-scale work with no corps de ballet, no pas de deux, variations, large ensembles: "Only boys and girls in flannels" and a game of tennis interrupted by an airplane crash!

Debussy's response was categorical: "No, it's idiotic and unmusical. I should not dream of writing a score for this work." But when his fee was doubled, Debussy, in financial straits, agreed to compose. Nijinsky was persuaded to omit the airplane crash and Debussy quickly found himself drawn into the piece, working with unaccus- tomed speed. He was caught up in the possibilities of Jeux ("Games"), considered in more ambiguous ways: the rapidly changing "games" of tennis and other sports, or

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Debussy Vaclav Nijinsky

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© 1 992 DG/PolyGram Classics & Jazz Photo: Christian Steiner THE WORLD'S BEST RECORD STORES HMV HARVARD SQUARE the erotic games of flirtation, pursuit, resistance, and yielding that are also inherent in the scenario. Both of these aspects of life involve constantly changing perceptions of the individual moment which might range from the most banal to the most heart- stopping, and these responses affect the very experience of time and its flight. The flickering, changing, unpredictable character of time's passage, and our inability to

stop it, caught the composer's attention. He wished to capture some of that sense of change and discontinuity in his music. At the same time he insisted that there were connections in those diverse events, and he sought, as he said, "to make something inorganic in appearance and yet well-ordered at its core."

Those subtle links apparently evaded the audience at the first performance, where the work was poorly received. To this day, Jeux has never been especially popular even in concert. From the very beginning Debussy seems to be denying normal musi- cal continuity; he juxtaposes the extremes of tempo at the outset, the Tres lent of the introduction suddenly yielding to the Scherzando, which is specifically identified as the basic tempo. Throughout the many rapid changes of tempo or momentary adjust-

ments, we can sense that Jeux is fundamentally a fast waltz (perhaps it was the veiled seductive, erotic overtones of the Viennese waltz that suggested this genre to Debussy) in which the interplay of the young man and the two young women unfolds itself: flirtation, jealousy, various regroupings of the couples in an amorous carousel. The three dancers arrange themselves in an ever-changing combination of a couple and an odd-one-out. The breathless activity builds, just before the end, to a musical and choreographic climax: the orchestra grows to a fortissimo tutti as, for the first time (so the scenario tells us), "the young man, in a passionate gesture, brings

together their three heads . . . and a triple kiss unites them in ecstasy." But this cli- mactic, ritual moment is fleeting. The trio is disturbed when another tennis ball sud- denly falls at their feet. The music becomes vaguely threatening again; the situation has changed, even while remaining the same. As for the three dancers, "surprised and frightened, they bound away and disappear into the depths of the nocturnal park."

Edward Elgar Falstaff, Symphonic study in C minor, Opus 68

Edward Elgar was born at Broadheath, near Worcester, England, on June 2, 1857, and died in Worcester on February 23, 1934. He began working on sketches for the material that eventually became Falstaff as early as 1902, and he returned to it occasionally over a period of several years, but it was not until 1913 that he actually composed the

score as we know it. Falstaff ivas first performed at the Leeds Festival on October 2 that year, under the composer's direction. The score calls for two flutes and piccolo, two oboes and English horn, two clarinets and bass clarinet, two bassoons and contrabassoon, four horns, three trumpets, three trombones, tuba, timpani, bass drum, cymbals, snare drum, tambourine, triangle, tabor (snare drum without snares), two harps, and strings.

Though lacking formal education beyond his fifteenth year, Edward Elgar's drive to learn gave him a well-rounded knowledge of musical and literary subjects. His own essay on Falstaff reveals an enviable grasp of the Bard and a thorough familiarity with centuries of commentary on the character of the fat knight. Falstaff had, of course, already been the subject of two successful operas (Nicolai's Merry Wives of Windsor and Verdi's Falstaff), but these draw on Shakespeare's later Falstaff play, The Merry Wives of Windsor, supposedly written because Queen Elizabeth expressed a desire to see "Sir John in love." Falstaff had originally appeared in the two parts of King Henry IV, and his death was described (although Falstaff himself does not appear) in King Henry V. It was this original Falstaff and his changing relationship with young Prince Hal, later King Henry, that appealed to the composer. His musical ideas issued forth in a "symphonic study" that deals with the youthful exploits of the madcap prince and then, when he becomes king, his refusal to recognize the 'boon

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46 companion of his early days, a refusal that cuts Falstaff to the quick and brings on his death soon after.

After planning a Falstaff work for many years, Elgar began serious work on the score in January 1913 during a vacation in Naples and Capri. Returning to London in February, Elgar himself was depressed and ill and put off further work on the symphonic study until late spring. lie finally set to work in earnest in May and fin- ished the score in June and July. During a holiday in August he wrote a set of ana- lytical notes that appeared in The Musical Times a month before the premiere to give potential audiences a chance to prepare themselves for the new piece. The premiere enjoyed only a succes d'estime, but Elgar himself regarded Falstaff as his best work, and in some respects — sheer orchestral virtuosity, utter command of color and instru- mental detail — there is nothing in his output to match it. For all its brilliance of con- ception, the score offers considerable difficulty to the casual listener who has not done a fair bit of Shakespearean homework.

The score is overtly programmatic; it is possible to explain almost every passage from the point of view of the events of Shakespeare's play and Elgar's interpretation of Falstaff s character. At the same time, Falstaff can be heard as a symphonic work developed from a number of specific thematic ideas, without regard to their narrative significance.

Elgar saw Falstaff (in the words of the eighteenth-century critic Maurice Morgann) as "made up. ..wholly of incongruities; — a man at once young and old, enterprizing and fat, a dupe and a wit, harmless and wicked, weak in principle and resolute by constitution, cowardly in appearance and brave in reality; a knave without malice, a lyar without deceit; and a knight, a gentleman and a soldier, without either dignity, decency, or honour." Since we most often think of Falstaff as a buffoon, Elgar's autumnal view of the man is particularly striking. This Falstaff offers, to some degree, a portrait of the composer himself, entering the disheartening autumn of his own life.

The opening section introduces us to the two principal characters, the easygoing Falstaff, "in a green old age, mellow, frank, gay, easy, corpulent, loose, unprincipled, and luxurious" and Prince Hal in his most gracious mood. We find ourselves in East-

Edward Elgar

47 Week 22 cheap, a dubious region of ill repute, where Falstaff is monarch and Prince Hal comes to take his pleasure. An adventure is planned: Falstaff and his friends are going to rob a band of pilgrims, but the Prince and Poins decide to play a joke by robbing the robbers themselves. The music becomes hushed and furtive, filled with rustlings in the woods and mysterious horn calls. The fight begins, and soon a beaten Falstaff returns to the Boar's Head to drown his sorrows in drink, which the hostess promptly pro- vides, and to boast to Hal about his heroic stand against the "dozen" robbers who attacked him. He is unperturbed to learn that the "dozen" were only the Prince and Poins. Through the ministrations of Mistress Quickly, he begins to see the world through a wine-laden mist, and eventually falls to sleep and snores. In a Dream Inter- lude, Falstaff recalls his boyhood as Page to the Duke of Norfolk, one of two magical moments of repose in an otherwise hectic tale.

In a sudden Allegro outburst, Falstaff is summoned to court and sent to Gloucester on the King's business. His scarecrow army passes in review, and Falstaff jokes before leading them into battle. When the fighting eventually comes to an end, we get a brief glimpse of rural peace, as Falstaff returns through Gloucestershire to visit his friend Shallow's orchard. The music gradually becomes rustic and quiet, alternating folk dances in the woodwinds with a soft muted passage in violas and cellos; this is the second interlude in the score, suggesting a wondrous calm in these environs.

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NH A sudden interruption (violins fortissimo) brings the news that Henry IV is dead and Falstaff s bosom companion has become the new king. Falstaffs themes reappear in a new guise, showing that he now sees himself as one of the greatest men in the realm. He proceeds to Westminster to greet the new king upon his coronation. The music suggests the king's approach, the eagerness of Falstaff, and his recollection of past episodes of mischief. Finally Henry V appears in full glory and stops. Falstaff moves forward expectantly, but is sternly rebuffed by three fortissimo chords on trom- bones and woodwinds, echoed pianissimo by the strings. "I know thee not, old man; fall to thy prayers. How ill white hairs become a fool and jester." Falstaff tries his cajolery to no avail, and the king moves on, to the theme of his stern march. Falstaff, shattered, repairs to the inn, his themes now faltering and broken. He thinks of the green fields of Gloucester, calls for sack. He thinks again of the green fields; the brass instruments softly sustain a C major chord, as Falstaff dies. One last brief ref- erence to the king's march and a shrill drum roll bring us to the single pizzicato chord that ends the work. In Elgar's words, "The man of stern reality has triumphed."

Igor Stravinsky Le Sacre du printemps (The Rite of Spring)

Igor Fedorovich Stravinsky was born at Oranienbaum, Russia, on June 17, 1882, and died in New York on April 6, 1971. Le Sacre du printemps was formally commissioned by Serge Diaghilev on August 8, 1911, and Stravinsky began composing almost imme- diately; he finished the sketch score on November 17, 1912. The work was produced in Paris by Diaghilev's Russian Ballet under the musical direction of Pierre Monteux on May 29, 1913. The score of he Sacre calls for an enormous orchestra including two pic- colos, two flutes, and alto flute in G, four oboes (one doubling second English horn), English horn, three clarinets (one doubling second bass clarinet), high clarinet in E-flat, bass clarinet, three bassoons (one doubling second contrabassoon), contrabassoon, eight horns (two doubling Wagner tubas), four trumpets, high trumpet in D, bass trumpet, three trombones, two tubas, five timpani (divided between two players), bass drum, tam- bourine, cymbals, antique cymbals, triangle, tamtam, rape guero, and strings.

Stravinsky first thought of the visual image that was to become the basis of his ballet Le Sacre du printemps — a scene of pagan ritual in which a chosen sacrificial virgin danced herself to death— while he was working on The Firebird. Although

Diaghilev liked the idea and suggested that Stravinsky go ahead with it, he was tem- porarily sidetracked by another musical idea that turned into Petrushka. In July 1911, Stravinsky met with the designer Nicholas Roerich; in just a few days they laid out the plan of action.

Stravinsky's own handwritten draft of the scenario can be translated as follows:

Vesna Sviasschennaya is a musical choreographic work. It represents pagan Rus- sia and is unified by a single idea: the mystery and great surge of creative power of Spring. The piece has no plot, but the choreographic succession is as follows: FIRST PART: THE KISS OF THE EARTH The spring celebration. It takes place in the hills. The pipers pipe and young men tell fortunes. The old woman enters. She knows the mystery of nature and how to predict the future. Young girls with painted faces come in from the river in single file. They dance the spring dance. Games start. The Spring Khorovod [a stately round dance]. The people divide into two groups opposing each other. The holy procession of the wise old men. The oldest and wisest interrupts the spring games, which come to a stop. The people pause trembling before the great action. The old men bless the earth. The Kiss of the Earth. The people dance passion-

ately on the earth, sanctifying it and becoming one with it.

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50 SECOND PART: THE GREAT SACRIFICE At night the virgins hold mysterious games, walking in circles. One of the virgins

is consecrated as the victim and is twice pointed to by fate, being caught twice in the perpetual circle. The virgins honor her, the chosen one, with a marital dance. They invoke the ancestors and entrust the chosen one to the old wise men. She sacrifices herself in the presence of the old men in the great holy dance, the great sacrifice.

In the fall of 1911, Stravinsky went to Clarens, Switzerland, where he rented an apartment that included a tiny eight-by-eight room containing a small upright piano (which he kept muted) for composing. There he began to work, starting with the sec- tion entitled "Auguries of spring," the section immediately following the slow intro- duction with that wonderfully crunchy polychord (consisting of an P-flat chord on the bottom and an E-flat seventh chord on top) reiterated in eighth-note rhythms with

carefully unpredictable stresses. The music to Part I went quickly; by January 7,

1912, he had finished it, including most of the orchestration. Then he began serious work on Part II at the beginning of March.

Stravinsky himself felt the novelty of his latest composition; on March 7 he wrote to his old friend Anatoly Rimsky-Korsakov, the son of his former teacher: "It is as if twenty and not two years had passed since The Firebird was composed." Rehearsals began nearly six months before the performance, sandwiched in between the tour com- mitments of the company. The choreography had been entrusted to Nijinsky, who had been a sensation dancing the title role of Petrushka, but whose talents as a choreogra- pher were untested. The composer's public statements at the time expressed complete satisfaction with what Nijinsky did, but in later recollections he was much more criti- cal. The premiere, of course, was one of the greatest scandals in the history of music.

There had been little hint of it beforehand; at the dress rehearsal, attended by a large crowd of invited musicians (including Debussy and Ravel) and critics, everything had gone smoothly. But at the performance, the noise in the audience began almost as soon as the music started — a few catcalls, then more and more. Stravinsky left the

Igor Stravinsky Pierre Monteux

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52 hall early, in a rage:

I have never again been that angry. The music was so familiar to me; I loved it, and I could not understand why people who had not heard it wanted to protest in advance.

After the performance, Stravinsky related, they were "excited, angry, disgusted, and-

. . . happy." Diaghilev recognized that the evening's events were worth any amount of advertising. Years later Stravinsky suspected Diaghilev of having, perhaps, foreseen the possibility of such a scandal when he had first heard the piano performance of parts of the score. The real success of Le Sacre, however, came almost a year later, when Monteux conducted the first concert performance of the work in Paris. This time the triumph was total.

Probably no single work written in the twentieth century has exercised so profound and far-reaching an effect on the art of music as Le Sacre du printemps. Despite all the trappings of nineteenth-century romanticism — a huge orchestra and the scenery and costumes of a classical ballet company— the piece was a breakthrough in har- mony, rhythm, and texture. Though Stravinsky's advanced, dissonant harmonies prob- ably attracted the most attention at first (especially the "polychord" mentioned above, and the obvious lack of functional harmonic relationships), it is the rhythms of Le Sacre that continue to challenge and inspire. In one blow, Stravinsky destroyed the "tyranny of the bar line" that had locked so much romantic music into a rhythmic vise; henceforth new rhythmic possibilities were developed by composers of all types, and the results are apparent in a large part of the music of the last seventy-five years. The simpler kind of new rhythmic treatment merely offers irregular and unpre- dictable stresses through dynamic accent in an otherwise regular pattern. The more complicated and radical kind of rhythmic treatment occurs when the basic rhythmic

Nijinsky as photographed by Stravinsky

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54 unit is a short note value — say an eighth-note — and it is grouped in constantly chang- ing patterns, as in the concluding "Sacrificial dance," which was so new in rhythmic conception that Stravinsky could not find a way to write it down for a long time — though he was able to play it on the piano!

Some of the big moments in Le Sacre are built up from simultaneous ostinato pat- terns, overlapping in different lengths, piled up one on top of the other (these con- trasting but simultaneous rhythms were choreographed, in the original production, by different groups of dancers, bringing a correspondence between aural and visual ele- ments). The "Procession of the wise elder" is such an example — a heady, overwhelm- ing maelstrom of sound coming to a sudden stop at the soft, subdued chords accom- panying the "Adoration of the earth." The musical "primitivism" cultivated by many composers ranging from Prokofiev (in his Scythian Suite) to the congenial symplicities of Carl Orff would be unthinkable without Le Sacre.

Recent years have seen more and more serious analyses of the score, to find the key that really holds this extraordinary work together. That Le Sacre is a unified masterpiece no one today doubts, but the way the elements operate to create that unity are still mysterious. Stravinsky himself was not interested in theorizing (of course, he didn't need to — he had composed the piece, and that's enough for anyone):

I was guided by no system whatever in Le Sacre du printemps. When I think of the other composers of that time who interest me — Berg, who is synthetic (in the best sense), Webern, who is analytic, and Schoenberg, who is both — how much more theoretical their music seems than Le Sacre; and these composers were sup- ported by a great tradition, whereas very little immediate tradition lies behind Le Sacre du printemps. I had only my ear to help me. I heard and I wrote what I heard. I am the vessel through which Le Sacre passed.

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56

H More . . .

Every composer represented on these programs has been the subject of a number of

biographies and critical studies. But it is worth mentioning, too, some of the studies that highlight the era as a whole. Carl E. Schorske's Fin-de-siecle Vienna (Knopf) offers a richly kaleidoscopic view of painting, literature, music, and intellectual life in the years around the turn of the century. Two engagingly written popular histories by Frederic Morton provide a "slice-of-time" snapshot of Vienna during two crucial years preceding the First World War: A Nervous Splendor, 1888/1889 (Penguin paperback) and Thunder at Twilight: Vienna, 1913/1914 (Collier Books paperback). Both books deal with the artists as well as the political figures and thinkers active — and often intertwined — in Vienna during those years. Barbara Tuchman's The Proud Tower: A Portrait of the World before the War, 1890-1914 (Bantam paperback) takes a broader social and political perspective of Europe and America in the decades before the out- break of the war, with an extended chapter on the music. Elaine Brody's Paris: The Musical Kaleidoscope, 1870-1925 (Braziller) traces the various musical threads that meet in Paris during these years; the richest lode of information about the Russian Ballet comes in Lynn Garafola's recent Diaghilev's Ballets Russes (Oxford). Not to be overlooked are two well-written histories of music in this century which naturally come to grips with the crucial 1911-1913 period in their early chapters. Though both are conceived as textbooks for college courses, they offer valuable guidance to any music lover seeking further understanding of this period: Eric Salzman, Twentieth- Century Music: An Introduction (Prentice-Hall), and Robert P. Morgan, Twentieth- Century Music (Norton). Both go far beyond the years in question but must keep referring to issues first raised then. -S.L.

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57 City of Birmingham Symphony Orchestra

After the first performance of Elijah in Birmingham Town Hall, Mendelssohn wrote: "The music was performed with spectacular elan and tremendous fire and spirit, doing justice not only to the loudest passages, but also to the softest pianos in a way I never heard

before from such large forces . . . good fortune for any first performance, but in fact I never in all my life heard a better, or even one as good ..." It was in 1920 that Sir Edward Elgar conducted the orchestra's first symphony concert, and throughout the '20s and '30s it gradually established itself, first under Adrian Boult and later under Leslie Heward, as the major professional musical body in the Midlands. After the Second World War, George Weldon and Rudolf Schwarz presided over a time of growth and consolida- tion; under Hugo Rignold in the 1960s and Louis Fremaux in the 1970s the CBSO started a series of recordings and overseas tours that have firmly established it on the interna- tional scene.

The period since Simon Rattle's appointment as principal conductor and artistic advisor in 1980 has been the busiest and most exciting in the CBSO's history. This season he became its music director, recognizing his special status with the orchestra. The CBSO plays to consistently full houses in Birmingham and appears at all the leading British music festivals. Under Simon Rattle it has undertaken several major recording projects for EMI, including the complete Sibelius symphonies, the four major Stravinsky ballets, Messi- aen's Turangalila-symphonie, Elgar's Dream of Gerontius, Mahler's Second and Sixth symphonies — the latter named "Record of the Year" in 1988 — and Haydn's Creation. The orchestra has also recorded all the Beethoven symphonies, conducted by Walter Weller, for Chandos. Simon Rattle and the CBSO have also made a series of television documentaries for Independent Television and the BBC.

The CBSO has played in most of Europe's major musical centers. 1987 saw major tours of Japan and Northern Europe. The spring of 1988 brought an extensive tour of the United States; April 1989 a return to Paris for performances of Mahler's Seventh Sym- phony; November 1989 another European tour; and July 1990 performances of Beetho- ven's Ninth in Madrid and Granada with the CBSO Chorus. In February 1991 the orches- tra completed a tour of the Far East, including performances in Hong Kong's Arts Festival and eight concerts in Japan.

The City of Birmingham Symphony Orchestra receives financial assistance from the City of Birmingham and the Arts Council of Great Britain. In January 1991 the young British composer Mark-Anthony Turnage was appointed to the newly created position of Radcliffe Composer in Association with the CBSO. The appointment, which will run for three years, has been made possible by funds provided from the Radcliffe Trust.

58 Jr*3 mmHE

»

CITY OF BIRMINGHAM SYMPHONY ORCHESTRA Simon Rattle, Music Director HRH The Prince Edward CVO, Patron Mark-Anthony Turnage, Radcliffe Composer-in-Association

First Violins Cellos Contrabassoons Peter Thomas Ulrieh Heinen§ Margaret Cookhorn Leader Eduardo Vassallo§ Dominic Morgan Lyn Fletcher David Russell Co-Leader Simon Clugston Horns Robert Heard David Powell Robert Blackburn§ Deputy Leader Jacqueline Tyler Claire Briggs§ Anne Parkin Elspeth Cox Peter Currie Philip Head* Ian Ludford Mark Phillips Gisela Hess* Sarah Shephard Peter Dyson Katherine Gittings Edward Bosher* John Logan Colin Twigg Andrew Jones David Gregory Basses Andrew Fletcher Mark Robinson John Tattersdill§ Steve Reading Wendy Phillips Julian Atkinson Andrew Szirtes Charles Wall Trumpets Sheila Clarke Thomas Millar Alan Whiteheads Ruth Lawrence Simon Phillips Jonathan Holland§ Paul Jourdan Mark Doust Wesley Warren Pauline Doig Mark Goodchild Jonathan Quirk Christopher Staunton David Archer Second Violins Flutes Mieke Biesta Trombones Kevin Gowland§ Paul Smith* Ken Shifrin§ Colin Lilley Catherine Arlidge Danny Longstaff Nina Thompson Graeme Littlewood Philip Harrison Dianne Youngman Piccolos David Arlan Andrew Lane Bass Trombone Brian Horgan Katherine Constable Alwyn Green John Sutton Rosemary Saunders Oboes Tuba Heather Bradshaw Richard Weigall§* Alan Sinclair Austin Rowlands Karen O'Connor Martin Knowles Catherine Scott Nigel Roberts Michael Timpani Seal English Horn Christopher James Strebing Clift Peter Walden Peter Nail Peter Hill Jennifer Thurston Oboe d'Amore Andrew Knights Percussion Violas Huw Ceredig§ Peter Cole§* Clarinets Annie Oakley* Christopher Yates§ Colin Parr§ Margaret Cotton* Martyn Gwyn Williams* Davies* Cliff Pick Eugen Popescu Peter Davis Mark Walmsley Jennifer Whitelaw Jonathan Carnac Jennifer Marsden Angela Swanson Bass Clarinet Catherine Bower Mark O'Brien Harps Elizabeth Fryer Robert Johnston Kathryn Jourdan Bassoons Frances Webster Carol Millward* Andrew Barnell§ Margaret Artus* John Schroder Celesta Elizabeth Lennard Michael Boyle Malcolm Wilson

§ Section Leader ^Recipients of the CBSO Long Service Award

59 Simon Rattle Since winning the John Player's International Conductor's Compe- tition in 1974 at nineteen, Simon Rattle has achieved extraordinary acclaim even while pursuing unusual and challenging twentieth- century repertory and limiting his appearances to a handful of orchestras and opera companies. Born in Liverpool in 1955, he made his first professional appearance at eleven, as percussionist with the Royal Liverpool Philharomnic and the National Youth Orchestra with Pierre Boulez. Five years later he switched to con- ducting. As winner of the John Player Competition he became assistant conductor of the Bournemouth Symphony Orchestra and the Bournemouth Sinfonietta. He made his Glyndebourne debut at twenty and appeared with the Philharmonia Orchestra two years later. In 1978 he was appointed associate con- ductor of the Royal Liverpool Philharmonic and the BBC Scottish Orchestra, positions he held until his appointment in the summer of 1980 as principal conductor and music direc- tor of the City of Birmingham Symphony Orchestra, his current position. Mr. Rattle made his North American debut at twenty-four with the Los Angeles Philharmonic, soon becom- ing its principal guest conductor. He has also been artistic director of the London Choral Society, principal guest conductor of the Rotterdam Philharmonic, and artistic director of London's South Bank Festival. As an opera conductor, he has led acclaimed productions at Glyndebourne (including the first British production of Porgy and Bess, which he subse- quently recorded), Scottish Opera, English National Opera, Los Angeles Opera, and Cov- ent Garden. Mr. Rattle's discography numbers some thirty releases, on EMI/Angel. Also a scholar of literature, he gave up his conducting responsibilities in 1980-81 to study English and American literature at Oxford University. In Queen Elizabeth's 1987 New Year's Hon- ors he was made a C.B.E. for his services to music; that same year marked the publication of Nicholas Kenyon's "Simon Rattle: The Making of a Conductor."

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FINE ARTS RESTAURANT

60 Elise Ross

Elise Ross is widely acclaimed throughout Europe for her interpre- tations of twentieth-century music. She began her career singing music of Luciano Berio, premiering his music-theater piece Passa- gio in Rome and touring his chamber music with the London Sinfo- nietta. She went on to appear as soloist in such major European music festivals as Warsaw, Florence's Maggio Musicale Fiorentino, Venice's Biennale, and the Holland Festival. Ms. Ross's most noted interpretations have included Schoenberg's Pierrot Lunaire and the role of Marie in Wozzeck. She has recorded Kurt Weill's Ths Seven Deadly Sins for EMI records and for BBC television, and has given staged performances in London's Royal Festival Hall. She has sung the role of Cherubino in Mozart's he nozze di Figaro for Opera 80 and Opera North in the United Kingdom and for Long Beach Opera in the United States. Most recently she sang the role of Marie in the Los Angeles Music Centre Opera's production of Wozzeck. Ms. Ross will tour Pierrot Lunaire with members of the City of Birmingham Symphony Orchestra as part of their United States tour in 1992 and in 1993 will sing her first Melisande in Pelleas et Mel- isande, with Netherlands Opera. Next season she will appear in concerts with the London Philharmonic Orchestra, the City of Birmingham Symphony Orchestra, and the Nash Ensemble.

Robin Buck During the 1991-92 season, the young American baritone Robin Buck makes his New York City Opera debut as Silvio in a new pro- duction of / pagliacci, appears with Connecticut Grand Opera as Papageno in a new production of The Magic Flute, sings Copland's Old American Songs with the Orange County Chamber Orchestra, and tours with the City of Birmingham Symphony Orchestra in performances including his Carnegie Hall debut. Previous operatic appearances have included Connecticut Grand Opera, Arizona Opera, the Los Angeles Music Center Opera, Anchorage Opera, and Long Beach Opera. He has performed Carmina burana with the Anchorage International Music Festival and pops concerts with the San Diego Sym- phony Orchestra. He also received critical acclaim for his Pennsylvania Opera Theater debut as John Procter in The Crucible and for Eurymachus in Monteverdi's 11 ritorno d'Ulisse in patria with Long Beach Opera. Mr. Buck's credits also include substantial work in musical theater and television, including performances as Lancelot in Camelot with Phoenix Little Theatre and as an opera singer on the ABC television series "Life Goes On." After receiving his master's degree from the University of Southern California, Mr. Buck began his professional career as a resident artist in supporting roles with the Los Angeles Music Centre Opera.

Emanuel Ax Pianist Emanuel Ax's career has encompassed prestigious prizes, performances with virtually every major symphony orchestra, countless recitals in the great concert halls, frequent appearances at the major international festivals, and a catalogue of highly suc- cessful recordings. Mr. Ax captured public attention in 1975 when,

* at twenty-five, he won the first Arthur Rubinstein International Piano Competition in Tel Aviv. He won the Michaels Award of ,<4|^^^ Young Concert Artists in 1975 and the Avery Fisher Prize four ^B m^ years later. An RCA recording contract followed, and many of his i JH B more than twenty albums became best sellers and won top honors, In 1987 he became an exclusive Sony Classical/CBS Masterworks recording artist; recent releases have included solo works by Brahms, Haydn sonatas, and the cello sonatas of

61 Rachmaninoff and Prokofiev with Yo-Yo Ma, a frequent chamber music partner. Mr. Ax has recently turned his attention to music of twentieth-century composers, performing works of Tippett, Henze, Schoenberg, Bolcom, and Schwantner, among others. Born in Lvov, Poland, Emanuel Ax moved to Winnipeg, Canada, with his family as a young boy. His studies in the Pre-College Division of Juilliard were greatly supported by the sponsor- ship of the Epstein Scholarship Program of the Boys Club of America. His only piano teacher was Mieczylaw Munz.

The Birmingham Contemporary Mnsic Group

The Birmingham Contemporary Music Group was formed in 1987 under the guidance of its artistic advisor, Simon Rattle, to extend the work of the City of Birmingham Symphony Orchestra in new and twentieth-century music, and to create a national base for contempo- rary music performances in Birmingham. In 1988 the BCMG combined with Birmingham Jazz, the city's leading promoter of contemporary jazz, for "The Series," an innovative, diverse concert season presenting a vast range of the most exciting music being created in the 1990s. The group is regularly recorded by the BBC and has made a television program for Central Television based around Berio's Folksongs. Performances outside Birmingham have included visits to London's South Bank Centre and the Huddersfield Festival of Con- temporary Music, a Carnegie Hall performance of Schoenberg's Pierrot Lunaire as part of the CBSO's tour of the United States, a visit to the Strasbourg Festival, and a major European New Music Festival with contemporary music groups in Paris, Frankfurt, and Amsterdam. At the core of the BCMG's philosophy is the continued regeneration of the repertoire through the commissioning of new works. The current season has seen the launch of a unique scheme for commissioning new music, called "Sound Investment," in which each future commission is divided into "Sound Units" available for group or individ- ual purchase.

Tanglewood Festival Chorus John Oliver, Conductor

The Tanglewood Festival Chorus was organized in the spring of 1970, when founding conductor John Oliver became director of vocal and choral activities at the Tanglewood Music Center; the chorus celebrated its twentieth anniversary in April 1990. Co-sponsored by the Tanglewood Music Center and Boston Univer- sity, and originally formed for performances at the Boston Sym- phony Orchestra's summer home, the chorus was soon playing a major role in the BSO's Symphony Hall season as well. Now the official chorus of the Boston Symphony Orchestra, the Tanglewood Festival Chorus is made up of members who donate their services, performing in Boston, New York, and at Tanglewood, working with Music Director Seiji Ozawa, John Williams and the Boston Pops, and such prominent guest conductors as Ber- nard Haitink, Roger Norrington, and Simon Rattle. The chorus has also collaborated with Seiji Ozawa and the Boston Symphony Orchestra on numerous recordings, beginning with Berlioz's The Damnation of Faust for Deutsche Grammophon, a 1975 Grammy nominee for Best Choral Performance. An album of a cappella twentieth-century American music recorded at the invitation of Deutsche Grammophon was a 1979 Grammy nominee. Recordings with Seiji Ozawa and the Boston Symphony Orchestra currently available on compact disc include Strauss's Elektra, Mahler's Second and Eighth symphonies, and Schoenberg's Gurrelieder, on Philips; Beethoven's Choral Fantasy with Rudolf Serkin, on Telarc; Poulenc's Gloria and Stabat mater with Kathleen Battle, on Deutsche Grammo- phon; and Debussy's La Damoiselle Slue with Frederica von Stade, on CBS Masterworks. The chorus's most recent release, on Philips, is Ravel's Daphnis et Chloe, with the Boston Symphony Orchestra under Bernard Haitink's direction. They may also be heard on the Philips album "We Wish You a Merry Christmas" with John Williams and the Boston Pops Orchestra. In June 1989 the Tanglewood Festival Chorus helped close a month-long

62 fc' A

International Choral Festival based in Toronto, performing music by Tallis, Ives, Brahms,

and Gabrieli under John Oliver's; direction and participating in the festival's closing per- formance, the Verdi Requiem with the Toronto Symphony under the direction of Charles Dutoit.

In addition to his work with the Tanglewood Festival Chorus, John Oliver is conductor of the MIT Chamber Chorus and MIT Concert Choir, a senior lecturer in music at MIT, and conductor of the John Oliver Chorale, which he founded in 1977. Mr. Oliver made his Boston Symphony conducting debut at Tanglewood in 1985.

Tanglewood Festival Chorus John Oliver, Conductor

Sopranos Paula Folkman George W. Harper Annette Anfinrud Irene Gilbride Richard P. Howell Margaret Aquino Deborah Gruber Stanley Hudson Donna Hewitt-Didham R. Kauffman Joanne Colella Boag James Diane Hoffman John Vincent Maclnnis Sarah S. Brannen Evelyn David Raish Susan Cavalieri Eshleman Kern Mary Chin Dorothy W. Love Basses Bonita Ciambotti Linda Kay Smith Snider Patricia Cox Ada Park Eddie Andrews Mary A.V. Crimmins Julie Steinhilber John Cavallaro Elizabeth Christine P. Duquette Wallace Taylor Mel Conway Ann M. Dwelley Judith Tierney James W. Courtemanche Constance L. Turnburke Carol S. Furneaux Edward E. Dahl Martha R. Golub Christina Lillian Wallace John Delia Vecchia Lillian M. Grayton Sue Wilcox Mark L. Haberman Cheri E. Hancock Timothy Lanagan Tenors Kristin Hughes Lee Leach Barbara MacDonald Antone Aquino Steven Ledbetter Charlotte C. Russell John C. Barr David K. Lones Pamela Schweppe Richard A. Bissell Greg Macusi-Ungaro Joan Sherman William A. Bridges Rene Miville Sarah J. Telford Wayne N. Curtis Stephen H. Owades Reginald Didham Michael J. Prichard Mezzo-sopranos J. Todd Fernandez Peter Rothstein Maisy Bennett Kent Montgomery French Paul Sanner Nancy Brockway Michael P. Gallagher Frank R. Sherman Sharon Carter J. Stephen Groff Peter S. Strickland Barbara Clemens David M. Halloran N. Charles Thomas Diane Droste Dean Hanson Peter Wender

Virginia S. Hecker, Manager Shiela Kibbe, Rehearsal Pianist

63 BSO Corporate Sponsorships $25,000 and above

The Boston Symphony Orchestra wishes to acknowledge this distinguished group of corporations for their outstanding and exemplary support of the Orchestra during the 1991 fiscal year.

Digital Equipment Corporation Boston Pops Orchestra Public Television Broadcasts

NEC Boston Symphony Orchestra North American Tour Boston Symphony Orchestra European Tour

MCI Boston Pops Esplanade Orchestra Summer Tour

Northwest Airlines Holiday Pops Series

NYNEX Corporation WCVB-TV, Channel 5 Boston and WCRB 102.5 FM Salute to Symphony

The Boston Company Opening Night At Symphony

Lexus Opening Night at Pops Tanglewood Opening Night

TDK Electronics Corporation Tanglewood Tickets for Children

Country Curtains and The Red Lion Inn BSO Single Concert Sponsor

For information on these and other corporate funding opportunities, contact Madelyne Cuddeback, BSO Director of Corporate Sponsorships, Symphony Hall, Boston, MA 02115, (617) 638-9254.

64 I^^^^B^MB

BUSINESS 1991-92 Business Honor Roll $10,000 and above

Advanced Management Associates Dynatech Corporation Harvey Chet Krentzman J. P. Barger

Analog Devices, Inc. Eastern Enterprises Ray Stata J. Atwood Ives

Arnold Fortuna Lane EG&G, Inc. Ed Eskandarian John M. Kucharski Ernst Young Arthur Andersen & Co. & William F. Meagher Thomas P. McDermott AT&T Filene's Joseph M. Melvin Bank of Boston First Winthrop Corporation Ira Stepanian Arthur J. Halleran, Jr. Barter Connections Four Seasons Hotel Kenneth C. Barron Robin A. Brown BayBanks, Inc. General Cinema Corporation William M. Crozier, Jr. Richard A. Smith

Bingham, Dana & Gould General Electric Plastics Joseph Hunt Glen H. Hiner

Bolt Beranek & Newman The Gillette Company Stephen R. Levy Alfred M. Zeien, Jr.

The Boston Company Grafaeon, Inc. John Laird H. Wayman Rogers, Jr.

Boston Edison Company Greater Boston Hotel Association Bernard W. Reznicek Francois-L. Nivaud The Boston Globe GTE Corporation William O. Taylor James L. Johnson

Boston Herald Hill, Holliday, Connors, Cosmopulos, Inc. Patrick J. Purcell Jack Connors, Jr.

Cahners Publishing Company The Henley Group Robert L. Krakoff Paul M. Montrone

Connell Limited Partnership Hewlett Packard Company William F. Connell Ben L. Holmes

Coopers & Lybrand Houghton Mifflin Company William K. O'Brien Nader F. Darehshori

Country Curtains IBM Corporation Jane P. Fitzpatrick Paul J. Palmer

Deloitte & Touche John Hancock Mutual Life Insurance Company James T. McBride E. James Morton

Digital Equipment Corporation Lawner Reingold Britton & Partners Kenneth G. Olsen Michael H. Reingold

65 1991-92 Business Honor Roll (continued)

Lexus PaineWebber, Inc. J. Davis Illingworth James F. Cleary

Liberty Mutual Insurance Group People Magazine Gary L. Countryman Peter S. Krieger

Company, Inc. Loomis-Sayles & KPMG Peat Marwick Finlayson Charles J. Robert D. Happ Lotus Development Corporation Raytheon Company Jim P. Manzi Dennis Picard MCI Jonathan Crane The Red Lion Inn John H. Fitzpatrick McKinsey & Company Robert P. O'Block Shawmut Bank, N.A. John P. Hamill Millipore Corporation John A. Gilmartin State Street Bank & Trust Company NEC Corporation William S. Edgerly Tadahiro Sekimoto The Stop & Shop Foundation The New England Avram Goldberg Edward E. Phillips TDK Electronics Corporation New England Telephone Company Takashi Tsujii Paul C. O'Brien Thomas H. Lee Company Northern Telecom, Inc. Thomas H. Lee Brian Davis

Northwest Airlines WCRB-102.5 FM Terry M. Leo Richard L. Kaye

Nynex Corporation WCVB-TV, Channel 5 Boston William C. Ferguson S. James Coppersmith

Celebrating a Quarter-Century of Classical Music on 104.9 FM.

1(800) 370-104.9 (In Mass.) 1 (508) 927-104.9

66 BUSINESS AND PROFESSIONAL LEADERSHIP ASSOCIATION

The Boston Symphony Orchestra gratefully acknowledges these Business Leaders for their generous and valuable support of $1,500 or more during the past fiscal year. Names which are capitalized denote Business Honor Roll leadership support of $10,000 or more. A treble

clef (|) denotes support of $5,000-$9,999. An eighth-note symbol (JO indicates support of $2,500-$4,999.

Accountants LEXUS CSC Index, Inc. J. Davis Illingworth David G. Robinson ARTHUR ANDERSEN & CO. Cordel Associates, Inc. William F. Meagher Banking James B. Hangstefer ^Charles E. DiPesa & Company BANK OF BOSTON •^Corporate Decisions William F. DiPesa Ira Stepanian David J. Morrison COOPERS & LYBRAND BAYBANKS, INC. Fairfield Financial Holdings William K. O'Brien | William M. Crozier, Jr. John F. Farrell, Jr. DELOITTE & TOUCHE Boston Bancorp The Forum Corporation James T. McBride Richard Laine John W. Humphrey ERNST & YOUNG THE BOSTON COMPANY •^General Electric Consulting Thomas P. McDermott John Laird James J. Harrigan KPMG PEAT MARWICK Chase Manhattan Corporation Jjrma Strategic Marketing Robert D. Happ Mann Brooks Sullivan Irma Mann Stearns 1 Theodore S. Samet Company & •^Eastern Corporate Federal J. Peter Lyons Companies Theodore S. Samet Credit Union J. Peter Lyons Tofias, Fleishman, Jane M. Sansone |Lochridge & Company, Inc. Shapiro & Co., P.C. SHAWMUT BANK, N.A Richard K. Lochridge Allan Tofias John P. Hamill Advertising/Public Relations MCKINSEY & COMPANY South Boston Savings Bank Robert P. O'Block ARNOLD FORTUNA LANE Richard Laine •^Prudential Capital Corporation Edward Eskandarian STATE STREET BANK & Allen Weaver Cabot Communications TRUST COMPANY | Prudential Securities William I. Monaghan William S. Edgerly Robert Whelan Clark/Linsky Design |USTrust Rath & Strong Robert H. Linsky James V. Sidell | Dan Ciampa HILL, HOLLIDAY, CONNORS, Wainwright Bank & Trust Company THOMAS H. LEE COMPANY COSMOPULOS, INC. John M. Plukas Thomas H. Lee Jack Connors, Jr. Building/Contracting J The Wyatt Company Ingalls, Quinn & Johnson Paul R. Daoust Bink Garrison |Harvey Industries, Inc. Frederick Bigony LAWNER REINGOLD Yankelovich Clancy Shulman Kevin Clancy BRITTON & PARTNERS Lee Kennedy Co., Inc. Michael H. Reingold Lee M. Kennedy Consumer Goods/Food Service New England Insulation Orsatti & Parrish BARTER CONNECTIONS Theodore H. Brodie Louis F. Orsatti Kenneth C. Barron Aerospace J^Perini Corporation Boston Showcase Company David B. Perini $ Jason E. Starr I Northrop Corporation JWalsh Brothers Kent Kresa I Cordel Associates, Inc. James Walsh II Alarm Systems James B. Hangstefer Consulting: Management/ | Creative Gourmets, Ltd. American Alarm & Communications Financial Stephen E. Elmont Richard Sampson Advanced Management Associates Fairwinds Gourmet Coffee Company Antiques/Art Galleries Harvey Chet Krentzman Michael J. Sullivan ^Galerie Mourlot •^ Andersen Consulting Co. ^Johnson O'Hare Co., Inc. Sarah Hackett and Eric Mourlot William D. Green Harry "Chip" O'Hare, Jr. Automotive |Arthur D. Little, Inc. |0'Donnell-Usen Fisheries Corp. John F. Magee ILN. Phillips Glass Arnold S. Wolf Company, Inc. |The Boston Consulting Group Seasoned to Taste Alan L. Rosenfield Jonathan L. Isaacs Tom Brooks 67 ** NORTH AMERICAN MANAGEMENT CORPORATION

DAVID B. STONE • HANS H. ESTIN • JACOB F. BROWN II

JOHN H. GRUMMON • EARL E. WATSON III • JOHN M. REYNOLDS

Providing Investment and Financial Services for Individuals and Families

TEN POST OFFICE SQUARE, SUITE 300 BOSTON, MASSACHUSETTS 02109 • 617-695-2100

MftrmU Boston Herald

The Boston Herald salutes the Boston Symphony Orchestra. Look for our arts coverage in Scene, every Friday in the Herald.

68 Welch's WCVB-TV, CHANNEL $Spaulding Investment Everett N. Baldwin 5 BOSTON Company S. James Coppersmith C.H. Spaulding Education Environmental § State Street Development Bentley College Management Corp. i1 Gregory Adamian Jason M. Cortell and John R. Gallagher III Associates, Inc. i1 Tucker Anthony Jason M. Cortell Electrical/Electronics John Goldsmith Toxikon Corporation ^Analytical Systems •^Woodstock Corporation Laxman S. DeSai Engineering Corporation Nelson J. Darling, Jr. Michael B. Rulrin Finance/Investments

Guzovsky Electrical Corporation High Technology 3i Corporation Edward Guzovsky Geoffrey N. Taylor ANALOG DEVICES, INC. Mass. Electric Construction $Advent International Company Ray Stata Peter A. Brooke Bill Breen Automatic Data Processing •^Barclay's Business Credit Arthur S. Kranseler ^p.h mechanical Corp. Robert E. Flaherty Paul Hayes BBF Corporation •^Bear Stearns & Company, Inc. Boruch B. Frusztajer |R & D Electrical Company, Inc. Keith H. Kretschmer Richard D. Pedone BOLT BERANEK AND BOT Financial Corporation — NEWMAN, INC. Energy/Utilities Bank of Tokyo Stephen R. Levy E.F. McCulloch, Jr. BOSTON EDISON COMPANY | Bull, Worldwide Information Bernard W. Reznicek Carson Limited Partnership Systems Herbert Carver Axel Leblois ^ Cabot Corporation Samuel W. Bodman | Essex Investment Management Costar Corporation Company, Inc. Otto Morningstar HEC, Inc. Joseph C. McNay, Jr. Consulting, Inc. David S. Dayton $CSC |Farrell, Healer & Company, Inc. Paul J. Crowley ^Mobil Oil Richard A. Farrell, Jr. Data General Corporation Richard J. Lawlor $ Fidelity Investment Institutional Ronald L. Skates New England Electric System Group Davox Corporation Joan T. Bok John J. Cook, Jr. Daniel Hosage Engineering •^The First Boston Corporation DIGITAL EQUIPMENT Malcom MacColl CORPORATION *GZA GeoEnvironmental + First Security Services Kenneth G. Olsen Technologies, Inc. Robert L. Johnson Donald T. Goldberg DYNATECH CORPORATION J'GE Capital Corporate Finance J. P. Barger Stone & Webster Engineering Group Corporation EG&G, INC. Richard A. Goglia Philip Garfinkle John M. Kucharski •^ Goldman, Sachs & Company J1 EMC Corporation Entertainment/Media Martin C. Murrer Richard J. Egan

THE BOSTON GLOBE | Kaufman & Company Helix Technology Corporation William 0. Taylor Sumner Kaufman Robert J. Lepofsky BOSTON HERALD $ Kidder, Peabody & Company THE HENLEY GROUP Patrick J. Purcell John G. Higgins Paul M. Montrone

Continental Cablevision $Krupp Companies HEWLETT PACKARD COMPANY Ben L. Holmes Amos Hostetter, Jr. George Krupp GENERAL CINEMA LOOMIS-SAYLES & IBM CORPORATION CORPORATION COMPANY, INC. Paul J. Palmer Richard A. Smith Charles J. Finlayson Instron Corporation Harold Hindman Loews Theatres PAINEWEBBER, INC. A Alan Friedberg James F. Cleary •^Intermetrics Inc. PEOPLE MAGAZINE ^The Putnam Joseph A. Saponaro Inc. Peter S. Krieger Management Co., glomes, Inc. Lawrence J. Lasser Arthur L. Goldstein WCRB-102.5 FM Richard L. Kaye

69 Dinner at 6. Symphony at8. $ Parking at 5.

Express at $0. Symphony LEICA AF-C1 Make dinner at Boodle's part of your night • Fully automatic • Multibeam out at the Symphony. You'll enjoy more ^ than just award-winning dining at Boston's IR autofocus • Automatic

authentic wood grill. exposure control • Focus and We're offering our customers special exposure memory • Auto- parking privileges in our private garage for matic flash • DX coding • just $5, and a free "Symphony Express" Automatically adjustable focal

Tuesday and Thursday. JDl shuttle service lengths: 40 mm F/ 2.8 and I* show us your Symphony tickets, and Just 80 mm f/5.6 • Macro function we'll arrange for your $5 parking, take you

to Symphony Hall after your meal, and return you to your car after the performance. E.R Levlne is a full And with a deal like that, a night at the stocking Leica dealer. Symphony never sounded better. 23 Drydock Avenue Marine Industrial Park Boston, 617 951 1499 Fax 951 1466

OF • BOSTON An Authentic Grill.

Lunch and dinner daily. In Boston's Back Bav Hilton. bjujcl Phone (617) BOODLES.

For rates and JL information on BOSTON advertising in the SYMPHONY Boston Symphony, Boston Pops, ORCHESTRA SEIJI OZAWA and Music Director Us ., Nl Tanglewood program books please contact:

STEVE GANAK AD REPS 51 CHURCH STREET (617)-542-6913 BOSTON, MASS. 02116

70 IPL Systems, Inc. GREATER BOSTON Sun Life Assurance Company Robert W. Norton HOTEL ASSOCIATION of Canada jOTUS DEVELOPMENT Francois-L. Nivaud David Horn CORPORATION |ITT Sheraton Corporation Jim P. Manzi John W. Herold Legal il/A-Com, Inc. THE RED LION INN BINGHAM, DANA & GOULD Thomas A. Vanderslice John H. Fitzpatrick Joseph Hunt dicrocom, Inc. ^The Ritz-Carlton Hotel •^Choate, Hall & Stewart James Dow Thomas Egan Robert Gargill flLLIPORE CORPORATION •^Sheraton Boston Hotel and Towers Curhan, Kunian, Goshko, John A. Gilmartin Stephen Foster Burwick & Savran The Mitre Corporation •^Sonesta International Hotels Stephen T. Kunian Barry M. Horowitz Corporation Dickerman Law Offices JEC CORPORATION Paul Sonnabend Lola Dickerman Sekimoto Westin Hotel, Copley Place Tadahiro | The | Goldstein & Manello David King Drion Research, Inc. Richard J. Snyder

Chane Graziano III | Goodwin, Procter & Hoar Insurance 'arlex Corporation Robert B. Fraser Herbert W. Pollack •^American Title Insurance Company •^Hemenway & Barnes Polaroid Corporation Terry E. Cook John J. Madden

I. MacAllister Booth •^Arkwright Hubbard & Ferris 'rime Computer, Inc. Enzo Rebula Charles A. Hubbard II John Shields J1 Joyce & Joyce | Berkshire Partners 'rinted Circuit Corporation Carl Ferenbach Thomas J. Joyce

Peter Sarmanian 1 |Caddell & Byers i Lynch, Brewer, Hoffman & Sands IAYTHEON COMPANY Paul D. Bertrand Owen B. Lynch Dennis Picard Ferris, | Cameron & Colby Co., Inc. $Mintz, Levin, Cohn, Jignal Technology Corporation Lawrence S. Doyle Glovsky & Popeo, P.C. Dale J. Peterson Kenneth J. Novack * Chubb Group of Insurance Cos. JofTech, Inc. John Gillespie Nissenbaum Law Offices Justus Lowe, Jr. Gerald L. Nissenbaum |Frank B. Hall & Co. Stratus Computer of Massachusetts, Inc. ^ Nutter, McClennen & Fish William E. Foster William F. Newell Michael J. Bohnen TASC JOHN HANCOCK MUTUAL |Palmer & Dodge Arthur Gelb LIFE INSURANCE COMPANY Robert E. Sullivan T)K ELECTRONICS E. James Morton Rackemann, Sawyer & Brewster CORPORATION i1 Johnson & Higgins of Stephen Carr Anderson Takashi Tsujii Massachusetts, Inc. Sarrouf, Tarricone & Flemming 'ermiflex Corporation Robert A. Cameron Camille F. Sarrouf William E. Fletcher •^Keystone Provident Life Sherburne, Powers & Needham ^hermo Electron Corporation Insurance Company Daniel Needham Robert G. Sharp George N. Hatsopoulos Wood, Clarkin & Sawyer Vhistler Corp. Lexington Insurance Company William C. Sawyer Charles A. Stott Kevin H. Kelley

[otels/Restaurants LIBERTY MUTUAL Manufacturer's Representatives INSURANCE GROUP J1 Back Bay Hilton Gary L. Countryman Ben Mac Enterprises Thomas McAuliffe James A. Daley THE NEW ENGLAND Kitchen Kutchin, Inc. Boston Harbor Hotel Edward E. Phillips & James M. Carmody Melvin Kutchin | Safety Insurance Company Boston Marriott Copley Place Richard B. Simches Manufacturing Jurgen Giesbert | Sedgwick James of New Jhristo's Restaurant England, Inc. i'Alles Corporation Christopher Tsaganis P. Joseph McCarthy Stephen S. Berman

^OUR SEASONS HOTEL Sullivan Risk Management Group Allwaste Asbestos Abatement, Inc. Robin A. Brown John H. Sullivan Paul M. Verrochi

71 BERNSTEIN Jubilee Games Deutsche Grammophon ROREM Violin Concerto Kremer • Bernstein

salutes GIDd KREMER i ui 429 231-2 NEW! Avaflable 4/14/92

Bartok • Janacek S| Violin Sonatas J KREMER -ARGERICH

427 351-2

TCHAIKOVSKY Violin Concerto Piano Concerto KREMER • ARGERICH

431 609-2

© 1992 DG/PolyGram Classics & Jazz Photo: Susesch Bayat THE WORLD'S BEST RECORD STORES HMV HARVARD SQUARE

72 1 \utoroll Machine Corporation J The Rockport Corporation * John M. Corcoran & Company William M. Karlyn Anthony Tiberii John M. Corcoran

Avedis Zildjian Company |,The Stride Rite Corporation Keller Co., Inc. Arniand Zildjian Arnold S. Hiatt Joseph P. Keller

The Biltrite Corporation •^Superior Brands, Inc. •^Meditrust Corporation Stanley J. Bernstein Richard J. Phelps Jonathan S. Sherwin

Boston Acoustics, Inc. Textron Charitable Trust Nordblom Company Frank Reed B.F. Dolan Roger P. Nordblom

Century Manufacturing Co., Inc. J1 The Tonon Group •^Windsor Building Associates Joseph W. Tiberio Robert Tonon Mona F. Freedman

C.R. Bard, Inc. •^Watts Industries, Inc. Robert H. McCaffrey Timothy P. Home Retail

Chelsea Industries, Inc. Wire Belt Company of America |Arley Merchandise Corporation Ronald G. Casty F. Wade Greer David I. Riemer

CONNELL LIMITED ^Carillon Importers, Ltd. PARTNERSHIP Printing/Publishing Ernest Capria William F. Connell COUNTRY CURTAINS •^Addison-Wesley Publishing Co., Inc. Converse, Inc. Jane P. Fitzpatrick Gilbert Ford Warren R. Stone FILENE'S CAHNERS PUBLISHING Dean K. Webster Family Joseph M. Melvin Foundation COMPANY Henri Bendel Dean K. Webster Robert L. Krakoff | Jeff Byron i1 FLEXcon Company, Inc. Daniels Printing J. Baker, Inc. Mark R. Ungerer Lee S. Daniels Sherman N. Baker GTE Corporation GRAFACON, INC. •^Jofran, Inc. James L. Johnson H. Wayman Rogers, Jr. Robert D. Roy GTE Electrical Products HOUGHTON MIFFLIN •^Jordan Marsh Company Dean T. Langford COMPANY Nader F. Darehshori Harold S. Frank GENERAL ELECTRIC Koko Boodakian & Sons, Inc. PLASTICS Little, Brown & Company Harry and Michael Boodakian Glen H. Hiner William R. HaU •^Lancome Paris General Latex and Monadnock Paper Mills, Inc. Steve Morse Chemical Corp. BiU Steel Robert W. MacPherson §Neiman Marcus William D. Roddy THE GILLETTE COMPANY Real Estate/Development Alfred M. Zeien, Jr. Prize Possessions | Boston Capital Partners Virginia N. Durfee Harvard Folding Box Christopher W. Collins Company, Inc. Purity Supreme, Inc. Herbert F. Collins Melvin A. Ross Frank P. Giacomazzi Richard J. DeAgazio Fifth HMK Enterprises John P. Manning ^Saks Avenue Steven Karol Alison Strieder Mayher •^The Chiofaro Company Jones & Vining, Inc. Donald Chiofaro THE STOP AND SHOP Sven A. Vaule, Jr. FOUNDATION Combined Properties, Inc. Avram Goldberg iLeach & Garner Company Stanton L. Black Edwin F Leach II ^Tiffany & Co. Corcoran-Jennison Companies Anthony Ostrom Legget & Piatt, Inc. Joseph E. Corcoran Alexander M. Levine FIRST WINTHROP Science/Medical (New England Business CORPORATION Service, Inc. Arthur J. Halleran, Jr. Baldpate Hospital Richard H. Rhoads Lucille M. Batal ^The Flatley Company Parks Corporation Thomas J. Flatley Blake & Blake Genealogists Lee Davidson Richard A. Blake, Jr. Heafitz Development Company ^Rand-Whitney Corporation Lewis Heafitz |Charles River Laboratories, Inc. Robert Kraft Horizon Commercial Henry L. Foster iReebok International Ltd. Management |Damon Corporation Paul Fireman Joan Eliachar Robert L. Rosen

73 1992-93 BSO Schedule

Add your name to our mailing list. Receive a 1992-93 BSO concert schedule and order form, and enter a drawing to win a free Thursday-Evening

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Series. Drawing will be held on September 1, 1992. Only one entry per family permitted. Employees of the Boston

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74 /HCA Portsmouth Regional Hospital Shaughnessy & Ahern Co. ^AT&T Network Systems William J. Schuler John J. Shaughnessy John F. McKinnon Robert Sanferrare JJA. Webster, Inc. $TAD Technical Services Corporation David J. McGrath, Jr. John A. Webster ^Cellular One •^Lifeline Charles Hoffman Arthur Phipps Travel/Transportation MCI Wild Acre Inns, Inc. NORTHWEST AIRLINES Jonathan Crane Bernard S. Yudowitz Terry M. Leo Services NEW ENGLAND TELEPHON Patterson, Wylde & Co., Inc. COMPANY Norman Tasgal Asquith Corporation Paul C. O'Brien Lawrence L. Asquith EASTERN ENTERPRISES Telec ommunic ations NORTHERN TELECOM, INC Brian Davis J. Atwood Ives i^AT&T ^Phoenix Technologies Foundation Donald Bonoff NYNEX CORPORATION Neil Colvin Timothy Murray William C. Ferguson

Dinner and symphony. In concert.

Our symphony menu is the perfect prelude to the performance.

The fixed-price, three-course dinners are prepared and served with style.

And accompanied by free parking. So you can enjoy your dinner, then stroll

to symphony with time to spare. For reservations, call 424-7000. &FE IroriENADE At The Colonnade Hotel

On Huntington Avenue across from the Prudential Center

75 NEXT PROGRAM . . .

Thursday, April 16, at 8 Friday, April 17, at 2 Saturday, April 18, at 8

SEIJI OZAWA conducting

SHOSTAKOVICH Violin Concerto No. 2 in C-sharp minor, Opus 129

( Thursday, April 16, and Saturday, April 18 ) Moderato —Allegretto Adagio — Adagio — Allegro GIDON KREMER

SCHUMANN Cello Concerto in A minor, orchestrated by Dmitri Shostakovich and arranged for violin by Joseph Joachim

( Friday, April 17, only)

Nicht zu schnell [Not too fast] Langsam [Slow] Sehr lebhaft [Very lively] GIDON KREMER

INTERMISSION

BRUCKNER Symphony No. 5 in B-flat

Introduction. Adagio— Allegro Adagio. Sehr langsam [Very slow] Scherzo: Molto vivace (Schnell) [Fast] Trio: Im gleichen Tempo [At the same tempo] Finale: Adagio— Allegro moderato

Single tickets for all Boston Symphony Orchestra concerts throughout the season are available at the Symphony Hall box office, or by calling "Symphony-Charge" at (617) 266-1200, Monday through Saturday from 10 a.m. until 6 p.m., to charge tickets instantly on a major credit card, or to make a reservation and then send

payment by check. Please note that there is a $2.00 handling fee for each ticket ordered by phone.

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COMING CONCERTS . . . Back Bay Shutter Co. Wednesday, April 15, at 7:30 p.m. INCORPORATED Open Rehearsal TEL 617-862-0900 / FAX 61 7-862-6645 Marc Mandel will discuss the program at 6:30 in Symphony Hall. Specializing in interior window treatment and service not readily Thursday 'C -April 16, 8-10:10 available to the general public. Friday 'A' -April 17, 2-4:10 Saturday 'A' -April 18, 8-10:10 Conrad, Athey, Shoji, Bamboo, SEIJI conducting Sunscreen wood Venetians, Match- OZAWA stick, Skylight and Greenhouse GIDON KREMER, violin treatments, motorization and, of SHOSTAKOVICH Violin Concerto No. 2 course, endless styles of interior ( April 16 and 18 ) shutters. Measured, painted, in- Cello Concerto, orchestrated stalled, and serviced by profession- SCHUMANN als. Please try us through your by Shostakovich and arranged design professional. for violin by Joachim

( April 17 only ) BRUCKNER Symphony No. 5

Thursday 'A' -April 23, 8-10:10 tho Friday 'B' -April 24, 2-4:10 Mass" Saturday 'B' -April 25, 8-10:10 'Bay Co. Tuesday 'B' -April 28, 8-10:10

TreshFislu- BERNARD HAITINK conducting Tim Wines LYNN HARRELL, cello HAVE YOU DINED AT MASS* BAY CO. LATELY? NO?! BRAHMS Variations on a Theme THEN YOU HAVEN'T DINED AT MASS* BAY CO.! by Haydn SHOSTAKOVICH Cello Concerto No. 1 FRESH FISH, FINE WINE, BRAHMS Symphony No. 4 AND ALTERNATIVES EVEN A LAND LUBBER COULD GO OVERBOARD FOR.

Thursday 'B' -April 30, 8-10 JOIN US FOR DINNER AND FREE PARKING. Friday Evening — May 1, 8-10 SHERATON BOSTON HOTEL & TOWERS Saturday 'B'-May 2, 8-10 39 Dalton Street • Boston, MA BERNARD HAITINK conducting (617)236-2000 JEANINE ALTMEYER, soprano GARY LAKES, tenor PAUL PLISHKA, bass SCHUBERT Symphony No. 3 WAGNER Die Walkiire, Act I Garber TYavel gives you an night opening performance. Programs and artists subject to change.

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77 BOSTON

Let The Pops Swing Your Group Into Spring Group Tickets On Sale Now

May 6 We can seat your group now for a through perfect evening of lively Pops-style July 12 light classical music and popular favorites. 107th Season 1992 John Williams, conductor Call (617) 266-7575

Ticket Prices: 4 Floor: $32.00, $27.50 First Balcony: $23.00, $21.00 Second Balcony: $13.50, $10.00

78 SYMPHONY HALL INFORMATION . . .

FOR SYMPHONY HALL CONCERT AND TICKET INFORMATION, call (617) 266-1492. For Boston Symphony concert program information, call "C-O-N-C-E-R-T" (266-2378).

THE BOSTON SYMPHONY performs ten months a year, in Symphony Hall and at Tan- glewood. For information about any of the orchestra's activities, please call Symphony Hall, or write the Boston Symphony Orchestra, Symphony Hall, Boston, MA 02115.

THE EUNICE S. AND JULIAN COHEN WING, adjacent to Symphony Hall on Huntington Avenue, may be entered by the Symphony Hall West Entrance on Huntington Avenue.

FOR SYMPHONY HALL RENTAL INFORMATION, call (617) 638-9240, or write the Function Manager, Symphony Hall, Boston, MA 02115.

THE BOX OFFICE is open from 10 a.m. until 6 p.m. Monday through Saturday; on con- cert 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 subscription con- certs are available at the box office. For outside events at Symphony Hall, tickets are available three weeks before the concert. No phone orders will be accepted for these events.

TO PURCHASE BSO TICKETS: American Express, MasterCard, Visa, a personal check, and cash are accepted at the box office. To charge tickets instantly on a major credit card, or to make a reservation and then send payment by check, call "Symphony-Charge" at (617) 266-1200, Monday through Saturday from 10 a.m. until 6 p.m. There is a handling fee of $2.00 for each ticket ordered by phone.

GROUP SALES: Groups may take advantage of advance ticket sales. For BSO concerts at Symphony Hall, groups of twenty-five or more may reserve tickets by telephone and take advantage of ticket discounts and flexible payment options. To place an order, or for more information, call Group Sales at (617) 638-9345.

LATECOMERS will be seated by the ushers during the first convenient pause in the pro- gram. Those who wish to leave before the end of the concert are asked to do so between program pieces in order not to disturb other patrons.

IN CONSIDERATION of our patrons and artists, children under four will not be admit- ted to Boston Symphony Orchestra concerts.

TICKET RESALE: If for some reason you are unable to attend a Boston Symphony con- cert for which you hold a subscription ticket, you may make your ticket available for resale by calling (617) 266-1492. This helps bring needed revenue to the orchestra and makes your seat available to someone who wants to attend the concert. A mailed receipt will acknowledge your tax-deductible contribution.

RUSH SEATS: There are a limited number of Rush Seats available for the Friday- afternoon, and Tuesday-, Thursday-, and Saturday-evening Boston Symphony subscription concerts. The low price of these seats is assured through the Morse Rush Seat Fund. The tickets for Rush Seats are sold at $6.00 each, one to a customer, on Fridays as of 9 a.m. and Tuesdays, Thursdays, and Saturdays as of 5 p.m.

SMOKING IS NOT PERMITTED in any part of the Symphony Hall auditorium or in the surrounding corridors; it is permitted only in the Hatch Room and in the main lobby on Massachusetts Avenue. Please note that smoking is no longer permitted in the Cabot- Cahners Room.

CAMERA AND RECORDING EQUIPMENT may not be brought into Symphony Hall during concerts.

WHEELCHAIR ACCESS to Symphony Hall is available via the Cohen Wing, at the West Entrance. Wheelchair-accessible restrooms are located in the main corridor of the West Entrance, and in the first-balcony passage between Symphony Hall and the Cohen Wing.

79 FIRST AID FACILITIES for both men and women are available. On-eall physicians attending concerts should leave their names and seat locations at the switchboard near the Massachusetts Avenue entrance.

PARKING: The Prudential Center Garage offers a discount to any BSO patron with a ticket stub for that evening's performance, courtesy of R.M. Bradley & Co., Inc., and The Prudential Property Company, Inc. There are also two paid parking garages on Westland Avenue near Symphony Hall. Limited street parking is available. As a special benefit, guar- anteed pre-paid parking near Symphony Hall is available to subscribers who attend evening concerts on Tuesday, Thursday, Friday, or Saturday. For more information, call the Sub- scription Office at (617) 266-7575.

ELEVATORS are located outside the Hatch and Cabot-Cahners rooms on the Massachu- setts Avenue side of Symphony Hall, and in the Cohen Wing.

LADIES' ROOMS are located on the orchestra level, audience-left, at the stage end of the hall, on both sides of the first balcony, and in the Cohen Wing.

MEN'S ROOMS are located on the orchestra level, audience-right, outside the Hatch Room near the elevator, on the first-balcony level, audience-left, outside the Cabot-Cahners Room near the coatroom, and in the Cohen Wing.

COATROOMS are located on the orchestra and first-balcony levels, audience-left, outside the Hatch and Cabot-Cahners rooms, and in the Cohen Wing. The BSO is not responsible for personal apparel or other property of patrons.

LOUNGES AND BAR SERVICE: There are two lounges in Symphony HaU. 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.

BOSTON SYMPHONY BROADCASTS: Friday-afternoon concerts of the Boston Sym- phony Orchestra are broadcast live by WGBH-FM (Boston 89.7) and by WAMC-FM (Albany 90.3, serving the Tanglewood area); Saturday-evening concerts are broadcast live by WCRB-FM (Boston 102.5). In addition, concerts of the Boston Symphony Orchestra are heard by delayed broadcast in many parts of the United States and Canada, as well as internationally, through the Boston Symphony Transcription Trust.

BSO FRIENDS: The Friends are annual donors to the Boston Symphony Orchestra. Friends receive BSO, the orchestra's newsletter, as well as priority ticket information and other benefits depending on their level of giving. For information, please call the Develop- ment Office at Symphony Hall weekdays between 9 and 5, (617) 638-9251. If you are already a Friend and you have changed your address, please send your new address with your newsletter label to the Development Office, Symphony Hall, Boston, MA 02115. Including the mailing label will assure a quick and accurate change of address in our files.

BUSINESS FOR BSO: The BSO's Business & Professional Leadership program makes it possible for businesses to participate in the life of the Boston Symphony Orchestra through a variety of original and exciting programs, among them "Presidents at Pops," "A Company Christmas at Pops," and special-event underwriting. Benefits include corporate recognition in the BSO program book, access to the Beranek Room reception lounge, and priority ticket service. For further information, please call the BSO Corporate Develop- ment Office at (617) 638-9270.

THE SYMPHONY SHOP is located in the Cohen Wing at the West Entrance on Hun- tington Avenue and is open Wednesday, Thursday, and Friday from 11 a.m. until 4 p.m., Saturday from 12 p.m. until 6 p.m., and from one hour before each concert through inter- mission. The Symphony Shop features exclusive BSO merchandise, including The Sym- phony Lap Robe, calendars, coffee mugs, posters, and an expanded line of BSO apparel and recordings. The Shop also carries children's books and musical-motif gift items. A selection of Symphony Shop merchandise is also available during concert hours outside the Cabot-Cahners Room. All proceeds benefit the Boston Symphony Orchestra. For further information and telephone orders, please call (617) 638-9383.

80 A TRADITION OF FINANCIALCOUNSEL OLDER THAN THE U.S. DOLLAR. State Street has been providing quality financial service since 1792.

That's two years longer than the dollar has been the official currency of the United States. During that time, we have managed the assets of some of New England's wealthiest families. And provided investment advice and performance tailored to each client's individual goals and needs. Today our Personal Trust Division can extend that service to you. We've been helping people manage their money for almost 200 years. And you can only stay in business that long by offering advice of the highest quality. Let us help you get the highest performance from your assets. To enjoy today and to pass on to future generations. For more information contact Peter Talbot at 617-654-3227. State Street. Known for quality® ^State Street

State Street Bank and Trust Company, wholly-owned subsidiary of State Street Boston Corporation, 225 Franklin Street, Boston, MA 02101. Offices in Boston, New York, Los Angeles, London, Munich, Brussels, Tokyo, Sydney, Hong Kong. Member FDIC. Copyright State Street Boston Corporation, 1989. Hi I m

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