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SHARE THE SENSE OF /Qfcf

Proc iy Martin Amenque Inc . N Y . N Y 80 Seiji Ozawa, Music Director One Hundred and Fourth Season, 1984-85

Trustees of the Boston Symphony Orchestra, Inc.

Leo L. Beranek, Chairman Nelson J. Darling, Jr., President J.P Barger, Vice-President George H. Kidder, Vice-President

Mrs. George L. Sargent, Vice-President William J. Poorvu, Treasurer

Vernon R. Alden Mrs. Michael H. Davis E. James Morton

David B. Arnold, Jr. Archie C. Epps David G. Mugar

Mrs. John M. Bradley Mrs. John H. Fitzpatrick Thomas D. Perry, Jr. Mrs. Norman L. Cahners Mrs. John L. Grandin Irving W Rabb

George H.A. Clowes, Jr. Harvey Chet Krentzman Mrs. George R. Rowland

William M. Crozier, Jr. Roderick M. MacDougall Richard A. Smith Mrs. Lewis S. Dabney John Hoyt Stookey Trustees Emeriti

Philip K. Allen E. Morton Jennings, Jr. John T. Noonan Allen G. Barry Edward M. Kennedy Mrs. James H. Perkins

Richard P. Chapman Edward G. Murray Paul C. Reardon Abram T. Collier Albert L. Nickerson Sidney Stoneman Mrs. Harris Fahnestock John L. Thorndike

Administration of the Boston Symphony Orchestra, Inc.

Thomas W Morris, General Manager

William Bernell, Artistic Administrator Daniel R. Gustin, Assistant Manager Anne H. Parsons, Orchestra Manager Caroline Smedvig, Director ofPromotion Josiah Stevenson, Director ofDevelopment Theodore A. Vlahos, Director ofBusiness Affairs

Charles S. Fox, Director ofAnnual Giving Anita R. Kurland, Administrator of Youth Activities Arlene Germain, Financial Analyst Richard Ortner, Administrator of Charles Gilroy, ChiefAccountant Tanglewood Music Center Vera Gold, Assistant Director ofPromotion Robert A. Pihlcrantz, Properties Manager Patricia Halligan, Personnel Administrator Charles Rawson, Manager ofBox Office Nancy A. Kay, Director ofSales Eric Sanders, Director of Corporate Development John M. Keenum, Director of Joyce M. Serwitz, Assistant Director of Development Foundation Support Diane Greer Smart, Director of Volunteers Nancy Knutsen, Production Manager Nancy E. Tanen, Media/ Special Projects Administrator

Steven Ledbetter Marc Mandel Jean Miller MacKenzie Musicologist & Publications Print Production Program Annotator Coordinator Coordinator

Programs copyright ®1985 Boston Symphony Orchestra, Inc. Cover photo by Walter H. Scott Board of Overseers of the Boston Symphony Orchestra, Inc.

Harvey Chet Krentzman Chairman

Avram J. Goldberg Mrs. August R. Meyer Vice-Chairman Vice-Chairman

Ray Stata Mrs. Gordon F. Kingsley Vice-Chairman Secretary

Mrs. Weston W. Adams Mrs. Ray A. Goldberg Mrs. Hiroshi Nishino Martin Allen Jordan L. Golding Vincent M. O'Reilly

Bruce A. Beal Haskell R. Gordon Stephen Paine, Sr.

Mrs. Richard Bennink Mrs. R. Douglas Hall III John A. Perkins

Peter A. Brooke Francis W. Hatch, Jr. Mrs. Curtis Prout William M. Bulger Mrs. Richard D. Hill Peter C. Read Mary Louise Cabot Susan M. Hilles Robert E. Remis

James F. Cleary Glen H. Hiner Mrs. Peter van S. Rice

John F. Cogan, Jr. Mrs. Marilyn Brachman Hoffman David Rockefeller, Jr. Julian Cohen Mrs. Bela T. Kalman John Ex Rodgers Mrs. Nat King Cole Mrs. S. Charles Kasdon Mrs. Jerome Rosenfeld

Arthur P. Contas Richard L. Kaye Mrs. William C. Rousseau Mrs. A. Werk Cook John Kittredge Mrs. William H. Ryan Phyllis Curtin Mrs. Carl Koch Gene Shalit A.V. d'Arbeloff Mrs. E. Anthony Kutten Malcolm L. Sherman

D.V. d'Arbeloff John P. LaWare Donald B. Sinclair

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

Mrs. Otto Eckstein Laurence Lesser Mrs. Arthur I. Strang

William S. Edgerly Mrs. Charles P. Lyman Mrs. Richard H. Thompson

Mrs. Alexander Ellis Mrs. Harry L. Marks William F. Thompson

John A. Fibiger C. Charles Marran Mark Tishler, Jr.

Kenneth G. Fisher J. William Middendorf II Luise Vosgerchian Gerhard M. Freche Paul M. Montrone Mrs. An Wang Peter H.B. Frelinghuysen Hanae Mori Roger D. Wellington

Mrs. Thomas J. Galligan Richard P. Morse John J. Wilson Mrs. Thomas Gardiner Mrs. Robert B. Newman Brunetta Wolfman Mrs. James G. Garivaltis Nicholas T. Zervas

Overseers Emeriti

Mrs. Frank G. Allen Paul Fromm Benjamin H. Lacy

Hazen H. Ayer Mrs. Louis I. Kane Mrs. Stephen V.C. Morris David W Bernstein Leonard Kaplan David R. Pokross —

Officers of the Boston Symphony Association of Volunteers

Mrs. Michael H. Davis President Mrs. Hart D. Leavitt Mrs. Carl Koch

Executive I ice-President Treasurer Mrs. Barbara W. Sterner Mrs. August R. Meyer Secretary Nominating Chairman

Vice-Presidents

Mrs. Gilman W. Conant, Regions Mrs. Craig W. Fischer, Tanglewood Phyllis Dohanian, Fundraising Projects Mrs. Hiroshi Nishino, Youth Activities

Mrs. R. Douglas Hall III, Mrs. Mark Selkowitz, Tanglewood Development Services Mark Tishler, Public Relations

Chairmen of Regions

Mrs. Roman W. DeSanctis Mrs. Charles Hubbard Mrs. Frank E. Remick

Mrs. Russell J. Goodnow, Jr. Mrs. Herbert S. Judd, Jr. John H. Stookey

Mrs. Baron M. Hartley Mrs. Robert B. Newman Mrs. Arthur I. Strang

Symphony Hall Operations

Cheryl Silvia Tribbett, Function Manager James E. Whitaker, House Manager

Earl G. Buker, ChiefEngineer Cleveland Morrison, Stage Manager Franklin Smith, Supervisor ofHouse Crew

Wilmoth A. Griffiths, Assistant Supervisor ofHouse Crew William D. McDonnell, ChiefSteward

» / — —

f&JRhJl *\Mf ^j^T^^- t^P^^BIH Sb? m\ J/*- -kV— «ng5&I IJM WE HELPED ED MILLER GET BY ON $125,000. LAST YEAR.

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Our specialists optimize your posi- If you'd like a closer look at what tion in each area giving you a balanced financial planning can do for you, financial picture. Not a plan skewed we'd be happy to arrange a private toward the stock market by a broker. consultation at no cost or obligation Or toward life insurance by an agent. to you. Just call Charlie Gerrior at But a truly objective perspective. (617)965-7480.

The^ Cambridge Group YOO SET THE GOALS WE HELP YOU REACH THEM The volunteer effort to plan and produce "A Salute to Symphony" involves more than 400 persons, with hundreds more donating mer- chandise or their services as premium offerings. BSO This important project is supported this year by Kikkoman, the Weston/ Loblaw Group, and the BSO Celebrates "A Salute to Prince Company. "Salute to Symphony" Chair- Symphony" and "Symphony Sunday" man Thelma Goldberg hopes that "everyone who

The Boston Symphony Orchestra celebrates loves great music or who is proud of Boston and

"A Salute to Symphony" the weekend of 20 and what the BSO offers the city will be a part of

21 April in a community-wide effort to benefit 'Salute to Symphony.' If the commitment to date

the BSO and the Boston Pops. Sponsored by the is any indication, this year's effort should be a Boston Symphony Association of Volunteers, this tremendous success. We are extremely grateful

massive fundraising effort — formerly the to all who are making it possible." "Musical Marathon"—began with a gala Kick- Off Party at the Chestnut Hill Mall on Sunday,

14 April, and will be capped by a live, 2 1/£-hour BSO Weekend at telecast from Symphony Hall featuring the Tanglewood Boston Symphony under Seiji Ozawa and the Boston Pops under John Williams on Sunday, The BSO Weekend at Tanglewood, a popular tradition sixteen years, will take place this 21 April on WCVB-TV-Channel 5. That day will of be declared "Symphony Sunday" by Massachu- summer 26, 27, and 28 July. A comfortable bus early afternoon will transport you to setts Governor Michael S. Dukakis, and radio ride Friday the Red Lion Inn in Stockbridge; the same bus station WCRB-FM-102.5 will devote its pro- will provide door-to-door service for all events gramming to "Symphony Sunday" from 9 a.m. will include a to midnight. throughout the weekend, which Saturdav-morning Open Rehearsal with a picnic "A Salute to Symphony 1985" brings a new lunch following at Seranak, the former home of name and a new look to one of the BSO's most Serge Koussevitzky; cocktails and dinner Satur- important volunteer programs and its largest day night in the formal gardens at Tanglewood public fundraiser. The "Musical Marathon" was prior to that evening's Boston Symphony per- an annual event for the past fourteen years, formance of Handel's Messiah under raising a total of more than $2 million for the Christopher Hogwood; a chamber music concert Boston Symphony and the Boston Pops. "A Sunday morning, followed by lunch at the Blan- Salute to Symphony" brings a broader scope to tyre estate in Lenox; and a return to the Boston this project and is expected to reach many more area by 6 p.m. people through its expanded activities. Chestnut at is offered at Hill Mall has designated the entire month of April The BSO Weekend Tanglewood $400 (double occupancy, including a $50 tax-de- "Boston Symphony Orchestra Month" and is welcoming shoppers with a series of musical ductible contribution) to those who have contrib- interludes and special displays about the BSO. uted $75 or more to the orchestra. You may still become eligible by making a contribution if you As in the past, an illustrated premium cata- have not already done so. For more information, logue containing hundreds of gifts will be the please call the Volunteer Office at (617) 266-1348. focal point of "Salute to Symphony" activities, with one-of-a-kind musical offerings from orches-

tra members; restaurant, theater, and store gift With Thanks certificates, and an exclusive line of "Salute to Symphony" merchandise. Premiums are now We wish to give special thanks to the National

available at Chestnut Hill Mall and will be avail- Endowment for the Arts and the Massachusetts

able at Quincy Market this weekend. This year, Council on the Arts and Humanities for their

all premium orders will be filled immediately continued support of the Boston Symphony upon receipt. Orchestra.

BSO Members in Concert D minor Serenade, Mozart's Symphony No. 36, Linz, and the overture to Rossini's Barber of BSO principal second violinist Marylou Speaker Seville. For ticket information, call 661-7067. Churchill is the soloist in the Beethoven Violin Max Hobart conducts the Civic Symphony Concerto with the Symphony Pro Musica con- Orchestra of Boston in Barber's Overture to The ducted by Mark Churchill on Saturday, 20 April Schoolfor Scandal, Mozart's Piano Concerto at 8 p.m. at Assabet Valley Regional High School No. 21 in C, K.467, with soloist Randall in Marlboro and on Sunday, 21 April at 7 p.m. at Hodgkinson, and Mahler's Symphony No. 4, Leominster City Hall. The all-Beethoven pro- with soprano Susan Larson, on Sunday, 28 April gram also includes the Overture to The Crea- at 8 p.m. at Jordan Hall. Tickets are available at tures ofPrometheus and the Seventh Symphony. Bostix and the Jordan Hall box office, 536-2412. Tickets are $4.50 for adults, $2.50 for students and senior citizens. For further information, call 779-5373. BSO Guests on WGBH-FM-89.7 BSO harpist Ann Hobson Pilot is the soloist in the world premiere of Thomas Oboe Lee's The featured guests with Ron Delia Chiesa dur-

Concerto for Harp with the Pro Arte Chamber ing the intermissions of this season's remaining

Orchestra conducted by Gunther Schuller on live Boston Symphony broadcasts will be BSO Sunday, 28 April at 3 p.m. at Sanders Theatre in percussionist Charles Smith (18 and 19 April) and Cambridge. The program also includes Dvorak's percussionist Frank Epstein (25 and 26 April).

Pops Celebrates Start of 100th Birthday Season with Special Opening Night Concert

Vocalist Cleo Laine and flutist James Galway (pictured here) are John Williams's special guests at the Opening Night Concert of the Boston Pops' 100th Birthday Season on

Tuesday, 30 April. This once-in-a-century celebration will begin at 5:30 p.m., when all concertgoers will be treated to an elegant cocktail reception in Symphony Hall. The concert, beginning at 6:30 p.m., will feature Ms. Laine with the John Dankworth Quartet, plus the world premiere of PD.Q. Bach's "1712 Overture, " newly discovered by Professor Peter Schickele under a special Pops "research commission." To conclude the evening, benefactors will remain for a dinner dance to be held in a tent adjacent to Symphony Hall and transformed into a springtime garden. Everyone who attends the concert will be sent home with a surprise Pops birthday present.

Ticket prices include a tax-deductible contribution and range from $50 to $500.

Tickets are on sale now at the Symphony Hall box office. For further information, call (617)266-1492. he was made an assistant The 1984-85 season is Seiji Ozawa's twelfth 1961 Japan tour, and 1961-62 as music director of the Boston Symphony conductor of that orchestra for the professional concert Orchestra. In the fall of 1973 he became the season. His first came in orchestra's thirteenth music director since it appearance in North America Francisco was founded in 1881. January 1962 with the San Symphony Orchestra. He was music director Born in 1935 in Shenyang, China, to of the Ravinia Festival for five summers begin- Japanese parents, Mr. Ozawa studied both ning in 1964, and music director for four Western and Oriental music as a child and seasons of the Toronto Symphony Orchestra, i later graduated from Tokyo's Toho School of post he relinquished at the end of the Music with first prizes in composition and con- 1968-69 season. ducting. In the fall of 1959 he won first prize at the International Competition of Orchestra Seiji Ozawa first conducted the Boston Sym Conductors, Besancon, France. Charles phony in Symphony Hall in January 1968; he Munch, then music director of the Boston had previously appeared with the orchestra fo Symphony and a judge at the competition, four summers at Tanglewood, where he invited him to Tanglewood, where in 1960 he became an artistic director in 1970. In won the Koussevitzky Prize for outstanding December 1970 he began his inaugural seasoi student conductor, the highest honor awarded as conductor and music director of the San by the Berkshire Music Center (now the Francisco Symphony Orchestra. The music Tanglewood Music Center). directorship of the Boston Symphony followed his San While working with Herbert von Karajan in in 1973, and Mr. Ozawa resigned the spring of 1976, serv- West Berlin, Mr. Ozawa came to the attention Francisco position in there for the 1976-77 of Leonard Bernstein, whom he accompanied ing as music advisor on the New York Philharmonic's spring season.

8 As music director of the Boston Symphony the Grand Prix de la Critique 1984 in the Orchestra, Mr. Ozawa has strengthened the category of French world premieres. orchestra's reputation internationally as well Mr. Ozawa has won an Emmy for the as at home, beginning with concerts on the Boston Symphony Orchestra's "Evening at BSO's 1976 European tour and, in March Symphony" television series. His award- 1978, on a nine-city tour of Japan. At the winning recordings include Berlioz's Romeo et invitation of the Chinese government, Mr. Juliette, Schoenberg's Gurrelieder, and the Ozawa then spent a week working with the Berg and Stravinsky violin concertos with Peking Central Philharmonic Orchestra; a Itzhak Perlman. Other recordings with the year later, in March 1979, he returned to orchestra include, for Philips, Richard China with the entire Boston Symphony for Strauss's Also sprach Zarathustra and Ein a significant musical and cultural exchange Heldenleben, Stravinsky's Le Sacre du entailing coaching, study, and discussion ses- printemps, Hoist's The Planets, and Mahler's sions with Chinese musicians, as well as con- Symphony No. 8, the Symphony ofa Thou- cert performances. Also in 1979, Mr. Ozawa sand. For CBS, he has recorded music of led the orchestra on its first tour devoted Ravel, Berlioz, and Debussy with mezzo- exclusively to appearances at the major music soprano Frederica von Stade and the Men- festivals of Europe. Seiji Ozawa and the Boston delssohn Violin Concerto with Isaac Stern; in Symphony celebrated the orchestra's one- addition, he has recorded the Schoenberg/ hundredth birthday with a fourteen-city Amer- Monn Cello Concerto and Strauss's Don Qui- ican tour in March 1981 and an international xote with cellist Yo-Yo Ma for future release. tour to Japan, France, Germany, Austria, and For Telarc, he has recorded the complete England in October/ November that same cycle of Beethoven piano concertos and the year. Most recently, in August/September Choral Fantasy with Rudolf Serkin. Mr. Ozawa 1984, Mr. Ozawa led the orchestra in a two- and the orchestra have recorded five of the and-one-half-week, eleven-concert tour which works commissioned by the BSO for its cen- included appearances at the music festivals of tennial: Roger Sessions's Pulitzer Prize- Edinburgh, London, Salzburg, Lucerne, and winning Concerto for Orchestra and Andrzej Berlin, as well as performances in Munich, Panufnik's Sinfonia Votiva are available on Hamburg, and Amsterdam. Hyperion; Peter Lieberson's Piano Concerto

Mr. Ozawa pursues an active international with soloist Peter Serkin, John Harbison's career. He appears regularly with the Berlin Symphony No. 1, and Oily Wilson's Sinfonia Philharmonic, the Orchestre de Paris, the have been taped for New World records. For French National Radio Orchestra, the Vienna Angel/EMI, he and the orchestra have Philharmonic, the Philharmonia of London, recorded Stravinsky's Firebird and, with so- and the New Japan Philharmonic. His operatic loist Itzhak Perlman, jthe violin concertos of credits include Salzburg, London's Royal Earl Kim and Robert Starer. Mr. Ozawa holds

Opera at Covent Garden, La Scala in Milan, honorary Doctor of Music degrees from the and the Paris Opera, where he conducted the University of Massachusetts, the New England world premiere of Olivier Messiaen's opera Conservatory of Music, and Wheaton College St. Francis ofAssisi in November 1983. in Norton, Massachusetts. Messiaen's opera was subsequently awarded f^&&^g3W&M&We&&

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60 Federal Street Boston, MA 02110 Violas Thomas Martin Burton Fine Peter Hadcock Charles S. Dana chair E-flat Clarinet McCarty Patricia Bass Clarinet Anne Stoneman chair Craig Nordstrom Ronald Wilkison Robert Barnes Bassoons Jerome Lipson Sherman Walt Bernard Kadinoff Edward A. Taft chair Joseph Pietropaolo Roland Small Michael Zaretsky Matthew Ruggiero Music Directorship endowed by Marc Jeanneret John Moors Cabot Contrabassoon Betty Benthin Richard Plaster BOSTON SYMPHONY Mark Ludwig Horns ORCHESTRA Cellos Charles Kavalovski 1984/85 Jules Eskin Helen SagoffSlosberg chair R. Allen chair Philip Richard Sebring First Violins Martha Babcock Daniel Katzen Malcolm Lowe Vernon and Marion Alden chair Wadenpfuhl Concertmaster Mischa Nieland Jay Charles Munch chair Esther S. and Joseph M. Shapiro chair Richard Mackey Borok Emanuel Jerome Patterson Jonathan Menkis Assistant Concertmaster * Robert Ripley Helen Horner Mclntyre chair Trumpets Luis Leguia Max Hobart Charles Schlueter Robert L. Beal, and Carol Procter Roger Louis Voisin chair and Bruce A. Beal chair Enid Ronald Feldman Andre Come Cecylia Arzewski * Joel Moerschel Ford H. Cooper chair Edward and Bertha C. Rose chair Sandra and David Bakalar chair Charles Daval Bo Youp Hwang * Jonathan Miller Peter Chapman John and Dorothy Wilson chair * Sato Knudsen Max Winder Trombones Harry Dickson Ronald Barron Collier chair Basses Forrest Foster and Mary B. Barger chair Barker J.P. Gottfried Wilfinger Edwin Harold D. Hodgkinson chair Norman Bolter Fredy Ostrovsky Lawrence Wolfe Tuba Leo Panasevich Maria Stata chair Carolyn and George Rowland chair Chester Schmitz Joseph Hearne Sheldon Rotenberg Margaret and William C. Bela Wurtzler Muriel C. Kasdon and Rousseau chair Leslie Martin Marjorie C. Paley chair Timpani Alfred Schneider John Salkowski Everett Firth Sird John Barwicki Raymond Sylvia Shippen Wells chair Ikuko Mizuno * Robert Olson Amnon Levy * James Orleans Percussion Charles Smith Violins Second Flutes Peter and Anne Brooke chair Marylou Speaker Churchill Doriot Anthony Dwyer Arthur Press Fahnestock chair Walter Piston chair Assistant Timpanist Vyacheslav Uritsky Fenwick Smith Thomas Gauger chair Charlotte and Irving W. Rabb chair Myra and Robert Kraft Frank Epstein Ronald Knudsen Leone Buyse Joseph McGauley Harp Leonard Moss Piccolo Ann Hobson Pilot Laszlo Nagy Lois Schaefer Willona Henderson Sinclair chair and C. Charles Marran chair * Michael Vitale Evelyn * Harvey Seigel Oboes Personnel Managers * Jerome Rosen Ralph Gomberg William Moyer * Sheila Fiekowsky Mildred B. Remis chair Harry Shapiro * Gerald Elias Wayne Rapier Librarians * Ronan Lefkowitz Alfred Genovese * Nancy Bracken Marshall Burlingame Shisler * Joel Smirnoff English Horn William * Jennie Shames Laurence Thorstenberg James Harper * Lowe Phyllis Knight Beranek chair Nisanne Stage Manager * Aza Raykhtsaum Clarinets Position endowed by * Lloyd Clagett Nancy Mathis DiNovo Harold Wright Angelica Ann S.M. Banks chair Alfred Robison * Participating in a system ofrotated seating within each string section. How to conduct yourself on Friday night.

Aficionados of classical music can enjoy the Boston Symphony Orchestra every Friday night at 9 o'clock on WCRB 102. 5 FM. Sponsored in part by Honeywell.

Honeywell

12 A Brief History of the Boston Symphony Orchestra

For many years, philanthropist, Civil War fulfilling Major Higginson's wish to give veteran, and amateur musician Henry Lee "concerts of a lighter kind of music." These Higginson dreamed of founding a great and concerts, soon to be given in the springtime permanent orchestra in his home town of and renamed first "Popular" and then Boston. His vision approached reality in the "Pops," fast became a tradition. spring of 1881, and on 22 October that year the Boston Symphony Orchestra's inaugural During the orchestra's first decades, there concert took place under the direction of con- were striking moves toward expansion. In ductor Georg Henschel. For nearly twenty 1915, the orchestra made its first transconti- years, symphony concerts were held in the old nental trip, playing thirteen concerts at the Boston Music Hall; Symphony Hall, the Panama-Pacific Exposition in San Francisco. orchestra's present home, and one of the Recording, begun with RCA in the pioneering world's most highly regarded concert halls, days of 1917, continued with increasing fre- was opened in 1900. Henschel was succeeded quency, as did radio broadcasts of concerts. by a series of German-born and -trained con- The character of the Boston Symphony was ductors—Wilhelm Gericke, Arthur Nikisch, greatly changed in 1918, when Henri Rabaud Emil Paur, and Max Fiedler—culminating in was engaged as conductor; he was succeeded the appointment of the legendary Karl Muck, the following season by Pierre Monteux. These who served two tenures as music director, appointments marked the beginning of a 1906-08 and 1912-18. Meanwhile, in July French-oriented tradition which would be 1885, the musicians of the Boston Symphony maintained, even during the Russian-born had given their first "Promenade" concert, Serge Koussevitzky's time, with the employ-

offering both music and refreshments, and ment of many French-trained musicians. .

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

13 The Koussevitzky era began in 1924. His

extraordinary musicianship and electric per- »f sonality proved so enduring that he served an unprecedented term of twenty- five years. In

1936, Koussevitzky led the orchestra's first concerts in the Berkshires, and a year later he

and the players took up annual summer resi- dence at Tanglewood. Koussevitzky passion- ately shared Major Higginson's dream of "a good honest school for musicians," and in 1940 that dream was realized with the found- ing at Tanglewood of the Berkshire Music Center, a unique summer music academy for young artists. To broaden public awareness of the Music Center's activities at Tanglewood, Henry Lee Higginson the Berkshire Music Center will be known as the Tanglewood Music Center beginning with w* the 1985 session.

Expansion continued in other 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. The

Boston Pops will celebrate its hundredth birth- day in 1985 under Mr. Williams's baton.

Charles Munch followed Koussevitzky as music director in 1949. Munch continued Koussevitzky's practice of supporting contem- Georg Henschel porary composers and introduced much music

Karl Muck Pierre Monteux Serge Koussevitzky

14 from the French repertory to this country. gram of centennial commissions—from During his tenure, the orchestra toured abroad Sandor Balassa, Leonard Bernstein, John

for the first time, and its continuing series of Corigliano, Peter Maxwell Davies, John Youth Concerts was initiated. Erich Leinsdorf Harbison, Leon Kirchner, Peter Lieberson, began his seven-year term as music director in Donald Martino, Andrzej Panufnik, Roger 1962. Leinsdorf presented numerous pre- Sessions, Sir Michael Tippett, and Oily mieres, restored many forgotten and neglected Wilson—on the occasion of the orchestra's works to the repertory, and, like his two prede- hundredth birthday has reaffirmed the orches- cessors, made many recordings for RCA; in tra's commitment to new music. Under his addition, many concerts were televised under direction, the orchestra has also expanded its his direction. Leinsdorf was also an energetic recording activities to include releases on the director of the Berkshire Music Center, and Philips, Telarc, CBS, Angel/EMI, Hyperion, under his leadership a full-tuition fellowship and New World labels. program was established. Also during these From its earliest days, the Boston Sym- years, the Boston Symphony Chamber Players phony Orchestra has stood for imagination, were founded, in 1964; they are the world's enterprise, and the highest attainable stan- only permanent chamber ensemble made up of dards. Today, the Boston Symphony Orches- a major symphony orchestra's principal play- tra, Inc., presents more than 250 concerts ers. William Steinberg succeeded Leinsdorf in annually. Attended by a live audience of nearly 1969. He conducted several American and 1.5 million, the orchestra's performances are world premieres, made recordings for heard by a vast national and international Deutsche Grammophon and RCA, appeared audience through the media of radio, tele- regularly on television, led the 1971 European vision, and recordings. Its annual budget has tour, and directed concerts on the east coast, grown from Higginson's projected $115,000 in the south, and in the mid-west. to more than $20 million. Its preeminent posi-

Seiji Ozawa, an artistic director of the tion in the world of music is due not only to the

Berkshire Festival since 1970, became the support of its audiences but also to grants from orchestra's thirteenth music director in the fall the federal and state governments, and to the of 1973, following a year as music advisor. generosity of many foundations, businesses,

Now in his twelfth year as music director, Mr. and individuals. It is an ensemble that has

Ozawa has continued to solidify the orchestra's richly fulfilled Higginson's vision of a great reputation at home and abroad, and his pro- and permanent orchestra in Boston.

Charles Munch William Steinberg <*

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16 ,

BOSTON SYMPHONY ORCHESTRA

Seiji Ozawa, Music Director

One Hundred and Fourth Season, 1984-85

Thursday, 18 April at 8 Friday, 19 April at 2 Saturday, 20 April at 8 Tuesday, 23 April at 8

SEIJI OZAWA conducting

MENDELSSOHN Symphony No. 5 in D, Opus 107, Reformation

Andante— Allegro con fuoco Allegro vivace Andante

CHORALE: Ein feste Burg ist unser Gott (Andante con moto)—Allegro vivace—Allegro maestoso

INTERMISSION

LALO Symphonie espagnole in D minor, Opus 2 1 for violin and orchestra

Allegro non troppo Scherzando: Allegro molto

Intermezzo: Allegretto non troppo Andante

Finale: Allegro ANNE-SOPHIE MUTTER

Anne-Sophie Mutter's appearances this week are made possible in part by the Roberta M. Strang Memorial Fund.

RAVEL Alborada del gracioso

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

Philips, Telarc, CBS, Deutsche Grammophon, Angel/EMI, New World, 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 LOCATION ».» The Fairways at Chestnut Hill gives you downtown Boston from the perfect vantage point: within sight and within a 15- minute drive. You'll also have a bricked terrace and a balcony overlooking a golf course, where you can relax and look back on the day's accomplishments.

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18 Felix Mendelssohn

Symphony No. 5 in D, Opus 107, Reformation

Jakob Ludwig Felix Mendelssohn was born in Hamburg on 3 February 1809 and died in Leipzig on 4 November 1847. Bartholdy was the name ofhis maternal uncle, Jakob, who had changed his own name from Salomon and taken on Bartholdyfrom the pre- vious owner ofa piece ofreal estate he bought in Berlin. It was he who most persistently urged the family's conversion to Lutheranism: the name Bartholdy was added to Mendelssohn— to distinguish the Protestant Men- delssohns from the Jewish ones —when Felix's father actually took that step in 1822, the children having been baptized as early as 1816.

Mendelssohn composed his Reformation Symphony between the autumn of1829 and April 1830. He conducted the first performance at the Singakademie in Berlin on

15 November 1832. The first American performance was given in Boston's Tremont

Temple in a concert of the Musical Fund Society conducted by George J. Webb on 19 January 1850—eighteen years before the score was published! Georg Henschel introduced the work to the repertory of the Boston Symphony Orchestra on the thirteenth program of its first season, 20-21 January 1882. Other conductors who have programmed the symphony have included Wilhelm Gericke, Pierre Monteux, Serge Koussevitzky, and Charles Munch, who gave the most recent Tanglewood performance in August 1965. Michael Tilson Thomas led the most recent subscription performances in November and December 1974. The score calls for two flutes, two oboes, two clarinets, two bassoons, two horns, two trumpets, three trombones, timpani, and strings. A serpent* doubling a contrabassoon is added in the last movement. In these performances a C tuba will double the contrabassoon.

The numbering of Mendelssohn's symphonies is completely out of joint. Since so many works—including the Reformation Symphony—were published long after his death, their order of composition was not taken into account when symphonies were published in his lifetime. The First Symphony is indeed the First —omitting some dozen symphonies for

*The serpent was already obsolescent in Mendelssohn's day. Classified by students of musical

instruments as a kind of trumpet because of its cup-shaped mouthpiece, the serpent is a large

instrument (more than six feet in length) largely of wood carved in a serpentine shape with holes at the sides to be covered by the fingers while playing. Cecil Forsyth's book on orchestration provides this classic description: "The old instrument presented the appearance of a dishevelled drain pipe which was suffering internally." Popular in France from the seventeenth century as a way of supporting singers in the performance of plainsong, the serpent spread later to England and

Germany, where it was especially used in military wind bands from the middle of the eighteenth century. Mendelssohn called for the instrument in several other scores, including Calm Sea and

Prosperous Voyage and the oratorio St. Paul. It was gradually replaced during the nineteenth

century by valved brass instruments that sounded in the bass register.

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Second and Third a decade later.

In 1829, when Mendelssohn began work on the symphony in D, he was looking forward

to a festivity planned in Germany for the following year to celebrate the 300th anniver- sary of the Imperial Diet of June 1530, a conference that produced the Augsburg Confession, the formal profession of faith of the followers of Martin Luther. Luther himself did not attend the diet (under an Imperial ban at the time, he remained in Coburg and

kept in touch with the Protestant delegation by messengers), but while it was in session he wrote one of the most famous of his many hymn texts, a paraphrase of Psalm 46, Ein feste Burg 1st wiser Gott ("A mighty fortress is our God"). Under the circumstances this hymn became something of a battle cry for the Reformation. In 1730, when the German Lutherans were celebrating the 200th anniversary of the Augsburg Confession, Johann Sebastian Bach composed a cantata based on Luther's hymn (Cantata 80). Nearly a

century later, with the 300th anniversary in view, Mendelssohn began to consider the idea

of making a musical contribution to the festivities employing this chorale.

He wrote to his family from England on 2 September 1829, dropping a hint about this new work that he had conceived. Eight days later he added that he had decided to start work while he was in London. When he finished the score in Berlin the following April, he

asked various people for advice as to an appropriate title. He considered and evidently rejected "Reformation" "Confession" (here used in a sense specific to German, involv- " ing adherence to a particular form of religion), and "Symphonyfor a Church Festivity. In any event the church festivity for which he had conceived the work never took place, so there was no performance in the tricentennial year. While Mendelssohn was in Paris in

1831-32, Antoine Habeneck planned a performance in his series of concerts at the

Conservatory. Mendelssohn was surprised at the thought of having a work so redolent of German culture premiered in the capital of France, but he did not oppose the idea. Yet after a rehearsal on 17 March 1832, the planned performance was cancelled. The musicians protested to Habeneck that the symphony lacked melody and was overladen with thick counterpoint. Mendelssohn had been humiliated, and he may never have

recovered any confidence in the symphony. Though he led the first performance in Berlin

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22 eight months later (where he called it a "Symphonyfor the Celebration of the Church

Reformation"), he apparently never performed it again. Moreover he withheld it from publication during his lifetime; only twenty-one years after his death did the score finally see print.

Perhaps as befits a symphony composed for a historical celebration, Mendelssohn's work draws on a number of older musical traditions beyond the obvious one of Luther's hymn. The first phrase heard in the violas consists of four notes (D, E, G, F-sharp) which can be heard as a transposed form of the main theme in the last movement of Mozart's

Jupiter Symphony, or as a still older melody, a traditional contrapuntal figure. In fact, it may well be derived from the Gregorian Magnificat motive, which in turn goes back to an ancient synagogal melody. Increasingly insistent fanfare figures in the woodwinds sud- denly give way to another familiar borrowing from the church—a particular form of the Amen chord as harmonized for the church in Dresden by Johann Gottlieb Naumann in the late eighteenth century. Though used originally in a Catholic church, the "Dresden Amen" quickly spread to Protestant churches as well—and to other musical works;

Wagner uses it as the Grail motive in Parsifal. Mendelssohn presents it twice, pianissimo, in the strings, interrupted by a single fanfare figure.

This brings us to the main part of the first movement, an Allegro con fuoco in D minor which takes the melodic outline (a rising fifth, moving up the scale) of the Dresden Amen just heard and reduces it to the two extreme pitches. Presented by Mendelssohn in a characteristic dotted rhythm, it is hard not to hear it as an allusion to the slow introduction of Haydn's London Symphony, No. 104, which begins with the same dotted rhythmic figure outlining the interval D-A. Already, then, the young Mendelssohn has hinted at Haydn, possibly Mozart or plainsong, and a well-known form of the "Amen." The wonder of the movement is that all his historicizing fits so well into a sonata allegro form (in which the swelling second theme is still to come). Yet for all its backward glances, it is an energetic and well-crafted movement that builds its lengthy development section through contrapuntal interplay between the two principal themes of the Allegro con fuoco. The

Dresden Amen introduces the recapitulation, which is hushed where the exposition was aggressive. The coda returns to the energy and vigor of the exposition.

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24 The second movement is a scherzo in B-flat based on a single reiterated rhythm that runs through the main body of the movement. Mendelssohn scores the first strain for winds, then alternates winds, strings, and tutti in the longer second part. The middle section is a leisurely waltz in the surprisingly bright key of G major. The scherzo returns, but the movement does not end before a quiet coda partly reconciles the material of the main section with the contrasting middle part.

The slow movement, in G minor, is an aria for the violins with the accompaniment of repeated-note chords in the other strings and an occasional response from the woodwinds.

It comes to an end on a sustained G in the cellos and basses. Then the flute first sings, unaccompanied and unharmonized, the opening phrase of Luther's great hymn. Gradually more instruments join in and enrich the harmonization, but just as the tune is about to close, the flute diverts it in a little cadenza, and the strings enter in a lively, syncopated 6/8 passage that modulates from G to the home tonic of D for the real beginning of the last movement. Here we may regret the stereotyped simplicity of Mendelssohn's themes— all arpeggios and scales without much shapeliness, though Mendelssohn works hard at creating a kind of monumentality, with brief fugal sections and other contrapuntal devices. Ein feste Burg runs through the development section, but there is little actual development as the tune leads back to the tonic for a recapitulation of the ideas we have already heard. The coda is a final majestic proclamation of the great chorale.

—S.L.

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onvenient location Edouard Lalo

Symphonie espagnole in D minor, Opus 21, for violin and orchestra

Edouard-Victoire-Antoine Lalo was born in Lille, France, on 27 January 1823 and died in Paris on 22 April 1892. He composed his Symphonie espagnole in 1874 for the Spanish virtu- oso Pablo de Sarasate, who played the

first performance in a Colonne concert in Paris on 7 February 1875. Wilhelm

Gericke conducted the first American performances at the Boston Symphony concerts of11 and 12 November 1887, omitting the third movement; the soloist was composer and BSO assistant con-

certmaster Charles Martin Loeffier, who was also soloist for performances con- ducted by Arthur Nikisch. Later BSO outings of the ""Spanish Symphony" featured conductors Emil Paur and Gericke with violinist Timothee Adamowski; Max Fiedler with Mischa Elman; Karl Muck with Fritz Kreisler and Sylvain Noack; Pierre Monteux with Fredric Fradkin, Antonio Gerardi, Richard Burgin, Renee Chenet, and Jacques Thibaud; George Szell and Richard Burgin with Ruth Posselt. Ruth Posselt was soloist in the most recent Symphony Hall performances in December 1953, with Charles Munch conducting. Daniel Barenboim conducted the Boston Symphony's most recent Tanglewood performance, with soloist Pinchas Zukerman, in August 1971 (the Cleveland Orchestra under conductor Christoph von Dohnanyi gave a Tangle-

wood performance with violinist Shlomo Mintz last August) . All prior BSO perform- ances omitted at least the third movement, and a few of the earliest performances

omitted the second as well. The present performances are the BSO 's first of the complete score. In addition to the solo violin, the score calls for two flutes and piccolo, two oboes, two clarinets, two bassoons, four horns, two trumpets, three trombones, timpani, snare drum, triangle, harp, and strings.

Though he is now best-known for his opera Le Roi d'Ys and a handful of symphonic

scores, Lalo first made his mark as a composer of chamber music — at a time when all of the chamber genres were almost entirely neglected by French composers. Lalo's parents

had encouraged his early study of the violin and cello, but when it became clear that he intended to become a musician, they objected strenuously, forcing him to leave home at the age of sixteen. Lalo went to Paris and studied composition, for the most part privately. He made his living primarily as a violinist and teacher. But he was eager to revive the moribund traditions of chamber music in France, and by the early 1850s he had

composed a pair of piano trios and founded the Armingaud Quartet (in which he played viola and later second violin) to make better known the string quartets of Haydn, Mozart, and Beethoven, as well as the "moderns" Mendelssohn and Schumann. None of these figures was held in particularly high regard in France either by the general public or the academic musical establishment.

In the late 1850s Lalo became discouraged at his progress, and he almost gave up composition for nearly a decade. He wrote very little until 1866, when he entered an

27 Week 21 .

opera competition with a grand opera based on Schiller's Fiesko. It did not win the prize,

and though it was seriously considered for production by several houses, it remained

unperformed. Lalo drew on it for material for a number of other works.

By the 1870s there was a new interest in purely orchestral music in France, partly fostered by the founding of the Societe Nationale and the development of orchestras under such conductors as Pasdeloup, Lamoureux, and Colonne. A friendship with the

great Spanish violinist Pablo de Sarasate gave Lalo the opportunity to hear some of his new orchestral scores featuring the violin—in particular the F major violin concerto in 1874 and the Symphonie espagnole the following year.

More orchestral works followed, but it was finally the overwhelming success of his

opera Le Roi d'Ys that made Lalo famous, just four years before his death. Still, it is his instrumental music that remains of far greater historical importance, in that Lalo undertook to send French music in a decidedly new direction (he did this at about the same time that Saint-Saens and Franck were trying much the same thing). Though not his most searching orchestral score, the Symphonie espagnole has always been the most popular.

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28 The work does, however, prompt one to ask, "When is a symphony not a symphony?"

And if that sounds like a trick question, it is only because one answer certainly must be,

"When it is Lalo's Symphonie espagnole." The title is pure whimsy. The "Spanish

Symphony" is quite simply a five-movement violin concerto with all the trimmings. It has

a melodic freshness and a sureness of orchestral color that have made it irresistible from the beginning. Lalo's decision to compose tunes of a Spanish flavor may have come in part

from his own heritage (his name is Spanish, though his ancestors had lived in Flanders or

northern France since the sixteenth century), but more likely it was in tribute to his friend Sarasate, who was to give the premiere performance.

The Symphonie espagnole had some surprising adherents from its early days. In 1877 the dour Prussian pianist-conductor Hans von Biilow, for example, wrote an unfavorable review of Bruch's Second Violin Concerto, which he had heard Sarasate play in England,

and compared it to Lalo's "splendid Symphonie espagnole, showing genius in every way." Ten years later he wrote in a letter about possible concert programs that the

inclusion of the Lalo would be most agreeable to him, but '"''without amputation." This remark shows that the practice of cutting the third movement—and occasionally others—was already firmly established.

Another friend of the work was Tchaikovsky, who wrote to Mme. von Meek on 15 March 1878:

Do you know the Symphonie espagnole by the French composer Lalo? This piece

has recently been brought out by the very modern violinist Sarasate. . . . The work

has given me the greatest pleasure. It is so delightfully fresh and light, with piquant

rhythms and beautifully harmonized melodies. It resembles closely other works of the

French school to which Lalo belongs, works with which I am acquainted. Like Leo

Delibes and Bizet he shuns carefully all that is routinier, seeks new forms without wishing to be profound, and cares more for musical beauty than for the old traditions

as the Germans care. The young generation of French composers is truly very promising.

The Symphonie espagnole was composed at the same time that Bizet was working on Carmen, and both scores were premiered in the same year. Together they are among the earliest and most successful of those musical evocations of Iberia at which French composers—think of Debussy and Ravel—have excelled ever since.

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Maurice Ravel Alborada del gracioso

Joseph Maurice Ravel was born at J0" Ciboure, Basses Pyrenees, France, on 7 March 1875 and died in Paris on 28 December 1937. He composed Alborada del gracioso as a piano piece in 1905, orchestrating the work in 1918. The orchestral premiere was given in Paris on 17 May 1919, Rhene-Baton

conducting. The first American perform- ance took place at a concert of the Boston Orchestral Club under the direction ofGeorges Longy on 16 Febru- ary 1921. Serge Koussevitzky first con- ducted the work with the Boston Symphony Orchestra in New York on 7 January 1929. Other performances have been given by Enrique Fernandez Arbbs, Richard Burgin, Leonard Bernstein, Pierre Monteux, Eugene Ormandy and Seiji Ozawa, who led the most recent Symphony Hall performances in February 1976 and the most recent Tanglewood performance in July 1977. The score calls for two flutes and piccolo, two oboes and English horn, two clarinets, two bassoons and contrabassoon, four horns, two trumpets, three trombones and tuba, timpani, crotales, triangle, tambourine, castanets, side drum, cymbals, bass drum, xylophone, two harps, and strings.

In 1905 Ravel composed a set of five piano pieces under the title Miroirs (Mirrors).

Three of the five individual works Une barque sur VOcean, Alborada del gracioso, and La Vallee des cloches—were all later orchestrated. The most successful of these re- clothed pieces is certainly the Alborada del gracioso. In its original keyboard format, the piece is filled with powerful accents and impossibly fast repeated notes that are a challenge to even the most gifted virtuoso. Such overwhelming technical demands almost cried out to be translated to the orchestra, especially for a composer like Ravel, to whom the art of transcribing from piano to orchestra was a welcome challenge, one that he met repeatedly with remarkable success.

The title of the piece is evocative, if a bit mysterious. "Alborada" is the Spanish equivalent of the French "aubade," the Italian "alba," and the German "Morgenlied" all of them "dawn songs," a characteristic genre from the lyric poetry of the Middle Ages. Generally they are conceived as being sung by a friend watching out for the safety of two illicit lovers. As the night wanes, the friend sings outside the bedroom window that the dawn is approaching and that it is time for the lovers to part. (Wagner employed the same genre of the "dawn song" in Brangaene's unheeded warning to Tristan and Isolde that the night is drawing to its end.) As such, the poem of a song—and any music that would accompany it — is likely to be of a sentimental cast.

It is the second part of Ravel's title that is uniquely elusive, for this is the aubade of the gracioso—a buffoon, a jester, a clown. So this morning song is not the end of a romantic interlude, but rather a vigorous Spanish dance, possibly somewhat comic in character,

31 Week 21 Jordan Marsh mm A Unit of Allied Stores. built up from a typical Iberian rhythm and the frequent opposition of 6/8 and 3/4 • meters, often heard simultaneously in different instruments. But the rhythmic pattern here is treated with more variety than in the intentionally hypnotic Bolero, as the meter

shifts occasionally from 6/8 to 9/8. The introductory phrase, pizzicato in the strings, suggests a guitar refrain that recurs several times between "verses" of the song, which becomes a brilliant orchestral showpiece, presented with bright splashes of color and virtuosic solo interjections culminating in a glorious racket. As a real "dawn song," the

work would be catastrophic; in addition to waking the lovers, it would arouse the entire

neighborhood. But it remains one of Ravel's most colorful evocations of Iberian dance.

—S.L.

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34 More . . .

Philip Radcliffe's Mendelssohn in the Master Musicians series (Littlefield paperback) is a good introductory life -and -works treatment. Eric Werner's Mendelssohn: A New Image of the Composer and his Age is the most recent serious biography, especially good on the period, often trivial on the music. Mendelssohn's own letters are delightful, but the published versions are frightfully bowdlerized; a much-needed new critical edition is in the works. Charles Munch's recording of the Reformation Symphony with the Boston

Symphony Orchestra is still available (Victrola). Other recommended recordings include those of Ivan Fischer with the Hungarian State Orchestra (Hungaroton), Herbert von Karajan with the Berlin Philharmonic (DG), and Leonard Bernstein with the Israel

Philharmonic (DG); all of these recordings also include the Italian Symphony. The

Reformation Symphony is, of course, also part of the fine set of the five Mendelssohn symphonies that Kurt Masur has recorded with the orchestra of the Leipzig Gewandhaus

(Vanguard, a four-disc set).

There are no books in English devoted to Lalo, although his work is discussed in Martin Cooper's fine study French Music from the Death ofBerlioz to the Death ofFaure (Oxford paperback). Among the many available recordings of the Symphonie espagnole, the following may be especially recommended: Itzhak Perlman with Daniel Barenboim and the Orchestre de Paris (DG, coupled with Berlioz's Reverie), Kyung-Wha Chung with Charles Dutoit and the Montreal Symphony (London, coupled with Saint-Saens's Violin

Concerto No. 1), and Isaac Stern with Eugene Ormandy and the Philadelphia Orchestra

(CBS, coupled with the Concerto No. 1 of Bruch).

Arbie Orenstein's Ravel: Man and Musician (Columbia) is a thorough study, if a trifle dull. Norman Demuth has contributed a useful short volume on Ravel to the Master Musicians series (Littlefield paperback). A sensitive discussion of Ravel can be found in Romanticism and the Twentieth Century, the final volume of the four-volume study Man and His Music by Wilfred Mellers (Schocken). An excellent brief discussion of Ravel's orchestral music is to be found in the BBC Music Guide that Laurence Davies devotes to that subject (U. of Washington paperback); Davies has also written a fine book called The Gallic Muse with essays on Faure, Duparc, Debussy, Satie, Ravel, and Poulenc (Barnes). Seiji Ozawa and the Boston Symphony Orchestra have recorded Alborada del gracioso as part of a boxed set containing all of Ravel's works for orchestra (DG). Other excellent recordings of Alborada del gracioso include those by Charles Dutoit with the Montreal Symphony (London digital, with La Valse, Rapsodie espagnole, and Bolero) and by Leonard Bernstein with the French National Orchestra (CBS, with Bolero and La Valse).

—S.L.

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36 Anne-Sophie Mutter

Hall to Vienna's Musikverein. Among the orchestras and conductors with which she has appeared are the Vienna Symphony, the Israel Philharmonic, the Tonhalle Orchestra of Zurich,

the Orchestre de la Suisse Romande, the Phila- delphia Orchestra under Riccardo Muti, the London Philharmonic with Daniel Barenboim, and the National Symphony Orchestra under Rostropovich. She has performed frequently

with pianist Alexis Weissenberg, with whom she has recorded the Brahms and Franck sonatas for Angel/EMI.

Anne-Sophie Mutter secured her place on the

international music scene at age thirteen, when Herbert von Karajan brought her to the 1977

Celebrated throughout the world as a "violinist Salzburg Festival. Her performance of Mozart's who sets new standards," Anne-Sophie Mutter G major violin concerto with the Berlin Philhar-

appeared last month in Moscow, performing the monic led to a continuing association with von Beethoven and Brahms concertos with the Karajan, including a number of recordings. She Moscow Philharmonic conducted by Alexander made her American debut in 1980, performing

Lazarev. This June she will open the Israel Fes- the Mendelssohn concerto with the New York

tival in Jerusalem with a performance of the Philharmonic and Zubin Mehta. Ms. Mutter has Beethoven concerto, donating her fee to a received a number of international prizes and Jerusalem kindergarten. This spring brings Ms. awards. The Deutsche Phono-Akademie named

Mutter's fifth return to the United States. In her "Artist of the Year," and her debut record- addition to her appearances with the Boston ing of Mozart's Violin Concertos 3 and 5 with Symphony Orchestra, she performs also with the von Karajan and the Berlin Philharmonic Los Angeles Philharmonic under Erich brought her the 1979 Deutscher Schallplat- Leinsdorf, the Toronto Symphony under Andrew tenpreis and a Grammy nomination. Born in a Davis, the Montreal Symphony under Charles small West German town near the Swiss border, Dutoit, the Atlanta Symphony under Louis Lane, Ms. Mutter began her musical training when she

and the Detroit Symphony under Gunther Her- was five, first studying piano and soon switching

big. In January 1986 she will give the world to violin. At the age of six, she won first prize

premiere of Witold Lutoslawski's Chaine II with special distinction of the National Competi-

in Zurich under the auspices of the Collegium tion "Jungen Musiziert," the highest award

Musicum, conducted by Dr. Paul Sacher. Addi- ever given at the competition. She first came to tional 1985-86 tour engagements include a the attention of Herbert von Karajan at the

North American tour and performances in 1976 Lucerne Festival, where she and her broth- Madrid, Munich, Rome, Paris, Copenhagen, and er performed. Her Deutsche Grammophon London, culminating in a Salzburg Festival recordings with von Karajan and the Berlin appearance in August when she performs the Philharmonic also include the Bruch G minor Tchaikovsky Concerto conducted by Herbert and Mendelssohn concertos, the Beethoven von Karajan. August 1986 also marks her debut Triple Concerto, and the Brahms concerto.

with Mstislav Rostropovich and his newly formed Ms. Mutter made her first Boston Symphony string trio at the Aldeburgh Festival near Lon- appearances in February 1983, when she per- don. Ms. Mutter has played on the most pres- formed the Bruch concerto under the direction

tigious music stages of the world, from Carnegie of Seiji Ozawa.

37 COPLEY PLACE Shopping, dining, entertainment and other fantasies. The Boston Symphony Orchestra gratefully acknowledges the following corporations 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.)

1984-85 Business Honor Roll ($10,000+ )

Advanced Management Associates, Inc. John Hancock Mutual Life Insurance Company Harvey Chet Krentzman E. James Morton

Analog Devices, Inc. Stanley H. Kaplan Educational Center Ray Stata Susan B. Kaplan

Bank of Boston Liberty Mutual Insurance Company William L. Brown Melvin B. Bradshaw

Bank of New England Mobil Chemical Corporation

Peter H. McCormick 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. State Street Bank & Trust Company Norman Cahners William S. Edgerly

Country Curtains The Sheraton Corporation

Jane P. Fitzpatrick John Kapioltas

Digital Equipment Corporation The Signal Companies Kenneth H. Olsen Paul M. Montrone

Dynatech Corporation Teradyne Corporation

J.P Barger Alexander V. d'ArbelofT

Exxon Corporation Urban Investment & Development Stephen Stamas Company/ Copley Place W m. Filene's & Sons Company R.K. Umscheid Michael J. Babcock WCRB/Charles River Broadcasting, Inc. GTE Electrical Products Dean T Langford Richard L. Kaye

General Cinema Corporation WCVB-TV 5 Richard A. Smith S. James Coppersmith Wang Laboratories General Electric Company An Wang John F. Welch, Jr.

Gillette Company

Colman M. Mockler, Jr.

39 th < 1984 is our 75 Anniversary

c Ganteaume & M Mullen , Inc. Architects • Engineers

99 Chauncy Street at Lafayette Place, Boston, 617«423»7450

«

e put nursing care in wthe proper environment

When visiting the Milton Health Care rehabilitative programs, organized Facility, You experience an elegant activities as well as social services. atmosphere of residents enjoying This individual quality care is carried gourmet meals in the gracious 18th into the Adult Day Care Program, also century dining room, socializing in the available at Milton, offering to its clients Greenhouse Tavern, or relaxing in the a complete program on a daily basis. charming ice cream parlour or movie At Milton, the industry theatre. we go beyond nursing standards to provide the More important, is the dedicated The very best health care possible. staff of health care profes- For more information, visit sionals providing traditional or call (617) 333-0600. skilled nursing care, com- Milton bined with individual HEALTH CARE AND RETIREMENT FACILITY

1200 Brush Hill Road, Milton, MA 02186 A Mayo Health Facility Division of The Flatley Company

40 Business Leaders ($1,000+)

Accountants BAYBANKS, INC. Electronics William M. Crozier, Arthur Andersen & Co. Jr. Mitre Corporation William F. Meagher Chase Manhattan Corporation Robert R. Everett Robert M. Jorgensen COOPERS & LYBRAND *Parlex Corporation Vincent M. O'Reilly *Citicorp (USA), Inc. Herbert W Pollack Walter E. Charles DiPesa & Company Mercer * Signal Technology Corporation William DiPesa Coolidge Bank & Trust Company William Cook * Charles W Morash Ernst & Whinney Employment James G. Maguire Framingham Trust Company * Emerson Personnel PEAT, MARWICK, MITCHELL William A. Anastos Rhoda Warren & COMPANY Mutual Bank Robert Kleven & Company, Inc. Herbert E. Morse Keith G. Willoughby Robert Kleven *T0UCHE ROSS & COMPANY Rockland,Trust Company Russell Reynolds Associates, Inc. James T. McBride John F. Spence, Jr. Jack H. Vernon * Arthur Young & Company SHAWMUTBANKOF *TAD Technical Services Corp. Thomas P. McDermott BOSTON David J. McGrath, Jr. William F. Craig Advertising/ P. R. United Energy *Hill, Holliday, Connors, States Trust Company Cosmopulos, Inc. James V. Sidell Buckley & Scott Company Jack Connors, Charles H. Downey Jr. Building/ Contracting Hill & Knowlton CABOT CORPORATION National Lumber Company Patricia Butterfield FOUNDATION Louis L. Kaitz Ruth C. Scheer *Kenyon & Eckhardt J.F. White Contracting Company Thomas J. Mahoney EXXON CORPORATION Thomas J. White *Newsome & Company Stephen Stamas Peter Farwell Consdting/ Management *HCW Oil & Gas Company, Inc. John M. Plukas Aerospace ADVANCED MANAGEMENT ASSOCIATES, INC. HatofFs * Northrop Corporation Harvey Chet Krentzman Stanley Hatoff Thomas V. Jones BLP Associates MOBIL CHEMICAL PNEUMO CORPORATION Bernard L. Plansky CORPORATION Gerard A. Fulham BOSTON CONSULTING Rawleigh Warner, Jr. Apparel GROUP, INC. Yankee Oil & Gas, Inc.

*Knapp King Size Corporation Arthur P. Contas Paul J. Montle Winthrop A. Short Jason M. Cortell and Finance William Carter Company Associates, Inc. *Farrell, Healer & Company, Inc. Leo J. Feuer Jason M. Cortell Richard Farrell Rath & Strong, Inc. Architecture/ Design *The First Boston Corporation Arnold 0. Putnam Jung/Brannen Associates, Inc. George L. Shinn Small Business Foundation Yu Sing Jung of Kaufman & Company America, Inc. Selame Design Sumner Kaufman Richard Giesser Joe Selame * Leach & Garner Education Philip Leach Banking *Bentley College *Narragansett Capital BANK OF BOSTON Gregory H. Adamian Corporation William L. Brown STANLEY H. KAPLAN Arthur D. Little BANK OF NEW ENGLAND EDUCATIONAL CENTER TA ASSOCIATES Peter H. McCormick Susan B. Kaplan Peter A. Brooke

41 T,he principals of Dumont Kiradjieff & Moriarty invite you to tap the expertise which has built our firm's success in the placement of professional and managerial people throughout New England. DUMONT KIRADJIEFF 79 Milk Street &MORIARTY Boston, MA EMPLOYMENT K519212617 4 * 1 VZiZ CONSULTING l '

§t TJotofpfoT^stAuratr-'

MAHLER'S SYMPHONY #9 with Solti conducting Chicago Symphony on Digital's Grammy Award Winning Recording. 16.58 Rarely performed. Rarely recorded. GRIEG'S P££R GYNT with Edo De r^fing the San A charming 19th Century Townhouse serving superb continental cuisine Francisco Symphony in contemporary informal elegance. and Chorus Offering lunch and dinner with a variety 8.29 of fresh seafood specials daily, and our after theatre cafe menu till midnight.

Serving - Lunch: 12:00-2:30 weekdays

Dinner: 6:00- 10:30 Sun. - Thurs. 6:00-12:00 Fri.-Sat. HARVARD Brunch: 11:00-3:00 Sat. & Sun. jop6rativs society reservations: 266-3030

St. Available at Harvard Sauare, M.I.T. Student Center, Children's 99 Botolph Street behind Hotel Medical Center and One Federal St., Boston. Coop the Colonnade

42 WEALTH HAS ITS REWARDS,

,

For a personal appointment; call Dean Ridldn, Vice President. Private Ba^kirig Group, Bank ofBoston (617}:434^5302 V Boston s Financial District and Back Bay (gl 984 The First NatioiialBa^kol Boston; Member

FoodI HotelI Restaurant *Computer Partners, Inc. Amoskeag Company

Paul J. Crowley Joseph B. Ely II I Boston Park Plaza Hotel & Towers *Data Packaging Corporation BLYTH EASTMAN PAINE Roger A. Saunders Otto Morningstar WEBBER INC. Boston Showcase Company *Epsilon Data Management, Inc. James F. Cleary Thomas 0. Jones Jason Starr *E.F. Hutton & Company, Inc. CREATIVE GOURMETS LTD. General Eastern Instruments S. Paul Crabtree Stephen E. Elmont Corporation Goldman, Sachs & Company Pieter R. Wiederhold Dunkin' Donuts, Inc. Stephen B. Kay * Robert M. Rosenberg Helix Technology Corporation Kensington Investment Frank Gabron Howard Johnson Company Company G. Michael Hostage IBM CORPORATION Alan E. Lewis

Paul J. Palmer Inncorp, Ltd. *Loomis Sayles & Company Harry Axelrod POLAROID CORPORATION Robert L. Kemp

William J. McCune, Jr. Johnson, O'Hare Company, Inc. Moseley, Hallgarten, Estabrook Harry O'Hare RAYTHEON COMPANY & Weeden, Inc. Thomas L. Phillips Fred S. Moseley O'Donnell-Usen Fisheries Corporation * Systems Engineering & * Tucker, Anthony & R.L. Day, Arnold Wolf Manufacturing Corporation Inc. RED LION INN Steven Baker Gerald Segel * John H. Fitzpatrick *Transitron Electric Corporation Woodstock Corporation David Bakalar Frank B. Condon Roberts and Associates Warren Pierce Insurance THE SHERATON Arkwright-Boston Insurance Legal CORPORATION Frederick J. Bumpus Gadsby & Hannah John Kapioltas *Cameron & Colby Co., Inc. Jeffrey P Somers Silenus Wines, Inc. Graves D. Hewitt Goldstein & Manello James B. Hangstefer * Commercial Union Assurance Richard J. Snyder Sonesta International Hotels Companies *Herrick & Smith Corporation Howard H. Ward Malcolm D. Perkins Paul Sonnabend *Frank B. Hall & Company of Nissenbaum Law Offices THE STOP & SHOP Massachusetts, Inc. Gerald L. Nissenbaum COMPANIES, INC. Colby Hewitt, Jr. Avram Goldberg J. JOHN HANCOCK MUTUAL » THE WESTIN HOTEL LIFE INSURANCE COMPANY Manufacturing Bodo Lemke E. James Morton Acushnet Company LIBERTY MUTUAL John T. Ludes Furnishings/ Housewares INSURANCE COMPANY Bell Manufacturing Company Melvin B. Bradshaw COUNTRY CURTAINS Irving W Bell Jane P Fitzpatrick NEW ENGLAND MUTUAL Checon Corporation LIFE INSURANCE COMPANY Donald E. Conaway Edward E. Phillips High Technology/ Computers Dennison Manufacturing AT&T PRUDENTIAL INSURANCE Company COMPANY OF AMERICA Charles R. Grafton Nelson S. Gifford Robert J. Scales Analytical Systems Engineering Econocorp, Inc. Sun Life Assurance Company of Corporation Richard G. Lee Canada Michael B. Rukin FLEXcon Company, John D. McNeil Inc. Aritech Corporation Mark R. Ungerer James A. Synk Investments GENERAL ELECTRIC Automatic Data Processing *ABD Securities Corporation COMPANY

Josh Weston Theodor Schmidt-Scheuber John F. Welch, Jr. 43 MORE MUSIC FORYOUR MONEY. Whether you're looking for an opera or an oratorio, a ballet or a baroque trumpet fanfare, you're sure to find what you want at the Classical Record Center at Barnes & Noble.

When it comes to classical music, you always get more for your money at Barnes & Noble.

Classical Record Center at Barnes & Noble

395 Washington Street (at Downtown Crossing) BARNES Mon.-Fri., 9:30-6:30 Sat., 9:30-6:00 &NOBLE Sun., 12:00-6:00

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44 GENERAL ELECTRIC Superior Pet Products, Inc. Westinghouse Broadcasting &

COMPANY/LYNN Richard J. Phelps Cable, Inc.

Lawrence P. Fraiberg James P. Krebs *Towle Manufacturing Company GILLETTE COMPANY Leonard Florence Musical Instruments Colman M. Mockler, Jr. *Trina, Inc. * Baldwin Piano & Organ Guzovsky Electrical Corporation Thomas L. Easton Company Edward Guzovsky Webster Spring Company, Inc. R.S. Harrison Inland Steel-Ryerson A.M. Levine Avedis Zildjian Company Foundation, Inc. Wellman, Inc. Armand Zildjian Robert L. Atkinson Arthur 0. Wellman, Jr.

Kendall Company Printing/ Publishing

J. Dale Sherratt Media *ADC0 Publishing Company, Inc. L.E. Mason Company BOSTON GLOBE/ Samuel Gorfinkle Harvey B. Berman AFFILIATED PUBLICATIONS Bowne of Boston Ludlow Corporation William 0. Taylor William Gallant Arthur Cohen * Boston Herald CAHNERS PUBLISHING

-,NEW ENGLAND BUSINESS Patrick J. Purcell COMPANY, INC. SERVICE, INC. GENERAL CINEMA Norman L. Cahners Richard H. Rhoads CORPORATION CLARK-FRANKLIN- Norton Company Richard A. Smith KINGSTON PRESS Donald R. Melville *WBZ-TV 4 Lawrence Dress

Packaging Industries, Inc. Thomas L. Goodgame Customforms, Inc. John D. Bambara WCIB-FM David A.Granoff Lawrence K. Justice Parker Brothers * Daniels Printing Company Richard E. Stearns WCRB/CHARLES RIVER Lee Daniels Plymouth Rubber Company, Inc. BROADCASTING, INC. HOUGHTON MIFFLIN L. Maurice J. Hamilburg Richard Kaye COMPANY Scully Signal Company WCVB-TV 5 Marlowe G. Teig

Robert G. Scully S. James Coppersmith * Label Art, Inc.

Simplex Time Recorder *WNEV-TV 7/New England J. William Flynn

Company Television McGraw Hill, Inc. Glenn R. Peterson Seymour L. Yanoff Joseph L. Dionne /

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46 The following Members of the Massa- MASSACHUSETTS chusetts High Technology Council HKH TECHNOLOGY COUNCL support the BSO through the BSO Business & Professional Leadership Program:

Alpha Industries, Inc. DYNATECH CORPORATION M/A-COM, INC.

George S. Kariotis J. P. Barger Vessarios G. Chigas EPSCO, Inc. Massachusetts High Technology ANALOG DEVICES, INC. Wayne P. Coffin Council, Inc. Ray Stata Foxboro Company Howard P. Foley The Analytic Sciences Earle W. Pitt Millipore Corporation Corporation GCA Corporation Dimitri d'Arbeloff Arthur Gelb Milton Greenberg PRIME COMPUTER, INC. *Augat, Inc. GTE ELECTRICAL Joe M. Henson Roger D. Wellington PRODUCTS * Printed Circuit Corporation ' Barry Wright Corporation Dean T. Langford Peter Sarmanian Ralph Z. Sorenson *GenRad Foundation SofTech, Inc. *Bolt Beranek and Newman Inc. Lynn Smoker Justus Lowe, Jr. Stephen Levy *Haemonetics, Inc. TERADYNE, INC. Computervision Corporation John F. White Alexander V. d'Arbeloff Martin Allen Honeywell Information Systems Thermo Electron Corporation *Cullinet Software, Inc. Warren G. Sprague George N. Hatsopoulos John J. Cullinane Instron Corporation Unitrode Corporation DIGITAL EQUIPMENT Harold Hindman George M. Berman CORPORATION Arthur D. Little, Inc. WANG LABORATORIES, INC.

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47 Jaeger salutes the Boston Symphony Orchestra.

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49 Self-portrait of a genius rP

With wit and charm, Aaron Copland, America s greatest living composer looks back on the first four decades of his life in

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EXCEPTIONAL GOURMET AMERICAN CUISINE RESERVATIONS A MUST. 236-2000 AT THE SHERATON BOSTON PRUDENTIAL CENTER

50 .

Symphony Hall Information . .

FOR SYMPHONY HALL CONCERT AND each, one to a customer, at the Symphony Hall- TICKET INFORMATION, call (617) 266-1492. West Entrance on Fridays beginning 9 a.m. and For Boston Symphony concert program informa- Saturdays beginning 5 p.m.

tion, call "C-O-N-C-E-R-T." LATECOMERS will be seated by the ushers dur- THE BOSTON SYMPHONY performs ten ing the first convenient pause in the program. months a year, in Symphony Hall and at Tangle- Those who wish to leave before the end of the wood. For information about any of the orches- concert are asked to do so between program

tra's activities, please call Symphony Hall, or pieces in order not to disturb other patrons. write the Boston Symphony Orchestra, Sym- SMOKING IS NOT PERMITTED in any part of phony Hall, Boston, MA 02115. the Symphony Hall auditorium or in the sur-

THE EUNICE S. AND JULIAN COHEN rounding corridors. It is permitted only in the ANNEX, adjacent to Symphony Hall on Hunt- Cabot-Cahners and Hatch rooms, and in the ington Avenue, may be entered by the Symphony main lobby on Massachusetts Avenue.

: ' Hall West Entrance on Huntington Avenue. CAMERA AND RECORDING EQUIPMENT FOR SYMPHONY HALL RENTAL INFORMA- may not be brought into Symphony Hall during TION, call (617) 266-1492, or write the Func- concerts. tion Manager, Symphony Hall, Boston, MA FIRST AID FACILITIES for both men and 02115. women are available in the Cohen Annex near

THE BOX OFFICE is open from 10 a.m. until 6 the Symphony Hall West Entrance on Hunt- p.m. Monday through Saturday; on concert eve- ington Avenue. On-call physicians attending con-

nings, it remains open through intermission for certs should leave their names and seat locations BSO events or just past starting-time for other at the switchboard near the Massachusetts Ave- events. In addition, the box office opens Sunday nue entrance.

at 1 p.m. when there is a concert that afternoon WHEELCHAIR ACCESS to Symphony Hall is or evening. Single tickets for all Boston Sym- available at the West Entrance to the Cohen phony concerts go on sale twenty-eight days Annex. before a given concert once a series has begun,

and phone reservations will be accepted. For AN ELEVATOR is located outside the Hatch and

outside events at Symphony Hall, tickets will be Cabot-Cahners rooms on the Massachusetts Ave- available three weeks before the concert. No nue side of the building.

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 A southeast Asian Ipeat ticket available for resale by calling the switch- board. This helps bring needed revenue to the orchestra and makes your seat available to some- one who wants to attend the concert. A mailed tf^MANDALAY receipt will acknowledge your tax-deductible BURMESE RESTAURANT contribution.

RUSH SEATS: There are a limited number of Rush Tickets available for the Friday-afternoon * Celebrates lenth Y

51 LADIES' ROOMS are located on the orchestra concerts are broadcast live by the following FM level, audience-left, at the stage end of the hall, stations: WGBH (Boston 89.7), WFCR (AmhersT and on the first-balcony level, audience-right, 88.5), and WAMC (Albany 90.3); in Maine by outside the Cabot-Cahners Room near the WMED (Calais 89.7), WMEA (Portland 90.1), elevator. WMEH (Bangor 90.9), WMEW (Waterville 91.3), and WMEM (Presque Isle 106.1); and in MEN'S ROOMS are located on the orchestra Connecticut by WMNR (Monroe 88.1), WNPR level, audience-right, outside the Hatch Room (Norwich 89.1), WPKT (Hartford 90.5), and near the elevator, and on the first-balcony level, WSLX (New Canaan 91.9). Live Saturday- audience-left, outside the Cabot-Cahners Room evening broadcasts are carried by WGBH and near the coatroom. WCRB (Boston 102.5). If Boston Symphony COATROOMS are located on the orchestra and concerts are not heard regularly in your home first-balcony levels, audience-left, outside the area and you would like them to be, please call Hatch and Cabot-Cahners rooms. The BSO is not WCRB Productions at (617) 893-7080. WCRB responsible for personal apparel or other prop- will be glad to work with you and try to get the erty of patrons. BSO on the air in your area. i There are two LOUNGES AND BAR SERVICE: BSO FRIENDS: The Friends are annual donors Hall. The Hatch Room on lounges in Symphony to the Boston Symphony Orchestra. Friends Cabot-Cahners Room ' the orchestra level and the receive BSO, the orchestra's newsletter, as well level serve drinks starting on the first-balcony as priority ticket information and other benefits performance. For the Fri- one hour before each depending on their level of giving. For informa- concerts, both rooms open at day-afternoon tion, please call the Development Office at Sym- available until concert 12:15, with sandwiches phony Hall weekdays between 9 and 5. If you time. are already a Friend and you have changed your BOSTON SYMPHONY BROADCASTS: Con- address, please send your new address with your label to the Development Office, certs of the Boston Symphony Orchestra are newsletter Boston, 02115. Including heard by delayed broadcast in many parts of the Symphony Hall, MA will assure a quick and accurate United States and Canada, as well as interna- the mailing label of address in our files. tionally, through the Boston Symphony Tran- change

scription Trust. In addition, Friday-afternoon

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