BOSTON SOYMPHONY OORCHESTRA

Hundredth Birthday Season

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THE FIRST NAME IN COGNAC SINCE 1724 EXCLUSIVELY FINE CHAMPAGNE .COGNAC: FROM THE TWO "PREMIERS CRUS" ^^ ^ r BOSTON

Sei ji Ozawa, Music Director

Sir Colin Davis, Principal Guest Conductor Joseph Silverstein, .Assistant Conductor

Hundredth Birthday Season, 1981-82 Trustees of the Boston Symphony Orchestra, Inc.

Abram T. Collier, Chairman Nelson J. Darling, Jr., President

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

Vernon R. Alden Archie C. Epps III Thomas D. Perry, Jr. J.E Barger Mrs. John L. Grandin Irving W Rabb Mrs. John M. Bradley Edward M. Kennedy Mrs. George Lee Sargent Mrs. Norman L. Cahners David G. Mugar William A. Selke

George H.A. Clowes, Jr. Albert L. Nickerson John Hoyt Stookey Trustees Emeriti Talcott M. Banks, Chairman of the Board Emeritus

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

Richard P Chapman John T. Noonan John L. Thorndike Administration of the Boston Symphony Orchestra Thomas W. Morris General Manager William Bernell Edward R. Birdwell Daniel R. Gustin Artistic Administrator Orchestra Manager Assistant Manager

Caroline Smedvig Walter D. Hill Joseph M. Hobbs Director of Director of Director of Promotion Business Affairs Development

Judith Gordon Joyce M. Snyder Theodore A. Vlahos Assistant Director Development Controller of Promotion Coordinator

Marc Solomon Katherine Whitty Arlene Germain Production Coordinator of Financial Analyst Coordinator Boston Council

James E. Whitaker Elizabeth Dunton Richard Ortner Hall Manager, Director of Sales Adminstrator Symphony Hall Berkshire Music Center Charles Rawson James F. Kiley Anita R. Kurland Manager of Box Office Operations Manager, Administrator of Tanglewood Youth Activities

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

Programs copyright ©1981 Boston Symphony Orchestra, Inc. Cover photo by Peter Schaaf

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

Mrs. Norman L. Cahners Chairman

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

Charles F. Adams Jordan L. Golding Paul M. Montrone John Q. Adams Haskell R. Gordon Mrs. Hanae Mori Mrs. Frank G. Allen Graham Gund Mrs. Stephen VC. Morris

David B. Arnold, Jr. Christian G. Halby E. James Morton

Hazen H. Ayer Mrs. R. Douglas Hall III Stephen Paine, Sr.

Bruce A. Beal Francis W Hatch, Jr. John A. Perkins Mrs. Richard Bennink Mrs. Richard D. Hill David R. Pokross David W. Bernstein Ms. Susan M. Hilles Mrs. Curtis Prout

Mrs. Edward J. Bertozzi, Jr. Mrs. Amory Houghton, Jr. Mrs. Eleanor Radin

Peter A. Brooke Richard S. Jackson, Jr. Peter C. Read

William M. Bulger Mrs. Bela T. Kalman Mrs. Peter van S. Rice

Curtis Buttenheim Mrs. Louis I. Kane David Rockefeller, Jr.

Julian Cohen Mrs. S. Charles Kasdon Mrs. George R. Rowland

Mrs. Nat King Cole Mrs. F. Corning Kenly Jr. Francis P. Sears

Johns H. Congdon Mrs. Gordon F. Kingsley Gene Shalit

William M. Crozier, Jr. Mrs. Carl Koch Donald B. Sinclair

Mrs. Lewis S. Dabney Robert K. Kraft Richard A. Smith Mrs. Michael H. Davis Harvey C. Krentzman Ralph Z. Sorenson

William S. Edgerly Mrs. E. Anthony Kutten Peter J. Sprague

Mrs. Alexander Ellis, Jr. Benjamin H. Lacy Ray Stata

Frank L. Farwell Mrs. Henry A. Laughlin Mrs. Edward S. Stimpson

Kenneth G. Fisher Mrs. James F. Lawrence Mrs. Arthur I. Strang

Mrs. John H. Fitzpatrick Mrs. Charles P. Lyman Mrs. Richard H. Thompson

Peter H.B. Frelinghuysen C Charles Marran Mark Tishler, Jr. Paul Fromm Mrs. August R. Meyer Ms. Luise Vosgerchian

Mrs. Thomas J. Galligan, Jr. Edward H. Michaelsen Robert A. Wells

Mrs. Thomas Gardiner J. William Middendorf II Mrs. Donald Wilson

Avram J. Goldberg John J. Wilson

THE SYMBOL OF GOOD BANKING.

Union Warren Savings Bank Main Office: 133 Federal Street, Boston, MA 02110 'But ifyou turn your back on the market entirely, will the Dow ever break a thousand again?"

For good advice on personal trust and investment matters, call our Trust Division at (617) 742-4000. Or write New England Merchants National Bank, 28 State Street, Boston, Massachusetts 02109.® Bank of New England. Join morningpro musica's

host Robert J. Lurtsema as he surveys the Boston Symphony Orchestra's 100th Birthday season through a series of infor- mal conversations with featured soloists, conduc- tors, and composers.

morningpro musica is WVPS (107.9 fm) now heard coast to coast Burlington, VT on stations of the Public WMEH(90.9fm) Radio Cooperative Bangor, ME including, in the New York/New England area: WMEA(90.1fm) Portland, ME WGBH(897fm) Boston, MA WMEM (106.1 fm) Presque Isle, ME WFCR(88.5fm) Amherst, MA WPBH(90.5fm) Hartford, New Haven, WAMC(90.3fm) Waterbury, CT Albany, NY WEVO(89.1fm) WNYC(93.9fm) Concord, NH New York, NY WVPR(89.5fm) Windsor, VT BSO

BSO/WCRB Musical Marathon 1982

The twelfth annual BSO/WCRB Musical Marathon will take place the weekend of

16-18 April 1982. The Marathon is of course one of the BSO's primary fundraising efforts, and it also serves as one of the most exciting and direct ways for volunteers to become involved with the orchestra. Planning for this year's Marathon began virtually as soon as last year's ended, and the range of this year's nearly 300 premiums is extraordinary: BSO "exclusives" highlighting the orchestra's international reputation with an "around-the- world" theme focusing on major cities to which the BSO has toured; premiums offered by orchestra members and staff and ranging from homebaked bread to evening-length recitals,- gift certificates from restaurants and items from retail stores; tickets for concert, theater, and sports events,- and nearly 25 premiums from the Berkshires, including weekend or overnight stays. This year's Marathon catalog, underwritten by New England Telephone, will be available in mid-March. WCVB-TV-Channel 5 will once again make available two-and-a-half hours of prime time for the Marathon concert broadcast on Sunday evening, 18 April.

In addition to all of this, works by more than 75 artists in all media— including sculpture, photography, etchings, and paintings—have been donated for the Marathon Fine Arts Show, which will open in Symphony Hall on Monday evening, 5 April. A "Preview Party" for the Fine Arts Show will be held in the Hatch Room on Monday, 5

April from 5 to 8 p.m. There is no admission charge; refreshments donated by Concord Caterers will be served, and music will be provided by New England Conservatory musicians. If you would like to receive an invitation to the "Preview Party" please phone the Marathon Office at 266-1492, ext. 230.

'Presidents at Pops'

A very special night at Pops, and a first for the BSO, is being planned by a committee of business leaders, BSO Trustees, and Overseers. Designed to solidify and broaden the relationship between the BSO and the business community, it will make possible corporate support of the BSO and, at the same time, the establishment of new business contacts, the honoring of employees and spouses, or the conclusion of a company business meeting with a pleasant evening. This "Presidents at Pops" Concert will be held on 15 June 1982 with an outstanding program and buffet supper. Tickets will be sold as a "package" to include two adjoining Pops floor tables of five seats each and ten balcony seats. In addition there will be a Presidents Dinner, an elegant and fun evening at Symphony Hall on 10 May 1982 for 100 Presidents of supporting companies who will be guests of the BSO.

"Presidents at Pops" already has more than seventy businesses in the greater Boston area committed to attend. For further information on this and other aspects of the Boston Symphony's Business Leadership Program, please contact Frank Pemberton in the BSO's Development Office at (617) 266-1492. BSO/WCRB Musical Marathon '82: Musical Premiums

The dedicated volunteers who contribute each year to the creative planning, efficient organization, and talented staffing of the BSO/WCRB Musical Marathon are augmented annually by another category of special helpers: orchestra members and BSOrelated musicians who donate their artistry in the form of recital premiums. Looking through the twenty-page Marathon Catalog, to be mailed in mid-March, you will discover that your pledge of support to the BSO can bring you the gift of music. For example, BSO trombonist Gordon Hallberg offers a duo-recital with violinist Priscilla Hallberg of the Pops Esplanade Orchestra, including violin showpieces, music for trombone, and even a few rare duos for the two together. Burton Fine, BSO principal violist, offers a recital by the Famous Fine Family and Friends, to include harp, viola, and several surprise addi- tions. Luise Vosgerchian, particularly familiar to our Stage Door Lecture audiences, offers either a solo piano recital or a chamber concert of Mozart piano quartets. And the Empire Brass Quintet is offering Wi hours of chamber music—for which half the premium pledge will provide a talented young musician a Fellowship to the Berkshire Music Center! Other instrumentalists are donating to the Marathon in non-musical ways: BSO principal trumpet Charles Schlueter, for example, will cook and serve a Chinese dinner for four.

Last year, BSO members themselves raised more than $22,000 by donating their talents. Their contributions to the Marathon are essential, and their recital premiums and other donations are among the most invaluable gifts offered to our supporters.

BSO Members in Concert

BSO violinist Cecylia Arzewski will perform the Brahms Violin Concerto with the North Shore Philharmonic conducted by Max Hobart at Salem High School on Sunday evening, 21 March at 8 p.m. In addition, Ms. Arzewski will perform three times with the newly-formed National Youth Orchestra of Paris, Alexander Myrat conducting, in early April.

Max Hobart, most visible to BSO audiences at his place among the first violins of the orchestra, is also music director and conductor of the Civic Symphony Orchestra of Boston. The featured soloist for that orchestra's performance on Sunday evening, 14

March at 8 p.m. in Jordan Hall is BSO concertmaster Joseph Silverstein, who will perform music of Paganini and Bruch.

The debut of the Boston Radio Orchestra conducted by Lawrence Wolfe will mark the return to the Boston area of live, in-studio orchestra concerts intended solely for broad- cast. The group is composed primarily of BSO members, and Music Director Wolfe is BSO assistant principal bass as well as principal bass of the Boston Pops. The Boston Radio

Orchestra will give six concerts during the 1982-83 season. The first concert will be broadcast from the studios of WGBH-FM-89.7 on Sunday, 21 March at 2 and will include Haydn's Symphony No. 30 (Alleluia), Mozart's Symphony No. 33, and Tchaikovsky's Variations on a Rococo Theme for cello and orchestra, with BSO cellist Ronald Feldman as the featured soloist.

The Boston Artists' Ensemble, which includes violinist Arturo Delmoni, pianist Andrew Wolf, and BSO cellist Jonathan Miller, has two concerts coming up at the Longy

School of Music in Cambridge: on Tuesday evening, 30 March at 8, they'll perform trios by Beethoven, Brahms, and Mendelssohn. On Tuesday evening, 4 May, there'll be music of Beethoven, Faur'e, Chopin, Debussy, and Grieg. For ticket information, please call 864-1774. 6 !

Celebrate Haydn's 250th Birthday !

Join members of the Boston Symphony Orchestra and assorted friends and guests for a special "Soiree Musicale" in Symphony Hall on Wednesday evening, 31 March, to celebrate the 250th birthday of Franz Joseph Haydn. Toast the occasion with Viennese wine and pastry courtesy the Junior Council of the Boston Symphony Orchestra. Music by Haydn (of course) will predominate, in the form of chamber, piano, and vocal works. There will also be music written in Haydn's honor by Debussy, Ravel, and noted Haydn specialist Antal Dorati, who will be on hand to conduct two all-Haydn programs with the BSO in early April and who will be one of the participants in this special birthday celebration. Complete ticket and program information will be announced soon.

Another Grammy for John Williams

At this year's Grammy award presentations on Wednesday evening, 24 February in Los Angeles, John Williams's film score for "Raiders of the Lost Ark" received the Grammy for Best Album of an Original Score Written for Motion Picture or Television. That makes eleven!

BSO/WCRB Marathon '82 Quilt Raffle

Have you heard about the quilt? Katharine Marsh, a BSO subscriber, has made and donated a double-bed sized, Granny star design coverlet in shades of pewter, cream, beige, and teal blue for this year's Marathon quilt raffle. The quilt will be raffled through the Area Chairmen of the BSO Council, with the proceeds boosting the Marathon income. Raffle books are available through the Council Area Chairmen at $10 per book. The Marathon Office at Symphony Hall, 266-1492, ext. 230, will be happy to put you in touch with the Chairman nearest you. The drawing will take place on 21 April 1982. Will you hold the winning ticket?

Friends' Weekend at Tanglewood

The Friends' annual weekend bus trip to Tanglewood is set this year for 23-25 July 1982.

In addition, there will be a single one-day trip on Sunday, 11 July. Detailed information will be available in early spring,- if interested, please call the Friends' Office at 266-1348.

BSOonWGBH

Interviews by Robert J. Lurtsema with BSO personalities and guest artists continue this

season on WGBH-FM-89.7's Morning Pro Musica. Coming up : pianist Misha Dichter on

Friday morning, 12 March at 11, and noted Haydn specialist, conductor Antal Dorati, on

Monday morning, 5 April at 11.

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. Seiji Ozawa

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

from Tokyo's Toho School of Music with first prizes in composition and conducting. In the fall of 1959 he won first prize at the Interna- tional Competition of Orchestra Conductors, Besancon, France. Charles Munch, then music director of the Boston Symphony and a judge at the competition, invited him to Tanglewood for the summer following, and he there won the Berkshire Music Center's highest honor, the Koussevitzky Prize for outstanding student conductor. While working with Herbert von Karajan in West Berlin, Mr. Ozawa came to the attention of Leonard Bernstein, whom he accompanied on the New York Philharmonic's spring 1961 Japan tour, and he was made an assistant conductor of that orchestra for the 1961-62 season. His first professional concert appearance in North America came in January 1962 with the San Francisco Symphony Orchestra. He was music director of the Chicago Symphony's Ravinia Festival for five summers beginning in 1964, and music director for four seasons of the Toronto Symphony Orchestra, a post he relinquished at the end of the 1968-69 season in favor of guest conducting numerous American and European orchestras. Seiji Ozawa first conducted the Boston Symphony in Symphony Hall in January of 1968; he had previously appeared with the orchestra for four summers at Tanglewood, where he was made an artistic director in 1970. In December of 1970 he began his inaugural season as conductor and music director of the San Francisco Symphony Orchestra. The music directorship of the Boston Symphony followed in 1973, and Mr. Ozawa resigned his San Francisco position in the spring of 1976, serving as music advisor there for the 1976-77 season. As music director of the Boston Symphony Orchestra, Mr. Ozawa has strengthened the orchestra's reputation internationally as well as at home, leading concerts on the BSO's 1976 European tour and, in March 1978, on a nine-city tour of Japan. At the invitation of the Chinese government, Mr. Ozawa then spent a week working with the Peking Central Philharmonic Orchestra,- a year later, in March of 1979, he returned to China with the entire Boston Symphony for a significant musical and cultural exchange entailing coaching, study, and discussion sessions with Chinese musicians, as well as concert performances. Also in 1979, Mr. Ozawa led the orchestra on its first tour devoted exclusively to appearances at the major music festivals of Europe. Most recently, Seiji Ozawa and the Boston Symphony celebrated the orchestra's hundredth birthday with a fourteen-city American tour last March, and, earlier this season, an international tour with concerts in Japan, France, Germany, Austria, and England. Mr. Ozawa pursues an active international career and appears regularly with the orchestras of Berlin, Paris, and Japan,- his operatic credits include appearances at the Paris Opera, Salzburg, London's Covent Garden, and La Scala in Milan. Mr. Ozawa has won an Emmy for the BSO's "Evening at Symphony" television series. His award-winning recordings include Berlioz's Romeo et Juliette, Schoenberg's Gurrelieder, and the Berg and Stravinsky violin concertos with Itzhak Perlman. Other recent recordings with the orchestra include, for Philips, Stravinsky's he Sacie da printemps, Hoist's The Planets, and Mahler's Symphony No. 8, the Symphony of a Thousand, for CBS, a Ravel collaboration with mezzo-soprano Frederica von Stade,- and, for Telarc, music of Beethoven—the Fifth Symphony the Egmont Overture, and, with pianist Rudolf Serkin, the Emperor Concerto. 8 Viola9 Clarinets Burton Fine Harold Wright

Charles S. Dana chair Ann S. M. Banks chair

Patricia McCarty Pasquale Cardillo Mrs. David Stoneman chair Peter Hadcock Eugene Lehner E-flat Clarinet Robert Barnes Bass Clarinet Jerome Lipson Craig Nordstrom Bernard Kadinoff Vincent Mauricci Bassoons Music Directorship endowed by John Moors Cabot Earl Hedberg Sherman Walt Joseph Pietropaolo Edward A. Toft chair BOSTON SYMPHONY Michael Zaretsky Roland Small ORCHESTRA : Marc Jeanneret Matthew Ruggiero

: 1981/82 Betty Benthin Contrabassoon First Violin9 Richard Plaster Cellos Joseph Silverstein Concertmastei Jules Eskin Horns Charles Munch chaii Philip R. Allen chair Charles Kavalovski Helen Sagoff Slosberg chaii Emanuel Borok Martin Hoherman Alden chaii Assistant Concertmastei Vernon and Marion Roger Kaza Helen Horner Mclntyre chair Mischa Nieland Daniel Katzen Max Hobart Esther S. and Joseph M. Shapiro chair Richard Sebring Robert I. Beal, and Jerome Patterson Richard Mackey Enid and Bruce A. Beal chair ; Robert Ripley Jay Wadenpfuhl Cecylia Arzewski Luis Leguia Charles Yancich Edward Bertha C. Rose chair and : Carol Procter Trumpets Bo Youp Hwang Ronald Feldman John and Dorothy Wilson chair Charles Schlueter ; Joel Moerschel Roger Louis Voisin chair Max Winder : Jonathan Miller

1 Andre Come Harry Dickson Martha Babcock Forrest F. Collier chair Timothy Morrison Gottfried Wilfinger Basses Trombones Fredy Ostrovsky Edwin Barker Ronald Barron Leo Panasevich Harold D. Hodgkinson chair J. P. and Mary B. Barger chair Carolyn and George Rowland chaii Lawrence Wolfe Norman Bolter Sheldon Rotenberg Joseph Hearne Gordon Hallberg Alfred Schneider Bela Wurtzler * Tuba Gerald Gelbloom Leslie Martin * Chester Schmitz Raymond Sird John Salkowski * Ikuko Mizuno John Barwicki Timpani * Amnon Levy Robert Olson Everett Firth Second Violins Sylvia Shippen Wells chair Marylou Speaker Flutes Fahnestock chaii Percussion Doriot Anthony Dwyer Vyacheslav Uritsky Walter Piston chair Charles Smith Charlotte and Irving W Rabb chair Arthur Press Fenwick Smith Assistant Timpanist Ronald Knudsen Mr. and Mrs. Robert K. Kraft chair Thomas Gauger Leonard Moss Paul Fried Laszlo Nagy Frank Epstein * Michael Vitale Piccolo Harp * Darlene Gray Lois Schaefer Ann Hobson Pilot * Ronald Wilkison Evelyn and C. Charles Marran chair * Harvey Seigel Personnel Managers * Jerome Rosen Oboes William Moyer * Sheila Fiekowsky Ralph Gomberg Harry Shapiro * Gerald Elias Mildred B. Remis chair * Ronan Lefkowitz Librarians Wayne Rapier * Joseph McGauley Victor Alpert Alfred Genovese * Nancy Bracken William Shisler * Joel Smirnoff James Harper English * Jennie Shames Horn Laurence Thorstenberg Stage Manager

* Participating in a system of rotated seating Phyllis Knight Beranek chair Alfred Robison within each string section. 9 A Brief History of the Boston Symphony Orchestra

For many years, Civil War veteran, philanthropist, and amateur musician Henry Lee Higginson dreamed of founding a great and permanent orchestra in his home town of Boston. His vision approached reality in the spring of 1881, and on 22 October of that year the Boston Symphony Orchestra's inaugural concert took place under the direction of conductor Georg Henschel. For nearly twenty years, symphony concerts were held in the old Boston Music Hall; Symphony Hall, the orchestra's present home, and one of the world's most highly regarded concert halls, was opened in 1900. Henschel was succeeded by a series of German-born and -trained conductors—Wilhelm Gericke, Arthur Nikisch, Emil Paur, and Max Fiedler—culminating in the appointment of the legendary Karl Muck, who served two tenures as music director, 1906-08 and 1912-18. Meanwhile, in

July 1885, the musicians of the Boston Symphony had given their first "Promenade" concert, offering both music and refreshments, and fulfilling Major Higginson's wish to give "concerts of a lighter kind of music." These concerts, soon to be given in the springtime and renamed first "Popular" and then "Pops," fast became a tradition.

During the orchestra's first decades, there were striking moves toward expansion. In

1915, the orchestra made its first transcontinental trip, playing thirteen concerts at the Panama-Pacific Exposition in San Francisco. Recording, begun with RCA in the pioneer- ing days of 1917, continued with increasing frequency, as did radio broadcasts of concerts. The character of the Boston Symphony was greatly changed in 1918, when Henri Rabaud was engaged as conductor,- he was succeeded the following season by Pierre Monteux. These appointments marked the beginning of a French-oriented tradition which would be maintained, even during the Russian-born Serge Koussevitzky's time, with the employment of many French-trained musicians.

10 The Koussevitzky era began in 1924. His extraordinary musicianship and electric personality 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 two years later he and the players took up annual summer residence at Tanglewood. Koussevitzky passionately shared Major Higginson's dream of "a good honest school for musicians," and in 1940 that dream was realized with the founding at Tanglewood of the

Berkshire Music Center, a unique summer music academy for young artists. 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 1 980. Charles Munch followed Koussevitzky as music director in 1949. Munch continued Koussevitzky's practice of supporting contemporary 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 began his seven-year term as music director in 1962. Leinsdorf presented numerous premieres, restored many forgotten and neglected works to the repertory, and, like his two predecessors, made many recordings for RCA in addition, many concerts ; were televised under his direction. Leinsdorf was also an energetic director of the Berkshire Music Center, and under his leadership a full-tuition fellowship program was established. Also during these years, the Boston Symphony Chamber Players were founded, in 1 964 they are the world's only permanent chamber ensemble made up of a ; major symphony orchestra's principal players. William Steinberg succeeded Leinsdorf in 1969. He conducted several American and world premieres, made recordings for Deutsche Grammophon and RCA, appeared

11 arvnw

12 regularly on television, led the 1971 European tour, and directed concerts on the east coast, in the south, and in the mid-west. Seiji Ozawa, an artistic director of the Berkshire

Festival since 1970, became the orchestra's thirteenth music director in the fall of 1973, following a year as music advisor. Mr. Ozawa has continued to solidify the orchestra's reputation at home and abroad, and his program of centennial commissions—from Sandor Balassa, Leonard Bernstein, John Corigliano, Peter Maxwell Davies, John Harbi- son, Leon Kirchner, Peter Lieberson, Donald Martino, Andrzej Panufnik, Roger Sessions, Sir Michael Tippett, and Oily Wilson—on the occasion of the orchestra's hundredth birthday has reaffirmed the orchestra's commitment to new music. Under his direction, the orchestra has also expanded its recording activities to include releases on the Philips, Telarc, and CBS labels.

From its earliest days, the Boston Symphony Orchestra has stood for imagination, enterprise, and the highest attainable standards. Today, the Boston Symphony Orchestra,

Inc., presents more than 250 concerts annually. Attended by a live audience of nearly

1.5 million, the orchestra's performances are heard by a vast national and international audience through the media of radio, television, and recordings. Its annual budget has grown from Higginson's projected $1 15,000 to more than $16 million. Its preeminent position in the world of music is due not only to the support of its audiences but also to grants from the federal and state governments, and to the generosity of many founda- tions, businesses, and individuals. It is an ensemble that has richly fulfilled Higginson's vision of a great and permanent orchestra in Boston.

The Somerset on Commonwealth Avenue,

Offering one-hundred fifty distinguished residential condominiums from $100,000 to $400,000. Covered, secured condominium garages. 50 Units only in Phase 1-30% now sold. Models available for viewing, by appointment only. Somerset, 400 Commonwealth Avenue, Boston, MA 02215 Phone (617) 266-6085

13 CB AB

GOING TO SYMPHONY IS NOT GIVING TO SYMPHONY.

While your subscription is vital to the well-being of the Boston Symphony, do you know that the price of each subscription series covers only 50 percent of the cost of the concerts?

In 1980-81, there were 8,901 subscribers to Symphony; but only 2,281 of these subscribers, or 25.6 percent, made a contribution to the orchestra. As the second chart below indicates, for the first four months of the current season, only 1,371 subscribers, or 15 percent, have contributed.

1980-81 SUBSCRIPTION SEASON

Number of Number of Subscribers Dollars raised Percentage of Series Subscribers who contribute from Donors Participation

FRIDAY 1,642 861 227,257.20 52% SATURDAY 1,637 287 27,592.00 18%

THURSDAY 10 1,092 253 33,210.25 23% TUESDAY 1,143 269 19,867.00 24% TUESDAY 1,162 237 27,816.20 20% THURSDAY 1,143 229 16,971.00 20%

THURSDAY 1,082 145 13,397.08 13%

1981-82 SUBSCRIIPTION SEASON—SEPT. 1 -DEC. 31

Number of Number of Subscribers Dollars raised Percentage of Series Subscribers who contribute from Donors Participation

FRIDAY 1,702 535 176,114.82 31% SATURDAY 1,677 182 24,260.00 10% THURSDAY 10 1,106 158 21,808.00 14%

TUESDAY 1,112 141 24,387.19 13%

TUESDAY 1,089 125 25,203.00 11% THURSDAY 1,105 140 18,116.00 13%

THURSDAY 1,073 90 11,017.00 8%

As the Boston Symphony concludes its 100th birthday season with the final two months of concerts, we hope our subscribers will join in the challenge of helping the Orchestra maintain its level of artistic excellence; you can help do this by responding to the annual fund appeal which has just been mailed to you. A contribution in any amount is welcome, but please bear in mind that in order for the sym- phony to meet expenses for each concert, the average contribution must at least equal the price of your subscription series. We thank you.

All contributions are tax deductible; please make all checks payable to: Boston Symphony Orchestra, Inc., and mail to the Development Office, Symphony Hall, Boston, MA 02115. BOSTON SYMPHONY ORCHESTRA

Seiji Ozawa, Music Director

Sir Colin Davis, Principal Guest Conductor

Joseph Silverstein, Assistant Conductor

Hundredth Birthday Season, 1981-82

Thursday, 11 March at 8 Friday, 12 March at 2 Saturday, 13 March at 8

Tuesday, 16 March at 8

KLAUS TENNSTEDT conducting

MOZART Piano Concerto No. 23 in A, K.488 Allegro Adagio Allegro assai MISHA DICHTER

INTERMISSION

BRUCKNER Symphony No. 4 in E flat, Romantic Bewegt, nicht zu schnell

(With motion, not too fast) Andante quasi Allegretto Scherzo. Bewegt; Trio: Nicht zu schnell. Keinesfalls schleppend

(Not too fast. On no account dragging) Finale. Bewegt, doch nicht zu schnell

(With motion, but not too fast)

Thursday's, Saturday's, and Tuesday's concerts will end about 10:05 and Friday's about 4=05.

Philips, Telarc, CBS, Deutsche Grammophon, and RCA records Baldwin piano

Misha Dichter plays the Steinway

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

15 Week 16 vjSS'

Jordan Marsh celebrates on the occasion of the BSO's centennial.

Jordan marsh Hi A Unit of Allied Stores

16 Wolfgang Amade Mozart Piano Concerto No. 23 in A, K.488

Johannes Chrysostomus Wolfgang Gottlieb Mozart, who began to call him-

self Wolfgango Amadeo about 1770 and Wolfgang Amaa^e about 1777, was born in Salzburg, Austria, on 27 January 1756 and died in Vienna on 5 December 1791. He completed the A major concerto, K.488, on 2 March 1786 and presumably

played it in Vienna soon after. The American premiere took place in Bos- ton's Music Hall on 19 December 1878 at a concert of the Harvard Musical Associa- tion under the direction of Carl Zerrahn-,

H.G. Tucker was the piano soloist. It was not until Serge Koussevitzky's time that the concerto entered the repertory of the Boston Symphony Orchestra; Nikolai

Orloff performed it with the orchestra on 8 and 9 February 1929. The concerto has also been played with the orchestra by Bruce Simonds (Richard Burgin), Artur Schnabel and Arthur Rubinstein (Koussevitzky), Leon Fleisher (Burgin), Pierre Luboshutz (Boris Goldovsky), John Browning (Erich Leinsdorf), Yuji Takahashi and Maurizio Pollini (Seiji Ozawa), and Malcolm Frager (David Zinman). Peter Serkin played the concerto with Seiji Ozawa at Tanglewood in 1977, and Radu Lupu gave the most recent Symphony Hall performances with conductor Kazuyoshi Akiyama in December 1977. The orchestra consists of one flute, two clarinets, two bassoons, two horns, and strings. (The composer suggested in a letter that in the absence of clarinets, their lines might be cued into the violin and viola parts.) Mozart wrote his own cadenza into the autograph at the proper place, and that is what Misha Dichter plays.

Figaro was the big project for the spring of 1786, and it was ready for performance on 1 May, but Mozart repeatedly interrupted himself, dashing off his one-actor The Impresario for a party at the Imperial palace at Schonbrunn, and writing three piano concertos, presumably for his own use that year.

The A major is the middle one of the three, being preceded by the spacious E flat, K.482, completed at the end of December, and being followed just three weeks later by the somber C minor, K.491. Its neighbors are bigger. Both have trumpets and drums, and the C minor is one of the relatively rare works to allow itself both oboes and clarinets. The A major adds just one flute plus pairs of clarinets, bassoons, and horns to the strings, and with the last in the whole series, K.595 in B flat (January 1791), it is the most chamber-musical of Mozart's mature piano concertos. It is gently spoken and, at least until the finale, shows little ambition in the direction of pianistic brilliance. Lyric and softly moonlit—as the garden scene of Figaro might be, were there no sexual menace in it— it shares something in atmosphere with later works in the same key, the great violin sonata, K.526, the Clarinet Quintet, and the Clarinet Concerto.

The first movement is music of lovely and touching gallantry. Its second chord, darkened by the unexpected G natural in the second violins, already suggests the melancholy that will cast fleeting shadows throughout the concerto and dominate its slow movement altogether. The two main themes are related more than they are

17 Week 16 :> >v .

18 k I

contrasted, and part of what is at once fascinating and delightful is the difference in the way Mozart scores them. He begins both with strings alone. The first he continues with an answering phrase just for winds, punctuated twice by forceful string chords, and that

leads to the first passage for the full orchestra. But now that the sound of the winds has been introduced and established, Mozart can proceed more subtly. In the new theme, a bassoon joins the violins nine measures into the melody, and, as though encouraged by

that, the flute appears in mid-phrase, softly to add its sound to the texture, with horns and clarinets arriving just in time to reinforce the cadence. When the same melody

reappears about a minute and a half later, the piano, having started it off, is happy to

retire and leave it to the violins and bassoon and flute who had invented it in the first

place, but it cannot after all refrain from doubling the descending scales with quiet broken octaves, adding another unobtrusively achieved, perfectly gauged touch of fresh

color.

Slow movements in minor keys are surprisingly uncommon in Mozart, and this one is

in fact the last he writes. An adagio marking is rare, too, and this movement is an

altogether astonishing transformation of the siciliano style. The orchestra's first phrase harks back to "Wer ein Liebchen hat gefunden (He who has found a sweetheart)," Osmin's animadversions in The Abduction from the Seraglio on the proper treatment of

women, but nothing in the inner life of that grouchy, fig-picking harem-steward could ever have motivated the exquisite dissonances brought about here by the bassoon's imitation of clarinet and violins. Throughout, Mozart the pianist imagines himself as the

ideal opera singer—only the Andante in the famous C major concerto, K.467, is as vocal —and a singer, furthermore, proud of her flawlessly achieved changes of register and of her exquisitely cultivated taste in expressive embellishment.

After the restraint of the first movement and the melancholia of the second, Mozart

gives us a finale of captivating high spirits. It keeps the pianist very busy in music that

comes close to perpetual motion and in which there is plenty to engage our ear, now so alert to the delicacy and overflowing invention with which Mozart uses those few and quiet instruments.

—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.

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®J~H\SE\DO Anton Bruckner Symphony No. 4 in E flat, Romantic

Joseph Anton Bruckner was born in Ansfelden, Upper Austria, on 4 Septem- ber 1824 and died in Vienna on 11 Octo- ber 1896. He began composing his Fourth Symphony late in 1873, completing a pre-

liminary version in November of the fol- lowing year. He undertook a thorough

revision in 1878, bringing it to comple- tion on 5 June 1880. The revision involved a substantial reworking of the

first and second movements, rewriting of

the fourth, and, finally, substitution of a completely different third movement,

the "Hunting Scherzo" that is now in the score. Later changes, including some

made for the unfortunate first edition of 1891, are of dubious authenticity; the

1878-80 version, edited by Robert Haas, is best taken as the authentic one and will be performed here. The first performance took place in Vienna on 20 February 1881, Hans Richter conducting. Anton Seidl introduced the work to the United States in a concert given at New York's Chickering Hall on 16 March 1888. Wilhehn Gericke conducted the first Boston Symphony Orchestra performances on 10 and 11 February 1899. The piece has also been performed here by Serge Koussevitzky, Erich Leinsdorf, Eugen Jochum, and, most recently, in January 1976, Seiji Ozawa. The score calls for two each of flutes, oboes, clarinets, and bassoons, four horns, three trumpets, three trombones and tuba, timpani, and strings.

Picture, if you will, Anton Bruckner at his arrival in Vienna in 1868. He was forty-four years old and had come to take up the professorship in harmony and counterpoint at the Vienna Conservatory. This position of considerable prestige in the elegant and fashiona- ble capital of the Austro-Hungarian Empire had been bestowed on a composer of extraordinarily refined technique (when Bruckner had been tested in 1861 for a diploma from the Conservatory, one of his judges had exclaimed, "He should have examined us! If

I knew one tenth of what he knows, I'd be happy"). He had begun to make a name for himself as a composer of Masses, having already written his three major works in that medium, and he had composed his Symphony No. 1 (two earlier symphonic essays remained outside the official canon), though it was not yet known in the capital.

But for all his growing reputation as a composer and the support that he had received in the reviews of the influential critic Eduard Hanslick, Bruckner must have been a strange apparition. A child of the country, born and raised in rural Upper Austria, he continued to dress in the simplest costume characteristic of his peasant background- baggy black pants (ending above the ankles so as not to interfere with his pedal-work when playing the organ), a loose coat of notably unstylish cut, and comfortable white shirt with an unfashionably broad collar. Short and stocky, a valiant trencherman, bearing in his profile a sharp physiognomy, he could easily be taken for a peasant farmer.

More important in its effect on his well-being and acceptance in Vienna was his characteristically simple nature—pious, trusting, deferential, and naive. He came, a true innocent, and found himself in that musico-political snakepit that was Vienna. Utterly

21 Week 16 unable to be anything other than himself, Bruckner quite simply failed to understand the intricate pattern of backbiting, of personal grudges and attacks, of quid pro quo that made up the Viennese musical scene. He made one devastating political mistake and— characteristically — kept on repeating it, quite ignorant of its consequences to himself: he expressed and constantly reaffirmed a strong admiration for Wagner.

After arriving in Vienna Bruckner devoted almost his entire creative energy to the composition of symphonies. The years 1871 to 1876 saw the pouring out of symphonies 2,

3, 4, and 5. The Vienna Philharmonic (then as now an ensemble of conservative, not to say reactionary, taste) refused to play the First on account of its "wildness and daring," then the Second, claiming that it was "nonsense." Yet when a patron was found to finance a performance of the Second, it received a standing ovation from the audience.

But it was the next symphony that really set the cap on Bruckner's problems in Vienna. In sincere admiration of the musical accomplishments of Wagner, Bruckner showed him the manuscript of the Third Symphony, in D minor, and even dedicated the score to him. He was delighted that Wagner accepted the dedication and ever after naively referred to the symphony in all his letters as "my Wagner Symphony," apparently quite oblivious to the fact that he had thereby totally lost the good will of the critic Hanslick, who from that time on lost no opportunity to attack Bruckner and his works, even conveniently forgetting the favorable things he had said in the past. The Wagner party in Vienna was delighted to find a composer of symphonies in their camp, and they promptly hailed Bruckner as a master they could use to browbeat the Brahmsians. But the entrenched powers were all in the Brahms camp, and though Brahms himself seems to have respected Bruckner's work, the Brahmsians were relentless.

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22 Thus after a devastating performance in 1877 of the Third Symphony, which ; Bruckner himself had to conduct, at which he heard catcalls and jeers during the

performance and saw the hall emptied of its audience before the end, leaving only some twenty-five young musicians (among them Mahler) to applaud the work, Bruckner began to revise his previously composed symphonies in an attempt to make them somehow more accessible. The Fourth underwent this process of rewriting without ever having been heard in public. But unlike most of his other symphonies, the revision of

1878-80 that produced the first definitive version was also the last time that Bruckner seriously attacked the score, so that the inevitable problem of choosing an "authentic"

version is, for No. 4 at least, a relatively simple one. (Bruckner did, to be sure, make some changes in 1886 for Anton Seidl's performances, but they were limited to minor adjustments of the orchestration— and, in any case, he made a new fair copy of the original 1880 version as late as 1890, so that must be considered his final word on the subject. At about the same time Bruckner's devoted but misguided acolytes Franz Schalk and Ferdinand Lowe prepared a heavily cut version reorchestrated in the style of Wagner ; it was this version that was published in 1890, but Bruckner himself refused to authorize it, and it has justly been repudiated.)

The first performance of the Fourth, which took place in Vienna in 1881, was a considerable success, though it did not immediately overwhelm opposition to Bruckner. His symphonies are so individual and personal a treatment of the symphonic form inherited from his Viennese predecessors Haydn, Mozart, Beethoven, and Schubert that we still tend to misunderstand them. Until quite recently Bruckner's name was always linked in the same breath with Mahler's, as if Bruckner-and-Mahler were no less

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The Parkway Brookline inseparable than Gilbert-and-Sullivan. Before either composer was deemed worthy of a volume all to himself in the Master Musicians series, they were treated in tandem (the only composers ever dealt with in that way), and the journal Chord and Discord, which was the official journal of the Bruckner Society of America, dealt with Mahler as much as it did with Bruckner. But aside from the fact that the young Mahler admired Bruckner's music and provided the piano reduction of the Third Symphony at the time of its publication, the two composers had little in common.

To be sure, Bruckner and Mahler each wrote lengthy and demanding symphonies that were rarely performed, but in other respects their music looked in opposite directions. Mahler's symphonies involved (as he himself said) the creation of entire worlds, with all of the diversity that entails,- they were, moreover, filled with existential doubt and anguish, and no matter how assertively positive the endings might be (in some cases!), the search and the doubt always remains at the core. Bruckner could hardly have been more different. Though in many respects insecure as an individual, when it came to composing symphonies, his music reflects throughout the absolute conviction of his faith, and each symphony seems from the beginning to be aiming for a predestined conclusion of grandeur and almost heavenly glory. If Mahler's symphonies are in some sense acts of self-psychoanalysis, Bruckner's symphonies are liturgical acts. Or, to use a very different comparison: Haydn, another composer who came from the peasantry in the Austrian countryside, wrote Mass settings that were profoundly symphonic in character; Bruckner wrote symphonies that were deeply liturgical. It is not only that he often quoted themes from his Masses in his symphonies, but rather the nature of the musical rhythm, the grand, measured progress from certainty to certainty, leading in confident assertion to the finalHONDAglory, that gives his symphonies their special character.

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The Fourth is the only symphony to which Bruckner gave any kind of official nickname or programmatic guide. But the epithet "Romantic" hardly reveals anything that is not immediately apparent in the music itself. The romanticism that is in question here is that "forest romanticism" so characteristic of early nineteenth-century German literature—a love of pure unspoiled nature as depicted in the freshness of forest, field, and mountain, possibly a touch of antiquarianism in a passion for the simpler life of long ago, a celebration of the hunt and the joys of rural life. All of this can be found in the music, and would be found there whether Bruckner had assigned the nickname or not.

The first movement opens with a hushed rustle of string tremolos barely breaking the stillness. A solo horn call sounds the notes B flat, E flat, B flat, then repeats the phrase, stretching the first note up an evocative half-step to C flat, a note that will play an important role, both melodic and harmonic, throughout the symphony. The fanfare figure moves to the woodwinds over the continuing string tremolo to lead gradually to the first full orchestral tutti and a new thematic idea built of one of Bruckner's favorite

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Bruckner's manuscript for the opening of the scherzo

17 Week 16 rhythmic gestures: two quarter-notes followed by three triplet quarters. This material provides the preparation for the dominant key of B flat, though at the last moment

Bruckner shifts to D flat for the contrasting theme its most noticeable element at first is ; the folk dance figure in the first violins, but gradually an interior line first heard in the violas takes on greater significance. A spacious tutti brings us around to the B flat we were denied earlier for a shortened statement of the folk dance figure and the conclusion of the exposition. The development moves in grand, stately sequential harmonic steps through the harmonic universe culminating in a hushed string passage that treats the interior viola line of the secondary theme in an expressive expansion before moving—so quietly! —to the recapitulation with a new flute countermelody to the string tremolos and horn calls.

The slow movement has the character of a subdued, muted funeral march in C minor, first heard in the cellos against muted strings. At its restatement in the woodwinds an accompaniment of plucked cellos and basses sets up the sound of steady marching that remains in the ear even during a mysterious chorale followed in its turn by sustained cantabile melody in the violas that ends finally in C major. These various materials are developed richly in extended keys exploiting the brass and woodwinds (who have barely

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28 I

been heard to this point). An abbreviated restatement of the opening leads to a lengthy coda with wide-ranging expansion of the funeral march.

The scherzo was the last movement to be composed when Bruckner wrote it to replace an earlier, discarded version. He himself described this as music for the hunt (with the Trio providing the musical entertainment at the hunt banquet). Again the musical gestures make this identification self-evident. The scherzo itself is a brilliant achieve- ment, compounded of varying treatments of the composer's favorite rhythm, one beat divided into two even eighth-notes followed by another divided into triplets. Nothing could be simpler and more homey than the Landler of the Trio, though its second half has a chromatic turn that would certainly not be found in peasant dances. The scherzo is repeated literally.

The finale begins in B flat minor with a melodic figure in the clarinets and first horn (G flat to F) that will recall the C flat-to-B flat heard at the very opening of the symphony,- it is, in fact, an echo of that figure at the higher fifth. A lengthy crescendo leads to the main theme of the finale, a forceful unison statement in E flat (with an important role for the polar alternative of C flat). The finale itself is an extremely complicated move- ment filled with a number of diverse ideas (some of which seem too trivial for the role they are called upon to play), but at the end, Bruckner pulls himself together in a grand, organ-like coda that sets the universe ringing in E flat with a hint of the opening fanfare now blared by the entire mass of brass instruments, while the single note of C flat (which represented the first pitch outside of the tonic chord back at the beginning) continues to assert its presence in the strings until the last possible moment.

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30 Stanley Sadie, who wrote the fine article on Mozart in The New Grove, is also the author of Mozart (Grossman, also paperback), a convenient brief life-and-works survey with nice pictures. Alfred Einstein's classic Mozart: The Man, the Music is still worth knowing (Oxford paperback). Donald Francis Tovey's analysis of the A major concerto is to be found in the third volume of his Essays in Musical Analysis (Oxford, also paperback). Cuthbert Girdlestone's Mozart and His Piano Concertos (Dover) contains much informa- tion rather buried in decoratively elegant descriptions. Philip Radcliffe's Mozart Piano

Concertos is a brief contribution to the useful BBC Music Guides series (U. of Wash- ington paperback). The Mozart Companion, edited by H.C. Robbins Landon and Donald Mitchell, contains two major chapters on the concertos,- Friedrich Blume discusses their sources, Landon their musical origin and development (Norton paperback). Any serious consideration of Mozart's music must include Charles Rosen's splendid study The

Classical Style, which is particularly strong in its discussion of the piano concertos

(Viking, also Norton paperback). Among recordings of the K.488 concerto, I would recommend Geza Anda's with the orchestra of the Salzburg Mozarteum (DG, available only in a twelve-disc set), or, for single discs, the readings of Stephen Bishop-Kovacevich with Sir Colin Davis conducting the London Symphony Orchestra (Philips, coupled with the D minor concerto, K.466) and Alfred Brendel with Neville Marriner conducting the

Academy of St. Martin-in-the-Fields (Philips, with the F major concerto, K.459).

Hans-Hubert Schonzeler's Bruckner is a brief, nicely illustrated life-and-works (Calder).

The most penetrating musical discussion of the symphonies is to be found in Robert Simpson's The Essence of Bruckner (Chilton). Philip Barford's Bruckner Symphonies in the BBC Music Guides gives a sympathetic introduction to these works (U. of Wash- ington paperback). Dika Newlin's Bruckner, Mahler, Schoenberg is an interesting study that links the three composers as part of the great Viennese musical tradition (Norton). Tovey analyzes the Fourth in the second volume of his Essays in Musical Analysis (Oxford, available in paperback). The complex series of scores, versions, and editions of Bruckner's music, brought on largely by the well-intentioned but misguided efforts of his disciples to spread performances of his work, have caused headaches for everyone performing, studying, or writing about this music. Deryck Cooke brought some order out of this chaos in a series of articles originally published in the Musical Times and later republished in this country by The Musical Newsletter as The Bruckner Problem Simplified. Klaus Tennstedt has recorded the Bruckner Fourth with the Berlin Philhar- monic,- it is due to be released in this country on Angel. Other available recordings by conductors with a particular flair for Bruckner include Eugen Jochum with the Berlin Philharmonic (DG), Bernard Haitink with the Concertgebouw Orchestra (Philips), Daniel Barenboim with the Chicago Symphony (DG), Herbert von Karajan with the Berlin Philharmonic (DG), and Kurt Masur with the Leipzig Gewandhaus (Vanguard).

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de Paris, the Israel Philharmonic, and the Rotterdam Philharmonic, and he was music director of the NDR Symphony in Hamburg until March 1981.

A regular guest conductor with the Berlin Philharmonic, Mr. Tennstedt has recorded music of Mendelssohn, Schumann, and Bruckner (including the Fourth Symphony) with that orchestra for EMI. As a principal guest conductor with the London Philhar-

monic for the last several seasons, he has begun an award-winning recording cycle with them of the complete Mahler symphonies,

also for EMI and already including numbers 1

2, 3, 5, 7, and 9, as well as the Adagio from the In the fall of 1983, Klaus Tennstedt becomes Tenth. During the current season, in addition music director and principal conductor of the to his appearances with the Boston Symphony, London Philharmonic Orchestra, succeeding Mr. Tennstedt conducts in London, Sir Georg Solti as head of that ensemble. Mr. Minnesota, Berlin, Philadelphia, Cincinnati, Tennstedt made his United States debut with and New York. Prior to this season, his most the Boston Symphony Orchestra in December recent Boston Symphony appearances were 1974, following his North American debut for two concerts at Tanglewood in 1980. with the Toronto Symphony. Since then, he has appeared with the orchestras of New York, Chicago, Philadelphia, Cleveland,

St. Louis, Detroit, Los Angeles, Pittsburgh,

Ottawa, and Montreal, and he is currently principal guest conductor of the Minnesota Orchestra.

Born in Merseburg, Germany, in 1926, Mr. Tennstedt studied piano, violin, and theory at .Boeuf the Leipzig Conservatory. In 1948 he became first concertmaster of the Municipal Theater in Halle/Salle, and later its principal conduc- tor. The general directorship of the Dresden Opera followed in 1958, and that of the State Elegant French cuisine, Orchestra and Theater in Schwerin in 1962. reservations recommended. 354-1234 After escaping from East Germany in 1971, he applied for asylum in Sweden and conducted in Goteburg and Stockholm before becoming DERTADC general music director that same year of the Kiel Opera in West Germany. He has been in the Sheraton-Commander Hotel guest conductor with major orchestras includ- 16 Garden St., Cambridge ing the Bayerischer Rundfunk, Bamberg

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harmonic for a tour in Russia and that same summer by the Boston Symphony Orchestra for a Tanglewood concert which was nation- ally televised and on which he performed the Tchaikovsky First Concerto. With the Boston Symphony, he has since played both Brahms

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i Shanghai, Mr. Dichter was raised in Los Serving - Lunch: 12:00-2:30 weekdays : Angeles, where he studied with Aube Tzerko, Dinner: 6:00-10:30 Sun.-Thurs.

! a disciple of Artur Schnabel. At the Juilliard 6:00-12:00 Fri.-Sat. School in New York he later a student I became Brunch: 1 1:00-3:00 Sat. & Sun.

: of Madame Rosina Lhevinne. In 1966, Mr. Dichter the silver j won medal at the Moscow reservations: 266-3030 Tchaikovsky Competition, ; thereby estab- 99 St. Botolph Street behind the Colonnade Hotel ! lishing his career at age twenty-one. He was

| immediately engaged by the Leningrad Phil- 35 ^M j v

Boston Symphony Orchestra Fine Music Since 1881

Daniels Printing Company

Fine Printing Since 1 880 \ 40 Commercial Street, Everett MA 02149 r

RT IN BLOOM: A Three Day Festival (April 27-29th) Heralding Spring. Walk through flower filled galleries. Enjoy luncheons, fashion shows, gardening talks and demonstrations. Plus a benefit drawing for valuable prizes.

ENRI CARTIER-BRESSON: PHOTOGRAPHER. February 16 through April 4. The "decisive moment" captured in 155 black and white photographs selected by the artist himself.

GYPT'S GOLDEN AGE: The Art of Living in the New Kingdom, 1558-1085 B.C. February 3 through May 2. Over 400 treasures representing everyday life in Egypt some 3,500 years ago.

PRIVATE VISION: ContemporaryArtfrom the Graham Gund Collection. February 9 through April 4. Abstract works, representational pieces and whimsical objects. Works by Frank Stella, Morris Louis, Robert Motherwell, Jules Olitski, Alexander Calder and Jean Dubuffet among others.

>°*".% Museum of Fine Arts, Boston We've got a whole new of looking at things. *©» T o* way

36 The Boston Symphony Orchestra is grateful to the following corporations and professional organizations for their vital and generous contributions in the past or

current fiscal year.

Corporate Honor Roll ($10,000 + )

Advanced Management Associates, Inc. Morse Shoe, Inc. BayBanks, Inc. New England Merchants National Bank Boston Broadcasters, Inc./WCVBTV New England Mutual Life Insurance Company Boston Edison Company New England Telephone Company Cahners Publishing Company Ocean Spray Cranberries, Inc. Charles River Broadcasting, Inc./WCRB Paine Webber Jackson &. Curtis, Inc. Commercial Union Assurance Company Polaroid Corporation Digital Equipment Corporation Prime Computer, Inc. Dynatech Corporation Prudential Insurance Company of America

First National Bank of Boston Raytheon Company Gillette Company Shawmut Bank of Boston, N. A. Globe Newspaper Company Stop & Shop Companies, Inc. John Hancock Mutual Life Insurance Company Stride Rite Corporation Heublein, Inc. Wm. Underwood Co. Kenyon &. Eckhardt, Inc. Wang Laboratories, Inc. Liberty Mutual Insurance Company Wheelabrator-Frye, Inc. Mobil Oil Corporation Woodstock Corporation

Corporate Leaders ($1,000 + )

Accountants First Agricultural Bank of Berkshire County Coopers and Lybrand Selwyn Atherton Vincent M. O'Reilly First National Bank of Boston Peat Marwick Mitchell & Company Kenneth R. Rossano

Jordan L. Golding Lee Savings Bank Richard Sitzer Advertising Lenox Savings Bank Kenyon & Eckhardt, Inc. Stanley T Ryba

Thomas J. Mahoney Mutual Bank for Savings Young & Rubicam, Inc. Keith G. Willoughby Edward N. Ney New England Merchants National Bank Aerospace Roderick M. MacDougall

Northrop Corporation Shawmut Bank of Boston, N. A.

Thomas V Jones John P. LaWare Pneumo Corporation State Street Bank and Trust Company Gerard A. Fulham William S. Edgerly Union Federal Savings and Loan Banks William H. McAlister, Jr. BayBanks, Inc.

William M. Crozier, Jr. Berkshire Bank & Trust Co. D.R. Ekstrom Consultants

Berkshire County Savings Bank Advanced Management Associates, Inc. Robert A. Wells Harvey Chet Krentzman Boston Five Cents Savings Bank Stanley H. Kaplan Educational Center

Robert J. Spiller Susan Kaplan

City Saving Bank of Pittsfield Arthur D. Little, Inc.

Luke S. Hayden John F. Magee

37 People who are still making beautiful music together on their 100th anniversary deserve to be listened to.

Honeywell is proud to help sponsor the BSO's 100th anniversary, Friday evenings at 9:00 on WCRB 102.5 FM. Honeywell Food Products

Adams Super Market Corporation Howard Wineberg

Heublein, Inc. Robert R. Weiss Howabout Ocean Spray Cranberries, Inc. Harold Thorkilsen

Stop & Shop Companies, Inc. Avram Goldberg dinner J. Wm. Underwood Co. at my place?" James D. Wells High Technology/Computers

Augat, Inc. Roger Wellington

Automatic Data Processing, Inc. Frank R. Lautenberg

Bolt Beranek and Newman, Inc. Stephen Levy

Charles River Breeding Laboratories, Inc.

Henry L. Foster Data Packaging Corporation Otto Morningstar

Digital Equipment Corporation Kenneth H. Olsen Dynatech Corporation

J.P Barger The Foxboro Company Bruce D. Hainsworth

GenRad, Inc. William R. Thurston General Telephone & Electronics Corporation

Theodore F. Brophy

'Apley's Restaurant. Honeywell Information Systems, Inc. To me, it's a new Boston classic Edson W Spencer like a Longfellow poem Instron Corporation Harold Hindman or fine Revere silver. Itek Corporation It's traditional yet modern, Robert P Henderson but timeless. fashionable LFE Corporation

I It's the Boston love." Herbert Roth, Jr. Microsonics, Incorporated William Cook Polaroid Corporation

William J. McCune, Jr.

Prime Computer, Inc. John K. Buckner 6 PM-10:30 PM DAILY SERVING FROM Printed Circuit Corporation Peter Sarmanian Sheraton-Bostori Raytheon Company Thomas L. Phillips Hotel Technical Operations, Inc. SHERATON HOTELS & INNS WORLDWIDE Marvin G. Shorr 1UDENTIAL CENTER BOSTON MASSACHUSETTS 617236-2000 Thermo Electron Corporation Dr. George N. Hatsopoulos

39 Augment your investments lest you go baroque.

Fidelity Management & Research Co. Investment Advisor to the Fidelity Group of Funds 82 Devonshire Street, Boston, Massachusetts 02109, Tel. 523-1919

Where the well-dressed woman shops.

Timeless clothing and personal service.

TaJbc* Since 1947 458 Boylston Street, Boston, Tel 262-2981

For our free catalog write The Talbots, Dept. PB, Hingham, MA 02043, or call toll-free 800-225-8200, (in Massachusetts call 800-232-8181).

m^ *rv J 40 .

Tyco Laboratories, Inc.

Joseph S. Gaziano A U.S. Components, Inc. ^D^S B.A. Jackson Wang Laboratories, Inc. An Wang Purchasers of antique, Western Electric Co., Inc.

estate and modem Donald E. Procknow jewelry and silver. Hotels

Red Lion Inn John H. Fitzpatrick Parker House R1QURD M-DANA.inc' Dunfey Family JEWELERS 43 Central Street Insurance Wellesley, Massachusetts 02181 Arkwright Boston Insurance 237-2730 Frederick J. Bumpus ^. Berkshire Life Insurance Company

Lawrence W Strattner, Jr. IN TH€ USA, Brewer &. Lord

fl VOLVOS UF€ CRN 8€ Joseph G. Cook, Jr. 18 V€RRS Commercial Union Insurance Companies R.C. Ruffey Jr. ...OR €V€N LONG€R Deland, Gibson, Meade & Gale, Inc. UIITH €XP€RTRTT€NTION FROM George W Gibson TH€ P€OPL€ WHO KNOW Frank B. Hall Company INSIDC OUT. VOLVOS AND John B. Pepper CINDf R€LLft CRRRIRGC John Hancock Mutual Life Insurance Company COMPRNV, E. James Morton R€URBL€, PROMPT S€RVIC€, Liberty Mutual Life Insurance Company €XCLUSIV€LV VOLVOS. FOR Melvin B. Bradshaw GACATCA BOSTON'S INDCPCNDCNT VOLVO PAOFCSSIONALS, CINDCACUA CAAAIAGC COMPANY Marsh &. McLennan, Inc. 47 SMITH PlflCC, CAMBRIDGE Robert L. Peretti

1 MINUTC FROM FR6SH POND CIRCLE, England Mutual Life Insurance NCflR RTC. 2 & the T - 876-1 781 New Company Edward E. Phillips

Prudential Insurance Company of America

Robert J. Scales All our services are free Maurice H. Saval, Inc. —no strings attached. Maurice H. Saval

Investments

We perform a veritable Amoskeag Company

symphony of travel Joseph B. Ely, Jr.

arrangements ... at Moseley Hallgarten Estabrook & Weeden, Inc.

no extra charge to you Fred S. Moseley

Travel is our forte; Paine Webber, Inc.

Garberisourname. Donald B. Marron 734- Give us a call— Paine, Webber, Jackson &. Curtis Inc. 21 00-and we'll Francis P. Sears get in tune with Tucker, Anthony & R.L. Day, Inc. your travel needs. R. Willis Leith, Jr. Woodstock Corporation Thomas Johnson

41 1

THE SUITE SOLUTION.

We are interior designers of residential, commercial and office spaces. Our personalized services are what make us special. Call us for a free consultation. Portuguese Needlepoint Rugs We specialize in these elegant handmade wool rugs from Lisbon. Choose from our wide assortment or let us help you design Custom Quarters, Inc. your own. Please call (617) 523-2424 for an 6 Faneuil Hall Marketplace appointment. Cindy Lydon, Arkelyan Rugs, Boston, MA 02109 617/720-4114 67 Chestnut Street, Boston.

The dose-to-perfed evening.

There are restaurants closer to Symphony Hall than the 57 Restaurant. But there are none closer to perfection.

The setting is unique and opulent. The cuisine, distinctively international:

prime beef, seafood, magnificent desserts. Prestigious Office Space in Park Plaza, Boston All perfectly prepared and served. Adjoining the Boston Park So even though it's closer to the Plaza Hotel Metropolitan Center than to Symphony Hall,

dinner at the 57 is the perfect prelude to an evening with the BSO. The

Restaurant Exclusive Leasing and Managing Agents dose to perfect. Call (617) 426-5554 Anytime Christine R Kandrach, Leasing Manager 200 Stuart Street, Boston, Massachusetts Reservations: (617) 423-5700 All credit cards welcome.

42 Manufacturers Printing/Publishing Acushnet Company, Inc. Adco Publishing Company, Inc. Robert L. Austin Samuel Gorfinkle Baldwin Piano and Organ Company Berkshire Eagle R.S. Harrison Lawrence K. Miller Rudolf Beaver, Inc. Cahners Publishing Company Beaver John R. Norman Cahners Manufacturing Company Bell Globe Newspaper Company Irving W Bell John I. Taylor Bird Son, Inc. & Houghton Mifflin Company Robert F. Jenkins Harold T Miller Cabot Corporation Label Art Robert A. Charpie Leonard J. Peterson College Town, Inc. Arthur M. Sibley Real Estate

Corning Glass Works Leggat, McCall & Werner, Inc.

Amory Houghton, Jr. Edward R. Werner Crane and Company Bruce Crane Retail Stores

A.T. Cross Company England Brothers

Russell A. Boss Andrew J. Blau Dennison Mfg. Company Wm. Filene's Sons Co.

Nelson S. Gifford Merwin Kaminstein

Gillette Company Howard Johnson Company

Colman M. Mockler, Jr. Howard B. Johnson Kimberly-Clark Corporation, Sweitzer Division Jordan Marsh Company

Ronald Gill Elliot J. Stone Mead Corporation King's Department Stores, Inc. C.E. Burke Paul Kwasnick

National Distillers and Chemical Corporation Mars Bargainland, Inc. John H. Stookey Matthew Tatelbaum Norton Company Zayre Corporation Robert Cushman Maurice Segall Rising Paper Company Shoes Robert E. O'Connor

Wheelabrator-Frye, Inc. Jones & Vining, Inc.

Michael H. Dingman Sven Vaule, Jr.

Media/Leisure Time Morse Shoe, Inc. General Cinema Corporation L.R. Shindler

Richard A. Smith Spencer Companies, Inc.

WCRB/Charles River Broadcasting, Inc. C Charles Marran Theodore Jones Stride Rite Corporation

WCVB-TV/Boston Broadcasters, Inc. Arnold S. Hiatt Robert M. Bennett Utilities Target Communications, Inc.

Thomas E. Knott Berkshire Gas Company Oil Joseph Kelley Buckley & Scott Company Boston Edison Company

William H. Wildes Thomas J. Galligan, Jr. Mobil Chemical Corporation Eastern Gas and Fuel Associates

Rawleigh Warner, Jr. William J. Pruyn Northeast Petroleum Corporation New England Telephone Company John Kaneb William C. Mercer

Yankee Oil & Gas, Inc. Northeast Utilities

Graham E. Jones B.D. Barry 43 a round of applause for the store in the heart of the square

HARVARD SQUARE M.I.T. STUDENT CENTER CHILDREN'S HOSPITAL MEDICAL CENTER ONE FEDERAL STREET IN BOSTON

44 .

Coming Concerts . .

Wednesday, 17 March at 7:30 Open Rehearsal

Steven Ledbetter will discuss the program

at 645 in the Cohen Annex.

Thursday, 18 March— 8-9:50 Thursday '10' series Friday, 19 March— 2-3=50 Saturday, 20 March— 8-9:50 SIR COLIN DAVIS conducting

Schubert Incidental Music to Rosamunde— UNMf CASTER HOUSE Debussy Jeux Poeme danse Bizet Symphony in C 41 Union St. - 227-2750

Thursday, 25 March— 8-9=50 Thursday 'A' series Friday, 26 March—2-3=50 Saturday, 27 March— 8-9=50 OF THE pCv VACLAV NEUMANN conducting :: Martinu Symphony No. 1 Lh#ly($irme Brahms Symphony No. 4

July 11 through 25 Wednesday, 31 March at 8 at "Soiree Musicale": A Special Concert Williams College, Williamstown, Mass. Celebrating the 250th Birthday of or Franz Joseph Haydn July 11 through August 8 at Thursday^ April— 8-10=10 Skidmore College, Saratoga Springs, N.Y. Thursday '10' series Choose your week or weekend! Program Friday, 2 April—2-4=10 includes The Philadelphia Orchestra, New Saturday, 3 April— 8-10=10 City Ballet, Boston Symphony, Wil- York ANTAL DORATI conducting liamstown Theater and much more! Sem- inars in Music, Art History, Architecture, All-Haydn Overture to Literature, Philosophy, Political Science, Program II ritorno di Tobia Dance, Drama. Workshops in art and cera- Symphony No. 26, mics. Swimming, tennis, golf. Dormitory Lamentatione rooms, limited rooms with private baths, The Seven Last Words and apartments available. Fee includes 3 of Christ full meals daily, and transportation to all evening events where necessary. Write for LINDA ZOGHBY, soprano brochure. SARAH WALKER, mezzo-soprano CLAES H. AHNSJO, tenor Aliens Lane Art Center (Dept. B) WOLFGANG LENZ, bass Aliens Lane & McCallum St. ENGLAND CONSERVATORY Philadelphia, PA. 19119 NEW CHORUS, LORNA COOKE (215) 248-0546 deVARON, conductor

45 -

We make it easy for you to hit the high notes.

45 Franklin St. Boston Mutual MA 02110 482-7530 Bank 969-7500 For Savings Member FDIC

Newbury's Steak House Back Bay'$ oldest restaurant*

Newbury's remembers why their first cusr tamers became regular customers — efficient A congenial amhience t friendly

service, the choicest cm of beeft fresh fish specials daily, generous sandwiches, an out' standing salad bar, homemade desserts as well as imported wines, beer, and cocktails all at sensme prices.

Only 10 minutes from Symphony Hall, Neubury's is at Massachusetts Ave. on the comer of Newbury St. j Free parking facilities are available before or after the symphony.

Open mm m midnight seven days a week. Q4 Massachusetts Ave. • 5360x84 I

46 Symphony Hall Information

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

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

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

FOR SYMPHONY HALL RENTAL INFORMATION, call (617) 266-1492, or write the Hall Manager, Symphony Hall, Boston, MA 021 15.

THE BOX OFFICE is open from 10 a.m. until 6 p.m. Monday through Saturday,- on

concert evenings, it remains open through intermission for BSO events or just past

starting-time for other events. In addition, the box office opens Sunday at 1 p.m. when

there is a concert that afternoon or evening. Single tickets for all Boston Symphony concerts go on sale twenty-eight days before a given concert once a series has begun, and phone reservations will be accepted. For outside events at Symphony Hall, tickets will be available three weeks before the concert. No phone orders will be accepted for these events.

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 afternoon and Saturday evening Boston Symphony concerts (subscription concerts only).

The continued low price of the Saturday tickets is assured through the generosity of two anonymous donors. The Rush Tickets are sold at $4.50 each, one to a customer, at the Symphony Hall West Entrance on Fridays beginning 9 a.m. and Saturdays beginning 5 p.m.

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

SMOKING IS NOT PERMITTED in any part of the Symphony Hall auditorium or in the surrounding corridors. It is permitted only in the Cabot-Cahners and Hatch rooms, and in the main lobby on Massachusetts Avenue.

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

FIRST AID FACILITIES for both men and women are available in the Cohen Annex near the Symphony Hall West Entrance on Huntington Avenue. On-call physicians attending concerts should leave their names and seat locations at the switchboard near the Massachusetts Avenue entrance.

WHEELCHAIR ACCESS to Symphony Hall is available at the West Entrance to the Cohen Annex. AN ELEVATOR is located outside the Hatch and Cabot-Cahners rooms on the Massachu- setts Avenue side of the building.

LADIES' ROOMS are located on the orchestra level, audience-left, at the stage end of the hall, and on the first-balcony level, audience-right, outside the Cabot-Cahners Room near the elevator.

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

COATROOMS are located on the orchestra and first-balcony levels, audience-left, outside

the Hatch and Cabot-Cahners rooms. The BSO is not responsible for personal apparel or other property of patrons.

LOUNGES AND BAR SERVICE: There are two lounges in Symphony Hall. The Hatch Room on the orchestra level and the Cabot-Cahners Room on the first-balcony level serve drinks starting one hour before each performance. For the Friday afternoon concerts, both

rooms open at 12: 15, with sandwiches available until concert time.

BOSTON SYMPHONY BROADCASTS: Concerts of the Boston Symphony Orchestra are heard by delayed broadcast in many parts of the United States and Canada, as well as internationally, through the Boston Symphony Transcription Trust. In addition, Friday afternoon concerts are broadcast live by WGBH-FM (Boston 89.7), WAMC-FM (Albany

90.3), WMEA-FM (Portland 90. 1), WMEH-FM (Bangor 90.9), WMEM-FM (Presque Isle

106. 1), WEVO-FM (Concord 89. 1), WVPR-FM (Windsor 89.5), and WVPS-FM (Burlington 107.9). Live Saturday evening broadcasts are carried by WGBH-FM and WAMC-FM, as well as by WCRB-FM (Boston 102.5), WFCR-FM (Amherst 88.5), and WPBH-FM

(Hartford 90.5). If Boston Symphony concerts are not heard regularly in your home area, and you would like them to be, please call WCRB Productions at (617) 893-7080. WCRB will be glad to work with you and try to get the BSO on the air in your area.

BSO FRIENDS: The Friends are supporters of the Boston Symphony, active in all of its endeavors. Friends receive BSO, the orchestra's newsletter, as well as priority ticket information. For information, please call the Friends' Office at Symphony Hall weekdays

between 9 and 5. If you are already a Friend and would like to change your address, please send your new address with your newsletter label to the Development Office, Symphony Hall, Boston, MA 021 15. Including the mailing label will assure a quick and accurate

change of address in our files.

IS THERE AN ALCOHOLISM PROBLEM MUSIC TO IN YOUR LIFE? IN YOUR FAMILY? IN YOUR WORKPLACE? YOUR EYES. CONSIDER MOUNT PLEASANT HOSPITAL

• Modern equipment and treatment in a comprehensive facility.

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