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Home , Ernest Blanc, Eyemouth, Frederick Moyer, John Aler, Katherine Ciesinski, Kristine Ciesinski

Savor the sense of Remy

Imported by Remy Martin Amerique, Inc., N.Y Sole U.S.A. Distributor, Premiere Wine Merchants Inc., N.Y 80 Proof. REMY MARTIN 1 YS.QP COGNAC. SINCE , Music Director

Sir , Principal Guest Conductor

Joseph Silverstein, Assistant Conductor

One Hundred and Third Season, 1983-84

Trustees of the Boston Symphony Orchestra, Inc.

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

Vernon R. Alden Archie C. Epps III Thomas D. Perry, Jr.

David B. Arnold, Jr. Mrs. John H. Fitzpatrick William J. Poorvu J.R Barger Mrs. John L. Grandin Irving W. Rabb Mrs. John M. Bradley E. James Morton Mrs. George R. Rowland Mrs. Norman L. Cahners David G. Mugar Mrs. George Lee Sargent

George H.A. Clowes, Jr. Albert L. Nickerson William A. Selke Mrs. Lewis S. Dabney John Hoyt Stookey

Trustees Emeriti

Abram T. Collier, Chairman ofthe Board Emeritus

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

Richard P. Chapman Edward G. Murray John L. Thorndike John T Noonan

Administration of the Boston Symphony Orchestra, Inc.

Thomas W. Morris - General Manager

William Bernell - Artistic Administrator

Daniel R. Gustin - Assistant Manager

B.J. Krintzman - Director ofPlanning

Anne H. Parsons - Orchestra Manager

Caroline Smedvig - Director ofPromotion

Josiah Stevenson - Director ofDevelopment

Theodore A. Vlahos - Director ofBusiness Affairs

Arlene Germain - Financial Analyst Richard Ortner - Administrator of

Charles Gilroy - ChiefAccountant Berkshire Music Center

Vera Gold - Promotion Coordinator Charles Rawson - Manager ofBox Office Patricia Halligan - Personnel Administrator Eric Sanders - Director ofCorporate Development

Nancy A. Kay - Director ofSales Joyce M. Serwitz - Assistant Director ofDevelopment

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

Foundation Support James E. Whitaker - Hall Manager, Symphony Hall

Nancy Knutsen - Production Assistant Katherine Whitty - Coordinator ofBoston Council Anita R. Kurland - Administrator of Youth Activities

Steven Ledbetter Marc Mandel Jean Miller MacKenzie Director ofPublications Editorial Coordinator Print Production Coordinator

Programs copyright ©1983 Boston Symphony Orchestra, Inc. Cn^pr nhntn br Walter H. Scott Board of Overseers of the Boston Symphony Orchestra, Inc.

William J. Poorvu Chairman

William M. Crozier, Jr. Harvey C. Krentzman Vice-Chairman Vice-Chairman

Mrs. Gordon F. Kingsley Secretary

John Q. Adams Avram J. Goldberg Mrs. Thomas Spurr Morse Mrs. Weston W Adams Mrs. Ray A. Goldberg Mrs. Robert B. Newman Martin Allen Haskell R. Gordon Mrs. Hiroshi Nishino

Hazen H. Ayer Mrs. R. Douglas Hall III Vincent M. O'Reilly Bruce A. Beal Mrs. Richard E. Hartwell Stephen Paine, Sn

Mrs. Richard Bennink Francis W. Hatch, Jr. John A. Perkins

Mrs. Edward J. Bertozzi, Jr. Mrs. Richard D. Hill David R. Pokross Peter A. Brooke Ms. Susan M. Hilles Mrs. Curtis Prout William M. Bulger Mrs. Marilyn Brachman Hoffman Ms. Eleanor Radin Mary Louise Cabot Mrs. Bela T. Kalman Peter C. Read

Julian Cohen Mrs. S. Charles Kasdon Mrs. Peter van S. Rice

Mrs. Nat King Cole Richard L. Kaye David Rockefeller, Jr.

Arthur P. Contas Mrs. F. Corning Kenly, Jr. Mrs. Jerome Rosenfeld Mrs. A. Werk Cook John Kittredge Mrs. William C. Rousseau

Phyllis Curtin Mrs. Carl Koch Mark L. Selkowitz

Victoria L. Danberg Robert K. Kraft Malcolm L. Sherman

A.V. d'Arbeloff Mrs. E. Anthony Kutten Donald B. Sinclair

D.V. d'Arbeloff John P. LaWare Richard A. Smith

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

William S. Edgerly Laurence Lesser Peter J. Sprague

Mrs. Alexander Ellis, Jr. Mrs. Charles P. Lyman Ray Stata

Frank L. Farwell Mrs. Harry L. Marks Mrs. Arthur I. Strang John A. Fibiger C. Charles Marran Mrs. Richard H. Thompson

Kenneth G. Fisher Mrs. August R. Meyer Mark Tishler, Jr.

Gerhard M. Freche J. William Middendorf II Ms. Luise Vosgerchian Peter H.B. Frelinghuysen Paul M. Montrone Roger D. Wellington

Mrs. Thomas J. Galligan, Jr. Mrs. Hanae Mori Mrs. Donald B. Wilson

Mrs. Thomas Gardiner Mrs. Stephen V.C. Morris John J. Wilson

Mrs. James G. Garivaltis Richard P. Morse Nicholas T. Zervas

Overseers Emeriti Mrs. Frank G. Allen Paul Fromm David W Bernstein Carlton P. Fuller Leonard Kaplan

*; Giving IS AN ART IN ITSELF

When you make financial contributions to the arts or to any other non-profit organi- zation, Bank of New England can bring important benefits to your philanthropy.

Bank of New England is an expert at financial planning for people who make substantial gifts to charity. We will show you how you can make con- tributions, save on taxes, and at the same time, continue to provide yourself with income from those gifts. There's an art to making the most of your contri- butions, for yourself as well as for your favorite charity. So when you want expert financial guid- ance in making charitable gifts, look to the light.

Investment Services

i BANK OF NEW ENGLAND 28 State Street, Boston, MA 02109, (617) 973-1872

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

FRIDAY, JULY 27 12:30 p.m. Leave Boston 1:00 p.m. Leave Riverside; stay at Red Lion Inn, Stockbridge 5:00 p.m. Cocktails and dinner at Tanglewood 7:00 p.m. Prelude 9:00 p.m. Concert (best seat locations)

SATURDAY, JULY 28 Free for breakfast 9:30 a.m. Leave Red Lion Inn for 10:00 a.m. Open Rehearsal followed by picnic lunch at Seranak

6:00 p.m. Cocktails and dinner at private home in Berkshires 8:30 p.m. Concert (best seat locations)

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

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

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

N a me

Address

Zip

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

Reservations accepted in order received. BSO

BSO/WCRB Musical Marathon '84: Over the Top!

The fourteenth annual BSO/WCRB Musical Marathon achieved a total of $332,907 for the sixty-hour fundraising event, surpassing its goal of $325,000 at 11:45 p.m. on Sunday night, 1 April, to the sound of a trumpet fanfare. "We are thrilled with the exciting results of this year's Musical Marathon," commented Marathon Chairman Mrs. Michael Davis. "Our heartfelt thanks go to everyone who pledged and to the many donors and hundreds of volunteers who paved the way for the Marathon's fantastic success. And, of course, we're deeply grateful to WCRB-FM and WCVB-TV, without whom there would be no

Musical Marathon at all."

The Marathon is the most important public fundraising activity benefiting the Boston

Symphony and the Boston Pops. Since its inception in 1970, the BSO/WCRB Musical

Marathon has raised more than $2 million. WCRB-102.5-FM, hosted by its Vice-President Richard L. Kaye, once again contributed non-stop radio coverage beginning 9 a.m. Friday, 30 March and continuing through Sunday evening until midnight. WCVB-TV- Channel 5 carried a 2 1/i>-hour telecast live from Symphony Hall on Sunday from 5:30 to 8:00 p.m., featuring the Boston Symphony under Sir Colin Davis, the Boston Pops under John Williams, and numerous guest celebrities.

Among the many thousand pledges, the highest contributor was the Concord Area Council of the Boston Symphony Orchestra, which purchased an evening with the Empire Brass Quintet for $5,000. Sue S. Watson of Lexington gave her husband the opportunity to conduct the Boston Pops in "The Stars and Stripes Forever," a $3,000 premium. In congratulating Mrs. Davis and the more than 400 volunteers who worked on the BSO/WCRB Musical Marathon, BSO General Manager Thomas W Morris called the three-day event a triumph of "generosity, imagination, talent, and tireless effort."

1984-85 BSO Subscription Information

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

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

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

Chung, Charles Dutoit, Raymond Leppard, and David Zinman will share the podium with Mr. Ozawa. Maurizio Pollini will be conductor and soloist for an all-Mozart program. Other soloists include Murray Perahia, Ivo Pogorelich, and ; violinist Anne-Sophie Mutter; soprano ; and Hakan Hagegard. For a brochure, please write "1984-85 Season," Symphony Hall, Boston, MA 02115 or call (617) 266-1492. —

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WGBH Intermission Features on the Air

WGBH radio personality Ron Delia Chiesa conducts interviews with Boston Symphony staff and orchestra members throughout the 1983-84 season. These interviews are aired as intermission features during the Friday-afternoon and Saturday-night BSO concerts broadcast live by WGBH-FM-89.7. Coming up: BSO Assistant Manager Daniel Gustin on 20 and 21 April.

Symphony Sweets Satisfy Chocolate Cravings on Mother's Day!

The Junior Council of the Boston Symphony Orchestra has observed that most mothers and fathers, for that matter! —are anonymous chocoholics. This Mother's Day, 13 May,

GIVE IN ! Treat your mother, or yourself, to the Symphony Sweets: the Mint, the Bark, and the recently premiered Symphony Hall Tin, filled with 36 Symphony Mints.

The Symphony Bark is a miniature bar of dark, rich, chocolate stuffed with whole

toasted almonds. The Symphony Mint is an exclusive formulation of dark sweet chocolate laced with creme de menthe. Both are embossed with the BSO colophon and are

individually wrapped in gold foil. These products are made expressly for the BSO by Harbor Sweets of Marblehead.

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

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

All of these items are available at the Junior Council counter in the Avenue corridor of Symphony Hall near the elevator. They are also available by mail order (forms can be found at the counter), or you may order directly from Harbor Sweets

of Marblehead by calling (617) 745-7648 and charging it to your MasterCard or Visa.

BSO Members in Concert

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

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

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

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

Ronald Knudsen leads the final concert of this year's Brockton Symphony Orchestra season on Sunday evening, 29 April at 7:30 p.m. at the Brockton High School audi-

torium. Violinist Peter Zazofsky will perform the Mendelssohn Violin Concerto and join violinist-conductor Knudsen for the Bach Concerto in D minor for two violins. Also on the

program is music of Faure and Liszt. Single tickets are $7, available at the door. For further information, please call 583-6786.

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

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

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

"The Orchestra Book" Answers Your Questions

What BSO member is a former NASA research chemist? What members played under ? Who joined his father as an orchestra member this season? "The Orchestra Book," newly published by the Council of the Boston Symphony Orchestra, has the answers to these questions, as well as hundreds of interesting facts about all 101 members of the orchestra and a photograph of each. A convenient stage- seating diagram with the names of the players and their chair positions is also included.

"The Orchestra Book" is available for purchase during concerts at the Junior Council

Mint Counter, at the Subscription Office, or at the Friends' Office, all located in the Massachusetts Avenue corridor of Symphony Hall. To order by mail, please send $6 per book, plus $2 postage and handling (for one or two books; $3 for three or more books) to The Council Office, Boston Symphony Orchestra, Symphony Hall, Boston, MA 02115. Make your check payable to "Boston Symphony Orchestra," and act now to receive your copy of this attractive, 7 2 -page limited edition while the supply lasts!

"A Company Christmas at Pops": An Exciting New Program

Give your company an early Christmas present by treating your management, employees, customers, vendors, and friends to a special evening at Pops featuring a unique holiday program on Monday, 17 December 1984. This program will be available to only 130 businesses and professional organizations at $2,000 per company and will include a total of sixteen table and balcony seats complete with holiday drinks and a gourmet picnic supper. A special program book will also be produced for this event.

For information on "A Company Christmas at Pops," please call James F. Cleary, Managing Director, Blyth Eastman Paine Webber Inc. at 423-8331; Chet Krentzman, President, Advanced Management Associates, 332-3141; Malcolm Sherman, President, Zayre Stores, 620-5000; or Eric Sanders, BSO Director of Corporate Development, 266-1492.

With Thanks

We wish to give special thanks to the National Endowment for the Arts and the Massachusetts Council on the Arts and Humanities for their continued support of the Boston Symphony Orchestra.

7 Seiji Ozawa

The 1983-84 season is Seiji Ozawa's eleventh season. His first professional concert as music director of the Boston Symphony appearance in North America came in Janu-

Orchestra. In the fall of 1973 he became the ary 1962 with the orchestra's thirteenth music director since it Orchestra. He was music director of the was founded in 1881. Chicago Symphony's for five summers beginning in 1964, and music Born in 1935 in , China, to director for four seasons of the Toronto Sym- Japanese parents, Mr. Ozawa studied both phony Orchestra, a post he relinquished at the Western and Oriental music as a child and end of the 1968-69 season. later graduated from Tokyo's Toho School of

Music with first prizes in composition and con- Seiji Ozawa first conducted the Boston Sym- ducting. In the fall of 1959 he won first prize phony in Symphony Hall in January 1968; he at the International Competition of Orchestra had previously appeared with the orchestra for Conductors, Besancon, France. Charles four summers at Tanglewood, where he

Munch, then music director of the Boston became an artistic director in 1970. In Symphony and a judge at the competition, December 1970 he began his inaugural season invited him to Tanglewood for the summer as conductor and music director of the San following, and he there won the Berkshire Francisco Symphony Orchestra. The music Music Center's highest honor, the directorship of the Boston Symphony followed Koussevitzky Prize for outstanding student in 1973, and Mr. Ozawa resigned his San conductor. Francisco position in the spring of 1976, serv- ing as music advisor there for the 1976-77 While working with in season. West Berlin, Mr. Ozawa came to the attention of , whom he accompanied As music director of the Boston Symphony on the 's spring 1961 Orchestra, Mr. Ozawa has strengthened the Japan tour, and he was made an assistant orchestra's reputation internationally as well conductor of that orchestra for the 1961-62 as at home, leading concerts on the BSO's 1976 European tour and, in March 1978, on a Symphony" television series. His award-win- nine-city tour of Japan. At the invitation of the ning recordings include Berlioz's Romeo et Chinese government, Mr. Ozawa then spent a Juliette, Schoenberg's Gurrelieder, and the week working with the Peking Central Philhar- Berg and Stravinsky violin concertos with monic Orchestra; a year later, in March 1979, Itzhak Perlman. Other recordings with the he returned to China with the entire Boston orchestra include, for Philips, Richard Symphony for a significant musical and Strauss's Also sprach Zarathustra and Ein cultural exchange entailing coaching, study, Heldenleben, Stravinsky's Le Sacre du and discussion sessions with Chinese musi- printemps, Hoist's The Planets, and Mahler's cians, as well as concert performances. Also in Symphony No. 8, the Symphony ofa Thou-

1979, Mr. Ozawa led the orchestra on its first sand; for CBS, a Ravel collaboration with tour devoted exclusively to appearances at the mezzo-soprano and the major music festivals of Europe. Most Mendelssohn Violin Concerto with Isaac Stern; recently, Seiji Ozawa and the Boston Sym- and, for Telarc, Vivaldi's Four Seasons with phony celebrated the orchestra's one-hun- violin soloist Joseph Silverstein, and music of dredth birthday with a fourteen-city American Beethoven—the Fifth Symphony, the Egmont tour in March 1981 and an international tour Overture, and, with soloist Rudolf Serkin, the to Japan, France, Germany, Austria, and Eng- Third, Fourth, and Fifth piano concertos and land in October/ November that same year. the Choral Fantasy. Mr. Ozawa has recorded Mr. Ozawa pursues an active international Roger Sessions's Pulitzer Prize-winning Con- career. He appears regularly with the Berlin certo for Orchestra and 's Philharmonic, the , the Sinfonia Votiva, both works commissioned by

French National Radio Orchestra, the Vienna the Boston Symphony Orchestra for its cen- Philharmonic, the Philharmonia of , tennial, for Hyperion records. He and the and the New Japan Philharmonic, and his orchestra have also recorded Stravinsky's operatic credits include Salzburg, London's Firebird and, with soloist Itzhak Perlman, the Covent Garden, in Milan, and the violin concertos of Earl Kim and Paris , where he conducted the world for Angel/ EMI. Mr. Ozawa holds honorary premiere of 's opera St. Fran- Doctor of Music degrees from the University cis ofAssisi in November 1983. Mr. Ozawa of Massachusetts and the New England Con- has won an Emmy for the BSO's "Evening at servatory of Music. References furnished request

Aspen Music School and Festival Dickran Atamian Ruth Laredo Burt Bacharach Liberace David Bar-Illan Panayis Lyras Berkshire Music Center Marian McPartland and Festival at Tanglewood Zubin Mehta Leonard Bernstein Eugene Ormandy Jorge Bolet Seiji Ozawa Boston Symphony Orchestra Andre Previn Brevard Music Center Ravinia Festival Dave Brubeck Santiago Rodriguez Chicago Symphony Orchestra George Shearing Cincinnati May Festival Abbey Simon Cincinnati Symphony Orchestra Georg Solti Beveridge Webster Denver Symphony Orchestra Earl Wild Ferrante and Teicher John Williams Interlochen Arts Academy and Wolf Trap Foundation for the National Music Camp Performing Arts Byron Janis Yehudi Wyner Over 200 others Baldwin Violas Pasquale Cardillo Burton Fine Peter Hadcock Charles S. Dana chair E-flat Clarinet Patricia McCarty Bass Clarinet Mrs. David Stoneman chair Craig Nordstrom Ronald Wilkison Robert Barnes Bassoons Jerome Lipson Sherman Walt Bernard Kadinoff Edward A. Taft chair Joseph Pietropaolo Roland Small Michael Zaretsky Matthew Ruggiero Music Directorship endowed by Marc Jeanneret John Moors Cabot Contrabassoon Betty Benthin Richard Plaster JBOSTON SYMPHONY * Lila Brown * Mark Ludwig Horns ORCHESTRA Charles Kavalovski 1983/84 Cellos Helen SagoffSlosberg chair Richard Sebring First Violins Philip R. Allen chair Daniel Katzen Joseph Silverstein Martha Babcock Jay Wadenpfuhl Concertmaster v Vernon and Marion Alden chair Charles Munch chair Richard Mackey Mischa Nieland Emanuel Borok Esther S. and Joseph M. Shapiro chair Trumpets Assistant Concertmaster Charles Schlueter Helen Horner Mclntyre chair Jerome Patterson Roger Louis Voisin chair Max Hobart * Robert Ripley Andre Come Robert L. Beal, and Luis Leguia Charles Daval Enid and Bruce A. Beal chair Carol Procter Timothy Morrison Ronald Feldman Edward and Bertha C. Rose chair * Joel Moerschel Trombones Bo Youp Hwang * Jonathan Miller John and Dorothy Wilson chair Ronald Barron P. and Mary B. Barger chair Max Winder * Sato Knudsen J. Norman Bolter Harry Dickson Basses Gordon Hallberg Forrest Foster Collier chair Edwin Barker Gottfried Wilfinger Tuba Harold D. Hodgkinson chair Fredy Ostrovsky Chester Schmitz Lawrence Wolfe Margaret and William C. Leo Panasevich Maria Stata chair Rousseau chair Carolyn and George Rowland chair Joseph Hearne Sheldon Rotenberg Bela Wurtzler Timpani Alfred Schneider Leslie Martin Everett Firth Sylvia Shippen Wells chair Raymond Sird John Salkowski Ikuko Mizuno John Barwicki Percussion Amnon Levy * Robert Olson Charles Smith * Second Violins James Orleans Arthur Press Marylou Speaker Churchill Assistant Timpanist Fahnestock chair Flutes Thomas Gauger Vyacheslav Uritsky Frank Epstein Charlotte and Irving W. Rabb chair Walter Piston chair Ronald Knudsen Fenwick Smith Harp Myra and Robert Joseph McGauley Kraft chair Ann Hobson Pilot Willona Henderson Sinclair chair Leonard Moss Laszlo Nagy Piccolo * Michael Vitale Personnel Managers Lois Schaefer * William Moyer Harvey Seigel Evelyn and C. Charles Marran chair * Jerome Rosen Harry Shapiro * Sheila Fiekowsky Oboes Librarians * Gerald Elias Ralph Gomberg Victor Alpert * Ronan Lefkowitz Mildred B. Remis chair William * Nancy Bracken Wayne Rapier Shisler Alfred James Harper * Joel Smirnoff Genovese * Jennie Shames English Horn Stage Manager * Nisanne Lowe Laurence Thorstenberg Position endowed by * Aza Raykhtsaum Angelica Phyllis Knight Beranek chair Lloyd Clagett * Nancy Mathis DiNovo Alfred Robison Clarinets * Participating in a system ofrotated Harold Wright Stage Coordinator seating within each string section. Ann S.M. Banks chair Cleveland Morrison A Brief History of the Boston Symphony Orchestra

For many years, philanthropist, Civil War 1915, the orchestra made its first transconti- veteran, and amateur musician Henry Lee nental trip, playing thirteen concerts at the Higginson dreamed of founding a great and Panama-Pacific Exposition in San Francisco. permanent orchestra in his home town of Recording, begun with RCA in the pioneering Boston. His vision approached reality in the days of 1917, continued with increasing fre- spring of 1881, and on 22 October that year quency, as did radio broadcasts of concerts. the Boston Symphony Orchestra's inaugural The character of the Boston Symphony was concert took place under the direction of con- greatly changed in 1918, when ductor Georg Henschel. For nearly twenty was engaged as conductor; he was succeeded years, symphony concerts were held in the old the following season by . These Boston Music Hall; Symphony Hall, the appointments marked the beginning of a orchestra's present home, and one of the French-oriented tradition which would be world's most highly regarded concert halls, maintained, even during the Russian-born was opened in 1900. Henschel was succeeded Serge Koussevitzky's time, with the employ- by a series of German-born and -trained con- ment of many French-trained musicians. ductors , , — The Koussevitzky era began in 1924. His , and Fiedler culminating in Max — extraordinary musicianship and electric per- the appointment of the legendary , sonality proved so enduring that he served an who served two tenures as music director, unprecedented term of twenty-five years. In j 1906-08 and 1912-18. Meanwhile, in July 1936, Koussevitzky led the orchestra's first 1885, the musicians of the Boston Symphony concerts in the Berkshires, and a year later he had given their first "Promenade" concert, and the players took up annual summer resi- offering both music and refreshments, and dence at Tanglewood. Koussevitzky passion- fulfilling Major Higginson's wish to give ately shared Major Higginson's dream of "a of a lighter kind of music." These "concerts good honest school for musicians," and in concerts, soon to be given in the springtime 1940 that dream was realized with the found- and renamed first "Popular" and then ing at Tanglewood of the Berkshire Music "Pops," fast became a tradition. Center, a unique summer music academy for

During the orchestra's first decades, there young artists. Expansion continued in other were striking moves toward expansion. In areas as well. In 1929 the free Esplanade concerts on the Charles River in Boston were inaugurated by Arthur Fiedler, who had been a member of the orchestra since 1915 and who in 1930 became the eighteenth conductor of the Boston Pops, a post he would hold for half a century, to be succeeded by John Williams

in 1980.

Charles Munch followed Koussevitzky as music director in 1949. Munch continued Koussevitzky's practice of supporting contem- porary composers and introduced much music from the French repertory to this country. During his tenure, the orchestra toured abroad

for the first time, and its continuing series of Youth Concerts was initiated. Henry Lee Higginson began his seven-year term as music director inj

12 —

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

Berkshire Festival since 1970, became the to more than $16 million. Its preeminent posi- orchestra's thirteenth music director in the fall tion in the world of music is due not only to the of 1973, following a year as music advisor. support of its audiences but also to grants from Now in his eleventh year as music director, the federal and state governments, and to the Mr. Ozawa has continued to solidify the generosity of many foundations, businesses, orchestra's reputation at home and abroad, and individuals. It is an ensemble that has and his program of centennial commissions richly fulfilled Higginson's vision of a great from Sandor Balassa, Leonard Bernstein, John and permanent orchestra in Boston.

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

13 COME TO YOUR NEW ENGLAND LINCOLN-MERCURY DEALERS, FAREWELL AND THANKS

Three members of the Boston Symphony Orchestra will be leaving at the end of the 1984

Tanglewood season. Clarinetist Pasquale Cardillo, who is also principal clarinet of the

Boston Pops, has been a valued member of the orchestra since 1939 and is retiring after forty-five years of service. Also retiring is Victor Alpert, a librarian with the orchestra since 1953 and principal librarian since 1957, a familiar figure often seen placing the conductor's score and musicians' parts onstage before concerts and removing them after the performance. Violinist Joseph Silverstein, who joined the orchestra in 1955, became concertmaster in 1962, and was named assistant conductor in 1971, leaves the orchestra this year to take up full-time duty as music director of the Utah Symphony Orchestra. To each of them we extend our warmest gratitude and best wishes.

Pasquale Cardillo Victor Alpert

Joseph Silverstein

15 A Tribute to Joseph Silverstein

In a recent article in , Andre Previn said of Joseph Silverstein: "He is the world's greatest concertmaster. That's not an opinion, that's a fact." From the day he joined the violin section of the Boston Symphony Orchestra twenty-nine years ago, and

since his appointment as concertmaster, Joe Silverstein has indeed been an instructor, a leader, and a musician of world renown. He has also served the orchestra as assistant conductor; as the guiding spirit and a founding member of the Boston Symphony Chamber Players; as the indefatigable chairman of the faculty at the Berkshire Music Center. And

beyond his artistry with the BSO, Joe has enriched the life of Boston's musical community through his teaching, and through his frequent appearances as soloist and conductor with

numerous other organizations. He is the BSO's man for all seasons.

Thomas W. Morris General Manager

In rehearsal with Erich Leinsdorfat Tanglewood

With the Boston Symphony Chamber Players in 1983

16 During the BSO's trip to China, March 1979

At the Queen Elisabeth Competition in 1959 As Assistant Conductor with the Bvston Symphony Orchestra

Teaching at Tanglewood's Berkshire Music Center, 1983

17 BOSTON SYMPHONY ORCHESTRA

Seiji Ozawa, Music Director

Sir Colin Davis, Principal Guest Conductor

Joseph Silverstein, Assistant Conductor

One Hundred and Third Season, 1983-84

Thursday, 19 April at 8 Friday, 20 April at 2 Saturday, 21 April at 8

SEIJI OZAWA

BERLIOZ UEnfance du Christ, Sacred trilogy, Opus 25 (Words by Hector Berlioz)

First Part: Herod's Dream

Recitative

Scene I: Nocturnal March

Scene II: Herod's Aria

Scene III: Polydorus and Herod Scene IV: Herod and the Soothsayers Scene V: The Stable at Bethlehem: The Virgin Mary and Joseph Scene VI: The Unseen Angels, Mary, and Joseph

Second Part: The Flight Into Egypt Overture The Shepherds' Farewell to the Holy Family The Repose of the Holy Family

INTERMISSION

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

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

18 Third Part: The Arrival at Sais

Recitative

Scene I: Within the Town of Sais

Scene II: Inside the Ishmaelites' House

Scene III: Epilogue

Narrator JOHN ALER Mary Joseph hAkan HAGEGARD Herod THOMAS STEWART The Head of a Family THOMAS STEWART Polydorus S. MARK ALIAPOULIOS Centurion JOHN ALER NEW ENGLAND CONSERVATORY CHORUS, LORNA COOKE deVARON, conductor

Solo flutes: DORIOT ANTHONY DWYER, FENWICK SMITH Harp: ANN HOBSON PILOT

The soloists for this program have been funded by income from the Ethan Ayer Fund.

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20 Hector Berlioz

VEnfance du Christ, Sacred trilogy, Opus 25

Louis-Hector Berlioz was born at La Cote-St. -Andre, here, France, on 11 December 1803 and died in Paris on 8 March 1869. The history of L'En- fance du Christ (variously translated as The Childhood of Christ or The Infant

Christ) is a complicated one, detailed below. Berlioz began by composing

what is now the middle of the work, the chorus headed "The Shepherds' Farewell to the Holy Family/' in Octo- ber 1850. By 1852 he had expanded that into a briefcantata published as La Fuite en Egypte (The Flight Into Egypt), which was performed in Leipzig on 30 November 1853. He had com- posed Part HI by January 1854, and completed Part I on 26 July 1854. Berlioz himselfconducted the first performance of the full trilogy at Salle Herz in Paris on 10 December 1854. The text is by the composer himself. He dedicated Part I to his nieces Josephine and Nanci Suat, Part II to "Mr. Ella, Director of the Musical Union in London," and Part HI to the " Singakademie and the Sangerverein Paulus in the University of Leipzig. "The Flight Into Egypt was first performed in the by the Cecilia Society of Cincinnati under the direction ofHenry G. Andres on 4 December 1865. That portion was also heard in Boston at a concert of the Handel and Haydn Society directed by Carl Zerrahn on 9 February 1879. The full trilogy was not heard in this country until Walter Damrosch led a performance by the Harlem Mendelssohn Union in Chickering

Hall, New York, on 18 December 1882. The first Boston Symphony Orchestra performance ofany of this music consisted only of the solo "The Repose of the Holy Family"from The Flight Into Egypt, sung by Roland Hayes with a chorus often women's voices, conducted by Pierre Monteux in Cambridge on 15 November 1923 and in Symphony Hall on the two following days. Hayes sang the number again in 1925 and 1931 with Serge Koussevitzky conducting. All performances of the complete trilogy prior to the present ones were conducted by Charles Munch, who introduced the work to Boston Symphony audiences on 18 and 19 December 1953 with soloists Jennie Tourel (Mary), (Joseph), Lee Cass (Herod and the Head ofa

Family), and John McCollum (Narrator) ; the New England Conservatory Chorus, directed by Lorna Cooke deVaron, also took part. In December 1956 the same conductor and chorus performed the work with Florence Koplejf, Gerard Souzay, Giorgio Tozzi, and Cesare Valletti; the following summer the same performers (except with Donald Gramm replacing Tozzi) sang the piece at Tanglewood. The most recent performances, in December 1966, featured Koplejf, Theodore Uppman, Gramm, and McCollum with the and , Elliot Forbes, conductor. The score calls for seven solo singers (though parts are usually doubled by four performers), mixed chorus, and an orchestra consisting oftwo flutes and piccolo,

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UEnfance du Christ * had a most unlikely beginning— at a dull social evening, when Berlioz was bored by the fact that everyone else present wanted to play cards. To pass the time he began to sketch out a little Andantino for organ. An old friend, Pierre Due, asked the composer to turn it into a parlor piece for his album. But Berlioz was struck by "a certain character of primitive, pastoral mysticism" in the music he had jotted down, so he invented on the spot an occasion for it: he imagined that it was the music sung by the shepherds bidding farewell to the Holy Family as they left Bethlehem for their flight to Egypt. He quickly invented words to go with the melody and then announced jokingly to his friend:

"Now, I am going to put your name to this. I want to compromise you."

"That's absurd! Everybody knows that I know nothing about writing music." [Due was an architect.]

"This is indeed a brand-new reason for not composing, but wait! Since vanity

prevents your adopting my piece, I am going to make up a name out of yours. I shall

call the author Pierre Ducre whom I hereby appoint music master of the Sainte- Chapelle in Paris during the seventeenth century. My manuscript thus acquires enormous archeological value."

The composer's jest might well have ended there, but the seed had been sown. He extended his joke "at the expense of our good gendarmes of French criticism" by giving a public performance in which his little pastiche was passed off quite successfully as the work of "Pierre Ducre." The critics who normally attacked Berlioz's music praised the superior qualities of the unknown "seventeenth-century" composer. Only one expressed

! We have adopted Jacques Barzun's translation "The Infant Christ"; Barzun objects to the

traditional translation, "The Childhood of Christ,'" in that it sounds "rather like a report by a group of progressive educators." The Childhood of Christ may have been suggested by the

German translation of Peter Cornelius, who called it "Des Heilands KindheiC ("The Savior's Childhood," though "Kindheit" could mean either "infancy" or "childhood"). Certainly the subject matter of the oratorio deals solely with the period of infancy, never with anything that might properly be called childhood.

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23 puzzlement at the "frequent modulations." Berlioz could chuckle in indignation at the many critics who had been taken in. There matters might have remained, except that Berlioz had enlarged the work with the addition of an orchestral overture and a tenor solo, "The Repose of the Holy Family," and the excerpts began to receive performances, in particular the solo, which achieved immediate popularity. Berlioz described the growing popularity of his work in a letter of 18 December 1853 to Theophile Gautier, who had asked for some information about the piece:

My dear Theophile, The Flight into Egypt, a mystery play in ancient style (pleonasm), consists at the moment only of the following three pieces: The Overture; The Shepherds' Farewell to the Holy Family; The Repose ofthe Holy Family. The chorus ofshepherds was performed in Paris in two concerts of the New Philharmonic Society, under the name of Pierre Ducre, master of the chapel of my invention who did not live in the eighteenth [sic] century. The chorus had a great deal of success among persons who do me the honor of detesting me. One lady,

among others, who after having declared that I should never be able to accomplish anything as sweet as this music by old Ducre, and learning a few days later that the We know a good investment whenwe hear one.

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24 chorus ofshepherds was by me, called me impertinent. But the trick had been accomplished. Later, The Repose ofthe Holy Family was sung in London, at the Philharmonic

Society, by Gardoni (and encored), but under my name. Since then it has been sung

with the same success by I don't know how many German in the concerts I

have just given in Frankfurt, Braunschweig, Hannover, Bremen, and finally Leipzig,

where The Flight into Egypt was executed in its entirety for the first time, and, last

of all, at the concert of Sainte-Cecile [in Paris], where the choruses certainly did not approach the superb German choruses, but where the performance nonetheless was

fine and faithful.

The Overture is written for stringed instruments with just four winds, in a tonality

that is not our own and that approaches the modes of plainchant. The Chorus of

Shepherds is much more modern, and one must be as ignorant as a carp to believe that a master of the eighteenth century could ever have imagined the modulation that

occurs in the middle of this chorus. The tenor solo recounting the repose of the Holy Family in the desert has nothing

old about it but the melodic turn and some harmonies whose religious accents are hardly fashionable today.

Just a few weeks earlier, on 30 November 1853, Berlioz had written to his sister Adele

immediately after the first complete performance, in Leipzig, of The Flight into Egypt:

This morning I heard for the first time (in its entirety) my mystery play The Flight into Egypt, from which the piece The Repose ofthe Holy Family has had so much

success in London and in all the German cities I have been visiting. Truly it is good, it

is naive and touching (don't laugh). It belongs to the genre of illuminations from the

old missals. Everyone says that I have perfectly captured the appropriate color for

this Biblical legend; and they are pressing me to continue this work by making now a

Holy Family in Egypt. I'll do it gladly, for the subject charms me. . . .

He evidently began work at once on a continuation, because by 18 December he had already informed Gautier (in the letter quoted at length above) that he was at work on The

Arrival and The Soujourn in Egypt. "If I succeed, you shall be able to hear them at my next return to Germany." By 15 January 1854 he was able to write to Liszt, "I have

worked since my return. I have made the continuation of the mystery play of Pierre " Ducre: The Arrival of the Holy Family in Egypt. It is much larger than the Flight. Three months later he was working on the orchestration of the last section and worried

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25 about publication. Kistner, who was publishing The Flight Into Egypt, evidently decided that the work was now getting too big and refused to bring out any more. Berlioz wrote to

Liszt on 14 April, "Beale will certainly publish it in English, but only when I have finished a third part to this little Biblical trilogy. This third part, which he came to ask me for in

Paris, will actually be the^rs^ and will deal with the Massacre of the Innocents ... I begin to see the plan of the Massacre dawning."

But the Massacre was not to take place—or at any rate it is only hinted at. Instead Berlioz found himself captivated by the tormented soul of Herod. By June he was telling his friends that the first part would be called Herod's Dream, and that he was working without taking time for food or drink, because he looked forward to hearing the work that summer in Munich and Dresden, where the performances were always better than in Paris and the audiences more understanding. But completion took longer than anticipated, and it was not until late July —coincidentally the twenty-fourth anniversary of the day on which he had won the Prix de Rome-—that he could declare the score finished, as he did to

Liszt on 27 July: "Yesterday I finished Herod's Dream."

Now he had to worry about arranging a performance. It was evidently too late for any of his prospects in Germany to pan out, and he despaired of obtaining a decent performance in Paris, where the delicacy of color and gesture would be destroyed by the singers generally available. As he wrote to his sister on 27 August:

All of them are more or less infected by the false and trivial taste honored in the theaters. Can you imagine the role of the Virgin Mary sung by a roulade specialist, who constantly feels an itching in her larynx, or by a beplumed prima donna, who

wants above all some special cavatinas in which she can exhibit her voice and gesture with her beautiful arms and shake her tresses?

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26 Berlioz had plenty of reasons to mistrust the fickle audiences of Paris. His music had always been received far more favorably in Germany and in London, and he could scarcely forget the financial catastrophe of the attempt to perform The Damnation of in Paris a few years earlier. Yet in the end he decided to let Paris hear his new trilogy before he took it to Germany, even though he remarked, "I expect to lose some eight or nine hundred francs by it."

The concert was set for Sunday, 10 December 1854, the day before his fifty-first birthday. He informed his sister of the coming event, requesting that her two daughters,

his nieces, to whom he dedicated the first part of the score, remember him that morning at Mass and that her husband "drink a glass of wine to the health of my performers at lunch.

As for my health and that of the work, I know that you will not forget them." Berlioz expected the worst—but for once in his life, he was happily surprised. The concert proved to be a hit. He had succeeded in finding just the singers he needed, and all had gone well. A repetition on Christmas Eve had been even more successful, netting Berlioz eleven hundred francs.

While the success was certainly welcome, Berlioz took it all with a grain of salt. He was at first amused, then annoyed by all the people who insisted that he had "reformed," that he had at last foresworn the gigantic scores full of modernisms that had made him the target of so much criticism. But he observed quite rightly that he had not changed his manner at all, only his subject. And those who found his new score to be at last on a human scale must not have listened to his earlier works, but simply looked at the enormous mass of instruments gathered on the stage. If they had really paid attention, they would have realized

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that the bulk of Berlioz's works called for no larger than The Infant Christ—only in rare passages did he actually employ the full forces at his disposal.

Still, despite the petty irritations that came with it, the success was welcome. The little oratorio quickly found its way into the repertory in Germany. A Berlioz week in Weimar, where Liszt was the musical director, placed the new work in the context of other compositions by Berlioz. Long talks with an enthusiastic and highly supportive Liszt and with Liszt's mistress, the Princess Carolyne Sayn-Wittgenstein, had a crucial result for

Berlioz, for it was here that he realized that he was his own best librettist and that he had discovered a way of treating subjects from antiquity that got away from the blood-and- thunder of the Opera. Those conversations in Weimar encouraged Berlioz to undertake one of his greatest challenges—composing an opera on a favorite book of his childhood, The Aeneid. The success of the little Biblical trilogy, then, was directly responsible for giving Berlioz the confidence to attack his mightiest work, the great opera (The Trojans)

Berlioz drew his story from the second chapter of the Gospel according to St. Matthew, but he omitted many familiar passages (the appearance of the Magi in particular), and he created some elements out of whole cloth. His libretto consists of a series of short scenes that are, for the most part, genre paintings, telling the well-known tale in a simple and homely narration. The plan throughout aims at musical effectiveness. As always, Berlioz

sought for situations that made for good musical numbers. The text is strikingly brief, often to the point of non-existence. The composer relies on the audience to understand the

basic framework of the story, and this is one story in which he could do so successfully.

Herod's Dream opens at once with a tenor recitative setting the scene in time and space before describing very briefly the point of the story to follow. At once we are launched into the mysterious Nocturnal March, building from a hushed beginning with a series of intertwined march motives to a sudden interruption in the middle marking the dialogue between the centurion and his commander Polydorus, who relates the nightly

torments of Herod. The march takes up again as they separate, and it gradually dies away.

The next "scene" introduces the fearful king himself. Berlioz was pleased enough with the "sombre harmonies" that he found for Herod's aria that he described them in a letter

to Hans von Biilow. The aria is dramatically interrupted by the arrival of Polydorus, whom

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30 Herod does not at first recognize. The commander has brought with him, at Herod's order, a group of soothsayers who are to foretell the future and set the king's mind at rest. Their function in this work is to motivate the next musical number, a cabalistic dance employing a then-astonishing rhythmic pattern of 7/4 time (alternations of 3/4 and 4/4). Their announcement of a newborn child who will take Herod's kingdom motivates the king's decisive action. The Massacre of the Innocents is anticipated in his outburst. At the end of the scene, the orchestra gradually dies away into silence, which provides the transition to the first glimpse of the Holy Family.

We are in the manger with Joseph, Mary, and the baby. The Virgin sings a lullaby, eventually to be joined by Joseph. All is calm and pastoral, delicately scored. A chorus of angels (Berlioz specifies a small group of women's voices offstage, but with the door to the stage open) warns Joseph and Mary of the impending danger to the child, and they decide to leave for Egypt. The ending of Part I is extremely delicate; Berlioz indicates in the score where the doors to the stage are to be closed, so as to make the voices of the angels come from a still greater distance (and he carefully adds a footnote to explain how the effect is to be obtained in a concert hall where it is not possible for the angel chorus to be offstage).

Part II opens with an overture in the hypodorian mode, one of the old church modes that was not part of the standard melodic-harmonic vocabulary of the romantic era. So unfamiliar is it that Berlioz carefully notes in the score which pitches are not to be adjusted to the expected major or minor modes! The movement rarely moves above the dynamic level of piano, and the effect of the whole is as of delicate chamber music. The overture is followed directly by the chorus that generated the entire oratorio, the

"Shepherds' Farewell." It is a simple, strophic passage with each of its three stanzas separated from one another by a little refrain for oboes and clarinets, which lend a rustic air. "The Repose of the Holy Family" is a superb example of Berlioz's skill as a melodist, though here the melody is essentially a kind of heightened recitative, a remarkable expression of the text in the most direct possible terms.

Part III once again begins with a recitative by the tenor to set the scene. There follows a complex scene in which Mary laments the hardships of the journey and expresses her fear that the child will die, while Joseph pleads at the doors of the citizens of Sais to be given shelter. After repeated rebuffs they are accepted in the home of an Ishmaelite, who first hastens to care for them, then asks their names and Joseph's profession. When he learns that Joseph is a carpenter, he invites them to remain with him, for the Ishmaelite father, too, is a carpenter, and they can pursue their trade together. He then summons entertainment, which takes the form of music played by two flutes and harp. At the end of the trio, the father of the Ishmaelite family encourages the weary travelers to go off to bed; they express their thanks in simple but sincere words and music. As an epilogue, the tenor sums up the story that has been recounted, and the chorus concludes the work, echoed by angelic voices offstage, with a gentle, a cappella prayer and a hushed "Amen."

—Steven Ledbetter

Text and translation for UEnfance du Christ begin on page 32.

31 Week 22 L'Enfance du Christ The Infant Christ

PREMIERE PARTIE: Le Songe PARTI: Herod's Dream d'Herode LE RECITANT NARRATOR Dans la creche, en ce temps, Jesus venait At that time Jesus had just been born in the de naitre. manger; Mais nul prodige encor ne l'avait fait but no portent had yet made him connaTtre; known. Et deja les puissants tremblaient, Yet already the mighty trembled, Deja les faibles esperaient. already the weak had hope.

Tous attendaient . . . Everyone waited . . . Or apprenez, chretiens, quel crime learn now, Christian folk, what hideous epouvantable crime Au roi des Juifs alors suggera la terreur, fear inspired then in the king of the Jews, Et le celeste avis que dans leur and the heavenly counsel the humble etable Lord sent Aux parents de Jesus envoya le Seigneur. to Jesus' parents in their lowly stable.

SCENE 1 SCENE 1

Une rue de Jerusalem. Un corps de garde. A street in Jerusalem. A guard-house. Soldats romains faisant une ronde de nuit. Roman soldiers on night patrol. MARCHE NOCTURNE NIGHTMARCH UN CENTURION A CENTURION Qui vient? Who's there?

POLYDORUS le commandant de la POLYDORUS commanding the patrouille patrol Rome! Rome! CENTURION CENTURION Avancez! Advance! POLYDORUS POLYDORUS Halte! Halt! CENTURION CENTURION Polydorus! Polydorus!

Je te croyais deja, soldat, aux bords du Corporal, I thought you were on Tiber's Tibre. banks by now. POLYDORUS POLYDORUS

J'y serais en effet si Gallus So I should be if Gallus Notre illustre preteur m'eut enfin laisse our precious praetor had only libre. let me.

Mais il m'a sans raison But for no good reason Impose pour prison he's shut me up Cette triste cite pour y voir ses folies in this dreary town, watching its antics Et d'un roitelet juif garder les insomnies. and keeping guard over a petty Jewish king's sleepless nights. CENTURION CENTURION Que fait Herode? What's Herod doing?

32 POLYDORUS POLYDORUS

II reve, il tremble, He broods, quakes with fear,

II voit partout des traitres, il assemble sees traitors on every side, Son conseil chaque jour; and daily summons his council;

Et du soir au matin and from dusk till dawn

II faut sur lui veiller; has to be looked after;

II nous obsede enfin. he's getting on our nerves. CENTURION CENTURION Ridicule tyran! Mais va, poursuis ta ronde. Absurd despot! But off on your rounds now. POLYDORUS POLYDORUS

II !e faut bien. Adieu. Jupiter le confonde! Yes, I must. Good night. Jove's curse on him!

La patrouille se remet en marche et The patrol resumes its march and moves off s'eloigne. into the distance.

SCENE 2 SCENE 2

Interieur du palals d'Herode In Herod's palace

AIR D'HERODE HEROD'S ARIA HERODE HEROD Toujours ce reve! encor cet enfant The dream again! Again the child

Qui doit me detroner. who is to cast me down. Et ne savoir que croire And not to know what to think De ce presage menacant of this omen which threatens Pour ma vie et ma gloire! my glory and my existence! O misere des rois! Oh the wretchedness of kings! Regner et ne pas vivre, To rule yet not to live,

A tous donner des lois, to mete out laws to all, Et desirer de suivre yet to long to follow Le chevrier au fond des bois! the goatherd into the heart of the woods! O nuit profonde Fathomless night Qui tient le monde holding the world Dans le repos plonge, deep sunk in sleep, A mon sein ravage to my tormented breast Donne la paix une heure, grant peace for one hour, Et que ton voile effleure and let thy shadows touch

Mon front d'ennuis charge . . . my gloom-pressed brow . . . O misere des rois, etc. Oh the wretchedness of kings, etc. Effort sterile! All effort's useless! Le sommeil fuit; Sleep shuns me; Et ma plainte inutile and my vain complaining Ne hate point ton cours, interminable nuit. no swifter makes thy course, oh endless night.

SCENE 3 SCENE 3 POLYDORUS POLYDORUS Seigneur! My lord! HERODE HEROD Laches, tremblez! Cowards, beware!

—Please turn the page quietly. —

33 Je sais tenir encore I can still handle

. . . Une epee . . . a sword POLYDORUS POLYDORUS Arretez! Stop!

HERODE le reconnaissant HEROD recognizing him Ah! c'est toi, Polydore. Oh, Polydor, it's you. Que viens-tu m'annoncer? What have you to tell me? POLYDORUS POLYDORUS Seigneur, les devins juifs My lord, the Jewish soothsayers Viennent de s'assembler have assembled Par vos ordres. as you commanded. HERODE HEROD Enfin! At last! POLYDORUS POLYDORUS

lis sont la. They are here. HERODE HEROD Qu'ils paraissent. Let them come in.

SCENE 4 SCENE 4 CHCEUR DE DEVINS CHORUS OF SOOTHSAYERS Les sages de Judee, The wise men of Judaea,

roi, te reconnaissent oh king, know thee Pour un prince savant et genereux; for a wise and liberal prince;

lis te sont devoues. they are thy servants. Parle, qu'attends-tu d'eux? Speak, what wouldst thou of them? HERODE HEROD Qu'ils veuillent m'eclairer, That they reveal to me Est-il quelque remede if there is any remedy Au souci devorant for the devouring care Qui des longtemps m'obsede? which has so long beset me. DEVINS SOOTHSAYERS Quel est-il? What is it? HERODE HEROD Chaque nuit Each night Le meme songe m'epouvante; the same dream affrights me; Toujours une voix grave et lente a slow and solemn voice Me repete ces mots: ,,Ton heureux temps repeats these words: "The time of thy s'enfuit! prosperity is passed! Un enfant vient de naitre A child has come into the world Qui fera disparaitre that shall reduce to naught Ton trone et ton pouvoir." thy throne and thy dominion." Puis-je de vous savoir Can I discover from you Si cette terreur qui m'accable if this terror that oppresses me Est fondee, has any truth, Et comment ce danger redoutable and how this dread peril Peut etre detourne? may be averted? DEVINS SOOTHSAYERS Les esprits le sauront, The spirits will know; Et par nous consultes we shall consult them, 34 Bientot ils repondront. and they will soon give answer.

Les devins font des evolutions cabalis- The soothsayers perform cabalistic move- tiques et procedent a la conjuration. ments, then proceed to conjure the spirits. DEVINS SOOTHSAYERS La voix dit vrai, Seigneur. The voice speaks true, oh king. Un enfant vient de naitre A child has come into the world Qui fera disparaitre that shall reduce to naught Ton trone et ton pouvoir. thy throne and thy dominion. Mais mil ne peut savoir Yet none may know Ni son nom, ni sa race. his name nor his country. HERODE HEROD Que faut-il que je fasse? What must I do? DEVINS SOOTHSAYERS Tu tomberas, a moins que Ton ne satisfasse Thou shalt fall unless the dark spirits

Les noirs esprits, et si, pour conjurer le sort, are satisfied and, to prevent thy fate, Des enfants nouveau-nes tu n'ordonnes la thou ordainest death for all the new-born mort. children. HERODE HEROD

Eh bien, par le fer qu'ils perissent! So be it, let them perish by the sword!

Je ne puis hesiter. I must not waver. Que dans Jerusalem, In Jerusalem, A Nazareth, a Bethleem, in Nazareth, in Bethlehem,

Sur tous les nouveau-nes on all the new-born Mes coups s'appesantissent! let my violence strike!

Malgre les cris, malgre les pleurs Though all their mothers De tant de meres eperdues, despair and wail and weep, Des rivieres de sang vont etre repandues. rivers of blood shall flow.

Je serai sourd a ces douleurs. I will be deaf to their suffering. La beaute, la grace, ni 1'age Beauty nor charm nor age Ne feront faiblir mon courage shall weaken my resolve. II faut un terme a mes terreurs. My terrors must have an end. DEVINS SOOTHSAYERS Oui, oui, par le fer qu'ils perissent! Yes, let them perish by the sword! N'hesite pas. Do not waver. Que dans Jerusalem, In Jerusalem, A Nazareth, a Bethleem, in Nazareth, in Bethlehem,

Sur tous les nouveau-nes on all the new-born

Tes coups s'appesantissent! let thy violence strike!

Oui, malgre les cris, malgre les pleurs Though all their mothers De tant de meres eperdues, despair and wail and weep Les rivieres de sang qui seront repandues, and rivers of blood shall flow, Demeure sourd a ces douleurs! be deaf to their suffering. Que rien n'ebranle ton courage! Let nothing shake your resolve! Et vous, pour attiser sa rage, And you, spirits, to whet his rage, Esprits, redoublez ses terreurs! multiply his terrors!

SCENE 5 SCENE 5

Vetable de Bethleem TJie stable at Bethlehem

—Please turn the page quietly. —

35 DUO DUET MARIE MARY

mon fils, donne cette herbe tendre Oh my dear son, give this fresh grass A ces agneaux qui vers toi vont belant; to those lambs that come bleating to thee; lis sont si doux, laisse, laisse-les prendre. they are so gentle, let them take it. Ne les fais pas languir, o mon Enfant. Don't let them go hungry, my child. MARIE, JOSEPH MARY, JOSEPH Repands encor ces fleurs sur leur litiere. Spread these flowers too about their straw. lis sont heureux de tes dons, cher Enfant; They are pleased with thy gifts, dear child; Vois leur gaiete, vois leurs jeux, vois leur see how blithe they are, how they gambol, mere and how their mother Tourner vers toi son regard caressant. turns towards thee her grateful gaze. MARIE MARY Oh! sois beni, mon cher et tendre Enfant! Blessed be thou, my dear sweet child! JOSEPH JOSEPH Oh! sois beni, divin Enfant! Blessed be thou, holy child!

SCENE 6 SCENE 6 CHCEUR D'ANGES INVISIBLES CHORUS OF UNSEEN ANGELS Joseph! Marie! Joseph! Mary! Ecoutez-nous. Hearken to us. MARIE, JOSEPH MARY, JOSEPH

Esprits de vie, Spirits of life,

Est-ce bien vous? can it be you? ANGES ANGELS

II faut sauver ton fils You must save thy son Qu'un grand peril menace, whom great danger threatens, Marie. Mary. MARIE MARY

O ciel, mon fils! Oh heaven, my son! ANGES ANGELS Oui, vous devez partir Yes, you must go Et de vos pas bien derober la trace; and leave no trace behind you;

Des ce soir au desert vers l'Egypte il faut this very night you shall flee through the fuir. desert towards Egypt. MARIE, JOSEPH MARY, JOSEPH A vos ordres soumis, purs esprits de lumiere, Obedient to your word, pure spirits of light, Avec Jesus au desert nous fuirons. we shall flee with Jesus to the desert. Mais accordez a notre humble priere But grant us, we humbly pray, La prudence, la , et nous le sauverons. wisdom and strength, so we shall save him. ANGES ANGELS La puissance celeste The power of heaven Saura de vos pas ecarter will keep from your way

Toute rencontre funeste. all fatal encounter. MARIE, JOSEPH MARY, JOSEPH En hate, allons tout preparer. Let us hasten to get ready. ANGES ANGELS Hosanna! Hosanna! Hosanna! Hosanna!

36 DEUXIEME PARTIE: La Fuite en PART 2: The Flight Into Egypt Egypte OUVERTURE OVERTURE Les bergers se rassemblent devant The shepherds gather before the stable in ratable de Bethleem. Bethlehem.

ADIEl X DES BERGERS THE SHEPHERDS' FAREWELL A LA SA1NTE EAMILLE TO THE HOLY FAMILY CHCEUR DES BERGERS CHORUS OF SHEPHERDS

II s'en va loin de la terre He is going far from the land

Ou dans l'etable il vit le jour. where in the stable he was born. De son pere et de sa mere May his father and his mother

Qu'il reste le constant amour, always love him steadfastly; Qu'il grandisse, qu'il prospere may he grow and prosper Et qu'il soit bon pere a son tour. and be a good father in his turn.

Oncques si, chez l'idolatre, If ever among the idolaters

II vient a sentir le malheur, he should find misfortune,

Fuyant la terre maratre, let him flee the unkind land Chez nous qu'il revienne au bonheur. and come back to live happily among us.

Que la pauvrete du patre May the shepherd's lowly life Reste toujours chere a son coeur. be ever dear to his heart.

Cher enfant, Dieu te benisse! Dear child, may God bless thee, Dieu vous benisse, heureux epoux! and God bless you, happy pair! Que jamais de l'injustice May you never feel Vous ne puissiez sentir les coups. the cruel hand of injustice. Qu'un bon ange vous avertisse May a good angel warn you

Des dangers planant sur vous. of all dangers that hang over you.

Please turn the page quietly, and only after the music has stopped.

Berlioz's birthplace

37 Week 22 LE REPOS DE LA SAINTE FAMILLE THE REPOSE OF THE HOLYFAMILY LE RECITANT NARRATOR Les pelerins etant venus The pilgrims having come En un lieu de belle apparence to a place of fair aspect Ou se trouvaient arbres touffus with bushy trees Et de 1'eau pure en abondance, and fresh water in abundance,

Saint Joseph dit: tt Arretez-vous St. Joseph said: "Stop Pres de cette claire fontaine. near this clear spring.

Apres si longue peine After such long toil Reposons-nous." let us rest." L'enfant Jesus dormait. Pour lors Sainte The child Jesus was asleep. Then Marie, Holy Mary, Arretant l'ane, repondit: halting the ass, answered: tapis et fair tt Voyez ce beau d'herbe douce "Look at this carpet of soft grass and fleurie, flowers

Le Seigneur pour mon fils au desert that the Lord spread in the desert for my l'etendi." son. Puis s'etant assis sous l'ombrage Then, having sat down in the shade De trois palmiers au vert feuillage, of three green-leaved palm trees, L'ane paissant, while the ass browsed L' Enfant dormant, and the child slept, Les sacres voyageurs quelque temps the holy travelers slumbered sommeillerent, for a while, Berces par des songes heureux, lulled by sweet dreams,

Et les anges du ciel, a genoux autour and the angels of heaven, kneeling about d'eux, them, Le divin Enfant adorerent. worshipped the divine child. CHCEUR D'ANGES CHORUS OF ANGELS Alleluia! Alleluia! Alleluia! Alleluia!

TROISIEME PARTIE: L'Arrivee PART 3: The Arrival at Sais a Sais LE RECITANT NARRATOR Depuis trois jours, malgre l'ardeur du vent, For three days, despite the hot winds, lis cheminaient dans le sable mouvant. they journeyed through the shifting sands. Le pauvre serviteur de la famille sainte, The holy family's poor servant, L'ane, dans le desert etait deja tombe; the ass, had already fallen in the desert dust; Et bien avant de voir d'une cite l'enceinte, and long before they saw a city's walls, De fatigue et de soif son mattre eut his master would have died from exhaustion succombe and thirst Sans le secours de Dieu. Seule Sainte Marie but for God's help. Only holy Mary Marchait calme et sereine, et de son doux walked on serene and untroubled; and her Enfant sweet child's

La blonde chevelure et la tete benie fair locks and blessed head Semblaient la ranimer sur son coeur resting against her breast seemed to give her reposant. strength.

Mais bientot ses pas chancelerent . . . But soon her feet stumbled . . .

Combien de fois les epoux s'arreterent . . . How many times the couple stopped . . .

Enfin pourtant ils arriverent At length they came A SaVs, haletants, to Sais, gasping Et presque mourants. and near to death.

38 C'etait une cite des longtemps reunie It was a city that had long been part A l'empire romain, of the Roman empire, Pleine de gens cruels, au visage hautain. full of cruel folk, with haughty airs. Oyez combien dura la navrante agonie Hear now of the grievous agony endured so long Des pelerins cherchant un asile et du pain. by the pilgrims in their search for food and shelter.

SCENE 1 SCENE 1

Uinterieur de la ville de Sa'is Within the town ofSais DUO DUET MARIE MARY Dans cette ville immense In this immense town Ou le peuple en foule s'elance, the roar and bustle Quelle rumeur! of the hurrying crowds!

Joseph! J'ai peur . . . Joseph, I'm frightened . . .

Je n'en puis plus . . . las! . . . I can't go on . . . Alas . . .

Je suis morte . . . I'm dead . . . Allez frapper a cette porte. Go and knock at that door. JOSEPH JOSEPH Ouvrez, ouvrez, secourez-nous, Open, open, help us, Laissez-nous reposer chez vous! let us rest in your house! Que l'hospitalite sainte soit accordee Grant sacred hospitality A la mere, a l'Enfant. Hellas! de la Judee to mother and child! Alas, we have come Nous arrivons a pied. from Judaea on foot. CHCEUR DE ROMAINS CHORUS OF ROMANS Arriere, vils Hebreux! Get away, vile Hebrews! Les gens de Rome n'ont que faire Roman people have nothing to do De vagabonds et de lepreux! with tramps and lepers! MARIE MARY Mes pieds de sang teignent la terre! My bleeding feet stain the ground! JOSEPH JOSEPH

Seigneur! ma femme est presque morte! Lord! My wife is nearly dead! MARIE MARY

Jesus va mourir . . . e'en est fait. Jesus is going to die ... all is lost.

Mon sein tari n'a plus de lait. My breast has run dry, no milk is left. JOSEPH JOSEPH Frappons encore a cette porte. We shall try knocking at this door. Oh! par pitie, secourez-nous! For pity's sake help us, Laissez-nous reposer chez vous! let us rest in your house! Que l'hospitalite sainte soit accordee Grant sacred hospitality A la mere, a l'Enfant. Helas! de la Judee to mother and child! Alas, we have come Nous arrivons a pied. from Judaea on foot. CHCEUR D'EGYPTIENS CHORUS OF EGYPTIANS Arriere, vils Hebreux! Get away, vile Hebrews! Les gens d'Egypte n'ont que faire Egyptian people have nothing to do De vagabonds et de lepreux! with tramps and lepers!

—Please turn the page quietly. —

39 JOSEPH JOSEPH Seigneur! sauvez la mere! Lord, save the mother!

Marie expire . . . e'en est fait . . . Mary is fainting ... all is lost . . . Et son Enfant n'a plus de lait. and her child has no more milk. Votre maison, cruels, reste fermee. Cruel people, your house remains closed. Vos coeurs sont durs. Sous la ramee Your hearts are hard. Beneath the branches De ces sycomores, Ton voit, of those sycamores, set apart from the rest,

Tout a lecart, un humble toit . . . there's a lowly dwelling . . .

Frappons encor . . . Mais qu'a ma voix unie We shall knock there . . . But Mary,

Votre voix si douce, Marie, join your gentle voice to mine, Tente aussi de les attendrir. you too try to move them. MARIE MARY Helas! nous aurons a souffrir Alas, everywhere we must endure Partout l'insulte et l'avanie. insult and rebuff.

Je vais tomber . . . I am going to faint . . . JOSEPH JOSEPH Oh! par pitie, For pity's sake,

MARIE, JOSEPH MARY, JOSEPH Oh! par pitie, secourez-nous! For pity's sake help us, Laissez-nous reposer chez vous! let us rest in your house! Que l'hospitalite sainte soit accordee Grant sacred hospitality Aux parents (a la mere), a l'Enfant. Helas! to parents (to mother) and child. Alas, we de la Judee have come Nous arrivons a pied. from Judaea on foot.

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40

• SCENE 2 SCENE 2

Uinterieur de la maison des hmaelites Inside the Ishmaelites' house LE PERE DE FAMILLE HOUSEHOLDER Entrez, entrez, pauvres Hebreux! Come in, come in, you poor Jews! La porte n'est jamais fermee, The door of our house

Chez nous, aux malheureux. is never closed to the unfortunate.

Joseph et Marie entreat. Joseph and Mary enter.

Grands dieux! Quelle detresse! Great gods! What a dreadful sight! Qu'autour d'eux on s'empresse! Come quickly and see to their needs!

Filles et fils et serviteurs, Daughters, sons, servants, Montrez la bonte de vos coeurs! show the kindness of your hearts! Que de leurs pieds meurtris on lave les Wash the sores on their bruised blessures! feet!

Donnez de l'eau, donnez du lait, des Give them water, give them milk and grappes mures; ripe grapes; Preparez a l'instant make up a cot Une couchette pour l'enfant. for the child at once. CHCEUR D'ISMAELITES CHORUS OF ISHMAELITES Que de leurs meurtris on lave les blessures! Wash the sores on their bruised feet! Donnon de l'leau, donnons du lait, des Give them water, give them milk and ripe grappes mures; grapes; Preparons a l'instant make up a cot Une couchette pour l'enfant. for the child at once.

Lesjeunes hmaelites et leurs serviteurs The young Ishmaelites and their servants se dispersent dans la maison, executant scatter about the house, carrying out the les ordres divers du Pere defamille. householder's orders. LE PERE DE FAMILLE HOUSEHOLDER Sur vos traits fatigues Your tired faces La tristesse est empreinte. are lined with sorrow. Ayez courage, nous ferons Take heart, we'll do Ce que nous pourrons what we can Pour vous aider. to help you. Bannissez toute crainte; Don't be afraid; Les enfants d'Ismael. the children of Ishmael Sont freres de ceux d'. are brothers of the children of Israel. Nous avons vu le jour au Liban, en Syrie. We come from Lebanon, in Syria. Comment vous nomme-t-on? What are your names? JOSEPH JOSEPH

Elle a pour nom Marie, Her name is Mary Je m'appelle Joseph, et nous nommons I'm called Joseph, and we have named the l'Enfant chUd Jesus. Jesus. LE PERE DE FAMILLE HOUSEHOLDER Jesus! quel nom charmant! Jesus! What a sweet name! Dites, que faites-vous pour gagner Tell me what do you do votre vie? for a living?

Oui, quel est votre etat? What is your trade?

—Please turn the page quietly. —

41 JOSEPH JOSEPH

Moi, je suis charpentier. I am a carpenter. LE PERE DE FAMILLE HOUSEHOLDER Eh bien, c'est mon metier! That's my job too! Vous etes mon compere. We are comrades. Ensemble nous travaillerons, We shall work together, Bien des deniers nous gagnerons. and make lots of money. Laissez faire. No need to worry. Pres de nous Jesus grandira, Jesus shall be brought up with us,

Puis bientot il vous aidera then before long he'll be helping you,

Et la sagesse il apprendra. and he'll grow up to be a good boy.

Laissez, laissez faire. No need to worry at all. CHCEUR CHORUS

Laissez, laissez faire. No need to worry at all. Pres de nous Jesus grandira, Jesus shall be brought up with us,

Puis bientot il vous aidera, then before long he'll be helping you,

Et la sagesse il apprendra. and he'll grow up to be a good boy. LE PERE DE FAMILLE HOUSEHOLDER Pour bien finir cette soiree To round off the evening Et rejouir nos notes, employons and cheer our guests, let's use La science sacree, the sacred science, Le pouvoir des doux sons. the power of sweet sounds. Prenez vos instruments, mes enfants; Get your instruments, children;

toute peine all trouble Cede a la flute unie a la harpe thebaine. yields to the flute and the Theban harp.

TRIO pour deux flutes et harpe, execute TRIOfor two flutes and harp, performed par les jeunes Ismaelites by the young Ishmaelites

LE PERE DE FAMILLE s'adressant HOUSEHOLDER to Mary a Marie Vous pleurez, jeune mere. You weep, young mother.

Douces larmes, tant mieux! Gentle tears; good, so be it!

- ;: : - mm

La Cote-St. -Andre, where Berlioz was born

42

r \vv*r; Allez dormir, bon pere, Go to bed, good father, Bien reposez, rest well, Mai ne songez, peaceful dreams, Plus d'alarmes. no more alarms. Que les charmes May the hope De l'espoir du bonheur of happiness once more Rentrent en votre coeur. gladden your heart. MARIE, JOSEPH MARY, JOSEPH _Adieu, merci, bon pere, Good night and thanks, good father; Deja ma peine amere already my bitter afflictions Semble s'enfuir. seem to be vanishing. Plus d'alarmes. No more alarms. Oui, les charmes Yes, the hope De l'espoir du bonheur of happiness once more Rentrent en notre coeur. gladdens our hearts. CHCEUR CHORUS Allez dormir, bon pere, Go to bed, good father, Doux enfant, tendre mere, sweet child, gentle mother, Bien reposez, rest well, Mai ne songez, peaceful dreams, Plus d'alarmes. no more alarms. Que les charmes May the hope De l'espoir du bonheur of happiness once more Rentrent en votre cceur. gladden your hearts.

"SCENE 3 "SCENE 3 EPILOGUE EPILOGUE LE RECITANT NARRATOR

Ce fut ainsi que par un infidele Thus it came to pass that the Saviour

Fut sauve le Sauveur. was saved by an infidel. Pendant dix ans Marie, et Joseph avec elle, For ten years Mary, and Joseph with her,

Virent fleurir en lui la sublime douceur, watched sublime humility flower in him, La tendresse infinie infinite love A la sagesse unie. joined to wisdom. Puis enfin de retour Then at length he returned

Au lieu qui lui donna le jour to the country of his birth,

II voulut accomplir le divin sacrifice that he might accomplish the divine sacrifice Qui racheta le genre humain which ransomed mankind De l'eternel supplice from eternal torment Et du salut lui fraya le chemin. and marked out the way of salvation. LE RECITANT, CHCEUR NARRATOR, CHORUS O mon ame, pour toi que reste-t-il a faire, Oh my soul, what remains for you to do Qu'a briser ton orgueil devant un tel but shatter your pride before so great a mystere? mystery? O mon cceur, emplis-toi du grave et pur Oh my heart, be filled with the pure, deep amour love Qui seul peut nous ouvrir le celeste sejour. which alone can open to us the kingdom of heaven.

Amen. Amen. FIN END

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44 More . . .

The best place to begin in finding out about Berlioz is from his own memoirs, a master- piece of autobiography. Despite the difficulties of his career and his increasing bitterness, Berlioz's sense of humor allowed him to achieve a remarkable balance in telling the story of his life. He is also the finest writer among the great composers, so the book is memorable from the purely literary point of view. The translation to read is the one by David Cairns, published as The Memoirs ofHector Berlioz (Norton, available in paper- back). It captures the composer's pride, wit, passion, and sardonic humor with special flair

(all of the quotations from Berlioz in the program note come from this translation). For an informed brief introduction, you can read the Berlioz article in The New Grove; it is by

Hugh Macdonald, who is the General Editor of the new edition of Berlioz's works. He has also written a volume for the Master Musicians series, the first new study of the composer to take into account all of the information learned in the process of preparing the edition; it has just been published in England and will presumably be available in this country before long. The standard and classic full-scale biography is the two- volume study Berlioz and the Romantic Century by Jacques Barzun (Columbia). Barzun has also written a one- volume abridgment, Berlioz and His Century, which has just been reprinted in a new edition (University of Chicago paperback). The best purely musical discussion of Berlioz's work is Brian Primmer's The Berlioz Style (Oxford).

For UEnfance du Christ, the recording of choice is the one conducted by Sir Colin Davis with the London Symphony Orchestra and the John Alldis Choir; soloists include Janet Baker, Eric Tappy, Thomas Allen, and Jules Bastin (Philips). Two worthy older recordings are available on budget labels: Andre Cluytens conducts the Paris Conserva- tory Orchestra with Victoria De Los Angeles, , and Ernest Blanc (Seraphim); Jean Martinon conducts the French National Radio Orchestra and chorus with , Jane Berbie, Roger Soyer, Claude Cales, Juan Soumagnas, Jean-Pierre Brossmann, and Robert Andreozzi (Nonesuch).

—S.L.

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46 Katherine Ciesinski

Highlights of Ms. Ciesinski's recent seasons have included a Verdi in France in the summer of 1982 and Die Fledermaus in the Minnesota Orchestra's Viennese Festival. She has given recitals in New York, Toronto, and other major North American music cen-

ters, as well as concerts in Cologne and in

Miami in the first New World Festival. 1982-83 appearances included the Houston and Dallas symphony orchestras, the National Arts Centre Orchestra in Ottawa, concerts in Graz, and Cost fan tutte with Kentucky Opera. Ms. Ciesinski recently appeared as

Charlotte in with both the and in Nancy, France, and she made her Opera Company of Boston debut as Octa-

vian in Der Rosenkavalier. Ms. Ciesinski first Delaware-born mezzo-soprano Katherine appeared with the Boston Symphony Orchestra

Ciesinski has won acclaim internationally and in a performance of the Mozart Requiem at at home for her performances in opera, con- Tanglewood in August 1980. She returned for cert, and recital. First-prize winner of both the Beethoven's Ninth Symphony in October 1981 Geneva International Competition and, by for the BSO's centennial performances on the unanimous decision of the judges, the Con- Boston Common and in Symphony Hall, and cours International de Chant de Paris, Ms. she sang with the orchestra most recently in Ciesinski first received national attention for Haydn's Nelson Mass at Tanglewood in 1982. her portrayal of Erika in the televised Spoleto Festival USA production of Barber's Vanessa. Her Santa Fe Opera debut as Countess Geschwitz in the American premiere of the three-act version of Berg's under accorded her interna- tional recognition, and this was followed imme- diately by her debut as Siebel in Gounod's Faust for the Chicago Lyric Opera's twenty- fifth-anniversary opening-night gala produc- tion filmed by Unitel for European and Amer- ican television. A frequent soloist with many of this country's finest orchestras, including those of Boston, Cleveland, Philadelphia, and San Francisco, Ms. Ciesinski has also been heard with the Berlin Radio Symphony, the Zurich Tonhalle, the Paris Radio Orchestra, and the Vienna Philharmonic. She has been acclaimed in recital from Paris and Hamburg to Boston and New York, and she frequently gives duet recitals with her sister, soprano

Kristine Ciesinski, another first-prize winner of the Geneva Competition.

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48 John Aler

Mr. Aler's debuts included the Vienna and Hamburg state , the Orchestre National de France, the London Philharmonic, and the National Arts Centre Orchestra of Ottawa. He also rejoined the New York Philharmonic and the opera companies of Geneva and Brussels.

John Aler's first operatic appearance in

America was as Ernesto in at the American Opera Center; since that time he has appeared with the opera companies of , St. Louis, Kentucky, Virginia, Santa Fe, Toronto, Charlotte, Portland, Milwaukee, and others. His debut was in 1981 as Don Ottavio in , and he returned later the same season to sing Arturo in Bellini's . In addition to the European theaters already listed, he has also sung at the Glyndebourne Tenor John Aler is recognized by critics and Festival, l'Opera du Rhin in Strasbourg, and audiences as one of the preeminent young the Theatre Municipal in Nancy. Mr. Aler has American singers on the music scene today. performed with virtually every major sym- He is as much at home with the bel canto phony orchestra in the United States. He is demands of Mozart, Rossini, Bellini, and also a noted recitalist, having given concerts at Donizetti as he is with the music of the the Aix-en-Provence Festival as well as in such Baroque era and of contemporary composers. major American cities as Washington, D.C., Mr. Aler's 1983-84 season consists of a series Baltimore, and Dallas, and he appears fre- of operatic and orchestral debuts and quently at such major festivals as Tanglewood, reengagements. Having made his Vienna State Saratoga, the Cincinnati May Festival, and the Opera debut in February 1983, he returns Newport Music Festival. His recordings for there for fourteen performances in three RCA include highly-praised performances of operas, Cost fan tutte, La Cenerentola, and OrfFs and Handel's // barbiere di Siviglia. Last summer he Messiah. returned for his second consecutive season at the Aix-en-Provence Festival, where he sang Born in Baltimore, John Aler earned his Hippolyte in Rameau's Hippolyte et Aricie. A bachelor's and master's degrees in voice from of this opera was given Catholic University in Washington, D.C., and at the Proms in London following the final he was a student at the Berkshire Music Cen- performance in Aix. The previous summer's ter in Tanglewood. In 1977 he was awarded performance of another Rameau opera, Les first prize for men at the Concours Interna-

Boreades, was recorded by Erato and has tional de Chant in Paris and first prize for the already been released. Mr. Aler has made singing of French art songs. With the Boston recent debut appearances with the San Diego Symphony Orchestra, Mr. Aler has sung Opera, l'Orchestre de Paris, the Rotterdam music of Monteverdi, Stravinsky, Bach, Philharmonic, and the Berlioz Festival in Haydn, Paine, Beethoven, and Berlioz. He was Lyon. A favorite at Lincoln Center's Mostly a soloist in Beethoven's Choral Fantasy on the

Mozart Festival each summer, Mr. Aler was BSO's Centennial Concert Celebration in heard last year in Mozart's version of Handel's October 1981 and appeared here most Messiah and in a concert performance of recently in April 1982 in performances of Mozart's Zaide. During the 1982-83 season, Berlioz's Requiem. 49 When Only The Best Will Do

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50 Hakan Hagegard

Opera since 1968, Mr. Hagegard has estab- lished himself as one of the most sought-after

artists of his generation. His television and recorded performances of OrfTs Carmina burana are held in particularly high regard, and his recent appearances with the orches- tras of Pittsburgh, Seattle, Cincinnati, Atlanta, Dallas, and Baltimore have exhibited a range

of repertoire from Mozart concert arias to Mahler songs to contemporary works by Dallapiccola and Ligeti. Other operatic

appearances in the United States have included Danilo in The Merry Widow at the and Rossini's Figaro for Santa Fe Opera. These are Mr. Hagegard's

first appearances with the Boston Symphony Orchestra. He returns next season to perform Alban Berg's Seven Early Songs with the

Since his introduction to the international orchestra, again under the direction of public as Papageno in Ingmar Bergman's film Seiji Ozawa. version of Die Zauberflote, Swedish lyric bari- tone Hakan Hagegard has been acclaimed for his operatic and concert appearances on three u continents. Mr. Hagegard made his Metro- politan Opera debut as Malatesta in a new production of Don Pasquale in 1978; he returned to the Met in the fall of 1982 to sing the title role of // barbiere di Siviglia and was "SEASONS... also heard in New York in duo recital with AT THE soprano Judith Blegen. This season he sang BOSTONIAN HOTEL, Wolfram in the Met's production of Wagner's MAY WELL BE Tannh'duser. Mr. Hagegard's 1983 recital tour THE BEST RESTAURANT included the Kennedy Center in Washington, IN BOSTON."

D.C., Boston, Toronto, Ann Arbor, and St. The TAB August 24, 1983 Paul, where he premiered a new song cycle by

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51 Your insurance agent will always be there, but will you recognize him?

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MAIN OFFICE: 40 Broad Street. Boston. MA 02109 Tel. (617) 426-0830 BRANCHES: Acton, Framingham, Bedford (Gail Aviation Insurance) & Falmouth (Lawrence and Motta) Personal & Business Fire/Casualty/Surety/Marine/ Auto/Homeowners/ & Engineering Services/Life & Employee Benefits Thomas Stewart

Tristan und Isolde in Rio de Janeiro, a film of Das Rheingold in Vienna with Herbert von

Karajan, the first Nick Shadow of his career in the Netherlands Opera's new production of The Rake's Progress in conjunction with the Stravinsky centenary, and Parsifal at the . The only American to sing major roles for more than a decade at

Bayreuth, and the only non-German to sing all F%» the baritone leads of The Ring there, Thomas Stewart has been called "the Wotan of his generation." In addition to Bayreuth, he has sung Ring cycles at Salzburg, Vienna, San Francisco, and the Metropolitan Opera. Since

his 1966 Metropolitan Opera debut as Ford in

Falstaff, he has returned there for nearly every role in his repertory, including the title roles of Don Giovanni and Der fiegende

Baritone Thomas Stewart has sung leading Hollander, Iago in Otello, all four villains in roles in the major opera houses of the United Les Contes d'Hoffmann, Hans Sachs in Die States and Europe in the German, Italian, and Meistersinger, and Golaud in Pelleas et French repertoire. Following performances as Melisande. Wotan in Die Walkure at the San Francisco Born in Texas, Thomas Stewart received his Opera Spring Festival and at the Hollywood music degree from Baylor University and then Bowl, Mr. Stewart began his 1983-84 season moved to New York, where his singing in the with performances at the Metropolitan Opera American premiere at Juilliard of Strauss's of Captain Balstrode in Peter Grimes, a role Ariadne aufNaxos brought his first critical he repeats on the Met's spring tour; he also acclaim. He was invited to sing at the New appeared in the Met's gala 100th anniversary York City Opera in 1954 and later that season celebration on 22 October. In Amsterdam he made his debut with the Lyric Opera of records operatic arias and gives one of several Chicago opposite Maria Callas in Lucia di joint recitals with his wife, soprano Evelyn Lammermoor. Mr. Stewart later became the Lear. A major highlight of Mr. Stewart's leading baritone with the Berlin State Opera, 1982-83 season was performing Mephi- where Wieland Wagner heard him and so stopheles in Berlioz's Damnation ofFaust invited him to sing Gunther at Bayreuth in a with Seiji Ozawa and the Boston Symphony new production of The Ring. Stepping in as Orchestra in Boston and New York. He also Amfortas for an ailing George London, he brought his renowned portrayal of Falstaff to attracted international attention leading to the Washington Opera and sang Amfortas in invitations for debuts in Vienna, Munich, and Jean-Pierre Ponnelle's new production of Paris, thus beginning his international career. Parsifal in Cologne. Mr. Stewart has recorded many of his operatic Mr. Stewart achieved one of his most impor- roles and may be heard on Deutsche Gram-

tant successes in 1981 performing the title role mophon, Columbia, Philips, and RCA records.

of Aribert Reimann's Lear in the work's Amer- He first appeared with the Boston Symphony ican premiere with the San Francisco Opera. at Tanglewood in 1954, and he has returned Other recent engagements have included there for music of Mozart and Haydn.

53 Singleness of Purpose

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54 S. Mark Aliapoulios

ciation of Singers of Teaching. A faculty mem- ber at the University of Massachusetts in Boston and at the New England Conservatory Extension Division, Mr. Aliapoulios was bari-

tone soloist in 's with the Civic Symphony Orchestra under the direction of John Oliver at Sym-

phony Hall last month. He appeared three times with the Boston Symphony Orchestra at Tanglewood in 1982, in Stravinsky's Requiem Canticles, the same composer's Mass, and the Beethoven Choral Fantasy. He also sang the Requiem Canticles under Seiji Ozawa's direction in Symphony Hall in February 1983.

Originally from South Florida, baritone S. Mark Aliapoulios received his bachelor of music degree magna cum laude from the University of Miami and his master's degree in vocal performance with honors and distinction from the New England Conservatory of Music. Since moving to Boston he has appeared as soloist on several occasions with the Boston Symphony Orchestra, the Portland Sym- phony, the MIT Choral Society, the Dedham Choral Society, the John Oliver Chorale, the 16" x 11" x 5" Tanglewood Festival Chorus, the Handel & Haydn Society, and the contemporary music N Q 9625 ensemble Alea III. A vocal fellowship student Musette Bag $190 at the Berkshire Music Center in 1982 and

1983, Mr. Aliapoulios is a member of the This roomy Glove Leather bag Boston Chamber Soloists. He performs regu- is favored by models, dancers, larly with the opera group for Young Audi- travelers and photographers. ences of Massachusetts and as a soloist at both Wellesley Hills Congregational Church and We make it in: Black, British Tan, Mocha and Tabac. Temple Isaiah in Lexington. In April 1981,

Mr. Aliapoulios was the first-place winner in Xou can order it by mail or the Opera Company of Boston Scholarship phone, and we will ship it to Competition, and he has appeared with that you from our factory at no company in minor roles during the past three extra cost. seasons. He has twice been a finalist in the New England Regional Metropolitan Opera The CoacK Store Auditions, and in December 1981 he was one 75-B Newbury Street, Boston, Mass. 021 16 of six national finalists in the Artist Awards (617) 536-2777 competition sponsored by the National Asso-

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56 Lorna Cooke deVaron

ican woman ever to have conducted a mixed

ensemble in Europe. Since then, she has con- ducted the chorus in tours throughout Europe, the United States, and Israel.

Mrs. deVaron was awarded the Graduate Society Medal in 1972 and the Award of Distinction in 1978. In 1977 and 1979 she was one of the guest conductors at the Zimriya Festival of

Choruses in Israel; while there she taught choral conducting workshops at the University of Jerusalem and received the Israeli Govern- ment Medal. She and the New England Conservatory Chorus have given concerts in Israel as part of the State of Israel's thirtieth- anniversary celebrations in 1978. In recent summers, Mrs. deVaron has conducted the Lorna Cooke deVaron, a graduate of Wellesley Conservatory Chamber Singers in concerts at College, received her .A. in music at M the Monadnock Music Festival in New Radcliffe College, where she was assistant con- Hampshire. In July 1983 she was a guest ductor of the Radcliffe Choral Society under conductor at the newly established Berkshire G. Wallace Woodworth. In 1945 she was Choral Festival in Sheffield, Massachusetts, appointed assistant professor of music at Bryn and she recently returned from Israel, where Mawr College. She to the came New England she was guest conductor of the Cameran Sing- Conservatory in 1947 and joined the faculty of ers in January and February 1984. the Berkshire Music Center at Tanglewood in 1953 after studying choral conducting there with Robert Shaw. At Tanglewood she taught choral conducting and repertoire, and she pre- pared the Festival Chorus for concerts with the Boston Symphony Orchestra.

As director of the Choral Department at the Conservatory, Mrs. deVaron teaches a grad- uate program in choral conducting, and she conducts both the Conservatory Chamber Singers and the New England Conservatory

Chorus, which she regularly prepares for its Tl(j.ox( ox aj-tcx a performances with the Boston Symphony fci\( pr^.moinnrT... Orchestra. Under her direction and in collab- oration with many world-famous conductors, recordings by the chorus have won the Grand DavioS Prix du Disque and awards from the National 269 NEWBURY STREET Academy of Recording Arts and Sciences. LUNCH Mon thru Sat. After leading the chorus on successful tours of DINNER Sun -Sat. til 11:00 i i "i.i. c o( k i \n si u\ki: Spain and the Soviet Union in 1966, Mrs. Valet parking 262-4810 All Major Credit Cards Accepted deVaron received the City of Boston Medal for Distinguished V Achievement as the first ^ / 1 Block Amer- ( DAVICS from HVNES Audrtorium )

57 "WHEN NURSING CARE BECOMES A CONSIDERATION"

Mayo Health Facilities has Residents are welcome to developed a unique alternative enjoy all of these services on a to retirement housing at the short term basis through the foot of the Blue Hills in Milton, new RESPITE CARE program. Massachusetts, offering skilled The Milton Adult Day Care nursing care in an estate Center is also an integral part setting. The Milton Health of the Milton facility. Adult Care Facility combines all the Day Care is the new trend in

benefit from ou r experience i n health care, offering to its' the development of luxury clients complete health and apartments and elegant social services. A special hotels in addition to 20 years Alzheimer's program is avail- of quality nursing care. able during trie day schedule. The new Milton facility offers Your questions and personal to its' resident's a warm and visit are welcome. We invite caring atmosphere with 1 8th you to visit seven days a week Century appointments. Total care is avail- from 9:00 a.m. to 5:00 p.m. Please call able including supportive, preventative, Marion Bibbey at 333-0600 for further rehabilitative, religious and social services information. MAYO HEALTH FACILITIES a division of The Flatley Company Division Office Milton Mayo Health Facilities Milton Health Care Facility 150 Wood Road, Braintree, MA 02 184 1200 Brush Hill Road, Milton, MA 02186 848-2000 333-0600 Locationsi'~.,»:™«,f.at: V Boston Fall River Framingham Milton Norwood Randolph 6 100 years offashion

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58 New England Conservatory Chorus

The New England Conservatory Chorus has Munch, Erich Leinsdorf, Leonard Bernstein, been performing with the Boston Symphony Aaron Copland, Robert Shaw, Nadia Orchestra for more than thirty years and has Boulanger, and . In the sum- appeared frequently with the Boston Pops mer of 1978, Lorna Cooke deVaron and the Orchestra. Founded in 1947 by director Lorna New England Conservatory Chorus were Cooke deVaron, the chorus was established to invited by the Israeli government to partici- provide professional training for future sing- pate in Israel's thirtieth-anniversary festivities. ers, music educators, and conductors and has, While in Israel the chorus made a sixteen-day in the thirty-six years since, become one of the tour of the country with major concerts in Tel country's most distinguished choral ensem- Aviv, Jerusalem, and Caesarea. This past sum- bles. The chorus has made seventeen record- mer, members of the New England Conser- ings with the Boston Symphony Orchestra for vatory Chorus took part in the Casals Festival the RCA and Deutsche Grammophon labels. in Puerto Rico, and last December the chorus Among their recent recordings are Berlioz's performed Beethoven's Mass in C in New , which won the Grand Prix York City at the invitation of the New York du Disque, and an album of American Con- Beethoven Society. temporary Choral Music for CRI. In addition, Recent Boston Symphony appearances the chorus has been awarded six other Grand have included Haydn's Seven Last Words of Prix du Disques, as well as many nominations Christ on the Cross under the direction of for awards from the Academy of Recording Antal Dorati and Haydn's Creation under the Arts and Sciences. direction of Seiji Ozawa. The New England The New England Conservatory Chorus has Conservatory Alumni Chorus, under the made extensive tours of the United States, the direction of John Hugo, joins the New England

Soviet Union, and Europe, and it has per- Conservatory Chorus for these performances formed under such distinguished conductors of Berlioz's UEnfance du Christ. as Seiji Ozawa, Sir Colin Davis, Charles

59 A music lover's guide to home improvement

Once upon a time serious stereo was a big investment. Big amplifier. Big turntable. A system that seemed to take up half the room and looked like the flight deck of a 747.

If you still have yours it's time to redecorate. Because now, ADS offers a better-looking, better sounding way to satisfy your craving for beautiful music.

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They're all fashionably matte black and sensibly engineered as slim modules, with removable rear covers that conceal outlets and cables. Place them side by side, atop one another, on a shelf, or smack in the middle of your room. Know too that future Atelier components will fit the system so that you can add or upgrade without outmoding.

If the logic of all this appeals to you as it does to us, write for information to: Analog & Digital Systems, 999 Progress Way, Wilmington, MA 01887. Or call 617-658-5100. Or better yet see your ADS dealer and make home a nicer place to come home to. AFIC A/toiiar 60 £

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***** Phone or visit us at: 100 Old Billerica Road Bedford, Massachusetts 01730 C ARLITON WILLARD VIILAGI (617) 275-8700 V 7 Owned and operated by Carleton-Willard Homes, Inc. A non-profit corporation New England Conservatory Choral Department

Lorna Cooke deVaron, Conductor John W. Hugo, Associate Conductor E. Sherwin Mackintosh, Robert Shay, and Susan Klebanow, Assistant Conductors Elizabeth A. Hart, Administrative Assistant Robert Cowles, Choral Librarian

New England Conservatory Chorus

Sopranos Altos Tenors Basses Penney Birdsong Judy Abrams Roger Ansanelli Nate Abbott Gloria Borbridge Cheryl Aittama John Bosick Frank Albinder Ellen Lawlor Bosch Rebecca Beck Edward Bryant Murray Barg Rebecca Brody Terry Becker William Cotten Richard Bernard Loretta Cammilleri Margaret Haining Cowles Reginald Didham Kevin Birch Joanne Colella Victoria Cox Scott Fraser Douglas Bond Marie Couture Patricia Cristofaro Courtney Furno Darrin Britting Paula Couture Margi Dempsey Alexander Henderson Sean Callery Fayne Fogel Christina Dietrich Richard Hoffses John Chmaj Maria Freeman Jane Farber John Hugo Steven Coolidge Jolene Hainkel Laurie Frederick Fusao Kajima Paul Couture Lori Elizabeth Hart Adrian Luces Robert Cowles Anne Harris Carlene Heath Sherwin Mackintosh Charles Gamble Anne Keaney Ruth Hodkinson Christopher Marrion Martin Gardiner Karen Lacroix Mary Kelley Brian Mirabile George Geier Carolyn Lee Ouksook Kim Wendell Purrington David Glass Kari Leon Susan Klebanow Anton Sendler Gregg Hershenson Elizabeth Mackenzie Judy Klein Carl Swanson Chip Hitchcock Claudia Mackie Kathleen Larson Robert Tirelli Kyle Hoepner Janet Mahnke Janet McGhee Anthony Vinson Chip Huhta Karen Mason Allison Mulrain Jeffrey Weinmann Alan Jordan Marianne Meyers Juliana Nash Robert Wells Jay Kuder Lisa Michel Linda Orfaly Steven Long Susan Molin Margarita Restrepo Robert Maher Zehra Otus Janet Sanderson Wayne Maugans Debra Patchell Mikako Shiokawa Mark Pearson Gina Picerno Ellen Stoddard Sebastian Salvo Renee Poirier Mary Sullivan Mark Schulman Terry Raitt Alexandra Taveras Robert Shay Anne Stollerman Sachiko Tokunaga Edward Steinhart Linda Tai Elise Trumbull Scott Street Elise Tatosian Juanita Tsu Vincent Stringer Jennifer Trimboli Jane Tsuang Richard Vallone Jeanne Walker Brian Wilson Isabel Wilson Ray Wilson Jody Wormhoudt

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Remember someone special give a seat at Symphony

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Your tax deductible contribution of $6,000 will endow and name a seat in Symphony Hall, forever associating that certain some- one with one of the world's great symphony orchestras.

For further information about named and memorial gift oppor- tunities at Symphony please call or write:

Joyce M. Serwitz Boston Symphony Orchestra Boston, Massachusetts 02115 Telephone (617) 266-1492 Inside Stories

MusicAmerica host Ron Delia Chiesa takes you "Inside the BSO 1

a series of special intermission features with members of the Boston

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

Inside the BSO

Fridays at 2pm

Saturdays at 8pm

WGBH89.7FM

64 ^^H 1983-84 SEASON SUMMARY WORKS PERFORMED DURING THE BOSTON SYMPHONY ORCHESTRA'S 1983-84 SUBSCRIPTION SEASON Week BARTOK Piano Concerto No. 2 MICHEL BEROFF, piano BEETHOVEN

Piano Concerto No. 1 in C, Op. 15 1 (Tuesday 'B') RUDOLF SERKIN, piano

Symphony No. 4 in B-flat, Op. 60

Symphony No. 5 in C minor, Op. 67 Tuesday 'B'-'CV

Providence I

Violin Concerto in D, Op. 61 4

HENRYK SZERYNG, violin BERG Three movements from the Lyric Suite 12

arranged for string orchestra

BERLIOZ

UEnfance du Christ, Sacred trilogy, Op. 25 (Words by Hector Berlioz) 22 KATHERINE CIESINSKI, mezzo-soprano; JOHN ALER, tenor; HAKAN HAGEGARD, baritone; THOMAS STEWART, baritone; S. MARK ALIAPOULIOS, baritone; NEW ENGLAND CONSERVATORY CHORUS, LORNA COOKE deVARON, conductor La Mort de Cleopatre, Scene lyrique 17 HILDEGARD BEHRENS, soprano

Les Nuits d'ete, Op. 7 FREDERICA VON STADE, mezzo-soprano

Waverley, Grand overture, Op. 1 Opening Night, Tuesday 'C

BIZET Suite from the opera Opening Night BRAHMS

Symphony No. 4 in E minor, Op. 98 1 , Tuesday 'C

Violin Concerto in D, Op. 77 21

ISAAC STERN, violin

BRITTEN

Variations on a Theme of Frank Bridge,

Op. 10, for string orchestra CARTER

Double Concerto for Harpsichord and Piano with 14 Two Chamber Orchestras URSULA OPPENS, harpsichord; GILBERT KALISH, piano

65 MORE MUSIC FORYOUR MONEY. Whether you're looking for an opera or an

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LtA and the Cotting School has a lot to give handicapped children. We offer a 12-year day school program for physically handicapped children with normal intellectual capability.

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Cotting School for Handicapped Children a private, non-profit, nonsectarian. Ch. 766-approved institution supported primarily by gifts, grants, legacies and bequests.

66 DEBUSSY La Damoiselle elue, Lyric poem, after Dante-Gabriel Rossetti FREDERICA VON STADE, mezzo-soprano; SUSANNE MENTZER, mezzo-soprano; WOMEN OF THE TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor DURUFLE

Requiem, Op. 9, for soloists, chorus, orchestra, and organ CATHERINE ROBBIN, mezzo-soprano; MICHAEL DEVLIN, bass-baritone; TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor; JAMES DAVID CHRISTIE, organ DVORAK

Symphony No. 5 in F, Op. 76 16

ELGAR

Violin Concerto in B minor, Op. 61 18 JOSEPH SILVERSTEIN, violin

FAURE Pavane, Op. 50 5 TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor

Pelleas et Melisande, Incidental music to Maeterlinck's tragedy 7 MARGARET CUSACK, soprano

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67 FRANCK Psyche, Symphonic poem with chorus 11 TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor

HARBISON

Symphony No. 1 (world premiere; commissioned by the 18

Boston Symphony Orchestra for its centennial) HAYDN

Symphony No. 73 in D, La Chasse 15 (Tuesday 'C'), 16

Symphony No. 90 in C 7

IVES

Symphony No. 3, The Camp Meeting

Three Places in New England

JANACEK

Music from the opera The Cunning Little Vixen , baritone; MARGARET CUSACK, soprano; MARCUS HADDOCK, tenor

LIEBERSON

Piano Concerto (commissioned by the Boston Symphony 21 (Thursday 'B')

Orchestra for its centennial) PETER SERKIN, piano MAHLER

Das klagende Lied, for soloists, mixed chorus, and large orchestra 13 ESTHER HINDS, soprano; JANICE TAYLOR, mezzo-soprano; DAVID RENDALL, tenor; , baritone; TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor

Symphony No. 1 in D 17

Symphony No. 4 in G 2 FREDERICA VON STADE, mezzo-soprano

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Petite Symphonic concertante for harp, harpsichord, 19

piano, and two string orchestras ANN HOBSON PILOT, harp; MARK KROLL, harpsichord; FREDERICK MOYER, piano MENDELSSOHN

Symphony No. 3 in A minor, Op. 56, Scottish 12

Violin Concerto in E minor, Op. 64 Opening Night

ITZHAK PERLMAN, violin MOZART

Piano Concerto No. 18 in B-flat, K.456 10 RUDOLF FIRKUSNY, piano

Piano Concerto No. 20 in D minor, K.466 Tuesday 'C; 3 CECILE LICAD, piano

Piano Concerto No. 21 in C, K.467 6 EMANUEL AX, piano

Symphony No. 33 in B-flat, K.319 19

Symphony No. 40 in G minor, K.550 Tuesday 'B'-'CV

Providence I

Overture to Idomeneo, Re di Creta, K.366 15 MUSSORGSKY /CORCHAKOV Pictures at an Exhibition 10

NICOLAI

Overture to The Merry Wives ofWindor 18

NIELSEN

Symphony No. 5, Op. 50 4

Overture to the comic opera Maskarade 4

PAGANINI

Moto perpetuo, Opus 1 Opening Night (encore) RAVEL Mother Goose Suite Tuesday 'B'-'CV

Providence I

La Valse, Choreographic poem 11

RESPIGHI

Brazilian Impressions 11

ROSSINI

Overture to Semiramide 17

SAINT-SAENS

Violin Concerto No. 3 in B minor, Op. 61 12

PIERRE AMOYAL, violin

SARASATE

Zigeunerweisen, Op. 20 Opening Night

ITZHAK PERLMAN, violin

69 SCHOENBERG

Concerto for Piano and Orchestra, Op. 42 15 MAURIZIO POLLINI, piano SCHUBERT

Symphony No. 4 in C minor, D.417, Tragic 19 SCHUMANN

Symphony No. 2 in C, Op. 61

SHOSTAKOVICH Symphony No. 10, Op. 93 21

SIBELIUS

Symphony No. 5 in E-flat, Op. 82

STRAUSS Symphonia Domestica, Op. 53 15

Till EulenspiegeVs Merry Pranks, Op. 28 8

MAKE SURE EVERY PERFORMANCE Dine YOU ATTEND ENDS at the garden ON A HIGH NOTE. before or after symphony End your evenings at one of the three restaurants at The Our magnificently large - Westin Hotel, Copley Place atrium garden of a restaurant for all seasons. It's The Brasserie, Turner new and just a few steps or Ten Huntington. Located away from Symphony Hall. close by in Boston s historical Dinner. Light meals, pastries Back Bay. For reservations or cocktails. We make music from 7am to 1 1pm, daily. call 262^9600. Bqviston

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70 TCHAIKOVSKY

Symphony No. 1 in G minor, Op. 13, Winter Daydreams

Manfred, Op. 58, Symphony in four scenes after the dramatic poem by Byron

TIPPETT The Mask of Time, for voices and instruments (world premiere; 20

commissioned by the Boston Symphony Orchestra for its

centennial) FAYE ROBINSON, soprano; YVONNE M1NTON, mezzo-soprano; ROBERT TEAR, tenor; JOHN CHEEK, bass-baritone; TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor

VARESE Arcana 16

VERDI

Overture to Les lepres siciliennes WAGNER Siegfried Idyll WEBER

Overture to Oberon 10 WEBERN Symphony, Op. 21

71 CONDUCTORS OF THE BOSTON SYMPHONY ORCHESTRA DURING THE 1983-84 SUBSCRIPTION SEASON Week

SEIJI OZAWA, Music Director Opening Night, 1,2,

Tues 'C, 3, 12, 13 15, 16, 18,21, 22

SIR COLIN DAVIS, Principal Guest Conductor 19,20

JOSEPH SILVERSTEIN, Assistant Conductor Tues 'B '-'CV Providence I; 14

ANDREW DAVIS 4,5 ADAM FISCHER 17

KURTMASUR 10, 11 SIMON RATTLE 6,7 MICHAEL TILSON THOMAS 8,9 r >

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72

rfft SOLOISTS WITH THE BOSTON SYMPHONY ORCHESTRA DURING THE 1983-84 SUBSCRIPTION SEASON Week

ALER, JOHN, tenor 22

ALIAPOULIOS, S. MARK, baritone 22

AMOYAL, PIERRE, violin 12 AX, EMANUEL, piano 6 BEHRENS, HILDEGARD, soprano 17 BEROFF, MICHEL, piano 8 CHEEK, JOHN, bass-baritone 20 CHRISTIE, JAMES DAVID, organ 5 CIESINSKI, KATHERINE, mezzo-soprano 22 CUSACK, MARGARET, soprano 7 DEVLIN, MICHAEL, bass-baritone 5 DUESING, DALE, baritone 7 FIRKUSNY, RUDOLF, piano 10 HADDOCK, MARCUS, tenor 7 HAGEGARD, HAKAN, baritone 22 HINDS, ESTHER, soprano 13 HYNNINEN, JORMA, baritone 13 KALISH, GILBERT, piano 14 KROLL, MARK, harpsichord 19 LICAD, CECILE, piano Tuesday 'C; 3 MENTZER, SUSANNE, mezzo-soprano 2 MINTON, YVONNE, mezzo-soprano 20 MOYER, FREDERICK, piano 19 OPPENS, URSULA, harpsichord 14

PERLMAN, ITZHAK, violin Opening Night PILOT, ANN HOBSON, harp 19 POLLINI, MAURIZIO, piano 15 RENDALL, DAVID, tenor 13 ROBBIN, CATHERINE, mezzo-soprano 5 ROBINSON, FAYE, soprano 20 SERKIN, PETER, piano 21 (Thursday 'B')

SERKIN, RUDOLF, piano 1 (Tuesday 'B')

SILVERSTEIN, JOSEPH, violin 18

STERN, ISAAC, violin 21 STEWART, THOMAS, baritone 22

SZERYNG, HENRYK, violin 4 TAYLOR, JANICE, mezzo-soprano 13 TEAR, ROBERT, tenor 20 VON STADE, FREDERICA, mezzo-soprano 2,3

NEW ENGLAND CONSERVATORY CHORUS, 22 LORNA COOKE deVARON, conductor TANGLEWOOD FESTIVAL CHORUS, 2,5, 11, 13,20 JOHN OLIVER, conductor

73 WORKS PERFORMED AT SYMPHONY HALL CHAMBER PRELUDES DURING THE 1983-84 SUBSCRIPTION SEASON Week BARTOK

Contrasts, for violin, clarinet, and piano 8

Rhapsody No. 1 for violin and piano 8 BEETHOVEN

Quintet in E-flat for piano, oboe, clarinet, horn, and bassoon, Op. 16

Sonata No. 5 in D for cello and piano, Op. 102, No. 2 1 7 /Tuesday 'B'

Sonata No. 7 in C minor for violin and piano, Op. 30, No. 2 17 /Tuesday 'B' DVORAK

Quintet in A for piano, two violins, viola, and cello, Op. 81 16

FAURE

Quartet No. 1 in C minor for piano and strings, Op. 15 FRANCK

Sonata in A for violin and piano 11 HAYDN

Trio in F-sharp minor for piano, violin, and cello, Hob. XV:26 16

m m Head of the Charles Regatta

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74 HINDEMITH

Sonata in F for viola and piano, Op. 1 1, No. 4 12

IVES

Largo for violin, clarinet, and piano MENDELSSOHN

Sonata No. 2 in D for cello and piano, Op. 58 12 MOZART

Divertimento in E-flat for violin, viola, and cello, K.563 19

Quartet in E-flat for piano, violin, viola, and cello, K.493 15

NIELSEN

Woodwind Quintet in A, Op. 43

RAVEL

Sonata for violin and piano Tuesday 'B'/'C'

Trio in A minor for violin, cello, and piano Tuesday 'B'/'C Tzigane, Concert rhapsody for violin and piano 11 SCHUBERT

Trio in B-flat for violin, viola, and cello, D.471 19 SCHUMANN

M'drchenbilder, Op. 113, for viola and piano SCHOENBERG

Phantasy for violin and piano, Op. 47 1 7 /Tuesday 'B' STRAUSS

Quartet in C minor for piano, violin, viola, and cello, Op. 13 15

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75 For rates and ''A information on BOSTON advertising in the Boston Symphony, SYMPHONY Boston Pops, ORCHESTRA and SEIJI OZAWA Music Director fx , \4 Tanglewood program books please contact:

STEVE GANAK AD REPS 51 CHURCH STREET (617)-542-6913 » BOSTON, MASS. 02116

*4H#

vityv *P&

Two years ago Decorators' Clearing House ventured into "SUCCESS ONE SALEM STREET, SWAMPSCOTT, a "Unique Concept for Fashionable Bostonians" .... discounting the posh furniture and accessories normally sold thru Interior IS OFTEN the North Shore address that creates an Decorators and Architects. These selections were seasoned MEASURED everlasting impression. The only address with Fine Art. THAT WAS GOOD! BY YOUR that uniquely offers detached single family residences with carefree condo- One year ago Decorators' Clearing House moved. The ADDRESS." "Concept" was honed as was the quality of the offerings. DCH minium style conveniences. all just And became the "In Place" for a sophisticated clientele who 20 minutes from Bostoa' Enjoy security, recognize the pieces from the pages of Architectural Digest m swimming pool, tennis, and exterior or from costly trips to New York Decorator Showrooms. The expanded to include furniture from exclusive maintenance. Now featuring sixarchitect- resources were collections not previously shown in this area. The discounts ual plans with custom variations to fulfill (and they are better than ever! ) are secondary to the convenience your every requirement With prices of not waiting months for delivery. The aware clientele beginning at $229 ,000, almost half have appreciate the selectivity of the Fine Art and realize that really Fine Art can not and should not be discounted! been sold. So don't wait Because the THAT WAS BETTER! most prestigious address is the most Clearing DCH, is adding sought after. This year Decorators' House, more space and continues to hone "The Concept" with the For further information Call: Cynthia introduction of DCH DESIGN LTD. in response to requests Pierce Associates at 581 -5070. Models for design assistance, not only to incorporate DCH's fabulous Open Daily 1 1 • 4PM. offerings, but, also, to provide The Total Design Package. For information, call 965-6668. Directions: From Boston, take 1 A to THAT IS BEST! Swampscott, Nahant exit along Lynn Shore Drive to Humphrey Street, Decorators' Clearing House Swampscott Turn Left onto Salem St. 1029 Chestnut Street Newton Upper Falls, Ma. 965-6363

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76 CHAMBER PRELUDE PERFORMERS DURING THE 1983-84 SUBSCRIPTION SEASON Week

ALDERMAN, JEAN, piano Tuesday 'B'/'C ARZEWSKI, CECYLIA, violin 11

BABCOCK, MARTHA, cello 15 BENNES, GAYE, piano 17/Tuesday 'B'

BRACKEN, NANCY, violin 5 BROWN, LILA, viola 15 CHURCHILL, MARYLOU SPEAKER, violin 19 DEVEAU, DAVID, piano 5,8

FELDMAN, RONALD, cello 16

FIEKOWSKY, SHEILA, violin 8 HADCOCK, PETER, clarinet 4,8 JEANNERET, MARC, viola 12 LEGUIA, LUIS, ceUo 17/Tuesday 'B'

LUDWIG, MARK, viola 5 MILLICAN, BRADY, piano Tuesday 'B'/'C

MOERSCHEL, JOEL, cello Tuesday 'B'/'C MOSS, PHYLLIS, piano 4

OSTROVSKY, FREDY, violin Tuesday 'B'/'C PASTERNACK, BENJAMIN, piano 11, 12, 15

PATTERSON, JEROME, cello 12

PROCTER, CAROL, cello 19

RAYKHTSAUM, AZA, violin 16

RIPLEY, ROBERT, cello 5

SCHNEIDER, ALFRED, violin 17/Tuesday 'B' SEBRING, RICHARD, horn 4

SEIGEL, HARVEY, violin 15

SHAMES, JENNY, violin Tuesday 'B'/'C SMALL, ROLAND, bassoon 4

SMITH, FENWICK, flute 4 THORSTENBERG, LAURENCE, oboe 4

URITSKY, VYACHESLAV, violin 16

WILKISON, RONALD, viola 19 YAMPOLSKY, TATIANA, piano 16

ZARETSKY, MICHAEL, viola 16

77 The Boston Symphony Orchestra gratefully acknowledges the following corpora- tions and professional organizations for their generous and important support in the past or current fiscal year. (* denotes support of at least $2,500; capitalized names denote support of at least $5,000; underscored capitalized names within the Business Leaders' listing comprise the Business Honor Roll.)

1983-84 Business Honor Roll ($10,000+)

Advanced Management Associates, Inc. Dynatech Corporation

Harvey Chet Krentzman J.P. Barger American* Telephone & Telegraph Company Gillette Company

Charles L. Brown Colman M. Mockler, Jr.

Analog Devices, Inc. John Hancock Mutual Life Insurance Company Ray Stata E. James Morton 1 Bank of Boston Liberty Mutual Insurance Company William L. Brown Melvin B. Bradshaw

Bank of New England Mobil Chemical Corporation

Roderick M. MacDougall Rawleigh Warner, Jr.

BayBanks, Inc. New England Mutual Life Insurance Company

William M. Crozier, Jr. Edward E. Phillips Boston Consulting Group, Inc. New England Telephone Company

Arthur P. Contas Gerry Freche Boston Edison Company Raytheon Company

Thomas J. Galligan, Jr. Thomas L. Phillips

Boston Globe /Affiliated Publications Red Lion Inn William 0. Taylor John H. Fitzpatrick

Cahners Publishing Company, Inc. The Signal Companies Norman Cahners Michael H. Dingman

Commercial Union Assurance Companies WCRB/Charles River Broadcasting, Inc. Howard H. Ward Richard L. Kaye Country Curtains WCVB-TV 5 Mrs. John Fitzpatrick S. James Coppersmith Devonshire Associates Wang Laboratories Weston Howland Dr. An Wang

Digital Equipment Corporation Wm. Underwood Company m Kenneth H. Olsen James D. Wells

Business Leaders ($1,000+)

Accountants Advertising/ P.R.

COOPERS & LYBRAND *Giltspur Exhibits /Boston

Vincent M. O'Reilly Thomas E. Knott, Jr. * Ernst & Whinney *Kenyon & Eckhardt

James G. Maguire Thomas J. Mahoney *Peat, Marwick, Mitchell & Company *Newsome & Company Herbert E. Morse Peter G. Osgood

TOUCHE ROSS & COMPANY Aerospace James T. McBride Northrop Corporation Joseph Yamron

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

Banking Energy BANK OF BOSTON ATLANTIC RICHFIELD COMPANY William L. Brown Robert 0. Anderson BANK OF NEW ENGLAND * Buckley & Scott Roderick M. MacDougall Charles H. Downey BAYBANKS, INC. HatofTs William M. Crozier, Jr. Sidney Hatoff Boston Five Cents Savings Bank HCW Oil & Gas Robert J. Spiller John M. Plukas *Citicorp/Citibank MOBIL CHEMICAL CORPORATION Clarke Coggeshall Rawleigh Warner, Jr. Framingham Trust Company *Yankee Oil & Gas, Inc. Anastos William^A. Graham E. Jones * Patriot Bancorporation Allyn L. Levy Finance

SHAWMUT BANK OF BOSTON Chase Econometric /Interactive Corporation William F. Craig Carl G. Wolf

STATE STREET BANK & TRUST COMPANY *Farrell, Healer & Company, Inc. William S. Edgerly Richard Farrell * United State Trust Company *The First Boston Corporation James V. Sidell George L. Shinn * Clothing Kaufman & Company Sumner Kaufman *Knapp King-Size Corporation * Leach & Garner Winthrop A. Short Philip Leach William Carter Company *Narragansett Capital Corporation Leo J. Feuer Arthur D. Little Consulting/ Management *TA Associates ADVANCED MANAGEMENT ASSOCIATES, INC. Peter A. Brooke Harvey Chet Krentzman BOSTON CONSULTING GROUP, INC. Food/ Hotel/ Restaurant

Arthur P. Contas Boston Showcase Company DEVONSHIRE ASSOCIATES Jason Starr Weston Howland * Creative Gourmets Limited * Forum Corporation Stephen E. Elmont John Humphrey *Dunkin' Donuts, Inc. LEA Group Robert M. Rosenberg Eugene Eisenberg * Howard Johnson Company

Arthur D. Little, Inc. Howard B. Johnson

John F. Magee *Johnson, O'Hare Company, Inc.

Russell Reynolds Associates, Inc. Harry O'Hare Jack Vernon OCEAN SPRAY CRANBERRIES, INC. Harold Thorkilsen Education *0'Donnell-Usen Fisheries, Corporation *Bentley College Irving Usen Gregory H. Adamian RED LION INN STANLEY H. KAPLAN EDUCATIONAL CENTER John H. Fitzpatrick Susan B. Kaplan Shaw's Supermarkets Electronics Stanton Davis *Parlex Corporation Sonesta International Hotels Corporation Herbert W. Pollack Paul Sonnabend 79 THE STOP & SHOP COMPANIES, INC. Massachusetts High Technology Council, Inc.

Avram J. Goldberg Howard R Foley WM. UNDERWOOD COMPANY * Polaroid Corporation James D. Wells William J. McCune, Jr. * Prime Computer, Inc. Furnishings/ Housewares Joe M. Henson COUNTRY CURTAINS * Printed Circuit Corporation Jane P. Fitzpatrick Peter Sarmanian Health Care/ Medicine RAYTHEON COMPANY *Haemonetics Corporation Thomas L. Phillips

Gordon F. Kingsley Systems Engineering & Manufacturing Corporation Steven Baker High Technology/ Computers Teledyne Engineering Services ANALOG DEVICES Fred C. Bailey Ray Stata Thermo Electron Corporation The Analytic Sciences Corporation Dr. George N. Hatsopoulos Dr. Arthur Gelb Transitron Electric Corporation 4 Analytical Systems Engineering Corporation David Bakalar Michael B. Rukin WANG LABORATORIES, INC. Aritech Dr. An Wang James A. Synk * Western Electric Fund AUGAT, INC. Donald E. Procknow Roger Welllington

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

*Computer Partners, Inc. Arkwright-Boston Insurance

Frederick J. Bumpus Paul J. Crowley

*Cullinet Software, Inc. COMMERCIAL UNION ASSURANCE COMPANIES Howard H. Ward John J. Cullinane * *Data Packaging Corporation Frank B. Hall & Company of Massachusetts, Inc. Otto Morningstar John B. Pepper DIGITAL EQUIPMENT CORPORATION JOHN HANCOCK MUTUAL LIFE INSURANCE COMPANY Kenneth H. Olsen E. James Morton DYNATECH CORPORATION LIBERTY MUTUAL INSURANCE COMPANY J.R Barger Melvin B. Bradshaw

*Epsilon Data Management, Inc. NEW ENGLAND MUTUAL LIFE INSURANCE COMPANY Thomas 0. Jones Edward E. Phillips The Foxboro Company PRUDENTIAL INSURANCE COMPANY OF AMERICA Bruce D. Hainsworth Robert J. Scales GTE ELECTRICAL PRODUCTS Sun Life Assurance Company of Canada John C. Avallon John D. McNeil

*GenRad, Inc. William R. Thurston Investments Henco Software Amoskeag Company Henry Cochran Joseph B. Ely * Honeywell Information Systems *Blyth Eastman Paine Webber Incorporated

William R. Smart James F. Cleary *IBM Corporation *Burr, Egan, Deleage & Company Bradford Towle Craig L. Burr Instron Corporation *E.F. Hutton & Company, Inc. Harold Hindman S. Paul Crabtree LFE Corporation Loomis Sayles & Company

Herbert Roth, Jr. Robert L. Kemp

80 Ivloseley, Hallgarten, Estabrook & Weeden, Inc. TAD Technical Services Corporation

Jl Fred S. Moseley David McGrath IjNorthland Investment Corporation TOWLE MANUFACTURING COMPANY Robert A. Danziger Leonard Florence || The Putnam Advisory Company, Inc. THE SIGNAL COMPANIES I John A. Sommers Michael H. Dingman IhjCKER, ANTHONY & R.L. DAY, INC. * Barry Wright Corporation

R. Willis Leith, Jr. Ralph Z. Sorenson Corporation (j)Woodstock Media ij Frank B. Condon General Cinema Corporation VLegal Richard A. Smith b Cesari & McKenna WBZ-TV 4 Robert A. Cesari Thomas Goodgame !|Gadsby & Hannah WCRB/CHARLES RIVER BROADCASTING, INC. U Harry Hauser Richard L. Kaye IjHERRICK & SMITH WCVB-TV 5 Malcolm D. Perkins S. James Coppersmith

||I. Stephen Samuels, PC. WNEV-TV 7/NEW ENGLAND TELEVISION B I. Stephen Samuels Seymour L. Yanoff

\\Leisure Musical Instruments

•(Heritage Travel Avedis Zildjian Company I Donald Sohn Armand Zildjian Trans National Group Services, Inc. BALDWIN PIANO & ORGAN COMPANY

Ij Alan E. Lewis R.S. Harrison

: Manufacturing Printing/ Publishing ALPHA INDUSTRIES, INC. *ADCO Publishing Company, Inc. Andrew S. Kariotis I Samuel Gorfinkle ! Bell Manufacturing Company BOSTON GLOBE/AFFILIATED PUBLICATIONS Irving W.Bell William 0. Taylor Bird Companies Boston Herald

; Joseph C.K. Breiteneicher Robert E. Page

! CABOT CORPORATION FOUNDATION, INC. CAHNERS PUBLISHING COMPANY, INC. Ruth C. Scheer ; Norman Cahners i Crane & Company CLARK-FRANKLIN-KINGSTON PRESS i Bruce Crane Lawrence Dress i Econocorp, Inc. * Daniels Printing Company Richard G. Lee i Lee Daniels

: Gans Tire Company, Inc. Houghton Mifflin Company

! David Gans Marlowe G. Teig GILLETTE COMPANY * Label Art, Inc. Colman M. Mockler, Jr. | Leonard J. Peterson : Marks International, Inc. Retailing I Harry Marks

; Millard Metal Service Center, Inc. Armen Dohanian Rugs Donald Millard Armen Dohanian

: New England Millwork Distributors, Inc. *Wm. Filene's & Sons Company

I Samuel H. Gurvitz Merwin Kaminstein

s

I Norton Company *Lee Shops, Inc. Donald R. Melville Arthur Klein

Plymouth Rubber Company, Inc. LINCOLN-MERCURY DEALERS ASSOCIATION

Maurice J. Hamilburg Al Kalish

1 Marshall's Inc. THE SPENCER COMPANIES, INC. Frank H. Benton C. Charles Marran ZAYRE CORPORATION STRIDE RITE CORPORATION Maurice Segall Arnold S. Hiatt

Transportation Science The Trans-Lease Group *Charles River Breeding Laboratories, Inc. John F. McCarthy, Jr. Henry L. Foster, D.V.M. Damon Corporation Utilities

Dr. David I. Kowosky AMERICAN TELEPHONE & TELEGRAPH Ionics, Inc. COMPANY Arthur L. Goldstein Charles L. Brown BOSTON EDISON COMPANY

Shoes Thomas J. Galligan, Jr.

*Jones & Vining, Inc. * Eastern Gas & Fuel Associates

Sven Vaule, Jr. William J. Pruyn * Mercury International Trading Corporation NEW ENGLAND TELEPHONE Irving Wiseman Gerry Freche

Why You Should Spend as Much Time Selecting a §t ^otofpAJ^I^5t^urwtt-, Volvo Garage As You Did Selecting Your Volvo:

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

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

Dinner: 6:00- 10:30 Sun. - Thurs. 6:00-12:00 Fri.-Sat. Brunch: 11:00-3:00 Sal. & Sun. Cinderella Carriage00 X, reservations: 266-3030 A little magic and lots of common sense.' 47 Smith Place, Cambridge 99 St. Botolph Street Just one minute from Fresh Pond Circle. behind the Colonnade Hotel Phone 876-1781

82 The Boston Symphony Orchestra gratefully acknowledges the following founda-

tions for their generous support. These valuable gifts are greatly appreciated.

The Lassor & Fanny Agoos Charity Fund Helen & Leo Mayer Charitable Trust Anthony Advocate Foundation William Inglis Morse Trust Frank M. Bernard Foundation, Inc. Mydans Foundation Theodore H. Barth Foundation The Nehemias Gorin Foundation The Adelaide Breed Bayrd Foundation Thomas Anthony Pappas Charity Foundation

Bezalel Foundation, Inc. Parker Charitable Foundation

Cabot Family Charitable Trust Permanent Charities Fund of Boston, Inc. Calvert Trust Olive Higgins Prouty Foundation

The Clowes Fund, Inc. A.C. Ratshesky Foundation Eastman Charitable Foundation Sasco Foundation Eaton Foundation Schrafft Charitable Trust

Orville W. Forte Charitable Foundation, Inc. George and Beatrice Sherman Family Charitable Foster Charitable Trust Trust

The Fuller Foundation, Inc. Sandra & Richard Silverman Foundation

George F. & Sybil H. Fuller Foundation The Seth Sprague Educational and Charitable The Charles Robert Gens Foundation Foundation

Kenneth J. Germeshausen Charitable Trust Stearns Charitable Trust Elizabeth Grant Trust The Stone Charitable Foundation, Inc. Greylock Foundation Gertrude W. & Edward M. Swartz Charitable

Reuben A. & Lizzie Grossman Foundation Trust Hayden Charitable Trust Webster Charitable Foundation, Inc.

The Howard Johnson Foundation Edwin S. Webster Foundation Hunt Foundation Carl A. Weyerhaeuser Trust

The John A. and Ruth E. Long Foundation Albert 0. Wilson Foundation, Inc.

MacPherson Fund, Inc.

[HE SWIIK BUILDING 20 Park Plaza, Boston, MA 02 116 JAPANESE*

Prime office space offering FRENCH CUISINE

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

83 In concert with the people of Boston, our solute to the proud trodltion of the Boston Symphony Orchestro . . . end our best wishes for o triumphont hundred-ond-third seoson. Jordan marsh W& %c& I A un,t of Allied Stores Sheet music courtesy of Boston Music Connpany

84 Symphony Hall Information . . .

FOR SYMPHONY HALL CONCERT AND concerts (subscription concerts only). The

TICKET INFORMATION, call (617) continued low price of the Saturday tickets is 266-1492. For Boston Symphony concert pro- assured through the generosity of two anony- gram information, call "C-O-N-C-E-R-T." mous donors. The Rush Tickets are sold at $4.50 each, one to a customer, at the Sym- THE BOSTON SYMPHONY performs ten phony Hall West Entrance on Fridays begin- months a year, in Symphony Hall and at ning 9 a.m. and Saturdays beginning 5 p.m. Tanglewood. For information about any of the orchestra's activities, please call Symphony LATECOMERS will be seated by the ushers

Hall, or write the Boston Symphony Orches- during the first convenient pause in the pro- tra, Symphony Hall, Boston, MA 02115. gram. Those who wish to leave before the end of the concert are asked to do so between THE EUNICE S. AND JULIAN COHEN program pieces in order not to disturb other ANNEX, adjacent to Symphony Hall on patrons. Huntington Avenue, may be entered by the Symphony Hall West Entrance on Huntington SMOKING IS NOT PERMITTED in any part Avenue. of the Symphony Hall auditorium or in the FOR SYMPHONY HALL RENTAL INFOR- surrounding corridors. It is permitted only in the Cabot-Cahners and Hatch rooms, and in MATION, call (617) 266-1492, or write the the main lobby on Massachusetts Avenue. Hall Manager, Symphony Hall, Boston, MA 02115. CAMERA AND RECORDING EQUIPMENT may not be brought into Symphony Hall dur- THE BOX OFFICE is open from 10 a.m. until ing concerts. 6 p.m. Monday through Saturday; on concert evenings, it remains open through intermission FACILITIES for both men and for BSO events or just past starting-time for women are available in the Cohen Annex near other events. In addition, the box office opens the Symphony Hall West Entrance on Hunt-

Sunday at 1 p.m. when there is a concert that ington Avenue. On-call physicians attending afternoon or evening. Single tickets for all concerts should leave their names and seat Boston Symphony concerts go on sale twenty- locations at the switchboard near the Massa- eight days before a given concert once a series chusetts Avenue entrance. has begun, and phone reservations will be accepted. For outside events at Symphony Hall, tickets will be available three weeks before the concert. No phone orders will be accepted for these events.

TICKET RESALE: If for some reason you are unable to attend a Boston Symphony concert for which you hold a ticket, you may make your ticket available for resale by calling the switchboard. This helps bring needed revenue to the orchestra and makes your seat available to someone who wants to attend the concert. A mailed receipt will acknowledge your tax- deductible contribution.

RUSH SEATS: There are a limited number of Rush Tickets available for the Friday-after- noon and Saturday-evening Boston Symphony

85

WHEELCHAIR ACCESS to Symphony Hall is BOSTON SYMPHONY BROADCASTS: Con- available at the West Entrance to the Cohen certs of the Boston Symphony Orchestra are Annex. heard by delayed broadcast in many parts of the United States and Canada, as well as AN ELEVATOR is located outside the Hatch internationally, through the Boston Symphony

and Cabot-Cahners rooms on the Massachu- Transcription Trust. In addition, Friday after- setts Avenue side of the building. noon concerts are broadcast live by WGBH- FM (Boston 89.7), WMEA-FM (Portland are located on the orches- LADIES' ROOMS 90.1), WAMC-FM (Albany 90.3), WMEH- tra level, audience-left, at the stage end of the FM (Bangor 90.9), and WMEM-FM (Presque hall, the first-balcony level, audience- and on Isle 106.1). Live Saturday-evening broadcasts right, outside the Cabot-Cahners Room near are carried by WGBH-FM, WCRB-FM the elevator. (Boston 102.5), WFCR-FM (Amherst 88.5), and WPBH-FM (Hartford 90.5). If Boston MEN'S ROOMS are located on the orchestra f Symphony concerts are not heard regularly in level, audience-right, outside the Hatch Room your home area and you would like them to near the elevator, and on the first-balcony be, please call WCRB Productions at (617) level, audience-left, outside the Cabot-Cahners 893-7080. WCRB will be glad to work with Room near the coatroom. you and try to get the BSO on the air in your area. COATROOMS are located on the orchestra and first-balcony levels, audience-left, outside BSO FRIENDS: The Friends are supporters of the Hatch and Cabot-Cahners rooms. The the Boston Symphony, active in all of its en-

BSO is not responsible for personal apparel or deavors. Friends receive BSO, the orchestra's other property of patrons. newsletter, as well as priority ticket informa- tion. For information, please call the Friends' LOUNGES AND BAR SERVICE: There are Office at Symphony Hall weekdays between 9 two lounges in Symphony Hall. The Hatch and 5. If you are already a Friend and would Room on the orchestra level and the Cabot- like to change your address, please send your Cahners Room on the first-balcony level serve new address with your newsletter label to the drinks starting one hour before each perfor- Development Office, Symphony Hall, Boston, mance. For the Friday-afternoon concerts, MA 02115. Including the mailing label will both rooms open at 12:15, with sandwiches assure a quick and accurate change of address

available until concert time. in our files.

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