Boston Symphony Orchestra Concert Programs, Season 119, 1999-2000

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CORTLAND Hammond SOTHEBY'S PROPERTIES INC. ESIDENTIAL International Realty Seiji Ozawa, Music Director Ray and Maria Stata Music Directorship Bernard Haitink, Principal Guest Conductor One Hundred and Nineteenth Season, 1999-2000

Trustees of the Boston Symphony Orchestra, Inc.

Peter A. Brooke, Chairman Dr. Nicholas T. Zervas, President

Julian Cohen, Vice-Chairman Harvey Chet Krentzman, Vice-Chairman Deborah B. Davis, Vice-Chairman Vincent M. O'Reilly, Treasurer Nina L. Doggett, Vice-Chairman Ray Stata, Vice-Chairman

Harlan E. Anderson William F. Connell George Krupp Robert P. O'Block,

Diane M. Austin, Nancy J. Fitzpatrick R. Willis Leith, Jr. ex-officio ex-qfficio Charles K. Gifford Ed Linde Peter C. Read

Gabriella Beranek Avram J. Goldberg Mrs. August R. Meyer Hannah H. Schneider Jan Brett Thelma E. Goldberg Richard P. Morse Thomas G. Sternberg James F. Cleary Julian T. Houston Mrs. Robert B. Stephen R. Weiner

John F. Cogan, Jr. Edna S. Kalman Newman Life Trustees

" Vernon R. Alden Mrs. Edith L. Dabney Mrs. John L. Grandin 1 Mrs. George Lee

David B. Arnold, Jr. Nelson J. Darling, Jr. Mrs. George I. Kaplan Sargent

J. P. Barger Archie C. Epps George H. Kidder Richard A. Smith

Leo L. Beranek Mrs. John H. Fitzpatrick William J. Poorvu John Hoyt Stookey Abram T. Collier Dean W. Freed Irving W. Rabb John L. Thorndike

Other Officers of the Corporation

Thomas D. May and John Ex Rodgers, Assistant Treasurers Daniel P. Breen, Clerk

Board of Overseers of the Boston Symphony Orchestra, Inc.

Robert P. O'Block, Chairman

Helaine B. Allen Francis A. Doyle Steven E. Karol Patrick J. Purcell Joel B. Alvord Goetz B. Eaton Nan Bennett Kay Carol Reich

Amanda Barbour Amis William R. Elfers Frances Demoulas William D. Roddy, Jr.

Marjorie Arons-Barron George M. Elvin Kettenbach Edward I. Rudman Caroline Dwight Bain Pamela D. Everhart Douglas A. Kingsley Roger A. Saunders

George W. Berry J. Richard Fennell David I. Kosowsky Carol Scheifele-Holmes Lynda Schubert Bodman Lawrence K. Fish Dr. Arthur R. Kravitz Roger T Servison Mark G. Borden Thomas B. Fitzpatrick, Florence Ladd Ross E. Sherbrooke William L. Boyan M.D. Mrs. William D. L. Scott Singleton Alan Bressler Myrna H. Freedman Larkin, Jr. Gilda Slifka Robin A. Brown A. Alan Friedberg Barbara Lee Mrs. Micho Spring Samuel B. Bruskin Dr. Arthur Gelb Thomas H. Lee Charles A. Stakeley

William Burgin Mrs. Kenneth J. Alexander M. Levine Jacquelynne M.

Paul Buttenwieser Germeshausen Christopher J. Lindop Stepanian Dr. Edmund B. Cabot Mark R. Goldweitz Edwin N. London Samuel Thorne Mrs. Marshall Nichols Michael Halperson Diane H. Lupean Bill Van Faasen Carter John P. Hamill Carmine Martignetti Loet A. Velmans Earle M. Chiles Deborah M. Hauser Barbara E. Maze Paul M. Verrochi Mrs. James C. Collias Carol Henderson Thomas McCann Stephen R. Weber Eric D. Collins Phyllis S. Hubbard Patricia McGovern Robert S. Weil Martha H.W F. Donald Hudson Joseph C. McNay Robert A. Wells Crowninshield Roger Hunt Nathan R. Miller Mrs. Joan D. Wheeler Diddy Cullinane Ernest Jacquet Molly Beals Millman Reginald H. White Joan P. Curhan Lola Jaffe Robert T. O'Connell Margaret Williams- Tamara P. Davis Mrs. Robert M. Jaffe Norio Ohga DeCelles

Mrs. Miguel de Braganca Charles H. Jenkins, Jr. Louis F. Orsatti Robin Wilson Disque Deane Michael Joyce May H. Pierce Robert Winters Betsy P. Demirjian Dr. Hisashi Kaneko Dr. Tina Young Kathryn A. Wong JoAnne Walton Martin S. Kaplan Poussaint Richard Wurtman, M.D. Dickinson Susan Beth Kaplan Gloria Moody Press

Harry Ellis Dickson William M. Karlyn Millard H. Pryor, Jr. + Deceased Overseers Emeriti

Mrs. Weston Adams Jordan Golding Robert K. Kraft Robert E. Remis Sandra Bakalar Mrs. Haskell R. Benjamin H. Lacy Mrs. Peter van S. Rice Bruce A. Beal Gordon Mrs. Hart D. Leavitt John Ex Rodgers William M. Bulger Susan D. Hall Laurence Lesser Mrs. Jerome Rosenfeld Mrs. Levin H. Mrs. Richard D. Hill Frederick H. Angelica L. Russell

Campbell Susan M. Hilles Lovejoy, Jr. Francis P. Sears, Jr. Johns H. Congdon Glen H. Hiner Mrs. Charles P. Lyman Mrs. Carl Shapiro William H. Congleton Marilyn Brachman Mrs. Harry L. Marks Mrs. Donald B. Phyllis Curtin Hoffman Hanae Mori Sinclair Phyllis Dohanian H. Eugene Jones Patricia Morse Ralph Z. Sorenson

Harriett Eckstein Leonard Kaplan Mrs. Hiroshi H. Mrs. Arthur I. Strang Edward Eskandarian Mrs. S. Charles Kasdon Nishino Mrs. Thomas H.P Peter H.B. Frelinghuysen Richard L. Kaye Andrall S. Pearson Whitney Mrs. Thomas Robert D. King John A. Perkins Mrs. Donald B. Wilson

Galligan, Jr. Mrs. Gordon F. David R. Pokross Mrs. John J. Wilson Mrs. James Garivaltis Kingsley Daphne Brooks Prout

Business Leadership Association Board of Directors

William F. Connell, Chairman Leo L. Beranek, James F. Cleary, and Charles K. Gifford, President Harvey Chet Krentzman, Chairmen Emeriti

Lynda S. Bodman William R. Elfers Edmund Kelly Roger T. Servison

Robin A. Brown Lawrence K. Fish Michael J. Joyce Malcolm L. Sherman

Diane Capstaff Nancy J. Fitzpatrick Christopher J. Lindop Ray Stata

Martha H.W. Bink Garrison J. Kent McHose Thomas Tierney Crowninshield John P. Hamill Joseph McNay William Van Faasen

Diddy Cullinane Steven E. Karol Patrick J. Purcell Paul M. Verrochi Francis A. Doyle

Ex-Ojficio Peter A. Brooke, Nicholas T. Zervas, Robert P. O'Block

Officers of the Boston Symphony Association of Volunteers Diane Austin, President Harry Methven, Executive Vice-President/ William A. Along, Executive Vice-President/ Tanglewood Administration Charles W. Jack, Treasurer Elizabeth Eaton, Executive Vice-President/ Goetz B. Eaton, Nominating Fundraising Committee Chairman

Michael Flippin, Resource Judith E. Mosse, Education and Debra Sulser and Nancy Ferguson, Development Outreach Fundraising Projects Muriel Lazzarini, Tanglewood Doreen M. Reis, Public Relations Elizabeth C. Sweitzer, Hall Services Deanna Schoenly, Membership

Recent Gifts to the Archives

I Each year the BSO Archives receives as gifts a rich assortment of historical docu- I ments, photographs, sound recordings, and other memorabilia relating to the orchestras history. A sampling of these gifts is currently on display in the Cohen Wing dis- m' hI Up I ^J 9 play cases, representing gifts received from current and former BSO members, and

'/ A .rmk^ 1 gifts relating to Tanglewood, the BSO's summer home. Two items are pictured here: a 1936 caricature by Martha Powell Satchell of the BSO under Serge Koussevitzky, donated by former BSO

list Robert Ripley; and a Whitestone photo of pianist Van Cliburn and then music director Erich Leinsdorf after a 1963 Tanglewood performance of Brahms's Piano Concerto No. 2, part of a large collection donated to the Archives in 1995 by the Eagle Publishing Company. Administration Mark Volpe, Managing Director Eunice and Julian Cohen Managing Directorship, fully funded in perpetuity

Tony Beadle, Manager, Boston Pops Thomas D. May, Director of Finance and Business Affairs J. Carey Bloomfield, Director of Development Anthony Fogg, Artistic Administrator Caroline Smedvig, Director of Public Marion Gardner-Saxe, Director of Human Resources Relations and Marketing Ellen Highstein, Director ofTanglewood Music Center Ray F. Wellbaum, Orchestra Manager

ADMINISTRATIVE STAFF/ARTISTIC

Dennis Alves, Artistic Coordinator, Boston Pops • Faith Hunter, Executive Assistant to the Managing Director • Karen Leopardi, Artist Assistant/Secretary to the Music Director • Vincenzo Natale, Chauffeur/ Valet • Alexander Steinbeis, Artistic Administration Coordinator

ADMINISTRATIVE STAFF/ PRODUCTION Christopher W. Ruigomez, Operations Manager Felicia A. Burrey, Chorus Manager • Keith Elder, Production Coordinator • Jana Gimenez, Operations

Coordinator/Assistant to the Conductor, Boston Pops • Stephanie Kluter, Assistant to the Orchestra Manager • Amy Sistek, Assistant Operations Manager • Timothy Tsukamoto, Orchestra Personnel Coordinator

BOX OFFICE

Russell M. Hodsdon, Manager of Box Office

Mary J. Broussard, Clerk • Cary Eyges, Clerk • Lawrence Fraher, Clerk • Kathleen Kennedy, Assistant Manager of Box Office • Arthur Ryan, Clerk

BUSINESS OFFICE

Sarah J. Harrington, Manager of Planning and Budgeting Craig R. Kaplan, Controller Roberta Kennedy, Manager, Symphony Shop

Lamees Al-Noman, Cash Accountant • Yaneris Briggs, Accounts Payable Supervisor • Yuelei Chen, Senior Accountant • Michelle Green, Executive Assistant to the Director of Finance and Business Affairs • Scott Langill, Accounting Manager • Maya Levy, Budget Assistant • Pam Netherwood, Assistant Manager, Symphony Shop • John O'Callaghan, Payroll Accountant DEVELOPMENT

Ellen-Marie Bonner, Director of Development Administration and Services Daniel P. Breen, Senior Development Officer Madelyne Cuddeback, Director of Corporate Programs Jo Frances Kaplan, Director of Foundation and Government Support

Howard L. Breslau, Major Gifts Officer • Catherine M. Czerwinski, Administrative Assistant, Major Gifts and Planned Giving • Sally Dale, Manager of Development Operations and Stewardship • Rebecca Ehr- hardt, Senior Major Gifts Officer • Sandra Eyre, Tanglewood Development Coordinator • Sarah Fitzgerald,

Supervisor of Gift Processing and Donor Records • Kate M. Gerlach, Major Gifts Officer • Megan Gillick, Assistant Director, Tanglewood Development • Deborah Hersey, Manager of Development Information Systems • Laura Hoag, Program Coordinator, Corporate Programs • Mary Hubbell, Development Research Assistant • Karen Jupiter, Assistant Director, Boston Symphony Annual Fund • Justin Kelly, Data Produc- tion Coordinator • Patricia Kramer, Program Manager, Corporate Programs • Robert McGill, Grants

Coordinator • Robert McGrath, Major Gifts Coordinator • Suzanne Page, Executive Assistant to the Director of Development • Elizabeth Parsons, Campaign Events Manager • Danielle Pelot, Administrative Assistant, Boston Symphony Annual Fund • Gerrit Petersen, Associate Director, Foundation and Government

Support * Cary Rosko, Administrative Assistant, Corporate Programs • George Saulnier, Gift Processing and Donor Records Assistant • Dean A. Schwartz, Planned Giving Officer • Julie Schwartz, Director, Boston S) in phony Annual Fund • Phoebe Slanetz, Assistant Director of Development Research • Stacey Stevens, Receptionist/Administrative Assistant • Mary E. Thomson, Program Manager, Corporate Programs • Tracy Wilson, Director of Tanglewood Development, and Community Relations

Programs copyright (02000 Boston Symphony Orchestra, Inc. Cover design l>y SametZ Blackstone Associates. Boston/Cover photography by Constanlinc Manos EDUCATION AND COMMUNITY PROGRAMS/ARCHIVES

Myran Parker-Brass, Administrator of Youth Activities and Community Programs

Bridget P. Carr, Archivist—Position endowed by Caroline Dwight Bain

Amy Brogna, Coordinator of Education Programs • Walter Ross, Administrative Assistant, Education

Programs . FUNCTIONS OFFICE Cheryl Silvia Lopes, Function Manager Lesley Ann Cefalo, Assistant Function Manager • Sid Guidicianne, Front of House Manager • Kerry Nee, Assistant to the Function Manager • Jessiea Ricci, Tanglewood Function Coordinator HUMAN RESOURCES

Anna Asphar, Benefits Manager • Meghan Cahill, Human Resources Representative INFORMATION SYSTEMS MANAGEMENT

Robert Bell, Manager of Information Systems

Andrew Cordero, Special Projects Coordinator • John Lindberg, Help Desk Administrator • Michael Pijoan, Assistant Manager of Information Systems • Brian Van Sickle, Y2K Project Coordinator PUBLIC RELATIONS

Bernadette M. Horgan, Director of Media Relations

Susanna Bonta, Media Relations Coordinator • Caleb Cochran, Media Relations Assistant/Assistant to

the Director of Public Relations and Marketing • Sean J. Kerrigan, Media Relations Associate • Whitney Wilcox, Administrative Assistant PUBLICATIONS

Marc Mandel, Director of Program Publications Robert Kirzinger, Publications Associate • Eleanor Hayes McGourty, Publications Coordinator/Boston Pops Program Editor SALES, SUBSCRIPTION, AND MARKETING

Kim Noltemy, Director of Sales and Marketing Programs Helen N.H. Brady, Tourism & Group Sales Manager • Carolyn Cantin, Group Sales Coordinator • Rebecca Chalk, Manager of Print Production and Retail Promotion • Susanna Concha, Manager of Advertising and Tourism Promotion • Susan Dunham, SymphonyCharge Assistant • B. Victoria Johnson, Senior Subscription Representative • Jennifer Loupe, Subscription Representative • Mara Luzzo, Manager of Subscriptions and Telemarketing Programs * Jason Lyon, Ticket Exchange/Customer Service Assistant, Sym- phony/Charge • Sarah L. Manoog, Marketing Manager • Michael Miller, SymphonyCharge Manager • Julie Quinlan, Assistant Subscription Manager • John P. Ryan, Marketing Coordinator SYMPHONY HALL OPERATIONS

Robert L. Gleason, Facilities Manager

H.R. Costa, Technical Supervisor • Michael Finlan, Switchboard Supervisor • Wilmoth A. Griffiths, Supervisor of Facilities Support Services * Catherine Lawlor, Administrative Assistant • John MacMinn, Supervisor of Building Maintenance • William D. McDonnell, Chief Steward • Cleveland Morrison, Stage Manager • Shawn Wilder, Mailroom Clerk

House Crew Charles F Cassell, Jr. • Francis Castillo • Thomas Davenport • John Demick, Stage Coordinator • Michael Frazier • Hank Green • Juan Jimenez • William P. Morrill • Mark C. Rawson Security Christopher Bartlett • Matthew Connolly, Security Supervisor • Tyrone Tyrell Cleaning Crew Desmond Boland • Clifford Collins • Angelo Flores • Rudolph Lewis • Robert MacGilvray • Lindel Milton, Lead Cleaner TANGLEWOOD MUSIC CENTER

Patricia Brown, Associate Director • Katherine A. Lempert, Manager of Student Services and Alumni Relations TANGLEWOOD OPERATIONS

David P. Sturma, Director of Tanglewood Facilities and BSO Liaison to the Berkshires VOLUNTEER OFFICE

Patricia Krol, Director of Volunteer Services

Coreen Wilson, Project Coordinator

I Society from its inception and regularly BSO attended special events, including the lun- cheon in the spring of 1987 for those who Boston Chamber Players Symphony had been attending BSO concerts for fifty Sunday, January 16, at 3 p.m. years or more. The Tanglewood Music Cen- at Hall Jordan ter was very important to her; in 1983 she The Boston Symphony Chamber Players play endowed two Guarantor Fellowships—the the second of their three concerts this sea- Fernand Gillet Fellowship for an oboe stu- son at Jordan Hall at the New England Con- dent and the Marie L. Audet Gillet Fellow- servatory on Sunday, January 16, at 3 p.m., ship for a piano student. an all-Mozart program including the Sere- Born in Paris, oboist Fernand Gillet nade in C minor for winds, K.388, the Duo (1882-1980) performed with the Lamoureux in B-flat for violin and viola, K.424, and the Orchestra and the Paris Grand Opera before G minor string quintet, K.516. The Chamber Serge Koussevitzky invited him to join the Players will close their Jordan Hall series Boston Symphony Orchestra in 1925 as prin- on Sunday, March 12, with music of Mozart, cipal oboe, a position he held for twenty-one Janacek, and Brahms. Tickets for both these years. During the course of his seventy-five- concerts at $28, $21, and $16 are available year teaching career he served on the facul- through SymphonyCharge at (617) 266-1200, ties of the Tanglewood Music Center, the at the Symphony Hall box office, or, on the New England Conservatory, and Boston Uni- day of the concert, at the Jordan Hall box versity; the New England Conservatory and office. the Eastman School of Music presented him with honorary Doctor of Music degrees; and The Marie L. Audet Gillet and he published several technical methods for Fernand Gillet Concerts oboe in his native France. Mr. Gillet was January 14 and 15, 2000 awarded the Croix de Guerre for his service in the French Flying Corps during In recognition of a bequest from Marie L. World War I. Audet Gillet, the first pair of Friday-afternoon and Saturday-evening Boston Symphony Pre-Concert Talks concerts of the new year is dedicated to the memory of Mrs. Gillet and her husband, the Pre-concert talks available free of charge to late Fernand Gillet, who was the BSO's prin- BSO ticket holders continue this season at cipal oboe from 1925 to 1946. Mrs. Gillet's Symphony Hall. "Concert Previews" begin bequest will be used to endow in perpetuity at 7 p.m, one hour before selected evening two subscription concerts each year, in mem- concerts in Symphony Hall. "Friday Pre- ory of her and her husband. The first such views" on selected Friday afternoons take concerts were given in January 1990. place from 12:15-1 p.m. also in Symphony Throughout her eighty-nine years, Marie Hall. (Note that the "Friday Previews" have Gillet was surrounded by glorious music been moved from Higginson Hall to accom- that brought her much joy and pleasure. modate the need for additional seating.) En- Married to Fernand Gillet for almost fifty hanced by taped musical examples, these years, she devoted much of her life to teach- talks are given throughout the season by ing piano privately and at the New England BSO Director of Program Publications Marc Conservatory of Music, and attending Bos- Mandel and a number of guest speakers from ton Symphony concerts in Symphony Hall Boston's musical community. The dates and and at Tanglewood. She maintained a very times for these talks are printed on BSO con- special relationship with several of her cert tickets for the relevant dates and are "pupils" until her death in October 1988. also included in the BSO's 1999-2000 pro- Mrs. Gillet's love for and devotion to the gram schedule. In January, Andrea 01m- Boston Symphony Orchestra spanned more stead discusses Ravel, Liszt, and Debussy, than sixty years. A faithful subscriber to the and talks with composer Bright Sheng about Friday-afternoon concerts through the 1987 his new BSO commission Red Silk Dance season, she was a member of the Higginson (Thursday and Friday evenings, January 6 and 7); John Daverio discusses Prokofiev the University of Massachusetts at Dartmouth; and Mozart, and talks with composer George the Kennedy Library, Museum of Afro-Ameri- Rochberg about the latter's Transcendental can History, and Twelfth Baptist Church, all Variations (Thursday evening, January 13; in Boston; Frank Wiggins Auditorium in Pea- Friday afternoon, January 14; Saturday eve- body City Hall, and the Unitarian Church

ning, January 15); Marc Mandel discusses in Sharon. The next community concert is Mozart and Dvorak, and talks with compos- scheduled for Sunday, February 6, at the er Julian Anderson about the latter's The Museum of Afro-American History. The pro- Stations of the Sun (Thursday evening, Janu- gram will include Beethoven's Quintet in ary 20; Friday afternoon, January 21; Satur- E-flat for piano and winds, Opus 16, Oily day evening, January 22); and Jan Swafford Wilson's Echoes for clarinet and tape, and discusses Dvorak, Bartok, and Brahms Poulenc's Sextet for winds, with pianist Sally (Thursday, Friday, and Saturday evenings, Pinkas and BSO wind players Fenwick Smith, January 27, 28, 29). flute, Mark McEwen, oboe, Thomas Martin, clarinet, Richard Ranti, bassoon, and Jona- BSO Community Concerts than Menkis, horn. For further information, call (617) 638-9375. The Boston Symphony Orchestra is pleased to offer free chamber music performances Art in Support of Art on Sunday afternoons at 3 p.m. at various locations throughout greater Boston and out- Throughout the 1999-2000 season, as Sym- lying areas. Supported by a generous grant phony Hall resounds with music, the Cabot- from State Street Bank, these Community Cahners Room is filled with works of art, Concerts are scheduled at accessible venues continuing the long-standing tradition of that vary from year to year in order to reach bringing visual pleasure to the concert- the broadest possible audience. This year's going public and especially the art collec- venues reflect the wide reach of this program: tors among them. Sponsored by the Boston

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JEWELERS

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Symphony Association of Volunteers, the uary 23, at 3 p.m. at the James Library Cen- shows for the 1999-2000 season continue ter for the Arts in Norwell. Admission is $10 with an exhibition through January 24 of ($8 students and seniors). For more infor- paintings by Pamela Johnson, Paul George, mation call (508) 358-4598. and Susan Woodman. Maine artist Pamela BSO violinist Tatiana Dimitriades and

Johnson is exhibiting oil paintings depicting pianist Jonathan Bass perform a recital in scenes from some of her favorite places, the Jordan Hall at the New England Conserva- coast and woodlands of Maine and the farm- tory of Music on Wednesday, January 26, lands of Nantucket, Massachusetts. Paul at 8 p.m. The program includes Schubert's George is owner of the George Gallery in Sonatina in A minor, Janacek's Violin Son- Gloucester, Massachusetts, and a member ata, Beethoven's G major violin sonata, Opus of the New England Watercolor Society. The 96, and Ravel's Sonata for violin and piano. Boston debut of Susan Woodman's paintings Admission is free. came in 1991 with a group show at the deHavilland Gallery, where she subsequent- Prelude Concerts and ly had a one-woman show of her oil paint- Chamber Music Teas ings. This show will be followed by an exhi- Concerts bition of oil paintings by Fred MacNeill and Prelude and Chamber Music Teas offer chamber music performed by Maris Platais (January 24-March 6). If you members are interested in purchasing any of the of the Boston Symphony Orchestra on select- works for sale, or would like additional in- ed dates throughout the season. The hour- formation about the artists, please ask the long Prelude Concerts begin at 6 p.m. in art volunteer present during concert time, or the Cabot-Cahners Room; tickets are $10. call Coreen Wilson in the Volunteer Office Though dinner is not included, patrons are encouraged to dine at at (617) 638-9391. the Symphony Cafe in the Cohen Wing. Chamber Music Teas, BSO Members in Concert scheduled on six non-Symphony Friday afternoons, offer tea and coffee, baked re- Founded by BSO cellist Jonathan Miller, the freshments, and an hour-long chamber music Boston Artists Ensemble performs Haydn's performance by BSO members. Tickets are Duo for Violin and Cello, Ravel's Piano Trio, $12; doors open at 1:30, and the concert and Franck's F minor quintet for piano and begins at 2:30. strings on Friday, January 21, at 8 p.m. at For the next Chamber Music Tea, on Fri- the Peabody Essex Museum in Salem, and day, January 28, at 2:30 p.m., BSO members on Sunday, Trinity January 23, at 2:30 p.m. at Thomas Martin and Lucia Lin perform Bar- Church in Newton Centre. The performers tok's Contrasts for clarinet, violin, and piano are violinists Arturo Delmoni Sharan and with guest pianist Ayako Yoda, who also Leventhal, violist Burton Fine, pianist Lois joins BSO members Si-Jing Huang, Ronald Shapiro, and Mr. Miller. Tickets are $20 Wilkison, and Ronald Feldman for Dvorak's ($17 students and seniors). For more infor- Piano Quartet No. 2 in E-flat, Opus 7. This mation call (617) 964-6553. program will be repeated in the Prelude Con- The Walden Chamber Players includ- — cert of Saturday, January 29, at 6 p.m. ing violinists Nurit Bar-Josef and Jennifer Elowitch, violist Christof Huebner, cellist In Case of Snow. . Theresa Borsodi, and double bass player Lawrence Wolfe—perform Haydn's D major To find out the status of a Boston Symphony string quartet, Opus 76, No. 5, Mendels- concert and options available to you in case sohn's String Quartet No. 1 in E-flat, Opus of a snow emergency, BSO subscribers and 12, Paganini's Variations on One String on a patrons may call a special Symphony Hall Theme of Rossini for double bass and string number. Patrons may dial (617) 638-9495 at quartet, and Shostakovich's String Quartet any time for a recorded message regarding No. 8 in C minor, Opus 110, on Sunday, Jan- the current status of a concert. B SO 2 O O O

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BSO 2000, the $l30-million campaign now under way -

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established role as a musi- L dB M cal leader and educator into V the next century. **^^B

*'''' %''- ;•. BSO 2000 offers special ; ^ lL opportunities to support

the many facets of the

BSO's mission, from the

sponsorship of guest artist ^

appearances and Youth :: 1 i fu Concerts to the endowment ^y fflj j of orchestra players' posi-

tions and the Symphony's

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TJ 1 contact Director of Develop- o o 1 ment Carey Bloomfield at -< (617) 638-9250. 1 ' I 1

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I SEUI OZAWA

The 1999-2000 season is Seiji Ozawa's twenty-seventh as music director of the Boston Symphony Orchestra. Since assuming that position in 1973 he has devoted himself to the orchestra for more than a quarter-century, the longest tenure of any music director currently active with a major orchestra. In recent years, numerous honors and achievements have underscored Mr. Ozawa's standing on the international music scene. In December 1998 he was named a Chevalier de la Legion d'Honneur by French President Jacques Chirac. In December 1997 he was named "Musician of the Year" by Musical America. In February 1998, fulfilling a longtime goal of uniting musicians across the globe, he closed the Opening Ceremonies at the Winter Olympics in Nagano, Japan, leading the "Ode to Joy" from Beethoven's Ninth Symphony with performers including six choruses on five continents linked by satellite. In 1994 he became the first recipient of Japan's Inouye Sho ("Inouye Award") for lifetime achievement in the arts. Also that year, Seiji Ozawa Hall was opened at Tanglewood, the BSO's summer home, where Mr. Ozawa has also played a key role as both teacher and administrator at the Tanglewood Music Center, the orchestra's summer training academy for young professional musicians. In 1992 he co-founded the Saito Kinen Festival in Matsumoto, Japan, in memory of Hideo Saito, his teacher at Tokyo's Toho School of Music. Also in 1992 he made his debut with the Metropolitan Opera in New York. Besides his concerts throughout the year with the Boston Symphony, he conducts the Berlin Philharmonic and Vienna Philharmonic on a regular basis, and appears also with the New Japan Philharmonic, the London Symphony, the Orchestre National de France, La Scala in Milan, and the Vienna Staatsoper. In the fall of 2002, following that summer's Tanglewood season, he will begin a new phase in his artistic life when he becomes music director of the Vienna State Opera. Throughout his tenure as music director of the Boston Symphony Orchestra, Mr. Ozawa has maintained the orchestra's distinguished reputation both at home and abroad, with concerts in Symphony Hall, at Tanglewood, on tours to Europe, Japan, Hong Kong, China, and South America, and across the United States. He has upheld the BSO's commitment to new music through the frequent commissioning of new works. In addition, he and the orchestra have recorded nearly 140 works, representing more than fifty different composers, on ten labels. He has received two Emmy awards and holds honorary doctor of music degrees from the University of Massachusetts, the New England Conservatory of Music, and Wheaton College. Born in 1935 in Shenyang, China, Seiji Ozawa studied music from an early age, later graduating with first prizes in composition and conducting from Tokyo's Toho School of Music. In 1959 he won first prize at the International Competition of Orchestra Conduc- tors held in Besancon, France, as a result of which Charles Munch, then the BSO's music director, invited him to attend the Tanglewood Music Center, where in 1960 he won the Koussevitzky Prize for outstanding student conductor. While working with Herbert von Karajan in West Berlin, he came to the attention of Leonard Bernstein, who appointed him an assistant conductor of the New York Philharmonic. Mr. Ozawa made his first professional concert appearance in North America in 1962, with the San Francisco Sym- phony, of which he was music director from 1970 to 1976; he has also been music director of the Chicago Symphony Orchestra's Ravinia Festival and of the Toronto Symphony Orchestra. Mr. Ozawa led the Boston Symphony for the first time in 1964, at Tanglewood; he made his first Symphony Hall appearance with the orchestra in January 1968. He became an artistic director at Tanglewood in 1970 and began his tenure as music director in 1973, after a year as the BSO's music adviser. Today, some 80% of the BSO's members have been appointed by Seiji Ozawa. The Boston Symphony itself stands as eloquent tes- timony not only to his work in Boston, but to Mr. Ozawa's lifetime achievement in music. First Violins *Kelly Barr Malcolm Lowe *Elita Kang Concertmaster *Haldan Martinson Charles Munch chair, * Alexander Velinzon fullyfunded in perpetuity Tamara Smirnova Associate Concertmaster Violas Helen Horner Mclntyre chair, Steven Ansell endowed in perpetuity in 1976 Principal Nurit Bar-Josef Charles S. Dana chair, Assistant Concertmaster endowed in perpetuity in 1970 Robert L. Beal, and Enid L. and Bruce A. Beal chair, endowed in Assistant Principal perpetuity in 1980 Anne Stoneman chair, BOSTON SYMPHONY fullyfunded in perpetuity Assistant Concertmaster Ronald Wilkison ORCHESTRA Edward and Bertha C. Rose chair Lois and Harlan Anderson chair 1999-2000 Bo Youp Hwang Robert Barnes John and Dorothy Wilson chair, Burton Fine fully funded in perpetuity Seiji Ozawa Lucia Lin Michael Zaretsky Music Director Forrest Foster Collier chair Marc Jeanneret Ray and Maria Stata Ikuko Mizuno *Mark Ludwig Music Directorship Carolyn and George Rowland chair Helene R. Cahners-Kaplan Amnon Levy and Carol R. Goldberg chair Bernard Haitink Dorothy Q. and David B. Arnold, Jr., * Rachel Fagerburg chair, fullyfunded in perpetuity Principal Guest Conductor *Edward Gazouleas *Sheila Fiekowskyt LaCroix Family Fund *Kazuko Matsusaka Muriel C. Kasdon and Marjorie C. Paley chair *Jennie Shames Cellos

Ruth and Carl J. Shapiro chair, Jules Eskin fully funded in perpetuity Principal *Valeria Vilker Kuchment Philip R. Allen chair, endowed David and Ingrid Kosowsky chair in perpetuity in 1 969 *Tatiana Dimitriades Martha Babcock Theodore W. and Evelyn Berenson Assistant Principal Family chair Vernon and Marion Alden chair, *Si-Jing Huang endowed in perpetuity in 1977 Stephanie Morris Marryott and Sato Knudsen

Franklin J. Marryott chair Esther S. and Joseph M. Shapiro chair *Nicole Monahan Joel Moerschel Catherine and Paul Buttenwieser Sandra and David Bakalar chair chair Luis Leguia *Wendy Putnam Robert Bradford Newman chair, Mary B. Saltonstall chair fullyfunded in perpetuity *Xin Ding Carol Procter Kristin and Roger Servison chair Lillian and Nathan R. Miller chair *Sae Shiragami Ronald Feldman *Yu Yuan Richard C. and Ellen E. Paine chair, fullyfunded in perpetuity Second Violins *Jerome Patterson Charles and Anne Dickinson chair Marylou Speaker Churchill Jo Principal *Jonathan Miller chair Carl Schoenhof Family chair, Rosemary and Donald Hudson fully funded in perpetuity *0wen Young Vyacheslav Uritsky John F. Cogan, Jr., and Mary L. Cornille chair, Assistant Principal fullyfunded in perpetuity Charlotte and Irving W. Rabb chair, , * endowed in perpetuity in 1977 Andrew Pearce Ronald Knudsen Gordon and Mary Ford Kingsley Family chair Edgar and Shirley Grossman chair Joseph McGauley

Shirley and J. Richard Fennell chair Basses Ronan Lefkowitz Edwin Barker David H. and Edith C. Howie chair, Principal fully funded in perpetuity Harold D. Hodgkinson chair, * Nancy Bracken endowed in perpetuity in 1974 *Aza Raykhtsaum Lawrence Wolfe Assistant Principal *Bonnie Bewick Maria Nistazos Stata chair, * Participating in a system *James Cooke fullyfunded in perpetuity of rotated seating * Victor Romanul Joseph Hearne %0n sabbatical leave Bessie Pappas chair Leith Family chair, § Substitute player *Catherine French fullyfunded in perpetuity

I Dennis Roy Bass Clarinet Bass Trombone Joseph and Jan Brett Hearne chair Craig Nordstrom Douglas Yeo John Salkowski Farla and Harvey Chet Krentzman John Moors Cabot chair, Erich and Edith Heymans chair chair, fully funded in perpetuity fullyfunded in perpetuity *Robert Olson Tuba *James Orleans Bassoons Chester Schmitz *Todd Seeber Richard Svoboda Principal Margaret and William C. Rousseau *John Stovall Edward A. Toft chair, endowed chair, fullyfunded in perpetuity in perpetuity in 1974 Flutes Richard Ranti Timpani Jacques Zoon Associate Principal Everett Firth Principal Sylvia Shippen Wells chair, \ Ronald Haroutunian Walter Piston chair, endowed endowed in perpetuity in 1974 in perpetuity in 1970 Contrabassoon Fenwick Smith Percussion Myra and Robert Kraft chair, Gregg Henegar Thayer chair Thomas Gauger endowed in perpetuity in 1 981 Helen Rand Peter and Anne Brooke chair, Elizabeth Ostling Horns fully funded in perpetuity Associate Principal Frank Epstein Marian Gray Lewis chair, James Sommerville Peter Andrew Lurie chair, fully funded in perpetuity Principal Horn fullyfunded in perpetuity Helen Sagojf Slosberg/Edna J. William Hudgins Piccolo S. Kalman chair, endowed Timothy Genis Geralyn Coticone in perpetuity in 1974 Assistant Timpanist Evelyn and C. Charles Marran chair, Richard Sebring Mr. and Mrs. Edward H. Linde endowed in perpetuity in 1979 Associate Principal Margaret Andersen Congleton chair § Linda Toote chair, fully funded in perpetuity Harp Oboes Daniel Katzen Elizabeth B. Storer chair Ann Hobson Pilot Principal Principal Jay Wadenpfuhl Willona Henderson Sinclair Mildred B. Remis chair, endowed Richard Mackeyt chair in perpetuity in 1975 Diana Osgood Tottenham chair Mark McEwen Jonathan Menkis Librarians James and Tina Collias chair ^Kevin Owen Marshall Burlingame Keisuke Wakao Principal Assistant Principal Trumpets Lia and William Poorvu chair Elaine and Jerome Rosenfeld chair Charles Schlueter William Shisler Principal English John Perkel Horn Roger Louis Voisin chair, Robert Sheena endowed in perpetuity in 1977 Assistant Conductors Beranek chair, fully funded Peter Chapman in perpetuity Ford H. Cooper chair Federico Cortese Anna E. Finnerty chair Thomas Rolfs Clarinets Assistant Principal Ilan Volkov William R. Hudgins Nina L. and Eugene B. Doggett Principal chair Personnel Managers Ann S.M. Banks chair, endowed Lynn G. Larsen in perpetuity in 1977 Trombones Bruce M. Creditor Scott Andrews Ronald Barron Thomas and Dola Sternberg chair Principal Stage Manager Thomas Martin J. P. and Mary B. Barger chair, Peter Riley Pfitzinger Principal Associate & fullyfunded in perpetuity Position endowed by E-flat clarinet Norman Bolter Angelica L. Russell Stanton W. and Elisabeth K. Davis chair, fully funded in perpetuity

11 —

A BRIEF HISTORY OF THE BOSTON SYMPHONY ORCHESTRA

Now in its 119th season, the Boston Symphony Orchestra gave its inaugural concert on October 22, 1881, and has continued to uphold the vision of its founder, the philanthro- pist, Civil War veteran, and amateur musician Henry Lee Higginson, for more than a century. Under the leadership of Seiji Ozawa, its music director since 1973, the Boston Symphony Orchestra has performed throughout the United States, as well as in Europe, Japan, Hong Kong, South America, and China, and reaches audiences numbering in the millions through its performances on radio, television, and recordings. It plays an active role in commissioning new works from today's most important composers; its summer season at Tanglewood is regarded as one of the world's most important music festivals; it helps develop the audience of the future through BSO Youth Concerts and through a variety of outreach programs involving the entire Boston community; and, during the

Tanglewood season, it sponsors the Tanglewood Music Center, one of the world's most important training grounds for young composers, conductors, instrumentalists, and vocalists. The orchestra's virtuosity is reflected in the concert and recording activities of the Boston Symphony Chamber Players, the world's only permanent chamber ensemble made up of a major symphony orchestra's principal players. The activities of the Boston Pops Orchestra have established an international standard for the performance of lighter kinds of music. Overall, the mission of the Boston Symphony Orchestra is to foster and maintain an organization dedicated to the making of music consonant with the highest aspirations of musical art, creating performances and providing educational and training programs at the highest level of excellence. This is accomplished with the continued support of its audiences, governmental assistance on both the federal and local levels, and through the generosity of many foundations, businesses, and individuals. Henry Lee Higginson dreamed of founding a great and permanent orchestra in his home town of Boston for many years before that vision approached reality in the spring of 1881. The following October the first Boston Symphony Orchestra concert was given under the direction of conductor Georg Henschel, who would remain as music director until 1884. For nearly twenty years Boston Symphony concerts were held in the Old Boston Music Hall; Symphony Hall, one of the world's most highly regarded concert halls, was opened in 1900. Henschel was succeeded by a series of German-born and -trained conductors—Wilhelm Gericke, Arthur Nikisch, Emil Paur, and Max Fiedler culminating in the appointment of the legendary Karl Muck, who served two tenures as music director, 1906-08 and 1912-18. Meanwhile, in July 1885, the musicians of the Boston Symphony had given their first "Promenade" concert, offering both music and refreshments, and fulfilling Major Higginson's wish to give "concerts of a lighter kind of

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

I music." These concerts, soon to be given in the springtime and renamed first "Popular" and then "Pops," fast became a tradition. In 1915 the orchestra made its first transcontinental trip, playing thirteen concerts at the Panama-Pacific Exposition in San Francisco. Recording, begun with the Victor Talk- ing Machine Company (predecessor to RCA Victor) in 1917, continued with increasing frequency, as did radio broadcasts. In 1918 Henri Rabaud was engaged as conductor; he was succeeded a year later by Pierre Monteux. These appointments marked the beginning of a French-oriented tradition which would be maintained, even during the Russian-born Serge Koussevitzky's time, with the employment of many French-trained musicians. The Koussevitzky era began in 1924. His extraordinary musicianship and electric pe- rsonality proved so enduring that he served an unprecedented term of twenty-five years. Regular radio broadcasts of Boston Symphony concerts began during Koussevitzky's years as music director. In 1936 Koussevitzky led the orchestra's first concerts in the Berkshires; a year later he and the players took up annual summer residence at Tangle- wood. Koussevitzky passionately shared Major Higginson's dream of "a good honest school for musicians," and in 1940 that dream was realized with the founding of the Berkshire Music Center (now called the Tanglewood Music Center). In 1929 the free Esplanade concerts on the Charles River in Boston were inaugurated by Arthur Fiedler, who had been a member of the orchestra since 1915 and who in 1930 became the eighteenth conductor of the Boston Pops, a post he would hold for half a century, to be succeeded by John Williams in 1980. The Boston Pops Orchestra celebrated its hundredth birthday in 1985 under Mr. Williams's baton. Keith Lockhart began his tenure as twentieth conductor of the Boston Pops in May 1995, succeeding Mr. Williams. Charles Munch followed Koussevitzky as music director of the Boston Symphony Or- chestra in 1949. Munch continued Koussevitzky's practice of supporting contemporary composers and introduced much music from the French repertory to this country. Dur- ing his tenure the orchestra toured abroad for the first time and its continuing series of Youth Concerts was initiated. Erich Leinsdorf began his seven-year term as music director in 1962. Leinsdorf presented numerous premieres, restored many forgotten and neglected works to the repertory, and, like his two predecessors, made many recordings for RCA; in addition, many concerts were televised under his direction. Leinsdorf was also an energetic director of the Tanglewood Music Center; under his leadership a full- tuition fellowship program was established. Also during these years, in 1964, the Boston Symphony Chamber Players were founded. William Steinberg succeeded Leinsdorf in 1969. He conducted a number of American and world premieres, made recordings for Deutsche Grammophon and RCA, appeared regularly on television, led the 1971 Euro- pean tour, and directed concerts on the east coast, in the south, and in the mid-west. Now in his twenty-seventh season as the BSO's music director, Seiji Ozawa became the thirteenth conductor to hold that post in the fall of 1973, following a year as music adviser and having been appointed an artistic director of the Tanglewood Festival in 1970. During his tenure Mr. Ozawa has continued to solidify the orchestra's reputation both at home and abroad. He has also reaffirmed the BSO's commitment to new music, through a series of centennial commissions marking the orchestra's 100th birthday, a series of works celebrating the fiftieth anniversary of the Tanglewood Music Center in 1990, and a continuing series of commissions from composers including Henri Dutilleux, Lukas Foss, Alexander Goehr, John Harbison, Hans Werner Henze, Leon Kirchner, Peter Lieberson, Bernard Rands, Sir Michael Tippett, and Yehudi Wyner. Under his direction the orchestra has also expanded its recording activities, to include releases on the Philips, Telarc, Sony Classical/CBS Masterworks, EMI/Angel, Hyperion, New World, and Erato labels. In 1995 Seiji Ozawa and the Boston Symphony Orchestra welcomed Bernard Haitink as Principal Guest Conductor, in which capacity Mr. Haitink conducts and records with the orchestra, and has also taught at Tanglewood. Today the Boston Symphony Orchestra, Inc., presents more than 250 concerts annual- ly. It is an ensemble that has richly fulfilled Henry Lee Higginson's vision of a great and permanent orchestra in Boston.

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14 BOSTON SYMPHONY ORCHESTRA

Seiji Ozawa, Music Director Bernard Haitink, Principal Guest Conductor One Hundred and Nineteenth Season, 1999-2000

Thursday, January 13, at 8 Friday, January 14, at 1:30 THE MARIE L. AUDET GILLET CONCERT Saturday, January 15, at 8 THE FERNAND GILLET CONCERT Tuesday, January 18, at 8

JAMES DePREIST conducting

ROCHBERG Transcendental Variations

PROKOFIEV Violin Concerto No. 2 in G minor, Opus 63 (American premiere given by the Boston Symphony Orchestra on December 17, 1937)

Allegro moderato Andante assai Allegro ben marcato KYUNG-WHA CHUNG

The performance of this work is sponsored by the National Endowment for the Arts as part of a program entitled "The Language of the Twentieth Century," supporting the performance of important works given their world or U.S. premieres by the BSO in Symphony Hall.

INTERMISSION

MOZART Symphony No. 41 in C, K.551, Jupiter

Allegro vivace Andante cantabile Menuetto: Allegretto Molto Allegro

The evening concerts will end about 9:55 and the afternoon concert about 3:25.

RCA, Deutsche Grammophon, Philips, Telarc, Sony Classical/CBS Masterworks, Angel/EMI, London /Decca, Erato, Hyperion, and New World records Baldwin piano

In consideration of the performers and those around you, cellular phones, pagers, and watch alarms should be switched off during the concert.

The program hooks 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.

15 Week 11 ceptlonal orchestras m need exceptional support

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In appreciation, the BSO offers

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Better sound through research^ George Rochberg Transcendental Variations

George Rochberg was born July 5, 1918, in Paterson, New Jersey, and now lives in Philadelphia, Pennsylvania. Tran- scendental Variations was first performed by the Seattle Youth Symphony Orchestra under the direction of Vilem Sokol on May 14, 1979, and is dedicated to Adolf and Isolde Klarmann. Rochberg s Transcendental Variations is an orchestration of the third movement of his String Quartet No. 3, which was premiered by the Concord String Quartet on May 15, 1972. These are the Boston Symphony Orchestra s first performances of the piece, though it has previously performed Rochberg s "Night Music" (under Erich Leinsdorfs direction in December 1965) and Violin Concerto (with Isaac Stern under Seiji Ozawas direction

in August 1976). Transcendental Variations is scored for string orchestra. The duration of the piece is about sixteen minutes.

George Rochberg was born in July 1918, the same summer as Leonard Bernstein. Like Bernstein, Gershwin, and Copland, he was the son of European Jewish immigrants. Roch- berg recalls childhood piano lessons but no great encouragement toward a career in music; he attended Montclair State Teacher's College ("by default") in New Jersey and graduated there in 1939. His decision to enroll, at age twenty-one, at the Mannes School of Music in New York City came from an inner necessity to study music. At the Mannes School his primary teacher was Hans Weisse, and he also had instruction from George Szell and Leopold Mannes.

Rochberg showed an affinity for Bartok and Stravinsky in his early music, but felt the need, like so many composers of his generation, to come to grips with the twelve-tone language of Schoenberg. This was partly due to a desire to express his reactions to the "darkness and drama" of his wartime experience. In a 1986 interview with Richard Dufallo, Rochberg relates, "I didn't adopt a severe chromatic palette out of any intel- lectual or musical interest per se. It came out of a deep emotional need to express what

I felt had happened." Rochberg's approach to serialism was perhaps tempered by his acquaintance with the Italian composer Luigi Dallapiccola, first in Rome in 1950 (where Rochberg had traveled on Fulbright and American Academy grants) and at Tanglewood in 1952. Dallapiccola, too, had felt the necessity of the twelve-tone language, but he managed to infuse everything he wrote with a highly expressive Italian lyricism. This concentration on musical expression is key to Rochberg's own compositional process and might be seen as the root of the apparent stylistic shifts of his career.

Rochberg began questioning the expressive limits of the twelve-tone method in the early 1960s, partly as a reaction to the death of his seventeen-year-old son in 1961. He completed his last twelve-tone work, a piano trio, in 1963. He saw in the controlled in- tellectualism of the serial technique and in the anarchy of contemporaneous "indeter- minate" or chance music a kind of nihilism that left little room for personal expression, that severely curtailed the composer's ability to apply to his work the findings of his own musical ear.

Throughout the 1960s a new focus on assemblage and quotation of the work of others resulted in works such as Music for the Magic Theater and Contra Mortem et Tempus. Rochberg's use of quotation had not to do with the idea of montage or quotation for its own sake, but rather with an exploration of the idea of the musical archetype, an interest in finding a common thread among musical gestures used by composers from the Medieval era to his own contemporaries. Perhaps through this new connection with

17 Week 11 18

I music history, Rochberg began to try to find a way to return to tonal music. His Third String Quartet, the Fourth through Sixth quartets (the so-called "Concord Quartets"), and the Seventh String Quartet filled out the decade of the 1970s. Larger works from the period include the Violin Concerto and Symphony No. 4.

In the 1980s and '90s George Rochberg's use of tonality has evolved from a stylistic emulation of earlier masters (for example, Beethoven is the model in the Third String Quartet) to a more intuitive approach, a more chromatic language with tonal underpin- ning. Among his works written in the 1980s are the Fifth and Sixth symphonies and an Oboe Concerto. His most recent works include the Clarinet Concerto, premiered by soloist Anthony Gigliotti with Wolfgang Sawallisch and the Philadelphia Orchestra in 1996, and a Chamber Concerto for solo guitar, written for Eliot Fisk in 1997.

Notwithstanding his intense involvement with music as a composer and his parallel career as an educator, George Rochberg has never been a polemicist. All of his musical decisions and apparent changes in direction have come about through artistic necessity. Other, more politically inclined (or less artistically confident) musicians and critics were quick to pronounce Rochberg either a herald of a new tonal age or a Victorian re- actionary against Modernism, depending on the particular affiliations of the proclaimer. One camp installed Rochberg as a pillar of the "New Romanticism," while the twelve-

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I tone academics he had moved away from in the 1960s virtually ignored his new work, programming his strict serial works from previous decades with far more frequency than later pieces. Ultimately, though, Rochberg's commitment to musical expression and to the end result of his labors—the musical work itself—has earned a respect transcending such aesthetic posturing. As Rochberg has said, "Real things never hap- pen in public—not only in politics but in art." Much of the controversy over Rochberg's music swirled around the Third String Quartet, commissioned by the Naumburg Foundation for the Concord String Quartet (who later requested the Fourth through Sixth quartets) and first performed at Alice Tully Hall in New York City in May 1972. While some of the Third Quartet's movements still use a dramatic atonal language, its central movement employs a tonal style not much different from that of Haydn, Beethoven, or Schubert. Rochberg later re- scored this movement as Transcendental Variations for string orchestra, taking into account the particular acoustic characteristics of the larger ensemble by changing the spacing of chords and melodies.*

The straightforward, singing theme, which has the tone of a Beethoven slow movement (such as the second movement of the E-flat quartet, Opus 127), is presented in a very high register by the first violins, with countermelody in the other three parts. The first section repeats, and another phrase with a descending chord progression brings the theme to a cadence. As in Classical-era practice, Rochberg's six variations keep the harmonic structure of the theme, although in some of the variations Rochberg omits the repeated phrase. The first variation begins at about the three-and-a-half minute mark with a somewhat livelier texture of arpeggios over repeated chords. In the second variation, fragments of melody pass among the different orchestral sections; this variation does repeat the initial phrase. In the third variation the basic harmonies are transformed into chromatic progressions, while the original melody is missing altogether. A contrasting, mannered, Mozartean movement decorated by trills follows (this, too, is a Beethoven-like interpolation of a different style). In the fifth variation an oblique form of the melody is presented in octaves; in the second section the original descending chord progression becomes a chromatic ascension. The sixth is a return of the main theme, but significant differences in orchestration darken the original mood to that of an elegy.

—Robert Kirzinger

*The title Transcendental Variations is a reference to the American Transcendentalist thinkers of the nineteenth century—Thoreau, Emerson, et al. —who lived in and around Concord, Massa- chusetts. It is from this heritage, too (and its link to the American composer Charles Ives) that the Concord String Quartet took its name.

21 Week 11 .

INVESTIGATING "THE LANGUAGE OF THE 20th CENTURY' About the First American Performance of Prokofiev's

Violin Concerto No. 2. .

The BSO concert that featured the American premiere of the Prokofiev Violin Concerto No. 2 on December 17, 1937, began with the American premiere of the Concerto for Orchestra by Michael Leonidovitch Starokadomsky ("whose name will offend the typeset- ter as much as his music pleased the Friday audience, " noted the Globe) and concluded with the Brahms Violin Concerto. Jascha Heifetz was soloist for the Prokofiev and Brahms concertos. The reviews of the Prokofiev were primarily descriptive in nature.

Cyrus W. Durgin kadomsky] shows himself a true Russian in in the his orchestral colors. The prevailing tone of

Boston Globe the concerto is cheerful, and, when it is not

sentimental, vigorous. The writing is of There is perhaps nothing in all the concerto course brilliant, although it does not appear literature for violin like Prokofieff s Second to present so many difficulties to the soloist Concerto. In fact it is quite unlike Proko- as the First Concerto. Like its predecessor, it fieff 's earlier music, including his First is by no means a display piece for a violin- Violin Concerto, which was a pretty crabbed ist, but one in which the orchestra bears a affair. As Mr. Heifetz plays it, the Second goodly share of the musical responsibility. If Concerto is distinguished for high spirits the emotional themes mentioned do not pall and a sense of wit, which gives way, in the on rehearing, the work may well become an slow movement to a sentimental interlude addition to the repertory. couched in modern musical speech. This may be hard to imagine, but such is the Alexander Williams case. The deliberate "wrong note" harmony in the of the finale might be someone tossing off a Boston Herald popular ditty in two keys at once, just for a lark. Prokofieff 's Second Violin Concerto is a No great emotions will likely be aroused fascinating work. The andante is positively by this music, and the great concertos of the Mozartian in spirit, without being in the past will assuredly not suffer by comparison. least precious. The first movement is a most

But it does provide violinists with some- ingenious example of what a brilliant stylist, thing different. One point of interest is the like Prokofieff, can do with conventional skill by which Prokofieff makes the solo sonata form. Only the last movement is like instrument stand out from the tonal mass of the Prokofieff of the Piano Concertos and a small orchestra wherein even the strings the First Violin Concerto. Harmonically this are reduced from conventional numbers. music is very much less dissonant than his

Many concertgoers like to catalogue music earlier works, but it is in no sense flat. In and composers in their minds. To this end it fact it is the kind of attractive, well-made may be said that Prokofieff s unusual Concerto that ought to prove a great addi- Concerto has a sole and distant counterpart tion to the literature for violin and orchestra. in his "Classical Symphony." Who would not a hundred times rather listen to this than the Violin Concerto of L.A.S. Dvorak or that of Elgar? We should prefer in the to hear it right off again than Mendelssohn's Concerto; but had better stop, for the Christian Science Monitor we sport of comparisons is dangerous and apt to Prokofieff has had his classical phase. In end in being obliged to eat one's words. Mr. this concerto he. . .seems to have gone ro- Heifetz gave the Concerto a marvellously mantic. The second theme of his first move- adroit and polished performance. There are ment and the main theme of the Andante are some beautiful melodies in it, and these he frankly sentimental. In the sharply accented sang with the utmost tenderness and purity Finale he reveals again the humor and wit of tone. that are perhaps his most treasurable quali- ties, and like his younger colleague [Staro-

22 Week 11 Russia: Modernism Interrupted by Harlow Robinson

Marxism and Modernism came from Europe to Russia nearly simultaneously, at the end of the nineteenth century. Like so many other European-based cultural and politi- cal movements before them, however, Marxism and Modernism underwent profound transformation on Russian soil, becoming intertwined in unpredictable and even dangerous ways. Russian artists and intellectuals had always tended to take very seriously the succeeding waves of ideological and cultural fashion that swept eastward from Lon- don, Paris, and Berlin: French classicism, German romanticism, British realism. In distant Moscow and St. Petersburg, these concepts gained a strange urgency and potency they lacked in the more developed and pluralistic societies of Europe. Ripped out of their context, ideas often became a matter of life and death for Russian creative people, who strove to put into practice what they read in books.

The turbulent and stylish "Silver Age" of Russian culture just before the Bolshevik Revolution of 1917 was a period of remarkable creative activity that produced and nur- tured some of Russia's most

pnTY-SEVENTH SEASON, NINETEEN HUNDRED THIRTY-SEVEN and THIRTY-EIGHT important cultural figures. Among them were artists like Kandinsky, Malevich, Ninth Programme and Chagall; impresarios like Sergei Diaghilev of Ballets Russes fame; and composers like Sergei FRIDAY AFTERNOON, December 17, at 2:30 o'clock Rachmaninoff, Alexander Scriabin, Igor Stravinsky, SATURDAY EVENING, December 18, at 8:15 o'clock and Sergei Prokofiev. In the aftermath of the liberation of the serfs in 1861, Concerto for Orchestra, Op. Starokadomsky 14 Russian society changed

I. Sinfonia: Allegro risoluto rapidly, becoming less isolat- II. Passacaglia: Andante III. Toccata: Allegro giocoso ed from the West as industry (First performances in the United States) and capitalism grew by leaps and bounds. European Violin Concerto No. 2 in G minor, Op. 63 Modernist trends like I. Allegro moderato

II. Andante assai Impressionism, Decadence,

III. Allegro ben marcato Symbolism, and, later, (First performances in the United States) Futurism, arrived in the INTERMISSION increasingly affluent urban centers of St. Petersburg Concerto for Violin in D major, Op. Brahms 77 and Moscow, acquiring a

I. Allegro non troppo unique Russian flavor that II. Adagio III. Allegro giocoso, ma non troppo vivace often included heavy doses of mysticism, nationalism, and messianic utopianism. SOLOIST Russian composers, musi- HEIFETZ JASCHA cians, artists, and dancers began to appear more often in Europe. Even Paris, the This programme will end about 4:15 on Friday Afternoon, 10:00 o'clock on Saturday Evening notoriously chauvinistic center of the cultural uni- [39- I verse at the time, caught a From the first American performance of Prokofiev's serious case of Russian Violin Concerto No. 2 fever. In the years just

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24 before World War I, Paris audiences reacted with outrage and delight to the multi- media spectacles presented by the Ballets Russes, especially Stravinsky's Petrushka (to be played here in March) and The Rite of Spring, which revealed a colorful, violent, and exotic new world of sound and image that seemed at the same time ancient and futuristic.

Russian musical Modernism is a contradictory phenomenon, a vague and broad label that has been stretched to include the music of composers as dissimilar as the mystical Alexander Scriabin (1872-1915), the protean emigre neo-classicist Igor Stravinsky (1882- 1971), the ironic Sergei Prokofiev (1891-1953), and the reluctant Soviet socialist real- ist Dmitri Shostakovich (1906-75). Modernism also developed differently in Russia's two competing artistic capitals—ancient holy Orthodox Moscow and St. Petersburg, the country's much younger "Window on the West." Mysticism and utopianism played a more important role in the creative identity of Muscovite composers like Scriabin and the nos- talgic conservative Sergei Rachmaninoff (1873-1943). Composers trained in St. Peters- burg—like Stravinsky and Prokofiev—tended to follow a more subdued and ascetic neo-classicism and to think of themselves (in the words of Russian-born choreographer George Balanchine) as "Europeans from Russia."

For both Stravinsky and Prokofiev, the music of Pyotr Ilyich Tchaikovsky was a step- ping-off point. In many ways, Russian musical Modernism began when Tchaikovsky died in St. Petersburg in 1893, just nine days after the premiere of his Sixth Symphony (the Pathetique, to be played by the BSO in March). In his autobiography, Stravinsky BUYING PAINTINGS AND ANTIQUES IN BOSTON

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credits Tchaikovsky with being "the first to bring about the serious recognition of ballet music in general." Significantly, Stravinsky was the first Russian composer to establish his reputation on the strength of ballet scores The Firebird, Petrushka, Rite of Spring —and not on symphonies or operas. Prokofiev, too, wrote some of his most substantial and popular scores for ballet: Scythian Suite, Prodigal Son, Romeo and Juliet, Cinderella.

At the same time, Prokofiev and Stravinsky were utterly distinct both personally and creatively, and evolved in completely different ways. (Sergei Diaghilev, who discovered both composers, once quipped that "the only thing they have in common is that both are Russian and both live in the same century.") Stravinsky was an aristocrat at heart, a suave connoisseur who flourished among the wealthy patrons of St. Petersburg, Paris, and New York, where he always sought to uncover and exploit the latest avant-garde trends. Encouraged by the taste-maker Diaghilev, Stravinsky eventually pursued the life of a deracine exile in the West, convinced that he could never practice his brand of apolitical and frankly elitist Modernism in the new USSR.

Prokofiev's relationship to Modernism was less consistent. In early works such as the operas Love for Three Oranges and The Gambler and the Piano Concerto No. 2 (played here by Evgeny Kissin this past October), Prokofiev boldly challenged traditional con-

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cepts of form and harmonic/tonal language. For the Piano Concerto No. 2, Prokofiev was denounced by Russian critics as an impudent Futurist intent on shocking his audience. And yet Parisian critics often found Prokofiev's music too traditional, and regarded his stubborn interest in opera as passe. By the early 1930s, as he became more deeply involved in Soviet musical life in preparation for his permanent move from Paris back to Russia, Prokofiev retreated from his Modernist position and began talking and writing about what he called a "New Simplicity." Central to this style was melody, as the ballet Romeo and Juliet and the Violin Concerto No. 2, both composed in 1935, clearly demonstrate.

Despite all the passionate speeches about the need for "revolutionary" culture in the world's first socialist society, in reality official Soviet artistic policy had become conservative and tradition-bound in the extreme by the late 1920s. By the early 1930s, Modernism was a dirty word in Soviet Russia. Dmitri Shostakovich, who had made an international reputation in the 1920s with numerous irreverent and experimental works, found this out the hard way when his acclaimed opera Lady Macbeth of the Mtsensk District was banned at Stalin's orders in early 1936 for its alleged obscenity and exces- sive dissonance. For the rest of his amazingly prolific career, Shostakovich labored in the dark shadow of totalitarian censorship, but nonetheless managed to produce works of awesome complexity and emotional power. Some of these, like the later symphonies, string quartets, and the Cello Concerto No. 2 (played here by Lynn Harrell this past November), employ the double-edged tool of irony to ridicule the enforced conventions of Socialist Realism, and even dabble discretely in Modernist techniques like twelve- tone serialism.

When the Soviet Union began to collapse in the early 1980s, Russian composers like all Russian creative artists—were suddenly, miraculously liberated from anti- Modernist cultural policies. Almost immediately, several major figures emerged to take their rightful place in the international musical arena. The most important were Alfred Schnittke (1934-98) and Sofia Gubaidulina (born 1931; her Offertorium for violin and orchestra will be played here this March, on the same program as Tchaikovsky's Pathe- tique). While dissimilar in their aesthetic and musical language (eclectic polystylistics for Schnittke, religious symbolism for Gubaidulina), both composers became major players in the brave new world of Pos£-Modernism, restoring the broken bridge to the bold experimentation launched by their countrymen at the dawn of the century we have just left behind.

The author of Sergei Prokofiev: A Biography and The Last Impresario: The Life, Times and Legacy of Sol Hurok, Harlow Robinson is also the editor and translator of Selected Letters of Sergei Prokofiev. His reviews and essays have appeared in the New York Times, the Los Angeles Times, Opera News, and Stagebill. He has written numerous liner notes, as well as program notes for the Boston Symphony, New York Philharmonic, Metropolitan Opera, Philadelphia Orchestra, Seattle Opera, and Lincoln Center, for which institutions he has also lectured. Mr. Robinson is Professor of Modern Languages and History at Northeastern University.

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Sergei Prokofiev Violin Concerto No. 2 in G minor, Opus 63

Sergei Prokofiev was born in Sontsovka, Ukraine, on April 23, 1891, and died in Moscow on March 5, 1953. His Violin Concerto No. 2 was written during the summer of 1 935 and received its premiere in Madrid on December 1, 1935, with French violinist Robert Soetens as soloist and Enrique Fernandez Arbos conducting. Serge Koussevitzky led the Boston Symphony Orchestra

in the first American performances on December 1 7 and 18, 1937, with Jascha Heifetz as soloist. It has also been played in Boston Symphony concerts by Heifetz under Richard Burgin, by Zino Francescatti, Isaac Stern, and Joseph Silverstein under Charles Munch, Masuko Ushioda and Itzhak Perlman under Erich Leinsdorf Peter Zazofsky under Seiji Ozawa, Frank Peter Zimmermann under Yuri Temirkanov, BSO associate concertmaster Tamara Smir- nova under Carl St. Clair (the most recent subscription performances, in November 1989), Joshua Bell under Charles Dutoit, and Midori under Mariss Jansons (the most recent Tanglewood performance, on July 17, 1 994). In addition to the solo violin, the concerto is scored for two flutes, two oboes, two clarinets, two bassoons, two horns, two trumpets, percussion (bass drum, snare drum, triangle, cymbals, castanets), and strings.

The years between 1932 and 1936 were transitional and crucial for the nomadic Sergei Prokofiev. Although still based in Paris, where he had lived with his family since 1923, the composer—apparently homesick—made increasingly frequent and extended trips to the USSR during this period. Nearly all the music Prokofiev wrote after 1932 was composed for Soviet commissions and first performed in Russia. Indeed, in their overeagerness to claim Prokofiev as "ours," Soviet musicologists traditionally cited 1932 as the year of his "final return" to the homeland. But the composer came to the fateful decision to make Stalin's Moscow his permanent home gradually, over the course of several years, and finally moved his family there only in the spring of 1936, on the eve of the purges that would decimate the ranks of Russia's leading artists and intellectuals.

Oddly oblivious of the increasingly intolerant cultural climate in Moscow, Prokofiev energetically forged closer links with Soviet orchestras, theaters, filmmakers, conductors, and publishers. In 1933 he wrote his first film score, for the charming Lieutenant Kije, an ironic tale of mistaken identity and Tsarist stupidity set around 1800. (Proko- fiev recycled the music into a suite that soon became one of his most popular works.) Numerous other scores for Soviet films would follow in the coming years. In late 1934, he was approached by Sergei Radlov, a director affiliated with the Mariinsky Theater in

Leningrad, to write his first ballet for a Soviet theater. It would become his first full- length "story ballet" and one of his greatest artistic successes Romeo and Juliet. At the same time, Prokofiev began making public statements in leading Soviet publications about the role of the Soviet composer, and what kind of music Soviet society needed. In an article for the official newspaper Izvestiia, Prokofiev outlined his aesthetic ideas:

Finding the right language for our music is not easy. It should first of all be melodic, but the melody, though simple and accessible, shouldn't become a refrain or a trivial turn of phrase. Many composers have difficulty composing melody in general—no matter what kind—and composing a melody for definitely stated goals is

even more difficult. The same holds true for compositional technique and how it is

set forth; it must be clear and simple, but not hackneyed. Its simplicity must not be

an old-fashioned one; it must be a new simplicity.

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28 Friday, 8 p.m. 19 Friday, 8 p.m. Jong-Gyung Park, piano Dubravka Tomsic, piano Hall Symphony Hall Emerging Artists Series Symphony 26 Sunday, 3 p.m. 5 Saturday, 8 p.m. Prometheus Dance Symphony Hall Emerging Artists Series NEC's Jordan Hall Takacs Quartet 20 Saturday, 8 p.m. Boys Choir of Harlem Audra McDonald, soprano

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30 "A new simplicity." Actually, Prokofiev had first set forth this concept several years earlier in France but found that it was more suited to his new role as a Soviet composer. Paris valued complexity more than simplicity. Musically, Prokofiev's "new simplicity" meant a more homophonic, transparent, and emotionally lyrical style; less dissonance; an increased emphasis on melody; a preference for programmatic and "public" genres; an avoidance of the avant-garde extremism of the 1920s; and an emulation of the ideals, subject matter, and techniques of the leading "classical" composers (particularly Mussorgsky and Tchaikovsky) of nineteenth-century Russian music. To a sur- prisingly large extent, Prokofiev's professed vision of a "new simplicity" also coincided with the tenets of Soviet Socialist Realism in music.

In the months immediately following the appearance of his new credo in Izvestiia, Prokofiev composed two major works: the ballet Romeo and Juliet and the Second Violin Concerto. The concerto was Prokofiev's last non-Soviet commission, but like the ballet, it definitely reflects some of the features of the "new simplicity," particularly the primacy of melody. Especially as compared to the First Violin Concerto (composed in 1917), the Second is more traditional in form and harmonic language, just as Romeo is considerably more conventional than Prokofiev's early short ballets like The Buffoon

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I or Le Pas deader. In his youth, Prokofiev liked to think of himself as a debunker of polite nineteenth century tradition, but both the Second Concerto and Romeo pay trib- ute to that world—and especially to the music of Tchaikovsky.

Prokofiev was commissioned to write the Second Violin Concerto by a group of French admirers of the violinist Robert Soetens, on the condition that Soetens have sole right

to perform the work for one year. In composing it, Prokofiev (as he often did) used some themes he had already been collecting with a violin piece in mind. "Reflecting my nomadic concertizing existence," the composer wrote in his autobiography, "the concerto was written in the most diverse countries: the main subject of the first movement in Paris, the first theme of the second movement in Voronezh, the instrumentation was completed in Baku, and the premiere took place in December of 1935 in Madrid." Most of the work of assembly was done during the summer of 1935 in Russia, while Proko- fiev was staying with his family at the country retreat of the Bolshoi Theater (working on the score of Romeo and Juliet) in the idyllic surroundings of Polenovo. This was a happy and productive time for the composer, as we can see from a letter he wrote to his old friend Vladimir Dukelsky (better known as the American Broadway and song composer Vernon Duke):

I'm spending the summer at an estate that belongs to the Bolshoi Theater, near

Serpukhov. It's a marvelous little spot, a bit noisy when 3/4 of the Bolshoi Theater

troupe comes here on vacation, but it's actually fun, especially since I have a separate little cottage with a Bluthner and a terrace overlooking the Oka River, where

it is very quiet and very conducive to good work. Lina Ivanovna and the children also came here in August; everyone made a great fuss over the boys and spoiled them to pieces. Now all the opera and ballet people have gone away, and I'm sit-

ting over the score up to eight hours a day. Besides the ballet, I have written a Sec- ond Violin Concerto, two symphonic suites, two opuses for piano (one of them is called Pensees), and an album for children.

Prokofiev was right to observe that the Sec- ond Violin Concerto is "completely different" from the equally brilliant First Violin Concerto written nearly twenty years earlier. Although both pieces have three movements, the first two of the Second Concerto—each about ten minutes in length—are relatively slow. The First Concerto has faster tempi (including a precipi- tous Vivacissimo) than the Second, and puts greater emphasis on velocity and flashy technical dexterity in the solo part. The Second Con- certo even eschews the convention of a solo cadenza. But what is most different about the Second is its predominantly cantilena character: its melodies are some of the most beautiful, flowing, and lyrical that Prokofiev ever wrote. Nor does he cut them short, impatient with emotional display, as he did in many of his earlier compositions—including, to some extent, the First Violin Concerto. Perhaps the romantic feel- ings stimulated by the simultaneous composition of Romeo help to explain why.

The Second Concerto never descends to th<- sentimental "Glazunov-ism" Prokofiev detested, A caricature of Prokofiev by Nikolai however. Its characteristically "Prokofievian" Radlov

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I — —

rhythmic drive and strategically placed dissonances provide a bracing contrast to the prevailing lyrical mood. Particularly witty and original is the use of percussion—including castanets, triangle, bass drum, and snare drum—in the concluding movement. In combination with the staccato double stops in the solo part, it creates a slightly ironic "Spanish" atmosphere that at the same time pays homage to the final movement of Tchaikovsky's Violin Concerto. Perhaps to break the lyrical spell of the opening movements, the Second Concerto comes to an abrupt end with an ascending run in eighth- notes tumultuoso—in the solo part. (The First Concerto does precisely the opposite, ending with an ethereal return to its fragile opening theme to counterbalance the pre- dominating speed and aggressiveness of what has come before.)

The Second Concerto achieved an immediate and lasting success with both critics and audience. Even the prickly Prokofiev was pleased, writing to his friend composer Nikolai Miaskovsky back in Moscow that the premiere in Madrid "gave me great pleasure. It seems the concerto is a success. The public reception was also excellent the music somehow immediately reached the audience. Now I still plan to look it over again and to add a few details here and there." The piece was published in full score by Gutheil in Europe in 1937, and in a piano-violin version in the USSR in 1938. It remains one of the most frequently performed and recorded of all modern violin concerti.

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I Wolfgang Amade Mozart Symphony No. 41 in C, K.551, Jupiter

Joannes Chrisostomus Wolfgang Gottlieb Mozart, who began calling himself Wolfgango Amadeo about 1 770 and Wolfgang Amade in 1 777, was born in Salzburg, Austria, on January 27, 1 756, and died in Vienna, Aus- tria, on December 5, 1791. He completed his Jupiter Symphony on August 10, 1 788. That summer also saw the completion of his symphonies 39 and 40, all three probablyfor a series of subscription concerts that seem not to have taken place. The first-performance dates for all three are not known. The American premiere of the Jupiter Symphony was given by Henry Schmidt with the

Academy of Music at the Boston Odeon on January 7, 1843. Wilhelm Gericke gave the first Boston Symphony performances in February 1885, subsequent ones being led by Arthur Nikisch, Emil Paur, Karl Muck, Max Fiedler, Otto Urack, Henri Rabaud, Pierre Monteux, Serge Koussevitzky, Richard Burgin, Vladimir Golschmann, Charles Munch, Ernest Ansermet, Erich Leinsdorf Jerzy Semkow, Jorge Mester, Bruno Maderna, Eugen Jochum, Joseph Silverstein, David Zinman, Neville Marriner, Kurt Masur, Chris- toph Eschenbach, Seiji Ozawa (including the most recent subscription performances, in September 1997), Roger Norrington, Hans Graf, and Robert Spano (the most recent Tan- glewood performance, on August 8, 1999). The symphony is scored for flute, two each of oboes and bassoons, two horns, two trumpets, timpani, and strings.

From time to time in the history of music we are confronted with a case of such astonishing fluency and speed of composition that we can only marvel: Handel composing his Messiah almost in less time than it would take a copyist to write it out, then, after taking a week off, beginning the composition of his dramatic oratorio Samson, also completed in less than a month; Johann Sebastian Bach turning out church cantatas that were planned, composed, rehearsed, and performed all between one Sunday and the next for week after week during his first years in Leipzig; Mozart writing his Linz Sym- phony, K.425, "at breakneck speed," in a matter of days, because the opportunity for a performance arose suddenly when he was traveling and had no other symphony at hand. But few examples of such high-voltage composition are as impressive as Mozart's feat in the summer of 1788, composing his last three symphonies (along with a fair number of smaller pieces) in something under two months.

In the case of these symphonies, our awe stems not so much from the sheer speed with which notes were put down on paper or even from the evident mastery displayed in the finished works, but rather from the extraordinary range of mood and character here represented. We'd be hard put to find three more strikingly varied works from the pen of a single composer; how much more miraculous it is, then, that they were written almost at one sitting, and not in the happiest of circumstances.

By June 1788 Mozart had entered on the long, steady decline of his fortunes that cul- minated in his death, at age thirty-five, three-and-a-half years later. Gone were the heady days of 1784, when his music was in constant demand in Vienna (during one hectic eleven-day period, he gave ten concerts!) and he was writing a sheaf of piano concertos and other works. That was, perhaps, the happiest year of his life, certainly the most remunerative. But he seems to have been the sort of openhanded and generous type

who cold never stop spending money faster than he earned it, and when the Viennese public found other novelties for their amusement, Mozart's star began to fall. He had hoped to obtain financial stability through the performance of his operas, but The Mar- riage of Figaro achieved only nine performances during its season in the repertory

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I (1786), partly, at least, because other, more influentially placed composers had their own fish to fry and were not interested in supporting Mozart. Then came Don Giovanni, composed for the citizens of Prague who had taken Figaro completely to their hearts.

Although it was a sensation in Prague in the fall of 1787, the first Vienna performances the following spring did not attract enough attention; the piece was simply too serious to suit the taste of the court. Neither opera, then, had much improved the Mozart family exchequer, and by early June 1788, only weeks after the Vienna performance of Don Gio- vanni, Mozart was forced to write to his friend and fellow Mason, Michael Puchberg, re- questing the loan of 100 gulden. Again on June 17, he needed money to pay his land- lord and asked Puchberg for a few hundred gulden more "until tomorrow." Yet again on the 27th he wrote to Puchberg to thank him for the money so freely lent him, but also to report that he needed still more and did not know where to turn for it.

It is clear from these letters that Mozart was in serious financial difficulty (a situation that scarcely ever changed again for the rest of his life). How astonishing, then, to realize that between the last two letters cited he composed the Symphony No. 39; this, the most lyrical of the final three symphonies, gives no hint of the composer's distraught condition (thus eloquently disproving the old romantic fallacy that a composer's music was little more than a reflection of his state of mind).

Mozart's attempt to improve his family's situation during this difficult summer is clearly apparent in the "minor" works he was composing along with the three symphonies. They are all either educational pieces, which could serve students well, or small and easy compositons that might be expected to have a good sale when published. But it is hardly likely that Mozart would have composed three whole symphonies at a time when he was in desperate financial straits if he didn't have some hope of using them in a practical way to support his family. His first letter to Puchberg referred to "concerts in the Casino," from which he hoped to obtain subscription money in order to repay his

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39 More music to your ears.

Listen to this. With a Boston Symphony Orchestra

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debts. Probably he wrote all three of the symphonies with the aim of introducing them at his own concerts. But, as far as we know, the concerts never actually took place; we can only be grateful that the symphonies were composed in any case.

Mozart reinforced the striking differences in mood between the three symphonies from mellow lyricism to darkly tragic grace to festive formality—with simple but significant differences in the instrumentation of the three pieces. In Symphony No. 39 he employed clarinets instead of oboes, whereas in No. 40 he preferred the sharper "bite" of the oboes but completely omitted trumpets and timpani, since their heroic gestures could play no role in so dark a work. Then in No. 41 he returned to the normal comple- ment of brass, as in No. 39, but wrote for oboes instead of clarinets.

Following the summer of 1788, Mozart gave no more "academies" (as concerts for the benefit of the composer were called). In fact, he almost totally gave up taking part in the concert life of Vienna; only once more did he have occasion to write another concert piece for himself, the B-flat piano concerto, K.595, which he played in 1791. But his last symphonies, along with those of Haydn, marked a miraculous decade of accom- plishment between 1785 and 1795. Among the works that appeared in this period were Haydn's six Paris symphonies (Nos. 82-87; 1785-86), Mozart's Prague Symphony (1786), the two symphonies Haydn wrote for Johann Tost (Nos. 88-89; 1788), Mozart's last three

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I symphonies (1788), Haydn's symphonies for Count d'Ogny (Nos. 90-92; 1788-89); and the twelve that Haydn wrote for London (Nos. 93-104; 1791-95). After 1795, Haydn, too, left off composing symphonies, and the monument that was the Viennese classical symphony was fully established. Having gotten the passions of the G minor symphony No. 40, K.550, out of his system, Mozart turned directly to a work as different as can be imagined, a major-key symphony of festive formality, completed on August 10. The nickname Jupiter was not given to this piece until after Mozart's death (and no one seems to know where it came from).

Like many inauthentic nicknames for musical compositions, it will no doubt stick simply because it is convenient.

Mozart begins with two brief, strikingly contrasted ideas: a fanfare for the full orchestra followed immediately by a soft lyrical phrase in the strings. These two diverse ideas would seem to come from two different musical worlds, but presently Mozart joins them by adding a single counterpoint for flute and oboes. The motives continue to animate the discourse through the modulation to the dominant and the presentation of the second theme. After a stormy passage for full orchestra, the skies clear again and Mozart presents a whistleable little tune to round off the end of the exposition and reinforce the new key. This tune was borrowed from an aria that Mozart had composed the pre- ceding May (K.541); the words to which the tune appeared in the aria were

Voi siete un po tondo, mio caro Pompeo, Vusanze del mondo andate a studiar.

(You are a little dense, my dear Pompeo; go study the way of the world.)

The second movement seems calm and serene at the outset, but it becomes agitated as it moves from F major to C minor and introduces a figure that seems to change the meter from 3/4 to 2/4; when the thematic material returns, it is decorated in a highly ornate way. The passing chromatic notes so evident throughout the last two symphonies lend a slightly pensive air to the minuet.

The finale is the most famous, most often studied, and most astonishing movement in the work. It is sometimes miscalled "the finale with a fugue." Actually there is no formal fugue here, although Mozart forms his themes out of contrapuntal thematic ideas of venerable antiquity, ideas that can (and do) combine with one another in an incredible variety of ways. But he lays out the movement in the normal sonata-form pattern, employ- ing his thematic materials to signal the principal key, the modulation to the dominant, and the secondary key area. It sounds rather straightforward at first, but gradually we realize that this is going to be something of a technical showpiece. At the beginning of the development we hear some of the themes not only in their original form but also up- side down. New arrangements of the material appear in the recapitulation, but nothing prepares us for the sheer tour de force of the coda, when Mozart brings all of the thematic ideas together in a single contrapuntal unity. The closing pages of Mozart's last symphony contain the very epitome of contrapuntal skill (something often decried as a dry and pedantic attainment), employed, most unexpectedly, in the service of an exciting musical climax. We end with a sensation produced by more than one passage in Mozart's works: everything fits; all the world is in tune. —Steven Ledbetter

Steven Ledbetter was program annotator of the Boston Symphony Orchestra from 1979 to 1998.

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There are important articles about George Rochberg in back issues of Perspectives of New Music (Volume 19, 1980-81) and Musical Quarterly (Volume 52, 1966). The New Grove Dictionary of Music and Musicians covers Rochberg's career and style to about 1980. A biographical sketch and complete list of works can be found at the website of Rochberg's publisher, Theodore Presser (http://www.presser.com/rochberg.html). Con- ductor Richard Dufallo interviewed Rochberg in 1986 for his very useful book Track- ings, which also contains interviews with many other contemporary composers (Oxford). Rochberg's book The Aesthetics of Survival: A Composer's View of the Twentieth Century (1984, University of Michigan) and earlier publications by the composer seem to be out of print.

A recording of George Rochberg's Transcendental Variations is not available, but the

Third String Quartet on which it is based has been recorded definitively by the Concord String Quartet and is available along with string quartets 4, 5, and 6 in a two-disc set (New World). Among many other recordings of Rochberg's work, of particular interest is Isaac Stern's performance of the Violin Concerto with Andre Previn and the Pittsburgh Symphony, reissued in 1995 (Sony Classical, with Stern's performance of Stravinsky's Violin Concerto). Two good collections of Rochberg's music were released as part of Composer's Recordings Inc.'s "American Masters" series. —Robert Kirzinger

Though now more than ten years old, the important modern study of Prokofiev is Harlow Robinson's Sergei Prokofiev: A Biography (Viking, but currently out of print), which avoids the biased perspective of earlier writers whose viewpoints were colored by the "Russian" or "Western" perspectives typical of their time, as reflected in such older

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46 volumes as Israel Nestyev's Prokofiev (translated from the Russian by Florence Jonas) and Victor Seroff's Sergei Prokofiev: A Soviet Tragedy. Robinson has also recently produced Selected Letters of Sergei Prokofiev, a volume of previously unpublished Prokofiev correspondence which he has newly translated and edited (Northeastern University Press). Sergey Prokofiev by Daniel Jaffe is a recent volume in the series "20th-century Composers" (Phaidon paperback). Claude Samuel's Prokofiev is a well-illustrated intro- ductory biography, if you can still find it (Vienna House reprint). Other useful books include Boris Schwarz's Music and Musical Life in Soviet Russia, Enlarged Edition, 1 91 7- 1981 (Indiana University Press) and Prokofiev by Prokofiev: A Composers Memoir, an autobiographical account covering the first seventeen years of Prokofiev's life, through his days at the St. Petersburg Conservatory (Doubleday). Noteworthy recordings of Pro- kofiev's Second Violin Concerto include Maxim Vengerov's with Mstislav Rostropovich conducting the London Symphony Orchestra (Teldec,^with Shostakovich's Violin Concerto

No. 2), David Oistrakh's with Malcolm Sargent and the Philharmonia Orchestra (EMI), and Anne-Sophie Mutter's with Mstislav Rostropovich conducting the National Sym- phony Orchestra (Erato). There are several Boston Symphony recordings of varying vin- tage: Jascha Heifetz recorded Prokofiev's Violin Concerto No. 2 first with Serge Kous- sevitzky and the BSO in 1937 (RCA Gold Seal or Pearl), then with Charles Munch and the BSO in 1959 (RCA Red Seal). Prior to his more recent recording of the Prokofiev Second with Daniel Barenboim and the Chicago Symphony (Teldec), Itzhak Perlman recorded it with Erich Leinsdorf and the BSO in 1966 (RCA Red Seal).

The important modern biography of Mozart is Maynard Solomon's Mozart: A Life (HarperPerennial paperback). Stanley Sadie's Mozart article from The New Grove Dic- tionary has been published separately as The New Grove Mozart (Norton paperback). Alfred Einstein's classic Mozart: The Man, the Music remains important (Oxford paperback). A new series of readable, compact composer biographies—"Musical lives," from Cambridge University Press—includes John Rosselli's The life of Mozart (Cambridge paperback; Berlioz, Beethoven, Debussy, and Mahler are among the other composers included in this series). Neal Zaslaw's Mozart s Symphonies: Context, Performance Prac- tice, Reception provides a detailed survey of Mozart's symphonies (Oxford paperback). Michael Steinberg's note on the Jupiter Symphony is in his compilation volume The Symphony—A Listeners Guide (Oxford paperback). Among other books on the composer, The Mozart Compendium: A Guide to Mozart s Life and Music, edited by H.C. Robbins Landon, includes plenty of interesting and useful information on the symphonies (Schirm- er). Robbins Landon has also provided a chapter on the Mozart symphonies to A Guide to the Symphony, edited by Robert Layton (Oxford paperback). Volkmar Braunbehrens's Mozart in Vienna, 1781-1791 provides a full picture of the composer's final decade (HarperPerennial paperback). Peter Clive's Mozart and his Circle: A Biographical Dic- tionary is a handy reference work with entries about virtually anyone you can think of who figured in Mozart's life (Oxford). Erich Leinsdorf recorded Mozart's Jupiter Sym- phony with the Boston Symphony Orchestra in 1963 (RCA, currently unlisted). Note- worthy available recordings include Hans Graf's with the Orchestra of the Salzburg Mozarteum (LaserLight), James Levine's with the Vienna Philharmonic (Deutsche Gram- mophon), Charles Mackerras's with the Prague Chamber Orchestra (Telarc), and George SzelPs with the Cleveland Orchestra (Sony "Essential Classics"). For a performance on period instruments, try Christopher Hogwood's with the Academy of Ancient Music (L'Oiseau-Lyre). Arturo Toscanini's 1940 "live" broadcast performance of the Jupiter with the NBC Symphony Orchestra (Music & Arts, with a stunning "live" account of the Brahms First Symphony from the same year) is illuminatingly flexible, especially as compared to his stiff studio recording with the same ensemble (RCA Gold Seal). —Marc Mandel

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48 James DePreist Widely esteemed as one of America's leading conductors, James DePreist has been music director of the Oregon Symphony since 1980. As a guest conductor he has appeared with such major North American orchestras as the Baltimore Symphony, Boston Symphony, Chicago Symphony, Detroit Symphony, Houston Symphony, the Juil- liard Orchestra, the Los Angeles Philharmonic, Minnesota Orches- tra, National Symphony, New York Philharmonic, Philadelphia Or- chestra, and Pittsburgh Symphony, among many others. Internation- ally he has had recent successful tenures as music director of the Monte Carlo Philharmonic and principal guest conductor of the Hel- sinki Philharmonic. Engagements as a guest conductor have also taken him to the Nether- lands Philharmonic, the Halle Orchestra, Vienna's Tonkiinstler Orchestra, and the Tokyo Metropolitan Orchestra. Mr. DePreist's 1999-2000 season includes concerts with the Boston Symphony, Dallas Symphony, Florida Philharmonic, Saint Louis Symphony, and Toronto Symphony, as well as a two-week tour of New Zealand with the New Zealand Symphony Orchestra. He also returns in 2000 to the Aspen Music Festival, with which he has had a long-standing association. Other recent summer engagements have taken him to Tanglewood in 1998 and 1999 (in 1999 for his most recent BSO appearance, the Boston Symphony's season-ending performance of Beethoven's Ninth Symphony), and to Wolf Trap and the Mann Music Center with the Philadelphia Orchestra. Mr. DePreist's tenure with the Oregon Symphony has been a period of exceptional artistic growth for the orchestra, which has further expanded its audience through a successful series of recordings for Delos and Koch. The conductor's discography also includes a continuing Shostakovich symphony cycle with the Helsinki Philharmonic on Delos and Ondine, and numerous recordings for BIS with the Malmo Symphony, of which he was chief conductor from 1991 to 1994, and the Royal Stock- holm Philharmonic. His recording of the two Shostakovich cello concertos with soloist Tor- leif Thedeen and the Malmo Symphony won a 1995 Cannes Classical Music Award. Born in Philadelphia in 1936, Mr. DePreist—the nephew of contralto Marian Anderson—pursued studies in composition with Vincent Persichetti at the Philadelphia Conservatory and earned bachelor of science and master of arts degrees from the University of Pennsylvania. In 1962, while on a State Department tour of Bangkok, he contracted polio. Making a par-

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I tial recovery, he went on to win a first prize in the 1964 Dimitri Mitropoulos International Conducting Competition and was then selected by Leonard Bernstein to be an assistant conductor of the New York Philharmonic for the 1965-66 season. From 1967 through 1970 he lived in the Netherlands, where he made a highly acclaimed European debut with the Rotterdam Philharmonic in 1969, in which year he was also awarded a Martha Baird Rocke- feller grant. Concert engagements soon followed in Stockholm, Amsterdam, Berlin, Munich, Stuttgart, Belgium, and Italy. In 1971 Antal Dorati chose him to become associate conductor with the National Symphony Orchestra in Washington, D.C. In 1976 he became music director of the Quebec Symphony, remaining there until 1983. Mr. DePreist made his Bos- ton Symphony debut at Tanglewood in August 1973 and his BSO subscription series debut —his only previous subscription appearances with the orchestra—in November 1997. James DePreist has been awarded fifteen honorary doctorates and has authored two books of poet- ry. An elected fellow of the American Academy of Arts & Sciences and the Royal Swedish Academy of Music, he is also a recipient of the Insignia of Commander of the Order of the Lion of Finland.

Kyung-Wha Chung Kyung-Wha Chung's career has spanned more than twenty-five years. Born into a musical family in Korea, Ms. Chung began studying the violin at age six. At the Juilliard School in New York she studied with the legendary Ivan Galamian, later coaching with Joseph Szigeti, who also introduced her to art and literature. In 1967, her triumph in the Edgar Leventritt Competition marked the beginning of her international career. In 1970 she made her European debut in Lon- don, since which time she has performed in all of the world's major concert halls with virtually all the great orchestras and conductors, among them Andre Previn, Riccardo Muti, Bernard Haitink, Lorin Maazel, Daniel Barenboim, Claudio Abbado, and the late Sir Georg Solti. Ms. Chung has appeared in recital with Radu Lupu, Krystian Zimerman, Peter Frankl, and Itamar Golan, among others. She collaborates regularly as a member of the Chung Trio with her brother, the conductor-pianist Myung-Whun Chung, and her sister, cellist Myung-Wha Chung. The Chung Trio was named Honorary Ambassador of the United Nations Drug Control Program. The government of South Korea awarded Kyung-Wha Chung its highest honor, the Medal of Civil Merit. In addition, she has been cited by the Sunday Times of London as one of the most important contributors to British cultural life. An exclusive EMI recording artist since 1988, Kyung-Wha Chung has made numerous recordings for Angel/EMI, Deutsche Grammo- phon, London/Decca, and RCA. Her recording for DG of the Strauss and Respighi violin sonatas with Krystian Zimerman won a Gramophone Award, as did her EMI Classics recording of Bartok's Second Violin Concerto and Rhapsodies under Simon Rattle. Recent releases include the Brahms violin sonatas with pianist Peter Frankl. In 1999 Ms. Chung was a guest soloist with such orchestras as the Chicago Symphony, Toronto Symphony, Phil- harmonia Orchestra, Halle Orchestra, the Concertgebouw Orchestra of Amsterdam, the Munich Philharmonic, and the Berlin Staatskapelle. Recital appearances this season take her to music capitals throughout Europe, Asia, and the United States. Highlights in the year 2000 include guest appearances with such orchestras as the Helsinki Philharmonic, the Halle Orchestra under Kent Nagano, the Russian National Orchestra under Mikhail Pletnev, the Philadelphia Orchestra under Wolfgang Sawallisch, and the National Symphony Orchestra under Leonard Slatkin. Ms. Chung made her Boston Symphony debut performing Bartok's Violin Concerto No. 2 in November 1975. She made her Tanglewood debut in 1981 with the Stravinsky concerto and subsequently returned for subscription performances of the Sibelius and Brahms concertos in March 1987 and February 1998, respectively. In June 1999 she gave a Tanglewood recital with pianist Itamar Golan.

51 BSO 2000, launched in the fall of 1995 and concluding August 31, 2000, is a campaign to raise $130 million for the Boston Symphony Orchestra, the worWs largest symphonic

organization. The campaign's objective is to carry the BSO's long-established role as a musical leader and educator into the future and to secure its multifaceted mission ofperformance, outreach and education, and ofproviding unequaled concert space. Of the $130-million goal, $85 million is earmarked to build and strengthen the BSO's endowment and to preserve its excep- Endowment tional facilities. The Boston Symphony Orchestra gratefully acknowledges these and Capital donors for their support. Gifts during the course of the Campaign, through Contributors December 15, 1999.

$10,000,000 and above

Mr. and Mrs. Julian Cohen Mr. and Mrs. Ray Stata

$2,500,000 to $4,999,999

Germeshausen Foundation

$1,000,000 to $2,499,999

Anonymous (5) Mr. and Mrs. John H. Fitzpatrick

Mr. and Mrs. J. P. Barger Estate of Edith C. Howie

Mr. and Mrs. Peter A. Brooke Mr. and Mrs. William J. Poorvu

Mr. John F. Cogan and Mr. and Mrs. Thomas G. Sternberg*

Ms. Mary L. Cornille The Helen F. Whitaker Fund Mrs. Stanton W. Davis Mr. and Mrs. John Williams

$500,000 to $999,999

Anonymous (3) Mr. and Mrs. William H. Congleton

Mr. and Mrs. Harlan E. Anderson Mr. and Mrs. Lewis S. Dabney

Mr. and Mrs. David B. Arnold, Jr. Mr. Joseph Hearne and Estate of Norman V. and Ms. Jan Brett Ellen B. Ballou Mr. and Mrs. Harvey Chet Catherine and Paul Buttenwieser Krentzman* Dr. and Mrs. James C. Collias* Mr. and Mrs. R. Willis Leith, Jr.*

* Includes a deferred gift

52 $500,000 to $999,999

Mr. and Mrs. Edward H. Linde Mr. and Mrs. Carl J. Shapiro Nancy Lurie Marks Foundation Mr. and Mrs. Denis F.G. Tottenham The Morse Foundation U.S. Department of Housing and NEC Corporation Urban Development Mrs. Robert B. Newman Stephen and Dorothy Weber

Seiji and Vera Ozawa Mr. and Mrs. Stephen R Weiner

Kristin and Roger Servison Estate of G. Crandon Woolley

$250,000 to $499,999

Anonymous (3) John Hitchcock* Megan and Robert O 'Block

Gabriella and Leo Beranek Estate of Arlene M. Jones Thomas A. Pappas Charitable

George and Roberta Berry Estate of Marcia H. Kalus Foundation

Estate of Virginia Mr. and Mrs. George H. Estate of Violet Pashalian Wellington Cabot Kidder Mr. and Mrs. Robert E.

Helene Cahners-Kaplan and Mr. and Mrs. Gordon F. Remis* Carol R. Goldberg Kingsley Mr. and Mrs. Jerome

Estate of Harold G. Colt Dr. and Mrs. Arthur R. Rosenfeld

Connell Limited Partnership Kravitz Carole and Edward I. Rudman* Mr. and Mrs. Eugene B. Estate of Franklin J. Marryott Doggett Mrs. August R. Meyer Richard and Susan Smith Family Foundation Dr. and Mrs. Arthur Gelb Mr. and Mrs. Nathan R. Estate of Russell B. Stearns Susan Morse Hilles Miller

$100,000 to $249,999

Anonymous (1) Ms. Renee Burrows Mr. and Mrs. William R.

Mr. and Mrs. Vernon R. Cabot Family Charitable Elfers Alden Trust Miss Anna E. Finnerty

Prof, and Mrs. Rae D. Mr. and Mrs. James F. Cleary Estate of Erna V Fisher

Anderson* Phyllis and Lee Coffey Fund Miss Elaine Foster*

Mrs. Caroline Dwight Bain Ms. Alice Confortes Mr. and Mrs. Daniel Freed

Estate of Gwendolyn C. Mr. and Mrs. John M. Mr. and Mrs. Dean W. Freed Barbour Connors, Jr. Friends of Armenian Theodore and Evelyn Mr. and Mrs. Bigelow Culture Society Berenson Charitable Crocker, Jr. Mr. and Mrs. James G. Foundation Mr. and Mrs. John J. Garivaltis*

Mr. William I. Bernell* Cullinane Estate of Rosamond Gifford Estate of Bartol Brinkler Deborah B. Davis Gordon Fund Boston Symphony Dr. and Mrs. Charles C. Mr. and Mrs. Clark H. Association of Volunteers Dickinson III Gowen Estate of Ruth Seamon Brush Mrs. Harry Dubbs The Grainger Foundation

* Includes a deferred gift Continued on next pafjc

53 $100,000 to $249,999

Estate of Marion A. Green Mr. and Mrs. John A. Dorothy Shimler

Mr. and Mrs. Daniel S. MacLeod II Estate of Sylvia Spiller

Gregory Estate of Clara J. Marum The Starr Foundation Dr. George C. and Mrs. Joseph and Beth McNay Mr. William P. Stewart Hatsopoulos Mr. and Mrs. Paul M. Mr. and Mrs. John L. William Randolph Hearst Montrone Thorndike Foundation Annette and Vincent O'Reilly Leo Wasserman Foundation Bayard and Julie Henry Mr. and Mrs. Daniel Pierce Muriel and David Pokross,

Estate of Martin Hoherman Mrs. Gloria Moody Press Trustees Joan and Ronald Curhan Estate of Edith Heymans Mr. and Mrs. Millard Pryor Henry and Joan T. Wheeler Mr. and Mrs. F. Donald Mr. and Mrs. Irving W. Rabb Hudson* Charitable Fund Mr. and Mrs. Peter Read Estate of P. Williams Mr. Charles H. Jenkins, Jr. Nancy Estate of Margaret T. Drs. Richard and Judith Steven E. Karol Rebentisch Wurtman Steve and Nan Kay Mr. Daniel Rothenberg Dr. and Mrs. Nicholas T. Dr. and Mrs. David Kosowsky Estate of Wilhelmina C. Zervas Don Law Companies Sandwen Estate of Jerome R. Zipkin Ms. Barbara Lee Dr. Raymond and Hannah H. Thomas H. Lee and Schneider* Ann Tenenbaum

$50,000 to $99,999

Anonymous (4) Estate of Grace Cornell Graff Estate of Louise Shonk Kelly Mr. and Mrs. Craig Burr The William and Mary Greve in Memory of Mary Brooks Don and Donna Comstock Foundation, Inc. Mr. and Mrs. Allen Z. Mr. Johns H. Congdon Mrs. Henry H. Halvorson Kluchman Bob and Lynn Daly Mrs. Robert G. Hargrove Audrey Noreen Koller* Mr. and Mrs. Miguel de Mr. and Mrs. Francis W. Mr. and Mrs. Robert A. Braganca Hatch Lawrence Mrs. Otto Eckstein Carol and Robert Henderson Alexander M. Levine Mr. William P. Egan Hewlett Packard Company Estate of Leona Levine Elizabeth Taylor Fessenden Estate of Grace B. Jackson -June Rockwell Levy Foundation Mr. and Mrs. Edwin A. Jaffe Foundation Mr. and Mrs. Lawrence K. Mr. and Mrs. Robert Jaffe Lucia Lin and Keith Lockhart Fish Mr. Charles H. Jenkins, Sr. Estate of Augusta W. Littie Nancy Fitzpatrick and Mr. William M. Joel Lincoln Russell Mr. and Mrs. Caleb Mr. and Mrs. Bela T. Kalman Loring, Mr. and Mrs. Eugene M. Jr. Mr. and Mrs. William M. Freedman Dr. and Mrs. Frederick H. Karlyn Lovejoy, Jr. Mr. and Mrs. George P. Estate of Mary Jane Kelley Gardner, Jr.

* Includes a deferred gift

I $50,000 to $99,999

Anne Lovett and Stephen Estate of Florence M. Reid Stone Charitable Foundation

Woodsum Mrs. George R. Rowland James V. Taylor and

Estate of Morton Margolis Mr. Roger A. Saunders Caroline Smedvig

Carol and Thomas McCann David and Marie Louise Edwin S. Webster Foundation Mr. Richard Menaul* Scudder Mr. and Mrs. Robert C.

The Morningstar Family Mr. and Mrs. Ross E. Winters Foundation Sherbrooke Estate of Dixie Ward Wonders

Mrs. Elizabeth P. Nickerson Mrs. Hinda L. Shuman Mr. and Mrs. Richard F.

Mr. and Mrs. Robert T. Dr. and Mrs. Richard F. Young O'Connell Spark

* Includes a deferred gift

»s 7 GOLDEN Best traditional Italian restaurant CARE "This place is so refined and elegant, yet so friendly, you'll feel like a close personal friend." Boston Magazine, August 1998 GERIATRIC HOME CARE "Everything, and I mean 20 everything is great at this place "OVER YEARS for celebrating. OF EXPERIENCE" Don't let the name deter you - 607 BOYLSTON STREET, BOSTON this is a serious restaurant with fabulous food and romantic decor." 617/267-5858 Zagat Survey, 1998 EMAIL: [email protected] One of America's top tables VISIT US ON THE WEB AT two years in a row WWW.GOLDENCARE.ORG Gourmet, October 1996/97

John McGee, Proprietor Wallo, Executive Chef MEMBER OF THE NATIONAL ASSOCIATION OF 3 NORTH SQUARE, BOSTON (617) 523-0077 GERIATRIC CARE MANAGERS Valet Parking Private Dining Rooms

55 The Higginson Society embodies the tradition of musical excellence established in 1881 by the Boston Symphony Orchestra's founder and sustainer, Henry Lee Higginson, that continues today in its members' commitment to the future of music. In 1999, Higginson Society members provided more than $1.7 million to the Annual Fund, the largest The single source of annual gift income from individuals. This plays a vital role in the BSO 2000 Campaign. The Boston HlGGINSON Symphony Orchestra gratefully acknowledges their support. Society Unrestricted annual contributions during the fiscal year ending August 31, 1999.

ENCORE, $25,000 and ab

Anonymous (1) Dr. and Mrs. James J. Olsen Ms. Eileen C. Shapiro and Dr. Boston Foundation A. Neil and Jane Pappalardo Reuben Eaves Combined Jewish Lisa Reindorf and Mr. and Mrs. Stephen R. Philanthropies Mitchell Goldman Weiner Fidelity Charitable Gift Fund Wanda Reindorf

MAESTRO, $15,000 to $24,999

Mr. and Mrs. Julian Cohen Megan and Robert O'Block Dr. and Mrs. Oglesby Paul

Mr. and Mrs. Nelson J. Mrs. Robert B. Newman Mrs. George R. Rowland Darling, Jr. Mr. and Mrs. August R. Meyer Stephen and Dorothy Weber Mr. and Mrs. John H. Fitzpatrick

PATRONS, $10,000 to $14,999

Anonymous (1) Deborah and William R. Elfers Mr. Norio Ohga

Mr. and Mrs. Harlan E. Nancy J. Fitzpatrick and Mr. Raymond E. Ozzie and Anderson Lincoln Russell Ms. Dawna M. Bousquet

Mr. and Mrs. David B. Mrs. B. Fletcher- Koch Mr. and Mrs. William J. Poorvu Arnold, Jr. Mr. and Mrs. Richard M. Fraser Charlotte and Irving W. Rabb

Mr. and Mrs. J. P. Barger Mrs. Kenneth J. Germeshausen Mrs. Karl Riemer

Gabriella and Leo Beranek Roberta and Macey Goldman Mr. and Mrs. Carl J. Shapiro Ms. Linda Cabot Black Mr. and Mrs. Francis W. Hatch Mr. and Mrs. Ray Stata Mr. and Mrs. John M. Bradley Bayard and Julie Henry Mr. and Mrs. Samuel Thorne Lorraine and Alan Bressler Ms. Susan Morse Hilles Henry and Joan T. Wheeler Mr. and Mrs. Peter A. Brooke Mr. and Mrs. George H. Mrs. Joan D. Wheeler Mr. and Mrs. Irving S. Kidder Mr. and Mrs. Mordechai Brudnick Gordon and Mary Ford Wiesler Mr. and Mrs Abram T. Collier Kingsley Mr. and Mrs. Robert C. Mr. and Mrs William H. Kathleen Lee Winters Congleton Mr. Thomas H. Lee Mr. and Mrs. E.S. Wood

Mr. and Mrs. William M. Mr. and Mrs. R. Willis Leith, Jr. Drs. Richard and Judith Crozier, Jr. Joyce and Edward Linde Wurtman Mr. and Mrs. Lewis S. Dabney Mr. and Mrs. Nathan R. Miller Dr. and Mrs. Nicholas T. Deborah B. Davis Mrs. Olney S. Morrill Zervas

Mr. and Mrs. Alan J. Dworsky Mrs. Wells Morss

SPONSORS, $5,000 to $9,999

Anonymous (5) Mr. and Mrs. Sherwood E. Mr. Tim Brown Mr. and Mrs. Alvin B. Allen Bain Catherine and Paul Mr. and Mrs. Walter Amory Mr. and Mrs. John Barnard, Jr. Buttenwieser The Behrakis Foundation Mr. and Mrs. Harold Caro

I Mr. and Mrs. Marshall N. Anne Lovett and Stephen Peter and Suzanne Read Carter Woodsum Mr. and Mrs. Richard Rhoads Mr. and Mrs. Eugene H. Mr. and Mrs. Charles R Lyman Dean Henry Rosovsky Clapp II Mr. and Mrs. John F. Magee Mr. and Mrs. Francis P.

Mr. John F. Cogan, Jr. and JoAnn McGrath Sears, Jr.

Ms. Mary L. Cornille Dr. Martin C. Mihm, Jr. Mr. and Mrs. Thomas G. Mr. and Mrs. Albert M. Mr. and Mrs. John D. Sternberg Creighton, Jr. Montgomery Mr. and Mrs. Ira Stepanian Mr. and Mrs. Bigelow Mr. and Mrs. William B. Mrs. Sidney Stoneman Crocker, Jr. Moses, Jr. Mrs. Nathan B. Talbot Mrs. Stanton W. Davis Mr. and Mrs. Peter M. Nicholas Mr. and Mrs. William O. Taylor Ray L. Ewbank Annette and Vincent O'Reilly Mr. and Mrs. William F. Mr. and Mrs. Dean W. Freed Mrs. Thorn Pendleton Thompson Janet and Clifton Gustafson May and Daniel Pierce Mr. Stephen Tilton The Hagan Family Fund Rev. and Mrs. Hollis Mr. and Mrs. Stephen G.

Mr. and Mrs. UlfB. Heide Plimpton, Jr. Traynor Mr. and Mrs. Robert R Henderson

FELLOWS, $2,500 to $4,999

Anonymous (9) Nina L. and Eugene B. Mr. and Mrs. Roger Landay Mr. and Mrs. William F. Doggett Mr. and Mrs. Louis E. Lataif Achtmeyer Mr. and Mrs. Robert W Doran Mr. and Mrs. David S. Lee Miss Barbara Adams Mr. and Mrs. Ed Eskandarian Ms. Barbara Lee Mrs. Weston W. Adams Mr. and Mrs. Lawrence K. Fish Mr. and Mrs. Stephen R. Levy Mr. and Mrs. Vernon R. Alden Niki and Alan Friedberg Shari Loessberg and Mr. and Mrs. William F. Mr. John Gamble Christopher Smart Allen, Jr. Dr. and Mrs. Arthur Gelb Mr. Graham Atwell Long Joel and Lisa Schmid Alvord Mr. and Mrs. Charles K. Dr. and Mrs. Frederick

Mrs. Neil R. Ayer Gifford Lovejoy, Jr. Mr. and Mrs. PL Whitney Dr. and Mrs. Clifford D. Gluck Mr. and Mrs. John A. Bailey Thelma and Ray Goldberg MacLeod II Mr. Stephen Y. Barrow Mrs. Joan P. Goldhammer- Mrs. William D. Manice

Molly and John Beard O'Neil Mr. and Mrs. J. Kent McHose Barbara and Gary Bowen Mr. Martin Gottlieb Jeffrey and Molly Millman Ms. Jan Brett and Mr. and Mrs. John L. The Morse Foundation

Mr. Joseph Hearne Grandin, Jr. Mr. Raymond F. Murphy, Jr. Mrs. Alexander H. Bright Margaret L. Hargrove Dr. and Mrs. Gordon S. Myers

Gertrude S. Brown Daphne and George Anne J. Neilson Samuel B. and Deborah D. Hatsopoulos Mr. and Mrs. Rodger P. Bruskin Mr. and Mrs. Harry R. Hauser Nordblom Dr. and Mrs. John F. Burke Mr. Albert A. Holman III Kathleen and Richard Norman Dr. and Mrs. Edmund B. Mr. and Mrs. Charles Hood Mr. Richard P. Nyquist Cabot Ms. Emily C. Hood Mrs. Milton S. Page Diane and Art Capstaff Mrs. Louise P. Hook Mrs. Stephen Davies Paine Mr. and Mrs. Arthur Carr Mr. and Mrs. William White Mr. Andrew Parlin Mr. Charles Christenson Howells Mr. Daniel A. Phillips and Rev. Mrs. Florence C. Chesterton- Mrs. Charles A. Hubbard II Diana W. Phillips Norris Mrs. Joanie V Ingraham Mrs. Daphne Brooks Prout Barbara and James Cleary Mr. and Mrs. Charles Mr. and Mrs. Richard Prouty Ms. Mary Hart Cogan Jackson, Jr. Mr. and Mrs. Robert E. Remis Dr. and Mrs. Lawrence H. Mr. and Mrs. Bela T. Kalman Susan and David Robinson Conn Martin and Wendy Kaplan Elaine and Jerome Rosenfeld Mr. and Mrs. Marvin Collier A. Rita J. and Stanley H. Kaplan David A. Roth, M.D. Mr. and Mrs. Woolsey S. Family Foundation Mrs. Benjamin Rowland Conover Susan B. Kaplan and Mr. Ami Mr. and Mrs. Lewis Rubin Mr. and Mrs. John L. Cooper A. Trauber Carol and Edward I. Rudman Ms. Mildred Craft Nancy Kaplan Belsky and Dr. Mr. and Mrs. Robert Saltonstall R. Belsky Joan P. and Ronald C. Curhan Mark Linda Sanger, Ph.D. Bill and Mr. and Mrs. Eric Cutler Mimi Karlyn Mrs. George Lee Sargent P. Mr. and Mrs. Robert Tamara and Charles H. D. King Carol Scheifele-Holmes and Davis II Mr. Mason J. O. Klinck, Sr. Ben Holmes Mr. and Mrs. Jose Diniz de Mr. and Mrs. Harvey Chet David and Marie Louise Souza Krentzman Scudder Mrs. F. Stanton Deland, Jr. Mr. and Mrs. John M. Mr. and Mrs. Roger T. Servison Kucharski Dr. and Mrs. Charles C. Mr. and Mrs. Charles N. Shane Dickenson III Gitta and Saul Kurlat Mr. and Mrs. Frederick J. Stare

57 Sherborn Spectacular Farm Pond waterfront over six secluded acres. A five-bedroom home with dramatic sunset views across the crystalline waters of suburban Boston's most beautiful and protected water reserve. Six hundred feet of frontage, dock, and magnificent landscaping. $1,550,000

f ASSOCIATES 508-650-9303

Symphony Shopping

Visit the newly renovated Symphony Shop in the Cohen Wing at the West Entrance on Huntington Avenue. ^2i^^^^^>2/^^ Hours: ORCHESTRA Tuesday through Friday, 11-4 Saturday 12-6; and from one hour before each concert through intermission.

58 Mrs. Irma Mann Stearns and Mrs. David D. Terwilliger Mr. Stetson Whitcher Dr. Norman Stearns Mabel and John Tillinghast Mr. and Mrs. Thomas H. P. Mrs. Thornton Stearns Mr. and Mrs. John H. Whitney Mrs. Anson P. Stokes Valentine Mrs. Ralph B. Williams Mr. and Mrs. Henry S. Stone Mr. and Mrs. William C. Van Mr. and Mrs. Donald B. Miss Elizabeth B. Storer Faasen Wilson Jeane and John Talbourdet Mr. Robert A. Vogt Ms. Kathryn A. Wong Ms. Patricia L. Tambone Mr. and Mrs. Charles H. Mrs. Charles H. Taylor Watts II

MEMBERS $1,800 to $2,499

Anonymous (14) Mr. and Mrs. Loring W. Dr. and Mrs. Jerome H. Amy and David Abrams Coleman Grossman Hon. and Mrs. Herbert Abigail S. Congdon and Joseph Mrs. Bernice B. Godine Abrams F. Azrack Mr. and Mrs. Henry R Bob and Pam Adams Mr. Johns H. Congdon Guild, Jr. Mr. and Mrs. Harl P. Oliver and Cynthia Curme Mr. and Mrs. Graham Gund

Aldrich, Jr. Mr. and Mrs. John J. Cullinane Mrs. Henry M. Halvorson David and Sharman Altshuler Robert and Sara Danziger Ellen and John Harris Mr. and Mrs. Kenneth A. Mr. and Mrs. Miguel De Mr. and Mrs. Noah T. Anderson Braganca Herndon Mr. and Mrs. Stephen H. Dr. and Mrs. Francis de Mr. and Mrs. Denny F. High Anthony Marneffe Mr. and Mrs. Richard D. Hill Marjorie Arons-Barron and Mr. and Mrs. Stephen John Hitchcock James H. Barron Demirjian Mrs. Harrison D. Horblit Mr. and Mrs. Lawrence Phyllis Dohanian The Housen Foundation Asquith Mitchell Dong and Robin Mr. and Mrs. Joseph Hyman Mr. and Mrs. Hamilton T. LaFoley Dong Mr. and Mrs. Jonathan Isaacs Bailey Richard W. Dwight Dr. and Mrs. James H. Jackson Sandy and David Bakalar Mr. and Mrs. Goetz P. Eaton Mr. and Mrs. Robert Jaffe Mrs. Vicki M. B arietta Mrs. Peter Edwards Mr. and Mrs. Michael Joyce Kate and Martin Begien Dr. and Mrs. Richard H. Ms. Sarah Kantor Mrs. Richard E. Bennink Egdahl Mr. and Mrs. George I. Kaplan Bernstein Leonard and Jane Ann and William Elfers Mrs. S. Charles Kasdon George and Roberta Berry Dr. and Mrs. Herbert S. Elins Joan Bennett Kennedy Mrs. Philip Bianchi Mr. and W. Mr. and Mrs. Richard S. Ms. Anne F. Kilguss Dr. and Mrs. Benjamin E. Emmet Mr. Paul L. King Bierbaum Mrs. Priscilla Endicott Mr. and Mrs. Douglas A. Mr. and Mrs. Jordan Birger Pamela D. Everhart Kingsley Mr. Peter M. Black Mr. and Mrs. Shaoul Ezekiel Glenn A. Knickrehm Ms. Mary M. Blair Mrs. Katherine Fanning and Vaia and Arthur Koumantzelis Mr. and Mrs. Arthur Mr. Amos C. Mathews Dr. and Mrs. Arthur Kravitz Blasberg, Jr. Mrs. Howard L. Fales Mr. and Mrs. Melvin Kutchin Mr. and Mrs. John C. Bloom Hortense F. Feldblum Mr. and Mrs. Benjamin H. Carey and Richard Bloomfield Norma Fine Lacy Mark G. and Linda Borden Professor Donald Fleming Mr. and Mrs. David L. Landay Mr. and Mrs. William L. Boyan Lois and Hank Foster Mr. and Mrs. Robert A. Mrs. James W. Bradley Mr. Stefan M. Freudenberger Lawrence Ms. Ellen Signaigo Brockman Mr. and Mrs. Thomas J. Mr. and Mrs. Maurice Lazarus Mrs. Keith Brodkin Galligan, Jr. Mr. John A. Lechner IV Mr. Mr. and Mrs. Michael R. and Mrs. M. Dozier Mrs. Edmund F. Leland III Brown Gardner Mr. Alexander M. Levine Mr. Robin A. Brown Ms. Pamela Ormsbee Giroux Barbara and Irving Levy Mr. and Mrs. William L. Brown Mr. and Mrs. Robert R. Mr. and Mrs. George Lewis Mrs. Karl Burack Glauber Mr. and Mrs. Christopher J. Carol R. Jeanne Fiol Burlingame and and Avram J. Lindop Goldberg Gene Burlingame Keith Lockhart and Lucia Lin Jordan and Sandy Golding Ms. Mary Carroll Mr. and Mrs. John M. Loder Richard L. and Helen M. Mr. and Mrs. Mark Goldweitz Mrs. Augustus P. Loring Cartwright Mrs. Haskell R. Gordon Diane H. Lupean Mrs. Truman S. Casner Mr. and Mrs. Clark H. Gowen Mr. and Mrs. Satoru Sharon and Richard Clarke Mr. and Mrs. E. Brainard Masamune Kenneth W. Graves Cohen and Dr. and Mrs. John D. Maryann Leonard Mr. and Mrs. Daniel S. Matthews Mrs. I. W. Colburn Gregory Dr. and Mrs. Jeremiah P. Mrs. Aaron H. Cole David and Harriet Griesinger McDonald Mrs. Harold K. Gross

59 PREVIEWS EXCEPTIONAL PROPERTIES ^^^

BOSTON $3,495,0 PRIDES CROSSING $6,500,0 Dramatic triplex penthouse an elegant brick townhouse on This handsome 1880's Queen Anne/Shingle Style mansion was

Commonwealth Avenue. Grand living room has mall views and completely restored and expanded in the 1990's, tastefully incorporating opens to a private terrace. South facing formal dining room with today's finest modern amenities. With spectacular ocean panoramas marble fireplace, 4 bedrooms, large family room, separate au-pair visible from its dramatic hilltop location, "The Ramparts" is sited apartment, garage parking. amidst 3.5 acres of elaborately landscaped grounds.

Contact Jay Palsteras or Tracex Smith, Boston Office (617) 266-4430

WINCHESTER $2,400,000 BROOKLINE $1,150,000

Extensive frontage on Upper Mystic Lake affords tremendous Classic brick-end, center entrance Colonial amidst lush gardens in privacy for this 1939 Arts and Crafts style Cape. Natural wood desirable Longwood Mall area. Noteworthy features of the property finishes are used extensively throughout the interior, lending include a gracious stairway, high ceilings, 7 fireplaces, a huge warmth and character to the rooms. B eautiful gardens surround an family room and a circular driveway. adorable garden shed and clay tennis court. Contact Debbie Gordon or Todd Glaskin. Brookline Office (617) 731-

NEWTON $2,350,000 CAMBRIDGE - $1,700,000

Located in a highly desirable area of Newton, the 1913 "Freeland This elegant 12 room Colonial, circa 1891, is within walking

Stanley House" is an exceptionally handsome and historically distance to Harvard Yard and Harvard Law School. Grand front to significant Colonial Revival style residence. Period architectural back foyer, graciously proportioned rooms, library with built-ins, details and hand-crafted ornamentation appear throughout its 6 fireplaces, 5 bedrooms, and period detailing throughout.

6,403 square feet. Contact Lorraine Scheppler or Gail Roberts, Cambridge Office

Contact llene Solomon, Newton 969-2447 (617)864-4430 Office (617) -wmimmmMmmmmmmmmmMmmmmmm Contact PREVIEWS® COLDUieU. BANKER at (800) 548-5003

Visit our web site at: HUNNEMAN www.hunneman.com SWSR Bonnie and Michael Melody Ms. Sarah J. Schiermeyer Mr. and Mrs. James C. Taylor Mr. and Mrs. Robert G. Millar Mr. and Mrs. Marvin G. Schorr Mr. and Mrs. Theodore H. Zareen Taj Mirza Mr. and Mrs. Arthur R. Teplow L. Mr. and Mrs. Elliott I. Mishara Schwartz Mr. and Mrs. John Dale S. and Robert Mnookin Mr. and Mrs. George G. Thorndike Schwenk Mr. and Mrs. W. Nicholas Mr. and Mrs. John J. Thorndike Morgan, Jr. Mr. and Mrs. Maurice Segall Mr. and Mrs. George Mosse Dr. Jerome H. and Mrs. Mr. and Mrs. Richard D. Thornton Mr. and Mrs. Francis S. Meredith P. Shapiro Moulton Mr. and Mrs. Robert Shenton Mr. and Mrs. Thomas J. Tierney Martha S. Mugar Mr. and Mrs. Malcom L. Hilde Mr. and Mrs. Andrew L. Sherman Drs. Eugene J. and H. Nichols Dr. and Mrs. William Shucart Tillman Mr. and Mrs. Carlos H. Tosi Mrs. Elizabeth P. Nickerson Mr. and Mrs. Norman Mr. Carl H. Novotny Silverman Mr. and Mrs. Charles W. Mr. and Mrs. Paul C. O'Brien Mrs. Jeanette S. Simon Trippe, Jr. Marc Ullman Mr. and Mrs. Robert T. Mrs. Donald B. Sinclair O'Connell Mr. Marshall H. Sirvetz The Irving and Edyth S. Usen Family Charitable Foundation Mrs. Andrew Oliver David B. and Barbara W. Slater Roger L. Voisin Mr. David Oswald Ms. Gilda Slifka Mr. and Mrs. Mr. and Mrs. Mark Volpe Mr. and Mrs. Robert L. Palmer Richard and Susan Smith Mr. and Mrs. Howland S. Joseph and Susan Paresky Family Foundation Warren Miss Harriet F. Parker Mr. Stanley W. Snider Mr. and Mrs. Frank S. Mr. and Mrs. John A. Perkins Micho and William Spring David and Patricia Squire Waterman III Mr. J. H. Daingerfield Perry Miss Nancy T. Watts Mr. and Mrs. David R. Pokross Maximilian and Nancy Mr. and Mrs. John W. White Dr. and Mrs. John T. Potts Steinmann Mrs. Shepard F. Williams Dr. Tina Young Poussaint Ms. Diane Stevens Mrs. John Wilson Mr. and Mrs. Millard H. Mr. and Mrs. Howard H. J. Stevenson Ms. Robin Wilson Pryor, Jr. Kathryn and Robert G. Ms. Sally Quinn Mr. and Mrs. Galen L. Stone Windsor Frank Rand Esta-Lee and Harris E. Stone Marshall and Katie Wolf Mr. and Mrs. Howard Rich Mr. and Mrs. Richard D. Stone Miss Elizabeth Woolley Ms. Tracy L. Robinson Mrs. Patricia Hansen Strang Mr. and Mrs. Arnold M. Zack Mr. Daniel E. Rothenberg Mr. and Mrs. Robert E. Sullivan Mrs. Clotilde Zannetos Dr. Jordan S. Ruboy Ms. Elizabeth Zimmermann Roger and Norma Saunders Joseph and Elizabeth Taft Mr. and Mrs. John V. C. Saylor Mr. and Mrs. John F. Taplin

creative contemporary jewelers Life care /^oldsmiths retirement living °3 at its finest!

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61 Foundation grants help make possible a variety ofBSO

activities. In particular, foundation support is vital in sus- taining the BSO's education mission, from youth education and community outreach efforts to professional trainingfor promising young musicians at the Tanglewood Music Center. Gifts from foundations nationwide help fund special projects, concert programs, new music for the Boston Pops, the BSO archives, and help bridge the gap between ticket revenue and the cost of a full BSO season. Endowment and capital Foundation gifts from foundations help ensure the future of all these activities as well as the orchestra's concert facilities. The Grantors Boston Symphony Orchestra gratefully acknowledges those foundations that have helped make it a dynamic institution.

The following foundations have made grants to the BSO during the fiscal year ended August 31, 1999:

The Aaron Foundation Burgess Family Foundation Orville W. Forte Charitable Lassor & Fanny Agoos Cabot Family Charitable Foundation Charity Fund Trust The Frelinghuysen

American Friends of the Israel Cambridge Community Foundation Philharmonic Orchestra, Foundation Friends of Armenian Culture Inc. Chiles Foundation Society The Anthony Advocate Clark Charitable Trust The Frist Foundation Foundation Clipper Ship Foundation Fromm Music Foundation The ASCAP Foundation Jessie B. Cox Charitable FSJ Foundation, Inc. Associated Grantmakers of Trust Germeshausen Charitable Massachussetts Creighton Family Foundation Term Trust Foundation AT&T Charles A. Dana Foundation, Germeshausen Foundation The Susan A. & Donald P. Inc. Gerondelis Foundation, Inc. Babson Foundation Irene E. and George A. Davis Ann and Gordon Getty BankBoston Foundation Foundation Frank M. Barnard Marion L. Decrow Memorial Ellen A. Gilman Trust Foundation, Inc. Foundation The Joseph Gluck The Barrington Foundation, Demoulas Foundation Foundation Inc. Alice Willard Dorr Carol R. and Avram J. The Theodore H. Barth Foundation Goldberg Family Foundation The Eastman Charitable Foundation Theodore and Evelyn Foundation Jackson and Irene Golden Berenson Charitable Eaton Foundation 1989 Charitable Trust Foundation English Speaking Union The Gordon Fund Adelaide Breed Bayrd Elizabeth Taylor Fessenden ' Elizabeth Grant Trust Foundation Foundation Elizabeth Grant Fund The Boston Globe Fidelity Foundation Greater Worcester Foundation Fleet Bank Community Foundation Boston Red Sox/Yawkey The Geraldine C. Ford and The William and Mary Greve Foundation II Emory M. Ford Foundation Fund, Inc. The Britten-Pears Foundation Forest Foundation Horizon Foundation Brookline Youth Concerts Fund

62 .

Henry Hornblower Fund, Charlotte Palmer Phillips Billy Rose Foundation Inc. Inc. Foundation Saquish Foundation The Hoche-Scofield The Palriwala Foundation of Schoenhof Family Foundation America Foundation The Roy A. Hunt Thomas A. Pappas Charitable The William E. and Bertha E. Foundation Foundation Schrafft Charitable Trust June Rockwell Levy The Bessie Pappas Charitable The Miriam Shaw Fund Foundation, Inc. Foundation Inc. Shell Oil Company The Joe and Emily Lowe Joseph Pellegrino Family Foundation Foundation, Inc. Foundation Seth Sprague Educational and The Lowell Institute Abraham Perlman Charitable Foundation Foundation The Edward MacCrone The Starr Foundation Charitable Trust Frank Reed Margaret Jane & State Street Foundation A. Macdonald Peters Memorial Fund James The Stearns Charitable Trust Foundation Charlotte Palmer Phillips Janet Upjohn Stearns Foundation The Sogg Foundation Charitable Trust Sarah G. McCarthy Memorial The Mattina R. Proctor Abbot & Dorothy H. Stevens Foundation Foundation Foundation William Inglis Trust Charles G. Pringle Morse Stone Charitable Foundation Max and Sophie Mydans Foundation The Charles Irwin Travelli Olive Higgins Prouty Foundation Fund The Netherland-America Foundation Trust for Mutual The Puopolo Family Foundation Understanding Charitable Trust The New England Leo Wasserman Foundation Foundation Esther V. and Sidney R. Rabb Edwin S. Webster Foundation Foundations Jean Nichols Charitable Trust Helen F. Whitaker Fund Deborah M. Noonan The Charles L. Read The Ronald A. Wilford Memorial Fund Foundation Foundation Island Old Colony Charitable The Rhode The Cornelius and Muriel Foundation Foundation Wood Charitable Fund Frederick W. Richmond Olivetti Foundation, Inc. Foundation Overly Foundation

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COME SEE FOR YOURSELF Jfouse ofSiam 76A MOUNT AUBURN 542 Columbus Avenue • Boston • 617-267-1755 HARVARD SQUARE Open for Lunch/Dinner Every Day Valet Parking Available

63 B O

BSO Youth Education and Outreach Programs

The Boston Symphony Orchestra has developed a broad spectrum of highly regarded youth education programs which provide meaningful learning in music and the arts to children in the public schools of Metropolitan Boston and beyond. Education is integral to the BSO's mission, and BSO education programs currently serve over 60,000 students statewide in grades three through twelve. These programs include sixteen Youth Concerts each year by the full BSO under the baton of Keith Lockhart.

Free admission is offered to disadvantaged students in the Boston Public Schools. In addition, the BSO offers the Potpourri series of concerts and rehearsals for serious high-school musicians; the Godparent program, which brings BSO players as teaching artists into eleven Boston schools on a regular basis; Days in the Arts (DARTS), a summer arts immersion camp at Tanglewood for students in grades five through seven that utilizes the rich cultural resources of the Berkshires; and state-certified professional development workshops for teachers through the BSO's Education Resource Center, located in the Boston Arts Academy and serving teachers statewide.

Education reform legislation at the state and federal levels has created a role for arts institutions in strengthening public education, and has increased the demand for outside services as school systems begin to rebuild their arts education programs. The BSO recognizes its responsibility and accepts this challenge to serve as a partner in shaping the lives of our young people. In the communities of Cambridge, Chelsea, Lawrence, Lynn, Peabody, Roxbury, and Worcester, the BSO has forged partnerships with school officials and community organizations to assist schools in these communities in implementing education reform in the arts. The BSO's commitment to education reform was underscored last year by a significant grant from the U.S. Department of Education to expand professional development programs for teachers.

Included in the goals for the BSO 2000 campaign is $8 million in endowment to support the BSO's youth education programs. For more information on how you can help further the BSO's educational mission, please contact Director of Development Carey Bloomfield at (617) 638-9250.

The BSO gratefully acknowledges the following donors for gifts of $2,500 or more to BSO Youth Education programs in the 1998-99 fiscal year.

Arthur Andersen LLP Bronnercom

Mr. and Mrs. David P. Arnold, Jr. Brookline Youth Concerts Fund

Arthur D. Little, Inc. Cambridge Community Foundation Associated Grantmakers of Massachusetts Chubb Group of Insurance Companies

Susan A. & Donald P. Babson Clipper Ship Foundation, Inc. Charitable Fund Ms. Barbara Cohen-Hobbs and BankBoston Mrs. Ruth B. Cohen BankBoston Worcester Jessie B. Cox Charitable Trust Mrs. Howard M. Booth Irene E. and George A. Davis Foundation Boston Foundation Marion L. Decrow Memorial Foundation The Boston Globe Foundation

I •-' •" - . •

I and people arrived in Massachusetts,

3% ptattbifam (§aztitt THEATRE DISTRICT LANDMARK PLAYS ITS FINEST ROLE YET.

'Boston, MA-Origihally- known a , s the Elks Hotel, this landmark founded

by the Boston Elks Club in 1 926. was

1 l: '. : : : short of a palace. ':'".:': :: -. nothing Light from ;; '' . ;*':. v^i-'-,- ';;;;; '••i"5; :!:-' ; :iif; SS;-" = '-"r'fv:- . crystal .chandeliers cascaded down marble columns. And a mural that told the story of Boston's history guard^

ed the -entrance of the maj< M i< \ ji \ pin Ballroom. And later when Club Cas- cades opened, legendary big band musicians and top vaudeville acts

flocked from all over the country to play at the 'hotel's illustrious n ight-

spot retractable roof, ' with the __ Now a beautifully restored Wvridham Grand Heritage Hotel, this elegant downtown landmark sets the stage lor OrimnaUr built in 1926, Tremont Boston drama in its purest form. Visit Iremont /s giving an encore performance as the Boston experience th<- history of 'premier hotel ofBoston's theater district and this charmed city and its legendary

theater district as it comes to life. OLD-WORLD ELEGANCE. MODERN-DAY AMENITIES

The Tremont Boston, like all "wyndhain Grand Heritage Hotels, offers luxurious The Tremont .little surprises like triple-sheeted bedding* down comforters and plush bathrobes. Boston 5" Even" business amenities like dataports, AWVNDHAM G«ANt> HERUAGt HOTEL

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275 TremonL Street Boston. MA 02116 617-426-1400 B O

BSO Youth Education and Outreach Programs Donors (cont.)

Harry Ellis Dickson Fund for Samuel Mayes Memorial Fund Youth Concerts Catherine McCarthy Memorial Trust Fund Alice Willard Dorr Foundation Sarah G. McCarthy Memorial Foundation Eastern Enterprises/Boston Gas Company Mr. and Mrs. Samuel Miller Charles F. and Elizabeth Y Eaton Fund Millipore Corporation Fidelity Foundation Mr. and Mrs. Paul M. Montrone Erna V. Fisher Trust Fund The Morse Foundation Fleet Bank New Balance Athletic Shoe, Inc. Forest Foundation Deborah M. Noonan Memorial Fund Gadsby & Hannah LLP Old Colony Charitable Foundation General Dynamics Dr. and Mrs. James H. Olsen Gerondelis Foundation, Inc. The Hamilton Osgood Fund for Dr. and Mrs. Kenneth J. Germeshausen Youth Concerts Youth Concerts Fund Joseph Pellegrino Family Foundation, Inc. Germeshausen Family Youth Concerts Abraham Perlman Foundation Conductors Chair Fund Prime Communications, Inc. Germeshausen Foundation Pringle Charitable Foundation Ellen Abbot Gilman Trust The Mattina R. Proctor Foundation Gordon Fund Olive Higgins Prouty Foundation Greater Worcester Community Foundation Charlotte and Irving Rabb Fund Mr. and Mrs. Daniel S. Gregory Frank Reed and Margaret Jane Peters Mr. Harold Grinspoon and Memorial Fund Ms. Diane Troderman Mr. John Reidy The Hoche-Scofield Foundation Rodman Ford, Lincoln Mercury Horizon Foundation John R. and Mary L. Roy

Mr. Charles H. Jenkins, Jr. Carole and Edward I. Rudman John Hancock Mutual Life Angelica L. Russell Youth Concert Fund Insurance Company Salomon Smith Barney Mr. and Mrs. Howard Kaufman The Schrafft Charitable Trust Miriam Kenly Youth Fund Richard and Susan Smith Family Allen Z. and Elizabeth Kluchman Foundation Youth Activities & Outreach Fund Miriam H. and Sidney Stoneman Fund for KPMG LLP Youth Activities Mr. and Mrs. Melvin D. Kraft Sidney Stoneman Youth Fund Liberty Mutual Insurance Group Unites States Department The Joe & Emily Lowe Foundation of Education The Lowell Institute Dr. and Mrs. Albert Wermuth, Jr.

LPL Financial Services Cornelius A. and Muriel P. Wood Fund John A. and Sarah C. C. MacLeod Maurice and Kate Zigmond Fund Youth Programs Fund

65 *',.< ' - . i„ , k ,„^.,,?V V7?Tl?/ B S O V A T I O N

The support of the corporate sponsors of the Boston Symphony Orchestra reflects the

increasingly important partnership between business ana the arts. The BSO is honored to be associated with these companies and gratefully acknowledges their contributions.

These corporations have sponsored concerts and activities of the Boston Symphony Orchestra during the fiscal year ending August 31,1 999. BSO corporate sponsors of $50,000 or more are listed below by contribution level.

NEC has proudly supported the Boston Symphony Orchestra's tours throughout Asia, Europe, and North and South America since 1986. No matter where they perform, the Boston Sym- phony Orchestra musicians, together with Maestro Ozawa, impress audiences with their brilliant performances, and have

captured the hearts of music lovers all over the world. Koji Nishigaki President NEC Corporation

AT&T

AT&T is committed to nurturing new ideas in the arts. That's

why we are proud to honor Seiji Ozawa and the Boston Symphony Orchestra for producing and presenting innovation to audiences in Boston and around the world. We are please to again sponsor Opening Night at Symphony, a venerable Boston tradition which Esther Silver-Parker celebrates a new and exciting season of outstanding musical per- President formances by one of the premier arts organizations in the world. AT&T Foundation

WCVB-TV |b a s t a n @ Now in our 24th year of partnership with the Boston Symphony

Orchestra, WCVB-TV Channel 5 is pleased to celebrate and support one of the world's most distinguished music organizations. Our collaboration features superb performances as well

as stories about the orchestra's important contributions to

Paul la Camera the community in televised programs such as "POPS! Goes President the Fourth," "Holiday at Pops" and "Salute to Symphony." WCVB-TV Channel 5 WCVB proudly shares one of our city's premier treasures with viewers in New England and across the country, and looks forward to the next quarter-century of partnership in great music.

66 B S O AT I O N S

Four Seasons Hotel

Four Seasons Hotel Boston has been very proud to support the Boston Symphony Orchestra for over ten years. The Boston Symphony has established a tradition for presenting world class music while simultaneously bringing the magic of music to our

Robin A. Brown city's children. The Boston Symphony Orchestra truly is the

General Manager cornerstone of the rich cultural life we enjoy. Four Seasons Four Seasons Hotel proudly acknowledges the impact the Boston Symphony Or-

chestra has had in enhancing the city, and we look forward to continuing our partnership in the years to come.

CLASSICAL 102 .5WCRB B C S T N

Charles River Broadcasting has proudly been involved with the

Boston Symphony Orchestra for over 40 years. As the official radio sponsor for the 1999-2000 season, our flagship station, WCRB 102.5, broadcasts BSO live performances every Saturday William W. Campbell night to over a half million people. We are pleased to be able CEO to bring the performances of our world class orchestra into the Charles River Broadcasting homes of millions of music lovers, and we look forward to doing so for years to come.

EMC The Enterprise Storage Company

The Boston Symphony Orchestra is a true New England trea-

sure, and the talent of its musicians should be experienced by

everyone. EMC Corporation is pleased to have a part in bringing the magic of the BSO to young people and their families in Boston and throughout the state. We hope these events will Michael C. Ruettgers instill in us an interest and a love of music and remind us all of President and CEO the rich artistic and cultural diversity that makes Massachusetts EMC Corporation a great place to live and do business.

67 B S O

The support provided by members of the Business Leadership Association enables the Boston Symphony Business Orchestra to keep ticket prices at accessible levels, to present free concerts to the Boston community, and to support educational and outreach programs. Leadership The BSO gratefully acknowledges the following corporations for their generous annual Corporate Programs' support, includinggifts-in-kind. Association Cumulative contributions of $2,000 or more during the fiscal year ending August 31, 1999.

BEETHOVEN SOCIETY

Fidelity Investments NEC Corporation Edward C. Johnson 3rd Koji Nishigaki

GOLD BATON

American Airlines Four Seasons Hotel Boston WCRB 102.5 FM James K. Carter Robin A. Brown William Campbell

AT&T John Hancock Funds WCVB-TV Channel 5

Esther Silver-Parker Edward J. Boudreau Paul LaCamera

Fleet Boston Financial Massachusetts Cultural Charles K. Gifford Council

SILVER BATON >0,000 to $99,999

EMC Corporation Merrill/Daniels Sony Electronics Inc.

Richard J. Egan Ian Levine Teruaki Aoki, Ph.D.

Fisher Scientific International, Sony Corporation of America , TDK Electronics Corporation Inc. Norio Ohga Kuni Matsui Paul M. Montrone

John Hancock Mutual Life Insurance Company David D }Alessandro

CONDUCTOR'S CIRCLE

Andersen Consulting LLP Bell Atlantic Citicorp Diner's Club John Bladon Wayne Budd Steven Pozel

68 y

CONDUCTOR'S CIRCLE

Community Newspaper GTE Internetworking Sheraton Boston Hotel Company Paul R. Gudonis Larry Trainor

William R. Elfers Liberty Mutual Group State Street

Deloitte & Touche LLP Edmund P. Kelly Marshall N. Carter

Michael J. Joyce Novus Services Inc. United Airlines Essex Investment Virginia Woulfe John Tipping Management Co., Inc. Nstar Waters Corporation Joseph C. McNay, Jr. Thomas J. May las A. Berthiaume Filene's PaineWebber, Inc. /. Kent McHose James F. Clear

The Gillette Company Richard F. Connolly

Michael C. Hawley Charles T. Harris

Joseph F. Patton, Jr. Goodwin, Procter & Hoar LLP Pricewaterhouse Coopers LLP

Gilbert G. Menna John J. O'Connor Retina M. Pisa

CONCERTMASTER $15,000 to $24,999

American Stock Exchange Choate, Hall & Stewart KPMG LLP Sal Sodano Samuel B. Bruskin Donald B. Holmes Peter M. Palladino Arthur Andersen LLP Loomis-Sayles & Company, George E. Massaro Connell Limited Partnership L.P

William F. Connell Mark W. Holland A.T. Kearney, Inc. Arthur Bert CSC LPL Financial Services Nancy McCarthy Todd A. Robinson Bartley Machine

Manufacturing Co. Dav El/Fifth Avenue Lucent Technologies, Inc.

Richard Bartley Limousine Eldred F. Newland, Jr. Scott Solombrino Bingham Dana LLP Manulife Financial

Jay S. Zimmerman, Esq. The DeWolfe Companies John D. DesPrez III Richard B. DeWolfe Biogen, Inc. The Martignetti Company, James L. Vincent Ernst & Young LLP Inc.

James S. DiStasio Carl Martignetti Boston Capital Corporation J.

Christopher W. Collins Harcourt General Charitable Massachusetts Mutual Life Herbert Collins Foundation Insurance Co.

Richard J. DeAjjazio Richard A. Smith Thomas B. Wheeler John P. Manning Hewitt Associates McKinsey & Company, Inc. Boston Herald Susan B. Thomson David G. Fubini Patrick Purcell J. IBM Corporation Raytheon Company

Boston Ventures Sean C. Rush Daniel P. Burnham Management, Inc. Martha H. W. Crowninshield

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70 CONCERTMASTER warn-: Stone & Webster Tucker Anthony, Inc. Watts Industries, Inc.

H. Kerner Smith John H. Goldsmith Timothy P. Home

Thermo Electron Von Hoffmann Press, Inc. Corporation Robert A. Uhlenhop George N. Hatsopoulos

PRINCIPAL PLAYER

Allmerica Financial Chelsea Industries, Inc. John F. Farrell and Associates

John F. O'Brien Ronald G. Casty John F. Farrell, Jr.

American Phoenix Insurance CISCO Systems, Inc. Kessler Financial Services, Agency of Massachusetts, Buz Doucette L.P. Inc. Howard Kessler Citizens Bank J. Paul Bertrand Thomas J. Hollister Lend Lease Real Estate Analog Devices, Inc. Investments, Inc. Copley Place Ray Stata Dana Harrell Paul C. Grant J. Andersen Consulting LLP Marsh, Inc. Country Curtains William D. Green Joseph McCarthy Jane and Jack Fitzpatrick Aon Risk Services Inc. of Medi trust Eastern Enterprises/Boston Massachusetts David F. Benson Gas Company Michael E. Toner /. Atwood Ives Mellon Bank Arnold Communications, Inc. Chester R. Messer Robert Summersgill Ed Eskandarian First Security Services Meredith & Grew, Inc.

Arthur D. Little, Inc. Corporation Thomas J. Hynes, Jr. Lorenzo C. Lamadrid Robert F. Johnson New England Financial Bain & Company Fleet Bank of Massachusetts, James M. Benson Thomas Tierney NA. J. Palmer & Dodge LLP John P. Hamill Berkshire Realty Company, Michael R. Brown, Esq. Inc. Goldman, Sachs & Co. PerkinElmer, Inc. David F. Marshall Rid Bullerjahn Gregory L. Summe Blue Cross and Blue Shield of Gourmet Caterers, Inc. The Pioneer Group, Inc. Massachusetts Robert Wiggins John F. Cogan, Jr. William C. Van Faasen Hill, Holliday, Connors, Printed Circuit Corporation The Boston Consulting Cosmopulos, Inc. Peter Sarmanian Group John M. Connors, Jr. Jonathan L. Isaacs Provant Holland Mark Edmund Paul M. Verrochi Boston Scientific Corporation Ingalls

Lawrence Best Richard C. Garrison Robertson Stephens A. Christopher Bulger Carruth Capital, LLC HPSC, Inc.

Christopher Egan John W. Everets, Jr.

71 Nothing Ordinary Here.

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Six Meeting Rooms and Tiered Amphitheater

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I PRINCIPAL PLAYER LlItMlJSftlEiSi

TA Associates Realty Ty-Wood/Century Winston Flowers Michael A. Ruane Manufacturing Co., Inc. David Winston Joseph W. Tiberio Taco, Inc.

John Hazen White, Sr.

PATRON

Anonymous (1) Heritage Group LLC NORESCO The Aaron Foundation Hines NORTEL NETWORKS Advanstar, Inc. Houghton Mifflin Company Orsatti & Partners Allen & Gerritsen Inc. Hurley Wire and Cable OSRAM SYLVANIA American Tower Corporation INSO Corporation Perry Capital Atlantic Data Services, Inc. International Data Group Philip Morris Management Beacon Capital Partners Ionics, Incorporated Corp.

Beggs & Cobb Corporation J.A. Webster, Inc. Prime Communications, Inc. Bell Atlantic Directory Group lofran, Inc. R&D Electrical Company, Boston Acoustics, Inc. John M. Corcoran & Co. Inc. Boston Marriott Copley Place Jordan's Furniture Company Safety Insurance Company Boston Red Sox/ Joseph Pellegrino Family Sappi Fine Paper North

Yawkey Foundation II Foundation Inc. America The Bostonian Group Kaufman & Company Seaport Hotel & World Trade Bottomline Technologies, Inc. Kellogg & George, PC. Center Bowne Kruger Paper SG Cowen Securities Brahman Capital Corp. The Lehigh Press, Inc. Corporation Bull HN Information Systems Lexington Insurance SLI, Inc. Cabot Corporation Company Smith & Nephew, Inc. Cahners Business Information Liberty Financial Companies, Southworth-Milton, Inc. Charles River Laboratories, Inc. State Street Development Inc. Longwood Partners Management Corp. Clair Motors Maxwell Shoe Company The Stop & Shop Coca-Cola Bottling Company Medical Information Supermarket Company of New England Technology, Inc. The Stride Rite Corporation CORIEN Construction Millipore Corporation Towers Perrin

Don Law Company Mintz, Levin, Cohen, Ferris, Turner Construction Eastern Bank Glovsky and Popeo, PC./ Company EKCO Group, Inc. ML Strategies, LLC UNICCO Service Company The Flatley Company MR Property Management USTrust Gadsby & Hannah LLP Natural Microsystems Watson Wyatt Worldwide Goldman Industrial Group, Corporation The Westin Hotel, Copley Inc. Neiman Marcus Place Goldstein & Manello, PC. New England Business WHDH-TV Channel 7 Gordon Brothers Service, Inc. William Gallagher Associates

Goulston & Storrs New England Development William M. Mercer, Inc. Graphics Marketing Services New England Patriots Woburn Foreign Motors Hale and Dorr LLP Nextera Enterprises, Inc. W.P. Stewart & Co., Ltd.

Continued on page 75

73 7

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The Abbey Group Harte, Carucci & Driscoll, Phelps Industries, Inc. AVFX PC. PNC Bank, New England Blake and Blake Genealogists Helix Technology Quick & Reilly, Inc./ Boston Showcase Company Corporation Fleet Securities, Inc. BTM Capital Corporation Herb Chambers Companies R.L. Jeannotte, Inc. Chubb Group of Insurance International Planning Group Renaissance Worldwide, Inc. Companies J.D.P. Company Robert Ercolini & Company Cummings Properties, LLC J.N. Phillips Glass Co., Inc. LLP Design Mark Industries Johnson O'Hare Company Robins, Kaplan, Miller & DesignWise JSA Partners, Inc. Ciresi DiaCom Corporation Lee Kennedy Co., Inc. Shaughnessy & Ahearn Di Pesa & Company, CPAs McLaughlin Transportation Company Earth Tech Systems, Inc. Sonesta International Hotels East Asia Ventures LLC New Balance Athletic Shoe, Corporation The E.B. Horn Company Inc. United Asset Management Eze Castle Software, Inc. New England Insulation Co. Corporation Fitz-Inn Auto Parks, Inc. and Nixon, Peabody United Liquors, Ltd. Jacob Wirth Co. Nordblom Company Winter, Wyman & Company Friedl Enterprises, Inc. Nutter, McClennen & Fish, Woodstock Corporation George H. Dean Co. LLP The Halleran Company Perini Corporation

MEMBER

Adams, Harkness & Hill, Inc. Document Management Saunders Hotel Group Alkermes, Inc. Services Shawmut Design & Alles Corporation Fiduciary Trust Company Construction American Science & Foodmaster Supermarkets, Signal Technology Engineering Inc. Corporation Anchor Capital Advisors, Inc. General Dynamics Slade Gorton & Co. Inc. The Biltrite Corporation Global Petroleum Smith Barney Bronnercom Corporation Standard Tube Sales Corp. Brush Fibers, Inc. Harvey Industries, Inc. Sun Life Assurance Company Cambridge Technology Jack Madden Ford of Canada Partners Jason M. Cortell & Talbots Cambridge Trust Company Associates, Inc. Tiffany & Co. Carson Limited Partnership The MacDowell Company United Gulf Management,

Comverse Network Systems Macy's East Inc. Copernicus: The Marketing MASSmedia, Inc. Wainwright Bank & Trust Investment Strategy Putnam Investments Company Group, Inc. The Rockport Company, Inc. Watermill Ventures D.K. Webster Family Rodman Ford, Lincoln Weingarten, Schurgin, Foundation Mercury Gagnebin & Hayes LLP Dionne & Gass Russell Reynolds Associates, Wire Belt Company of Inc. America

75 NEXT PROGRAM. . .

Thursday, January 20, at 8 (CONCERT PREVIEW AT 7 IN SYMPHONY HALL) Friday, January 21, at 1:30 (FRIDAY PREVIEW AT 12:15 IN SYMPHONY HALL) Saturday, January 22, at 8 (CONCERT PREVIEW AT 7 IN SYMPHONY HALL) Tuesday, January 25, at 8

ILAN VOLKOV conducting

ANDERSON The Stations of the Sun

MOZART Sinfonia concertante in E-flat, K.364(320d), for violin, viola, and orchestra

Allegro maestoso Andante Presto

THOMAS ZEHETMAIR, violin RUTH KILLIUS, viola

INTERMISSION

DVORAK Symphony No. 7 in D minor, Opus 70

Allegro maestoso Poco adagio Scherzo: Vivace Finale: Allegro

BSO Assistant Conductor Ilan Volkov makes his subscription series debut in this program of works from three centuries, opening with music of Julian Anderson, one of the bright new lights of British music. Next, violinist Thomas Zehetmair and violist Ruth Killius in her BSO debut join Mr. Volkov for Mozart's elegantly melodic Sinfonia concertante for violin, viola, and orchestra, one of his finest works. To close the program, Dvorak's Symphony No. 7 combines its composer's Czech nationalist impulses with the strong sense of form learned partly at the elbow of his champion and mentor, Johannes Brahms. The Boston Symphony has performed the work—widely considered Dvorak's highest achievement—frequently since its first appearance on a BSO program in the fall of 1886.

76 Thursday, February 3, at 10:30 a.m. COMING CONCERTS . . . (Open Rehearsal; Talk at 9:30) Thursday 'D'—January 20, 8-10* Thursday 'A'—February 3, 8-10 Friday 'A'—January 21, 1:30-3:30° Friday Evening—February 4, 8-10 Saturday 'B'—January 22, 8-10* Saturday 'A'—February 5, 8-10* Tuesday 'C January 25, 8-10 — Tuesday 'C—February 8, 8-10* conducting ILAN VOLKOV BERNARD HAITINK conducting ZEHETMAIR, violin THOMAS MURRAY PERAHIA, piano RUTH KILLIUS, viola DOMINIQUE LABELLE, soprano ANDERSON The Stations of the Sun TANGLEWOOD FESTIVAL CHORUS, MOZART Sinfonia concertante in JOHN OLIVER, conductor E-flat for violin and BEETHOVEN Leonore Overture No. 2 viola, K.364 BEETHOVEN Piano Concerto No. 1 DVORAK Symphony No. 7 POULENC Stabat Mater For his subscription series debut, Han Volkov Bernard Haitinks first BSO concerts this sea- leads favorite works by Mozart and Dvorak son include a powerful but rarely heard and a recent work, based loosely on the cycle Beethoven overture, the same composers ener- of seasons, by the young British composer getic and witty First Piano Concerto, and the Julian Anderson. deeply felt "Stabat Mater" of the twentieth- century French composer Francis Poulenc. Thursday 'B'—January 27, 8-10:10* Friday Evening January 28, 8-10:10* — Wednesday, February 9, at 7:30 Saturday 'A'—January 29, 8-10:10* (Open Rehearsal; Talk at 6:30) SIR SIMON RATTLE conducting Thursday 'C—February 10, 8-10* PETER DONOHOE, piano Friday 'B'—February 11, 1:30-3:30° DVORAK The Golden Spinning Saturday 'B'—February 12, 8-10 Wheel Tuesday 'B'—February 15, 8-10* BART6K Piano Concerto No. 1 BERNARD HAITINK conducting BRAHMS Symphony No. 2 FRANK PETER ZIMMERMANN, violin In addition to one of Brahms's most beloved SCHUMANN Manfred Overture symphonies, Sir Simon Rattle's program BERG Violin Concerto brings the BSO debut of British pianist Peter BRAHMS Symphony No. 4 Donohoe and the first BSO performances of a Two defining pieces nineteenth-century virtually unknown, fairy-tale-inspired Dvorak of Romanticism—Schumann s Byron-inspired tone poem. "Manfred" Overture and the Fourth Sym- phony of Schumann-protege Johannes

PROVIDED IN PART I FUNDING Brahms—-frame Alban Bergs elegiac 1935 Violin Concerto, written "in memory of an " angel.

Massachusetts Cultural Council Programs and artists subject to change.

* Concert Preview at 7 in Symphony Hall °Friday Preview at 12:15 in Higginson Hall

Single tickets for all Boston Symphony Orchestra concerts throughout the season are available at the Symphony Hall box office, or by calling "SymphonyCharge" at (617) 266-1200, Monday through Saturday from 10 a.m. until 6 p.m., to charge tickets instantly on a major credit card, or to make a reservation and then send payment by check. Outside the 617 area code, call 1-800-274-8499. Please note that there is a $3 handling fee for each ticket ordered by phone.

77 Juqj

fj[/LtJb K^QAVCJZSiis oAy O) UMlfoJnAlAVU/ UVXiXX/i

Whether it was last year or thirty years ago, chances are it was an extraordinary

:xperience. Perhaps you nave many memories of remarkable performances, world pre nieres, or the first time you brought your children to the hall. Whatever your speci nemories are, you can commemorate them by endowing a seat in jymphony Hall.

Your tax-deductible gift of $10,000. will forever associate you and your family vith one of the worlds great concert halls and great orchestras. And, your gift

:ounts toward BSO 2000, thee Symphonyjymphony s Vou$130 million campaign.

more information aoout iamed and memorial gift opportunities at the DjLJ,

ase call or write: Kate tlerlach

Major Gifts Officer Boston jymphony Orchestra Boston, MA 02115

(617) 638-9273

78 SYMPHONY HALL INFORMATION

FOR SYMPHONY HALL CONCERT AND TICKET INFORMATION, call (617) 266-1492. For Boston Symphony concert program information, call "C-O-N-C-E-R-T" (266-2378).

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

THE BSO'S WEB SITE (http://www.bso.org) provides information on all of the orchestra's activities at Symphony Hall and at Tanglewood, and is updated regularly. In addition, tickets for BSO concerts can be purchased online through a secure credit card transaction.

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

IN THE EVENT OF A BUILDING EMERGENCY, patrons will be notified by an announce- ment from the stage. Should the building need to be evacuated, please exit via the nearest door, or according to instructions.

FOR SYMPHONY HALL RENTAL INFORMATION, call (617) 638-9241, or write the Function Manager, Symphony Hall, Boston, MA 02115.

THE BOX OFFICE is open from 10 a.m. until 6 p.m. Monday through Saturday; on concert evenings it remains open through intermission for BSO events or just past starting time for other events. In addition, the box office opens Sunday at 1 p.m. when there is a concert that afternoon or evening. Single tickets for all Boston Symphony subscription concerts are available at the box office. For most outside events at Symphony Hall, tickets are available three weeks before the concert at the box office or through SymphonyCharge.

TO PURCHASE BSO TICKETS: American Express, MasterCard, Visa, Diners Club, Discover, a personal check, and cash are accepted at the box office. To charge tickets instantly on a major credit card, or to make a reservation and then send payment by check, call "Symphony- Charge" at (617) 266-1200, Monday through Saturday from 10 a.m. until 6 p.m. Outside the 617 area code, phone 1-800-274-8499 (TIXX). As noted above, tickets can also be purchased online. There is a handling fee of $3 for each ticket ordered by phone or over the internet.

GROUP SALES: Groups may take advantage of advance ticket sales. For BSO concerts at Symphony Hall, groups of twenty-five or more may reserve tickets by telephone and take advantage of ticket discounts and flexible payment options. To place an order, or for more information, call Group Sales at (617) 638-9345.

FOR PATRONS WITH DISABILITIES, an access service center, accessible restrooms, and elevators are available inside the Cohen Wing entrance to Symphony Hall on Huntington Avenue. For more information, call VOICE (617) 266-1200 or TTD/TTY (617) 638-9289.

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

IN CONSIDERATION OF OUR PATRONS AND ARTISTS, children four years old or younger will not be admitted to Boston Symphony Orchestra concerts.

TICKET RESALE: If you are unable to attend a Boston Symphony concert for which you hold a subscription ticket, you may make your ticket available for resale by calling (617) 266-1492 during business hours, or (617) 638-9426 up to thirty minutes before the concert. 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 Seats available for Boston Symphony subscription concerts Tuesday and Thursday evenings, and Friday afternoons. The low price of these seats is assured through the Morse Rush Seat Fund. Rush Tickets are sold at $8 each, one to a customer, at the Cohen Wing entrance on Huntington Avenue on Fridays as of 9 a.m. and Tuesdays and Thursdays as of 5 p.m. Please note that there are no Rush Tickets available on Friday or Saturday evenings.

PLEASE NOTE THAT SMOKING IS NOT PERMUTED ANYWHERE IN SYMPHONY HALL.

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

LOST AND FOUND is located at the security desk at the stage door to Symphony Hall on St. Stephen Street.

FIRST AID FACILITIES for both men and women are available. On-call physicians attending concerts should leave their names and seat locations at the switchboard near the Massachu- setts Avenue entrance.

PARKING: The Prudential Center Garage offers discounted parking to any BSO patron with a ticket stub for evening performances. There are also two paid parking garages on Westland Avenue near Symphony Hall. Limited street parking is available. As a special benefit, guar- anteed pre-paid parking near Symphony Hall is available to subscribers who attend evening concerts. For more information, call the Subscription Office at (617) 266-7575.

ELEVATORS are located outside the Hatch and Cabot-Cahners rooms on the Massachusetts Avenue side of Symphony Hall, and in the Cohen Wing.

LADIES' ROOMS are located on the orchestra level, audience-left, at the stage end of the hall; on the first balcony, also audience-left, near the coatroom; and in the Cohen Wing.

MEN'S ROOMS are located on the orchestra level, audience-right, outside the Hatch Room near the elevator; on the first-balcony level, also audience-right near the elevator, outside the Cabot-Cahners Room; and in the Cohen Wing.

COATROOMS are located on the orchestra and first-balcony levels, audience-left, outside the Hatch and Cabot-Cahners rooms, and in the Cohen Wing. Please note that the BSO is not re- sponsible for personal apparel or other property of patrons.

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

BOSTON SYMPHONY BROADCASTS: Friday-afternoon concerts of the Boston Symphony Orchestra are broadcast live in the Boston area by WGBH 89.7 FM. Saturday-evening concerts are broadcast live by WCRB 102.5 FM.

BSO FRIENDS: The Friends are donors to the Boston Symphony Orchestra Annual Fund. Friends receive BSO, the orchestra's newsletter, as well as priority ticket information and other benefits depending on their level of giving. For information, please call the Develop- ment Office at Symphony Hall weekdays between 9 and 5, (617) 638-9276. If you are already a Friend and you have changed your address, please inform us by sending your new and old addresses to the Development Office, Symphony Hall, Boston, MA 02115. Including your patron number will assure a quick and accurate change of address in our files.

BUSINESS FOR BSO: The BSO's Business Leadership Association program makes it possible for businesses to participate in the life of the Boston Symphony Orchestra through a variety of original and exciting programs, among them "Presidents at Pops," "A Company Christmas at Pops," and special-event underwriting. Benefits include corporate recognition in the BSO program book, access to the Beranek Room reception lounge, and priority ticket service. For further information, please call Madelyne Cuddeback, Director of Corporate Programs, at (617) 638-9254.

THE SYMPHONY SHOP is located in the Cohen Wing at the West Entrance on Huntington Avenue and is open Tuesday through Friday from 11 a.m. until 4 p.m., Saturday from noon until 6 p.m., and from one hour before each concert through intermission. The Symphony Shop features exclusive BSO merchandise, including the Symphony Lap Robe, calendars, coffee mugs, and an expanded line of BSO apparel and recordings. The Shop also carries children's books and musical-motif gift items. A selection of Symphony Shop merchandise is also available during concert hours outside the Cabot-Cahners Room. All proceeds benefit the Boston Symphony Orchestra. For further information and telephone orders, please call (617) 638-9383.

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We blend exquisite design, the world's finest materH c to create these incomparable homes. Each Deck He ceilings, soaring spaces, walls of glass, and airy openi craftsmanship not found in ordinary houses. Ml {jxper/ence tne Qjxtraora/nari/ ' ' Spend an afternoon enjoying : MBA ': iRW s in Acton and Carlisle. Open daily, except Wednesday, Noon - 4:00 PM. C 800-727-3325

or visit our web site for directioj els, or to order our design portfolios offered at $20 each.

i§ The Office of Michael Rosenfeld, Inc., Architects

West Acton, MA I Tel: 978-264-0160 I Http://www.omr-architects.com