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110th Season 19 9 0-91

Boston Symphony Orchestra

Seiji Ozawa, Music Director

90TH ANNIVERSARY OF

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330BOYLSTON ST., BOSTON, MASS. 02116 (617) 267-9100 • 1-800^225-7088 THE MALL AT CHESTNUT HILL • SOUTH SHORE PLAZA Seiji Ozawa, Music Director Grant Llewellyn and Robert Spano, Assistant Conductors One Hundred and Tenth Season, 1990-91

Trustees of the Boston Symphony Orchestra, Inc.

Nelson J. Darling, Jr., Chairman Emeritus

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

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

William M. Crozier, Jr. Mrs. George I. Kaplan William F. Thompson Mrs. Michael H. Davis Harvey Chet Krentzman Nicholas T. Zervas Mrs. Eugene B. Doggett R. Willis Leith, Jr. Trustees Emeriti Vernon R. Alden Mrs. Harris Fahnestock Mrs. George R. Rowland Philip K. Allen Mrs. John L. Grandin Mrs. George Lee Sargent Allen G. Barry E. Morton Jennings, Jr. Sidney Stoneman Leo L. Beranek Albert L. Nickerson John Hoyt Stookey Mrs. John M. Bradley Thomas D. Perry, Jr. John L. Thorndike Abram T. Collier Irving W. Rabb Other Officers of the Corporation John Ex Rodgers, Assistant Treasurer Michael G. McDonough, Assistant Treasurer Daniel R. Gustin, Clerk

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

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

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

Programs copyright ©1991 Boston Symphony Orchestra, Inc. Cover by Jaycole Advertising, Inc. Board of Overseers of the Boston Symphony Orchestra, Inc.

John F. Cogan, Jr., Chairman Mrs. Ray A. Goldberg, Vice- Chairman Mrs. R. Douglas Hall III, Secretary

Mrs. Herbert B. Abelow Haskell R. Gordon Mrs. Thomas S. Morse Harlan Anderson Steven Grossman Richard P. Morse Mrs. David Bakalar John P. Hamill E. James Morton Bruce A. Beal Daphne P. Hatsopoulos David G. Mugar Mrs. Leo L. Beranek Joe M. Henson David S. Nelson Lynda Schubert Bodman Mrs. Marilyn Brachman Hoffman Mrs. Hiroshi H. Nishino Donald C. Bowersock, Jr. Ronald A. Homer Robert P. O'Block William M. Bulger Lola Jaffe Paul C. O'Brien Mrs. Levin H. Campbell Anna Faith Jones Vincent M. O'Reilly Earle M. Chiles H. Eugene Jones Andrall E. Pearson Mrs. C. Thomas Clagett, Jr. Susan B. Kaplan John A. Perkins James F. Cleary Mrs. S. Charles Kasdon Daphne Brooks Prout William H. Congleton Richard L. Kaye Millard H. Pryor, Jr. William F. Connell Robert D. King Keizo Saji Walter J. Connolly, Jr. Mrs. Gordon F. Kingsley Roger A. Saunders S. James Coppersmith Allen Z. Kluchman Mrs. Raymond H. Schneider Albert C. Cornelio Koji Kobayashi Mark L. Selkowitz Phyllis Curtin Mrs. Carl Koch Malcolm L. Sherman

Alex V. dArbeloff David I. Kosowsky Mrs. Donald B. Sinclair Phyllis Dohanian Robert K. Kraft W. Davies Sohier, Jr. Hugh Downs George Krupp Ralph Z. Sorenson Goetz B. Eaton Mrs. Hart D. Leavitt Ira Stepanian

Edward Eskandarian Laurence Lesser Mrs. Arthur I. Strang Katherine Fanning Stephen R. Levy Mark Tishler, Jr. Peter M. Flanigan Frederick H. Lovejoy, Jr. Roger D. Wellington Dean Freed Mrs. Charles P. Lyman Robert A. Wells Eugene M. Freedman Mrs. Harry L. Marks Mrs. Thomas H.P. Whitney Peter H.B. Frelinghuysen C. Charles Marran Margaret Williams-DeCelles Mrs. James Garivaltis Nathan R. Miller Mrs. John J. Wilson Mark R. Goldweitz

Overseers Emeriti

Mrs. Weston W. Adams Mrs. Louis I. Kane Mrs. Peter van S. Rice Mrs. Frank G. Allen Leonard Kaplan Mrs. Jerome Rosenfeld Mrs. Richard Bennink Benjamin H. Lacy Mrs. William C. Rousseau Mary Louise Cabot Mrs. James F. Lawrence Francis P. Sears, Jr. Johns H. Congdon Hanae Mori Mrs. Edward S. Stimpson Mrs. Thomas J. Galligan Mrs. Stephen V.C. Morris Luise Vosgerchian Mrs. Richard D. Hill Stephen Paine, Sr. Mrs. Donald B. Wilson Susan M. Hilles David R. Pokross

Symphony Hall Operations

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

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

Susan D. Hall, President Thelma E. Goldberg, Executive Vice-President Joan Erhard, Secretary Patricia A. Maddox, Treasurer Betty Sweitzer, Nominating Chairman

Vice-Presidents

Helen Doyle, Hall Services Marilyn Larkin, Tanglewood Goetz B. Eaton, Fundraising Patricia A. Newton, Regions Paul S. Green, Resources Development Carol Scheifele-Holmes, Public Relations Charles W. Jack, Adult Education F. Preston Wilson, Development Pat Jensen, Membership Pat Woolley, Youth Activities Maureen Hickey, Tanglewood

Chairmen of Regions

Krista Kamborian Baldini Helen Lahage Beverly J. Pieper Judy Clark Ginny Martens Patricia L. Tambone Joan Erhard Paula Murphy Arline Ziner Bettina Harrison Pamela S. Nugent

Business and Professional Leadership Association Board of Directors

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

J. P. Barger Thelma E. Goldberg Malcolm L. Sherman Leo L. Beranek Joe M. Henson Ray Stata William F. Connell George H. Kidder Stephen J. Sweeney Nelson J. Darling, Jr. Vincent M. O'Reilly Roger D. Wellington

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

Celebrating the 90th Anniversary of Symphony Hall

On display in the first-floor Huntington Avenue corridor of the Cohen Wing is an archival exhibit celebrating the 90th anniversary of Symphony Hall. In addition to newspaper accounts of the building's opening in 1900, the exhibit includes period photographs and a tribute to acoustician Wallace Clement Sabine. Articles on various aspects of Symphony Hall will be featured in the BSO program book throughout the season. The cover shows part of an architect's rendering of Symphony Hall, with lettering for "The Boston Music Hall" visible above what was originally the main entrance on Huntington Avenue. The new building was never so named, however, since the old Music Hall, where the BSO performed until Symphony Hall opened in 1900, was not torn down as planned. Perfect Harmony

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mf'--&s&tiL<8K»i&!. BSO Charles Munch and the BSO on 1991 "Salute to Symphony" Compact Disc and Cassette "Music Makers.BSO Profiles" A special, limited-edition compact disc and Available Now at the cassette of historic broadcast performances by Symphony Shop Charles Munch and the Boston Symphony Supported by a generous grant from NEC to Orchestra have been issued to commemorate celebrate its sponsorship of the BSO's North the 100th anniversary of the birth of the American tour this April and the European former BSO music director. This 1991 "Salute tour in August, "Music Makers.BSO Profiles" to Symphony" gift incentive is available for includes portrait photographs and up-to-date your contribution of $50 to the orchestra ($40 biographies of each BSO member, as well as for the cassette). Produced with the coopera- Seiji Ozawa, John Williams, Harry Ellis Dick- tion of WCRB, the album includes the "Royal son, and the BSO's assistant conductors, Hunt and Storm" from Berlioz's Les Troyens, librarians, and stage managers. The Boston Faure's Pelleas and Melisande Suite, Franck's Symphony Chamber Players and Tanglewood Symphonic Variations for piano and orchestra, Festival Chorus are also included. Newly pub- with soloist Nicole Henriot- Schweitzer, and

lished, this handsome, 125-page book is avail- Bizet's Symphony in C. All four selections are able now at the Symphony Shop for a special in stereo, from broadcasts that aired originally introductory price of $7.95. in the mid-1960s. Quantities are limited. To order your compact disc or cassette, please BSO to Tour North America call the Volunteer Office at (617) 266-1492, April 22 through May 3, ext. 380. Sponsored by NEC Art Exhibits in the Cabot-Cahners Room The Boston Symphony Orchestra will make its first transcontinental tour since 1981 from For the seventeenth year, a variety of Boston-

Monday, April 22, through Friday, May 3, area galleries, museums, schools, and non- with performances in Pittsburgh, Toronto, profit artists' organizations are exhibiting their Chicago, New York, Cleveland, Los Angeles, work in the Cabot-Cahners Room on the first- San Francisco, and Tempe, Arizona. This balcony level of Symphony Hall. On display North American tour — as well as the forth- through May 13 are works from the Levinson/ coming European tour in August — is being Kane Gallery of Boston, a contemporary fine sponsored by a generous grant from NEC, art gallery that exhibits regional, national, and which previously sponsored the orchestra's Far international art in all media. This will be fol- East tour in 1989 and its 1988 European tour. lowed by works by members of the Monotype Tour repertoire will include works by Bartok, Guild (May 13-June 10) and works from the Beethoven, Berlioz, Brahms, Haydn, Rossini, Eliza Spencer Gallery (June 10-July 8). These and Schnittke. exhibits are sponsored by the Boston Sym- phony Association of Volunteers, and a portion Ticket Resale of each sale benefits the orchestra. Please con- tact the Volunteer Office at (617) 638-9390, Attention, BSO subscribers! If you have a for further information. ticket to a subscription concert that you will not be attending, you can benefit the BSO and Tenth Annual "Presidents at Pops" a potential concertgoer by making your ticket on Wednesday, June 5, available for resale. Simply call the Symphony at Symphony Hall Hall switchboard at (617) 266-1492 and give the operator your name and seat location. A special "Presidents at Pops" celebration will

Besides bringing needed revenue to the orches- take place on Wednesday evening, June 5, as the tra, this allows someone to attend what might BSO salutes ten years of corporate support that otherwise be a sold-out performance. You will has surpassed the ten-million-dollar mark. "Pres- receive a receipt in the mail acknowledging idents at Pops" 1991 committee chairman Chad your tax-deductible contribution. Gifford, President of Bank of Boston, will join •' The profit from selling my business shows I'm good at making money. But more important is keeping it..,. Part of managing money well is knowing when to call professionals.

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6 Hi

more than 100 sponsoring companies in the Ronald Knudsen leads the Newton Sym- BSO's largest fundraising event of the year. On phony Orchestra with the Newton Choral Soci- Monday, May 13, the senior executives of each ety, David Carrier, conductor, in Beethoven's participating organization will be honored at the Ninth Symphony on a gala concert to close the Leadership Dinner, a black-tie dinner dance held NSO's twenty-fifth season, Saturday, May 11, on the floor of Symphony Hall. "Presidents at at the Church of Our Lady Help of Christians,

Pops" sponsorships are still available for $6,000 573 Washington Street in Newton Corner. and include an invitation for two to the Leader- Tickets are $14 and $12. Call (617) 965-2555 ship Dinner and twenty tickets to the "Presi- for further information. dents at Pops" gala event, complete with pre- Max Hobart leads the Civic Symphony concert cocktails and hors d'oeuvres, a gourmet Orchestra on Sunday, May 12, at 3 p.m. at picnic supper, and a special Boston Pops concert Jordan Hall. The program includes the over- led by John Williams. Companies may also sup- ture to Mozart's The Magic Flute, Gunther port the BSO by advertising in the commemora- Schuller' s Seven Studies on Themes of Paul tive "Presidents at Pops" program book. For Klee, with the composer conducting, Saint- further information, please call Marie Pettibone, Saens' Cello Concerto No. 1 with soloist BSO Corporate Development, at (617) 638-9278. Leonardo Altino, and Sibelius' Symphony No. 1. Tickets are $12 and $8, with reduced BSO Members in Concert price tickets for students and seniors available the day of the concert. For further informa- BSO associate concertmaster Tamara Smirnova- tion, call (617) 566-2219. Sajfar is soloist in Kurt Weill's Concerto for Violin and Wind Orchestra with the Pro Arte Books for the Beranek Room Chamber Orchestra, Gunther Schuller conduct- ing, on Sunday, April 21, at 3 p.m., at Sanders The BSO is seeking used books about music

Theater in Cambridge. Also on the program are and musical topics to fill the shelves of Sym- Wilder's Serenade for Winds and Mozart's Sere- phony Hall's new Beranek Room. All books nade No. 10 in B-flat for thirteen instruments, will be labeled with a BSO bookplate indicating K.361. Tickets are $22, $15, and $8. For fur- the name of the donor. If you have a book or ther information, call 661-7067. books you would like to give to the orchestra Max Hobart conducts the North Shore Phil- for this purpose, please call Noni Cooper, harmonic in "A Salute to Arthur Fiedler" with Assistant Director of Annual Giving, at (617) host/narrator Ron Delia Chiesa on Sunday, 266-1492. April 21, at 3 p.m. at the North Shore Music Theater in Beverly, Massachusetts. For ticket information, call 1-631-6513. Harry Ellis Dickson leads the Boston Clas- sical Orchestra on Wednesday, April 24, and Friday, April 26, at 8 p.m. at the Old South Meeting House, 310 Washington Street. Soprano Andrea Bradford and baritone Robert Honeysucker are soloists in arias from Mozart's Don Giovanni on a program also "Nationally Outstanding" including the opera's overture, Beethoven's -Esquire Magazine Contredanses for Orchestra, and Haydn's Symphony No. 101, The Clock. Tickets are $18 and $12 ($8 students and seniors). For further information, call (617) 426-2387. Ronald Feldman conducts the Berkshire Symphony on Saturday, April 27, at 8 p.m. in Chapin Hall at Williams College in Williams- town. BSO principal trombone Ronald Barron is featured in Ellen Taaffe Zwilich's Concerto for Trombone and Orchestra, on a program also including Brahms's Tragic Overture and Beethoven's Fifth Symphony. Tickets are $5, general admission. For more information, call (413) 597-2127. include Richard Strauss 's Elektra, recorded during concert performances at Symphony Hall in Boston with Hildegard Behrens in the title role; and Mahler's First, Second {Resurrection), and Fourth symphonies, part of a continuing Mahler cycle on Phil- ips that also includes the Symphony No. 8 (Symphony of a Thousand). Mahler's Fifth, Seventh, and Ninth symphonies, and his Kindertotenlieder, with Jessye Norman, have been recorded for future release. Mr. Ozawa's recent recordings with the Boston Symphony Orchestra for Deutsche Gram- mophon include Poulenc's Gloria and Sta- bat mater with soprano Kathleen Battle and the Tanglewood Festival Chorus, the two Liszt piano concertos and Totentanz

Now in his eighteenth year as music with Krystian Zimerman, an album of director of the Boston Symphony Orches- music by Gabriel Faure, and "Gaite parisi- tra, Seiji Ozawa was named the BSO's enne," an album of music by Offenbach, thirteenth music director in 1973, follow- Gounod, Chabrier, and Thomas. Other ing a year as music adviser. His many Deutsche Grammophon releases include tours with the orchestra in Europe, Japan, Prokofiev's complete Romeo and Juliet, and throughout the United States have Berlioz's Romeo et Juliette and Damnation included the orchestra's first tour devoted of Faust, and, with Itzhak Perlman, an exclusively to appearances at the major award-winning album of the Berg and European music festivals, in 1979; four Stravinsky violin concertos. Also available visits to Japan; and, to celebrate the are Schoenberg's Gurrelieder, on Philips; orchestra's centennial in 1981, a fourteen- the complete Beethoven piano concertos city American tour and an international with Rudolf Serkin, on Telarc; the Dvorak tour to Japan, France, Germany, Austria, Cello Concerto with Mstislav Rostropovich and England. In March 1979 Mr. Ozawa and Tchaikovsky's Pathetique Symphony, and the Boston Symphony Orchestra made on Erato; Strauss's Don Quixote and the an historic visit to China for a significant Schoenberg/Monn Cello Concerto with musical exchange entailing coaching, Yo-Yo Ma, the Mendelssohn Violin Con- study, and discussion sessions with Chi- certo with Isaac Stern, and Berlioz's Les nese musicians, as well as concert perform- Nuits d'ete with Frederica von Stade, on ances, becoming the first American per- CBS Masterworks; and Stravinsky's Fire- forming ensemble to visit China since the bird, on EMI/Angel. establishment of diplomatic relations. In Mr. Ozawa pursues an active interna- December 1988 he and the orchestra gave tional career, appearing regularly with the eleven concerts during a two-week tour to Berlin Philharmonic, the Orchestre de England, the Netherlands, France, Ger- Paris, the French National Orchestra, the many, Austria, and Belgium. In December Vienna Philharmonic, the Philharmonia of 1989 Mr. Ozawa and the orchestra trav- London, and the New Japan Philharmonic. eled to Japan for the fourth time, on a Recent appearances conducting opera have tour that also included the orchestra's first included La Scala, Salzburg, the Vienna concerts in Hong Kong. Staatsoper, and the Paris Opera; he has

Mr. Ozawa's recent recordings for Phil- also conducted at Covent Garden. In 1983, ips with the Boston Symphony Orchestra at the Paris Opera, he conducted the world premiere of Olivier Messiaen's St. Francis While a student of Herbert von Karajan ofAssisi. In addition to his many Boston in West Berlin, Mr. Ozawa came to the Symphony Orchestra recordings, he has attention of Leonard Bernstein. He accom- recorded with the Berlin Philharmonic, the panied Mr. Bernstein on the New York London Philharmonic, the Philharmonia of Philharmonic's 1961 tour of Japan and London, the Chicago Symphony Orchestra, was made an assistant conductor of that the Orchestre National, the Orchestre de orchestra for the 1961-62 season. In Janu- Paris, the San Francisco Symphony, and ary 1962 he made his first professional the Toronto Symphony Orchestra, among concert appearance in North America, with others. His opera recordings include the San Francisco Symphony. Mr. Ozawa Bizet's Carmen with Jessye Norman and was music director of the Chicago Sym- the Orchestre National, on Philips, and phony Orchestra's Ravinia Festival for five Les Contes d'Hoffmann with Placido Dom- summers beginning in 1964, music director ingo and Edita Graberova, on Deutsche of the Toronto Symphony Orchestra from Grammophon. 1965 to 1969, and music director of the San Francisco Symphony from 1970 to 1976, followed by a year as that orches- Born in 1935 in Shenyang, China, to tra's music advisor. He conducted the Japanese parents, Seiji Ozawa studied Boston Symphony Orchestra for the first Western music as a child and later gradu- time at Tanglewood, in 1964, and made ated with first prizes in composition and his first Symphony Hall appearance with conducting from Tokyo's Toho School of the orchestra in 1968. In 1970 he was Music, where he was a student of Hideo named an artistic director of the Tangle- Saito. In 1959 he won first prize at the wood Festival. International Competition of Orchestra Conductors held in Besangon, France, and Mr. Ozawa holds honorary doctor of was invited to Tanglewood by Charles music degrees from the University of Munch, then music director of the Boston Massachusetts, the New England Conser- Symphony Orchestra and a judge at the vatory of Music, and Wheaton College in competition. In 1960 he won the Tangle- Norton, Massachusetts. He has won an wood Music Center's highest honor, the Emmy for the Boston Symphony Orches- Koussevitzky Prize for outstanding student tra's "Evening at Symphony" PBS televi- conductor. sion series. Leo Panasevich Carolyn and George Rowland chair Sheldon Rotenberg Muriel C. Kasdon and Marjorie C. Paley chair Alfred Schneider Raymond Sird Ikuko Mizuno Amnon Levy

Second Violins endowed Music Directorship by Marylou Speaker Churchill Cabot John Moors Fahnestock chair Vyacheslav Uritsky BOSTON SYMPHONY Charlotte and Irving W. Rabb chair ORCHESTRA Ronald Knudsen Edgar and Shirley Grossman chair 1990-91 Joseph McGauley Leonard Moss First Violins Malcolm Lowe *Harvey Seigel Concert-master *Jerome Rosen Charles Munch chair * Sheila Fiekowsky Tamara Smirnova-Sajfar Ronan Lefkowitz Concertmaster Associate * Bracken Helen Horner Mclntyre chair Nancy Max Hobart *Jennie Shames Assistant Concertmaster *Aza Raykhtsaum Robert L. Beat, and *Valeria Vilker Kuchment Enid L. and Bruce A. Beat chair *Bonnie Bewick Lucia Lin Acting Assistant Concertmaster *Tatiana Dimitriades Edward and Bertha C. Rose chair *James Cooke Bo Youp Hwang *Si-Jing Huang Acting Assistant Concertmaster John and Dorothy Wilson chair, fully funded in perpetuity Violas Max Winder Burton Fine Forrest Foster Collier chair Charles S. Dana chair Fredy Ostrovsky Patricia McCarty Dorothy Q. and David B. Arnold, Jr., Anne Stoneman chair, chair, fully funded in perpetuity fully funded in perpetuity Gottfried Wilfinger ^Ronald Wilkison Lois and Harlan Anderson chair Robert Barnes *Participating in a system of rotated seating within each string section %0n sabbatical leave

10 Mjri]EgXt&n]t,i&&*am Jerome Lipson Piccolo Trombones Joseph Pietropaolo Geralyn Coticone Ronald Barron Michael Zaretsky Evelyn and C. Charles Marran chair J. P. and Mary B. Barger chair, funded in perpetuity Marc Jeanneret fully Oboes Norman Bolter *Mark Ludwig Alfred Genovese * Rachel Fagerburg Mildred B. Remis chair Bass Trombone * Edward Gazouleas Wayne Rapier Douglas Yeo Keisuke Wakao Cellos Tuba Jules Eskin English Horn Chester Schmitz Philip R. Allen chair Laurence Thorstenberg Margaret and William C. Martha Babcock Beranek chair, Rousseau chair Vernon and Marion Alden chair fully funded in perpetuity Sato Knudsen Clarinets Timpani Esther S. and Joseph M. Shapiro chair Everett Firth Joel Moerschel Harold Wright Sylvia Shippen Wells chair Sandra and David Bakalar chair Ann S.M. Banks chair * Thomas Martin Robert Ripley Percussion Richard C. and, Ellen E. Paine chair, fully funded in perpetuity Bass Clarinet Arthur Press Luis Leguia Craig Nordstrom Assistant Timpanist Peter Andrew Lurie chair Robert Bradford Newman chair Farla and Harvey Chet tCarol Procter Krentzman chair Thomas Gauger Peter and Anne Brooke chair Lillian and Nathan R. Miller chair Frank Epstein * Ronald Feldman Bassoons Charles and JoAnne Dickinson chair William Hudgins Richard Svoboda * Jerome Patterson Edward A. Taft chair * Jonathan Miller Roland Small Harp Richard Ranti Ann Hobson Pilot Basses Willona Henderson Sinclair chair Edwin Barker Contrabassoon Sarah Schuster Ericsson Harold D. Hodgkinson chair Richard Plaster Lawrence Wolfe Helen Rand Thayer chair Maria Nistazos Stata chair, fully funded in perpetuity Joseph Hearne Horns Leith Family chair Charles Kavalovski Bela Wurtzler Helen Sagoff Slosberg chair John Salkowski Richard Sebring Margaret Andersen chair * Robert Olson Congleton Daniel Katzen Personnel Managers *James Orleans Elizabeth B. Storer chair Lynn Larsen *Todd Seeber Jay Wadenpfuhl Harry Shapiro *John Stovall Richard Mackey Jonathan Menkis Librarians Flutes Marshall Burlingame Trumpets William Shisler Walter Piston chair Charles Schlueter James Harper Leone Buyse Roger Louis Voisin chair Acting Principal Flute Peter Chapman Stage Manager Ford chair Marian Gray Lewis chair H. Cooper Position endowed by Fenwick Smith Timothy Morrison Angelica Lloyd Clagett Myra and Robert Kraft chair Steven Emery Alfred Robison

11 l; i

References furnished on request

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

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

12

I ^^^l^^^lBsfj Symphony Hall: A Hospitable House for Music by Paul Goldberger

Symphony Hall is not Boston's grandest cultural building or its oldest, or even the most celebrated work in town by the architects McKim, Mead & White — the Boston Public Library at Copley Square must take that title. But Symphony Hall is probably the city's most beloved building, and with good reason: it is as gracious and hospitable a house for music as has been constructed anywhere in the United States, a building full of understanding of the nature of the city of which it is a part, and of the orches- tra whose bodies and souls it contains.

Like the city itself, Symphony Hall seems plain at first glance, and becomes more remarkable with better acquaintance. The hall reveals only one of its treasures instantly, that of its splendid acoustics; the others are left to emerge over time. The building seems on first impression almost straitlaced, a bit hard and unyielding; it has none of the obvious lushness that characterized the old Metropolitan Opera House in New York, say, or so many other ornate halls of the late nineteenth century. By com- parison to them, Charles McKim' s classical design for Symphony Hall is not a little severe; there is relatively little ornament, and there is certainly no attempt to dazzle. Symphony Hall was not a hall for the social audiences of New York, who came to show off jewels more than listen to music, and thus required tiers of boxes, each deco- rated as a frame for the persons seated within; it was not a hall for Paris, either, where social customs were such that Charles Gamier, in his design for the Opera, felt obliged to include more space for promenading than space within the auditorium itself.

In Boston the priority was music. Yet McKim had no interest in a hall that was austere, and it was his genius to have been able to strike a balance between the seri- ous instincts of this city on the one hand, and his own architectural impulses on the other. What emerged was a building and a hall that are remarkably comfortable places, not at all lush but not at all cold, either, warm and sympathetic throughout to the requirements of music.

13 A word, first, about the outside. It is of red brick with limestone trim, the combina- tion of materials that characterizes Harvard and so much of Boston. McKim's start- ing point was clearly the stylistic vocabulary of Georgian-influenced Boston, and the building1 could sit beside any Georgian building without causing any sense of discord. But what is most special is the shape — the building looks like a great brick barn, with a central section containing the auditorium, topped by a shed roof, and lower wings running the length of both sides.

The effect is far less formal than that of most concerts halls; from a few blocks away on Massachusetts Avenue, which approaches the hall on a diagonal, Symphony Hall could almost be a vast warehouse or train station. It commands the view with a strong relaxed presence. From close up, the character still remains somewhat indus- trial; it is hard not to think of this building's exterior and general form as being as much in league with the great railway stations of its time as with the great concert halls. The facade decoration is spare, but effective — there is a shallow Ionic portico on the Huntington Avenue facade, which is the ceremonial front (most traffic in fact uses the plainer and friendlier side entrance under a marquee on Massachusetts Avenue), and above the portico is a fairly elaborate pediment. Much of the ornament here and elsewhere is "blind" — blank arches, blank doorways, blank oculi, placed on the facade as a simple and relatively inexpensive means of giving texture and a sense of the clas- sical presence without becoming too ornate.

This is obviously not the work of the celebrated McKim, Mead & White partner

Stanford White, who was noted for an overflow of lyrical, light decoration, but it is not altogether typical of his more sober partner McKim, either. For Symphony Hall contains, in addition to its monumental, classical elements, a number of surprisingly plain ones. There are double-hung windows here and there on the outside, for exam- ple, and a couple of them even poke their way into the formal Huntington Avenue facade; they are, to late twentieth-century eyes, a delightful irony, a whimsical intru- sion of an everyday esthetic into these grander precincts. The lobbies are quite under- stated, almost plain; and of course the very railroad station-like air of the exterior is itself an element uncharacteristic of McKim. (The railroad stations McKim did design, like Pennsylvania Station in New York, have much more of the elegance one normally associates with a concert hall.)

McKim had originally proposed something more elaborate — a hall that was based on a Greek theater, and thus had a shape quite different from the long rectangle of Symphony Hall's present auditorium. That would have involved more ornament as well, which would in all probability have strained the $750,000 construction and land acquisition budget; the main problem with the original shape, however, was that it did not seem appropriate acoustically. Symphony Hall is the first hall in the nation to have been designed in cooperation with an acoustical consultant, Wallace Sabine, a professor at Harvard, and by all accounts McKim appears to have welcomed this association with a representative of a new science. Sabine felt that the broader shape of McKim's earlier scheme, which had been untried in concert hall design, involved too much risk, and he was a major force in leading the architect to the Leipzig Gewand- haus, the proportions of which became the general model for Symphony Hall. Sabine's recommendations led also to certain specifics of the design of the hall itself, such as materials and seating arrangements.

The hall was billed at the time of its opening in 1900 as representing the most advanced principles of acoustical science, and its success was, and remains, undisputed — it is a hall of rich, clear, warm sound, gracious and ample throughout. The acoustical science of Wallace Sabine was not as precise as that of acousticians today, yet its results were undoubtedly finer — only a handful of halls built in the past

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Tiffany & Co. generation have equaled Symphony Hall in acoustical quality, and it is fair to say that

none has exceeded it.

The sound fills the hall, yet it remains directional — one always senses its pres- ence on, and from, the stage. There is a similar kind of emphasis visually— the stage

(it is actually a platform, not a complete stage) and its gold proscenium anchor the hall, and control the space fully. The proscenium's decoration is somewhat more elab-

orate than that which is to be found elsewhere in the hall, but it is still understated; what could be more typical of this building— and of Boston — than to replace the long list of composers whose names are carved in the prosceniums of halls elsewhere with the single name of Beethoven?

The design of the hall is much like the design of the building itself: it is strength and understated elegance, joined neatly and with an air of self-assurance. The room is long and high, its walls consisting mostly of plaster painted a crisp, cool beige. There are niches at regular intervals high above the upper balcony level, and they contain classical statues that are not only fairly handsome in themselves, but provide a cer- tain rhythm, a certain texture, to the walls, adding to the sense of serene strength.

The ceiling is like a giant coffer-pattern made up of false ornamental beams, and it is broken by five huge, but still fairly simple, chandeliers. There are only a few touches of bright color — the red balcony rails and aisle carpeting, the gold trelliswork balcony fronts, the gold proscenium.

It is a hall of order and clarity above all, more so than any other concert hall in the United States. There is a sense throughout not only of good sound, but of the visual surroundings that are appropriate for good sound. McKim was able at Symphony Hall to create a place that has a strong presence, yet remains, in the final analysis, a back- ground building. The architecture of Symphony Hall is at once powerful and discreet: it is the music which comes first, and the architecture does nothing but enhance our pleasure in it.

Paul Goldberger is Culture Editor of the New York Times. This article was printed origi- nally in The Boston Symphony Orchestra: The First Hundred Years, published in October 1981 to celebrate the BSO's centennial.

15 w

BOSTON SYMPHONY ORCHESTRA

Seiji Ozawa, Music Director Grant Llewellyn and Robert Spano, Assistant Conductors One Hundred and Tenth Season, 1990-91

Thursday, April 18, at 8 Saturday, April 20, at 8

SEIJI OZAWA conducting

RICHARD STRAUSS

Salome, oPus 54 Libretto by Hedwig Lachmann, after Oscar Wilde

Salome, daughter of Herodias HILDEGARD BEHRENS, soprano Herodias, wife of the Tetrarch MIGNON DUNN, mezzo-soprano Herod Antipas, Tetrarch of Judaea RAGNAR ULFUNG, tenor Jokanaan, the Prophet JORMA HYNNINEN, baritone Narraboth, a young Syrian VINSON COLE, tenor

Hildegard Behrens as Salome, in a Metro- politan Opera staging earlier this season

16 Page of Herodias DIANE KESLING, mezzo-soprano First Jew BRAD CRESSWELL, tenor Second Jew DENNIS PETERSEN, tenor Third Jew JOHN HORTON MURRAY, tenor Fourth Jew PHILIP CREECH, tenor Fifth Jew LeROY LEHR, bass First Nazarene LOUIS LEBHERZ, bass Second Nazarene JAMES KLEYLA, baritone First Soldier BRIAN MATTHEWS, bass Second Soldier JAMES BUTLER, bass A Cappadocian DONALD WILKINSON, baritone A Slave WILLIAM HITE, tenor Executioner BRUCE BECKLES

Concert staging by David Kneuss Designed by John Michael Deegan and Sarah G. Conly

Lighting executed by H.R. Costa Costumes constructed by Chase Costumes and TeriLyn Costumes Scenery constructed by Mystic Scenic Studios, Inc. Susan Webb, vocal coach and prompter James Ross, production coordinator

A summary of the plot appears on page 4 of the separately printed libretto. There will be no intermission.

These concerts will end about 9:55.

RCA, Deutsche Grammophon, Philips, Telarc, Sony Classical/CBS Master-works, EMI/Angel, New World, Erato, and Hyperion records Baldwin piano

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

17 Salome Farewell and Thanks

Jerome Lipson Sheldon Rotenberg William Pierce

Three valued family members are leaving the Boston Symphony Orchestra this year. Two of them are retiring orchestra members, the only remaining Boston Symphony players to have been hired by Serge Koussevitzky.

A charter member of the Tanglewood Music Center in 1940, violist Jerome Lipson has been a Boston Symphony member for forty-five years, having joined the orchestra in 1946; a decade before that, while home in Boston on vacation from the Curtis Institute of Music in Philadelphia, he had been encouraged by Koussevitzky to perse- vere in his goal of one day joining the BSO. Born in Boston, Mr. Lipson graduated from Boston Latin School. He later served in the United States Army Air Force for thirty-nine months. A founding member of the Stockbridge String Quartet, he was solo violinist of the Zimbler Sinfonietta on its tour to South America. As a BSO member, he represented his colleagues as a member of the Players Committee for many years.

Violinist Sheldon Rotenberg joined the BSO in 1948, during Koussevitzky' s final season as music director. Originally from Attleboro, Massachusetts, he received his bachelor's degree from Tufts University. In 1940 he participated in the inaugural ses- sion of the Tanglewood Music Center. Following Army service as a captain in the Mil- itary Intelligence, Mr. Rotenberg continued his violin studies in Paris. Before joining the BSO, he was concertmaster of the Massachusetts National Youth Administration Orchestra conducted by Arthur Fiedler. He was a violinist for one season with the Indianapolis Symphony before enlisting in the Army. Mr. Rotenberg will retire at the end of the 1991 Tanglewood season, having been a member of the Boston Symphony Orchestra for forty-three years.

Also retiring this year is William Pierce, commentator of the BSO's radio and tele- vision broadcasts from Symphony Hall, and popularly known to millions of people across the country as "the voice of the Boston Symphony and the Boston Pops orchestras." A resident of Hingham, Mr. Pierce was an announcer for the WGBH Educational Foundation for thirty years and has been an employee of WCRB since 1982. He became the regular announcer for Boston Symphony broadcasts thirty-eight years ago, in the 1953-54 season, having served as a broadcast commentator since the early 1950s. A graduate of Bowdoin College in Maine, Mr. Pierce has taught courses in broadcasting at Emerson College and works privately as a tutor for dyslexic children.

Messrs. Lipson, Rotenberg, and Pierce have devoted themselves to the Boston Sym- phony Orchestra for a combined total of more than 125 years. The value of that ser- vice to Boston's musical community is immeasurable. We extend our most sincere gratitude and wish them all the best.

18 Richard Strauss Salome, Opus 54

Georg Richard Strauss was born in Munich on June 11, 1864, and died in Garmisch-Partenkir-

chen, Bavaria, on September 8, 1949. Strauss com- posed Salome from 1903-1905, to a libretto he derived from Oscar Wilde's play of the same name, in the German translation of Hedwig Lachmann. (The last page of the score is dated June 20, 1905, but Strauss did not compose the music for Salome's dance until August.) The opera was premiered at

the Dresden Court Opera on December 9, 1905. A public rehearsal took place at the Metropolitan Opera on January 22, 1907, for what would have been the American premiere, but the performance was cancelled; the actual premiere was given by the Manhattan Opera Company on January 28, 1909. These are the first Boston Symphony performances of the entire score, but the orchestra has performed Salome's "Dance of the Seven Veils" on several occasions, first in April 1912 with Max Fiedler conducting; later performances were directed by Pierre Monteux, Serge Koussevitzky, Richard Burgin, Fritz Reiner, Erich Leinsdorf William Steinberg, and Seiji Ozawa. The BSO first performed the final scene of the opera as part of a Tan- glewood on Parade concert in 1954; soprano Brenda Lewis was soloist, and Thomas Schippers conducted. Later performances featured Leontyne Price (Erich Leinsdorf con- ducting), Phyllis Curtin (with Gunther Schuller), and Hildegard Behrens (the most recent subscription performances, in April 1983), Price again, and Jessye Norman (the most recent Tanglewood performance, in August 1987), all with Seiji Ozawa.

The principal characters are Salome (soprano), Herodias (mezzo-soprano), Herod (tenor), Jokanaan (baritone), and Narraboth (tenor); the other characters include Herodias's page, five Jews, two Nazarenes, two soldiers, a Cappadocian, and a slave. The orchestra requires three flutes and piccolo; two oboes, English horn, and heckel- phone; two clarinets each in A and B-flat, E-flat clarinet, and bass clarinet; three bas- soons and contrabassoon; six horns, four trumpets, four trombones, bass tuba, four ket- tledrums (one performer), one small kettledrum (one performer), gong, cymbals, bass drum, snare drum, tambourine, triangle, xylophone, castanets, glockenspiel (six or seven performers), two harps, celesta, offstage harmonium or organ, sixteen first violins, six- teen second violins, ten to twelve violas, ten cellos, and eight double basses. The Mustel Harmonium used at these performances has been generously provided by F. Lee Eiseman.

By the end of the nineteenth century, many artists in Europe and America felt that familiar modes of expression had been largely exhausted; they looked for something new, something exotic, some new field to exploit. Improved communications and travel brought information about the east — the Middle East first (owing largely to Napo- leon's exploits in Egypt), gradually expanding attention throughout the Near East. The painter Delacroix visited North Africa and returned with richly colored, gloriously evocative canvases and sketches revealing a world distant from European sensibilities. Victor Hugo's poetic Orientates were widely popular. The French composer Felicien David influenced generations of French musicians with his ode-symphony Le Desert (1844) and his evocative operetta Lalla Rookh (1862), based on Thomas Moore's lengthy poem, setting off a veritable frenzy of orientalia. In Germany, too, Robert Schumann took an early part in the new sensibility with his cantata Das Paradies und die Peri, derived from a story contained in Moore's Lalla Rookh.

19 Salome MM

Edward FitzGerald's freely paraphrased translation of the Rubdiydt of Omar Khayyam (1859) provided a new infusion of material built on a hedonistic world view exploited by various composers. Exoticism played a role even in such outposts of European culture as far-off Boston, where composers evidently found that orientalism gave them a license for sensuous expression not otherwise welcome among the staid Brahmins of the Hub. Arthur Foote's Four Character Pieces after the Rubdiydt of Omar Khayyam is far and away his most sensuously scored orchestral work, and the scene of Judith's seduction and murder of the brutal Assyrian general Holofernes in George Chadwick's lyric drama Judith is at once lush and savage. Judith and Holofernes also formed the subject of one of the most famous paintings of Gustav Klimt, the foremost painter of art nouveau in Vienna, whose work combined an exotic with an erotic sensibility.

The story of the death of John the Baptist is told in two almost identical versions in the gospels of Matthew and Mark. It is worth recalling this brief story, particularly as it reveals much about the very different relationships of the characters in Strauss's opera.

It was this Herod who had sent men to arrest John and put him in prison at the insistence of his brother Philip's wife, Herodias, whom he had married. John had

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20

Lk.lt told him, "You have no right to take your brother's wife." Herodias nursed a grudge against John and would willingly have killed him, but she could not, for Herod went in awe of him, knowing him to be a good and holy man; so he gave him his protection. He liked to listen to him, although what he heard left him greatly disturbed. Herodias found her opportunity when Herod on his birthday gave a banquet to his chief officials and commanders and the leading men of Galilee. Her daughter came in and danced, and so delighted Herod and his guests that the king said to the girl, "Ask me for anything you like and I will give it to you." He even said on oath: "Whatever you ask I will give you, up to half my kingdom." She went out and said to her mother, "What shall I ask for?" She replied, "The head of John the Baptist." The girl hurried straight back to the king with her request: "I want you to give me, here and now, on a dish, the head of John the Baptist." The king was greatly distressed, yet because of his oath and his guests he could not bring himself to refuse her. He sent a soldier of the guard with orders to bring John's head; and the soldier went to the prison and beheaded him; then he brought the head on a dish and gave it to the girl; and she gave it to her mother. [Mark 6:17-28, Revised English Bible]

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Program from the Dresden premiere,

December 9, 1905

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22 It should be noted in particular that in this earliest version of the story, it is Herodias who drives the action; the daughter, whom we know as Salome, is not even given a name.

The death of John the Baptist has long been a subject for painters, at least from the time of Diirer and Leonardo. And it was a painting that led to the creation of the drama on which Strauss's opera is based. Already during his Oxford days Wilde had discovered, through the agency of his mentor, the art critic Walter Pater, Flaubert's story Herodias, which was inspired by two paintings by Gustave Moreau. Fascinated by the story and the characters, Wilde drew from it extensively in his own work, though his plot is almost the opposite of Flaubert's, for Wilde makes Salome herself the moving spirit of the action.

Before writing his play Wilde read widely on the subject and looked at all the rele- vant paintings he could find. He criticized the paintings of Rubens and Leonardo, lamented that versions by Durer and Ghirlandaio were incomplete. The only treat- ments that satisfied him were the two paintings by Moreau, first exhibited in the 1876 Salon. In the first, Salome, the girl prepares to dance before Herod; the second, L 'Apparition, depicting the climax of the story, made Moreau's reputation. The exotic ripeness of the first painting, its almost phosphorescent quality, the mysterious hier- atic attitude of the dancing girl who will so powerfully arouse Herod's passion — these attracted wide attention. Soon after, Flaubert had written a short story and Massenet an opera on Herodias, which dealt with the theme. J.K. Huysmans described

Gustave Moreau's "Salome'

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24 Moreau's Salome in an extended passage of perfervid prose in his most famous novel, A Rebours {Against the Grain, 1884), in which the decadent hero Des Esseintes seeks relief from the boredom of existence through every kind of sensual experience.

The novel attracted Wilde's attention. Indeed, its description of Moreau's painting is remarkably similar in tone (and in its detailed list of jewels and decorative ele- ments) to passages in Wilde's own novel The Picture of Dorian Gray (1891). Huys- man's describes Moreau's Salome as she begins "the lascivious dance":

[H]er breasts rise and fall, the nipples hardening at the touch of her whirling necklaces; the strings of diamonds glitter against her moist flesh; her bracelets, her belts, her rings all spit out fiery sparks; and across her triumphal robe, sewn with pearls, patterned with silver, spangled with gold, the jewelled cuirass, of

which every chain is a precious stone, seems to be ablaze with little snakes of fire, swarming over the mat flesh, over the tea-rose skin ....

Oscar Wilde had been taken with the story of Salome after seeing the Moreau paintings. Since the attention given to the story of Salome, Herod, Herodias, and John the Baptist was essentially a Parisian phenomenon, Wilde wrote his play in a poetic French prose (he was almost completely bilingual). At first the play flopped in Paris. A planned production in England, translated into a rather precious, consciously old-fashioned English by Lord Alfred Douglas, was banned by the Lord Chamber- lain's office, since it involved the representation of Biblical characters on the stage (Saint-Saens' Samson et Dalila, extremely mild by comparison with Strauss's work, was likewise forbidden). But in 1901 a German translation by Hedwig Lachmann was a tremendous success at Max Reinhardt's theater in Berlin. Strauss saw it and recog- nized at once its operatic potential. After some brief attempt to have a libretto writ- ten for him in the normal poetic meters, he decided instead to set the original prose text of the play (with cuts).

The language of the play— largely retained in the opera — derives to a certain extent from Maeterlinck, whose dramas are filled with a kind of poetic simplicity, a childish prattle that seems to go nowhere, to consist largely of non sequitur. (The most famil- iar example for music lovers is the libretto of Debussy's opera Pelleas et Melisande, which sets Maeterlinck's play almost verbatim.) Wilde's Salome, too, employs simple sentences spoken by characters who do not always seem to be addressing one another so much as speaking past one another. Yet this simplicity of surface conceals a cun- ningly contrived pattern of motifs, literary images that recur time and again.

Wilde's play definitively shaped certain aspects of the story. His Herodias hates Jochanaan as much as any earlier Herodias, but she takes no overt action to cause his execution. Far from persuading her daughter to rouse Herod's lecherous passions with a dance, she is opposed to the entire idea from the first, quite naturally upset at the interest her husband is taking in her daughter by an earlier marriage. Only when Salome herself requests, as her reward, the head of Jochanaan, does Herodias enthu- siastically praise her wise choice. In Wilde's version, Salome becomes a fascinating and ambiguous figure, still young and chaste, completely inexperienced in any aspect of love, yet at the same time cruel and utterly depraved.

The score took Strauss two years to complete. The exotic subject stimulated him to experiment with harmony and orchestral color, with heightened intensity and emo- tional force. When Strauss played part of the score for his father, a famous horn player and a notoriously conservative musician, shortly before the father's death, the poor man could only remark, "Oh God, what nervous music. It is exactly as if one had one's trousers full of maybugs."

Salome's "Dance of the Seven Veils" was the last music to be composed. In fact, Strauss signed and dated the finished score two months before he composed the dance. When the opera was nearly finished, he played and sang the score for Gustav

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26 Mahler and the latter's wife Alma. But when he got to the dance, Strauss simply muttered, "Haven't got that done yet." Mahler considered it a serious risk to put off composing such an important part of the score and then trying to recapture the

proper mood. But Strauss was confident that he would be able to do it.

When it was finally performed in Dresden, the opera had an enormous success, but it faced censorship troubles almost everywhere. A single open rehearsal at the Metro- politan Opera shocked so many influential people — particularly the powerful financier J. Pierpont Morgan — that it was not heard again there for a quarter of a century. Still, the opera has long since become recognized as one of the composer's finest achievements, a great theatrical tone poem, symphonic in its construction, with a richly worked tapestry of thematic ideas that grow and develop along with the plot.

The technique is basically Wagnerian — weaving together a constantly developing series of thematic ideas into an elaborate and flexible symphonic web. Strauss does this with unsurpassed skill and brio. Beyond this, his treatment of the orchestra is inventive from beginning to end, continually creating new combinations and sonorities that serve to underline the stages of the drama, the changing moods of the scenes, the expression of emotional states — some quite extreme — through timbre and har- mony. Strauss's orchestra offers an aural equivalent to the visual element of the moon with its constantly changing colors, which produces such an uncanny effect on the stage.

This elaborate operatic tone poem with voices grows from the extraordinarily origi- nal opening (no overture —just three measures offering a slithery run on the clarinet

Salome pleads for the head of Jokanaan: from the original Dresden produc- tion in 1905, with Marie Wittich as Salome and Carl Burian as Herod

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!" For more information call your professional travel agent or 1-800-247-8786. For information on Trump Pak small package service, call 1 800-869-8472. © 1990 The Trump Shuttle, Inc. 28 and a violin tremolo before the first character sings) to the closing scene, one of Strauss s finest achievements. As in the work of Wagner, whose example was clearly before Strauss as he wrote, thematic ideas come to symbolize or recall characters ideas, and objects; as they appear in the story and take part in its development the themes connected with them develop, vary, and intertwine. Some themes offer types -such as the bold assertions of Jochanaan, delivered from the crypt in which he is imprisoned. These descend from a long tradition of operatic prophets. Others suggest psychological states (Herod's timorousness, Herodias's unquenchable hatred Salome s simple infatuation growing to a mania), often first hinted at, but growing to extremes of harmonic complexity, textural intricacy, or melodic elaboration. Though many critics feel that Salome's dance is the weakest music of the opera and the least integrated part of the score, it is, nonetheless, a wonderfully sensuous potpourri of the mam themes of the opera, opening with new themes found only here to give it a barbaric local color, but continuing with various seductive ideas, including a slow waltz that culminates in a brilliant presto section ending in a wild version of the theme of Salome s lust for Jochanaan. Strauss clearly intended this section to be playable as a separate unit; he even marked this part of the score with letters, rather than the rehearsal numbers used elsewhere, so that once it was extracted, it would appear to be a complete composition. This was no doubt a sensible hedging of his bets in the event that the opera as a whole should fail. Once Salome has prevailed upon Herod and holds in her hands the silver charter bearing he head of Jochanaan, Strauss's music erupts in a scene of tremendous emo- tional release. Salome s moods range from fervor to mystery as she ponders the nature of love m a singularly morbid way. Her love song to Jochanaan from the earlier in opera now reappears in a broad recapitulation, resolving into nostalgia and a chill consideration of the mysterious relationship between love and death

From a 1937 Munich production, with Hildegarde Ranczak as Salome and Hans Hotter as Jokanaan

29 Salome WMm> f Even here -almost at the end of the opera (on page 330 of an orchestral score that runs 352 pages) - Strauss is still inventing new sonorities. As Salome sings of the "geheimnisvolle Musik" ("mysterious music") that she heard within herself while gaz- ing upon Jochanaan, Strauss introduces a strange new sonority. Under a cloud of shimmering strings, as the oboes and English horn sing one of the principal motives associated with the prophet, a low-pitched instrument in the utmost bass of the orchestra plays just two notes, low A for three measures, and low D for four. The composer Luigi Dallapiccola wrote in his diary in 1930 of hearing the opera in Berlin and being astonished by the passage in question and quite unable to identify the instrument. The next day he went to a music shop, where he asked to see the score of Salome and quickly discovered that what he had heard was an offstage organ, pianis- simo, producing "a timbre that apparently comes to us from a distant, yet-to-be- discovered world." Dallapiccola never got over this example of Strauss's fount of orchestral inventiveness - anticipating, perhaps, the later use of electronic sounds for such moments.

Having built his score to the climactic moment, the height of Salome's weird ecstasy, Strauss ends it with astonishing speed in a brutal anticlimax. Salome fondles the decapitated head and Herod, in revulsion, orders all the lights put out; these meas- ures pass in a few seconds. The sudden reappearance of the moon -a constant yet ever-changing presence throughout the opera - illumines the scene. Even less time suffices for Herod to give the order, "Kill that woman," and to have it carried out with horrible efficiency.

— Steven Ledbetter

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The big biography of Richard Strauss is Norman Del Mar's, which gives equal space to the composer's life and music (three volumes, Cornell University Press; available in paperback). Michael Kennedy's account of the composer's life and works for the Mas- ter Musicians series is excellent (Littlefield paperback), and the symposium Richard Strauss: The Man and his Music, edited by Alan Walker, is worth looking into (Barnes and Noble). Kennedy also provided the Strauss article in The New Grove available in paperback in Ttw Modem Masters I (Norton). Ernest Newman's discussion of Salome 6mS 1 (Vinta Z^- ?F ^e Paperback) has been the model for the treatment by William Mann (in Richard Strauss: A Critical Study of the Operas [Cassell]) and the relevant section of the Del Mar biography. For an excellent treatment of the cultural background of Wilde's play, and its links to the Symbolist and Decadent movements see the extensive chapter in Gary ' Schmidgal's book Literature as Opera (Oxford) Peter Conrad covers similar ground in a somewhat different way in Romantic Opera and Literary Form (University of California Press). Strauss's own Recollections and Reflections contains a memoir, "Reminiscences of the First Performance of Mv Operas," written in 1942 (Boosey & Hawkes). For the most up-to-date and detailed treatment of the music of Salome, supplemented by stimulating essays on the literary tradition out of which it grows (by Mario Praz), Oscar Wilde (by Richard Ellmann) and Strauss as librettist (by Roland Tenschert), you can't beat the recent addition to the superb series of Cambridge Opera Handbooks, Richard Strauss: Salome, edited by Derrick Puffett (Cambridge paperback), which also includes various analytical articles and a stimulating interpretation by English composer Robin Holloway. Dover Publica- 1SSU6d thG m SC°re f 8al°me tion^ ° ^ ^ attractive and Yery reasonably priced

All three recordings of Salome on compact disc have much to offer Hildegard Beh- rens has recorded the title role in a most sympathetic reading with Herbert von Kara- jan conducting the Vienna Philharmonic; the ripe and sensuous performance captures the feel of a live performance particularly well. The remainder of the first-rate cast includes Agnes Baltza, Wieslaw Ochman, and Jose Van Dam (EMI). A classic record- ing, still powerful, is the one featuring Birgit Nilsson as a very hard Salome with Georg Solti conducting the Vienna Philharmonic; John Culshaw's production calcu- lates the impact of the great moments with uncanny flair. The other principals include Grace Hoffman, Gerhard Stolze, and Eberhard Wachter as a youthful Jokanaan (London). Monserrat Caballe is not usually thought of in this repertory at all, but her emotionally wide-ranging performance is remarkable; Erich Leinsdorf con- ducts the London Symphony Orchestra. Richard Lewis, Regina Resnik, and Sherrill Milnes are also strong participants in a recording that has the advantage of being available at mid-price (RCA). Though it is no longer available (you may find a copy in the library), Karl Bohm's recording of Salome with the Hamburg Staatsoper and Gwyne h Jones in the title role is of interest for the text booklet, which contains the complete Oscar Wilde play with the material of the opera libretto set off in boldface type (w).

-S.L.

33 Salome

*& mm*

SEIJI OZAWA and the Boston Symphony Orchestra on Deutsche Grammophon

© 1990 DG/PolyGram Records

34 Hildegard Behrens Soprano Hildegard Behrens has appeared with virtually every major opera house and orchestra of international stature. Ms. Behrens' 1990-91 season has so far included performances of The Makropulos Affair and Wagner's Ring at the Munich State Opera; Salome at the Metropolitan Opera; a new production of Berg's Wozzeck and additional Ring cycles, also in Munich; recordings of Wagner's The Flying Dutchman and a new Solti-led Die Frau ohne Schatten; and a concert performance of Der Freischutz with the Opera Orchestra of New York. Following these Boston Symphony performances of Salome she returns to Covent Garden after an absence of more than ten years, for Tosca; travels to the Vienna State Opera June Festival for performances of Wozzeck and Fidelio; and concludes her season in July, as Elettra in a BSO performance of Mozart's Idomeneo at Tanglewood, under Seiji Ozawa's direction. Highlights of her career attest to her extraordinary accomplishments. In 1976 she made several important debuts, singing Giorgetta in R tabarro at the Met and Leonore in Fidelio at Covent Garden, and performing in Janacek's Katya Kabanova at the National Theatre of Prague. During the summer of 1977 she made her Salzburg Festival debut in the title role of Salome, in a new production conducted by Herbert von Karajan and subsequently recorded by EMI. In 1979 she returned to Salzburg, in the title role of Ariadne auf Naxos under the baton of Karl Bohm. Following her 1983 Bayreuth debut as Brunnhilde under Sir Georg Solti, she received tremendous acclaim at the Metropolitan Opera for her Isolde and Brunnhilde; these engagements established her as a leading Wagnerian soprano. At the Met she has also appeared as Tosca, Marie in Wozzeck, Donna Anna in Don Giovanni, Leonore in Fidelio, Elettra in Idomeneo, and Sieglinde in Die Walkiire. Also a distinguished soloist with orchestra, she has performed with major orchestras and conductors on both sides of the Atlantic. Her audio and laser disc recordings include Wagner's Ring with Levine, Berg's Wozzeck with Abbado, Salome with Karajan, Der Freischutz with Kubelik, Fidelio with Solti, and Strauss's Elektra with Seiji Ozawa and the Boston Symphony Orchestra. Born in Oldenburg, Germany, Hildegard Behrens graduated from law school in Freiburg, where she subsequently studied voice at the conservatory. She then joined the Deutsche Oper am Rhein in Diisseldorf, where she was discovered by Herbert von Karajan. Ms. Behrens made her Boston Symphony debut at Tanglewood in 1982, as Leonore in Fidelio; she has since performed music of Wagner, Mozart, Strauss, Berlioz, Schoenberg, and Berg with the orchestra.

Mignon Dunn Making her Boston Symphony debut with these performances of Salome, mezzo-soprano Mignon Dunn has appeared with virtually every leading opera company, orchestra, and festival in the United States, among them the Metropolitan Opera, Lyric Opera of Chi- cago, San Francisco Opera, the New York Philharmonic, the Phila- delphia Orchestra, the Chicago Symphony, the Los Angeles Phil- harmonic, and the Ravinia, Meadow Brook, and Cincinnati May festivals. Internationally, she has appeared at the Royal Opera House, Covent Garden, La Scala, the Vienna Staatsoper, the Paris Opera, the Hamburg Staatsoper, the Deutsche Oper Berlin, the Canadian Opera Company, and the Teatro Colon in Buenos Aires. Ms. Dunn also includes recitals in her schedule each season and has appeared recently in Paris, Florence, and New York. Ms. Dunn has appeared most frequently with the Metropolitan Opera, where she has sung virtually every major mezzo-soprano role, from Amneris in Aida to Venus in Tann- hauser. She was featured in the Metropolitan Opera's Centennial Gala; in recent seasons, she has appeared with that company in Die Walkiire, Dialogues of the Carmelites, Lohen- grin, Luisa Miller, R trovatore, and R trittico. Appearances at the Met this season have included Salome, Boris Godunov, and Katya Kabanova. Also this season she appears with

35 the Opera Company of Boston at the Bolshoi Opera in Moscow, as Irma in Robert DiDomenica's opera of Genet's The Balcony, a role she created in Boston in 1990. Other recent engagements have included the roles of Jezibaba in Dvorak's Rusalka with the Opera Company of Philadelphia and the Spoleto Festival USA, Kostelnicka in Janacek's Jenufa at the Festival of Two Worlds in Spoleto, Italy, and Klytemnestra in Elektra in Barcelona. She appeared in concert and recital at the Anchorage Music Festival, and at Carnegie Hall with the Collegiate Chorale in Respighi's La fiamma. A native of Memphis, Tennessee, Mignon Dunn was first heard by Metropolitan Opera scouts after her gradua- tion from high school. They encouraged her to study in New York, which she did, aided by a scholarship from the Metropolitan Opera. She subsequently made her professional debut as Carmen, with the Experimental Opera Theater of America in New Orleans. Ms. Dunn has recorded for Angel, Deutsche Grammophon, and New World records.

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36 Ragnar Ulfung A permanent member of the Royal Opera, Stockholm, since 1958, tenor Ragnar Ulfung has appeared with the world's major opera houses, including those of Oslo, Vienna, Helsinki, Hamburg, Glyndebourne, Edinburgh, Covent Garden, New York, Chicago, Boston, Santa Fe, San Francisco, Marseilles, Milan, Moscow, Paris, and Buenos Aires. Born in Oslo, Mr. Ulfung made his debut as a tenor soloist at fifteen in one of Norway's largest boys' choirs. After his concert debut in Oslo at twenty-one, he went to Italy for four years of further study, returning to Oslo in 1953 to sing the Magic Artist in Menotti's The Consul, a role for which he studied with a famous magician for several months. Mr. Ulfung has been honored in Norway by King Olav V, who bestowed upon him the Order of St. Olav, and he was named Royal Court Singer by the King of Sweden in 1976. In addition, he has been awarded the Litteris et Artibus, the highest order an artist can receive in Sweden. Mr. Ulfung made his debut at Santa Fe in 1973 as Rodolfo in La boheme. Highlights of recent seasons have included appearances as Verdi's Otello and Macheath in The Beggar's Opera with the Royal Opera of Stockholm, Peter Maxwell Davies' Taverner at the Royal Opera House, Covent Garden, Basilio in he nozze di Figaro and Strauss's Die Liebe der Danae in Santa Fe, the Captain in Wozzeck with the Metropolitan Opera and the Paris Opera, the Earl of Kent in King Lear with San Francisco Opera, Herod in Salome in Paris, Los Angeles, and Pittsburgh, Koko in The Mikado in Toronto, Jedidija in Penderecki's The Black Mask in Santa Fe, Das Lied von der Erde in St. Louis, Messiaen's St. Francis ofAssisi with the London Philhar- monic in London and Lyon, and the Captain in Wozzeck with Seiji Ozawa and the Boston Symphony Orchestra on the occasion of his BSO debut in April 1987. He returned to Bos- ton in November 1988 as Aegisth in BSO performances of Elektra, which was recorded by Philips at that time. Mr. Ulfung is also in demand as a stage director; among the operas he has directed have been Lulu in Santa Fe, Otello in Stockholm, The Italian Straw Hat in Oslo, and Wagner's Ring in Seattle. He has been in several television opera productions, including The Magic Flute, as Monostatos.

Jorma Hynninen One of Finland's most important artists, baritone Jorma Hynninen has been a leading soloist with the Finnish National Opera since 1970; in 1984 he was named artistic director of that company. In the summer of 1992, Mr. Hynninen assumes responsibilities as the new artistic director of the Savonlinna Opera Festival of Finland, well-known for its opera and concert performances held in an his- toric medieval castle. Mr. Hynninen also maintains an active inter- national career. He first gained widespread notice in the United States when he appeared with the Finnish National Opera at the Metropolitan Opera House in the spring of 1983, as Topi in The Red Line. He made his Met debut the following season, as Rodrigo in Don Carlo; also that year he was soloist with the Boston Symphony Orchestra in Mahler's Das klagende Lied under Seiji Ozawa's direction, in Boston and at Carnegie Hall. Metropolitan Opera audi- ences have since seen him as Count Almaviva in Le nozze di Figaro, Wolfram in Tann- hauser, and in the title role of Eugene Onegin. He has also appeared several times in recital in New York, including a joint recital with Swedish mezzo-soprano Sylvia Linden- strand at Alice Tully Hall, and he has appeared with the Helsinki Philharmonic in a spe- cial televised performance at the United Nations. He made his San Francisco Opera debut in the fall of 1988 as Amfortas in Parsifal and his Chicago Lyric Opera debut in the fall of 1989, in Don Carlo. He is also a frequent guest artist throughout Europe, with the Vienna Staatsoper, La Scala, the Bavarian State Opera in Munich, and the opera compa-

nies of Paris, Hamburg, Madrid, Barcelona, and Bonn. Mr. Hynninen is also highly regarded as a recitalist and concert soloist in the major concert venues of Europe and the

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38 United States. In the summer of 1989 he made debuts at the Ravinia Festival and at Tan- glewood, performing Schubert's Winterreise. Also that summer he made his Canadian debut, at the Festival International de Lanaudiere in Quebec. A prolific recording artist, Mr. Hynninen's discography includes Winterreise, Die schone Mullerin, and Dichterliebe, Count Almaviva in the Muti-led Le nozze di Figaro, Mahler's Eighth Symphony and the Brahms German Requiem under Klaus Tennstedt, the Finnish National Opera's recording of The Red Line, Sibelius songs with orchestra, Finnish folk songs and sacred music, and Strauss's Elektra with Seiji Ozawa and the Boston Symphony Orchestra. His most recent BSO appearance was in November 1988 as Orest in Elektra. He has also performed Brahms' s German Requiem with the orchestra, under Kurt Masur's direction in February 1988.

Vinson Cole Tenor Vinson Cole has won praise for his appearances in a diverse operatic repertoire, at such leading venues as the Metropolitan Opera, the Paris Opera, the Vienna State Opera, and the Salzburg Festival. He sings regularly with the world's most important orchestras, with the most eminent conductors of our day. As a recitalist, he performs varied and intriguing programs in such musical centers as New York, Paris, and Berlin. Since his Metro- politan Opera debut in 1987 as Alfred in Die Fledermaus, he has appeared there in leading roles in Manon, L'elisir d'amore, La boheme, and Gianni Schicchi. In 1984 he sang Des Grieux in Opera Comique performances of Manon celebrating the opera's 100th anniversary; also that year he made his Paris Opera debut, as Belmonte in Die Entfuhrung aus dem Serail, returning for productions of Cimarosa's R matrimonio segreto, Die Zauberflote, Manon, and Salome. At the Salzburg Festival, he has sung in Monteverdi's R ritorno d'Ulisse in patria and Strauss's Der Rosenkavalier; his Vienna Staatsoper debut was as Alfredo in La travi- ata. Born in Kansas City, Missouri, to an artistic family, Mr. Cole began studying voice when he was nine. He received a full scholarship to the Philadelphia Musical Academy, then continued his studies at the Curtis Institute with Margaret Harshaw. In 1976 he won the National Award in Chicago's prestigious WGN "Auditions of the Air" and in 1977 received the first prize Weyerhauser Award at the Metropolitan Opera National Auditions and grants from the Rockefeller Foundation. He made his professional operatic debut in 1976, in L'amico Fritz at the San Francisco Spring Opera; he made his European debut the same year, in Angers, France, in Handel's Acis and Galatea. He has sung at the White House four times since 1977, including a performance televised coast-to-coast. Engage- ments this season include, among others, his San Francisco Opera debut in R ritorno d'Ulisse in patria, appearances as Macduff in Verdi's Macbeth at the Frankfurt Opera, Percy in Donizetti's Anna Bolena at Seattle Opera, both a recital and an appearance with the Berlin Philharmonic at the Berlin Festival, and debuts with the Philadelphia Orches- tra, the Cologne Radio Orchestra, and the 92nd Street Y Chamber Orchestra. Mr. Cole has built an impressive discography; recordings with the late Herbert von Karajan include Der Rosenkavalier, Mozart's Requiem, and Beethoven's Ninth Symphony and Missa Solem- nis. Mr. Cole made his BSO debut at Tanglewood in 1982, in Beethoven's Fidelio; his most recent appearance with the orchestra was in Verdi's Requiem at Tanglewood, in August 1987.

39 s

Diane Kesling During the 1990-91 season, mezzo-soprano Diane Kesling' engagements have included Metropolitan Opera appearances in Salome, Andrea Chenier, Faust, he nozze di Figaro, and Katya Kabanova; she also appears in recital in Cleveland, and with Seat- tle Opera as Freia in Das Rheingold, Ortlinde in Die Walkiire, and Gutrune in Gotterdammerung. In addition to her regular appear- ***^< 1 ances at the Metropolitan Opera, her engagements in recent sea- sons have taken her to Seattle Opera, the Michigan Opera Theater, Dayton Opera, the Pittsburgh Symphony, Knoxville Opera, and the Opera Company of Philadelphia. Highlights have included the role of Dinah in the Houston Grand Opera production of Leonard Bernstein's Trouble in Tahiti, her La Scala debut as Dinah in Bernstein's A Quiet Place, L 'Enfant et les sortileges and The Rape of Lucretia at Wolf Trap Farm Park, and the world premiere of David White's Homages at the 1983 International Viola Conference. Ms. Kesling may be heard as Wellgunde on the Metropolitan Opera's recordings of Das Rheingold and Gotterdammerung under James Levine. On television, she has been seen in the Met's "Live From the Met" centennial telecast, and in Met telecasts of Carmen and L'italiana in Algeri. Ms. Kesling made her Boston Symphony debut in Elektra at Tanglewood in August 1988; she also par- ticipated in the BSO's Elektra performances recorded live by Philips records in Symphony Hall that November. She appeared with the BSO most recently at Tanglewood, in a July 1989 performance of Schubert's Mass No. 6 under the direction of Charles Dutoit. A grad- uate of Ohio State University, Ms. Kesling joined the Houston Opera Studio in 1978 and performed with Houston Grand Opera as Prince Orlofsky in Die Fledermaus, Magdalena in Die Meistersinger, Varvara in Katya Kabanova, and in La Cenerentola. Texas Opera The-

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40 ater appearances include Dorabella, Hansel, and Suzuki in Madama Butterfly. After becoming a Metropolitan Opera National Auditions Finalist, she was invited to become a member of the Met's Young Artists Development Program.

Brad Cresswell Originally from Moline, Illinois, tenor Brad Cresswell received his master's degree in music from the New England Conservatory of Music and has been an apprentice with the Lyric Opera Center for American Artists. Prior to that he earned his bachelor's degree at Simpson College, where he performed the role of Rodolfo in La boheme. His other credits include roles in King Arthur, Elektra, The Duenna, L'Etoile, Angelique, and Die Fledermaus. Equally at home singing oratorio, he has been soloist in Verdi's Requiem and Haydn's The Creation and Lord Nelson Mass, among other works. Mr. Cresswell made his Boston Symphony debut in Richard Strauss's Elektra under Seiji Ozawa, at Symphony Hall and Carnegie Hall in December 1987. He returned for further BSO performances of Elektra at Tanglewood in 1988 and in Boston in November 1988, at which time it was recorded for Philips records. Most recently, he sang the role of Bardolph in Act III of Verdi's Falstaff on a gala BSO concert celebrating the fiftieth anniversary of the Tanglewood Music Center, of which he is an alumnus. Mr. Cresswell has been a soloist on the PBS series "Great Performances" and may be heard on a recording of Beethoven's Ninth Symphony with the Boston Philhar- monic. Recent engagements have included a recital for the Opera Theatre of St. Louis, and Lyric Opera Center productions of Die Fledermaus and Hugo Weisgall's Six Characters in Search of an Author.

Dennis Petersen Tenor Dennis Petersen has distinguished himself in a variety of operatic roles, in addition to his appearances in concertos, recitals, and oratorio performances. During the 1990-91 season he returned ;-,: to San Francisco Opera for the fifth consecutive season, performing and understudying roles including Iro in R ritorno d'Ulisse in patria, Juan in Don Quichotte, Flamand in Capriccio, the Captain in Wozzeck, and Mime in Wagner's Ring. Following his engagement in San Francisco he appears with New Orleans Opera as Don Basilio in Le nozze di Figaro and returns to the Saint Paul Cham- ber Orchestra for Messiah. He makes his Boston Symphony debut with these performances of Salome. Mr. Petersen obtained both his bachelor's and master's degrees from the University of Iowa. He joined San Francisco Opera's Merola Program in 1984, being awarded the Karl Kritz Memorial Scholarship. He returned to San Francisco Opera the following season to make his debut with the main company and has appeared there every season since, in such roles as Beppe in / pagliacci, Don Basilio, Vogelgesang in Die Meistersinger, Tchekalinsky in Pique Dame, and Tybald in Romeo et Juliette. Mr. Petersen has appeared with the New Jersey Symphony and Hugh Wolff, the Baltimore Symphony and David Zinman, and the Calgary Philharmonic and Mario Bernardi. His orchestral engagements for 1989-90 included Sir Michael Tippett's oratorio A Child of Our Time with the New York Choral Society at Carnegie Hall, and performances of Bach's Magnificat with Hugh Wolff and the Saint Paul Chamber Orchestra. Future plans include a return to the New Orleans Opera as Jaquino in Fidelio and his Lyric Opera of Chicago debut as Mime in Das Rheingold under the direction of Zubin Mehta.

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•'•.'.' John Horton Murray A graduate of the Curtis Institute of Music in Philadelphia, John Horton Murray joined the Metropolitan Opera Young Artist Devel- opment Program at the beginning of the 1990-91 season. He grew up in West Berlin, where his father is a Kammersanger with the Deutsche Oper. At the Met this season, Mr. Murray's responsibili- ties have included the Third Esquire in Parsifal, Mitrane in Semiramide, the Innkeeper and the Major Domo in Der Rosenka- valier, and the Third Jew in Salome, the role he sings for his Bos- ton Symphony debut this week. He made his Metropolitan Opera debut in this season's first performance of Boris Godunov, as Boyar in Attendance. Mr. Murray has been heard on radio in thirteen nationally broadcast Lyric Opera of Chicago performances. He has also appeared as a featured soloist on a national PBS broadcast of Bach's Magnificat, and he has given hundreds of performances as the Italian tenor Ubaldo Piangi in the Broadway production of Andrew Lloyd Weber's The Phantom of the Opera. This past March he performed the role of Max in Der Freischiitz with the Opera Orchestra of New York, following his Carnegie Hall debut with the Vienna Philharmonic. This summer he joins Seiji Ozawa and the Boston Symphony Orchestra as the High Priest in a Tanglewood performance of Mozart's Idomeneo. Mr. Murray made his Lincoln Center debut last spring, as a winner in the Musician's Emergency Fund Show- case. His other opera awards have included two National Institute for Music Theater prizes: the 1988 George London Award, and a three-year Sullivan Grant. He was a national finalist in the 1989 Metropolitan Opera National Council Auditions.

Philip Creech Tenor Philip Creech has been acclaimed for his performances throughout the United States and in Europe, with major opera companies, symphony orchestras, and in recital. Mr. Creech has been a member of the Metropolitan Opera since the 1979-80 sea- son, when he made his debut as Beppe in / pagliacci. He has sung with the company every season since then, in roles including Rinuc- cio in Gianni Schicchi, Pedrillo in Die Entfiihrung aus dem Serail, Hylas in Les Troyens, Brighella in Ariadne aufNaocos, Edmondo in Manon Lescaut, and the Fisherman in Stravinsky's Le Rossignol. He has been seen in Met telecasts as Rinuccio opposite Renata Scotto's Lauretta in Gianni Schicchi, as Hylas in Les Troyens, and as Edmondo in Manon Lescaut, in the first international live telecast from the Met. Mr. Creech has also appeared with many of the world's great orchestras, including the Chicago Symphony, the New York Philharmonic, the Boston Symphony (in Mozart's C minor Mass, in March 1978, under James Levine), the Philadelphia Orchestra, the symphony orchestras of Dallas, Cincinnati, Saint Louis, and Honolulu, the Berlin Philharmonic, the Vienna Philharmonic at the Salzburg Festival, and the Israel Chamber Orchestra in Jerusalem. He has appeared annu- ally at the Ravinia Festival for the last several years. Mr. Creech made his recording debut in Stravinsky's Les Noces with the Chicago Symphony, on RCA Red Seal's "Music From Ravinia" series. He recently recorded Carmina ourana with James Levine and the Chicago Symphony, a Deutsche Grammophon best-seller and Grammy award-winner. Mr. Creech has performed well over 100 recitals throughout the United States. Other engagements have included concerts with the Chamber Music Society of Lincoln Center and the "Music From Ravinia" series at Alice Tully Hall in New York. He has sung at Carnegie Hall with the Oratorio Society of New York and with the Collegiate Chorale. A native of Hempstead, New York, Philip Creech is a graduate of Northwestern University in Chicago. While at Northwestern he received the Frederick A. Cramer Award for Opera and was a first tenor in Margaret Hillis's renowned Chicago Symphony Chorus for two seasons, appearing as soloist on several occasions.

43 to.

LeRoy Lehr LeRoy Lehr has appeared as soloist in opera, concert, and oratorio from coast to coast, in Canada and in Europe, with many of the world's leading musical organizations. In recent seasons he has appeared with the Minnesota Orchestra in The Mikado, Chicago Opera Theatre in Of Mice and Men, Pittsburgh Opera in Salome, the Cleveland Orchestra in The Merry Widow under Christoph von Dohnanyi's direction, and on the Plymouth Music Series in Minne- apolis, in the title role of Sir John in Love and as Grandpa in The Tender Land, which was recorded by Virgin Classics. Mr. Lehr's engagements have included several world premieres, among them Argento's Jonah and the Whale and The Masque of Angels, Susa's Black River, Brubeck's Beloved Son, and Stout's Passion with the Chicago Symphony, as well as the American premieres of Gorecki's Copernicus with the Minnesota Orchestra and Penderecki's Magnificat with the Detroit Symphony under the composer's direction. He also participated in the world premiere of P.D.Q. Bach's The Abduction of Figaro, now available on video. Mr. Lehr's recordings also include Jonah, on CRI, and three Pro Arte discs: "English Car- ols," Gerald Pinzi's In terra pax, and Stephen Paulus's So Hallow'd is the Time. Mr. Lehr's repertoire ranges from Donizetti and Mozart to Verdi and Britten. Appearances with orchestra have included the St. Paul Chamber Orchestra, the Gothenberg Symphony, the National Symphony, and the Minnesota Orchestra. Mr. Lehr is making his Boston Symphony debut with these performances of Salome.

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44 Louis Lebherz Louis Lebherz has been a principal bass with the Los Angeles Music Center Opera since his 1987 debut there as Colline in La boheme and the Grand Inquisitor in Prokofiev's The Fiery Angel. Also with that company he has performed the Grand Inquisitor in Don Carlo, Lodovico in Otello, and Dikoj in Katya Kabanova. Mr. Lebherz concluded his 1989-90 season with his debut at the Royal Opera House, Covent Garden, as Melchtal in a new production of Rossini's Guillaume Tell. Future engagements include returns to Los Angeles as Neptune in Idomeneo, to Milwaukee as Hunding in Die Walkiire, and to Edmonton for his debut there as Gremin in Eugene Onegin. Mr. Lebherz was a principal bass for five years with the Badisches Staats- theater in Karlsruhe, West Germany, and the Berne Opera in Switzerland. As a guest art- ist in Europe, he has appeared with the Teatro Massimo in Palermo, Sicily, at the Interna- tional Athens Festival, with the Opera de Monte Carlo, with Scottish Opera, and with Geneva Opera. In South America he was principal bass in Caracas, Venezuela, for three seasons. In North America, Mr. Lebherz has appeared with Florentine Opera, Utah Opera, Cincinnati Opera, Manitoba Opera, Seattle Opera, Pittsburgh Opera, Dallas Opera, and San Diego Opera. He was engaged by the Metropolitan Opera as the King in Aida. Mr. Lebherz made his professional debut as Padre Guardiano in La forza del destino with Opera Memphis. An active concert artist, he has performed in Carnegie Hall with the Opera Orchestra of New York as King Marke in Tristan und Isolde and as soloist in the Verdi Requiem with the American Symphony Orchestra conducted by Giuseppe Patane. He has also appeared with the Los Angeles Philharmonic, Musica Sacra, the Oregon Bach Festival, the Carmel Bach Festival, the Aspen Festival, the William Hall Chorale, the Red- lands Bowl Summer Festival, and the Roger Wagner Chorale. Making his Boston Sym- phony debut with these performances of Salome, Mr. Lebherz is a graduate of Chapman College in Orange, California, and pursued graduate studies at Indiana University's School of Music.

James Kleyla Originally from Miami, Florida, baritone James Kleyla attended Boston University. Mr. Kleyla has previously performed in Boston Symphony performances of Beethoven's Choral Fantasy and Bach's St. Matthew Passion under Seiji Ozawa's direction, and as narrator for Stravinsky's L'Histoire du soldat. A Vocal Fellow for two summers at the Tanglewood Music Center, he has also been featured as a Boston Symphony Youth Concerts soloist, in music of Mozart, Berlioz, and Mahler, and as narrator for excerpts from Walton's Facade. Mr. Kleyla has performed leading roles with Bos- ton Lyric Opera, Banchetto Musicale, the Masterworks Chorale, Dedham Choral Society, Rhode Island Civic Chorale, the June Opera Festival of New Jer- sey, and the Gold Coast Opera Theatre of South Florida. Under John Oliver's baton, he has been baritone soloist in Orff s Carmina burana with the Boston Ballet, Bach's B mi- nor Mass, Handel's Messiah, Haydn's Creation and The Seasons, and Verdi's Requiem. Other solo credits include Mendelssohn's Elijah and the Requiem masses of Brahms, Durufle, Faure, and Mozart. His operatic roles include both the title role and Massetto in Don Giovanni, Escamillo in Carmen, Nick Shadow in The Rake's Progress, Dandini in La Cenerentola, Schaunard in La boheme, Germont in La traviata, and Tarquinius in The Rape of Lucretia. The highlight of Mr. Kleyla' s 1989 season was his concert tour of Japan, which included performances with the New Japan Philharmonic, the Tokyo Symphony, and the Shinsei Nihon Symphony in Tokyo's Suntory Hall, as a featured soloist in Handel's Messiah and Beethoven's Ninth Symphony. Mr. Kleyla made his Boston Symphony debut in Beethoven's Choral Fantasy at Tanglewood in 1984; he also sang that work with Seiji Ozawa and the orchestra this past December, both in Boston and at Carnegie Hall.

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46 Brian Matthews Born in Los Angeles, where his studies included biochemistry at UCLA and viola at the California Institute of Arts, bass Brian Matthews studied voice with Mrs. Marion Cooper, whom he credits as his lifelong voice teacher. He earned his bachelor's and master's degrees at the Juilliard School in New York. His numerous awards have included the Herbert Weinstock Memorial Scholarship, the Elaine Johnstone Award, the McLawton Award, and the Loren L. Zachary Award. At Juilliard's American Opera Center, Mr. Mat- thews has appeared in Cosi fan tutte, Shostakovich's Lady Macbeth of Mtsensk, William Schuman's Casey at the Bat, Don Giovanni, Albert Herring, and A Midsummer Night's Dream. He has also sung with the Wolf Trap Opera Company, in Prokofiev's War and Peace and Donizetti's Daughter of the Regiment under Sarah Caldwell. In England he has appeared at the Aldeburgh Festival, as Collati- nus in Britten's The Rape of Lucretia and as Arkel in Pelleas et Melisande; performances in South America have included The Magic Flute, Don Giovanni, and La boheme. Since his BSO debut in Wozzeck, in April 1987, Mr. Matthews has also appeared as Orest in BSO performances of Strauss's Elektra at Symphony Hall and at Tanglewood, and in a 1989 Tanglewood performance of Honegger's Jeanne dArc au bucher. He may be heard as the Guardian to Orest and the Old Servant on the BSO's recording of Elektra for Philips. Mr. Matthews made his New York Philharmonic debut in the fall of 1989, in the Messa per Rossini under Helmuth Rilling. Other orchestral engagements have included Schumann's Scenes from 'Faust' in Barcelona, the Faure Requiem and Donizetti Requiem in Holland, and concert opera performances in Marseilles, Holland, and Spain. Recent engagements have included appearances with the Opera Orchestra of New York in R pirata and The Maid of Orleans, Mozart's Requiem and a concert performance as Sarastro in The Magic Flute in Berlin, and debuts with Long Beach Opera, Connecticut Opera, and the Los Ange- les Music Center Opera.

James Butler Making his Boston Symphony debut this week, James Butler has appeared with New York City Opera as Sarastro in Die Zauber- fldte, with the New Orleans, Michigan, and Daytona opera compa- nies as Timur in Turandot, with the Utah, Michigan, and Dayton opera companies as Mephistopheles in Faust, with Cincinnati Opera as Crespel in Les Contes d 'Hoffmann, with Manitoba Opera as Zuniga in Carmen, with Florida Opera West as Friar Laurence in Romeo et Juliette, with Opera Columbus as Colline in La boheme, with Opera Ebony as Zaccaria in Nabucco, with Palm Beach Opera as Ferrando in R trovatore, and with Youngstown Opera as the King in Aida. Highlights of his 1989-90 season included Rigoletto with Utah Opera, Mad- ama Butterfly with New Jersey State Opera, and Beethoven's Ninth Symphony with the Virginia Symphony. He also sang the world premiere of Philip Glass's Hydrogen Jukebox in Philadelphia and at both Spoleto festivals. He began his 1990-91 season with Ariadne auf Naxos at Florentine Opera. He has also appeared with San Diego Opera, Dallas Opera, Greater Miami Opera, Pittsburgh Opera, and Florentine Opera in Milwaukee. As a concert artist, he has been soloist with numerous oratorio societies and has sung Verdi's Requiem with the London Symphony Orchestra. Mr. Butler has also been heard in the premiere of the contemporary opera Rappacini's Daughter and was a featured artist on the PBS tele- cast "Placido Domingo: The Tenor, the Teacher." A native of Chester, Pennsylvania, James Butler received his formal vocal training at the Philadelphia College of Performing Arts, where he studied voice with Franco Iglesias. He was also a student at the American Institute of Musical Studies, in Graz, Austria. Other operatic roles in his repertory include Ramfis in Aida, which he sang for the Westchester Lyric Festival, Leporello in Don Gio- vanni, Osmin in The Abduction from the Seraglio, Gremin in Eugene Onegin, and A Mid- summer Night's Dream.

47 Sft« wmmm

Donald Wilkinson Baritone Donald Wilkinson has appeared as soloist with many of the finest musical organizations in the northeast, including the symphony orchestras of Pittsburgh, Portland, Springfield, Vermont, Worcester, and the Tanglewood Music Center, as well as with the Handel and Haydn Society, New England Bach Festival, Cantata Singers, John Oliver Chorale, Banchetto Musicale, Masterworks Chorale, Boston Cecilia, Boston Musica Viva, and Portland Choral Arts Society. Last summer Mr. Wilkinson was awarded a fellow- ship to Tanglewood, where he was heard in the Festival of Contem- porary Music in Stravinsky's rarely performed The Flood. He also performed Bach's B minor Mass with the Springfield Symphony at the Berkshire Choral Festival. A member of Emmanuel Music in Boston since 1984, he has performed more than 100 of Bach's cantatas. Equally active in opera, Mr. Wilkinson has sung the roles of Marcello in La boheme, Germont in La traviata, Belcore in L'elisir d'amove, Sam in Trou- ble in Tahiti, and Konecny in the American premiere of Janacek's Fate. His 1990-91 sea- son has included the American premiere of Frank Martin's Pilate on a program with that composer's Requiem, with the John Oliver Chorale, Mozart's Solemn Vespers with the Han- del and Haydn Society, and Messiah with the Springfield Symphony. This summer he will appear at the Breckenridge Music Festival in Colorado. Mr. Wilkinson is making his Bos- ton Symphony debut with these performances of Salome.

William Hite Tenor William Hite performs a wide repertoire ranging from mon- ody to minimalism, from solo song to works with orchestra. As soloist with the Boston Camerata and the Ensemble Sequentia Koln, he has sung medieval and renaissance music in Europe and the United States. A member of Emmanuel Music in Boston, Mr. Hite created the leading role of Roderick Usher in the world pre- miere of the Philip Glass opera The Fall of the House of Usher, co-produced by the American Repertory Theater in Cambridge and the Kentucky Opera. He has received two fellowships to the Tan- glewood Music Center, and he has performed Schubert's Die schone Mullerin under the auspices of the American Schubert Institute. Mr. Hite's appearances with orchestra have included the Winston-Salem Symphony, the Fairbanks Symphony, Chi- cago's City Musick, the Handel and Haydn Society, the Dallas Bach Society, the Master-

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48 works Chorale of Washington, D.C., the Atlanta Choral Guild, the Boston Cecilia Society, the Cantata Singers, the John Oliver Chorale, the Aix Festival in France, the Monnaie Dance Group in Brussels, and the Boston Early Music Festival Orchestra. Mr. Hite has recorded five times with the Boston Camerata for the Erato label; one of those recordings, Tristan und Iseult, won the Grand Prix du Disque. He has also recorded vocal chamber niusic with the American VocalArts Quintet, for the Titanic label. He is soloist on an upcoming Denon release of Mozart's Requiem with Andrew Parrott conducting the Boston Early Music Festival Orchestra, and on a Deutsche Harmonia Mundi compact disc with the Ensemble Sequentia Koln. Mr. Hite made his Boston Symphony debut at Tanglewood in 1984, as soloist in Beethoven's Choral Fantasy under Seiji Ozawa's direction.

David Kneuss

\Vith his staging of Pique Dame at Tanglewood last summer, David Kneuss marked the tenth anniversary of his first staged opera at the Boston Symphony Orchestra's summer home, Tosca with Shirley Verrett and Sherrill Milnes in 1980. This was followed in consec- utive^ years by scenes from Boris Godunov with Nicolai Ghiaurov, Fidelio with Hildegard Behrens and James McCracken, Orfeo ed Euridice with Marilyn Home, Benita Valente, and Erie Mills, Berlioz's Beatrice et Benedict with Frederica von Stade, Jon Garrison, and Sylvia McNair, and a staging of Bach's St. Matthew Passion with Edith Mathis and Ben- jamin Luxon. Following that St. Matthew, Mr. Kneuss experimented further with the concert/opera format: with another Orfeo, in Columbus, in which the late Jan DeGaetani fulfilled a lifelong wish to sing the role of Orfeo in a staged production; with a production of Carmen created for Victor Borge, blending Mr. Borge's conducting ability and gift of Entertainment to the delight of audiences on the west coast and in Texas; and with an afternoon of spirituals at Carnegie Hall with Kathleen Battle and Jessye Norman, which appeared earlier this season on PBS and is scheduled also for release on videocassette. Currently in his thirteenth season at the Metropolitan Opera, Mr. Kneuss recently assumed the position of executive stage director with that company. He continues to direct revivals of many Met productions; this past fall he staged Franco Zeffirelli's production of La boheme with Mirella Freni and Placido Domingo for the opening night of the Met's cur- rent season. Mr. Kneuss has also created productions for a number of other American opera companies, including San Francisco, Atlanta, and Columbus, as well as for the Maggio Musicale Fiorentino. Mr. Kneuss will return to Tanglewood again this summer, for a Boston Symphony concert staging of Mozart's Idomeneo.

John Michael Deegan and Sarah G. Conly

John Michael Deegan and Sarah G. Conly's association with the Boston Symphony Orchestra began in 1980 with Mr. Deegan's design for the Tanglewood production of Tosca. Since then, the couple has collaborated on designs for nearly three dozen other pro- ductions, including nine more for the Boston Symphony Orchestra, the most recent having been Tchaikovsky's Pique Dame at Tanglewood last summer. Their many design credits also include sets, costumes, and lighting for such geographically widespread companies as the Maggio Musicale Fiorentino, Iceland National Opera, the Opera Company of Boston, and Atlanta Opera, as well as a three-week stint aboard the Queen Elizabeth II as design- ers for a Theater Guild cruise from Sydney to Hong Kong, and a production of Flotow's

Martha at the New York City Opera this past fall. In addition to working with Mr. Dee- gan, Ms. Conly designs costumes for opera, dance, theater, and television. Mr. Deegan made his Broadway debut last season as lighting designer for The Circle; he also did the lighting for Shadowlands, which opened on Broadway this past fall. Ms. Conly and Mr. Deegan will return to Tanglewood again this summer, for Mozart's Idomeneo with the Bos- ton Symphony Orchestra under Seiji Ozawa's direction.

49 wm

1990-91 SEASON SUMMARY

WORKS PERFORMED DURING THE BOSTON SYMPHONY ORCHESTRA'S 1990-91 SUBSCRIPTION SEASON Week ADAMS Harmonium, for chorus and orchestra 18 TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor BACH/SAITO J.S. Bach's Chaconne in D minor, from BWV 1004, orchestrated by Hideo Saito bartOk Concerto for Orchestra 14 Violin Concerto No. 2 16 ANNE-SOPHIE MUTTER, violin BEETHOVEN Choral Fantasy in C minor, Opus 80 PETER SERKIN, piano; DOMINIQUE LABELLE, soprano; PAMELA DILLARD, mezzo-soprano; GLORIA RAYMOND, mezzo-soprano; RICHARD CLEMENT, tenor; PAUL ROWE, baritone; JAMES KLEYLA, baritone; TANGLEWOOD FESTP7AL CHORUS, JOHN OLTVER, conductor Piano Concerto No. 5 in E-flat, Opus 73, Emperor 23 Symphony No. 4 in B-flat, Opus 60 21 Symphony No. 6 in F, Opus 68, Pastoral 5 Symphony No. 8 in F, Opus 93 24 (Friday Eve) BERLIOZ Symphonie fantastique, Opus 14 23 BIZET Symphony in C 12 BRAHMS Symphony No. 1 in C minor, Opus 68 BRITTEN Diversions, for piano (left hand) and orchestra, Opus 21 LEON FLEISHER, piano BRUCKNER Symphony No. 7 in E Symphony No. 8 20 CHABRIER Suite pastorale 12 COPLAND Quintet ("The Promise of Living") from The Tender Land PAMELA DILLARD, mezzo-soprano; GLORIA RAYMOND, mezzo-soprano; RICHARD CLEMENT, tenor; PAUL ROWE, baritone; JAMES KLEYLA, baritone; TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor CRUMB A Haunted Landscape 15 FAURfi filegie, Opus 24, for cello and orchestra HEINRICH SCHIFF, cello

50 GRIEG Piano Concerto in A minor, Opus 16 15 GARRICK OHLSSON, piano HAAS Study for String Orchestra 14 HAYDN Concertante in B-flat for violin, cello, oboe, 24 (Friday Eve) and bassoon, Hob. 1:105 MALCOLM LOWE, violin; JULES ESKIN, cello; ALFRED GENOVESE, oboe; RICHARD SVOBODA, bassoon Mass in B-flat, Harmoniemesse 22 JEANNE OMMERLE, soprano; D'ANNA FORTUNATO, mezzo-soprano; JEFFREY THOMAS, tenor; NATHANIEL WATSON, baritone; TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor Overture to La fedelta premiata 5 LUTOSLAWSKI Livre pour orchestre (1968) 4 Chain 2, Dialogue for violin and orchestra (1985) 4 RONAN LEFKOWITZ, violin Concerto for Piano and Orchestra (1987) 4 ANTHONY DI BONAVENTURA, piano MAHLER Symphony No. 5 Opening Night, 1, 3 Symphony No. 6 17 MAXWELL DAVIES Strathclyde Concerto No. 2, for cello and chamber orchestra 11 RALPH KIRSHBAUM, cello MEHUL La Chasse du jeune Henri 12 MORET En Reve, Concerto for violin and chamber orchestra 16 ANNE-SOPHIE MUTTER, violin

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MOZAET Ave, verum corpus, K.618 22 TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor Incidental music to Thamos, King of Egypt, K.345(336a) 18 LYNNE DAWSON, soprano; ELISE ROSS, soprano; DONALD KAASCH, tenor; JAMES PATTERSON, bass; TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor Mass in C minor, K.427(417a) 16 SYLVIA McNAIR/HEIDI GRANT, soprano; SUSANNE MENTZER, mezzo-soprano; JERRY HADLEY, tenor; JOHN OSTENDORF, bass-baritone; TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor Overture to The Marriage of Figaro, K.492 11 Piano Concerto No. 25 in C, K.503 5 ALICIA DE LARROCHA, piano Symphony No. 25 in G minor, K.183 6 Symphony No. 40 in G minor, K.550 11 Symphony No. 41 in C, K.551, Jupiter 22 Violin Concerto No. 5 in A, K.219 19 THOMAS ZEHETMAIR, violin PROKOFIEV Piano Concerto No. 3 in C, Opus 26 2,3 MARTHA ARGERICH, piano RACHMANINOFF Piano Concerto No. 1 in F-sharp minor, Opus 1 13 JEAN-PHILIPPE COLLARD RAVEL Mother Goose Suite 12 Piano Concerto in D for the left hand 2 LEON FLEISHER, piano Valses nobles et sentimentales ROSSINI Overture to Semiramide 24 (Friday Eve) SAINT-SAENS Cello Concerto No. 1 in A minor, Opus 33 7 HEINRICH SCHIFF, cello

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© Seiko Time 1990 SCHOENBERG Concerto for Piano and Orchestra, Opus 42 9 PETER SERKIN, piano SCHUBERT Symphony in B minor, D.759, Unfinished 21 Symphony in C, D.944, The Great 3 SCHUMANN Violin Concerto in D minor 8 CHRISTIAN TETZLAFF, violin SHAPERO Symphony for Classical Orchestra 13 SHOSTAKOVICH Symphony No. 1 in F minor, Opus 10 7 Symphony No. 10 6 SIBELIUS Symphony No. 1 in E minor, Opus 39 15 STRAUSS Le Bourgeois Gentilhomme, Orchestral suite, Opus 60 19 Salome, Opus 54 24 HILDEGARD BEHRENS, soprano; MIGNON DUNN, mezzo-soprano; RAGNAR ULFUNG, tenor; JORMA HYNNINEN, baritone; VINSON COLE, tenor; DIANE KESLING, mezzo-soprano; BRAD CRESSWELL, tenor; DENNIS PETERSEN, tenor; JOHN HORTON MURRAY, tenor; PHILIP CREECH, tenor; LeROY LEHR, bass; LOUIS LEBHERZ, bass; JAMES KLEYLA, baritone; BRIAN MATTHEWS, bass; JAMES BUTLER, bass; DONALD WILKINSON, baritone; WILLIAM HITE, tenor TAKEMITSU Orion and Pleiades for cello and orchestra 2 TSUYOSHI TSUTSUMI, cello TCHAIKOVSKY The Nutcracker, Opus 71 (complete) 10

Violin Concerto in D, Opus 35 Opening1 Night MIDORI, violin VERDI Quattro pezzi sacri (Four Sacred Pieces) 9 TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor; DOMINIQUE LABELLE, soprano WAGNER Good Friday Spell from Parsifal 21 Siegfried Idyll 19 WIENIAWSKI Violin Concerto No. 1 in F-sharp minor, Opus 14 14 MIDORI, violin WUORINEN Machault mon chou 7

55 CONDUCTORS OF THE BOSTON SYMPHONY ORCHESTRA DURING THE 1990-91 SUBSCRIPTION SEASON Week SEIJI OZAWA, Music Director Opening Night, 1,2, 3, 9, 10, 14, 16, 23, 24

CATHERINE COMET 7 SIR PETER MAXWELL DAVIES 11 JOHN ELIOT GARDINER 12 WITOLD LUTOSMWSKI 4

KURT SANDERLING 5, 6 MAREK JANOWSKI 8, 21 NICHOLAS McGEGAN 22 CHRISTOF PERICK 19 ANDRfi PREVIN 13 SIMON RATTLE 17, 18

KURT SANDERLING 5, 6 ROBERT SPANO 15 HEINZ WALLBERG 20

SOLOISTS WITH THE BOSTON SYMPHONY ORCHESTRA DURING THE 1989-90 SUBSCRIPTION SEASON Week

MARTHA ARGERICH, piano 3 HILDEGARD BEHRENS, soprano 24 JAMES BUTLER, bass 24 RICK CLEMENT, tenor 9 VINSON COLE, tenor 24 JEAN-PHILIPPE COLLARD 13 PHILIP CREECH, tenor 24 BRAD CRESSWELL, tenor 24 LYNN DAWSON, soprano 18

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56 ALICIA DE LARROCHA, piano 5 ANTHONY DI BONAVENTURA, piano 4 PAMELA DILLARD, mezzo-soprano 9 MIGNON DUNN, mezzo-soprano 24 JULES ESKIN, cello 24 (Friday Eve) LEON FLEISHER, piano 2 D'ANNA FORTUNATO, mezzo-soprano 22 JERRY HADLEY, tenor 16 ALFRED GENOVESE, oboe 24 (Friday Eve) HEIDI GRANT, soprano* 16 WILLIAM HITE, tenor 24 JORMA HYNNINEN, baritone 24 DONALD KAASCH, tenor 18 DIANE KESLING, mezzo-soprano 24 RALPH KIRSHBAUM, cello 11 JAMES KLEYLA, bass 9, 24 DOMINIQUE LABELLE, soprano 9 LOUIS LEBHERZ, bass 24 RONAN LEFKOWITZ, violin 4 LEROY LEHR, bass 24 MALCOLM LOWE, violin 24 (Friday Eve) BRIAN MATTHEWS, bass 24 SYLVIA McNAIR, soprano 16 SUSANNE MENTZER, mezzo-soprano 16 MIDORI, violin Opening Night, 14 ANNE-SOPHIE MUTTER, violin 16 JOHN HORTON MURRAY, tenor 24 GARRICK OHLSSON, piano 15 JEANNE OMMERLE\ soprano 22 JOHN OSTENDORF, bass-baritone 16 JAMES PATTERSON, bass 18 DENNIS PETERSEN, tenor 24 GLORIA RAYMOND, mezzo-soprano 9 ELISE ROSS, soprano 18 PAUL ROWE, baritone 9 HEINRICH SCHIFF, cello 7 PETER SERKIN, piano 9 RICHARD SVOBODA, bassoon 24 (Friday Eve) CHRISTIAN TETZLAFF, violin 8 JEFFREY THOMAS, tenor 22 TSUYOSHI TSUTSUMI, cello 2 RAGNAR ULFUNG, tenor 24 NATHANIEL WATSON, baritone 22 DONALD WILKINSON, bass 24 THOMAS ZEHETMAIR, violin 19 KRYSTIAN ZIMERMAN, piano 23

AMERICAN BOYCHOIR, JAMES LITTON, director 10 TANGLEWOOD FESTIVAL CHORUS, 9, 16, 18, 22 JOHN OLIVER, conductor

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57 WORKS PERFORMED AT SYMPHONY HALL SUPPER CONCERTS DURING THE 1990-91 SEASON Week

ARTZIBUSHEV et al. Variations on a Russian Polk Song, for string quartet 13 BEETHOVEN Quintet in C for strings, Opus 29 21 Trio in G for piano, violin, and cello, Opus 1, No. 2 5 BRAHMS Quintet in F minor for piano and strings, Opus 34 2 Trio in C minor for piano and strings, K.478 19 GLAZUNOV, LIADOV, RIMSKY-KORSAKOV Festive Moods Quartet 13 HOFMANN Duo in D for violin and cello JANACEK Concertino for piano, two violins, viola, clarinet, horn, and bassoon 15 KLEIN Trio for violin, viola, and cello 15 MOZART Adagio in F for English horn, two basset horns, and bassoon, 11 K.Anh.94(580a) Kanonisches Adagio in F for two basset horns and bassoon, K.410 11 Quartet in G minor for piano and strings, K.478 19 Serenade No. 11 in E-fiat for two oboes, two clarinets, two bassoons, and two 11 horns, K.375 SCHUBERT Octet in F for winds and strings, D.803 21 Quintet in A for piano and strings, D.667, Trout 3 String Trio No. 1 in B-flat, D.471 21 SHAPERO Sonata for Piano, four-hands 13 ULLMANN String Quartet No. 3 15

58 SUPPER CONCERT PERFORMERS DURING THE 1990-91 SUBSCRIPTION SEASON Week

MARTHA BABCOCK, cello 21 ROBERT BARNES, viola 21 BONNIE BEWICK, violin 2 NANCY BRACKEN, violin 2 FRANK CORLISS, piano 15 DAVID DEVEAU, piano 19 TATIANA DIMITRIADES, violin 3 DEBORAH DeWOLF EMERY, piano 2 RACHEL FAGERBURG, viola 19 RONALD FELDMAN, cello 19, 21 SHEILA FIEKOWSKY, violin 19 EDWARD GAZOULEAS, viola 13 RANDALL HODGKINSON, piano 3 SI-JING HUANG, violin 15 MARC JEANNERET, viola 21 SATO KNUDSEN, cello 5, 15 DAVID KOPP, piano 13 VALERIA VILKER KUCHMENT, violin 13 RONAN LEFKOWITZ, violin 15 AMNON LEVY, violin 13 RODNEY LISTER, piano 13 MARK LUDWIG, viola 15 RICHARD MACKEY, horn 11 THOMAS MARTIN, clarinet and basset horn 11, 15 PATRICIA McCARTY, viola 2 JONATHAN MENKIS, horn 21 JONATHAN MILLER, cello 3 IKUKO MIZUNO, violin 21

JOEL MOERSCHEL, cello 2, 13 CRAIG NORDSTROM, clarinet and basset horn 11 JOSEPH PIETROPAOLO, viola 21 RICHARD RANTI, bassoon 11 AZA RAYKHTSAUM, violin 21 RICHARD SEBRING, horn 15 TODD SEEBER, double bass 21 HARVEY SEIGEL, violin 21 JENNIE SHAMES, violin 21 ROLAND SMALL, bassoon 11, 15, 21 JOHN STOVALL, double bass 3 LAURENCE THORSTENBERG, oboe and English horn 11 VYACHESLAV URITSKY, violin 5 JULIE VAVERKA, clarinet 21 JAY WADENPFUHL, horn 11 KEISUKE WAKAO, oboe 11 TATIANA YAMPOLSKY, piano 5 MICHAEL ZARETSKY, viola 3

59 ARTICLES ABOUT THE HISTORY OF SYMPHONY HALL Week

Symphony Hall at 90: A Timeless Gift to Bostonians, 1 2 by Robert Campbell The Acoustical Design of Boston Symphony Hall, 7 8 by Leo L. Beranek

The Opening of Symphony Hall in 1990, 9, 10 by Andrew Raeburn The Symphony Statues: Casts of Character, 14, 15, 16 by Caroline Smedvig

A View From the Back Row, 9, 20 by Douglas Yeo Symphony Hall: A Hospitable Home for Music, 23 24 by Paul Goldberger

60 BOSTON SYMPHONY CHAMBER PLAYERS 1990-91 Subscription Season

Sunday afternoons at 3 p.m. at Jordan Hall with Gilbert Kalish, piano

November 11, 1990 with SANFORD SYLVAN, baritone

PISTON Divertimento for nine instruments HARBISON Words from Paterson (Text from William Carlos Williams's Paterson, book V) BEETHOVEN Septet in E-flat for winds and strings, Opus 20

February 3, 1991

HAYDN Trio in G for piano, flute, and cello, Hob. XV: 15 BRAHMS Trio in E-flat for violin, horn, and piano, Opus 40 SHOSTAKOVICH Quintet in G minor for piano and strings, Opus 57

March 10, 1991

WYNER Trapunto Junction, for brass trio and percussion (world premiere; commissioned by the Boston Symphony Orchestra and Mr. and Mrs. Robert D. King) COPLAND Elegies, for violin and viola COPLAND Duo for flute and piano SCHUBERT String Quintet in C, D.956

A Gala Evening of Bel Canto Monday, March 11, 1991, at 8:15 p.m. with JUNE ANDERSON, soprano ALFREDO KRAUS, tenor JULIUS RUDEL, conductor MEMBERS OF THE BOSTON SYMPHONY ORCHESTRA

ROSSINI Overture to R barbiere di Siviglia DONIZETTI "Depuis l'instant ou dans mes bras," Duet from La Fille du regiment, Act I WOLF-FERRARI Two intermezzi from The Jewels of the Madonna

DONIZETTI "Ah, mes amis, quel jour de fete . . . Pour mon ame," Tonio's aria from La Fille du regiment, Act I DONIZETTI "Regnava nel silenzio" and "Verrano a te" from Lucia di Lammermoor, Act I THOMAS "A vos yeux" (Ophelia's mad scene) from Hamlet, Act D7 GOUNOD "Ah! leve-toi soleil" from Romeo et Juliette, Act II MASSENET Ballet music from Le Cid GOUNOD "Nuit d'hymenee" from Romeo et Juliette, Act D7

61 BUSINESS Business and Professional Leadership Association

The Boston Symphony Orchestra wishes to acknowledge this distinguished group of corporations and professional organizations for their outstanding and exemplary support of the orchestra's needs during the past or current fiscal year.

CORPORATE SPONSORSHIPS $25,000 and above

Digital Equipment Corporation Boston Pops Orchestra Public Television Broadcasts NEC Boston Symphony Orchestra North American Tour 1991 Boston Symphony Orchestra European Tour 1991

NYNEX Corporation WCVB-TV, Channel 5 Boston and WCRB 102.5 FM Salute to Symphony 1990

The Boston Company Opening Night At Symphony 1990

BayBanks, Inc. Opening Night at Pops 1990

Lexus A Division of Toyota Motor Sales U.S.A., Inc. Tanglewood Opening Night 1990

TDK Electronics Corporation Tanglewood Tickets for Children 1990

Bank of Boston Country Curtains and The Red Lion Inn BSO Single Concert Sponsors 1990

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

62 yBE ! BLgy in fc»

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

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

State Street Bank and Trust Company, wholly-owned subsidiary of State Street Boston Corporation, 225 Franklin Street, Boston, MA 02101. Offices in Boston, New York, Los Angeles, London, Munich, Brussels, Tokyo, Sydney, Hong Kong. Member FDIC. Copyright State Street Boston Corporation, 1989. Carleton-Willard Village is anl exceptional continuing ca|e retirement community. Grjacious independent living accommodations and fully licensed, long-term health care facilities exist in a traditional New England environment.

100 Old Bilferica Rd. Bedford, MA 01730 (617) 275-8700 Owned and operated by Carleton-Willard Homes, Inc., a non-profit corporation 1990-91 Business Honor Roll ($10,000 and Above)

Advanced Management Associates The Gillette Company Harvey Chet Krentzman Alfred M. Zeien

Analog Devices, Inc. Grafacon, Inc. Ray Stata H. Wayman Rogers, Jr. AT&T Network Systems GTE Products Corporation John F. McKinnon Dean T. Langford

Bank of Boston Hill, Holliday, Connors, Cosmopulos, Inc. Ira Stepanian Jack Connors, Jr.

Barter Connections The Henley Group Kenneth C. Barron Paul M. Montrone

BayBanks, Inc. Houghton Mifflin Company William M. Crozier, Jr. Nader F. Darehshori

Bingham, Dana & Gould IBM Corporation Joseph Hunt Paul J. Palmer

Bolt Beranek & Newman John Hancock Mutual Life Insurance Company Stephen R. Levy E. James Morton

The Boston Company Lawner Reingold Britton & Partners Christopher M. Condron Michael H. Reingold Boston Edison Company Lexus Stephen J. Sweeney A Division of Toyota Motor Sales, U.S.A., Inc. The Boston Globe J. Davis Illingworth William O. Taylor Liberty Mutual Insurance Group Boston Herald Gary L. Countryman Patrick Purcell J. Loomis-Sayles & Company, Inc. Bull HN Information Systems, Inc. Charles J. Finlayson Roland D. Pampel McKinsey & Company Cahners Publishing Company Robert P. O'Block Ron Segel Morse Shoe, Inc. Connell Limited Partnership Manuel Rosenberg William F. Connell NEC Corporation Coopers & Lybrand Tadahiro Sekimoto William K. O'Brien NEC Deutschland GmbH Country Curtains Masao Takahashi Jane P. Fitzpatrick Nestle-Hills Brothers Coffee Company Deloitte & Touche Ned Dean James T. McBride The New England Digital Equipment Corporation Edward E. Phillips Kenneth G. Olsen New England Telephone Company Dynatech Corporation Paul C. O'Brien J. P. Barger Northern Telecom, Inc. Eastern Enterprises Brian Davis Robert W. Weinig Corporation EG&G, Inc. Nynex John M. Kucharski William C. Ferguson Ernst & Young PaineWebber, Inc. Thomas P. McDermott James F. Cleary

The First Boston Corporation KPMG Peat Marwick Malcolm MacColl Robert D. Happ

General Cinema Corporation Polaroid Corporation Richard A. Smith I.M. Booth

63 1990-91 Business Honor Roll (continued)

Prudential-Bache Capital Funding TDK Electronics Corporation David F. Remington Takashi Tsujii Raytheon Company USTrust Thomas L. Phillips James V. Sidell The Red Lion Inn WCRB-102.5 FM John H. Fitzpatriek Richard L. Kaye

Shawmut Bank, N.A. WCVB-TV, Channel 5 Boston John P. Hamill S. James Coppersmith The Stop & Shop Foundation Avram J. Goldberg

Discover Privacy and Serenity at Windemere in the Berkshires. Only 2Vi Hours from Boston.

The people who buy a country home at Windemere have a desire for privacy.

Each is custom built on five or more secluded acres. Windemere people can also be active: minutes away are skiing, golf and tennis. They can also swim or sail in Windemere's •!' MMIl.ij^ own 100 acre lake. At day's end, they can come home and swim in their own private indoor pool (see photo) and then enjoy gourmet dining in nearby Lenox. Interested? Call 413-229-8330 for a private inspection or brochure.

This ad is not an offering to sell. Complete terms are in an offering plan available from sponsor. © Windemere Lake Corporation 1990

Southfield, Massachusetts 01259/413-229-8330

64 tiSMIm 9

BUSINESS AND PROFESSIONAL LEADERSHIP ASSOCIATION The Boston Symphony Orchestra gratefully acknowledges these Business Leaders for their generous and valuable support totaling $1,250 and above during the past fiscal year. Names which are both capitalized and underscored in this listing make up the Business Honor Roll denoting support of $10,000 and above. Capitalization denotes support of $5,000-$9,999, and an asterisk indicates support of $2,500-$4,999. iccountants Banking Lindenmeyr Munroe ARTHUR ANDERSEN & CO. BANK OF BOSTON NESTLE JJILLS BROTHERS William F. Meagher Ira Stepanian COFFEE COMPANY Ned Dean Dharles E. DiPesa & Company *Bank of New England William F. DiPesa Corporation O'Donnell-Usen Fisheries :OOPERS & LYBRAND Lawrence K. Fish Arnold S. Wolf William K. O'Brien BAYBANKS, INC. Welch's )ELOITTE & TOUCHE William M. Crozier, Jr. Everett N. Baldwin James T. McBride THE BOSTON COMPANY 3RNST & YOUNG Christopher M. Condron, Jr. Education Thomas P. McDermott Cambridge Trust Company BENTLEY COLLEGE GMPG PEAT MARWICK Lewis H. Clark Gregory Adamian Robert D. Happ CITICORP/CITIBANK Walter E. Mercer Electrical/HVAC ^heodore S. Samet & Company Theodore S. Samet First National Bank of Chicago *p.h. mechanical Corporation Richard Spencer Paul A. Hayes 'ofias, Fleishman, Shapiro * i Co, P.C. Rockland Trust Company *R & D Electrical Company, Inc. Allan Tofias John F. Spence, Jr. Richard D. Pedone SHAWMUT BANK, N.A. kdvertising/Public Relations John P. Hamill Electronics irnold Advertising * State Street Bank & Alden Electronics, Inc. Edward Eskandarian Trust Company Joseph Girouard ]lysee Public Relations William S. Edgerly *Analytical Systems Tanya Keller Dowd USTRUST Engineering Corporation IILL, HOLLIDAY, CONNORS, James V. Sidell Michael B. Rukin IOSMOPULOS, INC. Wainwright Bank & Trust Company PARLEX CORPORATION Jack Connors, Jr. John M. Plukas Herbert W. Pollack igalls, Quinn & Johnson Bink Garrison Energy AWNER REINGOLD Building/Contracting CABOT CORPORATION '.RITTON & PARTNERS *Harvey Industries, Inc. Samuel W. Bodman Michael H. Reingold Frederick Bigony

J.F. White Contracting Company erospace Engineering Philip Bonanno 'orthrop Corporation *GZA GeoEnvironmental Lee Kennedy Co, Inc. Kent Kresa Technologies, Inc. Lee M. Kennedy Donald T. Goldberg *Moliterno Stone Sales, Inc. tchitects The Thompson & Lichtner Kenneth A. Castellucci mbridge Seven Associates Company, Inc. (Dharles Redman * National Lumber Company John D. Stelling EA Group Louis L. Kaitz Eugene R. Eisenberg PERINI CORPORATION Entertainment/Media David B. Perini GENERAL CINEMA CORPORATION utomotive Richard A. Smith N. Phillips Glass Consumer Goods/Distributors National Amusements, Inc. ompany, Inc. Sumner M. Redstone Man L. Rosenfeld BARTER CONNECTIONS Kenneth C. Barron exus Environmental Division of Toyota Motor FAIRWINDS GOURMET COFFEE ales U.S.A, Inc. COMPANY Jason M. Cortell & Associates

I. Davis Illingworth Michael J. Sullivan Jason M. Cortell

65 WmfflrnHMSr

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Cape Heritage > V sandwich ma 508-888-8222 Cape Regency centerville ma 508-778-1835 # * Easton Lincoln north easton ma 508-238-7053 % Lafayette NORTH KINGSTOWN Rl 401-295-8816 s ** Mayflower plymouth ma 508-746-4343 northbridge northbridge ma 508-234-4641 * %,# northwood #•* lowell ma 508-458-8773 OAKWOOD newport ri 401-849-6600 South County NORTH KINGSTOWN Rl 401-294-4545 # j? WOODLAWN EVERETT MA 617-387-6560 r MANAGED FOR AMERICAN HEALTH FOUNDATION * %

*7t % *. * +A% *' *i&CW!*J. *'v % ,# *s* * p* inane e/Venture Capital ANALOG DEVICES, INC. PRIME COMPUTER, INC. Corporation Ray Stata John Shields reoffrey N. Taylor *Aritech Corp. *Printed Circuit Corporation A. Synk arson Limited Partnership James Peter Sarmanian Herbert Carver Automatic Data Processing RAYTHEON COMPANY HE FIRST BOSTON Arthur S. Kranseler Thomas L. Phillips ORPORATION BOLT BERANEK AND SofTech, Inc. Malcolm MacColl NEWMAN, INC. Justus Lowe, Jr. E CAPITAL CORPORATE Stephen R. Levy *TASC INANCE GROUP Gelb BULL HN INFORMATION Arthur Richard A. Goglia SYSTEMS, INC. TDK ELECTRONICS RUPP COMPANIES Roland D. Pampel CORPORATION eorge Krupp Takashi Tsujii *Cerberus Technologies, Inc. »od Service/Industry George J. Grabowski THERMO ELECTRON CORPORATION i Pain Costar Corporation Bon George N. Hatsopoulos Otto Morningstar jouis I. Kane XRE Corporation )ston Showcase CSC PARTNERS, INC. Company John K. Grady lason E. Starr Paul J. Crowley ihnson O'Hare Co., Inc. DIGITAL EQUIPMENT Hotels/Restaurants larry O'Hare CORPORATION 57 Park Plaza Hotel Kenneth G. Olsen Nicholas L. Vinios jotwear DYNATECH CORPORATION *Back Bay Hilton mverse, Inc. J.P. Barger Carol Summerfield ilbert Ford EG&G, INC. *Boston Marriott Copley Place Baker, Inc. John M. Kucharski Jurgen Giesbert Sherman N. Baker EMC CORPORATION Christo's Restaurant nes & Vining, Inc. Richard J. Egan Christopher Tsaganis Iven A. Vaule, Jr. Helix Technology Corporation THE RED LION INN ORSE SHOE, INC. Robert J. Lepofsky John H. Fitzpatrick lanuel Rosenberg * Sheraton Boston Hotel & Towers ebok International Ltd. THE HENLEY GROUP Steve Foster aul Fireman Paul M. Montrone *Sonesta International e Rockport Corporation HEWLETT PACKARD COMPANY Hotels Corporation nthony Tiberii Ben L. Holmes Paul Sonnabend IE STRIDE RITE IBM CORPORATION *The Westin Hotel, Copley Place )RPORATION Paul J. Palmer David King mold S. Hiatt *Intermetrics Inc. Joseph A. Saponaro rnishings/Housewares Industrial Distributors ILEY MERCHANDISE IONICS, INC. *Alles Corporation Arthur L. Goldstein )RPORATION Stephen S. Berman * 'avid I. Riemer Lotus Development Corporation Brush Fibers, Inc. Jim P. Manzi IF Corporation Ian P. Moss I oruch B. Frusztajer *M/A-Com, Inc. * Eastern Refractories Company H. Glaudel )UNTRY CURTAINS Robert David S. Feinzig me P. Fitzpatrick MILLIPORE CORPORATION Millard Metal Service Center John A. Gilmartin ran Sales, Inc. Donald Millard, Jr. )bert D. Roy *The MITRE Corporation Charles A. Zraket Insurance aphic Design NEC CORPORATION *American Title Insurance Company ARK/LINSKY DESIGN Tadahiro Sekimoto Terry E. Cook obert H. Linsky NEC DEUTSCHLAND GmbH *Arkwright DEPENDENT DESIGN Masao Takahasi Enzo Rebula itrick White *Orion Research, Inc. Caddell & Byers »h Technology/Electronics Alexander Jenkins III John Dolan en Products Company POLAROID CORPORATION CAMERON & COLBY CO., INC. etsy Alden I.M. Booth Lawrence S. Doyle

67 MIT Summer Session Dinner at 6. a group of short seminars in the

Symphony at 8. Humanities, Social Sciences $ and the Arts, Parking at 5. for adults, presented on the campus, Make dinner at Boodle's part of in Cambridge, your night out at the Symphony. by members of the MIT faculty. When you do, you'll not only enjoy June, July & August, 1991 an award winning dining experi- ence from Boston's authentic grill, you'll also get special parking privileges at the Back Bay Hilton's private garage. Just show us your tickets at dinner on the night of the performance and park your car for just $5. And with a deal like that, a night at the Symphony never sounded better.

For further information on content, tuition.scholarships and housing, contact: BOODLE'S MIT Office fo the Summer Session, E1 9-356, Cambridge, MA 02139 OF • BOSTON An Authentic Grill Phone: 617-253-2101 Lunch and dinner daily. In Boston's Back Bay Hilton. Fax: 617-253-8042 Phone (617) BOODLES.

68

^H Charles H. Watkins & Company PAINEWEBBER CAPITAL Management/Financial/Consulting Paul D. Bertrand MARKETS ADVANCED MANAGEMENT Chubb Group of Insurance Cos. Joseph F. Patton ASSOCIATES John Gillespie SALOMON INC. Harvey Chet Krentzman

PRANK B. HALL & CO. OF John V. Carberry *Arthur D. Little, Inc. MASSACHUSETTS, INC. *Spaulding Investment Company John Magee William F. Newell C.H. Spaulding *Bain & Company, Inc. 'nternational Insurance Group William * State Street Development W. Bain John Perkins Management Corp. THE BOSTON CONSULTING IOHN HANCOCK MUTUAL John R. Gallagher III GROUP ^IFE INSURANCE COMPANY Jonathan L. Isaacs TUCKER ANTHONY, INC. E. James Morton John Goldsmith Cordell Associates, Inc. Tohnson & Higgins of James B. Hangstefer Massachusetts, Inc. Whitman & Evans, Art Investments * Corporate Decisions Robert A. Cameron Eric F. Mourlot David J. Morrison Ceystone Provident Life *Woodstock Corporation *Haynes Management, Inc. nsurance Company Nelson J. Darling, Jr. G. Arnold Haynes Robert G. Sharp Legal Index Group exington Insurance Company David G. Robinson Kevin H. Kelley BINGHAM, DANA & GOULD Irma Mann Strategic Marketing Joseph Hunt JBERTY MUTUAL INSURANCE Irma Mann Stearns JROUP *Choate, Hall & Stewart Lochridge & Company, Inc. Gary L. Countryman Robert Gargill Richard K. Lochridge ^HE NEW ENGLAND Dickerman Law Offices MCKINSEY & COMPANY Edward E. Phillips Lola Dickerman Robert P. O'Block IAFETY INSURANCE COMPANY *Fish & Richardson The Pioneer Group, Inc. Richard B. Simches Robert E. Hillman John F. Cogan, Jr. edgwick James of * Gaston & Snow PRUDENTIAL-BACHE lew England, Inc. Richard J. Santagati CAPITAL FUNDING P. Joseph McCarthy GOLDSTEIN & MANELLO David F. Remington ullivan Risk Management Group Richard J. Snyder *Rath & Strong John H. Sullivan Dan Ciampa un Life Assurance Company GOODWIN, PROCTER AND HOAR * Robert B. Fraser Towers Perrin f Canada J. Russell Southworth avid D. Horn *Hemenway & Barnes *William M. Mercer, Inc. John J. Madden Chester D. Clark lvestments Hubbard & Ferris *The Wyatt Company aring International Investment, Ltd. Charles A. Hubbard Paul R. Daoust lohn F. McNamara * Joyce & Joyce Yankelovich Clancy Shulman ear Stearns & Company, Inc. Thomas J. Joyce Kevin Clancy £eith H. Kretschmer *Lynch, Brewer, Hoffman & Sands ssex Investment Management Owen B. Lynch Manufacturer's Representatives ompany, Inc. MINTZ, LEVIN, COHN, FERRIS, *Ben Mac Enterprises Foseph C. McNay GLOVSKY & POPEO, P.C. Larry Benhardt IDELITY INVESTMENTS/ Francis X. Meaney Thomas McAuliffe IDELITY FOUNDATION Nissenbaum Law Offices Kitchen, & Kutchin, Inc. )ldman, Sachs & Company Gerald L. Nissenbaum Melvin Kutchin dartin C. Murrer *Paul R. Cahn Associates, Inc. * Nutter, McClennen & Fish AUFMAN & COMPANY Paul R. Cahn Michael J. Bohnen ISumner Kaufman

lidder, Peabody & Co. PALMER & DODGE Manufacturing/Industry Robert E. Sullivan John G. Higgins *AGFA Corporation DOMIS-SAYLES & COMPANY, *Rackemann, Sawyer & Brewster Ken Draeger Stephen Carr Anderson \c. *AMCEL Corporation ^harles J. Finlayson Sarrouf, Tarricone & Flemming Lloyd Gordon

iferrill Lynch & Co., Inc. Camille F. Sarrouf *Avedis Zildjian Company I'aul Fehrenbach Weiss, Angoff, Coltin, Koski & Armand Zildjian klNEWEBBER, INC. Wolf, P.C. The Biltrite Corporation ijames F. Cleary Dudley A. Weiss Stanley J. Bernstein

69

..,..-;..,; Without You, This Is The Whole Picture,

This year, there is an $ 1 1 million difference educational and youth programs, and to attract between what the BSO will earn — and what the world's finest musicians and guest artists. we must spend to make our music. Make your generous gift to the Annual Your gift to the Boston Symphony Annual Fund — and become a Friend of the Boston Fund will help us make up that difference. Symphony Orchestra today. Because without It will help us continue to fund outreach, you, the picture begins to fade. r ~i Yes, I want to keep great music alive.

I'd like to become a Friend of the BSO for the 1990-91 season. (Friends' benefits

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

Name Tel.

Address.

City .State Zip

Please send your contribution to: Susan E. Tomlin, Director of Annual Giving, Boston Symphony Orchestra, Symphony Hall, Boston, MA 02115. A portion of your gift may not be tax-deductible. For information call (617) 638-9251. KEEP GREAT MUSIC AUVE oston Acoustics, Inc. 'Tech Pak, Inc. The Flatley Company ?rank Reed J. William Flynn Thomas J. Flatley

R. Bard, Inc. Textron, Inc. Heafitz Development Company lobert H. McCaffrey B.F. Dolan Lewis Heafitz sntury Manufacturing- Company Wire Belt Company of America Hilon Development Corporation Joseph Tiberio F. Wade Greer Joan Eliachar tielsea Industries, Inc. *John M. Corcoran & Company Media Honald G. Casty John M. Corcoran THE BOSTON GLOBE ONNELL LIMITED PARTNERSHIP Keller Co., Inc. William 0. Taylor Villiam F. Connell Joseph P. Keller BOSTON HERALD ennison Manufacturing Company *Leggat McCall Properties, Inc. Patrick J. Purcell kelson G. Gifford Dennis F. Callahan PEOPLE MAGAZINE RVING PAPER MILLS Nordblom Company Peter Krieger Charles B. Housen Roger P. Nordblom WCRB- 102.5 FM LEXcon Company, Inc. Northland Investment Corporation Richard L. Kaye lark R. Ungerer Robert A. Danziger WCVB-TV, CHANNEL 5 BOSTON iorgia-Pacific Corp. *Trammell Crow Company S. James Coppersmith laurice W. Kring Arthur DeMartino HE GILLETTE COMPANY Personnel Urban Investment & Development dfred M. Zeien TAD TECHNICAL SERVICES Rudy K. Umscheid rE PRODUCTS CORPORATION CORPORATION *Windsor Building Associates )ean T. Langford David J. McGrath, Jr. Mona F. Freedman &RVARD FOLDING BOX MPANY, INC. Printing Retail lelvin A. Ross *Bowne of Boston, Inc. *Channel Home Centers, Inc. K. Webster Company, Inc. Donald J. Cannava Malcolm L. Sherman >ean K. Webster Customforms, Inc. FILENE'S MK Enterprises, Inc. David A. Granoff David P. Mullen oan L. Karol DANIELS PRINTING COMPANY * Jordan Marsh Company idson Lock, Inc. Lee S. Daniels Richard F. Van Pelt Stavisky orman *Espo Litho Co., Inc. Karten's Jewelers lustrial Filter and Equipment David M. Fromer Joel Karten rporation George H. Dean Company Lancome Paris onald R. Patnode Earl Michaud Steve Morse ndall Company GRAFACON, INC. *Neiman Marcus Sherratt Dale H. Wayman Rogers, Jr. William D. Roddy

ACH & GARNER COMPANY Out of Town News, Inc. Publishing hilip F. Leach Sheldon Cohen Addison-Wesley Publishing Company, ggett & Piatt, Inc. *Saks Fifth Avenue Inc. lexander M. Levine Alison Strieder Mayher Warren R. Stone W ENGLAND BUSINESS The Stop & Shop Companies, Inc. CAHNERS PUBLISHING COMPANY RVICE, INC. Lewis Schaeneman chard H. Rhoads Ron Segel Tiffany & Co. HOUGHTON MIFFLIN COMPANY w England Insulation Anthony D. Ostrom leodore H. Brodie Nader F. Darehshori TJX COMPANIES Little, Brown & Company •ks Corporation Ben Cammarata e Davidson Kevin L. Dolan Science/Medical rce Aluminum Real Estate/Development )bert W. Pierce Baldpate Hospital, Inc. *Boston Capital Partners id-Whitney Corporation Lucille M. Batal Christopher W. Collins )bert Kraft Herbert F. Collins Blake & Blake Genealogists tier Tissue Company Richard J. DeAgazio Richard A. Blake, Jr. onard Sugerman John P. Manning CHARLES RIVER erior Brands, Inc. * Combined Properties, Inc. LABORATORIES, INC. chard J. Phelps Stanton L. Black Henry L. Foster

71 Dear Patron of the Orchestra:

For many years the Boston Sym- phony Orchestra has been known as the "aristocrat of American orchestras." There is indeed a distinctive "BSO sound" that has earned worldwide acclaim and has attracted the greatest musicians to audition for membership in the orchestra.

An important ingredient in the creation of this unique sound is having the finest musical instruments on the BSO's stage. However, the cost of many of these instruments

(especially in the string sections) has become staggeringly high, and it is incumbent upon the Symphony to take steps to assure that musicians in key positions who do not themselves own great instruments have access to them for use in the orchestra.

Two recent initiatives have been taken to address this concern: First, in 1988, the Boston Safe Deposit and Trust Company stepped forward

with a creative loan program that is making it possible for players to borrow at one and a half percent below prime to purchase instruments.

Second, last fall, the incentive of a Kresge Foundation challenge grant helped launch our effort to raise a fund of $1 million for the Orchestra to draw upon from time to time to purchase instruments for use by the players. The BSO in this case would retain ownership.

Donations of both outright gifts and instruments are being sought to establish the BSO's Instrument Acquisition Fund. Fine pianos, period instruments, special bows, heirloom violins, etc. all make ideal gifts. Opportunities for naming instruments and for other forms of donor recognition may be available according to the wishes of the donor.

If you are interested in this program please contact me or Joyce Serwitz in the orchestra's Development Office at (617) 638-9273. Your support will help make a difference that will be music to our ears!

George H. Kidder President

72 ''TO G5F

^ompuChem Corporation Software/Information Services *Cellular One Gerard I Kees Verkerk Charles "International Data Group Hoffman r.A. WEBSTER, INC. Patrick J. McGovern NEW ENGLAND TELEPHONE John A. Webster *Phoenix Technologies Foundation COMPANY Paul C. O'Brien 'ortsmouth Regional Hospital Neil Colvin William J. Schuler NORTHERN TELECOM, INC. Travel Brian Davis CRIMSON/THOMAS COOK NYNEX CORPORATION TRAVEL William C. Ferguson >on Law Productions David Paresky Don Law * Heritage Travel, Inc. Transportation ASTERN ENTERPRISES Donald R. Sohn Patterson Wylde tobert W. Weinig Telecommunications Norman Tasgal iltspur Exhibits/Boston AT&T Thomas E. Knott Utilities Robert Babbitt haughnessy & Ahern Co. *AT&T BOSTON EDISON COMPANY lohn J. Shaughnessy Stephen J. Sweeney Glenn Swift rild Acre Inns, Inc. AT&T NETWORK SYSTEMS New England Electric System Bernard S. Yudowitz Joan T. Bok John F. McKinnon

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73 What direction will your retirement take?

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74 Symphony Hall Information . . .

FOR SYMPHONY HALL CONCERT AND THE SYMPHONY SHOP is located in the TICKET INFORMATION, call (617) 266- Cohen Wing at the West Entrance on Hunting- 1492. For Boston Symphony concert program ton Avenue and is open Tuesday, Thursday, and information, call "C-O-N-C-E-R-T" (266-2378). Friday from 11 a.m. until 3 p.m., Saturday from 1 p.m. until 6 p.m., and from one hour before THE BOSTON SYMPHONY performs ten each concert through intermission. The shop car- months a year, in Symphony Hall and at Tan- ries BSO and musical-motif merchandise and glewood. For information about any of the gift items such as calendars, clothing, appoint- orchestra's activities, please call Symphony ment books, drinking glasses, holiday ornaments, Hall, or write the Boston Symphony Orches- children's books, and BSO and Pops recordings. tra, Symphony Hall, Boston, MA 02115. A selection of Symphony Shop merchandise is also available during concert hours outside THE NEWLY REFURBISHED EUNICE S. BSO the Cabot-Cahners in the Massachusetts AND JULIAN COHEN WING, adjacent to Room Symphony Hall on Huntington Avenue, may be Avenue corridor. All proceeds benefit the Boston entered by the Symphony Hall West Entrance Symphony Orchestra. For merchandise informa- on Huntington Avenue. tion, please call (617) 267-2692.

FOR SYMPHONY HALL RENTAL INFOR- TICKET RESALE: If for some reason you MATION, call (617) 638-9240, or write the are unable to attend a Boston Symphony con- Function Manager, Symphony Hall, Boston, cert for which you hold a ticket, you may make |MA 02115. your ticket available for resale by calling the switchboard. This helps bring needed revenue THE BOX OFFICE is open from 10 a.m. to the orchestra and makes your seat available until 6 p.m. Monday through Saturday; on con- to someone who wants to attend the concert. A cert evenings it remains open through intermis- mailed receipt will acknowledge your tax-deduct- sion for BSO events or just past starting-time ible contribution. for other events. In addition, the box office opens Sunday at 1 p.m. when there is a con- RUSH SEATS: There are a limited number of cert that afternoon or evening. Single tickets Rush Seats available for the Friday-afternoon,

for all Boston Symphony subscription concerts Tuesday-evening, and Saturday-evening Boston are available at the box office. For outside Symphony concerts (subscription concerts only). The low price of these seats is assured through Invents at Symphony Hall, tickets are available three weeks before the concert. No phone the Morse Rush Seat Fund. The tickets for Rush orders will be accepted for these events. Seats are sold at $6 each, one to a customer, on Fridays as of 9 a.m. and Saturdays and Tues- TO PURCHASE BSO TICKETS: American days as of 5 p.m. xpress, MasterCard, Visa, a personal check, md cash are accepted at the box office. To PARKING: The Prudential Center Garage harge tickets instantly on a major credit card, offers a discount to any BSO patron with a >r to make a reservation and then send pay- ticket stub for that evening's performance. nent by check, call "Symphony-Charge" at There are also two paid parking garages on 617) 266-1200, Monday through Saturday Westland Avenue near Symphony Hall. rom 10 a.m. until 6 p.m. There is a handling Limited street parking is available. As a spe- ee of $1.75 for each ticket ordered by phone. cial benefit, guaranteed pre-paid parking near Symphony Hall is available to subscribers who ROUP SALES: Groups may take advantage of attend evening concerts on Tuesday, Thursday, ,dvance ticket sales. For BSO concerts at Sym- Friday, or Saturday. For more information, hony Hall, groups of twenty-five or more may call the Subscription Office at (617) 266-7575. eserve tickets by telephone and take advantage f ticket discounts and flexible payment options. LATECOMERS will be seated by the ushers o place an order, or for more information, call during the first convenient pause in the pro- 638-9345. hxmp Sales at (617) gram. Those who wish to leave before the end N CONSIDERATION of our patrons and of the concert are asked to do so between pro- rtists, children under four will not be admit- gram pieces in order not to disturb other ?d to Boston Symphony Orchestra concerts. patrons.

75 SMOKING IS NOT PERMITTED in any Cahners Room on the first-balcony level serve part of the Symphony Hall auditorium or in drinks starting one hour before each perform- the surrounding corridors; it is permitted only ance. For the Friday-afternoon concerts, both in the Hatch Room and in the main lobby on rooms open at 12:15, with sandwiches available Massachusetts Avenue. Please note that until concert time. smoking is no longer permitted in the Cabot- BOSTON SYMPHONY BROADCASTS: Con- Cahners Room. certs of the Boston Symphony Orchestra are CAMERA AND RECORDING EQUIPMENT heard by delayed broadcast in many parts of the may not be brought into Symphony Hall dur- United States and Canada, as well as interna- ing concerts. tionally, through the Boston Symphony Tran- scription Trust. In addition, FIRST AID FACILITIES for both men and Friday-afternoon concerts are broadcast live by (Bos- women are available. On-call physicians attend- WGBH-FM ton Saturday-evening ing concerts should leave their names and seat 89.7); concerts are broad- cast live by both locations at the switchboard near the Massa- WGBH-FM and WCRB-FM (Boston Live broadcasts chusetts Avenue entrance. 102.5). may also be heard on several other public radio stations WHEELCHAIR ACCESS to Symphony Hall throughout New England and New York. is available via the Cohen Wing, at the West Entrance. Wheelchair-accessible restrooms are BSO FRIENDS: The Friends are annual donors to the Boston Orchestra. located in the main corridor of the West Symphony Friends receive the orchestra's newslet- Entrance, and in the first-balcony passageway BSO, between Symphony Hall and the Cohen Wing. ter, as well as priority ticket information and other benefits depending on their level of giv- are located outside the Hatch ELEVATORS ing. For information, please call the Develop- the and Cabot-Cahners rooms on Massachu- ment Office at Symphony Hall weekdays setts Avenue side of Symphony Hall, and in between 9 and 5, (617) 638-9251. If you are the Cohen Wing. already a Friend and you have changed your LADIES' ROOMS are located on the orches- address, please send your new address with tra level, audience-left, at the stage end of the your newsletter label to the Development Office, hall, on both sides of the first balcony, and in Symphony Hall, Boston, MA 02115. Including the Cohen Wing. the mailing label will assure a quick and accu- rate change of address in our files. MEN'S ROOMS are located on the orchestra level, audience-right, outside the Hatch Room BUSINESS FOR BSO: The BSO's Business near the elevator, on the first-balcony level, & Professional Leadership program makes it audience-left, outside the Cabot-Cahners Room possible for businesses to participate in the life near the coatroom, and in the Cohen Wing. of the Boston Symphony Orchestra through a variety of original and exciting programs, COATROOMS are located on the orchestra and among them "Presidents at Pops," "A Com- first-balcony levels, audience-left, outside the pany Christmas at Pops," and special-event Hatch and Cabot-Cahners rooms, and in the underwriting. Benefits include corporate recog- Cohen Wing. The BSO is not responsible for nition in the BSO program book, access to the personal apparel or other property of patrons. Beranek Room reception lounge, and priority LOUNGES AND BAR SERVICE: There are ticket service. For further information, please two lounges in Symphony Hall. The Hatch call the BSO Corporate Development Office at i Room on the orchestra level and the Cabot- (617) 638-9250.

76 When Marjory and Robert take to the Plus, a flawless array of services and dance floor at Fox Hill Village, people say amenities designed for those whose they move just like Fred Astaire and best years are yet to come. Ginger Rogers. Such grace and style. Yet Fox Hill Village is surprisingly Such flawless execution. affordable, with prices from $170,000 The same can be said of Fox Hill Village and a unique cooperative plan which Set amid 83 gracefully wooded acres, lets you retain the many investment Fox Hill Village offers a style of retire and tax benefits of homeownership. ment living that's beyond compare. Come see for yourself. Call (617) With an ever-changing schedule of 329-4433 today while preferred social activities. units are still available. FoxHill Village 10 Longwood Drive, Westwood, MA 02090 Sponsored in part by The Massachusetts General Hospital Health Services Corp.

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