oston Symphony Orchestra

SEIJI OZAWA, Music Director

.*

' BOSTON % /symphony \ \ orchestra/

. iV SEIJI OZAWA >:- 103rd Season 1983-84 Imported by Remy Martin Amerique, Inc., N.Y VS.O.P COGNAC. SINCE 1 Sole U.S.A. Distributor, Premiere Wine Merchants Inc., N.Y. 80 Proof. REMY MARTIN* Seiji Ozawa, Music Director

Sir Colin Davis, Principal Guest Conductor

Joseph Silverstein, Assistant Conductor

One Hundred and Third Season, 1983-84

Trustees of the Boston Symphony Orchestra, Inc.

Leo L. Beranek, Chairman Nelson J. Darling, Jr., President Mrs. Harris Fahnestock, Vice-President George H. Kidder, Vice-President Sidney Stoneman, Vice-President Roderick M. MacDougall, Treasurer John Ex Rodgers, Assistant Treasurer

Vernon R. Alden Archie C. Epps HI Thomas D. Perry, Jr.

David B. Arnold, Jr. Mrs. John H. Fitzpatrick William J. Poorvu

J. P. Barger Mrs. John L. Grandin Irving W. Rabb Mrs. John M. Bradley E. James Morton Mrs. George R. Rowland Mrs. Norman L. Cahners David G. Mugar Mrs. George Lee Sargent

George H.A. Clowes, Jr. Albert L. Nickerson William A. Selke Mrs. Lewis S. Dabney John Hoyt Stookey

Trustees Emeriti

Abram T. Collier, Chairman ofthe Board Emeritus

Philip K. Allen E. Morton Jennings, Jr. Mrs. James H. Perkins Allen G. Barry Edward M. Kennedy Paul C. Reardon

Richard P. Chapman Edward G. Murray John L. Thorndike John T. Noonan

Administration of the Boston Symphony Orchestra, Inc.

Thomas W. Morris - General Manager

William Bernell - Artistic Administrator

Daniel R. Gustin - Assistant Manager

B.J. Krintzman - Director ofPlanning

Anne H. Parsons - Orchestra Manager

Caroline Smedvig - Director ofPromotion Josiah Stevenson - Director ofDevelopment Theodore A. Vlahos - Director ofBusiness Affairs

Arlene Germain - Financial Analyst Richard Ortner - Administrator of

Charles Gilroy - ChiefAccountant Berkshire Music Center

Vera Gold - Promotion Coordinator Charles Rawson - Manager ofBox Office Patricia Halligan - Personnel Administrator Eric Sanders - Director ofCorporate Development Nancy A. Kay - Director ofSales Joyce M. Serwitz - Assistant Director ofDevelopment

Nancy Knutsen - Production Assistant Cheryl L. Silvia - Symphony Hall Function Manager

Anita R. Kurland - Administrator of James E. Whitaker - Hall Manager, Symphony Hall Youth Activities Katherine Whitty - Coordinator ofBoston Council

Steven Ledbetter Marc Mandel Jean Miller MacKenzie Director ofPublications Editorial Coordinator Print Production Coordinator

Programs copyright ®1983 Boston Symphony Orchestra, Inc. Cover photo by Walter H. Scott Board of Overseers of the Boston Symphony Orchestra, Inc.

William J. Poorvu Chairman

William M. Crozier, Jr. Harvey C. Krentzman Vice-Chairman Vice-Chairman

Mrs. Gordon F. Kingsley Secretary

John Q. Adams Avram J. Goldberg Mrs. Thomas Spurr Morse Mrs. Weston W Adams Mrs. Ray A. Goldberg Mrs. Robert B. Newman Martin Allen Haskell R. Gordon Mrs. Hiroshi Nishino

Hazen H. Ayer Mrs. R. Douglas Hall III Vincent M. O'Reilly

Bruce A. Beal Mrs. Richard E. Hartwell Stephen Paine, Sr.

Mrs. Richard Bennink Francis W Hatch, Jr. John A. Perkins

Mrs. Edward J. Bertozzi, Jr. Mrs. Richard D. Hill David R. Pokross

Peter A. Brooke Ms. Susan M. Hilles Mrs. Curtis Prout William M. Bulger Mrs. Marilyn Brachman Hoffman Ms. Eleanor Radin

Mary Louise Cabot Mrs. Bela T. Kalman Peter C. Read

Julian Cohen Mrs. S. Charles Kasdon Mrs. Peter van S. Rice

Mrs. Nat King Cole Richard L. Kaye David Rockefeller, Jr.

Arthur P. Contas Mrs. F. Corning Kenly, Jr. Mrs. Jerome Rosenfeld Mrs. A. Werk Cook John Kittredge Mrs. William C. Rousseau

Phyllis Curtin Mrs. Carl Koch Mark L. Selkowitz

Victoria L. Danberg Robert K. Kraft Malcolm L. Sherman

A.V. d'Arbeloff Mrs. E. Anthony Kutten Donald B. Sinclair

D.V. d'Arbeloff John P. LaWare Richard A. Smith

Mrs. Michael H. Davis Mrs. James F. Lawrence Ralph Z. Sorenson

William S. Edgerly Laurence Lesser Peter J. Sprague

Mrs. Alexander Ellis, Jr. Mrs. Charles P. Lyman Ray Stata

Frank L. Farwell Mrs. Harry L. Marks Mrs. Arthur I. Strang John A. Fibiger C. Charles Marran Mrs. Richard H. Thompson

Kenneth G. Fisher Mrs. August R. Meyer Mark Tishler, Jr.

Gerhard M. Freche J. William Middendorf II Ms. Luise Vosgerchian Peter H.B. Frelinghuysen Paul M. Montrone Roger D. Wellington

Mrs. Thomas J. Galligan, Jr. Mrs. Hanae Mori Mrs. Donald B. Wilson

Mrs. Thomas Gardiner Mrs. Stephen V.C. Morris John J. Wilson

Mrs. James G. Garivaltis Richard P. Morse Nicholas T. Zervas

Overseers Emeriti Mrs. Frank G. Allen Paul Fromm David W Bernstein Carlton P Fuller Leonard Kaplan Giving is an art in itself

When you make financial contributions to the arts or to any other non-profit organi- zation, Bank of New England can bring important benefits to your philanthropy.

Bank of New England is an expert at financial planning for people who make substantial gifts to charity. We will show you how you can make con- tributions, save on taxes, and at the same time, continue to provide yourself with income from those gifts. There's an art to making the most of your contri- butions, for yourself as well as for your favorite charity. So when you want expert financial guid- ance in making charitable gifts, look to the light.

Investment Services ® BANK OF NEW ENGLAND' 28 State Street, Boston, MA 02109, (617) 973-1872

Bank of New England Corporation, 1983 HP

THEBSO ANNOUNCES AN

PROGRAM r A Company Christmas

...jbrihepkasiw ofyourcompany

DECEMBER 17, 1984

Give your company an early Christmas present by treating your management, employees, customers, vendors, and friends to a special evening at Pops in a unique holiday program. This program will be available to only 130 businesses and professional organizations at $2, 000 per company and will include a total of 16 table and balcony seats, complete with holiday drinks and a gourmet picnic supper. A special program book will also be produced for this event.

For information on "A Company Christmas at Pops": Call James F. Cleary Managing Director, Blyth Eastman Paine Webber Inc. (423-8331); Chet Krentzman, President, Advanced Management Associates (332-3141); Malcolm Sherman, President, Zayre Stores (620-5000); or Eric Sanders, BSO Director of Corporate Development (266-1492).

V — BSO

The BSO/WCRB Musical Marathon '84 is Now!

THIS IS IT! The 1984 BSO/WCRB Musical Marathon takes to the airwaves for 63 hours of round-the-clock broadcasting beginning 9 a.m. Friday, 30 March and continuing through Sunday, 1 April at midnight. For the fourteenth year, WCRB-102.5-FM will be contributing the airtime and the services of its vice-president, host Richard L. Kaye, who will be joined by colleagues Dave MacNeill, Dave Tucker, Peter Ross, and John Emery.

They will be assisted by William Pierce, the radio voice of the Boston Symphony Orchestra, and by Robert Conrad, the voice of the Cleveland Orchestra.

WCVB-TV-Channel 5 will contribute two-and-one-half hours of airtime on Sunday, 1 April from 5:30 to 8 p.m., with a live broadcast from Symphony Hall of the Boston Symphony Orchestra under Principal Guest Conductor Sir Colin Davis and a performance by John

Williams and the Boston Pops. In addition, the Musical Marathon will be at the Quincy Market rotunda throughout the three-day weekend, from 12 noon to 7 p.m. on Friday and

Saturday, and from noon to 5 p.m. on Sunday, with entertainment, jazz groups, and special premiums for pledges.

Besides recordings of historic BSO performances, WCRB coverage will include live interviews with Sir Colin Davis, Pops Conductor Williams, and members of the orchestra along with a number of guest celebrities from the media and Boston's arts and music communities. Hundreds of gift premiums will be available to persons calling in their pledges in support of the Boston Symphony Orchestra and Boston Pops. Volunteers will be manning the telephone lines throughout the three-day event to accept calls at (617) 262-8700. Out-of-town calls may be made collect.

Among this year's very special Marathon '84 offerings are two incredible opportunities first, the chance to win an all-expense paid trip for two to accompany the Boston Symphony

Orchestra on its 1984 European Festivals tour leaving Boston 23 August and returning 9 September. The itinerary includes concerts in Edinburgh, London, Salzburg, Munich, Berlin, and Amsterdam. Enjoy top hotels, special activities, pre- and post-concert receptions, meals, and a special tour of East Berlin. How can you participate? Buy a raffle ticket at $35 apiece or 3 for $100 (tickets are limited to 1,000); the drawings will be held Marathon weekend.

Tickets can be purchased at two Musical Marathon counter sales locations in Symphony Hall: the Massachusetts Avenue corridor, and the corridor near the entrance to the Cohen Annex.

The second of this year's spectacular travel offerings is a North Cape cruise for two on the luxury Royal Viking Sea. Sail from Copenhagen on 20 June and arrive at Southampton, England, on 2 July. Enjoy an outside double cabin on Pacific Deck while cruising the North

Cape. Relax and experience a contemporary interpretation of traditional elegance. This premium is being offered for $5,000 (airfare and port taxes not included). Contact the

Marathon Office at 266-1492, ext. 230, for complete details.

Copies of this year's 28-page Marathon premium catalog may be picked up at the

Marathon counters in Symphony Hall, where you may also make an in-person pledge. It may also be obtained by calling the Symphony Hall Marathon Office. The catalog lists nearly 500 different premiums arranged by category, including this year's exclusive

"BSO Collection" featuring such unique items as the 1984 BSO/WCRB mug ($15), a cuddly Pops Ewok ($20), BSO bow tie ($30), and the Marathon '84 poster by Boston

artist Agusta Agustsson ($30; $100 signed and numbered). There are also restaurant gift certificates, tickets for theatre, dance, and other cultural events, and special offerings donated by more than 50 members of the Boston Symphony Orchestra.

A new addition to the catalog this year, and one certain to arouse considerable interest,

is the BSO/WCRB Musical Marathon '84 wine collection made possible by the Wine Cellar of Silene, Waltham, Massachusetts. Donors of $100 may choose a case of either red or white wine specially selected from California vintners and bottled with the BSO Marathon label —a perfect collector's item!

Planning for this year's BSO/WCRB Musical Marathon '84 began a year ago, immediately

following the completion of Marathon '83. Help make this year's Marathon the most

successful ever. Make your pledge and select your gift premiums by using the convenient

order form in the catalog . . . and during Marathon weekend phone (617) 262-8700 with your pledge. Turn your money into music for the Boston Symphony Orchestra.

"The Orchestra Book" Answers Your Questions

What BSO member is a former NASA research chemist? What current members played under Serge Koussevitzky? Who joined his father as an orchestra member this season? "The Orchestra Book," newly published by the Council of the Boston Symphony Orchestra, has the answers to these questions, as well as hundreds of interesting facts

about all 101 members of the orchestra and a photograph of each. A convenient stage-

seating diagram with the names of the players and their chair positions is also included.

"The Orchestra Book" is available for purchase during concerts at the Junior Council

Mint Counter, at the Subscription Office, or at the Friends' Office, all located in the Massachusetts Avenue corridor of Symphony Hall. To order by mail, please send $6 per book, plus $2 postage and handling (for one or two books; $3 for three or more books) to The Council Office, Boston Symphony Orchestra, Symphony Hall, Boston, MA 02115. Make your check payable to "Boston Symphony Orchestra," and act now to receive your

copy of this attractive, 7 2 -page limited edition while the supply lasts!

"Behind the Scenes" Luncheon at Symphony Hall

Recently appointed BSO Director of Development Josiah Stevenson is the featured speaker at the next "Behind the Scenes" luncheon, to be held on Friday, 13 April in the

Cohen Annex of Symphony Hall. This is the last of a four-luncheon series sponsored by the Council of the Boston Symphony Orchestra. You may purchase drinks at the bar when the doors open at 11:45 a.m.; the buffet lunch and talk begin at 12:15 p.m. A limited number of single tickets are available at $14.50; please phone the Friends' Office at 266-1348 for reservations or further information.

With Thanks

We wish to give special thanks to the National Endowment for the Arts and the Massachusetts Council on the Arts and Humanities for their continued support of the Boston Symphony Orchestra.

mm Two Brothers: A Correction

In the program book for the Boston Symphony concerts of 15, 16, and 17 April, we wrote that our guest conductor, Adam Fischer, had recorded the five-movement version of the

Mahler First Symphony with the Hungarian State Orchestra. In fact, that recording is under the direction not of Adam Fischer, but of his brother Ivan, also a conductor.

BSO Guest Artists on "Morning Pro Musica'

Robert J. Lurtsema continues his series of interviews with Boston Symphony Orchestra guest artists on WGBH-FM-89.7's Morning Pro Musica. Sir Michael Tippett, whose BSO centennial-commission work, The Mask of Time, will have its world premiere performances here on 5, 6 and 7 April, will be interviewed along with tenor soloist Robert

Tear on Monday morning, 2 April at 11. Baritone Hakan Hagegard, making his BSO debut in Berlioz's VEnfance du Christ in the season's final concerts, will be interviewed on Tuesday morning, 17 April at 11.

WGBH Intermission Features on the Air

WGBH radio personality Ron Delia Chiesa conducts interviews with Boston Symphony staff and orchestra members throughout the 1983-84 season. These interviews are aired as intermission features during the Friday-afternoon and Saturday-night BSO concerts broadcast live by WGBH-FM-89.7. Coming up: BSO Business & Professional Leadership Committee Chairman Harvey Chet Krentzman on 6 and 7 April; BSO Orchestra Manager Anne Parsons on 13 and 14 April; and BSO Assistant Manager Daniel Gustin on 20 and 21 April.

BSO Members in Concert

The Mystic Valley Orchestra under its music director, BSO cellist Ronald Feldman, performs Liadov's Kikimora, Mozart's Bassoon Concerto with soloist Judith LeClair, and

Tchaikovsky's Symphony No. 1, Winter Daydreams, on Saturday, 31 March at 8:00 p.m. at Cary Hall, 1625 Mass. Avenue in Lexington. The program will be repeated at Paine

Hall on the Harvard University campus in Cambridge on Sunday, 1 April at 3:00 p.m. Tickets are $5 general admission ($3 students, seniors, and special needs), available at the door or in advance at Spectrum, 1844-B Mass. Avenue in Lexington and at Yesterday Service Inc., 1430 Mass. Avenue, Suite 318, in Harvard Square. For more information, please call 924-4939.

The contemporary music ensemble Collage gives the final program of its 1983-84 season on Monday evening, 2 April at 8 p.m. in Sanders Theatre, Cambridge. This concert includes music by Charles Fussell, Andrew Imbrie, Larry Allan Smith, Michael Tippett, and Thomas Oboe Lee; conductor Charles Fussell and tenor Paul Sperry are the

guest artists. Collage's music director is BSO percussionist Frank Epstein; its members include cellist Joel Moerschel, Ann Hobson Pilot, harp, and Joel Smirnoff, violin, as well as

Robert Annis, clarinet, Randy Bowman, flute, Joan Heller, soprano, and Christopher

Oldfather, piano. For ticket prices and further information, please call 437-0231; tickets are available in advance at Bostix and at the door the day of the performance. Seiji Ozawa

The 1983-84 season is Seiji Ozawa's eleventh season. His first professional concert as music director of the Boston Symphony appearance in North America came in Janu-

Orchestra. In the fall of 1973 he became the ary 1962 with the San Francisco Symphony orchestra's thirteenth music director since it Orchestra. He was music director of the was founded in 1881. Chicago Symphony's Ravinia Festival for five summers beginning in 1964, and music Born in 1935 in Shenyang, China, to director for four seasons of the Toronto Sym- Japanese parents, Mr. Ozawa studied both phony Orchestra, a post he relinquished at the Western and Oriental music as a child and end of the 1968-69 season. later graduated from Tokyo's Toho School of

Music with first prizes in composition and con- Seiji Ozawa first conducted the Boston Sym- ducting. In the fall of 1959 he won first prize phony in Symphony Hall in January 1968; he at the International Competition of Orchestra had previously appeared with the orchestra for Conductors, Besancon, France. Charles four summers at Tanglewood, where he

Munch, then music director of the Boston became an artistic director in 1970. In Symphony and a judge at the competition, December 1970 he began his inaugural season invited him to Tanglewood for the summer as conductor and music director of the San following, and he there won the Berkshire Francisco Symphony Orchestra. The music Music Center's highest honor, the directorship of the Boston Symphony followed Koussevitzky Prize for outstanding student in 1973, and Mr. Ozawa resigned his San conductor. Francisco position in the spring of 1976, serv- ing as music advisor there for the 1976-77 While working with Herbert von Karajan in season. West Berlin, Mr. Ozawa came to the attention of Leonard Bernstein, whom he accompanied As music director of the Boston Symphony on the New York Philharmonic's spring 1961 Orchestra, Mr. Ozawa has strengthened the Japan tour, and he was made an assistant orchestra's reputation internationally as well conductor of that orchestra for the 1961-62 as at home, leading concerts on the BSO's

8 1976 European tour and, in March 1978, on a Symphony" television series. His award-win-

I nine-city tour of Japan. At the invitation of the ning recordings include Berlioz's Romeo et Chinese government, Mr. Ozawa then spent a Juliette, Schoenberg's Gurrelieder, and the week working with the Peking Central Philhar- Berg and Stravinsky violin concertos with monic Orchestra; a year later, in March 1979, Itzhak Perlman. Other recordings with the he returned to China with the entire Boston orchestra include, for Philips, Richard Symphony for a significant musical and Strauss's Also sprach Zarathustra and Ein cultural exchange entailing coaching, study, Heldenleben, Stravinsky's Le Sacre du and discussion sessions with Chinese musi- printemps, Hoist's The Planets, and Mahler's cians, as well as concert performances. Also in Symphony No. 8, the Symphony ofa Thou-

1979, Mr. Ozawa led the orchestra on its first sand; for CBS, a Ravel collaboration with tour devoted exclusively to appearances at the mezzo-soprano Frederica von Stade and the major music festivals of Europe. Most Mendelssohn Violin Concerto with Isaac Stern;

recently, Seiji Ozawa and the Boston Sym- and, for Telarc, Vivaldi's Four Seasons with phony celebrated the orchestra's one -hun- violin soloist Joseph Silverstein, and music of dredth birthday with a fourteen-city American Beethoven—the Fifth Symphony, the Egmont tour in March 1981 and an international tour Overture, and, with soloist Rudolf Serkin, the to Japan, France, Germany, Austria, and Eng- Third, Fourth, and Fifth piano concertos and land in October/November that same year. the Choral Fantasy. Mr. Ozawa has recorded Mr. Ozawa pursues an active international Roger Sessions's Pulitzer Prize-winning Con- career. He appears regularly with the Berlin certo for Orchestra and Andrzej Panufnik's Philharmonic, the Orchestre de Paris, the Sinfonia Votiva, both works commissioned by

French National Radio Orchestra, the Vienna the Boston Symphony Orchestra for its cen- Philharmonic, the Philharmonia of London, tennial, for Hyperion records. He and the and the New Japan Philharmonic, and his orchestra have also recorded Stravinsky's operatic credits include Salzburg, London's Firebird and, with soloist Itzhak Perlman, the Covent Garden, La Scala in Milan, and the violin concertos of Earl Kim and Robert Starer Paris Opera, where he conducted the world for Angel/ EMI. Mr. Ozawa holds honorary premiere of Olivier Messiaen's opera St. Fran- Doctor of Music degrees from the University cis ofAssisi in November 1983. Mr. Ozawa of Massachusetts and the New England Con- has won an Emmy for the BSO's "Evening at servatory of Music. References furnished request

Aspen Music School and Festival Gilbert Kalish Dickran Atamian Ruth Laredo Burt Bacharach Liberace David Bar-Illan Panayis Lyras Berkshire Music Center Marian McPartland and Festival at Tanglewood Zubin Mehta Leonard Bernstein Eugene Ormandy Jorge Bolet Seiji Ozawa Boston Pops Orchestra Philadelphia Orchestra Boston Symphony Orchestra Andre Previn Brevard Music Center Ravinia Festival Dave Brubeck Santiago Rodriguez Chicago Symphony Orchestra George Shearing Cincinnati May Festival Abbey Simon Cincinnati Symphony Orchestra Georg Solti Aaron Copland Beveridge Webster Denver Symphony Orchestra Earl Wild Ferrante and Teicher John Williams Interlochen Arts Academy and Wolf Trap Foundation for the National Music Camp Performing Arts Byron Janis Yehudi Wyner Billy Joel Over 200 others Baldwin Violas Pasquale Cardillo Burton Fine Peter Hadcock Charles S. Dana chair E-flat Clarinet Patricia McCarty Bass Clarinet Mrs. David Stoneman chair Craig Nordstrom Ronald Wilkison Robert Barnes Bassoons Jerome Lipson Sherman Walt Bernard Kadinoff Edward A. Taft chair Joseph Pietropaolo Roland Small Michael Zaretsky Matthew Ruggiero Music Directorship endowed by Marc Jeanneret Contrabassoon John Moors Cabot Betty Benthin Richard Plaster BOSTON SYMPHONY * Lila Brown * Mark Ludwig Horns ORCHESTRA Charles Kavalovski 1983/84 Cellos Helen SagoffSlosberg chair Richard Sebring Jules Eskin First Violins Philip R. Allen chair Daniel Katzen Joseph Silverstein Martha Babcock Richard Mackey Concertmaster Vernon and Marion Alden chair Jay Wadenpfuhl Charles Munch chair Mischa Nieland Emanuel Borok Esther S. and Joseph M. Shapiro chair Trumpets Concertmaster Assistant Charles Schlueter Helen Horner Mclntyre chair Jerome Patterson Roger Louis Voisin chair * Robert Ripley Max Hobart Andre Come Robert L. Beal, and Luis Leguia Charles Daval Enid and Bruce A. Beal chair Carol Procter Timothy Morrison Cecylia Arzewski * Ronald Feldman Edward and Bertha C. Rose chair * Joel Moerschel Trombones Bo Youp Hwang * Jonathan Miller Ronald Barron John and Dorothy Wilson chair * J. P. and Mary B. Barger chair Max Winder Sato Knudsen Norman Bolter Harry Dickson Basses Gordon Hallberg Forrest Foster Collier chair Edwin Barker Gottfried Wilfinger Tuba Harold D. Hodgkinson chair Fredy Ostrovsky Chester Schmitz Lawrence Wolfe Margaret and William C. Maria Stata chair Leo Panasevich Rousseau chair Carolyn and George Rowland chair Joseph Hearne Sheldon Rotenberg Bela Wurtzler Timpani Alfred Schneider Leslie Martin Everett Firth Sylvia Shippen Wells chair Raymond Sird John Salkowski Ikuko Mizuno John Barwicki Percussion Amnon Levy * Robert Olson Charles Smith * Second Violins James Orleans Arthur Press Marylou Speaker Churchill Assistant Timpanist Fahnestock chair Flutes Thomas Gauger Vyacheslav Uritsky Doriot Anthony Dwyer Frank Epstein Charlotte and Irving W Rabb chair Walter Piston chair Ronald Knudsen Fenwick Smith Harp Myra and Robert chair Joseph McGauley Kraft Ann Hobson Pilot Leone Buyse Willona Henderson Sinclair chair Leonard Moss Laszlo Nagy Piccolo * Michael Vitale Personnel Managers Lois Schaefer * William Moyer Harvey Seigel Evelyn and C. Charles Marran chair * Jerome Rosen Harry Shapiro * Sheila Fiekowsky Oboes Librarians * Gerald Elias Ralph Gomberg Victor Alpert * Ronan Lefkowitz Mildred B. Remis chair William * Nancy Bracken Wayne Rapier Shisler Alfred James Harper * Joel Smirnoff Genovese * Jennie Shames English Horn Stage Manager * Nisanne Lowe Laurence Thorstenberg Position endowed by * Aza Raykhtsaum Angelica Lloyd Clagett Phyllis Knight Beranek chair * Nancy Mathis DiNovo Alfred Robison Clarinets * Participating in a system ofrotated Harold Wright Stage Coordinator seating within each string section. Ann S.M. Banks chair Cleveland Morrison A Brief History of the Boston Symphony Orchestra

For many years, philanthropist, Civil War 1915, the orchestra made its first transconti- veteran, and amateur musician Henry Lee nental trip, playing thirteen concerts at the Higginson dreamed of founding a great and Panama-Pacific Exposition in San Francisco. permanent orchestra in his home town of Recording, begun with RCA in the pioneering

Boston. His vision approached reality in the days of 1917, continued with increasing fre- spring of 1881, and on 22 October that year quency, as did radio broadcasts of concerts. the Boston Symphony Orchestra's inaugural The character of the Boston Symphony was concert took place under the direction of con- greatly changed in 1918, when Henri Rabaud ductor Georg Henschel. For nearly twenty was engaged as conductor; he was succeeded years, symphony concerts were held in the old the following season by Pierre Monteux. Thest Boston Music Hall; Symphony Hall, the appointments marked the beginning of a orchestra's present home, and one of the French-oriented tradition which would be world's most highly regarded concert halls, maintained, even during the Russian-born was opened in 1900. Henschel was succeeded Serge Koussevitzky's time, with the employ- by a series of German-born and -trained con- ment of many French-trained musicians. ductors—Wilhelm Gericke, Arthur Nikisch, The Koussevitzky era began in 1924. His Emil Paur, and Max Fiedler culminating in — extraordinary musicianship and electric per- the appointment of the legendary Karl Muck, sonality proved so enduring that he served an who served two tenures as music director, unprecedented term of twenty-five years. In 1906-08 and 1912-18. Meanwhile, in July 1936, Koussevitzky led the orchestra's first 1885, the musicians of the Boston Symphony concerts in the Berkshires, and a year later he had given their first "Promenade" concert, and the players took up annual summer resi- offering both music and refreshments, and dence at Tanglewood. Koussevitzky passion- fulfilling Major Higginson's wish to give ately shared Major Higginson's dream of "a "concerts of a lighter kind of music." These good honest school for musicians," and in concerts, soon to be given in the springtime 1940 that dream was realized with the found- and renamed first "Popular" and then ing at Tanglewood of the Berkshire Music "Pops," fast became a tradition. Center, a unique summer music academy for

During the orchestra's first decades, there young artists. Expansion continued in other were striking moves toward expansion. In areas as well. In 1929 the free Esplanade concerts on the Charles River in Boston were

inaugurated by Arthur Fiedler, who had been ; member of the orchestra since 1915 and who

in 1930 became the eighteenth conductor of the Boston Pops, a post he would hold for half a century, to be succeeded by John Williams

in 1980.

Charles Munch followed Koussevitzky as

music director in 1949. Munch continued Koussevitzky's practice of supporting contem porary composers and introduced much music from the French repertory to this country.

During his tenure, the orchestra toured abroa

for the first time, and its continuing series of Youth Concerts was initiated. Erich Leinsdorf

Henry Lee Higginson began his seven-year term as music director ii

12 — I '«;. V«,

1962. Leinsdorf presented numerous pre- Corigliano, Peter Maxwell Davies, John mieres, restored many forgotten and neglected Harbison, Leon Kirchner, Peter Lieberson, works to the repertory, and, like his two prede- Donald Martino, Andrzej Panufnik, Roger cessors, made many recordings for RCA; in Sessions, Sir Michael Tippett, and Oily addition, many concerts were televised under Wilson—on the occasion of the orchestra's his direction. Leinsdorf was also an energetic hundredth birthday has reaffirmed the orches- director of the Berkshire Music Center, and tra's commitment to new music. Under his under his leadership a full-tuition fellowship direction, the orchestra has also expanded its program was established. Also during these recording activities to include releases on the years, the Boston Symphony Chamber Players Philips, Telarc, CBS, and Hyperion labels. were founded, in 1964; they are the world's From its earliest days, the Boston Sym- only permanent chamber ensemble made up of phony Orchestra has stood for imagination, a major symphony orchestra's principal play- enterprise, and the highest attainable stand- ers. William Steinberg succeeded Leinsdorf in ards. Today, the Boston Symphony Orchestra, 1969. He conducted several American and Inc., presents more than 250 concerts world premieres, made recordings for annually. Attended by a live audience of near- Deutsche Grammophon and RCA, appeared ly 1.5 million, the orchestra's performances regularly on television, led the 1971 European are heard by a vast national and international tour, and directed concerts on the east coast, audience through the media of radio, tele- in the south, and in the mid-west. vision, and recordings. Its annual budget has

Seiji Ozawa, an artistic director of the grown from Higginson's projected $115,000 Berkshire Festival since 1970, became the to more than $16 million. Its preeminent posi- orchestra's thirteenth music director in the fall tion in the world of music is due not only to the of 1973, following a year as music advisor. support of its audiences but also to grants from Now in his eleventh year as music director, the federal and state governments, and to the

Mr. Ozawa has continued to solidify the generosity of many foundations, businesses, orchestra's reputation at home and abroad, and individuals. It is an ensemble that has and his program of centennial commissions richly fulfilled Higginson's vision of a great from Sandor Balassa, Leonard Bernstein, John and permanent orchestra in Boston.

The first photograph, actually a collage, ofthe Boston Symphony Orchestra under Georg Henschel, taken 1882

13 COME TOYOUR NEW ENGLAND LINCOLN-MERCURY DEALERS. 14 BOSTON SYMPHONY ORCHESTRA

Seiji Ozawa, Music Director

Sir Colin Davis, Principal Guest Conductor

Joseph Silverstein, Assistant Conductor

One Hundred and Third Season, 1983-84

Thursday, 29 March at 8 Friday, 30 March at 2 gr^ Saturday, 31 March at 8 Tuesday, 3 April at 8

SIR COLIN DAVIS conducting

MOZART Symphony No. 33 in B-flat, K.319

Allegro assai Andante moderato Menuetto; Trio Finale: Allegro assai

MARTIN Petite Symphonie concertante for harp, harpsichord, piano, and two string orchestras

ANN HOBSON PILOT, harp MARK KROLL, harpsichord FREDERICK MOYER, piano

INTERMISSION

SCHUBERT Symphony No. 4 in C minor, D.417, Tragic Adagio molto—Allegro vivace Andante Menuetto: Allegro vivace Allegro

Thursday's, Saturday's, and Tuesday's concerts will end about 9:55 and Friday's about 3:55.

Philips, Telarc, CBS, Deutsche Grammophon, Angel/EMI, Hyperion, and RCA records Baldwin piano Harpsichord by William Dowd

Please be sure the electronic signal on your watch or pager is switched off during the concert. The program books for the Friday series are given in loving memory of Mrs. Hugh Bancroft by her daughters Mrs. A. Werk Cook and the late Mrs. William C. Cox. 15 Week 19 THE BOSTON SYMPHONY ORCHESTRA/WCRB 102.5 FM MUSICAL MARATHON '84 MARCH 30, 31, APRIL 1

to WCRB 102.5 FM All weekend - Friday Noon to Sunday Midnight Enjoy music, interviews and surprise guests

WCVB-TV CHANNEL 5

Sunday, April 1, 5:30-8:00 P.M. Live from Symphony Hall THE BOSTON SYMPHONY and BOSTON POPS simulcast on WCRB 102.5 FM

QUINCY MARKET ROTUNDA Friday and Saturday, March 30, 31, Noon-7:00 P.M.

Sunday, April 1, Noon-5:00 P.M. live Jazz groups

(617) 262-8700 to Pledge and receive a gift Premium

TURN YOUR MONEY INTO MUSIC FOR THE BOSTON SYMPHONY AND BOSTON POPS

16 mam

Wolfgang Amade Mozart

Symphony No. 33 in B-flat, K.319

Johannes Chrysostomus Wolfgang Gottlieb Mozart, who began to call him- self Wolfgang Amade in 1777 (and never Wolfgang Amadeus), was born in Salzburg, Austria, on 27 January 1756 and died in Vienna on 5 December 1791. He completed his Symphony No. 33 in B-flat on 9 July 1779 in Salzburg; the

undocumented first performance almost

certainly took place soon after. Serge

Koussevitzky conducted the first Boston Symphony Orchestra performance at Tanglewood on 23 July 1950. The orchestra has also performed the sym- phony under the direction ofJean Morel at Tanglewood, Erich Leinsdorf (who led the only previous Symphony Hall per- formances in December 1964 and January 1965), and most recently Jorge Mester, at Tanglewood in 1967. The score calls for two each ofoboes, bassoons, and horns, plus strings.

Mozart's last years in Salzburg were, for him, a time of frustration and boredom. Trapped in a cultural backwater at the mercy of an unmusical Prince-Archbishop who was not interested in giving him opportunities to show what he could do (or the freedom to develop himself elsewhere), the young man—he was just twenty- three—who had been hailed in such important musical centers as Paris and Mannheim only a year before seemed about to settle into a rut. One sign of Mozart's boredom is the fact that he had almost completely given up writing symphonies, though in the early 1770s he had turned them out in rapid succession. But having seen the condition of orchestral playing in Mannheim, where the ensemble was described as "an army of generals," he was hardly likely to want to write much for the comparatively puny forces at home in Salzburg.

We do not know why or for whom Mozart composed his B-flat symphony. His sister Nannerl kept a diary that might have given us the information, but the pages for the summer of 1779 are missing. And since Wolfgang was at home, there was no reason for him to write one of those newsy letters to his family that have told us so much about his life. All we know is that the original manuscript bears the date 9 July 1779.

We can tell from the music itself that Mozart intended it for a rather modest occasion—he wrote at first only three movements (the minuet was not part of the original piece), and he called for an orchestra with only six wind instruments—two each of oboes, bassoons, and horns. Three-movement symphonies in the pattern fast-slow- fast were characteristic of the Italian opera (in fact the word "symphony" for this music comes " from the fact that the sinfonia" that preceded an operatic performance eventually became detached from the stage and used in concerts), but by 1779 Viennese symphonies almost always had four movements, so Mozart's original form seems on the surface slightly provincial. Musically, however, there is nothing provincial about it, and one commentator has noted that the addition of the minuet in 1785 (when Mozart was in Vienna) really has the effect of "completing" what was just a torso. 17 Week 19 The Boston Home, (formerly The Boston Home for Incurables)

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18 The first movement is in a rhythmically vigorous 3/4 time with a nearly constant

eighth-note activity. Its sonata form lacks the usual repeat of the exposition, and the brief

development section makes almost no use of thematic material from the exposition itself.

Rather it becomes a contrapuntal elaboration of a theme that was to pop up again and

again in Mozart: do- re-fa-mi. He had already used it at two different places in two

different Mass settings. It was to recur nine years later in its most familiar location, the

finale of the Jupiter Symphony. A traditional contrapuntal theme, its use here is perhaps intended to supply a serious tone to the proceedings.

The songlike melody of the slow movement is almost entirely limited to the strings, with

the winds coming in largely to reinforce the modulation first to the dominant key and later back to the tonic. The recapitulation brings back the themes in reverse order, so that we

end with the melody of the opening. Again, as in the first movement, the brief develop-

ment is really a short interlude of new material.

The Minuetto and Trio were composed six years after the rest of the symphony, but

they fit perfectly. The Minuetto is vigorous and rhythmically assertive, while the Trio is

lighter, more folklike in its evocation of the Landler.

The finale is without doubt the glory of this symphony. There are those who hear

already a foreshadowing of the last movement of Beethoven's Eighth Symphony, which

makes a similar use of repeated notes in a triplet rhythm. The triplet rhythm reappears, but plays off against contrasting duple rhythms in the singing second theme and especially

in the buffo march of the closing theme introduced first by the winds. Following this very operatic exposition, the beginning of the development once again comes as a surprise. As

in the first movement, Mozart starts with a suggestion of serious contrapuntal elaboration.

But soon the bustling triplets enliven the texture and before long he has engineered a return to the tonic and a recapitulation that caps off the symphony with verve and high

good spirits.

—Steven Ledbetter

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20 Frank Martin Petite Symphonie concertante for harp, harpsichord, piano, and two chamber orchestras

Frank Martin was born in Geneva, Switzerland, on 15 September 1890 and died in Naarden, The Netherlands, on 21 November 1974. He composed the Petite Symphonie concertante in 1944 and 1945 and dedicated the score to Paul Sacher, who had commissioned the

work and who conducted the first per- formance in Zurich on 17 May 1946. The present performances are the first by the Boston Symphony Orchestra. The score calls for three soloists—harpsichord,

piano, and harp—arrangedfrom left to right on the stage, respectively, and two

string orchestras, the first between the harpsichord and piano, the second £.&$ between piano and harp.

Though he knew from the age of eight that he wanted to be a composer, Frank Martin never attended a conservatory. His one music teacher was Joseph Lauber, who taught him piano, harmony, and composition, but not counterpoint. After World War I he lived in Zurich, Rome, and Paris, then returned to Geneva, where he became involved with a congress on rhythmic musical education directed by Emil Jaques-Dalcroze. After two years of study, he became a teacher of rhythmic theory at the Jaques-Dalcroze Institute; all the while he was himself active as a performer on the piano and harpsichord. His compositions became increasingly highly regarded, and by 1943 he was elected president of the Swiss Musicians' Union. After the war he moved to the Netherlands, where he lived the rest of his life, traveling widely as the growing success of his works brought performances in many places.

The tenth and youngest child of a Calvinist minister, Martin was influenced very early by a performance of the St. Matthew Passion of Bach, an influence reflected in his later oratorios such as Golgotha (1945), which treats of the same subject matter. As a pianist, he was also influenced by Schumann and Chopin, who, with Bach, gave a German background to a composer with a basically French outlook. He investigated many different paths to his musical language—Ravel and Debussy, followed by an interest in a consciously archaic style with modal harmonies and experiments with rhythms from different ethnic backgrounds. His discovery of Schoenberg's twelve-tone system was crucial to his development, though he never adopted the technique in anything like the form that Schoenberg used, and he rejected that composer's aesthetic totally. But its elements helped him find a personal style of extended tonality. The earliest of Martin's mature works was a remarkable version of the Tristan story for twelve solo voices with seven strings and piano, Le Vin herbe ("The Drugged Wine"), composed between 1938 and 1941.

The impetus for the Petite Symphonie concertante came from a commission from Paul Sacher, the founder of the Basel Chamber Orchestra, which was designed to perform the masterpieces for small orchestra from the eighteenth century and to generate an entirely new repertory of twentieth-century works on commission. His success in this venture may

21 Week 19 be judged from this partial list of the more than eighty works that owe their existence to Sacher, his ensemble, and their commissioning activity: Bartok's Music for Strings, Percussion, and Celesta and Divertimento; Hindemith's symphony Die Harmonie der Welt; Honegger's Second and Fourth symphonies; Richard Strauss's Metamorphosen; Stravinsky's Concerto in D and A Sermon, A Narrative, and a Prayer; Britten's Cantata Academica; and other works by Casella, Henze, Ibert, Krenek, Tippett, Malipiero, Petrassi, and so on. In the case of Frank Martin, Sacher's commission resulted in the composition of his single best-known work.

As the title suggests, the Petite Symphonie concertante is a tribute to an eighteenth- century genre, though with a selection of instruments that would have been inconceivable at that time. The ensemble includes every one of the stringed instruments normally found in the orchestra, with the bowed strings in the two orchestras and the plucked and struck string instruments forming the small solo group. The piano, harpsichord, and harp are instruments of strikingly different color and intensity; and part of the wonderment of Martin's score comes from the varied ways he uses each of these instruments singly and in combination to effect a wide range of coloristic sounds.

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Let's all support the BSO. Tucker. Anthony & R.L. Day, Inc. Serving investors in 30 offices in the U.S. and abroad. Since 1892. One Beacon Street. Boston. (617) 725-2000. Tucker Anthony The work as a whole consists of several subdivisions that are played without pause. The slow introduction, Adagio, presents in the second orchestra a theme consisting of all twelve notes of the chromatic scale arranged in a particular pattern, but this "row" becomes essentially an ostinato against which the first orchestra presents a long flowing line decorated with ornamental turns. All of this material will prove to be pertinent in the Allegro con moto, which brings in the three soloists, with the harpsichord taking thematic prominence at first against accompanimental figures from the other two instru- ments. After extensive discourse of this material and its derivations, a long rallentando (slowing down) becomes the middle movement, an Adagio primarily given over to the soloists. The harp presents a long discourse against repeated chords from the harpsichord. Then the piano enters and takes over the conversation, with some punctuation from the string orchestras. Eventually a transition of increasing liveliness builds to the final

Allegretto alia Marcia, the lively rondo-like finale in 4/8 time with a still faster close coming in a 3/8 Vivace with brilliant washes of sound.

—S.L. EASTMAN PHILHARMONIA DAVID EFFRON, CONDUCTOR WILLIE STARGELL, NARRATOR

Carnival Overture • Antonin Dvorak

New Morning for the World for speaker and orchestra (with texts by Martin Luther King, Jr.) • Joseph Schwantner (Boston premiere performance)

Symphony No. 1 • Johannes Brahms

3 p.m. Sunday, April 8 Jordan Hall New England Conservatory 30 Gainsborough St. Tickets $8, $6 at the box office (536-2412), BOSTIX, Willie Stargell or call Concert Charge (497-1118) "Quiet dignity and an imposing stage The Eastman-Wilson Concerts presented by the presence"— Washington Post University of Rochester's Eastman School of Music with funding from the Elaine P. and Richard U. Wilson Foundation

This concert presented with the support of the Urban League of Eastern Massachusetts

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Symphony No. 4 in C minor, D.417, Tragic

Franz Peter Schubert was born in Liechtental, a suburb of Vienna, on 31 January 1797 and died in Vienna on 19 November 1828. His Symphony No. 4 was completed by 27 April 1816 and

probably had its first performance that year in Vienna under Otto Hatwig, with an amateur orchestra that had devel- opedfrom the Schubertfamily string

quartet. The subtitle ''Tragic " is

1 Schubert's at a % fjjfjP own and was added -^.J*m0F later date. The first documented public performance was given at Leipzig, August Ferdinand Riccius conducting, % on 19 November 1849. Theodore Thomas gave the first American per- formance of the Andante only at the

Boston Music Hall on 23 December 1871 and programmed it also at New York's Steinway Hall and the Academy ofMusic in Philadelphia in January 1872. The first

American performance ofthe entire work was given by Ernst Perabo and Benjamin J. Lang in a four-hand piano arrangement in Wesleyan Hall in Boston on 2 February

1872. The first documented orchestral performance ofthe complete work in America was given by Eugene Luening with the Musical Society at the Academy ofMusic in Milwaukee on 2 February 1897. Georg Henschel and Wilhelm Gericke led Boston Symphony Orchestra performances of the Andante only in March 1884 (Henschel),

January 1885 (Gericke), and February 1888 (Gericke again) . The complete score was introduced to Boston Symphony audiences by Pierre Monteux in April 1921.

Since then it has been conducted by Serge Koussevitzky, Charles Munch, Thomas Schippers, Richard Burgin, Carlo Maria Giulini, who led the most recent subscription performances in October and November 1969, and Andrew Davis, who led the most

recent Tanglewood performance in July 1981. The score calls for flutes, oboes, clarinets, and bassoons in pairs, four horns, two trumpets, timpani, and strings.

After the Unfinished and the Great C major, the Fourth and Fifth of Schubert's symphonies are the ones most often played, and, even then, only semi-regularly. Schubert's first three youthful and energetic symphonies—the First composed while he was a student, the Second and Third during his years of schoolmastering—are infre- quently heard, while the appealingly inventive Sixth is still something of a rarity on concert programs.

Schubert's Fourth Symphony, the Tragic, was completed in April 1816, the same

month that he unsuccessfully applied for the post of music master at a training school in Laibach (Ljubljana). As a child, his strongest and most natural inclinations had always

been toward music. He'd had his first real piano lessons from his eldest brother Ignaz, and

his father taught him violin. In the family string quartet, the violinists were Ignaz and

another brother, Ferdinand; Franz was violist, and his father played cello. Like his brothers, Schubert was sent to Michael Holzer, organist at the Liechtental parish church,

for lessons in voice, organ, and counterpoint. Holzer recognized the boy's abilities and

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When Schubert was eleven he was accepted as a chorister in the Imperial court chapel and took up residence at the Stadtkonvikt, a communal boarding school which also housed the Choir School. There he sang and studied under the direction of Ho/kapell- meister Antonio Salieri (best-known today for his alleged rivalry with Mozart and for the unfounded rumor that he poisoned the younger composer and so contributed to Mozart's early death), and there, too, he played in the school orchestra as first violinist and was occasionally trusted to lead rehearsals. The repertory regularly included symphonies of

Haydn and Mozart, the first two of Beethoven's symphonies, overtures, and other music.

It was this orchestra that played Schubert's First Symphony, in D major, which he completed in October 1813.

1813 was also Schubert's last year at the Stadtkonvikt. His voice had broken the previous summer, ending his time as a chorister, and he left there that November, turning down a fellowship, perhaps over a disciplinary matter. Now he was at a crossroads. In accordance with his schoolmaster father's expectations, he entered a teacher's training school and, after a year there, began assisting his father. He did this for two years, and the hours spent in front of the classroom were not happy. But during this time Schubert managed to produce his Second and Third symphonies, as well as piano and chamber music, several operas, his first Mass, in F major, which he successfully conducted himself at the hundredth-anniversary celebrations for the Liechtental church, and, in 1815, about 145 songs, including Erlkdnig. (The pathbreaking Gretchen am Spinnrade—which supposedly elicited from Salieri the comment that Schubert was a genius who could do

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during his time there, and Franz von Schober, a law student who came to Vienna having heard some of Schubert's songs and urged him to abandon teaching for a musical career, finally won out over the young composer's uncertainties.

In the slow introductions to his first three symphonies, Schubert had already demon-

strated the ear for orchestral color that is immediately apparent in the opening measures

of the Tragic Symphony, where a unison C for full orchestra gives way to a sombre passage for strings, with emotional heightening provided by the addition of woodwinds.

This is Schubert's first symphony in the minor mode, and it may be viewed as something of a study in mood and color, as well as exemplifying a new approach on the composer's part to symphonic weight, a concern to be taken up again with considerably broadened

perspective in his Sixth Symphony of 1817-18. (The intervening Fifth Symphony, Schubert's only symphony besides the Unfinished to lack a slow introduction, and also his

most lightly scored, is marked primarily by lightness, grace, and economy of means.) The

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28 dark chromaticism, sighing woodwinds, portentous drumstrokes, and dramatic breadth of the Fourth Symphony's introduction give way to an Allegro that is driving and grim in its first theme, clearly suggesting Haydnesque Sturm und Drang. The second theme is more lyric, but melancholy despite its major-mode leanings; the joyful exuberance with which the exposition closes comes as something of a surprise and serves to anticipate the C major close of the movement as a whole.

The first statement of the Andante's main theme, in A-flat major, is made poignant by the presence of the solo oboe; the contrasting material of this movement, first forceful and then wistful, is presented against a background of restlessly pulsating strings. The third movement contrasts a jagged, downward-thrusting, minor-mode minuet against a major- mode Trio of rising lines and a more legato, folklike character. In his finale, Schubert is able successfully to combine drama, grace, pathos, melancholy, good humor (in the rollicking second theme), and even grandeur (in the fanfare-like material that closes both exposition and recapitulation) with the relaxation over long musical stretches that represents a hallmark of Schubert's style in so many of his works. The symphony ends in unbridled, if chromatically colored, C major, on a threefold repetition of the same unison note with which it began. —Marc Mandel

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29 More . . .

Stanley Sadie, who wrote the fine article on Mozart in The New Grove (the article has just been published separately by Norton), is also the author of Mozart (Grossman, also paperback), a convenient brief life-and-works survey with nice pictures. Alfred Einstein's

classic Mozart: The Man, the Music is still worth knowing (Oxford paperback). Much of the older literature on Mozart (including Einstein) needs reconsideration in the light of

Wolfgang Hildesheimer's Mozart, which has recently been published in English transla- tion (Farrar Straus Giroux) and is now available in paperback (Vintage). His book is not a

chronological survey of the composer's life but rather a 366-page essay built up out of many short sections dealing primarily with Mozart's character, personality, and genius.

Though it is sometimes frustrating to read in this format, the cumulative effect of the

author's observations and criticism of the old "haloed" Mozart is to provide a stimulating new point of view to readers who have not followed the recent specialist literature on the composer. There are chapters on the Mozart symphonies by Jens Peter Larsen in The Mozart Companion, edited by Donald Mitchell and H.C. Robbins Landon (Norton paperback), and by Hans Keller in The Symphony, edited by Robert Simpson (Pelican paperback). Any serious consideration of Mozart's music must include Charles Rosen's splendid study The Classical Style (Viking; also Norton paperback). Specialists in

authentic early music performance practice have now progressed beyond J.S. Bach to

Mozart, and an important new series of records is in process of appearing which will

contain all of the Mozart symphonies performed on original instruments by an orchestra

of the precise size and physical placement of the various orchestras for which Mozart

composed them (neither size nor arrangement was standardized in his day, and the music

sometimes reflects the character of a given ensemble). K.319 is included in vol. 5 of the

series. Played by the Academy of Ancient Music under the direction of Jaap Schroder (Oiseau-Lyre), earlier volumes have provided a sound and style of Mozart playing different

from anything you have ever heard; I personally find the recordings fresh and bracing.

Another early music specialist, Nicolaus Harnoncourt, has begun a Mozart symphony

cycle, but with a standard modern orchestra, the Concertgebouw of Amsterdam. I have not yet had a chance to hear his just-released version of No. 33 (Telefunken, coupled with

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30 Symphony No. 31, the Paris). The other recommended single-disc recording of this symphony is that by Neville Marriner with the Academy of St. Martin-in-the-Fields (Philips; coupled with symphonies 30 and 32).

Very little has been written about Frank Martin in English, though there are articles in the 1949 Musical America and the 1953 Musical Times. Probably the standard study is Bernhard Billeter's 1970 book Frank Martin: ein Aussenseiter der neuen Musik ("Frank

Martin: an Outsider of New Music"); Billeter is also the author of the useful article on Martin in The New Grove. Neville Marriner leads the Academy of St. Martin-in-the-Fields with harpist Osian Ellis, harpsichordist Simon Preston, and pianist Philip Ledger in a stylish recording (Angel; coupled with Ernest Bloch's Concerto Grosso for strings with piano obligato).

The Schubert book by Arthur Hutchings in the Master Musicians series is not bad

(Littlefield paperback); the full-scale biography by Maurice J.E. Brown is fine (Da Capo).

But much the most moving approach to Schubert the man is by way of the raw material of the biographies, the recollections of the people who knew him and the documents of his life. Otto Erich Deutsch has produced two magnificent compilations of material: Schubert: Memoirs by his Friends and Schubert: A Documentary Biography (Da Capo). On the symphonies, Maurice J.E. Brown's BBC guide is excellent (U. of Washington paperback), as is the chapter by Harold Truscott in the first volume of Robert Simpson's The

Symphony (Pelican paperback). A sympathetic essay by Dvorak about Schubert is reprinted in the Norton Critical Score of Schubert's Unfinished Symphony (Norton paperback). There are very good recordings of the Schubert Tragic Symphony by Neville

Marriner with the Academy of St. Martin-in-the-Fields (with the Symphony No. 1; Philips); Carlo Maria Giulini with the Chicago Symphony (with the Unfinished; DG); and, in their complete sets of the Schubert symphonies, Herbert von Karajan with the Berlin Philharmonic (Angel, five records) and Wolfgang Sawallisch with the Dresden State

Orchestra (Philips Festivo, five records).

—S.L.

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32 MM i

Sir Colin Davis

Idomeneo; Sir Michael Tippett's Midsummer Marriage, The Knot Garden, and The Ice Break; Wagner's Ring cycle, Berlioz's Les Troyens, and Benjamin Britten's Peter Grimes. Sir Colin made his debut at New York's Metropolitan Opera in 1967 with a new production of Peter Grimes, and he has returned there for PelTeas et Melisande and

Wozzeck. The first British conductor ever to appear at Bayreuth, he opened the 1977 fes-

tival there with Wagner's Tannhauser, a pro- duction filmed by Unitel.

Sir Colin records regularly with the Amster- dam Concertgebouw, the Boston Symphony, the London Symphony, and the Royal Opera House orchestras. Among his many recordings for Philips are Mozart's Le nozze di Figaro, Knighted in 1980, Sir Colin Davis is principal Don Giovanni, Coslfan tutte, and Die guest conductor of the Boston Symphony Entfiihrung aus dem Serail; Puccini's Tosca Orchestra, music director of the Royal Opera, and La boheme; Verdi's Un hallo in maschera Covent Garden, and principal guest conductor and // trovatore; Britten's Peter Grimes; sym- of the London Symphony Orchestra. He has phonic and operatic works by Tippett; a been decorated by the governments of Britain, Berlioz cycle for which he has received the France, and Italy, and his European engage- Grosse Deutscher Schallplattenpreis; and, with ments include regular concerts with the the Boston Symphony, the complete sym- Amsterdam Concertgebouw, the Berlin Phil- phonies of Sibelius, for which he was awarded harmonic, and the Orchestre de Paris. Since the Sibelius Medal by the Helsinki Sibelius his American debut in 1960 with the Minne- Society. Recent releases include the Tippett apolis Symphony, Sir Colin has appeared with Triple Concerto for violin, viola, and cello with the orchestras of New York, Philadelphia, Los the London Symphony Orchestra, the Angeles, Cleveland, and Boston, where he has Mussorgsky/ Ravel Pictures at an Exhibition conducted the BSO annually since 1967, and with the Concertgebouw Orchestra, Mahler's where he became the BSO's principal guest Das Lied von der Erde with Jessye Norman, conductor in 1972. In September 1983 he Jon Vickers, and the London Symphony became principal conductor of the Bavarian Orchestra, and, with the Boston Symphony Radio Symphony Orchestra in Munich. Orchestra, Debussy's La Mer and Trois From 1959 to 1965, Sir Colin was music Nocturnes. director of Sadler's Wells (now English National) Opera. He made his Covent Garden debut with the Royal Ballet in 1960, and his operatic conducting debut there came in 1965. He was principal conductor of the BBC Symphony Orchestra until 1971, at which time he became music director of the Royal Opera. New productions he has led at Covent Garden include Mozart's Le nozze di Figaro,

Don Giovanni, La clemenza di Tito, and

33 H mm Ann Hobson Pilot

Ann Hobson Pilot was named principal harpist of the Boston Symphony Orchestra in Septem-

ber 1980; she is also principal harpist of the Boston Pops. She joined the Boston Symphony

Orchestra in 1969, having spent one season as second harpist with the Pittsburgh Symphony and three years as principal harpist with the National Symphony in Washington, D.C. Ms. Hobson Pilot began studying the piano at age six with her mother, a former concert pianist and teacher in the Philadelphia public schools, and switched to harp in high school. She con- tinued her training at the Philadelphia Musical Academy with Marilyn Costello and at the Cleveland Institute of Music with Alice Chal- ifoux. Ms. Hobson Pilot has participated at the Marlboro Music Festival in Vermont, and she has appeared as soloist with the Boston Sym- phony, the Boston Pops, the National Sym- phony, the Wichita (Kansas) Symphony, the Richmond (Virginia) Symphony, and several other orchestras in this country. Ms. Hobson

Pilot is currently on the faculties of the New England Conservatory of Music and the

Berkshire Music Center at Tanglewood. She is the founder of the New England Harp Trio, which includes her BSO colleagues Lois

Schaefer, flute, and Carol Procter, cello, and

she is a member of the contemporary music ensemble Collage.

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If you still have yours it's time to redecorate. Because now, ADS offers a better-looking, better sounding way to satisfy your craving for beautiful music.

It's called Atelier and it's built by ADS who made their name making superb speakers in human scale. In addition to the turntable, receiver, and cassette deck shown above, the Atelier range includes an amplifier, a tuner, and a speaker system.

They're all fashionably matte black and sensibly engineered as slim modules, with removable rear covers that conceal outlets and cables. Place them side by side, atop one another, on a shelf, or smack in the middle of your room. Know too that future Atelier components will fit the system so that you can add or upgrade without outmoding.

If the logic of all this appeals to you as it does to us, write for information to: Analog & Digital Systems, 999 Progress Way, Wilmington, MA 01887. Or call 617-658-5100. Or better yet see your ADS dealer and make home a nicer place to come home to. AnQ At&K&r 36 MKBIaMHI I

Mark Kroll

Cologne, a six-part simulcast series for the Maine Public Broadcasting Network, and a simulcast production for WGBH-TV. His recordings include an album of French harpsichord music for AFKA, harpsichord music of Handel and Scarlatti for Titanic, and,

also for Titanic, the complete J.S. Bach sonatas for violin and harpsichord and a

record of works by CPE. Bach and J.C. Bach. He may also be heard as harpsichordist on the recent Boston Symphony recording for Telarc of Vivaldi's Four Seasons with Joseph

Silverstein as violin soloist.

Mark Kroll has become recognized as one of

the finest harpsichordists of his generation and has performed in the United States, Canada, At Last. Europe, and South America. His most recent tours have included two concerts for the Gulbenkian Foundation in Lisbon, two recitals A superb steak and seafood in Rome, and a performance as the official house in the dassicat tradition. guest of the City of Barcelona. A native of New York City, Mr. Kroll received his master Afuft memifor pre-theatre of music degree from Yale University. He is a diners supplemented by a recipient of a grant from the Martha Baird supper 10:30 to Rockefeller Foundation, and he was recently menufrom awarded a Solo Recitalist Grant from the 12featuring tighterfoods for National Endowment for the Arts. He has later diners. Sunday brunch been a faculty member at the University of 11 to 3. Intimate bar California and Emerson College, and he is from currently associate professor of harpsichord and lounge. Berkeley Street and theory at Boston University, where he also at Stuart. Ccdl 542-2255 directs the Boston University Early Music Series. This past summer, Mr. Kroll directed for reservations. Major credxt the first Harpsichord Seminar for the Boston cards accepted. University Tanglewood Institute. Mr. Kroll has

been director of the St. Anselm's Chamber

Music Festival, program chairman of the first Boston Early Music Festival, and guest artist at the Marlboro, Grand Teton, Cabrillo, and

Castle Hill festivals. His numerous radio and television appearances include performances for the Canadian Broadcasting Corporation, Radio Smithsonian, Westdeutscher Rundfunk

37 —

Remember someone special give a seat at Symphony

® JBLimited

Your tax deductible contribution of $6,000 will endow and name a seat in Symphony Hall, forever associating that certain some- one with one of the world's great symphony orchestras.

For further information about named and memorial gift oppor- tunities at Symphony please call or write:

Joyce M. Serwitz Boston Symphony Orchestra Boston, Massachusetts 02115 Telephone (617) 266-1492 Frederick Moyer

and the Joseph Battista Memorial Award at Indiana University, which he received for two consecutive years. He was invited to partici-

pate at the Marlboro Music Festival in Vermont during the summer of 1982 and

again in 1983. This year, in addition to his debut appearances with the Boston Symphony Orchestra under Sir Colin Davis, Mr. Moyer makes a seven-week tour of Australia at the invitation of the Australian Broadcasting Com-

mission. Mr. Moyer is currently on the faculty of the Wisconsin Conservatory of Music in Milwaukee.

MARGUN MUSIC INC. A native of Wayland, Massachusetts, Gunther Schuller, President Frederick Moyer was born in 1957 and began studying piano at age seven, continuing his proudly presents the debut recording studies with Theodore Lettvin and Leon Fleisher and also participating in master class- of pianist es with Andre Watts. As a high school student FREDERICK MOYER he won a full scholarship to the Curtis Institute Partita of Music in Philadelphia, and he later com- Bach No. 5 in G pleted his undergraduate degree, with distinc- Rachmaninov Variations of a Theme tion, as a student of Menahem Pressler at the of Corelli University of Indiana. Mr. Moyer has per- on GM Recordings GM 2005 formed as soloist with the Philadelphia and Minnesota orchestras, the Buffalo Philhar- available from fine record stores monic, the Opera Orchestra of Genoa, and on or directly from Margun Music numerous occasions with the Boston Pops. In 1978 he toured Japan as soloist with the Sap- Margun Music publishes quality editions of poro and Japan Philharmonic symphony music in all styles, concepts and eras and of orchestras. His 1983 world tour took him not gifted composers not previously published, in a spectrum that ranges through only across the United States but also to Hong new and old musics of all persuasions, including con- Kong, India, Greece, and Japan, where he temporary music, classical works, premiere once again toured with the Japan Philhar- publications, teaching materials, 19th-cen- monic Symphony Orchestra. His two-week tury Americans, jazz, ragtime and more. tour of India was sponsored by the Arts Amer- ica program of the United States Information Agency. Mr. Moyer's honors include the pres- Write for distinguished catalogue tigious Concert Artists Guild Award for 1981 and, more recently, the Bruce Hungerford MARGUN MUSIC INC. Dept. B Memorial Prize, as well as the 1981 Interna- 167 Dudley Road, Newton Centre, MA 02159 (617) 332-6398 tional Piano Recordings Competition, the 1980 Hemphill Wells-Sorantin Competition,

39 SAFE&SOUND

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40 SIR COLIN DAVIS AND THE BOSTON SYMPHONY ORCHESTRA AN EIGHTEEN-YEAR REPERTORY LIST

Sir Colin Davis first conducted the Boston Symphony Orchestra in February 1967 in a program of Berlioz, Stravinsky, and Dvorak. Since that appearance, he has conducted the BSO annually, becoming the orchestra's Principal Guest Conductor in 1972. While he will be returning to conduct the Boston Symphony, his commitments as Music Director of the Royal Opera, Covent Garden, and as Principal Conductor of the Bavarian Radio

Symphony Orchestra in Munich will preclude future visits to Boston on an annual basis.

We are fortunate that it is under Sir Colin's leadership that the BSO presents the world premiere of The Mask of Time by Sir Michael Tippett, a composer long championed by Sir Colin not only in Boston but throughout the world. On the occasion of this important premiere, we salute and thank Sir Colin for the many magnificent performances he has given us. The following is a complete list of repertoire he has conducted with the BSO since the 1966-67 season.

Season

ARNE, THOMAS AUGUSTINE (orch. ROBT. BOCKHOLT) Rule Brittania 1974-1975

BARTOK, BELA

Piano Concerto No. 1 1980-81 MAURIZIO POLLINI, piano

BEETHOVEN, LUDWIG VAN

Symphony No. 1 in C, Op. 21 TWD 1976 Symphony No. 2 in D, Op. 36 1972-73 Symphony No. 3 in E-flat, Op. 55, Eroica TWD 1972; 1972-73 Symphony No. 7 in A, Op. 92 TWD 1976 Symphony No. 9 in D minor, Op. 125 1978-79 FAYE ROBINSON, soprano; PATRICIA PAYNE, mezzo- soprano; NEIL ROSENSHEIN, tenor; ROBERT LLOYD, bass- baritone; TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor

Piano Concerto No. 2 in B-flat, Op. 19 1972-73 JEROME LOWENTHAL, piano

Piano Concerto No. 4 in G, Op. 58 TWD 1972 GINA BACHAUER, piano

Piano Concerto No. 5 in E-flat, Op. 73, Emperor 1973-74 CHRISTOPH ESCHENBACH, piano Coriolan Overture, Op. 62 1972-73; 1973-74; TWD 1976 Leonore Overture No. 2 1973-74 Mass in C, Op. 86 1976-77 BENITA VALENTE, soprano; JAN DeGAETANI, mezzo- soprano; RYLAND DAVIES, tenor; MICHAEL DEVLIN, bass; TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor

41 ^HI

42 ror a personal appointment, :all Dean Ridlon, Vice President, Private Banking Group Bank of Boston, (617) 434-5302. Member fblC © 1 983 The First National Bank of Boston --

Retirement or Health Care There is a new option in Massachusetts

Consider the all-new continuing care community of Carleton-Willard Village

Nursing care needs are met in a residential village where privacy and individuality are respected. A professional staff is ready to meet your every need in skilled nursing, intermediate nursing, or rest home facilities. Retirement living is available in townhouses and apartments for those couples or individuals who wish to live life to its fullest, relieved of the burdens of day-to- day living.

Phone or visit us at: 100 Old Billerica Road Bedford, Massachusetts 01730 CARUTON WHLARD VIlLACt (617) 275-8700 y -7 Owned and operated by Carleton-Willard Homes, Inc. A non-profit corporation Missa Solemnis in D, Op. 123 TERESA CAHILL, soprano; ANNA REYNOLDS, contralto; 1975-76 ERIC TAPPY, tenor; ROBERT LLOYD, bass-baritone; TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor SUSAN DAVENNY WYNER, soprano; ANNA REYNOLDS, TWD 1976 contralto; ERIC TAPPY, tenor; MARIUS RINTZLER, bass; TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor

BENNETT, RICHARD RODNEY

Symphony No. 1 1968-69

BERG, ALBAN Three Pieces for Orchestra, Op. 6 1982-83

BERLIOZ Overture to Beatrice et Benedict TWD 1973 "Minuet of the Will-o'-the-Wisps," "Ballet of the Sylphs," 1974-75 and Rakbczy March from La Damnation de Faust, Op. 24 Overture to Les Francs-juges, Op. 3 TWD 1972; 1972-73; 1980-81 King Lear Overture, Op. 4 1966-67; 1977-78 Les Nuits d'ete, Op. 7 1972-73 JANET BAKER, mezzo-soprano

Sara la baigneuse NEW ENGLAND CONSERVATORY CHORUS, LORNA 1974-75 COOKE deVARON, conductor TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, TWD 1980 conductor Symphonie fantastique, Op. 14 TWD 1980 Te Deum, for tenor soloist and three choruses, with orchestra and organ, Op. 22 KENNETH RIEGEL, tenor; TANGLEWOOD FESTIVAL TWD 1972 CHORUS, JOHN OLIVER, conductor; ALBANY ALL SAINTS CATHEDRAL CHOIR OF MEN AND BOYS, LLOYD E. CAST, JR., director; GIRLS FROM INDIAN HILL SCHOOL, JEROME ROSEN, director; BERJ ZAMKOCHIAN, organ KENNETH RIEGEL, tenor; TANGLEWOOD FESTIVAL 1972-73 CHORUS, JOHN OLIVER, conductor; ST. PAUL'S SCHOOL BOY CHOIR, THEODORE MARIER, director; BERJ ZAMKOCHIAN, organ

Tristia NEW ENGLAND CONSERVATORY CHORUS, LORNA 1974-75 COOKE deVARON, conductor TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, TWD 1980 conductor

"Hail to the Queen" from Les Troyens 1974-75 "Royal Hunt and Storm" from Les Troyens NEW ENGLAND CONSERVATORY CHORUS, LORNA 1974-75 COOKE deVARON, conductor TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, TWD 1980 conductor

Waverley, Grand overture, Op. 1 1974-75 .

h/u& get chcin{j&. .

&Ae seasons come a/id^o^ioes cnanae,

fresA ideas are eafe/ored, o/der ones are re^eaxintined,

and traditions^ endure.

Jlilorninafra musioa andtAe Qooston tjyrnfdiofut Qrc/iestra

continue tAeir /ona-sta/tdina association/

li coitA tAe kotHdarfeature /ioty onferomusica"

— a series of"conversations coitA/ tAis season 's^atured

so/oists, (xmc/actors/ and composers.

Jfrlorntna&fo musica, coitA (RoAert^.jfiirtsema,

is broadcast eoeru dcurfrom seoew untdnoon an stations oftAe (&ddic &iadio ^ettoorA

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44 1 1

BIZET, GEORGES Symphony in C 1981-82

BRAHMS, JOHANNES Symphony No. 2 in D, Op. 73 TWD 1973; 1973-74; 1979-80; 1980-81

Symphony No. 3 in F, Op. 90 1968-69; TWD 1972; 1972-73; 1982-83 Symphony No. 4 in E minor, Op. 98 1976-77 Violin Concerto in D, Op. 77 1978-79 GIDON KREMER, violin

BRUCH, MAX Fantasia on Scottish Folk Melodies for violin, 1977-78 with orchestra and harp

JOSEPH SILVERSTEIN, violin

DEBUSSY, CLAUDE Jeux—Poeme danse 1981-82 La Mer, Three symphonic sketches 1981-82 Trois Nocturnes TWD 1980; 1981-82 Women of the TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor

DVORAK, ANTONIN Symphony No. 7 in D minor, Op. 70 1966-67; TWD 1971; 1971-72; 1981-82

Symphonic Variations, Op. 78 1977-78

ELGAR, EDWARD

Symphony No. 1 in A- flat, Op. 55 1969-70; TWD 1971 Violin Concerto in B minor, Op. 6 1972-73 JOSEPH SILVERSTEIN, violin

Introduction and Allegro for strings, Op. 47 TWD 1971; 1972-73 Serenade in E minor for strings, Op. 20 1974-75 Variations on an Original Theme, Op. 36, Enigma 1972-73; 1976-77 Cockaigne Overture (In London Town), Op. 40 1977-78

Pomp and Circumstance, March No. 1, in D 1974-75 The Dream ofGerontius (words by Cardinal Newman), for 1982-83 mezzo-soprano, tenor, and bass soloists, chorus, and orchestra, Op. 38 STUART RURROWS, tenor (Gerontius); JESSYE NORMAN, soprano (The Angel); JOHN SHIRLEY-QUIRK, bass-baritone (The Priest and The Angel of the Agony); TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor

GERHARD, ROBERTO Symphony No. 4, New York 1974-75

45 Your financial plans should encompass more than just making money.

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There is noplace quite like Round Hill.

Once the exclusive summer estate of Colonel Edward Round Hill. A very special place for a few very special

Robinson Green, Round Hill is now being meticulously people. Just 75 minutes from Boston in South Dartmouth,

developed for the enjoyment of a privileged few. MA. Priced from $225,000. For further information, contact

With nearly all the mansion residences sold, a very Marianne Macdonald, Exclusive Agent, at 617-992-4800

limited number of one- and two-story beachfront condo- or 247-0004.

minium homes is being built. Each home features the

finest quality construction, the latest amenities and spectac-

ular ocean views. Yet only 14 of the estate's 231 acres will ever be developed. The rest will remain forever wild. RH Additional amenities include 24-hour maintenance and security, heated swimming pool, Har-tru tennis courts, com- Round Hill

munity garden, children's playground, nature trails and a 307 Smith Neck Road • South Dartmouth, MA

K-mile long private warm water beach. Viewing by appointment only, 10 am to 4 pm

46 HANDEL, GEORGE FRIDERIC Messiah, A Sacred Oratorio BENITA VALENTE, soprano; HELEN WATTS, contralto; TWD 1973 RYLAND DAVIES, tenor; STAFFORD DEAN, bass; TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor SUSAN DAVENNY WYNER, soprano; FLORENCE QUIVAR, 1976-77 mezzo-soprano; NEIL ROSENSHEIN, tenor; JOHN SHIRLEY- QUIRK, bass-baritone; TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor

HAYDN, FRANZ JOSEPH Symphony No. 84 in E-flat TWD 1973; 1973-74 Symphony No. 87 in A 1973-74 Symphony No. 99 in E-flat 1968-69

Symphony No. 103 in E-flat, Drum Roll 1975-76

IVES, CHARLES (orch. WM. SCHUMAN) Variations on America 1974-75

MAHLER, GUSTAV Symphony No. 4 in G TWD 1971 JUDITH RASKIN, soprano Das Lied von der Erde 1974-75 JANET BAKER, mezzo-soprano; RICHARD CASSILLY, tenor

Songs on texts from Des Knaben Wunderhorn JESSYE NORMAN, soprano; JOHN SHIRLEY-QUIRK, 1978-79 bass-baritone MAUREEN FORRESTER, contralto; JOHN SHIRLEY- TWD 1980 QUIRK, bass-baritone

MARTIN, FRANK Petite Symphonie concertante for harp, harpsichord, 1983-84 piano, and two string orchestras ANN HOBSON PILOT, harp; MARK KROLL, harpsichord; FREDERICK MOYER, piano

MENDELSSOHN, FELIX Symphony No. 4 in A, Op. 90, Italian 1974-75

Incidental music for Shakespeare's A Midsummer Night's 1975-76 Dream, Op. 61

MOZART, WOLFGANG AMADE Symphony No. 29 nA, K.201(186a) 1974-75 Symphony No. 32 nG, K.318 1974-75 Symphony No. 33 nB-flat, K.319 1983-84 Symphony No. 34 nC, K.338 1978-79 Symphony No. 36 n C, K.425, Linz 1977-78; TWD 1980 Symphony No. 38 n D, K.504, Prague TWD 1973 Symphony No. 39 n E-flat, K.543 TWD 1971; 1972-73

47 SINCE 1792, FAMILIES HAVE PUT THEIR ifUS | N Thrift and foresight have been bringing families to State fTlTE Street for generations. seryi are sought out because we are more than a 5 lift! E Our ces CTDKT discreet and attentive trustee. We also provide particularly ) I KEE !• well-informed investment management. Whether your objective is the education of your children, a secure retirement, or preservation of capital, we will work closely with you and your lawyer to devise a suitable trust. Naturally, you are welcome to participate in all decisions, or you may choose to leave matters in our care. Whichever you decide, you will be kept regularly apprised of the pro- gress of your account. We invite you to put your trust in us. Call S. Walker Merrill, Jr., Senior Vice President, Investment Management. (617) 786-3279. State Street Bank and Trust Company. Quality since 1792. 9 StateStreet.

State Street Bank and Trust Company, wholly-owned subsidiary of State Street Boston Corporation, 225 Franklin Street, Boston, MA 02101. Offices in Boston, New York, San Francisco, London, Munich, Hong Kong, Singapore. Member FDIC. © Copyright State Street Boston Corporation 1983.

48 *'"-.''Era

Clarinet Concerto in A, K.622 1972-73 HAROLD WRIGHT, clarinet

Concerto for Flute and Harp, K.299 (297c) 1982-83

DORIOT ANTHONY DWYER, flute; ANN HOBSON PILOT, harp

Piano Concerto No. 12 in A, K.414 PETER FRANKL, piano 1975-76 RADU LUPU, piano 1980-81

Piano Concerto No. 22 in E-flat, K.482 1971-72 STEPHEN BISHOP, piano

Piano Concerto No. 25 in C, K.503 TWD1971; 1971-72 STEPHEN BISHOP, piano

Piano Concerto No. 26 in D, K.537, Coronation 1969-70 INGRID HAEBLER, piano

Piano Concerto No. 27 in B-flat, K.595 1982-83 MURRAY PERAHIA, piano

Violin Concerto No. 3 in G, K.216 TWD 1973 JOSEPH SILVERSTEIN, violin

Serenade No. 6 in D, K.239, Serenata notturna 1980-81

March in E-flat from Act I of La clemenza di Tito, K.621 1981-82 Overture to Idomeneo, Re di Creta, K.366 1969-70

March in D from Act I of Idomeneo, Re di Creta, K.366 1973-74 Minuet in C, K.409 1972-73; 1975-76

Concert aria, "Bella miajiamma . . . Resta, o cara," K.528 1973-74 JESSYE NORMAN, soprano

Scene, "Ch'io mi scordi di te," with Rondo, "Non temer 1973-74 amato bene," for soprano, with piano obbligato, K.505 JESSYE NORMAN, soprano; ROBERT LEVIN, piano Masonic Funeral Music, K.477 (479a) 1982-83 Kyrie in D minor, K.341 TWD 1971; 1971-72 TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor

Mass in C, K.317, Coronation TWD 1973 BENITA VALENTE, soprano; HELEN WATTS, contralto; RYLAND DAVIES, tenor; STAFFORD DEAN, bass; TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor

Requiem in D minor, K.626 BENITA VALENTE, soprano; BEVERLY WOLFF, mezzo- TWD 1971 soprano; KENNETH RIEGEL, tenor; ROBERT HALE, bass; TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor BENITA VALENTE, soprano; D'ANNA FORTUNATO, mezzo- 1971-72 soprano; KENNETH RIEGEL, tenor; ROBERT HALE, bass; TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor KATHLEEN BATTLE, soprano; KATHERINE CIESINSKI, TWD 1980 mezzo-soprano; KENNETH RIEGEL, tenor; JOHN SHIRLEY- QUIRK, bass-baritone; TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor

49 MAKE SURE EVERY Dine PERFORMANCE YOU ATTEND ENDS at the garden ON A HIGH NOTE. before or after symphony End your evenings at one of the three restaurants at The Our magnificently large - Westin Hotel, Copley Place atrium garden of a restaurant for all seasons. It's The Brasserie, Turner Fisheries new and just a few steps or Ten Huntington. Located away from Symphony Hall. close by in Boston s historical Dinner. Light meals, pastries or cocktails. We make music Back Bay. For reservations from 7am to 1 1pm, daily. call 262-9600. BqvlstDn

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50 1 1

RAVEL, MAURICE Rapsodie espagnole 1980-81

SCHUBERT, FRANZ Symphony No. 3 in D, D.200 1975-76; TWD 1980

Symphony No. 4 in C minor, D.417, Tragic 1983-84 Symphony No. 5 in B-flat, D.485 1980-81 Symphony No. 6 inC, D.589 1980-81

Symphony No. 7 in B minor (old No. 8), D.759, Unfinished 1982-83

Symphony No. 8 in C (old No. 9), D.944, The Great 1979-80; TWD 1980

Marche militaire, D.733 (orch. Ernest Guiraud) 1981-82 Incidental music from Rosamunde, D.797 1981-82 Overture to Rosamunde [Die Zauberharfe, D.644] 1982-83 Mass No. 2inG, D.167 TWD 1971 JUDITH RASKIN, soprano; VAHAN KHANZADIAN, tenor; ROBERT HALE, bass; TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor

SCHUMANN, ROBERT Piano Concerto in A minor, Op. 54 MICHAEL ROLL, piano 1973-74 CLAUDIO ARRAU, piano 1979-80

SIBELIUS, JEAN

Symphony No. 1 in E minor, Op. 39 1973-74; 1975-76 Symphony No. 2 in D, Op. 43 1975-76; TWD 1976 Symphony No. 3 in C, Op. 52 1972-73; 1976-77 Symphony No. 4 in A minor, Op. 63 1973-74; 1976-77 Symphony No. 5 in E-flat, Op. 82 1974-75

Symphony No. 6, Op. 104 1975-76

Symphony No. 7, Op. 105, in one movement 1974-75; 1979-80

Violin Concerto in D minor, Op. 47 TWD 1976; 1976-77 MIRIAM FRIED, violin En Saga, Symphonic poem, Op. 9 1978-79

Karelia Suite, Op. 1 1978-79

March from the Karelia Suite, Op. 1 1976-77 Pohjola's Daughter, Symphonic fantasy, Op. 49 1979-80 The Swan ofTuonela, Legend from the Kalevala, 1976-77 Op. 22, No. 3 Tapiola, Tone poem for orchestra, Op. 112 1972-73; 1975-76; TWD 1976

STEFFE, WM. (orch. MORTON GOULD) Battle Hymn of the Republic 1974-75

STRAVINSKY, IGOR Apollo, Ballet in two scenes, for string orchestra 1974-75

Concerto in E-flat for chamber orchestra, Dumbarton Oaks 1973-74 Octet for wind instruments 1974-75 Orpheus, Ballet in three scenes 1973-74

51 Your insurance agent will always be there, but will you recognize him?

Can you remember the name of the person who handles your insurance? Many of the people who sell business insurance change jobs quite often. You may be working with someone familiar one month and then with a total stranger the next. At Brewer & Lord, we think

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MAIN OFFICE: 40 Broad Street, Boston. MA 02109 Tel. (617) 426-0830 BRANCHES: Acton. Framingham. Bedford (Gail Aviation Insurance)* Falmouth (Lawrence and Motta) Personal & Business Fire/Casualty/Surety/Manne/ Auto/ Homeowners Risk Management & Engineering Services/Life & Employee Benefits Persephone, Melodrama in three parts (Poem by Andre Gide) 1976-77 ANNE HAENEN, soprano; ALEXANDER STEVENSON, tenor; NEW ENGLAND CONSERVATORY CHORUS, LORNA COOKE deVARON, conductor; BOSTON ARCHDIOCESAN CHOIR, THEODORE MARIER, choirmaster

Scherzo a la russe 1969-70 Symphony in Three Movements 1966-67 Symphony ofPsalms 1976-77 TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor

TCHAIKOVSKY, PYOTR ILYICH Symphony No. 4 in F minor, Op. 36 1969-70 Romeo and Juliet, Overture-Fantasy after Shakespeare 1978-79

TIPPETT, MICHAEL Symphony No. 2 1969-70 Symphony No. 3 1973-74 Symphony No. 4 1978-79

Concerto for Violin, Viola, Cello, and Orchestra 1981-82

GYORGY PAUK, violin; NOBUKO IMAI, viola; RALPH KIRSHBAUM, cello

Fantasia concertante on a Theme of Corelli 1971-72 A Child ofOur Time, oratorio for soloists, chorus, 1977-78 and orchestra TERESA ZYLIS-GARA, soprano; LILI CHOOKASIAN, contralto; ALEXANDER STEVENSON, tenor; NORMAN BAILEY, baritone; TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor

The Mask of Time, for voices and instruments (world 1983-84 premiere; commissioned by the Boston Symphony Orchestra

for its centennial) FAYE ROBINSON, soprano; YVONNE MINTON, mezzo- soprano; ROBERT TEAR, tenor; JOHN CHEEK, bass-baritone; TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor

VERDI, GIUSEPPE Quattro pezzi sacri (Four Sacred Pieces) TWD 1972 TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor; JOAN HELLER, soprano

WAGNER, RICHARD Overture to The Flying Dutchman TWD 1972; 1972-73 "Siegfried's Rhine Journey," "Forest Murmurs," and 1975-76 "Siegfried's Funeral March" from Der Ring des Nibelungen Prelude and Love-death from Tristan und Isolde TWD 1972; 1972-73 JESSYE NORMAN, soprano Songs to five poems by Mathilde Wesendonck TWD 1972; 1972-73 JESSYE NORMAN, soprano

53 Singleness of Purpose

In most trust companies, commercial banking constitutes the

principal business, while the trust department is assigned a rore of lesser importance.

Fiduciary Trust Company feels strongly that the problems of

trusteeship require full time, not part time, effort;

that they call for nothing less than complete attention.

In consequence, Fiduciary Trust Company, true to its name,

devotes all of its activities to its fiduciary obligations.

By thus restricting our activities, we are in a position to provide the constant care and undivided attention necessary for the successful management of trust funds.

FIDUCIARY BOSTON TRUSTEES

Fiduciary Trust Company 175 Federal Street, Boston, Massachusetts 02110 Telephone (617) 482-5270

54 rpi

WOOD, HENRY Cello Concerto TWD1971 ZARA NELSOVA, cello

VAUGHAN WILLIAMS, RALPH Symphony No. 4 in F minor 1973-74 Symphony No. 6 in E minor 1982-83 Fantasia on Greensleeves 1974-75

Fantasia on a Theme by Thomas Tallis 1976-77

WALTON, WILLIAM

Symphony No. 1 1978-79

r A Let us WHITE PINES orchestrate all atStockbridi your financial a condominium community arrangements. A "summer" home for every season.

. . . from the summer sounds of Tanglewood through fall's brilliant Mutual foliage and winter's beckoning Bank 45 Franklin St. slopes . . . into the subtle clean Boston MA 02110 fragrance spring, your home at 482-7530 969-7500 of (Boston) (Newton) White Pines can be ready and waitingfor you.

Year-round luxury. Reserving now for 1984 occupancy. Please writefor more information or call for an appointment.

Post Office Box 949 Dept. Stockbridge. MA 01262/413 637 1140 or Rein holt Realty 413 637 1251 or 298 3664

55 & 100 years offashion

Celebrating our Centenary in 1984, we are pleased to announce our opening in Copley Place.

Now the Jaeger International Collection is at two locations, to serve you twice as well.

Jaeger International Shop Jaeger International Shop Copley Place The Mall at Chestnut Hill 100 Huntington Avenue Newton, MA 02167 Boston, MA 02116 (617)527-1785 (617)953-0440 Ladies' & Gentlemen's Sportswear Ladies' Sportswear Only

LONDON

Handicapped kids have a lot to give

k, and the Cotting School has a lot to give handicapped children. We offer a 12-year day school program for physically handicapped children with normal intellectual capability.

Included in school services are both vocational and college

preparatory training, transportation (in Boston), medical, dental, and vision care, speech and physical therapy, social development programs, lunch, testing, recreation and summer camping. Without any cost whatsoever to parents. Right now. we have openings for handicapped children. Please pass the

word. Call or write William J. Carmichael. Superintendent. Cotting School for Handicapped Children. 241 St. Botolph Street. Boston. Massachusetts 021 15. (617) 536-9632.

Cotting School for Handicapped Children a private, nonprofit, nonsectarian. Ch. 766-approved institution supported primarily by gifts, grants, legacies and bequests

56 WBBm

The Boston Symphony Orchestra gratefully acknowledges the following corpora-

tions and professional organizations for their generous and important support in

the past or current fiscal year. (* denotes support of at least $2,500; capitalized

names denote support of at least $5,000; underscored capitalized names within

the Business Leaders' listing comprise the Business Honor Roll.)

1983-84 Business Honor Roll ($10,000 + )

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

American Telephone & Telegraph Company Gillette Company

Charles L. Brown Colman M. Mockler, Jr.

Analog Devices, Inc. John Hancock Mutual Life Insurance Company Ray Stata E. James Morton Bank of Boston Liberty Mutual Insurance Company William L. Brown Melvin B. Bradshaw

Bank of New England Mobil Chemical Corporation

Roderick M. MacDougall Rawleigh Warner, Jr.

BayBanks, Inc. New England Mutual Life Insurance Company

William M. Crozier, Jr. Edward E. Phillips Boston Consulting Group, Inc. New England Telephone Company

Arthur P. Contas Gerry Freche Boston Edison Company Raytheon Company

Thomas J. Galligan, Jr. Thomas L. Phillips Boston Globe/Affiliated Publications Red Lion Inn William 0. Taylor John H. Fitzpatrick Cahners Publishing Company, Inc. The Signal Companies Norman Cahners Michael H. Dingman

Commercial Union Assurance Companies WCRB/Charles River Broadcasting, Inc. Howard H. Ward Richard L. Kaye Country Curtains WCVB-TV 5 Mrs. John Fitzpatrick S. James Coppersmith Devonshire Associates Wang Laboratories Weston Howland Dr. An Wang Digital Equipment Corporation Wm. Underwood Company Kenneth H. Olsen James D. Wells

Business Leaders ($1,000+)

Accountants Advertising/ P. R.

COOPERS & LYBRAND *Giltspur Exhibits /Boston

Vincent M. O'Reilly Thomas E. Knott, Jr. * Ernst & Whinney *Kenyon & Eckhardt

James G. Maguire Thomas J. Mahoney *Peat, Marwick, Mitchell & Company *Newsome & Company Herbert E. Morse Peter G. Osgood

TOUCHE ROSS & COMPANY Aerospace James T. McBride Northrop Corporation Joseph Yamron

57

I A new tradition in Cambridge salutes the fine tradition of the Boston Symphony Orchestra.

THE RESIDENCES AT CHARLES SQUARE Harvard Square, Cambridge

86 riverview condominium residences Scheduled for occupancy late 1984 617-542-7500

We travel the world to select the most exquisite jewelry from the most gifted artisans.

You can make your selection at Karten 's in Copley Place. We'll be happy to show you fine jewelry and watches in your choice of styles, your price range. Each item

from our international collection is a gift of beauty and lasting value. *ttAXe*v* Use your Karten 's charge or any major credit card. Copley Place, 2nd level.

At malls in Burlington, Braintree, Natick, North Dartmouth, Swansea, Mall of New Hampshire, Nashua and Fox Run Mall.

58 PNEUMO CORPORATION SIGNAL TECHNOLOGY CORPORATION Gerard A. Fulham William Cook

Banking Energy BANK OF BOSTON ATLANTIC RICHFIELD COMPANY William L. Brown Robert 0. Anderson OF NEW ENGLAND BANK * Buckley & Scott Roderick M. MacDougall Charles H. Downey INC. BAYBANKS, HatofTs William M. Crozier, Jr. Sidney Hatoff Five Cents Savings Bank Boston HCW OQ & Gas Robert Spiller J. John M. Plukas *Citicorp/Citibank MOBIL CHEMICAL CORPORATION Clarke Coggeshall Rawleigh Warner, Jr. Framingham Trust Company * Yankee Oil & Gas, Inc. William A. Anastos Graham E. Jones * Patriot Bancorporation

Allyn L. Levy Finance

SHAWMUT BANK OF BOSTON Chase Econometric/Interactive Corporation William F. Craig Carl G. Wolf

STATE STREET BANK & TRUST COMPANY *Farrell, Healer & Company, Inc. William S. Edgerly Richard Farrell * United State Trust Company *The First Boston Corporation James V. Sidell George L. Shinn

Clothing * Kaufman & Company Sumner Kaufman *Knapp King-Size Corporation * Leach Garner Winthrop A. Short & Philip Leach William Carter Company *Narragansett Capital Corporation Leo J. Feuer Arthur D. Little Consulting/ Management *TA Associates ADVANCED MANAGEMENT ASSOCIATES, INC. Peter A. Brooke Harvey Chet Krentzman BOSTON CONSULTING GROUP, INC. Food/ Hotel/ Restaurant

Arthur P. Contas Boston Showcase Company DEVONSHIRE ASSOCIATES Jason Starr Weston Howland * Creative Gourmets Limited * Forum Corporation Stephen E. Elmont

John Humphrey *Dunkin' Donuts, Inc. LEA Group Robert M. Rosenberg Eugene Eisenberg * Howard Johnson Company

Arthur D. Little, Inc. Howard B. Johnson

John F Magee * Johnson, O'Hare Company, Inc. Russell Reynolds Associates, Inc. Harry O'Hare Jack Vernon OCEAN SPRAY CRANBERRIES, INC. Education Harold Thorkilsen *0'Donnell-Usen Fisheries, Corporation *Bentley College Irving Usen Gregory H. Adamian RED LION INN STANLEY H. KAPLAN EDUCATIONAL CENTER John H. Fitzpatrick Susan B. Kaplan Shaw's Supermarkets Electronics Stanton Davis

*Parlex Corporation Sonesta International Hotels Corporation Herbert W. Pollack Paul Sonnabend 59

II The impeccably made salad is ofequal importance to me as the impeccably made bed.

COPLEY PLA The Grande Dame ofBoston.

Operated by Hotels ofDistinction, Inc., Copley Square, Boston, Massachusetts 02116. Reservations-, toilfree, 800-225-7654, oryour agent.

60 THE STOP & SHOP COMPANIES, INC. Massachusetts High Technology Council, Inc.

Avram J. Goldberg Howard P. Foley Vm. UNDERWOOD COMPANY * Polaroid Corporation James D. Wells William J. McCune, Jr. * Prime Computer, Inc. Furnishings/ Housewares Joe M. Henson COUNTRY CURTAINS * Printed Circuit Corporation Jane P. Fitzpatrick Peter Sarmanian Health Care/ Medicine RAYTHEON COMPANY *Haemonetics Corporation Thomas L. PhiHips

Gordon F. Kingsley Systems Engineering & Manufacturing Corporation Steven Baker High Technology/ Computers Teledyne Engineering Services ANALOG DEVICES Fred C. Bailey Ray Stata Thermo Electron Corporation The Analytic Sciences Corporation Dr. George N. Hatsopoulos Dr. Arthur Gelb Transitron Electric Corporation Analytical Systems Engineering Corporation David Bakalar Michael B. Rukin WANG LABORATORIES, INC. Aritech Dr. An Wang James A. Synk * Western Electric Fund AUGAT, INC. Donald E. Procknow Roger Wellington

Bolt, Beranek & Newman, Inc. Insurance Stephen Levy Arkwright-Boston Computer Partners, Inc. Insurance

Frederick J. Bumpus Paul J. Crowley

Cullinet Software, Inc. COMMERCIAL UNION ASSURANCE COMPANIES Howard H. Ward John J. Cullinane * Data Packaging Corporation Frank B. Hall & Company of Massachusetts, Inc. Otto Morningstar John B. Pepper DIGITAL EQUIPMENT CORPORATION JOHN HANCOCK MUTUAL LIFE INSURANCE COMPANY Kenneth H. Olsen E. James Morton DYNATECH CORPORATION LIBERTY MUTUAL- INSURANCE COMPANY Melvin B. Bradshaw J.R Barger

Epsilon Data Management, Inc. NEW ENGLAND MUTUAL LIFE INSURANCE COMPANY Thomas 0. Jones Edward E. Phillips lhe Foxboro Company PRUDENTIAL INSURANCE COMPANY OF AMERICA Bruce D. Hainsworth Robert J. Scales 7TE ELECTRICAL PRODUCTS Sun Life Assurance Company of Canada John C. Avallon John D. McNeil

jenRad, Inc. William R. Thurston Investments lenco Software Amoskeag Company Henry Cochran Joseph B. Ely Honeywell Information Systems *Blyth Eastman Paine Webber Incorporated

William R. Smart James F. Cleary BM Corporation *Burr, Egan, Deleage & Company Bradford Towle Craig L. Burr

nstron Corporation *E.F. Hutton & Company, Inc. Harold Hindman S. Paul Crabtree frE Corporation Loomis Sayles & Company

Herbert Roth, Jr. Robert L. Kemp

61 Moseley, Hallgarten, Estabrook & Weeden, Inc. TAD Technical Services Corporation

Fred S. Moseley David McGrath Northland Investment Corporation TOWLE MANUFACTURING COMPANY Robert A. Danziger Leonard Florence

The Putnam Advisory Company, Inc. THE SIGNAL COMPANIES John A. Sommers Michael H. Dingman TUCKER, ANTHONY & R.L. DAY, INC. * Barry Wright Corporation

R. Willis Leith, Jr. Ralph Z. Sorenson * Woodstock Corporation Media Frank B. Condon General Cinema Corporation Legal Richard A. Smith Cesari & McKenna WBZ-TV 4 Robert A. Cesari Thomas Goodgame Gadsby & Hannah WCRB/CHARLES RIVER BROADCASTING, INC Harry Hauser Richard L. Kaye HERRICK & SMITH WCVB-TV 5

Malcolm D. Perkins S. James Coppersmith

I. Stephen Samuels, PC. WNEV-TV 7/NEW ENGLAND TELEVISION

I. Stephen Samuels Seymour L. Yanoff

Leisure Musical Instruments * Heritage Travel Avedis Zildjian Company Donald Sohn Armand Zildjian Trans National Group Services, Inc. BALDWIN PIANO & ORGAN COMPANY Alan E. Lewis R.S. Harrison

Manufacturing Printing/ Publishing ALPHA INDUSTRIES, INC. *ADCO Publishing Company, Inc. Andrew S. Kariotis Samuel Gorfinkle Bell Manufacturing Company BOSTON GLOBE/AFFILIATED PUBLICATIONS Irving Bell W William 0. Taylor Bird Companies Boston Herald Joseph C.K. Breiteneicher Robert E. Page CABOT CORPORATION FOUNDATION, INC. CAHNERS PUBLISHING COMPANY, INC. Ruth C. Scheer Norman Cahners Crane & Company CLARK-FRANKLIN-KINGSTON PRESS Bruce Crane Lawrence Dress Econocorp, Inc. * Daniels Printing Company Richard G. Lee Lee Daniels Gans Tire Company, Inc. Houghton Mifflin Company David Gans Marlowe G. Teig GILLETTE COMPANY * Label Art, Inc. Colman M. Mockler, Jr. Leonard J. Peterson * Marks International, Inc. Harry Marks Retailing

Millard Metal Service Center, Inc. Armen Dohanian Rugs Donald Millard Armen Dohanian New England Millwork Distributors, Inc. *Wm. Filene's & Sons Company Samuel H. Gurvitz Merwin Kaminstein * Norton Company *Lee Shops, Inc. Donald R. Melville Arthur Klein

* Plymouth Rubber Company, Inc. LINCOLN-MERCURY DEALERS ASSOCIATION

Maurice J. Hamilburg Al Kalish 62 Marshall's Inc. THE SPENCER COMPANIES, INC. Frank H. Benton C. Charles Marran ZAYRE CORPORATION STRIDE RITE CORPORATION Maurice Segall Arnold S. Hiatt

Transportation Science The Trans-Lease Group *Charles River Breeding Laboratories, Inc. John F. McCarthy, Jr. Henry L. Foster, D.V.M. Damon Corporation Utilities

Dr. David I. Kowosky AMERICAN TELEPHONE & TELEGRAPH

Ionics, Inc. COMPANY Arthur L. Goldstein Charles L. Brown BOSTON EDISON COMPANY

Shoes Thomas J. Galligan, Jr.

* Jones & Vining, Inc. * Eastern Gas & Fuel Associates

Sven Vaule, Jr. William J. Pruyn * Mercury International Trading Corporation NEW ENGLAND TELEPHONE Irving Wiseman Gerry Freche

The Boston Symphony Orchestra gratefully acknowledges the following founda- tions for their generous support. These valuable gifts are greatly appreciated.

The Lassor & Fanny Agoos Charity Fund Helen & Leo Mayer Charitable Trust

Anthony Advocate Foundation William Inglis Morse Trust

Frank M. Bernard Foundation, Inc. Mydans Foundation Theodore H. Barth Foundation The Nehemias Gorin Foundation The Adelaide Breed Bayrd Foundation Thomas Anthony Pappas Charity Foundation

Bezalel Foundation, Inc. Parker Charitable Foundation

Cabot Family Charitable Trust Permanent Charities Fund of Boston, Inc. Calvert Trust Olive Higgins Prouty Foundation

The Clowes Fund, Inc. A.C. Ratshesky Foundation Eastman Charitable Foundation Sasco Foundation

Eaton Foundation Schrafft Charitable Trust Orville W Forte Charitable Foundation, Inc. George and Beatrice Sherman Family Charitable Foster Charitable Trust Trust

The Fuller Foundation, Inc. Sandra & Richard Silverman Foundation

George F. & Sybil H. Fuller Foundation The Seth Sprague Educational and Charitable The Charles Robert Gens Foundation Foundation

Kenneth J. Germeshausen Charitable Trust Stearns Charitable Trust

Elizabeth Grant Trust The Stone Charitable Foundation, Inc. Greylock Foundation Gertrude W & Edward M. Swartz Charitable Reuben A. & Lizzie Grossman Foundation Trust

Hayden Charitable Trust Webster Charitable Foundation, Inc.

The Howard Johnson Foundation Edwin S. Webster Foundation Hunt Foundation Carl A. Weyerhaeuser Trust

The John A. and Ruth E. Long Foundation Albert 0. Wilson Foundation, Inc.

MacPherson Fund, Inc.

63 A Uitterent southeast- Asian Treat

THE SWilK BUILDING Tf^MANDALAY 20 Park Plaza, Boston, MA 021 16 BURMESE RESTAURANT

Prime office space offering first class amenities tor Pre and Att

in a classic setting. I neatrc leasts

Saunders & Associates, AMO Exclusive Leasing and Managing Agents (617) 426-0720 329 Huntington Avenue, Boston. 247-2111 Two Blocks West of Symphony Hall - Reservations Suggested Real Estate Since 1898

V$$v V *j&f

Two years ago Decorators' Clearing House ventured into

a "Unique Concept for Fashionable Bostonians" .... discounting the posh furniture and accessories normally sold thru Interior Decorators and Architects. These selections were seasoned with Fine Art. THAT WAS GOOD! N Q 4555 One year ago Decorators' Clearing House moved. The "Concept" was honed as was the quality of the offerings. DCH Man's Pocket Secretary $68 became the "In Place" for a sophisticated clientele who recognize the pieces from the pages of Architectural Digest or from costly trips to New York Decorator Showrooms. The We make this classic Secretary resources were expanded to include furniture from exclusive collections not previously shown in this area. The discounts in six colors of real Water (and they are better than ever!) are secondary to the convenience Buffalo Hide— a remarkable of not waiting months for delivery. The aware clientele appreciate the selectivity of the Fine Art and realize that leather with a distinctive really Fine Art can not and should not be discounted! "squeak" and beautiful natural THAT WAS BETTER! This year Decorators' Clearing House, DCH, is adding markings. more space and continues to hone "The Concept" with the introduction of DCH DESIGN LTD. in response to requests You can choose one at any of our for design assistance, not only to incorporate DCH's fabulous offerings, but, also, to provide The Total Design Package. For stores or it have us send to you information, call 965-6668. from our factory at no extra cost. THAT IS BEST! Would you like us to send you Decorators' Clearing House our catalogue? 1029 Chestnut Street Newton Upper Falls, Ma. 965-6363 The CoacK Store Mon. - Sat. 9:30 am - 5:30 pm MasterCarefVISA/American Express 75-B Newbury Street, Boston, Mass. 02 116 (617) 536-2777

64 .

Coming Concerts . . .

Thursday, 5 April at 8 Thursday, 12 April—8-10 Thursday 'A' series SEIJI OZAWA conducting Friday, 6 April at 2 Lieberson Piano Concerto Saturday, 7 April at 8 (commissioned by the Boston Symphony

SIR COLIN DAVIS conducting Orchestra for its centennial) Tippett The Mask of Time PETER SERKIN (world premiere; commissioned by the Boston Shostakovich Symphony No. 10 Symphony Orchestra for its centennial) FAYE ROBINSON, soprano

YVONNE MINTON, mezzo-soprano Wednesday, 11 April at 7:30 ROBERT TEAR, tenor Open Rehearsal

JOHN CHEEK, bass-baritone Steven Ledbetter will discuss the program TANGLEWOOD FESTIVAL CHORUS, at 6:45 in the Cohen Annex. JOHN OLIVER, conductor Friday, 13 April— 2-3:55 Saturday, 14 April—8-9:55 SEIJI OZAWA conducting

Brahms Violin Concerto ISAAC STERN

Shostakovich Symphony No 1

u Thursday, 19 April—8-10:05 Friday, 20 April—2-4:05 Saturday, 21 April—8-10:05 SEIJI OZAWA conducting Berlioz UEnfance du Christ "SEASONS . . AT THE KATHERINE CIESINSKI, BOSTONIAN HOTEL, mezzo-soprano MAY WELL BE JOHN ALER, tenor THE BEST RESTAURANT HAKAN HAGEGARD, baritone IN BOSTON:' THOMAS STEWART, baritone The TAB S. MARK ALIAPOULIOS, baritone August 24, 1983 NEW ENGLAND CONSERVATORY CHORUS, LORNA COOKE deVARON, conductor

Programs subject to change.

AT THE BOSTONIAN HOTEL OVERLOOKING FANEUIL HALL MARKETPLACE TELEPHONE 523-4119

A ia carte weekend brunch, 11:30-3:00. Valet parking available. Reservations suggested.

65 m m Boston Symphony Orchestra

Refined excellence is a Boston tradition.

Zachaiys Friday Buffet is a gastronomic svmphonv of such excellence. From an opening sonata of pate, smoked trout and proscuitto to a closing rondo of elegant pastries fresh from The Colonnade's own patisserie.

120 HUNTINGTON AVENUE, BOSTON, MASSACHUSETTS 02116, (617) 424-7000

"WHEN NURSING CARE BECOMES A CONSIDERATION"

Mayo Health Facilities has Residents are welcome to developed a unique alternative enjoy all of these services on a to retirement housing at the short term basis through the foot of the Blue Hills in Milton, new RESPITE CARE program. Massachusetts, offering skilled The Milton Adult Day Care nursing care in an estate Center is also an integral part setting. The Milton Health of the Milton facility. Adult Care Facility combines all the Day Care is the new trend in benefit from our experience in health care, offering to its' the development of luxury clients complete health and apartments and elegant social services. A special hotels in addition to 20 years Alzheimer's program is avail- of quality nursing care. able during the day schedule. The new Milton facility offers Your questions and personal invite to its' resident's a warm and visit are welcome. We caring atmosphere with 1 8th you to visit seven days a week Century appointments. Total care is avail- from 9:00 a.m. to 5 :00 p.m. Please call able including supportive, preventative, Marion Bibbey at 333-0600 for further rehabilitative, religious and social services. information. MAYO HEALTH FACILITIES a division of The Flatley Company

Division Office Milton Mayo Health Facilities Milton Health Care Facility Hill Milton, 02 1 86 1 50 Wood Road, Braintree, MA 02 1 84 1 200 Brush Road, MA 333-0600 848-2000 Locations at: Randolph V Boston Fall River Framingham Milton Norwood

66 Symphony Hall Information . . .

FOR SYMPHONY HALL CONCERT AND concerts (subscription concerts only). The TICKET INFORMATION, call (617) continued low price of the Saturday tickets is 266-1492. For Boston Symphony concert pro- assured through the generosity of two anony- gram information, call "C-O-N-C-E-R-T." mous donors. The Rush Tickets are sold at $4.50 each, one to a customer, at the Sym- THE BOSTON SYMPHONY performs ten phony Hall West Entrance on Fridays begin- months a year, in Symphony Hall and at ning 9 a.m. and Saturdays beginning 5 p.m. Tanglewood. For information about any of the orchestra's activities, please call Symphony LATECOMERS will be seated by the ushers

Hall, or write the Boston Symphony Orches- during the first convenient pause in the pro- tra, Symphony Hall, Boston, MA 02115. gram. Those who wish to leave before the end of the concert are asked to do so between THE EUNICE S. AND JULIAN COHEN program pieces in order not to disturb other ANNEX, adjacent to Symphony Hall on patrons. Huntington Avenue, may be entered by the Symphony Hall West Entrance on Huntington SMOKING IS NOT PERMITTED in any part Avenue. of the Symphony Hall auditorium or in the FOR SYMPHONY HALL RENTAL INFOR- surrounding corridors. It is permitted only in the Cabot-Cahners and Hatch rooms, and in MATION, call (617) 266-1492, or write the the main lobby on Massachusetts Avenue. Hall Manager, Symphony Hall, Boston, MA 02115. CAMERA AND RECORDING EQUIPMENT may not be brought into Symphony Hall dur- THE BOX OFFICE is open from 10 a.m. until ing concerts. 6 p.m. Monday through Saturday; on concert evenings, it remains open through intermission FIRST AID FACILITIES for both men and for BSO events or just past starting-time for women are available in the Cohen Annex near other events. In addition, the box office opens the Symphony Hall West Entrance on Hunt-

Sunday at 1 p.m. when there is a concert that ington Avenue. On-call physicians attending afternoon or evening. Single tickets for all concerts should leave their names and seat Boston Symphony concerts go on sale twenty- locations at the switchboard near the Massa- eight days before a given concert once a series chusetts Avenue entrance. has begun, and phone reservations will be accepted. For outside events at Symphony

Hall, tickets will be available three weeks before the concert. No phone orders will be accepted for these events.

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

RUSH SEATS: There are a limited number of Rush Tickets available for the Friday-after- noon and Saturday-evening Boston Symphony

67 WHEELCHAIR ACCESS to Symphony Hall is BOSTON SYMPHONY BROADCASTS: Con- available at the West Entrance to the Cohen certs of the Boston Symphony Orchestra are Annex. heard by delayed broadcast in many parts of the United States and Canada, as well as AN ELEVATOR is located outside the Hatch internationally, through the Boston Symphony and Cabot-Cahners rooms on the Massachu- Transcription Trust. In addition, Friday after- setts Avenue side of the building. noon concerts are broadcast live by WGBH- FM (Boston 89.7), WMEA-FM (Portland LADIES' ROOMS are located on the orches- 90.1), WAMC-FM (Albany 90.3), WMEH- tra level, audience-left, at the stage end of the FM (Bangor 90.9), and WMEM-FM (Presque hall, and on the first-balcony level, audience- Isle 106.1). Live Saturday-evening broadcasts right, outside the Cabot-Cahners near Room are carried by WGBH-FM, WCRB-FM the elevator. (Boston 102.5), WFCR-FM (Amherst 88.5), and WPBH-FM (Hartford 90.5). If Boston MEN'S ROOMS are located on the orchestra Symphony concerts are not heard regularly in level, audience-right, outside the Hatch Room your home area and you would like them to near the elevator, and on the first-balcony be, please call WCRB Productions at (617) level, audience-left, outside the Cabot-Cahners 893-7080. WCRB will be glad to work with Room near the coatroom. you and try to get the BSO on the air in your area. COATROOMS are located on the orchestra and first-balcony levels, audience-left, outside BSO FRIENDS: The Friends are supporters of the Hatch and Cabot-Cahners rooms. The the Boston Symphony, active in all of its en-

BSO is not responsible for personal apparel or deavors. Friends receive BSO, the orchestra's other property of patrons. newsletter, as well as priority ticket informa- tion. For information, please call the Friends' LOUNGES AND BAR SERVICE: There are Office at Symphony Hall weekdays between 9 two lounges in Symphony Hall. The Hatch and 5. If you are already a Friend and would Room on the orchestra level and the Cabot- like to change your address, please send your Cahners Room on the first-balcony level serve new address with your newsletter label to the drinks starting one hour before each perfor- Development Office, Symphony Hall, Boston, mance. For the Friday-afternoon concerts, MA 02115. Including the mailing label will both rooms open at 12:15, with sandwiches assure a quick and accurate change of address available until concert time. in our files.

Interior Design for Any Setting

Barbara Winter Glauber By Appointment Only (617) 723-5283 jvery day for three decades, 3me fair, foul, or worse, [arbor Master Tait logged them

1 and logged them out. tv< " few, every captain *

)unts on safe berth in • •«<*:« „ cotland's Eyemouth arbor. And finds itThegoou

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Authentic BLENDED SCOTCH WHISKY - 86 8 PROOF The Dewar Highlander #1983 SCHENLEY IMPORTS CO NY NY .

BIANCHI f#RDICCH,

fftnmmnwiw•.!-> If"- » rri C2 i r-i C CI.'.' ". HiTEOBitimE COSTBDUWi f '- i-A-OSII OP ITA^

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IMPORTEO BY SPIRITS ""-cTENE WINE 6 CO IMr

:

Catch of the day. Now you can bring home the Italian white wine mat's so light and refreshing, the French - and who should know better - rated it best of all wines in Europe with fish. Bianchi Verdicchio. Surprisingly inexpensive, it's now

' - : in America at your favorite restaurant or store. Bianchi Verdicchio Imported by Pastene Wine & Spirits Co., Inc., Somerville, MA. Also available in party-size magnums