} Boston Symphony Orchestra

' SEIJI OZAWA. Music- Director

' BOSTON J [SYMPHONY* lORCHESTRA, \ SI.J1 OZAWA /.«' 103rd Season Vs .*i Mam /w,„ > \| 1983-84 Savor the sense of Remy

Imported by Remy Martin Amerique, Inc., N.Y. Sole U.S.A. Distributor, Premiere Wine Merchants Inc., N.Y. 80 Proof. REMY MARTIN 1VS.O.P COGNAC. SINCE V 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, I ice-President

Sidney Stoneman, I ice-President Roderick M. MacDougall. Treasurer John Ex Rodgers, Assistant Treasurer

Vernon R. Alden \rchie C. Epps III Thomas D. Perry. Jr.

David B. Arnold. Jr. Mr>. John 11. Fitzpatrick W illiam J. Poorvu

J.R Barger Mrs. John 1.. Crandin Irving W. Rabb Mrs. John M. Bradley E. James Morton Mr-. George R. Rowland

Mrs. Norman L. Cahners l)a\ nl G. Mugar Mr>. George Lee Sargent

George H.A. Clowes, Jr. Mhcrt I., \ickerson William \. Selke

Mrs. Lewis S. Dabney John Hovt Stooke)

Trustees Emeriti

Abram I. Collier, Chairman oj the Hoard Emeritus

Philip K. Allen E. Morton Jennings. Jr. Mr-. James H. Perkins Allen G. Barrv Edward M. keimed\ Paul C. Reardon

Richard P. Chapman Edward G. Murra) John I. Diorndike

John I. Noonan

Administration of the Boston Symphony Orchestra, Inc.

Thomas W. Morris - General Manager

William Beraell \rtistu Administrator Daniel R. Custin tssistant Manager

B.J. Krmtzman - Director <>/ Planning

\ mi** H. Parsons - Orchestra Manager

Caroline Smedvig - Director ofPromotion

Josiah Stevenson - Director of Dex elopment

- Theodore A. \ lahos Director oj Business \ (fairs

Arlene Germain - Financial Analyst Richard Ortner - Administrator oj

Charles Gilrov - Chief Accountant Berkshire Musk ('enter

Vera Gold - Promotion Coordinator Charles Rawson - Manager ofBox Office

Patricia Halligan - Personnel Administrator Eric Sanders - Director of Corporate Development

Nancy A. Kav - Director ofSales Joyce M. Serwitz - Assistant Director of Development

John M. Keenum - Director of Cheryl L. Silvia - Symphony Hall Function Manager

Foundation Support James E. W hitaker - Hall Manager, Symphony Hall

Nancy Knutsen - Production Assistant (Catherine W hitty - Coordinator of Boston Council

Anita R. Kurland - Administrator of Youth Activities

Steven Ledbetter Marc Mandel Jean Miller Mackenzie Director of Publications Fditorial (Coordinator Print Production Coordinator

Programs copyright ®1983 Boston Symphony Orchestra, Inc.

('over photo b) B alter II. 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 itsele

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.

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© Bank of New England Corporation, 1983 FRIENDS' WEEKEND AT TANGLEWOOD by chartered Greyhound motor coach July 27 through July 29

FRIDAY, JULY 27 12:30 p.m. Leave Boston 1:00 p.m. Leave Riverside; stay at Red Lion Inn, Stockbridge 5:00 p.m. Cocktails and dinner

at Tanglewood 7:00 p.m. Prelude 9:00 p.m. Concert (best seat locations)

SATURDAY, JULY 28 Free for breakfast

9:30 a.m. Leave Red Lion Inn for 10:00 a.m. Open Rehearsal followed by picnic lunch at Seranak

6:00 p.m. Cocktails and dinner at private

home in Berkshires 8:30 p.m. Concert (best seat locations)

SUNDAY, JULY 29 Free for breakfast 9:30 a.m. Leave Red Lion Inn for 10:00 a.m. Chamber concert 12:00 noon Leave Tanglewood for Blantyre for lunch 5:30-6:00 p.m. (approx.) Arrive home

I enclose check for reservation(s) at $375.00 (double occupancy) including

$50.00 tax-deductible gift to the "Friends of the Boston Symphony Orchestra, Inc." ($400.00 for single occupancy).

N ame

Address

Zip

Please make checks payable to "Council, Boston Symphony Orchestra" and mail to Friends' Office, Symphony Hall, Boston, MA 02115.

Reservations accepted in order received. BSO

1984-85 BSO Subscription Information

Complete program and ticket information is now available for the Boston Symphony

Orchestra's 1984-85 subscription season. Programs under Music Director Seiji Ozawa will include the Mahler Ninth Symphony. Honegger's Jean d'Arc

Streep as Joan of Arc, and Strauss's Don Quixote with cellist Yo-Yo Ma. The season will celebrate the 300th anniversaries of the birth of Bach and Handel and the 100th anniversary of the birth of Alban Berg. Guest conductors Kurt Masur. Mvung-W hun

Chung, Charles Dutoit, Ravmond Leppard, and David Zinman will share the podium with

Mr. Ozawa. Maurizio Pollini will be conductor and piano soloist for an all-Mozart program. Other soloists include pianists Murray Perahia, Ivo Pogorelich, and Krystian Zimerman; violinist Anne-Sophie Mutter; soprano Kathleen Battle; and baritone Hakan Hagegard. For a brochure, please write "1984-85 Season/' Svmphonv Hall, Boston, MA 02115 or call (617) 266-1492.

WGBH Intermission Features on the Air

WGBH radio personalitv Ron Delia Chiesa conducts interviews with Boston Svmphony 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 Orchestra Manager Anne Parsons on 13 and 14 April; and BSO Assistant Manager Daniel Gustin on 20 and 21 April.

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

BSO Members in Concert

BSO violinist Ronald Knudsen, who is music director of the Newton Symphony Orchestra, conducts the Newton Symphony Chamber Orchestra at a Gala Benefit Concert for the

Newton Symphony on Saturday evening, 14 April at 8 p.m. at Slosberg Hall on the Brandeis University campus in Waltham. Renowned duo-pianists Yvette and Josette Roman will perform the Saint-Saens Carnival of the Animals with WBZ-TV's Joyce Kulhawik narrating the Ogden Nash verses. Also on the program will be Mozart's

Concerto in E-flat for two pianos, K.365, and Gershwin's Rhapsody in Blue arranged for two pianos. This gala occasion will include a champagne and patisserie reception for $25 per person (sponsors may make a $50 tax-deductible contribution). For reservations, please call 965-2555.

The North Shore Philharmonic, whose music director is BSO violinist Max Hobart, gives the final concert of its 1983-84 season on Sunday afternoon, 15 April at 3 p.m. at Lynn City Hall Auditorium. The program includes Beethoven's Ninth Symphony with soloists and the Combined North Shore Chorus.

Joseph Silverstein is the violin soloist in Mendelssohn's Violin Concerto with the Youth Concert Orchestra of the New England Conservatory Extension Division under Benjamin Zander at Symphony Hall on Sunday, 15 April at 3 p.m. Also on the program: Mahler's

Symphony No. 4, with soloist Cheryl Cobb. Tickets are $5.

BSO violinist Nancy Bracken appears in recital with pianist Hsueh-Yung Shen on Friday evening, 20 April at 8 p.m. Sponsored by the North House Music Association of Harvard University, the recital takes place at Holmes Hall, 58 Linnaean Street in

Cambridge; admission is free. The program includes Beethoven's Violin Sonata No. 6 in

A, Opus 30, No. 1; Prokofiev's Five Melodies, Hsueh-Yung Shen's Scherzo Fantasque

(1981), and Schumann's Violin Sonata No. 1 in A minor, Opus 105.

Ronald Knudsen leads the final concert of this year's Brockton Symphony Orchestra season on Sunday evening, 29 April at 7:30 p.m. at the Brockton High School audi- torium. Violinist Peter Zazofsky will perform the Mendelssohn Violin Concerto and join violinist-conductor Knudsen for the Bach Concerto in D minor for two violins. Also on the program is music of Faure and Liszt. Single tickets are $7, available at the door. For further information, please call 583-6786.

The Civic Symphony of Boston under its music director Max Hobart closes its 1983-84 season at Jordan Hall on Sunday evening, 29 April at 8 p.m. with William Schuman's New England Triptych, Griffes's Poem for flute and orchestra with soloist Julie Darling, and the Brahms First Piano Concerto with soloist Frederick Moyer. Single seats are $6.50, $5, and $3.50, available at the Jordan Hall box office, 536-2412.

The Mystic Valley Orchestra under its music director, BSO cellist Ronald Feldman, concludes its 1983-84 season with an aD-Beethoven program: the Coriolan Overture, the

Pastoral Symphony, No. 6, and the Third Piano Concerto, with Jonathan Feldman as soloist. The program will be given twice: on Saturday, 19 May at 8 p.m. in Cary Hall, Lexington, and on Sunday, 20 May at 3 p.m. at Paine Hall on the Harvard University Campus. Tickets are $5 general admission ($3 students, seniors, and special needs). For additional information, please call 491-4663.

Even the Easter Bunny Loves Symphony Sweets!

The Junior Council of the Boston Symphony Orchestra recommends a departure from the usual chocolate Easter Eggs—try the Symphony Sweets instead. The Mint, the Bark, and the recently introduced Symphony Hall Tin filled with 36 Symphony Mints make perfect holiday gifts or a special treat for yourself and your family on Easter Sunday, 22 April.

The Symphony Bark is a miniature bar of dark, rich, chocolate stuffed with whole toasted almonds. The Symphony Mint is an exclusive formulation of dark sweet chocolate laced with creme de menthe. Both are embossed with the BSO colophon and are individually wrapped in gold foil. These products are made expressly for the BSO by Harbor Sweets of Marblehead.

The Symphony Mint is available in the following quantities: Tasters, 3 pieces at $2.00; Hostess Box, 12 pieces at $6.00; Gift Box, 30 pieces at $12.00; and the filled Symphony

Tin, 36 pieces at $18.00. The Tin is also available without Mints for $7.00. Symphony Bark Tasters offer 2 pieces for $3.00; a Hostess Box of the Symphony Bark includes 8 pieces for $10.00.

All of these items are available at the Junior Council counter in the Massachusetts Avenue corridor of Symphony Hall near the elevator. They are also available by mail order (forms can be found at the counter), or you may order directly from Harbor Sweets of Marblehead by calling (617) 745-7648 and charging it to your MasterCard or Visa.

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.

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BARNES Mon.-Fri., 9:30-6:30 Sat., 9:30-6:00 &NOBLE Sun., 12:00-6:00 eiji 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- 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 ofAssist 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 Ronald Wilkison Craig Nordstrom Robert Barnes Bassoons Jerome Lipson Sherman Walt Bernard Kadinoff Edward A. Taft chair Joseph Pietropaolo Roland Small Michael Zaretsky Matthew Ruggiero Music Directorship endowed by Marc Jeanneret John Moors Cabot Contrabassoon Betty Benthin Richard Plaster BOSTON SYMPHONY * Lila Brown ORCHESTRA * Mark Ludwig Horns Charles Kavalovski 1983/84 Cellos Helen SagoffSlosberg chair Richard Sebring First Violins Jules Eskin Philip R. Allen chair Daniel Katzen Joseph Silverstein Concertmaster Martha Babcock Jay Wadenpfuhl Vernon and Marion Charles Munch chair Alden chair Richard Mackey Emanuel Borok Mischa Nieland Esther Assistant Concertmaster S. and Joseph M. Shapiro chair Trumpets Helen Horner Mclntyre chair Jerome Patterson Charles Schlueter Max Hobart * Robert Ripley Roger Louis Voisin chair Robert L. Beal, and Luis Leguia Andre Come Enid and Bruce A. Beal chair Carol Procter Charles Daval Cecylia Arzewski Ronald Feldman Timothy Morrison Edward and Bertha C. Rose chair * Bo Youp Hwang Joel Moerschel Trombones * John and Dorothy Wilson chair Jonathan Miller Ronald Barron * Max Winder Sato Knudsen J. P. and Mary B. Barger chair Norman Harry Dickson Bolter Basses Forrest Foster Collier chair Gordon Hallberg Edwin Gottfried Wilfinger Barker Tuba Harold D. Hodgkinson chair Fredy Ostrovsky Lawrence Wolfe Chester Schmitz Margaret Leo Panasevich Maria Stata chair and William C. Rousseau chair Carolyn and George Rowland chair Joseph Hearne Sheldon Rotenberg Bela Wurtzler Timpani Alfred Schneider Leslie Martin Everett Firth Raymond Sird John Salkowski Sylvia Shippen Wells chair Ikuko Mizuno John Barwicki Percussion Amnon Levy * Robert Olson Charles Smith * James Orleans Second Violins Arthur Press Marylou Speaker Churchill Assistant Timpanist Fahnestock chair Flutes Thomas Gauger Vvacheslav Uritsky Doriot Anthony Dwyer Frank Epstein Charlotte and Irving W Rabb chair Walter Piston chair Ronald Knudsen Fenwick Smith Harp Myra and Robert Joseph McGauley Kraft chair Ann Hobson Pilot Leonard Moss Leone Buyse Willona Henderson Sinclair chair Laszlo Nagy Piccolo * Michael Vitale Personnel Managers Lois Schaefer * Harvey Seigel William Moyer Evelyn and C. Charles Marran chair * Jerome Rosen Harry Shapiro * Sheila Fiekowsky Oboes * Gerald Elias Ralph Gomberg Librarians * Ronan Lefkowitz Mildred B. Remis chair Victor Alpert * Nancy Bracken Wayne Rapier William Shisler * Joel Smirnoff Alfred Genovese James Harper * Jennie Shames * Nisanne Lowe English Horn Stage Manager * Aza Raykhtsaum Laurence Thorstenberg Position endowed by Phyllis Knight Beranek chair Angelica Lloyd Clagetl * 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. These 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 a member of the orchestra since 1915 and who

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

in 1980.

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 abroad

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 in

12 —

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, of the Boston Symphony Orchestra under Georg Henschel, taken 1882

13 COME TO YOUR NEW ENGLAND LINCOLN-MERCURY DEALERS. 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, 12 April at 8 gr=^

SEIJI OZAWA conducting

LIEBERSON Piano Concerto (in three movements)

(commissioned by the Boston Symphony Orchestra

for its centennial and supported in part by a generous grant from the Massachusetts Council on the Arts and Humanities) PETER SERKIN

INTERMISSION

SHOSTAKOVICH Symphony No. 10, Opus 93 Moderato Allegro Allegretto Andante—Allegro

Tonight's concert will end about 10.

Philips, Telarc, CBS, Deutsche Grammophon, Angel/ EMI, Hyperion, and RCA records Baldwin piano

Peter Serkin plays the Steinway piano.

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

15 Thursday 4 B' When Only The Best Will Do

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16 BOSTON SYMPHONY ORCHESTRA

Seiji Ozawa, Music Director

Sir Colin Davis, Principal Guest Conductor

Joseph Silverstein, Assistant Conductor

One Hundred and Third Season, 1983-84

Friday, 13 April at 2

Saturday, 14 April at 8

SEIJI OZAWA conducting

BRAHMS Violin Concerto in D, Opus 77 Allegro non troppo Adagio Allegro giocoso, ma non troppo vivace

ISAAC STERN

Isaac Stern's appearances this week are made possible in part by the Roberta M. Strang Memorial Fund.

INTERMISSION

SHOSTAKOVICH Symphony No. 10, Opus 93 Moderato Allegro Allegretto Andante—Allegro

Program notes for this concert begin on page 35.

Friday's concert will end about 4 and Saturday's about 10.

Philips, Telarc, CBS, Deutsche Grammophon, Angel/EMI, Hyperion, and RCA records Baldwin piano

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

The program books for the Friday series are given in loving memory of Mrs. Hugh Bancroft by her daughters Mrs. A. Werk Cook and the late Mrs. William C. Cox.

17 Week 21 .

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18 Peter Lieberson Piano Concerto

Peter Lieberson was born in New York City on 25 October 1946; he lives in Newton Center, Massachusetts. His Piano Concerto is one oftwelve works commissioned by the Boston Symphony

Orchestra for its centennial in 1981. The composition of the concerto was begun in 1980 and completed on 2 March 1983. From the beginning the piano solo part was intendedfor Peter Serkin, who gave

the first performance with Seiji Ozawa and the Boston Symphony Orchestra on 21 April 1983 in Symphony Hall, Boston, with several repetitions in the next few days and another performance at Tanglewood on 14 August 1983. In addition to the solo piano, the score

calls for three flutes (second and third doubling piccolo), two oboes and English horn, two clarinets and contrabass clarinet, two bassoons and contrabassoon, four horns, three trumpets, three trombones and tuba, a large percussion ensemble consisting of timpani, bass drum, snare drum, two bongos, four tom-toms, xylophone, wood blocks, temple blocks, tambourine, crotales, glockenspiel, vibraphone, suspended cymbals, claves, and triangle, celesta, harp, and strings.

The youngest of the twelve composers commissioned by the Boston Symphony

Orchestra for its centennial, Peter Lieberson grew up in a family where music was

ubiquitous, though he did not at first intend to make music his career.* Both of his parents

were important figures in the artistic world, and that world could not but impinge on the attention of the boy as he was growing up in New York. His father was Goddard Lieberson, a trained composer himself, but best-known as perhaps the most influential record-company executive in the history of the industry, a man of artistic passion, personal probity, and immense vision. His interest in the American musical theater made the original cast album the customary artifact of a Broadway show (he himself produced some of the best ones ever made). At the same time his devotion to the cause of new music

was untiring. For many years, Columbia records, of all the commercial labels, was the one that consistently recorded new and interesting music and undertook important historical projects which were unlikely to realize an immediate financial return, such as a series of records devoted to the music of Arnold Schoenberg, the complete works of Anton

Webern, or (perhaps most significant of them all) an attempt to record all of the works of Stravinsky under the composer's direction or supervision.

Lieberson's mother, best-known under her stage name Vera Zorina, was a ballerina with the Ballets Russes de Monte Carlo and later with George Balanchine, before she became known as a specialist in spoken narration. She narrated Stravinsky's Persephone, Arthur Honegger's Jeanne d'Arc au bucher, and Schoenberg's A Survivorfrom Warsaw. She was also active directing opera at Santa Fe and in New York.

* All of the statements quoted in the course of this note are from an extended interview with Peter Lieberson on 31 March 1983. —S.L. 19 Week 21 © gCOTH '83

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'•';' ' : ' ' "' " : '-;.-. -. i : . it) . -»' .-.. re . d bott! Ba _ lumGrantfi So music and musical figures filled Peter Lieberson's life even before he knew that he was going to be a composer. That decision came only gradually.

I took the obligatory piano lessons, and then I stopped at the age of twelve. I didn't

really pick it up again until I was eighteen. And then I started with Broadway show

tunes—Gershwin. I guess I already had kind of an ear, because I started taking things down from records, imitating them on the piano, and learning harmony that way.

His first intention, though, was to be a writer, and to that end he took a degree in English literature at New York University in 1972. Realizing that he was spending more time at the piano than at the typewriter, he started some formal study of music theory, but "I didn't connect very much. The teachers were fine, but the theory didn't have much connection to me, to what I was interested in." The solution at the time was to work on his own.

I was mostly interested in jazz, and I composed a short score for a documentary film.

And then I went to the Juilliard Extension Division after I graduated from NYU. I

was mostly doing this on the sly, because I didn't know what was going to happen. I

was passionate about it, but at the same time I didn't make a big thing of it because I

didn't know what I was going to turn out to be .... I spent about six years just studying scores and listening to music in a very private way.

A job at New York's classical music radio station WNCN made possible the next stage of his development. Aaron Copland gave a series of talks on new music, and Virgil Thomson did an entire series of "outrageously funny" live broadcasts from his residence at the Chelsea Hotel. Up until this point, the major influence on Lieberson's music was

Stravinsky. "He was really like my musical father in a sense. I could have been attracted to Schoenberg, but stylistically, at least, I wasn't, as a matter of fact." But the crucial connection in his career came when Aaron Copland invited Milton Babbitt to do a program on his WNCN series.

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(617) 262-1120. 73 Tremont Street, Boston, MA 02108 Telephone 227-3285 [Babbitt] came on the show, and in his inimitable way he rattled off three programs in

one half-hour, talking straight off the top of his head, and I was very impressed with

him. I knew his music, because I had listened to an enormous amount of contempo-

rary music, and I wasn't really sure what to make of it. But something about it struck

me. Stylistically, even now, we don't share much, but still there was something. It's very elegant, very beautiful music.

When I met him we had a connection right away. I guess I studied with him

informally, we could say, and yet I list him as one of my main teachers, because that's

really how I regard him. We would meet in Chinese restaurants and talk about my pieces, or we'd meet at the Columbia-Princeton Electronic Music Center. This went on quite extensively.

It was Babbitt who sent a copy of Lieberson's first acknowledged piece, a set of variations for solo flute, to Harvey Sollberger, who liked it and performed it on a concert of the Group for Contemporary Music, one of New York's most distinguished new music ensembles.

That was a big event for me. Although I'd had a very musical background, still, as a

composer, I went from zip to that. And it's similar to the fact that, as a composer now,

I've gone from basically chamber music to orchestral music, and the first orchestral

piece that I get performed is by the BSO. So that's what my career has been like. Very heady.

The Piano Concerto is, in fact, Lieberson's first work for orchestra; he is currently at work on a second orchestral piece, likewise commissioned by the Boston Symphony.

When Lieberson decided that it was time for graduate school, Babbitt suggested Colum- bia, where he worked with Charles Wuorinen, the second of the three major teachers he acknowledges (the third would be Donald Martino, with whom he studied at Brandeis

University, where he is currently completing his doctorate). The success of the flute piece led to commissions; one of these was the Concerto for Four Groups of Instruments, for the New York group Speculum Musicae. A "Part II" was commissioned by the Fromm

Foundation and performed along with Part I during the Festival of Contemporary Music at Tanglewood in 1973.

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23 Then I also won the Charles Ives Award from the National Institute of Arts and

Letters. That was one of the big moments of my life. I thought, "Well, now I'm really

a composer." I did more pieces for the Group [for Contemporary Music] and

Speculum Musicae, and began conducting contemporary music, too.

But a major change was in store. Lieberson was feeling a sense of difficulty in continuing to compose as he had.

I can't say it was the twelve-tone language—that wasn't the problem. I don't know

what it was. It was a personal thing, really, a kind of claustrophobia, I think, in terms

of writing music and the whole musical politics.

At that time he encountered Buddhism. "Charles Wuorinen was interested in Taoism.

One day I went to look for a book on Taoism, and I found one on Buddhism. I didn't know much of the difference, so I picked it and started reading." What he read interested him so much that he left New York to begin intensive study with the Buddhist meditation master Chogyam Trungpa, spending several months at a Buddhist seminary in Colorado

(Lieberson has now been practicing Buddhism for nearly ten years and teaching it for five). At the same time he stopped composing for a year.

I don't really know how to present the whole notion of what it means to become a

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Buddhist. One day it will be very straightforward and down-to-earth, like saying,

"I did this; I went to school and became a plumber." Now it has so many

connotations . . . But there is something about the discipline of Buddhism which is

very similar to having a discipline as a musician, for example. It's very strict, and at

the beginning there's no time for anything else. In other words, if you went to a

genuine musical teacher, it would be the same thing. That person would say, "Look, you're not going to write any symphonies until you can write species counterpoint."

It's very much that approach.

And I went to a Buddhist seminary where I studied intensively for three months,

and so on. And when I started writing music again, the style had changed. I don't

know why exactly, but I would say there was less sense of struggle. I could say that

what happened to me is that the horizon expanded. It's as if you had tunnel vision,

and then you have panoramic vision. That's the only way I can describe it.

Lieberson finds that the experience and training he received in his Buddhist studies made a difference in the way he starts a piece of music: 'Tm able to wait." And Buddhist ideas find reflection in his art as well.

There's a journey that's made. You begin with yourself, then you begin to include

other people, and see what a mess the world is in or how good the world is, and begin to work with that. Then you find there's a nakedness that takes place, that you're very much in contact with what's happening. That seems to me how any good work of

art takes place, too. You're introduced to certain things that the piece is made out of;

then there's a journey that takes place, and finally the whole thing is transformed by the end. You have a sense of having had a real experience.

It was Peter Serkin who first suggested the idea that Peter Lieberson compose a piano

concerto. The work has been, from the very beginning, conceived with the soloist in mind.

Peter Serkin and I met probably as young boys— I don't remember. I'm not sure he

remembers either. But my father used to take us up occasionally to Vermont, and I know that we went to Marlboro and we met Rudy [Serkin] and the rest of the family. Then there was a big gap, and probably twenty years passed. Peter had become quite

notorious in a way, because he was sort of a hip classical musician . . . even had groupies! And Peter started coming around to concerts where my music was being

given, and we said hello. Then they ["TASHI," an ensemble of which Peter Serkin is pianist] commissioned a piece, the Tashi Quartet, and that's when we became good friends.

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26 For some time it was quite out of fashion for composers to admit to any concrete source of inspiration for their work (even if they had one) because of the twentieth century's determined effort to throw off the traditions of romanticism. Music became abstract with a vengeance. Composers wrote at length in great technical detail, providing analyses that often read like contributions to a journal of higher mathematics. Yet recently, composers have been more willing on occasion to confess to specific sources of inspiration, while at the same time employing complex technical procedures to manipulate the material in a certain way for artistic results. Peter Lieberson has described a specific experience that provided the first germ of the new piano concerto:

I began it in 1980 on a little summer vacation that my wife Ellen and I took before

the birth of our first child. I was sitting around, waiting for something to happen in

terms of the piece. It sounds so corny to say this, but it's actually true— I heard a

bird singing a major second. There was a beautiful song out the window, and I got a

little tune out of that; I fiddled with it, made it into a twelve-tone tune so I had some

material to work with, and that's where it started. I don't especially like major seconds,

but the whole piece is made up out of them. It's very strange how that happened.

This happens to be a world of major seconds, and the piece is actually a world of

that particular tune. Here, I'll write it for you.

'" t I p p | g p p j fe ^=^

This is the theme that I heard:

Then the rest came along, and it actually makes a nice little tune.

People are so confused about twelve-tone music because they feel that they are entering a "twilight zone," whereas in actuality they are hearing a musical world of some kind, which has its own geography and characteristics, but which, in my music at any rate—and I think it's very important to do this—refers back to ways of saying, "Hello," ways of saying, "I love you," ways of saying, "I am irritable"—those things that are universal.

The act of composition inevitably combines that first "inspiration" —in this case, a tiny ;erm, a major second—with the composer's technique.

You can't be too phony-romantic about it. In a certain sense, you have a heart- connection to these notes. They mean something. At the same time, you're also

trying to find something that will be the best vehicle. So it's a combination of those

two things. I'm dreaming the notes, but then I'm also thinking, "Oh yes, this other

half will be this way, and it will yield the best results" — that kind of thing. There are so many ways to use this throughout the piece— I take parts, I derive twelve-tone

sets, I use many different sets as a background and create a completely different kind of texture— all those things are very important. People should really understand that

it's a very rich musical world, not an impoverished world.

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All of this, the complex and ever- varying interplay of inspiration and technique, is, as in the case of any composer, put in the service of realizing a particular musical vision. In the case of the Piano Concerto, as often happens, Peter Lieberson saw beforehand a kind of general plan of how the piece would work itself out. But then it was necessary actually to realize those details.

I always had a feeling about how each movement would be, what would happen, and

how the piece would end. I knew that the piece would sort of dissolve, rather than end

with a big crash. But then there's still always that sense of trying to realize your

vision. You never give up. You can't give up. Still, maybe you. get eighty percent.

The composer regards the Piano Concerto as a journey, in the sense that he began the piece without knowing (except in a general way) where it would end, what adventures he would encounter en route. "The things that happened in the piece were often things that I did not think of, but that somehow made sense in the long run." Throughout this musical progress, the character of each movement changes dramatically, though the very tune that unfolds at the opening of the work returns in full just before the end. The substance remains the same—but its manifestation in the score changes and grows.

I had, let's say, a poetic vision of the piece first, which is based on the Buddhist

principle of heaven, earth, and man. Now, I don't want anybody to think that there's

going to be tam-tams and a kind of orientalism in the work. It's absolutely not the

case. But I didn't think purely in terms of a sonata-form allegro, slow movement, and

rondo, although in fact that's essentially the form of the piece.

The three movements, each of which takes off from the endpoint of the preceding one and uses the fundamental tune (or a derivation of it), are strikingly different in orchestral color and mood. Each reflects in a musical way the principles of the composer's "poetic vision" mentioned above: earth, man, heaven. The single movements are dominated by

Peter Lieberson, Peter Serkin, and Seijl Ozawa following the performance of Lieberson s Piano Concerto at Tanglewood on 14 August 1983

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30 one or another of these principles, though each also has something of the qualities of the other two— part of the musical interlocking that ties all three movements together.

The first movement has an "earthy, solid, rugged expression," beginning in the lowest instruments: bass, contrabass clarinet, tuba, and the bottom end of the piano. The first note, F-sharp, is reiterated, setting the stage for the gradual unfolding of the principal theme, the musical world of the piece, in a rhythmic, energetic framework. Throughout the introduction— and, in fact, in a substantial part of the movement—the soloist is part of the monolithic body of the orchestra; the piano is doubled almost constantly by other instruments. Very low pitched sounds predominate through the first piano solo. Then begins a new section offering a series of lively interchanges between brass (starting at the first entrance of the trumpets), piano, woodwinds (with flute punctuations), and strings in a songlike style. This gradually climbs higher and higher until reaching a showering cascade of notes down from the upper woodwinds and piano, "like rain," a passage providing just "a scent" of the principal idea of the third movement. These themes are the raw material of the rest of a complex movement, characterized by vigorous energy, a great deal of brass, and the deep percussion sounds of timpani and bass drum. The various sections return and interlock, making the movement "quite complicated formally. There's lots of recall in the sense of playing back and working over material."

"The second movement is a scherzo that frames an Adagio. I related it in my own mind to the poetic concept of man, a sense of heart. The scherzo is dance—that's why I say

'man,' because it's balletic, rhythmic in that sense." The outer parts of the movement are lighter in texture than what we have been hearing, in a scherzo style. It begins precisely on the notes that ended the first movement, a continuation of the journey. The scherzo proper consists basically of variations on the opening tune of the movement.

The Adagio within the second movement begins with a melody of romantic cast in solo

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32 cello, accompanied by four violas. The pianist enters with the first of three utterances that alternate with small groups from the orchestra. Each time the piano solo gets somewhat longer and more elaborate. The third and last connects to an extended passage for the string ensemble that builds to a quasi-cadenza for the soloist and a varied return of the scherzo, now transformed into something altogether wilder. The movement dissolves into a reflection of its opening and dies away on a sustained A in the oboe. Like the first movement, the scherzo has its characteristic sonorities, especially in the addition of wooden percussion instruments. The piano takes on an increasingly independent role, alternating with the orchestral mass rather than doubling it.

The third movement is a rondo. The smallest motive of the first movement, the descending shower of "rain," is now the main motive of the finale. It begins precisely where the second movement ended, on a sustained A, now spread through the whole string section, divided. This expansion from a single note at the end of the second movement to this same note stretching through all the octaves accessible to an orchestra seems to reflect the fundamental concept of the movement.

And there the music is inspired by heaven. Now, when I say "heaven," I don't mean

heaven in the theological sense. Heaven in the Buddhist sense means spaciousness

and room for things to take place. I put that last because it's the most difficult to

connect to.

Here the characteristic percussion sound is metal—cymbals, glockenspiel, vibraphone, crotales. The piano plays with these instruments and the harp and celesta, interjecting itself abruptly into this world in which aural space seems to be opening up. The various segments of the rondo recall the earlier movements before moving to a quasi-cadenza for the soloist. An extended coda brings back the descending music, but now transformed into an accompaniment for the principal tune, projected in long notes.

This is the tune of the whole piece, in timpani, solo horn (muted), and half of the

violas sul ponticello for the first half of the set, and that's accompanied. It's supposed

to feel out of time, because it's really the generator of all the music, it's like a memory of the whole piece.

The long-held notes of the basic tune continue in its second half with unmuted horn, solo cello, and still the timpani. The piano briefly combats the arrival of the final note,

F-sharp, the first note heard in the entire piece, now spread abroad through the orchestral texture, pulsing constantly at different rates. The piano finally yields and joins in with long-sustained low F-sharps. A few instruments add the second note of the tune, G-sharp; and finally crotales, first violins in the highest register, and the soloist add the third pitch,

B-flat, to bring the concerto to its hushed and tranquil conclusion.

—Steven Ledbetter

33 Week 21

s

Johannes Brahms

Violin Concerto in D, Opus 77

Johannes Brahms was born in Ham- burg, Germany, on 7 May 1833 and died in Vienna on 3 April 1897. He wrote the Violin Concerto in the summer and earlyfall of1878, but the pub- lished score incorporates a few revisions made after the premiere, which was given by Joseph Joachim in Leipzig on 1 January 1879, the composer conduct- ing the Gewandhaus Orchestra. The

first American performances were given by the Boston Symphony Orchestra on

6 and 7 December 1889, when it was played by Franz Kneisel, the orches- tra's concertmaster, with Arthur

Nikisch conducting. Kneisel played it in subsequent seasons with Emil Paur and Wilhelm Gericke. Since then, it has also been performed at BSO concerts by Adolph Brodsky (Nikisch), Maud MacCarthy (Gericke), Fritz Kreisler (Gericke, Max Fiedler, Karl Muck), Hugo Heermann (Gericke), Carl Wendling (Muck), Mischa Elman and Felix Berber (Fiedler), Anton Witek (Fiedler, Muck), Carl Flesch (Muck), Albert Stoessel (Pierre Monteux), Richard Burgin (Monteux, Serge Koussevitzky), Vladimir Resnikoffand Georges Enesco (Monteux), Jacques Thibaud (Michael Press), Albert Spalding (Burgin); Jascha Heifetz, Nathan Milstein, AdolfBusch, Bronislav Huberman, Paul Makovsky (Koussevitzky); Joseph Szigeti (Koussevitzky, Charles Munch), Efrem Zimbalist (Koussevitzky), Ginette Neveu (Burgin); Yehudi Menuhin, Patricia Travers, Arthur Grumiaux (Munch); Isaac Stern (Munch, Mon- teux), Leonid Kogan (Monteux); Christian Ferras, Jacob Krachmalnick, Roger Shermont (Munch); Zino Francescatti (Burgin, Erich Leinsdorf William Steinberg), Shmuel Ashkenasi and Joseph Silverstein (Leinsdorf), David Oistrakh (Steinberg), Miriam Fried (Silverstein, Klaus Tennstedt), Gidon Kremer (Colin Davis), Joseph Silverstein (Eugene Ormandy), Henryk Szeryng (Andrew Davis), and Salvatore Accardo (Leonard Slatkin). The most recent subscription performances were Kremer' in April 1979; the most recent Tanglewood performance was Accardo 's in July 1983. In addition to the soloist, the score calls for two each offlutes, oboes, clarinets, and bassoons, four horns, two trumpets, timpani, and strings. At these performances, Isaac Stern plays the cadenza by Joseph Joachim.

Faint phonograph recordings exist of Joseph Joachim playing Brahms Hungarian Dances, some unaccompanied Bach, and a Romance of his own: through the scratch and the distance, one can hear that even in his seventies the bow-arm was firm and the left hand sure. And though the records also convey a sense of the vitality of his playing, they are, in the end, too slight and too faint to tell us anything we want to know about the violinist whose debut at eight was hailed as the coming of "a second Vieuxtemps, Paganini, Ole Bull" or the musician whose name became, across the more than sixty years of his career, a byword for nobility and probity in art. Joachim was also leader of the most highly esteemed string quartet of his day, as well as an accomplished composer and an

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36 excellent conductor. His became a dominant voice in German musical anti- Wagnerian conservatism; his passionate identification with the musical past was productive, the range of his experience was prodigious. Europe's courts, universities, and learned academies vied to honor Joachim, but what speaks to us more eloquently than the doctorates and the

Pour le merites is an accounting of what composers dedicated to him (and sometimes wrote for him to play), a list that includes the second version of Schumann's Symphony No. 4 in D minor, Liszt's Hungarian Rhapsody No. 2, Dvorak's Violin Concerto, and, by

Brahms, the Opus 1 piano sonata in C, the scherzo of a violin sonata composed jointly with Schumann and Albert Dietrich, and the Violin Concerto.

Brahms and Joachim met in 1853 and they gave many concerts together, with Brahms at the piano or on the conductor's podium. Joachim was the elder by two years and, as a very young man, the more confident and the more technically accomplished composer of the two. Brahms quickly acquired the habit of submitting work in progress to Joachim for stern, specific, and carefully heeded criticism. In the 1880s the friendship was ruptured when Brahms too plainly took Amalie Joachim's side in the differences that brought the Joachims' marriage to an end in 1884. The Double Concerto for violin and cello was tendered and accepted as a peace offering in 1887 (Joachim and Robert Hausmann, cellist in the Joachim Quartet, were the first soloists). Their correspondence was resumed, almost as copiously as before, but intimacy was lost for good, and the prose is prickly with diplomatic formalities and flourishes.

The first mention of a concerto in the Brahms-Joachim correspondence occurs on 21 August 1878. Brahms was spending the summer at Portschach on Lake Worth in southern Austria, where a year previously he had begun his Second Symphony.* It was a region, he once said, where melodies were so abundant that one had to be careful not to step on them. Brahms and Joachim met at Portschach the end of that month. The correspondence continued, and plans were made for a tryout of the concerto with the orchestra of the Conservatory in Berlin, for Joachim to compose a cadenza, and for the premiere either with the Vienna Philharmonic or at the Leipzig Gewandhaus. Brahms's

4 original plan for a four-movement work was scrapped. In November 1879 he wrote: 'The middle movements have fallen by the wayside. Of course they were the two best.

Meanwhile I am writing a feeble Adagio."")"

Joachim proposed a program to begin with Beethoven's Violin Concerto and closing with the Brahms, with songs, two movements from Bach's C major unaccompanied sonata, and an overture of his own in between. Brahms demurred: "Beethoven shouldn't come before mine—of course only because both are in D major. Perhaps the other way around—but it's a lot of D major—and not much else on the program." On New Year's Day of 1879, Joachim and Brahms introduced the work in that same hall in Leipzig where, just four weeks short of twenty years back, Brahms's First Piano Concerto had met with catastrophic, brutal rejection. Brahms had not written a concerto since, and curiosity was keen, the more so because there were few significant violin concertos: received opinion had it that there were in fact just two, Beethoven's and the Mendelssohn. The first movement rather puzzled the audience, the Adagio was greeted with some warmth, and the finale elicited real enthusiasm. About Joachim's playing there was no disagreement, and his cadenza was universally admired. Indeed, after the Vienna premiere two weeks

* Fifty-seven years later, Alban Berg was delighted and proud to be writing his Violin Concerto on the opposite shore of the same lake.

"j"The scherzo became the second movement of the Piano Concerto No. 2 in B-flat (1881).

37 Week 21 later, Brahms reported to his friend Elisabet von Herzogenberg that Joachim had played the cadenza "so magnificently that people clapped right into my coda."

On 6 March, Joachim reported from London that he had dared play the concerto from memory for the first time, and he continued to champion it wherever he could. None of the early performances was so moving an occasion for Joachim and Brahms as the concert in celebration of the unveiling of the Schumann monument in Bonn on 2 May 1880: Brahms's concerto was the only work chosen that was not by Schumann. Meanwhile, composer and violinist continued to exchange questions, answers, and opinions about the concerto well into the summer of 1879, Brahms urging Joachim to propose ossias (easier alternatives), Joachim responding with suggestions for where and how the orchestral scoring might usefully be thinned out, with changes of violinistic figuration, and even with a considerable compositional emendation in the finale. Except for the last, Brahms accepted most of Joachim's proposals before he turned the material over to his publisher. In spite of Brahms's secure prestige by this point in his career, in spite of Joachim's ardent and effective sponsorship, the concerto did not easily make its way. It was thought a typical example of Brahmsian severity of manner; Hans von Billow's quip about the difference between Max Bruch who had written a concertoybr the violin and Brahms who had written one against the violin was widely repeated; and as late as 1905, Brahms's devoted biographer, Florence May, was obliged to admit that "it would be too much to assert that it has as yet entirely conquered the heart of the great public." Fritz Kreisler, who took it into his repertory about 1900, had as much as anyone to do with changing that, and Brahms would be surprised to know that his concerto has surpassed Beethoven's in popularity (and that Mendelssohn's elegant essay is no longer thought of as being in that league at all).

To us it seems odd to think of playing the Beethoven and Brahms concertos on the same program. But then, the likeness that makes the idea an uncomfortable one for us

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was probably the very factor that made it attractive to Joachim, who was not, after all, presenting two established masterpieces but, rather, one classic, and a new and demanding work by a forty-five-year-old composer with a reputation for being "difficult." But Beethoven is present, in the choice of key, in the unhurried gait (though the tradition that turns Beethoven's and Brahms's "allegro, but not too much so" into an endlessly stretched out, energyless Andante does neither work any good), in the proportions of the

three movements, in the fondness for filigree in the high register, in having the soloist

enter in an accompanied cadenza, in leading the main cadenza not to a vigorous tutti but to a last unexpected and hushed reprise of a lyric theme (the second theme in Beethoven, the first in Brahms).

Brahms begins with a statement that is formal, almost neutral, and unharmonized except for the last two notes. But the sound itself is subtle—low strings and bassoons, to which two horns are added, and then, with basses, two more. And the resumption, quietly and on a remote harmony, is altogether personal.* So striking a harmonic departure so early will take some justifying, and thus the surprising C major chord under the oboe's

melody serves as signal that this movement aims to cover much space, that it must needs be expansive. A moment later, at the top of the brief crescendo, the rhythm broadens

that is, the beats are still grouped by threes, but it is three half-notes rather than three quarters, and this too establishes early a sense of immense breadth. On every level the

*And, one might add, Beethovenian- -inspired by the orchestra's first mysterious entrance in the Fourth Piano Concerto.

Johannes Brahms and Joseph Joachim in 1855

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40 music is rich in rhythmic surprise and subtlety: the aggressive theme for strings alone insists that the accents belong on the second beat, another idea dissolves order ( and imposes a new order of its own) by moving in groups of five notes, the three-four/three- two ambiguity returns again and again. The musing and serene outcome of the cadenza is not so much a matter of the pianissimo and dolce and tranquillo that Brahms writes into the score as of the trance-like slow motion of the harmonies. (Things have changed in the last hundred years. The danger now is not that the audience will applaud as it did at the

Vienna premiere, but that it will cough.)

When the great Pablo de Sarasate was asked whether he intended to learn the new

Brahms concerto he replied, "I don't deny that it is very good music, but do you think I could fall so low as to stand, violin in hand, and listen to the oboe play the only proper tune in the whole work?" What the oboe plays at the beginning of the Adagio is indeed one of the most wonderful melodies ever to come to Brahms. It is part of a long passage for winds alone, subtly voiced and anything other than a mere accompanied solo for the oboe, and a magical preparation for the return of the violin.* As the critic Jean-Jacques Normand charmingly puts it, "Le hautbois propose, et le violon dispose." It is strange that Sarasate should not have relished the opportunity to turn the oboe's chastely beautiful melody into ecstatic, super- violinistic rhapsodies. A new and agitated music intervenes.

Then the first ideas return, enriched, and with the wind sonorities and the high-flying violin beautifully combined. For the finale, Brahms returns to his old love of gypsy music, fascinatingly and inventively deployed, and the turn, just before the end, to a variant in

6/8 (heard, but not so notated) is a real Brahms signature.

—Michael Steinberg

Now Artistic Adviser of the San Francisco Symphony, Michael Steinberg was the Boston Symphony Orchestra's Director of Publications from 1976 to 1979.

*A characteristic detail: the oboe melody is preceded by two bars of an F major chord for bassoons

and horns. The entrance of the solo violin, which plays a variant of the oboe tune, is preceded by

the same two measures, but given to the orchestral strings as they make their first appearance under the dissolving and receding wind-band music.

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42 Dmitri Shostakovich

Symphony No. 10, Opus 93

Dmitri Dmitrievich Shostakovich was

born in St. Petersburg (now Leningrad) on 25 September 1906 and died in Moscow on 9 August 1975. He began the Tenth Symphony in July

1953 and completed it on 27 October

that year. It received its first perform- ance less than two months later, on 17 December, in Leningrad under the direction of Yevgeny Mravinsky Dimitri Mitropoulos led the New York Philhar- monic in the American premiere on 14

October 1954. The first Boston perform- ance was given by the New England Conservatory Orchestra under James

Dixon on 10 February 1960. The first performances by the Boston Symphony Orchestra took place on 19 and 20 October 1962 under the direction ofErich

Leinsdorf who also conducted it on tour in the months following. In November 1980, Seiji Ozawa led the only other BSO performances prior to this season. The symphony is scoredfor a large orchestra consisting oftwo flutes and two piccolos, three oboes and English horn, three clarinets and E-flat clarinet, three bassoons and contrabas- soon,four horns, three trumpets, three trombones and tuba, timpani, bass drum, triangle, snare drum, cymbals, tambourine, tam-tam, and strings.

Shostakovich made his impressive debut as a symphonic composer at the age of nineteen with a work of real talent —and more—that established him overnight as a new Russian composer of significance. During the next two decades he produced eight more symphonies, as well as operas, ballets, incidental music, film scores, and music for piano and chamber ensembles. His success during these years suffered vicissitudes far beyond the normal ones that composers have to deal with in presenting new works—the problems of unsympathetic and incomprehending audiences or perhaps insufficiently prepared performances. These additional difficulties were of a political nature. Like all Soviet artists, Shostakovich was expected to produce works that served to educate or enlighten the proletariat, to engender uniform enthusiasm for the revolution or the state, to serve, in short, a didactic or propagandistic function over and above the purely musical one.

The 1920s in Russia had actually been an era of some flexibility and experimentation in all the arts, but by 1932 a new temper was apparent in the ruling forces, one that caused composers to produce works that were no longer simply "music" but rather "Soviet music"; this period of regimentation lasted until the death of Stalin in 1953, and no composer—at least none who survived Stalin's purges—was more affected by it than Shostakovich. The first blow came quite unexpectedly when in January 1936 Pravda printed an editorial, apparently coming directly from Stalin, attacking Shostakovich's opera Lady Macbeth ofMtsensk District as "muddle instead of music." Ten days later another attack, this time of a ballet score, appeared in the same paper. The combined assault was too much for Shostakovich; when his Fourth Symphony was placed in

rehearsal later in the year, it quickly became apparent that the score, perhaps his most

43 Week 21 "

"difficult" and elaborate, would only get him into still greater trouble, and he withdrew the performance. According to the composer's recently published memoirs, he lived from that time on in the continual fear of death, never knowing when Stalin's instability might result in his arrest or worse. (In the end, the Fourth Symphony was not performed until after

Stalin's death.)

Shostakovich "redeemed" himself with the Fifth Symphony and went on to write the Sixth and the three wartime symphonies before a new period of official disfavor almost caused him to cease symphonic writing forever. The basic problem was that symphonies, as large-scale public statements by a composer, were simply too open to political interpretation. The whole idea may be generally foreign to us, but nothing is more characteristic of the Soviet approach to the art. So Shostakovich found that he was continually being second-guessed, that ideas or motives or intentions were read into his symphonic works by political functionaries, something that could be extremely dangerous if the symphony were viewed as anything other than optimistic and heroic.

Moreover, although Stalin was not notably musical, he recognized the value of artistic propaganda and sought glorification in works of art. The Ninth Symphony was expected to be a grandiose post-war celebration, but Shostakovich abandoned the attempt to

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44 produce what was expected of him (apparently after trying twice to come up with something appropriate) and produced instead a witty and relatively lighthearted work.

When my Ninth was performed, Stalin was incensed. He was deeply offended,

because there was no chorus, no soloists. And no apotheosis. There wasn't even a

paltry dedication. It was just music, which Stalin didn't understand very well and which was of dubious content.

People will say that this is hard to believe, that the memoirist is twisting things

here, and that the leader and teacher certainly didn't have time in those difficult

postwar days to worry about symphonies and dedications. But the absurdity is that Stalin watched dedications much more closely than he watched affairs of state.

Chamber music was much less likely to be interpreted in this way, since the reduced forces that were required somehow forced the recognition of its purely abstract musical character, possibly because chamber music generally attracts smaller audiences and can therefore avoid the necessity of appealing to "the people" as a whole. Thus, after the Ninth Symphony in 1945 until the death of Stalin in 1953, Shostakovich limited himself to smaller works for the most part—several string quartets and the retrospective set of twenty- four preludes and fugues—and to film scores, in which the drama of the film itself would carry the approved political message.

In July 1953, four months after Stalin's death, Shostakovich began the composition of his Tenth Symphony at his dacha in Komarovo; he finished the work in September, and its first performance took place within three months. The symphony is now widely regarded as Shostakovich's finest work in the genre, with a successful union of expressive qualities and technical means. It is also representative of the long tradition of the four-movement symphony for orchestra alone, to which Shostakovich did not return until the Fifteenth

Symphony of 1971, the intervening works all having vocal elements as well. The appearance of the Tenth Symphony aroused a heated debate among Soviet musicians. Its manifestly personal expression raised once again the issue of the artist's role: could he express himself subjectively as an individual rather than objectively as one element of a collective group? By and large, Soviet music was still expected to be optimistic (the prevailing mood of the music was more important in some circles than the technical quality), to reflect "the truth of our life," as one critic put it. By this measuring stick, Shostakovich's Tenth runs dangerously close to the border of the unacceptable. But one

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46 result of the discussion was the awarding to the composer of the country's highest artistic honor, the title "People's Artist of the U.S.S.R.," a clear sign of the relative liberation of creative thought, though still within fairly strict bounds, in post-Stalin Russia.

Before the debate in the Composer's Union, Shostakovich spoke of the symphony with a modesty that seems overdone, possibly with the intention of disarming any attacks by

"confessing" certain faults in the piece (some sections too short, some too long), to which he added, "It would be very valuable to have the comrades' opinions on this." But at that time he did not reveal anything about the immediate impetus for writing what many felt instinctively to be a highly personal work. When asked whether the symphony had a program, he responded (evasively) with a smile, "No, let them listen and guess for themselves." Even in the relative liberation of late 1953 he could certainly not feel safe in revealing the statement that appears in his posthumously published memoirs:

I couldn't write an apotheosis to Stalin. I simply couldn't. I knew what I was in for

when I wrote the Ninth. But I did depict Stalin in music in my next symphony, the

Tenth. I wrote it right after Stalin's death, and no one has yet guessed what the

symphony is about. It's about Stalin and the Stalin years. The second part, the

scherzo, is a musical portrait of Stalin, roughly speaking. Of course, there are many

other things in it, but that's the basis.

The first three movements are unified by a motive consisting of the first three steps of the minor scale. Shostakovich chooses to write a moderately slow first movement, not a grand Allegro; this Moderato is conceived in a lyric and contrapuntal vein, beginning with a twisting slow theme in cellos and basses that occasionally resembles a basso ostinato. After an opening paragraph for strings alone, the solo clarinet introduces a lyrical melody

47 Week 21 that gradually expands outward and then contracts again to the note on which it began.

These materials are used to build up the first orchestral tutti, which then dissolves into

individual sections: strings, followed by brass, followed by solo clarinet expanding upon its

first statement before leading to a new motive, introduced by the solo flute in a low

register: a hovering, rocking figure in eighth-notes that keeps moving away from the first

pitch and then returning to it. The rest of the movement is developed with great imagination and economy of means from these three motives, the overall pattern being a kind of arch, dynamically speaking, growing from the opening piano to extended forte in the middle before collapsing to the level of the beginning.

The second movement has been variously interpreted, even by Soviet musicians, in strongly antithetical ways. One view claimed that the movement "expresses again the inexhaustible forces of life," while another, at the opposite pole, discerns rather "the

onslaught of the powers of darkness and death." The sinister character of its perpetual

motion, built on a single motive, is exhilarating and threatening at the same time, with an evident parodistic intent. Shostakovich's address to the Composer's Union preceding the

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debate on the Tenth Symphony was a model of evasion: "The second movement, in my opinion, answers my purpose in the main, and occupies its intended place in the cycle." Not a word, of course, about a musical depiction of Stalin; the undercurrent of brutality in the music would have made such a confession most unwise.

The third movement, which begins as a pensive waltz of sombre character, is an early example of Shostakovich's practice of composing his personal motto DSCH into his music, something that happens also in the Violin Concerto and the Eighth String Quartet. (DSCH stands for the German transliteration of the composer's name, Dmitri Schostakovitsch, which is then translated into musical pitches according to German terminology:

D, S [ = Es, or E-flat], C, H [ = B-natural]; the resulting four-note motive fits naturally into the key of C minor or its near relations.)

The finale consists of a long, slow introduction followed by a vigorous Allegro, less hysterical than the forced rejoining of the last movement of the Fifth Symphony, but fundamentally outgoing nonetheless, despite frequent reminders of the DSCH motto. That reference to the third movement, along with the slow introduction, helps prevent the sheer youthful energy of the Allegro from allowing us to forget the very different character of the first three movements. Here, as throughout the work, Shostakovich has kept his own counsel, telling us things through the musical elements of melody, harmony, and rhythm that he could not say in words.

—S.L.

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50 More . . .

Peter Serkin, Seiji Ozawa, and the Boston Symphony Orchestra will record Peter Lieberson's Piano Concerto for New World Records following this performance. In the

meantime, there is only one record with music by Lieberson. It is a CRI disc (S-350) containing the Concerto for Four Groups of Instruments, performed by Speculum Musicae under the composer's direction, and the Piano Fantasy, performed by Ursula Oppens (the record also contains two works by Erik Lundborg).

The best general study of music in Soviet Russia is Boris Schwarz's Music and Musical

Life in Soviet Russia, 1917-1981 (Indiana). This is an updated and enlarged edition of a study that originally had a cut-off date of 1970. The earlier edition is available as a Norton paperback, but of course it does not deal with the last fourteen years, which include the death of Shostakovich. A new and intensely interesting light has been cast on Shostakovich by the publication in English of Testimony: The Memoirs ofDimitri Shostakovich, as related to and edited by Solomon Volkov (Harper & Row, available in paperback). The precise authenticity of the book, based on material that had to be smuggled out of Russia, is a matter of debate, but there appears to be a growing concensus that the book captures many of Shostakovich's ideas, though the precise wording may not always have been his (since they are reconstructions made from notes). Certainly as a whole the picture of the composer seems psychologically consistent and convincing. Dimitri Mitropoulos made a recording of the Tenth Symphony with the New York

Philharmonic only a few days after the American premiere; in addition to its historic interest, it is a deeply felt performance. The recording (on Odyssey in its most recent incarnation) is no longer available, but it warrants reissue. Of currently available record- ings, I would recommend Bernard Haitink with the London Philharmonic (London), Andre Previn with the London Symphony (Angel), or Yevgeny Svetlanov with the USSR Symphony Orchestra (Musical Heritage Society; available by mail order only at 14 Park

Road, Tinton Falls, NJ. 07724). But I still wish the Mitropoulos would come back.

—S.L.

Florence May, an Englishwoman who knew Brahms and studied piano with him,

produced a comprehensive two-volume biography of the composer which is available in an expensive reprint of the original 1905 edition (Scholarly). Karl Geiringer's Brahms: His

Life and Work is a smaller but no less important biography (Oxford). Hans Gal's

Johannes Brahms is similarly useful and dependable (Knopf). Donald Francis Tovey's very fine program note on the Brahms Violin Concerto may be found in his Essays in

Musical Analysis (Oxford paperback). There is a beautiful facsimile of the holograph of the Brahms Violin Concerto, including Joachim's emendations, and with introductory essays by Jon Newsom and Yehudi Menuhin, issued by the Harvard University Press and the Library of Congress. Of special interest are Arnold Schoenberg's essay "Brahms the Progressive" in Style and Idea (St. Martin's), and an interview with "Carlo Maria Giulini on Brahms" in Bernard Jacobson's Conductors on Conducting (Columbia Publishing

Co.). Isaac Stern has two recordings of the Brahms concerto listed in the current catalog, both on CBS—one with Eugene Ormandy and the Philadelphia Orchestra, the other with Zubin Mehta and the New York Philharmonic. Of other currently available recordings, those of interest include Nathan Milstein's with Eugen Jochum and the Berlin Philhar- monic (DG), Ulf Hoelscher with Klaus Tennstedt and the Northwest German Radio

51 Week 21

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set); Fritz Kreisler's 1929 recording with Leo Blech and the Berlin State Opera Orchestra (Japanese EMI monaural); and Yehudi Menuhin's performance with Wilhelm Furtwangler and the Lucerne Festival Orchestra (Seraphim monaural). Finally, there are two record- ings by Ginette Neveu, who died tragically in a plane crash in 1949 when she was thirty.

One is with Issay Dobrowen and the Philharmonia (EMI monaural, in the four-record

album "The Complete Recorded Legacy of Ginette Neveu"). The other is a live performance from May 1948 with Hans Schmidt-Isserstedt and the Northwest German Radio Orchestra, offering a greater expressive range and clearer sound—including, unfortunately, noise from the audience (Educational Media Associates, album RR-550, a

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<*** Ilw \ (1 ;RJ f ) 0. m 4 Two years ago Decorators' Clearing House ventured into \ U Fashionable Bostonians" .... discounting \^. u a "Unique Concept for the posh furniture and accessories normally sold thru Interior Architects. These selections were seasoned 16" x 11" x 5' Decorators and with Fine Art. THAT WAS GOOD! e One year ago Decorators' Clearing House moved. The N 9625 "Concept" was honed as was the quality of the offerings. DCH became the "In Place" for a sophisticated clientele who Musette Bag $190 recognize the pieces from the pages of Architectural Digest or from costly trips to New York Decorator Showrooms. The resources were expanded to include furniture from exclusive This roomy Glove Leather bag collections not previously shown in this area. The discounts (and they are better than ever!) are secondary to the convenience is favored by models, dancers, of not waiting months for delivery. The aware clientele appreciate the selectivity of the Fine Art and realize that travelers and photographers. really Fine Art can not and should not be discounted! THAT WAS BETTER! We make it in: Black, British This year Decorators' Clearing House, DCH, is adding Tan, Mocha and Tdbac. more space and continues to hone "The Concept" with the introduction of DCH DESIGN LTD. in response to requests for design assistance, not only to incorporate DCH's fabulous You can order it by mail or offerings, but, also, to provide The Total Design Package. For information, call 965-6668. phone, and we will ship it to THAT IS BEST! you from our factory at no extra cost. Decorators' Cleaning House 1029 Chestnut Street Newton Upper Falls, Ma. 965-6363 The CoacK Store Mon. - Sat. 9:30 am - 5:30 pm MasterCard/ VISA/ American Express 75-B Newbury Street, Boston, Mass. 021 16 (617) 536-2777

53 Singleness of Purpose

In most trust companies, commercial banking constitutes the

principal business, while the trust department is assigned a role 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 s

Peter Serkin

Mr. Serkin will premiere a new concerto by Takemitsu commissioned for Serkin by the Los Angeles Philharmonic and to be conducted by Simon Rattle.

Peter Serkin made his first public appearance in 1959 at the age of twelve in a performance of the Haydn Piano Concerto in D conducted by Alexander Schneider at the Marlboro Music Festival; he repeated this con-

certo for his New York debut the next fall. He has since appeared with most of the world's major symphony orchestras, including those of Boston, New York, Philadelphia, Cleveland, \ Chicago, San Francisco, and Los Angeles, as well as with such famed European orchestras as the Amsterdam Concertgebouw, the Berlin Philharmonic, and the London Symphony

Peter Serkin has established himself as a Orchestra. In his recital appearances, Mr. pianist whose musical sympathies are broader Serkin has played regularly to capacity audi- than virtually any young musician's in recent ences in cities including Boston, Washington, memory; he is equally acclaimed for his fre- Los Angeles, Minneapolis, and New York, as quent guest appearances with the major sym- well as the major European music centers. A phony orchestras, as recitalist, chamber music founding member of the ensemble TASHI, Mr. performer, and recording artist, in repertory Serkin has been heard performing chamber ranging from Baroque to contemporary. In music also at Marlboro, Tanglewood, Spoleto, August 1983 he was honored as the first the Casals Festivals in Prades and Puerto pianist to receive a major new international Rico, with the Chamber Music Society of Lin- prize—the Premio Accademia Musicale coln Center, and with the Budapest and Guar- Chigiana Siena, established in 1982—in rec- neri string quartets. An RCA recording artist, ognition of outstanding artistic achievement. his recent releases include the third in a series Mr. Serkin studied at the Curtis Institute of of Chopin discs, a Webern and Takemitsu Music with Lee Luvisi, Mieczyslaw record, and his acclaimed performance of Horszowski, and his father, Rudolf Serkin. He Beethoven's Diabelli Variations. Peter Serkin continues to study piano and music in general first appeared with the Boston Symphony with Mr. Horszowski, Karl Ulrich Schnabel, Orchestra as soloist in the Schoenberg Piano and Marcel Moyse; he also worked with the Concerto at Tanglewood under Seiji Ozawa's late Ernst Oster. Mr. Serkin has worked close- direction in July 1970. He has since returned ly with several composers, such as Olivier for music of Beethoven, Bach, Takemitsu, Messiaen, Toru Takemitsu, Luciano Berio, and Mozart, Brahms, Ravel, and Bartok. Last sea- Peter Lieberson, in preparing many of their son he was pianist with Mr. Ozawa and the works for performance. Peter Lieberson' orchestra for the Bach Brandenburg Concerto Piano Concerto—commissioned by the Boston No. 5 and the premiere performances of the Symphony Orchestra, to be recorded by New Lieberson Piano Concerto. World records, and the subject of a planned television documentary, currently entitled "The Making of a Concerto" —was written expressly for Mr. Serkin. In January 1985,

55 SAFE&SOUND

You want to know and need to know that them. All of which Security Deposit provides. your personal and family valuables and papers Plus a great many other security services availa- are fully protected 24 hours a day, seven days a ble nowhere else- including insurance, 12- week. hour-a-day accessibility, bonded pickup and Fully protected. Not only from theft and delivery, even private conference and viewing prying eyes, but also from extremes of tempera- facilities. ture and humidity. Call us at (617) 338-6393. Or write us. And you need to know that you can get at No matter what you want to protect, we'll these valuables conveniently, when you want keep it Safe & Sound.

A PRIVATE SAFE DEPOSIT CENTER Security Deposit Corporation One Milk Street Boston, MA 02109

56 Isaac Stern

San Francisco by his parents when he was less than a year old, Mr. Stern began studying

piano at six but switched to violin soon after. He began his career in San Francisco where, two years after his recital debut, he made his San Francisco Symphony debut playing the Brahms Violin Concerto under Pierre Mon- teux in 1936. His New York debut came a

year later, his Carnegie Hall debut in 1943, and his New York Philharmonic debut in 1944, under Artur Rodzinski. Besides his highly acclaimed interpretations of the stan-

dard repertoire, Stern is an avowed champion of contemporary music, having premiered

violin works by Bernstein, Hindemith, Penderecki, Rochberg, and Schuman. His career has included both feature films and One of the foremost violinists of this century, television. Following the Six Day War of 1967 Isaac Stern is as much a humanitarian and he performed the Mendelssohn Concerto atop civic leader as he is one of the world's best- Mount Scopus with the Israel Philharmonic known performing artists. One of the most conducted by Leonard Bernstein; this memori- influential cultural forces here and abroad, Mr. al concert was made into a film entitled "A Stern spearheaded the drive to save Carnegie Journey to Jerusalem." His work in films also Hall from demolition, earning the gratitude of includes playing the sound track for "Fiddler countless music lovers; he now serves as its on the Roof." In 1979 he went to China at the President. Throughout his forty-six years as a invitation of the Chinese government, not so performer he has helped other artists develop much to give concerts as to advise on the important careers of their own, including some integration of its music life with that of the of the world's leading violinists, cellists, and West. Mr. Stern holds many honorary posts pianists. A founder-member of the National and is Chairman of the Board of the America- Council on the Arts, he has been a fervent Israel Cultural Foundation. The recipient of advocate of government's recognizing the numerous honors from heads of government, importance of the arts. His concerts are invar- the music and business communities, and from iably sell-outs, his best-selling recordings on humanitarian institutions, he was the first the CBS Masterworks label have won numer- recipient of the Albert Schweitzer Music ous Grammy awards, and the film "From Mao Award for "a life dedicated to music and to Mozart: Isaac Stern in China" won the devoted to humanity." Mr. Stern first Academy Award for the best full-length docu- appeared as soloist with the Boston Symphony mentary of 1981 and received a special men- Orchestra in January 1948 under Serge tion at the Cannes Film Festival. When the Koussevitzky. He has returned on more than a international music world honored the occa- dozen occasions, most recently for subscrip- sion of Mr. Stern's sixtieth birthday in 1980, tion performances of the Mendelssohn Concer- he himself claimed to be making music with as to in September 1980 and to perform the much energy as when he was fifteen. That Vivaldi Concerto in D for two violins with his seems still to be the case, as evidenced by the colleague Itzhak Perlman on the BSO's Cen- recent Pension Fund concert for the New York tennial Gala in October 1981. He will perform Philharmonic at which he played four concer- the Beethoven Violin Concerto with the tos in one evening. orchestra under Seiji Ozawa's direction at

Born in Kriminiesz, Russia, and brought to Tanglewood this July.

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

All too often, hardworking young professional families with single or dual incomes lack the time and energy to -coordinate their financial affairs. They need more than occasional advice; they need total financial planning. The Cambridge Group specializes in doing exactly that. We formulate a coordinated financial plan for you that is based on your specific goals. A plan that takes into account all aspects of your financial situation. The results can be gratifying. Lower taxes, higher yielding invest- ments, and most important, peace of mind. Call The Cambridge Group today at our new convenient location for a no-obligation consultation. The Cambridge Group

Singular financial planners 288 Walnut Street, Newton, Massachusetts 02160 (617) 965-7480

"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 to its' resident's a warm and visit are welcome. We invite caring atmosphere with 1 8th you to visit seven days a week Century appointments. Total care is avai 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 1 50 Wood Road, Braintree, MA 021 84 1 200 Brush Hill Road, Milton, MA 02 1 86 333-0600 848-2000 Locations at: Boston Fall River Framingham Milton Norwood Randolph

58 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

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

Banking Energy BANK OF BOSTON ATLANTIC RICHFIELD COMPANY William L. Brown Robert 0. Anderson BANK OF NEW ENGLAND *Buckley & Scott MacDougall Roderick M. Charles H. Downey BAYBANKS, INC. HatofTs William M. Crozier, Jr. Sidney Hatoff Boston Five Cents Savings Bank HCW Oil & Gas Robert J. Spiller 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. Harold Thorkilsen Education *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 60 THE STOP & SHOP COMPANIES, INC. Massachusetts High Technology Council, Inc.

Avram J. Goldberg Howard P. Foley WM. 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. Phillips

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 Welllington

"Bolt, Beranek & Newman, Inc. Insurance Stephen Levy

"Computer Partners, Inc. Arkwright-Boston Insurance Frederick Paul J. Crowley J. Bumpus

"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 E. James Morton ! Kenneth H. Olsen LIBERTY MUTUAL- INSURANCE COMPANY 1 DYNATECH CORPORATION Melvin B. Bradshaw ! J. P. Barger jfEpsilon Data Management, Inc. NEW ENGLAND MUTUAL LIFE INSURANCE COMPANY Thomas 0. Jones Edward E. Phillips l The Foxboro Company PRUDENTIAL INSURANCE COMPANY OF AMERICA

Robert J. Scales I Bruce D. Hainsworth GTE ELECTRICAL Sun Life Assurance Company of Canada ! PRODUCTS

'. John C. Avallon John D. McNeil jGenRad, Inc. William R. Thurston Investments li Henco Software Amoskeag Company

j Henry Cochran Joseph B. Ely l Honeywell Information Systems *Blyth Eastman Paine Webber Incorporated

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

Instron Corporation *E.F. Hutton & Company, Inc. Harold Hindman S. Paul Crabtree LFE Corporation Loomis Sayles & Company Herbert Roth, Jr. Robert L. Kemp

61 THE LEADER uu-

The Abacus Group Total Service in Real Estate Finance One Post Office Square, Suite 3540, Boston, Massachusetts 02109, (617) 227-4747 Other offices in: Chicagot, Dallas, Denver, Los Angeles, Orlando, Philadelphia Phoenix, Tampa, Tucson, Washington, DC. •Abacus Financial Group, Inc. in Colorado. ^Corporate Headquarters.

62 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, P.C. 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 W. Bell 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 Mill work 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 63 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 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

Why You Should Spend as Much Time Selecting a St'^otofpk/l^stAuratr-' Volvo Garage As You Did Selecting Your Volvo:

ou spent good time and thought selecting your Volvo. It wasn't a simple decision. An emotional reaction. Ego gratification. It was a sensible, common sense solution. Now, you should spend some time and thought selecting he correct Volvo garage. A garage that has the same dedication to workmanship and quality as Volvo itself.

Cinderella Carriage Company is the quality, common sense place to have your Volvo serviced. It is one of the finest, most modern repair shops in New England. And, according to Boston Magazine, the best place in Greater Boston to have your Volvo serviced. A charming 19th Century Townhouse It's simple. Cinderella believes in the best people and the serving superb continental cuisine most modern technology. We do it right. in In fact, our quality control insures that our repairs are 98% contemporary informal elegance. perfect (and in a business where 75% is great, Offering lunch and dinner with a variety we're aiming for 100%!) of fresh seafood specials daily, and our Cinderella Carriage uses an extremely advanced after theatre cafe menu till midnight. computerized inventory control, computer diagnostics, the service team approach, a tough system of juality control, and a true personal dedication to our customers. Serving - It all adds up to quality, common sense service. Lunch: 12:00-2:30 weekdays Dinner: 6:00- 10:30 Sun. - Thurs. 6:00-12:00 Fri.-Sat.

Brunch: 1 1:00-3:00 Sat. & Sun. Cinderella Carriage00 reservations: 266-3030 7\ little magic and lots of common sense.' 47 Smith Place, Cambridge 99 St. Botolph Street Just one minute from Fresh Pond Circle. behind the Colonnade Hotel Phone 876-1781

65 m m Head of the Charles Regatta

Contemporary excellence makes a Boston weekend flow. Whether you're lounging by the river to cheer on the crews or lingering over a relaxed Sunday breakfast or luncheon at the Cafe Promenade.

ENADE CONTEMPORARY EXCELLENCE m PI -Oho

o s Hm ton

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

66 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.

HE SWLER BUILDING 10 Park Plaza, Boston, MA 021 16 JAPANESE*

Prime office space offering FRENCH CUISINE ;

first class amenities Lunch daily 12-2 in a classic setting. Dinner daily 5:30 - 9 220 Huntington Ave., Boston, MA I l Saunders & Associates, AMO (Across Symphony Hall) • J^J Exclusive Leasing and Managing Agents from (617) 426-0720 247-2662 Real Estate Since 1898 Free parking at Mid-Town Hotel Garage

67 Inside Stories

MusicAmerica host Ron Delia Chiesa takes you "Inside the BSO" -

a series of special intermission features with members of the Boston

Symphony Orchestra and the people behind the scenes at Symphony Hall.

Inside the BSO

Fridays at 2pm

Saturdays at 8pm

WGBH89.7FM

68 .

Coming Concerts . . .

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 KATHERINE CIESINSKI, mezzo-soprano JOHN ALER, tenor HAKAN HAGEGARD, baritone THOMAS STEWART, baritone A Boston Tradition S. MARK ALIAPOULIOS, baritone NEW ENGLAND CONSERVATORY 41 UNION STREET 227-2750 CHORUS, LORNA COOKE deVARON, conductor "\

Programs subject to change. Let iis orchestrate all your financial arrangements.

"SEASONS . . AT THE BOSTONIAN HOTEL, MAY WELL BE THE BEST RESTAURANT Mutual Rank IN BOSTON."

45 Franklin Si.. Boston MA 02110 The TAB 482-7530 969-7500 August 24, 1983 (Boston) (Newlon) Member FCHC

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

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

69 \

STAe seasons come anr/^o^^faees c/iamje,

/resA/iaras are cxf/orea*, oAJer ones art* re-eocamined,

and'traafitions enaure.

Jtforning bra masiea aruAtAe ^Boston JymftAony 6)rcAestra

continue tAeir AA^-stanainy association

(oitA tAe twim/a^^ature "/toecMftromusiea'

— a series ofconoersations autA tAis season 'sfeatured

soAoists, conauctors ana^comfoserA

jMaen/ng fo+o musiea, coitA (RoAtert/^ jfiirts&nas,

is Aroaa'cast eoertf acu^from seven until noon on stations oftAe &aoAe tflaafo JfyzoorA

amAis Aieardin/ tAe ^Boston/area

70 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

71 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 are located on the orches- LADIES' ROOMS 90.1), WAMC-FM (Albany 90.3), WMEH- level, the stage end of the tra audience-left, at FM (Bangor 90.9), and WMEM-FM (Presque first-balcony level, audience- hall, and on the Isle 106.1). Live Saturday-evening broadcasts right, outside the Cabot-Cahners Room near 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- deavors. receive the orchestra's BSO is not responsible for personal apparel or Friends BSO, 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.

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