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Home , Benjamin Luxon, Harvard Glee Club, Heather Harper, Radcliffe Choral Society

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Boston Symphony Orchestra Seiji Ozawa, Music Director Colin Davis, Principal Guest Conductor Joseph Silverstein, Assistant Conductor

Thursday, March 18, 1976, at 8:30 p.m. Friday, March 19, 1976, at 2 p.m. Saturday, March 20, 1976 at 8:30 p.m.

Symphony Hall, Ninety-fifth Season

Baldwin Piano Deutsche Grammophon Records Philips Records Program Program Notes

Seiji Ozawa Ludwig von Beethoven (1770-1827) Symphony in D Minor, No. 9, Opus 125 Beethoven: Symphony No. 9 in D minor Op. 125 Allegro ma non troppo, un poco maestoso I. Allegro ma non troppo, un poco maestoso, D minor, 2/4. Molto vivace; presto Themes which are gradually unfolded from mysterious Adagio molto e cantabile murmurings in the orchestra —no uncommon experience nowadays —all date back to the opening measures of the Allegro assai (soloists and chorus) Ninth Symphony, where Beethoven conceived the idea of building a music of indeterminate open fifths on the domi- Heather Harper, soprano nant, and accumulating a great crescendo of suspense until Evelyn Petros, mezzo - soprano the theme itself is revealed in the pregnant key of D minor, Seth McCoy, tenor proclaimed fortissimo by the whole orchestra in unison. It Benjamin Luxon, might be added that no one since has quite equaled the mighty effect of Beethoven's own precedent—not even The Harvard-Radcliffe Collegium Musicum Wagner, who held this particular page in mystic awe, and The no doubt remembered it when he depicted the elementary The serenity of the Rhine in a very similar manner at the open- ing of the "Ring." The development in this, the longest of F. , director Beethoven's first movements, moves with unflagging power and majesty through many an episode, many a sud- The Thursday and Saturday programs will end at about 9:55 p.m., den illumination from some fragment of his themes. At the the Friday program at about 3:25 p.m. restatement of the main theme the orchestra is flooded with the triumph of the D major long withheld. The long coda, Next Week's Program coming at the point where it would seem that nothing more could be said on a much developed subject, calls forth new Thursday, March 25, 1976, at 8:30 p.m. vistas from the inexhaustible imagination of the tone magi- Friday, March 26, 1976, at 2 p.m. Saturday, March 27, 1976, at 8:30 p.m. cian who needed little more than the common chord upon which to erect his vast schemes. Tovey writes of this move- Colin Davis conducting ment (in "Essays in Musical Analysis") that it "dwarfs every other first movement, long or short, that has been Schubert: Symphony No. 3 in D written before or since," attaining its stature, in his opin- Mozart: Piano Concerto No. 12 in A, K. 414 ion, by a perfect balance in the organization of its parts. (Peter Frankl, piano) And Grove goes further still ("Beethoven and His Nine Haydn: Symphony No. 103 in E flat Symphonies"): "Great as are the beauties of the second and This program will end at about 10:20 p.m. on Thursday and Satur- third movements —and it is impossible to exaggerate day, and at about 3:50 p.m. on Friday. them —and original, vigorous and impressive as are many portions of the finale, it is still the opening Allegro that one thinks of when the Ninth Symphony is mentioned. In Seiji Ozawa and the Boston Symphony Orchestra record exclusively for Deutsche Grammophon. many respects it differs from other first movements of Beethoven; everything seems to combine to make it the For up-to-date program information, please dial C-O-N-C-E-R-T. greatest of them all."

II. Molto vivace, D minor 3/4. For the only time in his sym- phonies, Beethoven in this case put his scherzo second in order and before the slow movement. A scherzo it is in everything but name, with the usual repeats, trio, and da capo (with bridge passages added). There is the dancelike character of earlier scherzos, and an echo of rusticity in the trio, recalling the Sixth and Seventh. Yet all is lifted to the prevailing mood of rarified purity as this movement, like the others, adds a new voice to an old form. This scherzo has been called "a miracle of repetition in monotony," by virtue of the incessant impact of its rhythm (associated with the kettledrums, tuned in octaves) which keeps its constant impact through the most astonishing variety in modulation, color, counterpoint. The movement begins as a five-voice fugue, recalling the fact that Beethoven first conceived the theme as the subject for a fugue—the earliest of his sketches which eventually found its way into the symphony. The trio continues the contrapuntal interest by the combination of two themes. The famous passage for the oboe against wind chords reminded Berlioz of "the effect produced by the fresh morning air, and the first rays of the rising sun in May." III. Adagio motto e cantabile, B flat major, 414. The slow Ja —wer auch nur eine Seele Ay, and who a single other movement is built upon two themes whose structural rela- Sein nennt auf dem Erdenrund! Soul on earth can call his own; tion lies principally in contrast: the first, Adagio in B flat, 4!4 Und wer's nie gekonnt, der stehle But let him who ne'er achieved time, the second, Andante moderato in D major, triple time. Weinend sich aus diesem Bund. it After the almost static Adagio, the second theme attains Steal away in tears alone. flowing motion in its melody, which Beethoven has marked Freude trinken alle Wesen Joy doth every living creature espressivo. This theme recurs in alternation with the other, An den Briisten der Natur; Draw from Nature's ample but unlike the other is hardly varied, except in the instru- Alle Guten, alle Biisen breast; mentation. The Adagio theme undergoes variations of Folgen ihrer Rosenspur.. All the good and all the evil Kiisse gab sie uns und Reben, Follow on her roseate quest. increasingly intricate melodic ornament like those by which Kisses doth she give, and Beethoven also lifted his last sonatas and quartets to such Einen Freund, gepriift im Tod; Wollust ward dem Wurm gegeben, vintage, indescribable beauty. Und der Cherub steht vor Gott. Friends who firm in death have stood; IV. Allegro assai, D major, 414. The finale opens with a Joy of life the worm receiveth, frank discord, followed by a stormy and clamorous presto of And the Angels dwell with seven bars. It is as if the composer, having wrested from his God. first three movements the very utmost drop that was in them, is still restless and unsatisfied. He must still advance The four line chorus (to the unused fourth verse) sum- upon his divine adventure, cast off his tragic or poignant mons in Beethoven's imagination a marching host, and he moods, find some new expression, spacious and radiant. A gives it to proud and striding measures alla marcia, adding few measures of each movement are reviewed, and after piccolo, double bassoon, triangle, cymbals, and bass drum each a recitative in the cellos and basses gives an answer of to his orchestra (again for the first time in a symphony). plain rejection; in the first two cases brusquely, in the case This is the verse, given to the tenor solo and chorus: of the Adagio softened by a tender memory. Beethoven's instruments seem on the very verge of speech. A hint of the Froh, wie seine Sonnen fliegen Glad as burning suns that Durch des Himmels priicht'ten glorious coming choral theme is breathed in gentle accents by the Plan, Through the heavenly spaces woodwinds, to which the recitative, now no longer con- Wandelt, Briider, eure Bahn, sway, fined to the strings, gives a convincing affirmative. There- Freudig, wie ein Held zum Siegen. Haste ye brothers, on your upon the theme in full is unfolded in its rightful D major. It way, is first heard in the utter simplicity of the low strings in uni- Joyous as a knight victorious. son, piano. Gradually harmonies and instruments are added, until the exposition has been completely made, but After the excitement of this variation, Beethoven allows not even yet has the composer left the instrumental field. himself to be alone with his instruments once more, and for Once more there is the noisy presto passage, and the the last time, in a double fugue. The chorus next sings composer introduces words for the first time into a sym- (Andante maestoso) the following short verse of far-flung phony. The baritone has this recitative: import, calling upon three trombones to add to the impres- siveness of the sonority: "0 Freunde, nicht diese Tone, "0 brothers, these sad tones no Seid umschlungen, Millionen! 0 embrace now, all you sondern lasst uns angenehmere longer! Diesen Kuss der ganzen Welt! millions, anstimmen, und freudenvollere." Rather raise we now together Briider —iiberm Sternenzelt With one kiss for all the world. our voices, Muss ein lieber Vater wohnen! Brothers, high beyond all stars And joyful be our song!" Surely dwells a loving Father.

There immediately follow the first three verses of A religious Adagio in a mood of mystic devotion is the Schiller's ode, by the solo quarte t and chorus: setting of the following verse: Ihr stiirzt nieder, Millionen? Kneel before him, all you Freude, schemer Gotterfunken, Joy, thou spark from flame Ahnest du den Schopfer, Welt? millions; Tochter aus Elysium, immortal Such' ihn iiberm Sternenzelt! Know your true Creator, man! Wir betreten feuertrunken, Daughter of Elysium! Lieber Stern en muss er wohnen. Seek him high beyond all stars, Himmlische, dein Heiligthum. Drunk with fire, 0 heav'n born High beyond all stars adore Goddess, Him. We invade thy halidom! Deine Zauber binden wieder, Let thy magic bring together But the key verse of the movement is the first: "Freude, Was die Mode streng getheilt; All whom earth-born laws schemer Gotterfunken," and this, with its chorus: "Seid Alle Menschen werden Briider, divide; umschlungen, Millionen," is resumed by the quartet and Wo dein sanfter Fliigel weilt. All mankind shall be as brothers chorus, and finally exalted to its sweeping climax in the 'Neath thy tender wings and coda, prestissimo. wide. The symphony is scored for two flutes, piccolo, two Wem der grosse Wurf gelungen, He that's had that best good oboes, two clarinets, two bassoons, contra-bassoons, four Eines Freundes Freund zu sein, fortune, horns, two trumpets, three trombones, timpani, bass Wer ein holdes Weib errungen, To his friend a friend to be, drum, triangle, cymbals, and strings. Mische seinen Jubel ein! He that's won a noble woman, —John N. Burk Let him join our Jubilee! Heather Harper, soprano Heather Harper was born in , , and began her musical studies there. While studying piano at 's Trinity College of Music she won a voice scholar- ship that changed the course of her career, and she made her professional debut with the Oxford University Club as Lady . Since then she has sung principal roles with London's Royal Opera in Covent Garden, at Sadler's Wells, and at the Glynebourne and Bayreuth Fes- tivals, and was asked to sing in the premiere of 's War at Coventry Cathedral. Miss Harper first appeared with the Boston Symphony as soloist in Sir Michael Tippett's Third Symphony during the 1973-74 season.

Evelyn Petros, mezzo - soprano Evelyn Petros is a native of Washington, D.C., and a gradu- ate of both American University and Bowling Green State University (Ohio). She won the Audi- tions in 1972, the same year making her debut with that company as Barbarina in Le Nozze di Figaro and appearing as soloist in Mahler's Eighth Symphony in San Francisco Symphony concerts conducted by Seiji Ozawa. She has sung with the Houston Grand Opera, the San Francisco Pops (conducted by Arthur Fiedler), the Western Opera Theatre, and at New York State's Caramoor Festival. These performances mark her Boston Symphony debut.

Seth McCoy, tenor Born in Greensboro, North Carolina, Seth McCoy began his professional career as a soloist with the Robert Shaw Chorale. In the years since, he has performed with most major American orchestras—among them the Philadelphia Orchestra, the San Francisco Symphony, the Pittsburgh Symphony, the Cleveland Orchestra—and he was chosen to appear during the inaugural week of the Kennedy Center in Washington. He has given recitals in many parts of this country; in addition, he is a permanent member of the Bach Aria Group. Although this is his debut with the Boston Symphony in Symphony Hall, he has for several seasons appeared at the orchestra's concerts at Tangle- wood — most recently in last summer's performance of Verdi's Requiem.

Benjamin Luxon, baritone Benjamin Luxon was born in Cornwall, , and com- pleted his studies at the Guildhall School of Music, where he won the school's Gold Medal. During his early career he was closely associated with the ; he sang the title role in the BBC-TV premiere of Benjamin Brit- ten's opera (seen here on public television), and in 1972 made his Glynebourne debut as Ulysses in Monteverdi's 11 Ritorno di Ulisse. He has since appeared at Covent Garden in works by , Britten, Puccini and Tchaikovsky, and, with an album of Wolf lieder already to his credit, he is about to begin recording all the Schubert song cycles. This is his first appearance with the Boston Symphony. The Harvard-Radcliffe Collegium Musicum The Harvard Glee Club The Radcliffe Choral Society F. John Adams, director The Harvard-Radcliffe Collegium Musicum, the Harvard Glee Club, and the Radcliffe Choral Society are three of the four concert of . They are, respec- tively, a select mixed chorus, a male chorus, and a woman's chorus (the fourth, the Harvard-Radcliffe Chorus, is a large symphonic ). The Collegium Musicum was formed in 1971 by F. John Adams, who was at the time a doctoral can- didate in music at Harvard; with the Glee Club it has since represented Harvard at concerts across the United States. The Glee Club, the oldest male chorus in the country, has in addition toured Europe and, with the Choral Society (founded in 1889), Eastern Asia. Together and separately, these choruses have appeared at Boston Symphony concerts throughout the past half-century, most recently during the 1974-75 season in works of Mozart, Bernstein, Stravinsky and William Schuman.

Seiji Ozawa, Music Director Seiji Ozawa became Music Director of the Boston Sym- phony Orchestra in the fall of 1973 and is the thirteenth conductor to head the Orchestra since its founding in 1881. He was born in Hoten, Manchuria, in 1935, and gradu- ated from the Toho School of Music in Tokyo with first prizes in composition and conducting. When he won first prize at the International Competition of Conducting at Besancon, , shortly after his graduation, one of the judges of the competition was the late Charles Munch, then Music Director of the Boston Symphony, who invited him to study at Tanglewood during the following summer. Mr. O'zawa's association with the Orchestra began during that session of the Berkshire Music Center as a student of con- ducting in 1960. He was a guest conductor with the Orches- tra first in 1964, and in 1970 became Artistic Director of the Berkshire Festival at Tanglewood. Beginning with the summer of 1964, Ozawa was for five seasons Music Director of the Ravinia Festival, and at the beginning of the 1965-66 season he became Music Director of the Toronto Symphony, a post he relinquished after four seasons in order to devote his time to study and guest conducting. Mr. Ozawa will resign his position as Music Director of the San Francisco Symphony, which he assumed in 1970, at the close of the 1975-76 season and will be Music Director only in Boston. He owns a home in the Boston area, where he lives with his wife, Vera, and two children, Seira and Yukiyoshi. BOSTON SYMPHONY ORCHESTRA SEIJ1 OZAWA

First violins Cellos Contra bassoon Joseph Silverstein Jules Eskin Richard Plaster Concertmaster Philip R. Allen chair Charles Munch chair Martin Hoherman Horns Emanuel Borok Mischa Nieland Charles Kavaloski Assistant Concertmaster Jerome Patterson Helen Sagoff Slosberg chair Helen Horner Mdntyre Chair Robert Ripley Charles Yancich Max Hobart Luis Leguia Rolland Tapley Carol Procter Roger Shermont Ronald Feldman David Ohanian Max Winder Joel Moerschel Richard Mackey Harry Dickson Jonathan Miller Ralph Pottle Gottfried Wilfinger Martha Babcock Fredy Ostrovsky Trumpets Leo Panasevich Armando Ghitalla Sheldon Rotenberg Basses Andre Come Alfred Schneider William Rhein Rolf Smedvig Stanley Benson Harold D. Hodgkinson chair Joseph Hearne Gerard Goguen Gerald Gelbloom Bela Wurtzler Raymond Sird Leslie Martin Ikuko Mizuno Trombones John Salkowski Cecylia Arzewski Ronald Barron John Barwicki Amnon Levy William Gibson Robert Olson Norman Bolter Lawrence Wolfe Gordon Hallberg Second violins Henry Portnoi Victor Yampolsky Fahnestock chair Flutes Tuba Personnel Managers Marylou Speaker Doriot Anthony Dwyer Chester Schmitz William Moyer Michel Sasson chair Harry Shapiro Ronald Knudsen James Pappoutsakis Timpani Leonard Moss Paul Fried Bo Youp Hwang Everett Firth Librarians Sylvia Shippen Wells chair Victor Alpert Laszlo Nagy William Shisler Michael Vitale Piccolo Darlene Gray Lois Schaefer Percussion Ronald Wilkison Charles Smith Stage Manager Harvey Seigel Oboes Arthur Press Alfred Robison Jerome Rosen Ralph Gomberg Assistant timpanist Sheila Fiekowsky Mildred B. Remis chair Thomas Gauger Gerald Elias John Holmes Frank Epstein Vyacheslav Uritsky Wayne Rapier Program Editor Mary H. Smith Harps Violas English Horn Bernard Zighera Burton Fine Laurence Thorstenberg Ann Hobson Charles S. Dana chair Reuben Green Eugene Lehner Clarinets George Humphrey Harold Wright Jerome Lipson Ann S.M. Banks chair Robert Karol Pasquale Cardillo Bernard Kadinoff Peter Hadcock Vincent Mauricci E-flat clarinet Earl Hedberg Joseph Pietropaolo Bass Clarinet Boston Symphony Orchestra, Robert Barnes Felix Viscuglia Michael Zaretsky Symphony Hall, Boston, Massachusetts 02115. (617) 266-1492. Bassoons Thomas D. Perry, Jr., Executive Director Sherman Walt Edward A. Taft chair Thomas W. Morris, Manager Roland Small Matthew Ruggiero Cotting School for Handicapped Children formerly Industrial School for Crippled Children 241 St. Botolph Street, Boston, Mass., 02115 Telephone 536-9632

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