BOSTON Symphony Orchestra

Seiji Ozawa MUSIC DIRECTOR

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One Hundred Eleventh Season LASSALE" THE ART SEIKOOF

HORN UJewelers since 1819 f*

Our 152"d year

THE E.B. HORN COMPANY 429 WASHINGTON STREET, BOSTON, MA BUDGET TERMS ALL MAJOR CREDIT CARDS ACCEPTED AVAILABLE MAIL OR PHONE ORDERS (617) 542-3902 OPEN MON. AND THURS. TIL 7 , Music Director

One Hundred and Eleventh Season, 1991-92

Trustees of the Boston Symphony Orchestra, Inc.

Nelson J. Darling, Jr., Chairman Emeritus

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

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

William M. Crozier, Jr. Mrs. George I. Kaplan Ray Stata Deborah B. Davis Harvey Chet Krentzman Nicholas T. Zervas Nina L. Doggett R. Willis Leith, Jr. Trustees Emeriti Vernon R. Alden Mrs. Harris Fahnestock Mrs. George R. Rowland Philip K. Allen Mrs. John L. Grandin Mrs. George Lee Sargent Allen G. Barry E. Morton Jennings, Jr. Sidney Stoneman Leo L. Beranek Albert L. Nickerson John Hoyt Stookey Mrs. John M. Bradley Thomas D. Perry, Jr. John L. Thorndike Abram T. Collier Irving W. Rabb

Other Officers of the Corporation

John Ex Rodgers, Assistant Treasurer Michael G. McDonough, Assistant Treasurer Daniel R. Gustin, Clerk

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

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

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

Programs copyright ©1992 Boston Symphony Orchestra, Inc Cover by Jaycole Advertising, Inc. Board of Overseers of the Boston Symphony Orchestra, Inc.

John F. Cogan, Jr., Chairman Thelma E. Goldberg, Vice-Chairman Mrs. Susan D. Hall, Secretary

Mrs. Herbert B. Abelow Mrs. Haskell R. Gordon Richard P. Morse Amanda Barbour Amis John P. Hamill E. James Morton Harlan Anderson Daphne P. Hatsopoulos David G. Mugar Caroline Dwight Bain Bayard Henry Robert J. Murray Mrs. Leo L. Beranek Glen H. Hirier David S. Nelson Lynda Schubert Bodman Mrs. Marilyn Brachman Hoffman Mrs. Hiroshi H. Nishino Donald C. Bowersock, Jr. Ronald A. Homer Robert P. O'Block William M. Bulger Lola Jaffe Paul C. O'Brien Mrs. Levin H. Campbell Anna Faith Jones Vincent M. O'Reilly Earle M. Chiles H. Eugene Jones Andrall E. Pearson Gwendolyn Cochran Hadden Susan B. Kaplan John A. Perkins William F. Connell Mrs. S. Charles Kasdon Millard H. Pryor, Jr. Walter J. Connolly, Jr. Richard L. Kaye Robert E. Remis Jack Connors, Jr. Mrs. Gordon F. Kingsley William D. Roddy Albert C. Cornelio Allen Z. Kluchman John Ex Rodgers Phyllis Curtin Koji Kobayashi Keizo Saji JoAnne Dickinson Mrs. Carl Koch Roger A. Saunders

Harry Ellis Dickson David I. Kosowsky Mrs. Raymond H. Schneider Phyllis Dohanian George Krupp Malcolm L. Sherman Hugh Downs John R. Laird Mrs. Donald B. Sinclair Goetz B. Eaton Mrs. Hart D. Leavitt L. Scott Singleton Harriett M. Eckstein Laurence Lesser Ira Stepanian Deborah A. England Stephen R. Levy William F. Thompson Edward Eskandarian Frederick H. Lovejoy, Jr. Mark Tishler, Jr. Peter M. Flanigan Diane H. Lupean Roger D. Wellington Eugene M. Freedman Mrs. Charles P. Lyman Robert A. Wells Mrs. James G. Garivaltis Mrs. Harry L. Marks Margaret Williams-DeCelles Jordan L. Golding Nathan R. Miller Mrs. John J. Wilson Mark R. Goldweitz

Overseers Emeriti

Mrs. Weston W. Adams Leonard Kaplan Mrs. Peter van S. Rice Mrs. Frank G. Allen Robert K. Kraft Mrs. Jerome Rosenfeld Bruce A. Beal Benjamin H. Lacy Mrs. William C. Rousseau Mrs. Richard Bennink Mrs. James F. Lawrence Mrs. William H. Ryan Mary Cabot C. Charles Marran Francis P. Sears, Jr. Johns H. Congdon Hanae Mori Ralph Z. Sorenson Peter H.B. Frelinghuysen Mrs. Stephen V.C. Morris Mrs. Edward S. Stimpson

Mrs. Thomas J. Galligan Stephen Paine, Sr. Mrs. Arthur I. Strang Mrs. Richard D. Hill David R. Pokross Luise Vosgerchian Susan M. Hilles Daphne Brooks Prout Mrs. Donald B. Wilson

Mrs. Louis I. Kane

Symphony Hall Operations

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

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

Molly Beals Millman, President Flornie Whitney, Executive Vice-President Joan Erhard, Secretary Bonnie B. Schalm, Treasurer Betty Sweitzer, Nominating Chairman

Vice-Presidents

Helen A. Doyle, Hall Services Maureen Hickey, Tanglewood Goetz B. Eaton, Fundraising Ileen Cohen, Tanglewood Una Fleischmann, Development Ann Macdonald, Youth Activities Paul S. Green, Resources Development Carol Scheifele-Holmes, Symphony Shop Patricia M. Jensen, Membership Patricia L. Tambone, Public Relations Kathleen G. Keith, Adult Education

Business and Professional Leadership Association Board of Directors

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

J. P. Barger George H. Kidder William D. Roddy Leo L. Beranek William F. Meagher Malcolm L. Sherman William F. Connell Robert P. O'Block Ray Stata Nelson J. Darling Vincent M. O'Reilly Stephen J. Sweeney Thelma E. Goldberg

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

The Boston Symphony Orchestra and "The Revolution of Expression," 1911-13

"The Revolution of Expression" celebrates artistic achievements around the world between the years 1911 and 1913. To mark this celebration, the Boston Symphony Orchestra Archives has mounted an historical display in the Cohen Wing lobby. Using photographs, letters, programs, and other historical documents preserved in the Archives, the exhibit explores the BSO between the years 1911 and 1913 and the orchestra's performances of important works composed during those years. In the photograph above, Pierre Monteux, music director of the BSO from 1919 to 1924, is shown with the score for Igor Stravinsky's Le Sacre du printemps (The Rite of Spring). Monteux conducted the first performance of the ballet production by Diaghilev's Ballet Russe at the Theatre des Champs-Elysees in Paris on May 29, 1913. right asset manager could well be your most important asset.

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Ethan Ayer Guest Artist Fund Symphony Hall to raise more than $700,000 for the Boston Symphony Orchestra. A limited The appearance of guest artists Jeannine Alt- number of sponsorship packages are still avail- meyer, Gaiy Lakes, and Paul Plishka in this able for $6,000 and include twenty tickets to week's performances of Die Walkiire, Act I, is the event, complete with cocktails, a picnic made possible by an endowment fund estab- supper, and special Boston Pops concert. In lished in 1983 by the late Ethan Ayer. The addition, the senior executive of each sponsor- Ethan Ayer Guest Artist Fund provides income ing company will receive an invitation for two for the appearance of guest vocal artists on to the exclusive Leadership Dinner on Satur- one subscription program each season. day, September 19, 1992. This unique gather- ing of CEOs in the greater Boston area offers Dynatech Corporation Sponsors an elegant evening of entertainment, fine din- BSO Concert of May 2 ing, and dancing. Companies may also show

Tonight's sponsor, Dynatech Corporation, is their support by advertising in the "Presidents one of the most successful members of the at Pops" program book, produced exclusively Route 128 high-tech community. Since 1959, for a distinguished audience of more than this diversified electronics firm has built more 2,400 corporate hosts and their guests. For than forty information-technology businesses further information, please call Marie that serve customers in a range of industries, Pettibone in the BSO Corporate Development including communications, medical, video, auto- Office at (617) 638-9278. motive, and environmental. Dynatech's highly specialized products are used around the world Art Exhibits in the Cabot-Cahners Room to collect, sample, process, analyze, and display information in a variety of applications. For the eighteenth year, a variety of Boston- Underlying its longevity and success is a area galleries, museums, schools, and non- unique business strategy that blends a focus on profit artists' organizations are exhibiting their emerging technology markets with an emphasis work in the Cabot-Cahners Room on the first- on an ever-expanding product line and a decen- balcony level of Symphony Hall. On display tralized management style. With a knack for through May 18 is an exhibit of works from adapting and taking risks, Dynatech has grown the Copley Society of Boston, the country's from a small research-and-development con- oldest nonprofit art association. This will be sulting firm into a publicly held corporation followed by an exhibit of landscapes and sea- with more than 3,000 employees and sales scapes by ten New England artists from approaching one-half billion dollars. RE:ART in Newton Centre (May 18- J. P. Barger, Dynatech's Chairman of the June 15). These exhibits are sponsored by the

Board and Chief Operating Officer, is no Boston Symphony Association of Volunteers, stranger to supporting the arts. Mr. Barger and a portion of each sale benefits the orches- currently serves as Chairman of the Boston tra. Please contact the Volunteer Office at Symphony Orchestra, as well as Vice- (617) 638-9390, for further information. Chairman and Trustee of the Boston Museum of Science, and Overseer of the Boston Attention, Subscribers from New Hampshire Museum of Fine Arts. A member of the Boston Symphony Associa- tion of Volunteers from Grantham, New Eleventh Annual Hampshire is interested in initiating bus trans- "Presidents at Pops' Slated for June 3 portation to the Friday-afternoon BSO con- The BSO salutes business at the eleventh certs from her area. If you are a Friday- annual "Presidents at Pops" on Wednesday, afternoon subscriber from Grantham, New June 3, 1992. Chairman William L. Boyan, London, Sunapee, Springfield, Newport, or President and COO of John Hancock Finan- another community in the vicinity and would cial Services, will serve as host to more than be interested in this service, please call the one hundred leading businesses gathered at Volunteer Office at (617) 638-9390. g^H^^H mt

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K-^«:*-if-lL^j€ IN BOSTON'S BACK BAY BSO Members in Concert and big band favorites by Duke Ellington. For ticket information, call (617) 286-0024 in Harry Ellis Dickson conducts the Boston Clas- Revere or (617) 631-6513 in Marblehead. sical Orchestra on Wednesday, April 29, and Pianist Grant Johannesen joins Ronald Friday, May 1, at 8 p.m. at Old South Meeting Knudsen and the Newton Symphony Orchestra House at Downtown Crossing. The program as soloist in Chopin's F minor piano concerto includes an orchestral suite drawn from ballet on Sunday, May 3, at 8 p.m. at Aquinas Col- music of Rameau, Ravel's Le Tombeau de lege, 15 Walnut Park, Newton, on a program Couperin and Pavane for a Dead Princess, and also including music from Tchaikovsky's Swan Haydn's Symphony No. 45, Farewell. Single Lake and the orchestral movement of Charles tickets are $20 and $13 ($4 discount for stu- Fussell's Wilde, which was premiered by the dents and seniors). For further information, Newton Symphony last season. Single tickets call (617) 426-2387. are $14 and $12. For more information, call BSO acting principal flute Leone Buyse is (617) 965-2555. soloist in Mozart's D major flute concerto, BSO violinist Ikuko Mizuno appears in K.314, with the Wellesley Symphony Orchestra recital with pianist Kayo Tatebe on Sunday, under the direction of Michael Webster, on May 17, at 2 p.m. in Paine Hall at Harvard Sunday, May 3, at 3 p.m., in John F. McKen- University. The program includes Beethoven's zie Auditorium at Massachusetts Bay Commu- Kreutzer Sonata, Tartini's Devil's Trill Sonata, nity College, 50 Oakland Street, Wellesley and music of Fritz Kreisler. Admission is by a Hills. Also on the program are William Schu- $5 donation to the Japanese Association of man's New England Triptych and Tchai- Greater Boston. For more information, call kovsky's Symphony No. 4. Tickets are $10 (617) 643-1061. general admission ($8 students and seniors). For more information call (617) 235-0561 or Ticket Resale 235-3584. Max Hobart and the North Shore Philhar- If, as a Boston Symphony subscriber, you find monic present "Spring Pops—An American yourself unable to use your subscription ticket, Extravaganza," on Sunday, May 3, at 3 p.m. please make that ticket available for resale by at the North Shore Music Theater in Beverly. calling (617) 266-1492. In this way you help The program includes Copland's Fanfare for bring needed revenue to the orchestra and at the Common Man, Gould's American Salute, the same time make your seat available to Ives's The Unanswered Question, Copland's someone who might otherwise be unable to Lincoln Portrait with WBZ-TV's John Hen- attend the concert. A mailed receipt will ning as narrator, Grofe's Grand Canyon Suite, acknowledge your tax-deductible contribution.

Independence, service, and companionship in New England's most affordable ^ senior rental community. f%iver 'Bay CCub 99 Brackett Street / Quincy, Massachusetts 02169 / (617) 472-4457 References furnished on request

Armenta Adams David Korevaar American Ballet Theatre Garah Landes Michael Barrett Michael Lankester John Bayless Elyane Laussade Leonard Bernstein Marian McPartland William Bolcom >hn Nauman Jorge Bolet Seiji Ozawa Boston Pops Orchestra ll^ivarotti Boston Symphony Alexander Peskanov

Chamber Players Andre Previn r Boston Symphony Reich jjj o Rodrijmez B<

OJ DriBni ^neni Brooklyn Philharmoni Leonard Shure Dave Brubeck Abbey Simon Aaron Copland Stephen Sondheim John Corigliano Herbert Stessiii Phyllis Curtin Tanglewood M^ic Rian de Waal Center Michael Feinstein Nelita True Lukas Foss Craig Urquhart Philip Glass Earl Wild Karl Haas John Williams John F. Kennedy Center Yehudi Wyner for Performing Arts and 200 others BALDWIN OF BOSTON

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

Now in his nineteenth year as music director of the Boston Symphony Orchestra, Seiji Ozawa became the BSO's thir- teenth music director in 1973, after a year as music adviser. His many tours with the orchestra in Europe, the Far East, and throughout the United States have included four visits to Japan, an eight-city North American tour in the spring of 1991, and a seven-city European tour to Greece, Austria, Germany, France, and England following the 1991 Tangle- wood season. In March 1979 he and the orchestra made an historic visit to China for coaching, study, and discussion sessions with Chinese musicians, as well as concerts, mark- ing the first visit to China by an American performing ensemble following the estab- lishment of diplomatic relations.

Besides his work with the Boston Symphony, Mr. Ozawa appears regularly with the , the French National Orchestra, the New Japan Philhar- monic, the , the Philharmonia of London, and the Vienna Phil- harmonic. He has conducted at the Paris Opera, , Salzburg, the Vienna Staatsoper, and Covent Garden. In addition to his many Boston Symphony recordings, he has recorded with the Berlin Philharmonic, the Chicago Symphony, the London Philharmonic, the Orchestre National, the Orchestre de Paris, the Philharmonia of London, the Saito Kinen Orchestra, the San Francisco Sym- phony, and the Toronto Symphony, among others. His recordings appear on the Deutsche Grammophon, EMI/Angel, Erato, Hyperion, New World, Philips, RCA, Sony Classical/CBS Masterworks, and Telarc labels.

Born in 1935 in Shenyang, China, to Japanese parents, Seiji Ozawa studied Western music as a child and later graduated with first prizes in composition and conducting from Tokyo's Toho School of Music, where he was a student of Hideo Saito. In 1959 he won first prize at the International Competition of Orchestra Conductors held in Besancon, France. Charles Munch, then music director of the Boston Symphony and a judge at the competition, invited him to attend the Tan- glewood Music Center, where he won the Koussevitzky Prize for outstanding stu- dent conductor in 1960. While a student of in West Berlin, Mr. Ozawa came to the attention of Leonard Bernstein, who appointed him assis- tant conductor of that orchestra for the 1961-62 season. He made his first profes- sional concert appearance in North America in January 1962, with the San Fran- cisco Symphony. He was music director of the Chicago Symphony Orchestra's for five summers beginning in 1964, music director of the Tor- onto Symphony from 1965 to 1969, and music director of the San Francisco Sym- phony from 1970 to 1976, followed by a year as that orchestra's music adviser. He conducted the Boston Symphony Orchestra for the first time in 1964, at Tan- glewood, and made his first Symphony Hall appearance with the orchestra in 1968. In 1970 he became an artistic director of Tanglewood.

Mr. Ozawa holds honorary doctor of music degrees from the University of Mas- sachusetts, the New England Conservatory of Music, and Wheaton College in Norton, Massachusetts. He won an Emmy award for the Boston Symphony Orchestra's "Evening at Symphony" PBS television series. Leo Panasevich Carolyn and George Rowland chair Alfred Schneider Muriel C Kasdon and Marjorie C Foley chair Raymond Sird Ruth and Carl Shapiro chair Ikuko Mizuno Amnon Levy

Second Violins Marylou Speaker Churchill Fahnestock chair Music Directorship endowed by Vyacheslav Uritsky John Moors Cabot Charlotte and Irving W. Rabb chair Ronald Knudsen BOSTON SYMPHONY Edgar and Shirley Grossman chair ORCHESTRA Joseph McGauley Leonard Moss 1991-92 * Harvey Seigel First Violins *Jerome Rosen Malcolm Lowe * Sheila Fiekowsky Concertmaster Ronan Lefkowitz Charles Munch chair $ Nancy Bracken Tamara Smirnova-Sajfar *Jennie Shames Associate Concertmaster Helen Horner Mclntyre chair *Aza Raykhtsaum Max Hobart $Lucia Lin Assistant Concertmaster *Valeria Vilker Kuchment Robert L. Beal, and *Bonnie Bewick Enid L. and Bruce A. Beal chair Laura Park *Tatiana Dimitriades Assistant Concertmaster *James Cooke Edward and Bertha C Rose chair *Si-Jing Huang Bo Youp Hwang Acting Assistant Concertmaster Violas John and Dorothy Wilson chair, Burton Fine fully funded in perpetuity Charles S. Dana chair Fredy Ostrovsky ^Patricia McCarty Forrest Foster Collier chair Anne Stoneman chair, Gottfried Wilfinger fully funded in perpetuity Dorothy Q. and David B. Arnold, Jr., Ronald Wilkison chair, fully funded in perpetuity Lois and Harlan Anderson chair Robert Barnes

*Participating in a system of rotated seating within each string section %On sabbatical leave

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

11 Some innovators work with brass, ivory or strings...We work with information technology.

lhe beauty of a BSO performance is boundless, and so too are the diverse possibilities created by the world of information and data. Innovations in information technology continue to shape our lives - in business, industry, science, as well as in our homes. For more than 30 years, Dynatech has provided customers worldwide with products that collect, process, display, and analyze information. Applications for these specialized technologies find their way into an ever-expanding range of markets - from telecom- munications to medical, from video to environmental. With a commitment to innovation, the possibilities are limitless.

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Burlington, Massachusetts BOSTON SYMPHONY ORCHESTRA

Seiji Ozawa, Music Director Grant Llewellyn and Robert Spano, Assistant Conductors One Hundred and Eleventh Season, 1991-92

Thursday, April 30, at 8

Friday, May 1, at 8

Saturday, May 2, at 8 SPONSORED BY DYNATECH CORPORATION

BERNARD HAITINK conducting

SCHUBERT Symphony No. 3 in D, D.200

Adagio maestoso— Allegro con brio Allegretto Menuetto: Vivace Presto vivace

INTERMISSION

WAGNER Die Walkiire, Act I

JEANNINE ALTMEYER, (Sieglinde) GARY LAKES, (Siegmund) PAUL PLISHKA, bass (Hunding)

Text and translation begin on page 35.

The appearance of this week's soloists is funded in part by income from the Ethan Ayer Fund.

These concerts will end at about 10.

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

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

13 Week 25 MP *» mw at __ 111 »!«» HI Ml

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Ten Post Office Square, Boston, Massachusetts 02109; (617) 723-1800 Franz Schubert Symphony No. 3 in D, D.200

Franz Peter Schubert was born in Liechtental, a suburb of Vienna, on January 31, 1797, and died in Vienna on November 19, 1828. He began his Third Symphony on May 24, 1815, broke off work partway through the first movement, began again on July 11, and completed the symphony on July 19. It was likely performed in private not long after that by an amateur orchestra which had grown out of the Schubert family string quartet, but it had its first public performance only on February 19, 1881, when August Manns conducted it at the Crystal Palace in London. Igor Markevitch led the first Bos- ton Symphony performances in February 1957, later performances being given by , Colin Davis, Christoph Eschenbach, Andrew Davis, who conducted the most recent subscription performances in March 1987, and Charles Dutoit, who conducted the most recent Tanglewood performance in July 1988. The sym- phony is scored for two each offlutes, oboes, clarinets, and bassoons, two horns, two trumpets, timpani, and strings.

In 1815, when Schubert was eighteen, his future was uncertain. His strongest and most natural inclinations were toward music. He'd had his first real piano lessons from his eldest brother Ignaz, and his father had taught him violin. In the family string quartet, the violinists were Ignaz and another brother, Ferdinand; Franz was violist and his father was cellist. Like his brothers, Schubert had been sent to Michael Holzer, organist at the Liechtental parish church, for lessons in voice, organ, and counterpoint. Holzer recognized the boy's abilities and later recalled that "if I wished to instruct him in anything fresh, he already knew it. Consequently I gave him no actual training but merely talked to him, and watched with silent astonishment."

When Schubert was eleven he was accepted as a chorister in the Imperial court chapel and took up residence at the Stadtkonvikt , a communal boarding school which also housed the Choir School. There he sang and studied under the direction of Hofkappellmeister Antonio Salieri, and there, too, he played in the school orchestra as first violinist and was occasionally trusted to lead rehearsals. The repertory included symphonies of Haydn and Mozart, the first two symphonies of Beethoven, and over- tures, as well as music by other composers. It was this orchestra that played Schu- bert's First Symphony, in D major, which he completed in October 1813.

1813 was also Schubert's last year at the Stadtkonvikt. His voice had broken the previous summer, ending his time as a chorister, and he left there that November, turning down a fellowship, perhaps due to a disciplinary matter. Now came the cross- roads. In accordance with his schoolmaster father's expectations, he entered a teacher's training school and, after a year there, began assisting his father. He did this for two years, and the hours spent in front of the classroom were not happy. But during this time he managed to produce his Second and Third symphonies, as well as piano and chamber music, several , his first Mass, in F major, which he himself successfully conducted at the hundredth-anniversary celebrations for the Liechtental church, and, in 1815, about 145 songs, including Erlkonig (the pathbreaking Gretchen am Spinnrade was written on October 19 the year before!). Despite all this, the break from schoolmastering came only after friendship with individuals like Josef von Spaun, eight years Schubert's senior, who had helped organize the Stadtkonvikt orchestra and who provided the needy Schubert with much-appreciated music paper

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I^H during his time there, and Franz von Schober, a law student who came to Vienna having heard some of Schubert's songs and urged him to abandon teaching for a musical career, finally won out over the young composer's uncertainties.

There is, however, nothing uncertain about the boundless energy that characterizes the fast movements of Schubert's first three symphonies. The upward-rushing scales of the Third Symphony's Adagio introduction play an important part in the Allegro that follows. The dotted rhythms of the first theme, for clarinet, and second theme, for oboe, provide much of the energy that, along with punctuation from brass and drums, keeps things moving; the prominence of these rhythms, plus the contour of the first theme, have led many commentators to see in this symphony foreshadowings of the "great" C major. (Those inclined to look for such resemblances may find them also in the four-note upbeat-motive of the Third Symphony's finale.)

Given the shaping and structure of the marchlike Allegretto, and assuming Haydn as a model, we have every reason to expect from Schubert a theme-and-variations movement in second place. Instead we get a middle section with a jaunty new tune given first to oboe, then to flute, and a repetition of the march to round things out. For his third movement Schubert writes the most vigorous minuet we're likely to encounter, offset by a "real" Trio — with instrumentation reduced to oboe, bassoon, and strings — of "oom-pah-pah" charm.

The tarentella theme of the whirlwind finale is darkened by minor-mode shadows and marked by offbeat punctuations from the non- string instruments, and the contin- ued momentum through the second theme is maintained by one of the oldest tricks in the book: the winds move up, the strings move down, and everyone gets louder. Prac- tically the only pauses in the music come between the movement's main sections, but the obvious gearshifts at these points are as amusing as they are startling. Schubert continues to have his fun for as long as he knows we'll listen, and only then does he bring this "madcap affair," as one Schubert scholar has described it, to a stop. -Marc Mandel SPRING SALE

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Richard Wagner Die Walkure, Act I

Wilhelm was born in Leipzig, Sax- ony, on May 22, 1813, and died in Venice, Italy, on February 13, 1883. His work on ("The Nibelung's Ring"), the tetralogy of which Die Walkure ("The Valkyrie") is the sec- ond part, began as far back as 1848. He began the music of Die Walkure on June 28, 1854, completing

the first act on April 3, 1855, and the entire opera (or music drama, to use Wagner's preferred term) on March 20, 1856; but it took him until November 1874 to complete the final pages of the Ring cycle. The first performance of Die Walkure took place in on June 26, 1870, under Franz Wullner, with Heinrich and Therese Vogl as Siegmund and Sieglinde, Kaspar Bausewein as Hunding, Sophie Stehle as Brunnhilde, and August Kindermann as Wotan. It was first heard in America at New York's Academy of Music on April 2, 1877; Adolph Neuendorff conducted, the singers being Alexander Bischoff (Siegmund), Pauline Canissa (Sieglinde), Alouin Blum (Hunding), Eugenie Pappenheim (Brunnhilde), and Felix Preusser (Wotan). The same cast gave the first Boston performance at the Boston Theatre on April 16, 1877. "The Renowned Wagner Festival Orchestra of 60 Virtuosi" was again under the direc- tion of Adolph Neuendorff, whom, as the program noted, "the illustrious composer hon- ored with special instructions concerning the production of this Opera in America. Georg Henschel, the Boston Symphony's first music director, who was a renowned bari- tone as well as a conductor, sang Wotan's Farewell with the Boston Symphony Orches- tra on December 29, 1882. Bernhard Listemann, the concertmaster, took up the baton for the occasion. Wilhelm Gericke conducted the "Ride of the Valkyries" for the first time at a Boston Symphony concert on May 28, 1886, and William J. Winch sang Sieg- iC mund 's Wintersturme" from Act I on April 19, 1889. Act I was given by the orchestra in its entirety for the first time on December 29 and 30, 1933, with Paul Althouse (Siegmund), Elsa Alsen (Sieglinde), and Fred Patton (Hunding), Serge Koussevitzky conducting. Charles Munch conducted it at Tanglewood in 1956 with Albert Da Costa, , and James Pease. Erich Leinsdorf opened the 1967-68 season with it, the singers being , Claire Watson, and Kenneth Smith, and gave it again at Tanglewood in August 1968 with Jess Thomas, Hanne-Lore Kuhse, and David Ward. Seiji Ozawa led the most recent subscription performances, to close the 1977-78 season that April, with Karl-Walter Boehm, , and Gwynne Howell, and the most recent Tanglewood performance that August, with Jon Vickers, Jessye Norman, and Gwynne Howell. The opera is scored for three flutes and piccolo, three oboes and English horn, three clarinets and bass clarinet, three bassoons, four horns, three trum- pets, bass trumpet, four trombones (including contrabass trombone), two tenor tubas, two bass tubas, contrabass tuba, timpani (two players), six harps, and strings. (A glock- enspiel is called for in the opera's final pages only.)

Wagner's Die Walkure was only one panel in a much larger creation conceived as early as 1848 and realized on the stage only in 1876, with the first production in his own theater at Bayreuth of the complete tetralogy Der Ring des Nibelungen. Few artistic creations of such scope and power exist in the European tradition. Perhaps only two literary works — Dante's Divine Comedy and Goethe's — can be men- tioned in the same breath with Wagner's gigantic composition. All three of these mighty creations present an all-encompassing world view in a work of epic size that spanned the entire universe, dominating the creative lives of the artists who envi- sioned them. 19 Week 25 The characters and basic outline of the plot for the Ring come from old Norse and Germanic myths in which Wagner read widely during the 1840s. Indeed, most of the

mighty creations that were to fill his life were already brewing in the back of his mind by the time he had embarked on . Time and time again in his operas — including the two youthful works finished by the mid- 1840s, The Flying Dutchman and Tannhauser — Wagner chose a dramatic situation in which the principal character or characters were in need of redemption, which usually came from the self-sacrifice of a noble, courageous woman. In the Ring, Wagner casts his tale of redemption on the grandest possible scale, encompassing more than one generation in chronology and the entire physical world from subterranean caverns to rocky mountain heights in geography.

Although the Ring ostensibly deals with gods, giants, dwarves, dragons, magic hel- mets, and an all-controlling ring of power, its philosophical and ethical basis grows directly out of mid-nineteenth century European social problems, particularly those generated by the unfettered capitalism of the industrial revolution. It is surely no coincidence that Wagner wrote an essay on "The Nibelung Myth as a Sketch for a Drama" in 1848, the same year that Marx and Engels published The Communist Manifesto. In their characteristically different ways — Marx with an outline for a for-

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20 .

raal essay in economic philosophy, Wagner with a draft for a theatrical work — both men addressed the theme that wealth was a destructive, dominating force in human relations.

Wagner imagined his story in terms of powerful and flexible symbols that could be visualized on the stage. Gold, in itself an innocent natural object, is stolen from the bed of the river Rhine by the Nibelung dwarf Alberich, who has learned that by for- swearing love he can fashion the gold into a Ring that will give him supreme power over creation. The gods, chief of whom is Wotan, enjoy the highest respect of any race in this mythical world, partly on the strength of the fact that Wotan is the pro- tector of agreements and treaties by which all creatures live. These are carved on his spear, the visual representation of his power.

Wotan and the other gods have contracted with the giants, Fasolt and Father, to build them a strong and secure castle, Valhalla, in return for which Wotan has agreed to give the giants Freia, the goddess of youth and love (thus, in moral terms, fore- swearing love in return for power, like Alberich had done). He has no intention of keeping his bargain, however, once the castle is finished; the ingenious Loge, god of fire, has promised to find a substitute payment.

When gods and giants alike learn from Loge of Alberich' s theft of the Rhine's gold and fashioning of the Ring of power, the giants agree that Alberich's horde of wealth would be a suitable payment, while Wotan himself longs to gain control of the Ring.

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21 Week 25 But the only way he can acquire both the horde and the Ring is through trickery and violent theft, a denial of the very agreements he is supposed to uphold. Alberich, enraged at the loss of his power, lays a fearful curse on the Ring: it will bring doom to all who possess and envy to all who do not. When Wotan presents Alberich's gold to the giants, they now declare it is not enough: they want the Ring as well. Wotan refuses at first, but finally yields on the advice of the mysterious, all-knowing earth- goddess, Erda. Immediately the giants fight over ownership of the Ring; Fafner kills

Fasolt for it, demonstrating the efficacy of Alberich's curse.

The situation is perilous for the gods. The vicious Father controls the Ring, though he is content simply to convert himself, through magic, into a dragon and to sleep on his new golden horde. But if Alberich should ever recover it, the power of the gods would be completely undone. Wotan determines to act — though he must do so indi- rectly, since to attack Fafner and take back the gold would be to break his own con- tract, the pact that his divine power is supposed to protect. Already tainted through one theft, such an act would leave him morally bankrupt.

Wotan's solution has two parts. First he visits Erda again to learn as much as she will tell him of the future. Like the Greek Zeus, the nordic Wotan spreads his wild oats far and wide. His visit to Erda has a significant consequence; she bears him nine

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22 daughters, the martial Valkyries, who ride through the sky over battlefields, choosing the bravest heroes to bring to Valhalla, where they can serve as a defensive force in the event of war with Alberich. (Wotan's favorite among these daughters is Brunn- hilde, the Valkyrie to whom the title Die Walkiire refers; she does not appear in Act

I.)

Wotan next tries to solve his moral dilemma by creating a human hero who can act for him in regaining the Ring, but of his own free will; thus, Wotan believes, he can avoid the moral taint that would come if he acted himself. Through a liaison with a mortal woman, he has two children — fraternal twins, Siegmund and Sieglinde. He arranges matters so that Sieglinde is carried off and forcibly married to the brutish Hunding. The mother is killed and Wotan (who used the name "Walse" in this esca- pade) simply disappears, leaving the young Siegmund to fend for himself. Operating invisibly in the background, Wotan arranges for Siegmund to be driven, at the last stages of exhaustion, to the house in which the unhappy Sieglinde is living. They do not recognize each other at first, particularly when Siegmund, in telling his story, calls his father "Wolfe" — "a wolf to cowardly foxes" — rather than "Walse."

Some time before, during the post-nuptial drinking that accompanied Sieglinde's forced wedding to Hunding, a stranger— Wotan, we learn — stalked into the house,

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24 which is built around a great ash-tree, and drove a powerful sword deep into the tree's trunk, from which none of the wedding guests was able to budge it. Wotan intends Siegmund will use this sword to kill Fafner. In the second act of Die Walkiire Wotan will be made to realize that by providing Siegmund with the sword and causing him to act under compulsion, he has signally failed to create the "free hero." For Siegmund to kill Fafner and reclaim the Ring is morally no different than if Wotan himself had done the deed. Reluctantly Wotan agrees not to protect Siegmund in a forthcoming battle against Hunding, and Siegmund is killed.

Although Wotan' s plan has failed on this point, a development he had not antici- pated has saved it. As a result of the passionate love that developed between them, Sieglinde now carries Siegmund's son, to be named . Growing up without Wotan's support or control, Siegfried will in fact be the "free hero" who can act to reclaim the Ring. Eventually, at the end of the mighty cycle of music dramas, the Ring is returned to the cleansing waters of the Rhine.

Wagner originally planned to write a single opera, entitled Siegfrieds Tod ("Sieg- fried's Death"). He drafted a libretto in 1848, but realized that far too much pre- ceded the events of the story to be comprehensible to the audience, so early in 1851 he wrote a libretto for Derjunge Siegfried ("The Young Siegfried"), later retitled sim- ply Siegfried. Sensing that this was still not enough, he went back to the very begin- ning of the story— the theft of the Rhinegold — and sketched librettos for Das Rhein- gold ("The Rhinegold") and Die Walkiire ("The Valkyrie") in November 1851. He completed the final versions of all four librettos in the fall of 1852 (eventually he changed the title of the concluding work to Gotterdammerung ["Twilight of the Gods"]). Only after drafting the entire text did he seriously start to compose the music, beginning at the beginning with in November 1853. It took twenty-one years— until November 21, 1874 — to complete the full score of Gbtter- dammerung. The sheer will-power and self-confidence required to finish so massive a project, requiring unprecedented musical and theatrical forces for its realization on

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25 the stage, is mind-boggling. To be sure, Wagner interrupted his work to compose two operas intended to be more "practical" and easily performable, and

Die Meistersinger von Nilrnberg. But what artistic courage it must have taken to sol- dier on with Siegfried when the scores of the two giant first parts were stored away in his desk!

In composing music for the four huge operas of the Ring, Wagner created an entirely new approach to musical drama, an extended continuity in which the span of musical shapes is measured in hours — by whole acts — rather than in minutes — by arias, duets, and other ensembles. Each act grows over its entire span with a contra- puntal web of themes developed symphonically in the orchestra, in which the vocal line forms one more element, though often the most significant one. As the tetralogy unfolds, Wagner's short, characteristic themes (often called by the term Leitmotiv, or "leading motive") develop, extend themselves, gradually change shape or turn into new themes; the listener becomes aware that certain musical ideas reappear in specific dramatic contexts, so that the orchestra alone can provide commentary on the action. Avery simple example occurs twice in the first act of Die Walkiire. First, in Sieg- mund's narrative, the mention of his father's disappearance is punctuated by a theme

that carries over from Das Rheingold: it is the music first heard at the appearance of Valhalla, Wotan's new home, and becomes connected in the listener's mind with Wotan himself. Later, in Sieglinde's narrative of the stranger who appeared on her wedding day and drove the sword into the trunk of the ash tree, the same theme reappears when she says she recognized him as her father by his sympathetic glance at her. In both cases the orchestra informs the audience of a fact that Siegmund and Sieglinde do not know: this long-lost father is Wotan himself.

Far more important than this kind of simple reminiscence (which composers had already used for years) is the systematic symphonic treatment of the themes. An astonishingly large number of them grow out of the very first music heard at the

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26 beginning of Das Rheingold — a simple arpeggiation of the E-flat triad in a slow dotted rhythm. The fundamental unfolding of a tone, a chord, a harmony, may depict the unspoiled world of nature before the loss of the Ring, but its variants quickly take on new meanings when introduced during the action in connection with a striking moment or textual phrase. Over the course of the four operas, each of these themes builds up its own referential power, so that a restatement brings with it the accumu- lated emotional force of everything the viewer has witnessed throughout the course of the extraordinary tale, culminating, finally, in an ecstatic cleansing of the evil through the redemptive power of love.

The first act of Die Walkiire has long been one of the most popular extended seg-

ments of the entire tetralogy. Because it introduces human characters for the first time, compared to the gods and giants of Das Rheingold, its musical content has rela- tively few links with the preceding opera (except for the quotation of the Valhalla theme just mentioned). As Siegmund and Sieglinde begin to recognize their growing love for one another, the music soars in a lush and burgeoning ecstasy that culmi- nates only at the fall of the curtain — not a moment too soon! — as Siegmund passion- ately draws Sieglinde to him.

Wagner's technique, with its extensive orchestral passages, requires of his actors not only great musicianship and vocal ability, but also striking mimetic talents. Time

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28 and time again they must suggest feelings, moods, and relationships wordlessly, while the orchestra carries the burden of the drama. The looks of growing interest that Sieglinde and Siegmund give one another early in the act, when she brings the exhausted stranger something to drink; the meaningful glance that Sieglinde later casts at the trunk of the tree, attempting to draw Siegmund's attention to the sword there without alerting her husband; the questioning glances of Hunding, as he stands on the threshhold of his house and confronts a stranger with his wife — these are only a few of the many moments in the Ring in which the singers' facial expressions and body language join with the eloquent commentary of the orchestra to raise the emo- tional thermometer.

Though the music builds gradually from the beginning of the scene — Siegmund's sudden arrival, in the last stages of exhaustion — to its ecstatic conclusion, Wagner carefully crafts the score in a series of carefully planned rising arcs with momentary high points followed by a slight falling off of tension, but with no complete stops. After the orchestral interlude that depicts the raging storm from which Siegmund seeks shelter, the act is cast in three large segments, each marked by Wagner as a scene. The first of these is relatively conversational, as Siegmund and Sieglinde make one another's acquaintance and she makes it clear that her marriage is an unhappy one. The arrival of Hunding begins the second segment, dominated by the two men. Siegmund's narrative begins in a relatively conversational style, its moods changing as he recounts his life, both in its happy and sad elements. As his tale draws nearer to the present, it becomes more passionate in expression. Here, as often in a Wagnerian monologue, the final words are set to a poignant musical phrase that lingers in the memory, becoming itself a referential theme to be heard later. Hunding's response — dominated in the orchestra by the rough martial rhythm that marked his arrival — is to challenge Siegfried to battle in the morning. (He is safe for the night, since, having been fed by Sieglinde upon his arrival, he is regarded as a "guest" who must be granted certain courtesies and protection.)

The final scene begins with Siegmund's second monologue, a more passionate one than the autobiographical account heard earlier. He calls upon Walse to make good on a promise that he would provide Siegmund with a sword in the hour of his greatest need. Sieglinde's arrival — she has drugged her husband into a sound sleep — sets off the culminating musical arch of the act, rising in a series of shorter curves to the cli- max. She recounts her unhappy marriage and the incident of the sword in the tree, expressing the wish that she might find at once the hero who could draw it forth. Siegmund embraces her warmly, and at the height of his rapture, the door to the house suddenly flies open to reveal a moonlit spring night. This sets off a lyrical inter- lude in which first Siegmund then Sieglinde sing ardently of spring.

As they continue in duet, each marvels at the feeling that the sight of the other has engendered, evoking memories of their nearly-forgotten childhood. Here, finally, Sieg- linde asks Siegmund about his father and he gives the name, Walse, by which she knew him. Now she knows he is her brother, that the sword is intended for him, placed in the tree by their father. With a mighty wrenching tug, he pulls the sword from the tree, claiming both it and Sieglinde as his own, while the orchestra weaves the musical themes of this act into a powerful concluding statement.

— Steven Ledbetter

29 Week 25 More . . .

Maurice J.E. Brown's Schubert: A Critical Biography is probably the best such vol- ume, though it does not incorporate the most recent research (Da Capo). The Schu- bert article by Brown and Eric Sams in The New Grove Dictionary of Music and Musicians has been reprinted as The New Grove Schubert (Norton paperback). Brown has also provided a book on the symphonies to the BBC Music Guides (University of Washing-ton paperback). Otto Erich Deutsch's Schubert: A Documentary Biography (Dent) and his Schubert: Memoirs by his Friends (Da Capo) are valuable, but one must be careful sorting out fact from fiction in the latter. (It was Deutsch, by the way, who compiled the chronological catalogue of Schubert's works, giving us the "D." numbers by which they are identified.) Arthur Hutchings has written a biography of Schubert for the Master Musicians series (Littlefield paperback). For a recording of the Third Symphony, I'd recommend with the Chamber Orchestra of Europe (Deutsche Grammophon, on a single disc with No. 4, the Tragic, or in a five-

disc set with all the symphonies plus the incidental music to Rosamunde) . Karl Bohm's recording with the Berlin Philharmonic is available only as part of a complete set (DG, four discs); likewise Neville Marriner's with the Academy of St. Martin-in- the-Fields (Philips, six discs, including a ''finished" Unfinished Symphony recon- structed by Brian Newbould from sketches and fragments, as well as completed ver- sions of the E major symphony and several late sketches left by the composer at his death).

The vast Wagner literature constantly grows larger, but the most important books continue to remain available. Ernest Newman's indispensable four-volume Life of Richard Wagner has been reprinted in paperback (Cambridge University Press), as has his treatment of The Wagner Operas, which offers detailed historical and musical analysis of Wagner's operas from The Flying Dutchman through (Knopf; in paperback from Princeton University Press). Wagner's autobiography, My Life, is also

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30 available in paperback, in a translation by Mary Whittall (Cambridge University Press). Newman's Wagner as Man and Artist, a single-volume "psychological esti- mate" (Newman's own phrase), is still important, even though it was written early in the century, when much crucial research material was unavailable (Limelight paper- back). The New Grove Wagner, in the series of biographies drawn from The New Grove Dictionary of Music and Musicians, provides discussion of the life and music by John Deathridge and Carl Dahlhouse, respectively (Norton paperback). The compre- hensive entry in The New Grove itself is by Dahlhaus, Curt von Westernhagen, and Robert Bailey. Bryan Magee's thoughtful and thought-provoking Aspects of Wagner has appeared in a newly revised and expanded edition (Oxford University paperback). Wagner on Music and Drama, edited by Albert Goldman and Evert Sprinchorn, offers a representative sampling of Wagner's own writings in the time-honored translations of William Ashton Ellis (Da Capo paperback). A good single volume on Wagner's life and work is The Wagner Companion, a collection of essays edited by Peter Burbridge and Richard Sutton (Cambridge paperback). Other useful biographies include Robert W. Gutman's Richard Wagner: The Man, his Mind, and his Music (Harvest paper- back) and Curt von Westernhagen 's Wagner: A Biography, translated by Mary Whit- tall (Cambridge University Press), as well as two more recent additions to the Wag- ner bibliography: Derek Watson's Richard Wagner (Schirmer) and Martin Gregor- Dellin's Richard Wagner: His Life, his Work, his Century (Harcourt Brace Jovanovich). Wagner: A Documentary Study, compiled and edited by Herbert Barth, Dietrich Mack, and Egon Voss, is an absorbing and fascinating collection of pictures, facsimiles, and prose, the latter drawn from the writings and correspondence of Wag- ner and his contemporaries (Oxford University Press). Another fascinating view of the composer's life is provided by Cosima Wagner's Diaries, in two very large volumes covering the years 1869-77 and 1878-83 (Harcourt Brace Jovanovich).

Bernard Haitink has recorded Wagner's complete Ring for EMI with the Bavarian Radio Symphony Orchestra; his Sieglinde and Siegmund are Cheryl Studer and Reiner Goldberg. , the Brunnhilde in the Ring under Marek Jan- owski on Eurodisc CDs, was the Sieglinde in Bayreuth's centennial Ring production by Patrice Chereau, conducted by Pierre Boulez; though the audio release is currently unavailable, the video is available on cassette and laserdisc (Philips). Gary Lakes sings Siegmund to Jessye Norman's Sieglinde in the 's Ring cycle conducted by (Deutsche Grammophon, on CD, videocassette, and laser- disc). Wagner obviously intended his operas to be taken whole, but the first act of Die Walkilre has long maintained an independent life in concert performance. Two histori- cal recordings, each on a single CD in excellent, digitally remastered monaural sound, must be mentioned first: Bruno Walter's with , Lauritz Melchoir, and the Vienna Philharmonic, from 1935 (budget-priced on EMI), and a 1944 German radio broadcast with Margarete Teschemacher and Max Lorenz with the Saxon State Orchestra under Karl Elmendorff s direction (Preiser). There is also an exciting per- formance of the final scene, beginning with Siegmund's sword monologue ("Ein Schwert verhiess mir der Vater..."), featuring and Lauritz Melchior in a Toscanini recording with the NBC Symphony (RCA, with the Siegfried Idyll, the Prelude and Love-death from Tristan, and "Ride of the Valkyries"). As to more mod- ern recordings of the first act alone, I can recommend Susan Dunn's Sieglinde on 's Pittsburgh Symphony disc, but her Siegmund is inadequate (Telarc). Among the most important Siegmunds and Sieglindes of recent decades to have par- ticipated in complete recordings of Die Walkilre were , who recorded Sieglinde with Wilhelm Furtwangler (Angel, opposite Ludwig Suthaus's Siegmund) and "live" at Bayreuth with Karl Bohm (Philips, with as Siegmund), and Jon Vickers, who recorded Siegmund with Erich Leinsdorf (London, opposite Gre Brouwenstijn's Sieglinde) and Herbert von Karajan (DG, opposite Gundula Janowitz). -M.M.

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34

i Die Walkiire, Act I The Valkyrie, Act I

Text by Richard Wagner English translation by Steven Ledbetter (Translation used by permission of Telare Records ©1991)

Erster Aufzug Act I Das Innere eines Wohnraumes Inside a dwelling

In der Mitte steht der Stamm einer In the middle stands a mighty ash-tree, mdchtigen Esche, dessen stark erhabene whose prominent roots spread wide and Wurzeln sich weithin in den Erdboden are lost in the ground. The top of the tree verlieren; von seinem Wipfel ist der Baum is cut off by a jointed roof, pierced so that durch ein gezimmertes Dach geschieden, the trunk and boughs, which branch out

welches so durchschnitten ist, dass der on every side, pass through it, through Stamm und die nach alien Seiten hin openings made to fit exactly. We assume sich ausstreckenden Aste durch genau that the top of the tree spreads out above entsprechende Offnungen hindurchgehen; the roof. Around the trunk of the ash, as von dem belaubten Wipfel wird angenom- the center, a room has been built. The men, dass er sich ilber dieses Dach aus- walls are of rough-cut wood, hung here breite. Um den Eschenstamm, als Mit- and there with woven rugs. In the right telpunkt, ist nun ein Saal gezimmert; die foreground is a hearth, the chimney of Wande sind aus roh behauenem Holzwerk, which goes up sideways to the roof hier und da mit geflochtenen und Behind the hearth is another room, like a gewebten Decken behangen. Rechts in Vor- storeroom, reached by a few steps. In front

dergrunde steht der Herd, dessen Rauch- of it, half-drawn, is a plaited hanging. At fang seitwarts zum Dache hinausfuhrt; the back, an entry with a simple wooden hinter dem Herde befindet sich ein innerer latch. Left, the door to an inner chamber, Raum, gleich einem Vorratsspeicher, zu similarly reached by steps. Downstage on dem man auf einigen hblzernen Stufen the same side, a table with a broad bench hinaufsteigt; davor hdngt, halb zuruckge- fastened to the wall with wooden stools in

schlagen, eine geflochtene Decke. Im Hin- front of it. tergrunde eine Eingangstur mit schlich- tem Holzriegel. Links die Tilr zu einem inneren Gemache, zu dem gleichfalls Stufen hinauffuhren; weiter vornen auf derselben Seite ein Tisch mit einer breiten, an der Wand angezimmerten Bank dahinter und holzernen Schemeln davor.

Ein kurzes Orchestervorspiel von hefti- ger, stiirmischer Bewegung leitet ein. Als A short orchestral prelude of violent, der Vorhang aufgeht, bffnet Siegmund von stormy character opens the scene. When aussen hastig die Eingangstur und tritt the curtain rises, Siegmund hurriedly ein; es ist gegen Abend, starkes Gewitter, opens the door from without and enters. It im Begriff, sich zu legen. Siegmund halt is near evening; a fierce thunderstorm is einen Augenblick den Riegel in der Hand just ending. For a moment, Siegmund und uberblickt den Wohnraum; er scheint keeps his hand on the latch and looks von ubermassiger Anstrengung erschbpft; around the room. He seems to be sein Gewand und Aussehen zeigen, dass er exhausted by great exertions. His clothing sich auf der Flucht befinde. Da er nie- and general appearance proclaim him to mand gewahrt, schliesst er die Tilr hinter be a fugitive. Seeing no one, he closes the sich, schreitet auf den Herd zu und wirft door behind him, walks to the hearth, and sich dort ermattet auf eine Decke von throws himself down there, exhausted, on Barenfell. a bearskin rug.

35 Erste Szene Scene One SIEGMUND SIEGMUND Wes Herd dies auch sei, To whomever this hearth belongs, hier muss ich rasten. here I must rest.

(Er sinkt zuriick und bleibt einige Zeit (He sinks back and remains for a time regungslos ausgestreckt. Sieglinde tritt aus stretched out, motionless. Sieglinde enters der Tiir des inneren Gemaches. Sie from the door of the inner room, thinking glaubte ihren Mann heimgekehrt; ihre ern- that her husband has returned. Her som- ste Miene zeigt sich dann verwundert, als bre look changes to one of surprise when sie einen Fremden am Herde ausgestreckt she sees a stranger on the hearth.) sieht.)

SIEGLINDE (nock im Hintergrunde) SIEGLINDE (still at the back) Ein fremder Mann? A strange man? Thn muss ich fragen. I must question him.

(Sie tritt ruhig einige Schritte naher.) (Quietly she comes a few steps closer.)

Wer kam ins Haus Who came into the house und liegt dort am Herd? and is now lying there on the hearth?

(Da Siegmund sich nicht regt, tritt sie (Siegmund does not move; she comes a noch etwas naher und betrachtet ihn.) little closer and looks at him.)

Mude liegt er He lies exhausted von Weges Munn: from the strain of his travels. schwanden die Sinne ihm? Has he fainted? Ware er siech? Could he be sick?

(Sie neigt sich zu ihm herab und lauscht.) (She bends over him and listens.)

Noch schwillt ihm der Atem; He is still breathing: das Auge nur schloss er. he just closed his eyes to rest. Mutig dunkt mich der Mann, I think the man seems valiant, sank er mild auch hin. though he is exhausted now. SIEGMUND SIEGMUND (fdhrt jah mit dem Haupt in die Hohe) (suddenly raising his head)

Ein Quell! Ein Quell! A drink! A drink! SIEGLINDE SIEGLINDE

Erquickung schaff ich. I'll bring something to refresh you.

(Sie nimmt schnell ein Trinkhorn, geht (She quickly takes a drinking-horn and damit aus dem Hause, kommt zuriick und goes out with it; returning with it filled, reicht das gefiillte Trinkhorn Siegmund.) she offers it to Siegmund.)

Labung biet ich I offer refreshment dem lechzenden Gaumen: to your parched lips: Wasser, wie du gewollt! water, as you requested! SIEGMUND SIEGMUND (trinkt und reicht ihr das Horn zuriick. (drinks, and hands the horn back to her; Als er ihr mit dem Haupte Dank zuwinkt, his glance fastens on her features with haftet sein Blick mit steigender Teilnahme growing interest.) an ihren Mienen.) Kuhlender Labung Cooling comfort

36 AS im HH

gab mir der Quell, that drink gave me; des Miiden Last it lightened machte er leicht; the weary man's burden. erfrischt ist der Mut, My spirits are refreshed, das Aug' erfreut my eye enjoys des Sehens selige Lust. the blissful pleasure of sight. Wer ist's, der so mir es labt? Who is it who has restored me thus? SIEGLINDE SIEGLINDE Dies Haus und dies Weib This house and this woman sind Hundings Eigen; belong to Hunding; gastlich gonn' er dir Rast: as his guest he will grant you rest; harre, bis heim er kehrt! wait here until he returns home. SIEGMUND SIEGMUND Waffenlos bin ich: I am weaponless; dem wunden Gast your husband wird dein Gatte nicht wehren. will not spurn the wounded guest.

SIEGLINDE (mit besorgter Hast) SIEGLINDE (with anxious haste) Die Wunden weise mir schnell! Show me your wounds at once! SIEGMUND SIEGMUND (springt lebhaft vom Lager zum Sitz auf) (quickly springs up to a sitting position) Gering sind sie, They are slight, der Rede nieht wert; not worth speaking of. noch fiigen des Leibes My bones and limbs Glieder sieh fest. are still firmly connected. Hatten halb so stark wie mein Arm If my shield and spear Schild und Speer mir gehalten, had been half so strong as my arm, nimmer floh ich dem Feind; I would never have fled my foes; doch zerschellten mir Speer und Schild. but my spear and shield shattered. Der Feinde Meute The enemies' hounds hetzte mich mud, hunted me to exhaustion, Gewitterbrunst the storm's violence brach meinen Leib; wore me out; doch schneller, als ich der Meute, yet my weariness has fled faster schwand die Miidigkeit mir; than I the pack of hounds; sank auf die Lider mir Nacht, though night had covered my eyes, die Sonne lacht mir nun neu. the sun now shines upon me anew. SIEGLINDE SIEGLINDE

(geht nach dem Speicher, fiillt ein Horn (goes to the storeroom, fills a horn with mit Met und reicht es Siegmund mit mead, and offers it to Siegmund with freundlicher Bewegtheit) friendly eagerness) Des seimigen Metes The sweet drink siissen Trank of honeyed mead mogst du mir nicht verschmahn. you will surely not refuse. SIEGMUND SIEGMUND

Schmecktest du mir ihn zu? Will you taste it first?

(Sieglinde nippt am Home und reicht es (Sieglinde sips from the horn and gives it ihm wieder. Siegmund tut einen langen back to him. Siegmund takes a long

Please turn the page quietly.

37 Zug, indem er den Blick mit wachsender drink, while his gaze rests on her with Warme auf sie heftet. Er setzt so das Horn growing warmth. Still gazing, he takes the ab und lasst es langsam sinken, wdhrend horn from his lips and lets it sink slowly, der Ausdruck seiner Miene in starke while the expression on his face tells of Ergriffenheit ubergeht. Er seufzt tief auf strong emotion. He sighs deeply, and und senkt den Blick duster zu Boden. Mit gloomily lowers his gaze to the ground. bebender Stimme:) With trembling voice:)

Einen Unseligen labtest du: You have aided an unlucky man; Unheil wende may my wish turn der Wunsch von dir! misfortune away from you!

(Er bricht schnell auf, um fortzugehen.) (He starts up to go.)

Gerastet hab ich I have rested und suss geruht: and been sweetly refreshed;

weiter wend ich den Schritt. I'll turn my step onward.

(Er geht nach hinten.) (He moves toward the door at the back.) SIEGLINDE SIEGLINDE 1 (lebhaft sich umwendend) (turning around quickly) Wer verfolgt dich, dass du schon Who is pursuing you, that you flee fliehst? so quickly? -

\ SIEGMUND SIEGMUND (Von ihrem Rufe gefesselt, langsam und (taken by her cry; slowly and sadly) duster) Misswende folgt mir, Misfortune follows me, wohin ich fliehe; wherever I flee; Misswende naht mir, misfortune draws near, wo ich mich zeige. wherever I show myself. Dir, Frau, doch bleibe sie fern! From you, lady, may it be distant! Fort wend ich Fuss und Blick! Onward I turn my step and my gaze!

(Er schreitet schnell bis zur Tilr und hebt (He strides swiftly to the door and lifts den Riegel.) the latch.) SIEGLINDE SIEGLINDE

1 (im heftigen Selbstvergessen ihm (calling to him with impetuous self- nachrufend) forgetfulness) So bleibe hier! Then stay here! Nicht bringst du Unheil dahin, You cannot bring misfortune

' : wo Unheil im Hause wohnt! where misfortune is already at home. SIEGMUND SIEGMUND

(bleibt tief erschiittert stehen und forscht (deeply moved, remains where he is; he in Sieglindes Mienen; diese schldgt gazes intently at Sieglinde, who lowers her verschdmt und traurig die Augen eyes in embarrassment and sadness. A nieder. Langes Schweigen. Siegmund long silence. Siegmund returns into the kehrt zuruck.) room.) Wehwalt hiess ich mich selbst: Wehwalt is how I called myself; Hunding will ich erwarten. Hunding— I will await him.

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Zweite Szene Scene Two

Sieglinde fdhrt plbtzlich auf, lauscht und Suddenly Sieglinde starts, listens, and hort Hunding, der sein Ross aussen zum hears Hunding, who is outside leading his

Stall fiihrt. Sie geht hastig zur Tiir und horse to the stable. She goes quickly to the

bffnet; Hunding, gewaffnet mit Schild und door and opens it. Hunding, armed with Speer, tritt ein und halt unter der Tiir, shield and spear, enters, and pauses in the als er Siegmund gewahrt. Hunding wen- doorway on perceiving Siegmund. He det sich mit einem ernst fragenden Blick turns to Sieglinde with a sternly question- an Sieglinde. ing glance. SIEGLINDE SIEGLINDE

(dem Blicke Hundings entgegnend) (meeting Hunding 's look) Mud am Herd Exhausted on the hearth fand ich den Mann: I found this man; Not fiihrt' ihn ins Haus. need drove him to the house. HUNDING HUNDING Du labtest ihn? Did you give him something to eat? SIEGLINDE SIEGLINDE Den Gaumen letz' ich ihm, His throat I refreshed, gastlich sorgt' ich sein! cared for him as a guest. SIEGMUND SIEGMUND (der ruhig und fest Hunding beobachtet) (watching Hunding quietly and firmly) Dach und Trank I thank her for dank ich ihr: roof and drink; willst du dein Weib drum schelten? would you scold your wife for that? HUNDING HUNDING Heilig ist mein Herd: Sacred is my hearth; heilig sei dir mein Haus! may my house be sacred to you.

(Er legt seine Waffen ab und ubergibt sie (He removes his weapons and hands them Sieglinde. Zu Sieglinde:) to Sieglinde. To Sieglinde:)

Rust uns Mannern das Mahl! Prepare the meal for us men.

(Sieglinde hdngt die Waffen an Asten des (Sieglinde hangs the weapons on the Eschenstammes auf, dann holt sie Speise branches of the ash-tree, then gets food und Trank aus dem Speicher und riistet and drink from the storeroom and pre- auf dem Tische das Nachtmahl. pares the evening meal. Involuntarily she Unwillkiirlich heftet sie wieder den Blick turns her eyes again to Siegmund. Hund- auf Siegmund. Hunding misst scharf und ing looks sharply and with astonishment verwundert Siegmunds Ziige, die er mit at Siegmund 's features, comparing them denen seiner Frau vergleicht; fur sich:) with his wife's; aside:)

Wie gleicht er dem Weibe! How like the woman he is! Der gleissende Wurm The glittering serpent glanzt auch ihm aus dem Auge. shines from his eyes too.

Please turn the page quietly.

39 (Er birgt sein Befremden und wendet sich (He hides his surprise and turns, as if wie unbefangen zu Siegmund.) unconcerned, to Siegmund.)

Weit her, traun, From far afield, truly, kamst du des Wegs; was the path you took here; ein Ross nicht ritt, he rode no horse der Rast hier fand: who found rest here: welch schlimme Pfade what evil path schufen dir Pein? created your woes? SIEGMUND SIEGMUND Durch Wald und Wiese, Through forest and field, Heide und Hain, heather and copse, fegte mich Sturm the storm und starke Not: and stern necessity drove me; nicht kenn ich den Weg, den ich kam. I know not the way that I came. Wohin ich irrte, Where I have wandered

weiss ich noch minder: I know still less; Kunde gewann' ich des gern. Gladly would I learn from you. BUNDING HUNDING (am Tische und Siegmund den Sitz bietend) (at the table, motioning Siegmund to sit) Des Dach dich deckt, The roof that covers you, des Haus dich hegt, the house that holds you — Hunding heisst der Wirt; of these Hunding is the owner. wendest von hier du If you turn your step from here nach West den Schritt, toward the west, in Hofen reich in rich homesteads hausen dort Sippen, their live clans die Hundings Ehre behiiten. who guard Hunding' s honor. Gonnt mir Ehre mein Gast, My guest would honor me, wird sein Name nun mir genannt. if he made his name known to me.

(Siegmund, der sich am Tisch niederge- (Siegmund, who has sat down at the table, setzt, blickt nachdenklich vor sich hin. gazes thoughtfully in front of him. Sieg- Sieglinde, die sich neben Hunding, Sieg- linde who has seated herself next to Hund- mund gegenilber, gesetzt, heftet ihr Auge ing, opposite Siegmund, fastens her eyes mit auffallender Teilnahme und Span- on him with evident sympathy and nung auf diesen. Hunding, der beide intentness. Hunding, observing them beobachtet:) both:)

Tragst du Sorge, If you fear mir zu vertraun, to trust me, der Frau hier gib doch Kunde: at least tell the woman here; sieh, wie gierig sie dich fragt! see how eagerly she asks you! SIEGLINDE SIEGLINDE (unbefangen und teilnahmsvoll) (unembarrassed and eager) Gast, wer du bist, Guest, who you are wiisst' ich gern. I would gladly know. SIEGMUND SIEGMUND (blickt auf, sieht ihr in das Auge, und (looks up, gazes into her eyes, and begins beginnt ernst.) gravely.) Friedmund darf ich nicht heissen; Friedmund [Peaceful] I may not be called:

40 Frohwalt mocht ich wohl sein: Frohwalt [Joyful] I should like to be; doeh Wehwalt muss ich mich nennen. yet Wehwalt [Woeful] I must call myself. Wolfe, der war mein Vater; Wolfe was my father; zu zwei kam ich zur Welt, I came as a pair into the world — eine Zwillingsschwester und ich. a twin sister and I. Fruh schwanden mir Early on I lost Mutter und Maid; both mother and maiden, die mich gebar the one who bore me und die mit mir sie barg, and the one whom she sheltered with me, kaum hab ich je sie gekannt. I scarcely knew them. Wehrlich und stark war Wolfe, Valorous and strong was Wolfe, der Feinde wuchsen ihm viel. many foes came up against him. Zum Jagen zog Off to a hunt once mit dem Jungen der Alte: went the old man with the youth. von Hetze und Harst Once from chase and hunt einst kehrten sie heim: they returned home: da lag das Wolfsnest leer. there the wolfs nest lay empty. Zu Schutt gebrannt To ashes was burned der prangende Saal, the splendid hall, zum Stumpf der Eiche to a stump the oak's bluhender Stamm; blooming trunk; erschlagen der Mutter struck down my mother's mutiger Leib, valiant body, verschwunden in Gluten lost in the brands der Schwester Spur. all trace of my sister. Uns schuf die herbe Not The cruel host of the Neidings der Neidinge harte Schar. dealt this bitter blow. Geachtet floh Despised, the old man der Alte mit mir; fled with me; lange Jahre long years lebte der Junge the youth lived mit Wolfe in wilden Wald: with Wolfe in the wild woods: Manche Jagd Many a hunt ward auf sie gemacht; was made for us, doch mutig wehrte but valiantly

das Wolfspaar sich. the wolf-pair defended itself.

(zu Hunding geivandt) (to Hunding) Ein Wolfing kundet dir das, A wolf-cub tells you this, den als "Wolfing" mancher wohl kennt. whom many know as "Wolfling." HUNDING HUNDING Wunder und wilde Mare Wonders and strange tales kundest du, kuhner Gast, you hint of, bold guest, Wehwalt, der Wolfing! Woeful, the Wolfling! Mich diinkt, von dem wehrlichen Paar I seem to think I've heard vernahm ich dunkle Sage, dark tales of this fighting pair, kannt' ich auch Wolfe though I never knew Wolfe und Wolfing nicht. or Wolfling. SIEGLINDE SIEGLINDE Doch weiter kunde, Fremder: But go on, stranger: wo weilt dein Vater jetzt? where is your father now?

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41 SIEGMUND SIEGMUND Ein starkes Jagen auf uns The Neidings began a strong stellten die Neidinge an: attack upon us. Der Jager viele Many of the hunters fielen den Wolfen, fell to the Wolves, in Flucht durch den Wald in flight through the woods trieb sie das Wild: they drove the wild beasts; wie Spren zerstob uns den Feind. like chaff we dispersed the foe. Doch ward ich vom Vater versprengt; Yet I was separated from my father; seine Spur verlor ich, I lost his track,

je langer ich forschte: though I searched for it long; eines Wolfes Fell nur his wolf-skin was all traf ich im Forst; I found in the forest; leer lag das vor mir, it lay empty before me; den Vater fand ich nicht. I did not find my father. Aus dem Wald trieb es mich fort; This drove me out of the forest, mich drangt' es zu Mannern und Frauen. pressed me to join men and women. Wieviel ich traf, However many I met, wo ich sie fand, wherever I found them, ob ich um Freund', whether I sought a friend um Frauen warb, or a wife, immer doch war ich geachtet: everywhere I was scorned. Unheil lag auf mir. An evil fate lay upon me. Was Rechtes je ich riet, What I thought was just, andern diinkte es arg, others deemed wrong, was schlimm immer mir schien, what seemed evil to me, andere gaben ihm Gunst. others approved.

In Fehde fiel ich, wo ich mich fand, I fell into strife wherever I was, Zorn traf mich, wohin ich zog; Anger struck me wherever I went; gehrt' ich nach Wonne, though I longed for joy, weckt' ich nur Weh: I awakened only woe; drum musst' ich mich Wehwalt nennen; therefore I must call myself Woeful, des Wehes waltet' ich nur. for I am full of nothing but woe.

(Er sieht zu Sieglinde auf und gewahrt (He turns his eyes to Sieglinde and ihren teilnehmenden Blick.) observes her sympathetic glance.) HUNDING HUNDING Die so leidig Los dir beschied, The Norn who cast so sad a lot for you, nicht hebte dich die Norn': had no love for you; froh nicht griisst dich der Mann, No man greets you with pleasure dem fremd als Gast du nahst. when you, a stranger, approach as guest. SIEGLINDE SIEGLINDE Feige nur fiirchten den, Only cowards fear one der waffenlos einsam fahrt! who travels alone, weaponless! Kunde noch, Gast, Now tell us, guest, wie du im Kampf how in battle you zuletzt die Waffe verlorst! lost your weapon at the last. SIEGMUND SIEGMUND (immer lebhafter) (still livelier) Ein trauriges Kind A sad girl rief mich zum Trutz: called for my aid; vermahlen wollte her kinsmen

42 BH

der Magen Sippe wanted to marry the girl dem Mann ohne Minne die Maid. to a man whom she did not love. Wider den Zwang Against this compulsion zog ieh zum Schutz, I moved to protect her, der Dranger Tross joining battle with traf ich im Kampf: those who coerced her. dem Sieger sank der Feind. The foe fell to the victor. Erschlagen lagen die Briider: Her brothers lay dead. die Leichen umschlang da die Maid, Now the maiden embraced the dead; den Grimm verjagt' ihr der Gram. her grief drove out her rage. Mit wilder Tranen Flut With a wild flood of tears betroff sie weinend die Wal: she bathed the battlefield; um des Mordes der eignen Briider over the death of her own brothers klagte die unsel'ge Braut. the unhappy bride cried out. Der Erschlagnen Sippen The kinsmen of the dead sturmten daher; stormed out; iibermachtig above all else achzten naeh Rache sie; they longed for revenge; rings um die Statte around the place ragten mir Feinde. ranged my foes. Doch von der Wal Yet from the battlefield wich nicht die Maid; the maid would not go; mit Schild und Speer with shield and spear schirmt' ich sie lang, I long protected her, bis Speer und Schild until spear and shield im Harst mir zerhaun. were hacked from me. Wund und waffenlos stand ich — Wounded and weaponless I stood — sterben sah ich die Maid: I saw the maiden die. mich hetzte das wiitende Heer — The furious host pursued me — auf den Leichen lag sie tot. on the bodies she lay dead.

(Mit einem Blicke voll schmerzlichen (With a glance filled with sorrowful fervor Feuers auf Sieglinde) toward Sieglinde)

Nun weisst du, fragende Frau, Now you know, questioning woman, warum ich Friedmund — nicht heisse! why I am not called Friedmund!

(Er steht auf und schreitet auf den Herd (He stands up and walks to the hearth. zu. Sieglinde blickt erbleichend und tief Sieglinde, pale and deeply stirred, lowers erschiittert zu Boden.) her eyes.) HUNDING HUNDING (erhebt sich.) (rises.) Ich weiss ein wildes Geschlecht, I know a wild race; nicht heilig ist ihm they do not hold sacred was andern hehr: what others respect; verhasst ist es alien und mir. they are hated by all men — and me. Zur Rache ward ich gerufen, I was summoned for vengeance, Suhne zu nehmen to take atonement fur Sippenblut: for the blood of my kinsmen; zu spat kam ich I arrived too late und kehre nun heim, and now return home

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43 des flucht'gen Frevlers Spur to find the fleeing transgressor's track im eignen Haus zu erspahn. in my own house.

(Er geht herab.) (He advances.)

Mein Haus hutet My house protects you Wolfing, dich heut: today, Wolfing;

fur die Nacht nahm ich dich auf: for the night I've taken you in. mit starker Waffe But with a strong weapon doch wehre dich morgen: arm yourself tomorrow; zum Kampfe kies ich den Tag: I choose the day for battle; fin* Tote zahlst du mir Zoll. you'll pay the toll for the dead.

(Sieglinde schreitet mit besorgter Gebarde (Sieglinde steps between the two men with zwischen die beiden Manner vor. Hund- anxious gestures. Hunding, harshly:) ing, harsch:)

Fort aus dem Saal! Out of the room! Saume hier nicht! Don't delay here! Den Nachttrunk riiste mir drin Prepare my nightly drink within, und harre mein zur Ruh'. and await me for bed.

(Sieglinde steht eine Weile unentschieden (Sieglinde stands awhile undecided and und sinnend. Sie wendet sich langsam thoughtful. Then she turns slowly and und zbgernd Schrittes nach dem Speicher. with hesitating steps towards the store- Dort halt sie wieder an und bleibt, in room. There she again pauses and Sinnen verloren, mit halb abgewandtem remains standing, lost in thought, with Gesicht stehen. Mit ruhigem Entschluss her face half turned away. With quiet

bffnet sie den Schrein, fullt ein Trinkhorn resolve she opens the cupboard, fills a und schuttet aus eine Biichse Wiirze drinking horn, and shakes some spices hinein. Dann wendet sie das Auge auf into it from a container. Then she turns Siegmund, um seinen Blicke zu begegnen, her eyes on Siegmund so as to meet his den dieser fortwahrend auf sie heftet. Sie gaze, which he keeps unceasingly fixed on gewahrt Hundings Spahen und wendet her. She perceives that Hunding is watch- sich sogleich zum Schlafgemach. Auf den ing, and goes at once towards the bed- Stufen kehrt sie sich noch einmal um, chamber. On the steps she turns once heftet das Auge sehnsuchtsvoll auf Sieg- more, looks yearningly at Siegmund, and mund und deutet mit dem Blicke andau- indicates with her eyes, persistently and ernd und mit sprechender Bestimmtheit with eloquent earnestness, a particular auf eine Stelle am Eschenstamme. Hund- spot in the ash-tree's trunk. Hunding ing fdhrt auf und treibt sie mit einer heft- starts, and drives her with a violent ges- igen Gebarde zum Fortgehen an. Mit ture from the room. With a last look at einem letzten Blick auf Siegmund geht sie Siegmund, she goes into the bedchamber in das Schlafgemach und schliesst hinter and closes the door behind her. Hunding sich die Tilr. Hunding nimmt seine Waf- takes down his weapons from the fen vom Stamme herab.) treetrunk.)

Mit Waffen wahrt sich der Mann. With weapons a man arms himself. (im Abgehen sich zu Siegmund wendend) (turning to Siegmund, as he leaves) Dich, Wolfing, treffe ich morgen; I shall meet you tomorrow, Wolfing; mein Wort hortest du — you hear my words — hiite dich wohl! guard yourself well!

(Er geht mit den Waffen in das Gemach; (He goes into the chamber with his weap- man hort ihn von innen Riegel schliessen.) ons; the closing of the bolt is heard from within.)

44 Dritte Szene Scene Three

Siegmund allein. Es ist vollstandig Nacht Siegmund alone. Night has fallen com- geworden; der Saal ist nur noch von pletely. The room is lit only by a weak einem schwachen Feuer im Herd erhellt. glow from the fire on the hearth. Sieg- Siegmund lasst sich, nah beim Feuer, auf mund sinks down on the couch near the dem Lager nieder und brutet in grosser fire and broods for a while in great inner innerer Aufregung eine Zeitlang vor sich agitation. hin. SIEGMUND SIEGMUND Ein Schwert verhiess mir der Vater, My father promised me a sword; ich fand' es in hochster Not. I should find it at the hour of utmost need.

Waffenlos fiel ich Weaponless I have fallen in Feindes Haus; into my enemy's house; seiner Rache Pfand, here I await raste ich hier. his pledge of revenge. Ein Weib sah ich, I saw a woman, wonnig und hehr: lovely and fair; entzuckend Bangen a delightful terror zehrt mein Herz. fills my heart. Zu der mich nun Sehnsucht zieht, She to whom longing now draws me, die mit siissem Zauber mich sehrt, who holds me with sweet enchantment, im Zwange halt sie der Mann, is held a slave to the man der mich Wehrlosen hohnt! who mocks me, standing weaponless here! Walse! Walse! Walse! Walse! Wo ist dein Schwert? Where is your sword? Das starke Schwert The strong sword das im Sturm ich schwange, that I can swing in the storm, bricht mir hervor aus der Brust when there breaks forth from my breast was wiitend das Herz noch hegt? all that my raging heart still cherishes?

(Das Feuer bricht zusammen; es fallt aus (The fire collapses, and from the scattering der aufsprilhenden Glut plbtzlich ein grel- sparks a bright glow suddenly strikes the ler Schein auf die Stelle des Eschen- place on the ash-trunk that Sieglinde's stammes, welche Sieglindes Blick bezeich- glance had indicated, where now a sword- net hatte und an der man jetzt deutlich hilt is clearly seen.) einen Schwertgriff haften sieht.)

Was gleisst dort hell What is glinting there im Glimmerschein? in the fire's glow? Welch ein Strahl bricht What sort of beam breaks forth aus der Esche Stamm? from the ash-tree's stem? Des Blinden Auge The eye of the blind leuchtet ein Blitz: is dazzled by the lightning; lustig lacht da der Blick. merrily my glance laughs there. Wie der Schein so hehr How that noble glow das Herz mir sengt! scorches my heart!

Ist es der Blick Is it the glance der bluhenden Frau, of the radiant woman, den dort haftend which she left behind her, sie hinter sich liess, fastened there, als aus dem Saal sie schied? as she departed from the hall?

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45 (Von hier an verglimmt das Herdfeuer (From here on, the fire on the hearth grad- allmahlich.) ually grows dimmer.)

Nachtiges Dunkel Nocturnal darkness deckte mein Aug'; covered my eyes; ihres Blickes Strahl then the radiance of her glance streifte mich da: fell upon me: Warme gewann ieh und Tag. I felt both warmth and light. Selig schien mir Blissfully the sun's light der Sonne Lieht; shone upon me; den Scheitel umgliss mir its ecstatic radiance ihr wonniger Glanz, encircled my head bis hinter Bergen sie sank. until it sank behind the mountains.

(ein neuer schwacher Aufschein des Feuers) (a new, still fainter, gleam from the fire)

Noch einmal, da sie schied, Yet once again, as it passed, traf mich abends ihr Schein; its evening radiance struck me; selbst der alten Esche Stamm even the old ash-tree's trunk erglanzte in goldner Glut: shone in a golden glow; da bleicht die Blute, now that blossom fades, das Licht verlischt; the light is spent; nachtiges Dunkel nocturnal darkness deckt mir das Auge: covers my eyes: tief in des Busens Berge deep in the mountains of my heart

glimmt nur noch lichtlose Glut. there glimmers still a smoldering glow.

(Das Fetter ist ganzlich verloschen: voile (The first is entirely extinguished; deep Nacht. Das Seitengemach ojfnet sich leise: night. The door to the side room opens Sieglinde, in weissem Gewande, tritt softly. Sieglinde, in a white robe, enters heraus und schreitet leise, doch rasch, auf and moves softly but quickly to the den Herd zu.) hearth.) SIEGLINDE SIEGLINDE Schlafst du, Gast? Are you sleeping, guest? SIEGMUND SIEGMUND (freudig uberrascht aufspringend) (happily surprised, jumping up) Wer schleicht daher? Who is stealing this way? SIEGLINDE SIEGLINDE

Ich bin's: hore mich an! It is I. Listen to me! In tiefem Schlaf liegt Hunding; Hunding lies in a heavy sleep; ich wurzt ihm betaubenden Trank: I mixed him a drugged potion; Niitze die Nacht dir zum Heil! use the night for your safety! SIEGMUND SIEGMUND (hitzig unterbrechend) (interrupting passionately) Heil macht mich dein Nah'n! Your nearness makes me safe! SIEGLINDE SIEGLINDE Eine Waffe lass mich dir weisen: Let me show you a weapon:

wenn die sie gewannst! Oh, if you could win it! Den hehrsten Helden Then I'd call you durft' ich dich heissen: the noblest hero: dem Starksten allein for the strongest alone ward sie bestimmt. it was destined. merke wohl, was ich dir melde! Mark well, what I tell you!

46 Der Manner Sippe The kinsmen of my husband sass hier im Saal, were sitting here in the hall, von Hunding zu Hochzeit geladen. invited by Hunding to his wedding. Er freite ein Weib He wooed a woman das ungefragt whom, unasked, Schacher ihm schenkten zur Frau. thieves had given him as a wife. Traurig sass ich, I sat sadly wahrend sie tranken; while they drank; ein Fremder trat da herein: a stranger entered then, ein Greis in blauem Gewand; an old man in blue garb; tief hing ihm der Hut, his hat hung low, der deckt' ihm der Augen eines; covering one of his eyes, doch des andern Strahl, but the beam of the other Angst schuf er alien, terrified them all traf die Manner when his powerful threatening sein maeht'ges Drau'n: gaze struck them. Mir allein In me alone weckte das Auge his eye awakened suss sehnenden Harm, sweet longing sorrow, Tranen und Trost zugleich. tears and comfort alike. Auf mich blickt' er He looked on me, und blitzte auf jene, and glared at them, als ein Schwert in Handen er schwang; as he swung a sword in his hands; das stiess er nun this he now drove in der Esche Stamm, into the trunk of the ash, bis zum Heft haftet es drin: there it is locked up to the hilt. dem sollte der Stahl geziemen, The steel will belong to the man der aus dem Stamm es zog'. who can pull it out from the trunk. Der Manner alle, None of the men, so kuhn sie sich muhten, no matter how hard they labored, die Wehr sich keiner gewann; was able to win the weapon. Gaste kamen Guests came, und Gaste gingen, guests went, die starksten zogen am Stahl — the strongest pull at the steel — keinen Zoll entwich er dem Stamm: not a single inch did it budge from the trunk. dort haftet sehweigend das Schwert. There, silent, the sword is trapped.

Da wusst' ich, wer der war, Then I knew who it was der mich Gramvolle gegriisst; who greeted me, the Sorrowful. ich weiss auch I know, too, wem allein for whom alone im Stamm das Schwert er bestimmt. he destined the sword in the tree. O fand' ich ihn heut Oh, if I should but find him today, und hier, den Freund; and here, that friend. kam' er aus Fremden If he should but come from far away zu armsten Frau: to this most miserable woman: Was je ich gelitten whatever I have suffered in grimmigem Leid, in wrathful sorrow, was je mich geschmerzt whatever has hurt me in Schande und Schmach — in disgrace and shame — siisseste Rache sweetest revenge suhnte dann alles! would then expiate everything!

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47 Erjagt' hatt' ich, Then I should have gained was je ich verlor, whatever I had lost, was je ich beweint, whatever I had bewailed war' mir gewonnen, would be won for me fand' ich den heiligen Freund, if I found that holy friend umfing' den Helden mein Arm! and if that hero held my arm! SIEGMUND SIEGMUND (mit Glut Sieglinde umfassend) (embracing Sieglinde ardently) Dich, selige Frau, Lovely woman, halt nun der Freund, your friend now holds you, dem Waffe und Weib bestimmt! he for whom weapon and woman are destined! Heiss in der Brust Ardently in my breast brennt mir der Eid, burns the vow der mich dir Edlen vermahlt. that weds me to you, o noble woman. Was je ich ersehnt, Whatever I longed for, ersah ich in dir; I have perceived in you; in dir fand ich, in you I have found was je mir gefehlt! what I have always lacked! Littest du Schmach, Though you suffered shame und schmerzte mich Leid; and sorrow pained me, war ich geachtet, though I was disdained und warst du entehrt: and you were dishonored, freudige Rache joyous vengeance ruft nun den Frohen! now summons us, happy pair! Auf lach ich I laugh in heiliger Lust — in holy delight — halt ich die Hehre umfangen, if I hold the sublime woman close, fuhl ich dein schlagendes Herz! I feel your beating heart!

(Die grosse Tiir springt auf.) (The large door flies open.) SIEGLINDE SIEGLINDE (fdhrt erschrocken zusammen und reisst (starts up in alarm and tears herself sich los.) away.) Ha, wer ging? Wer kam herein? Ah, who went out? Who came in?

(Die Tiir bleibt weit gebffnet; aussen (The door remains fully open; outside, a herrliche Fruhlingsnacht; der Vollmond splendid spring night; the full moon leuchtet herein und wirft sein helles Licht shines in and throws its bright light on auf das Paar, das so sich plbtzlich in the couple, who can thus suddenly see one voller Deutlichkeit wahrnehmen kann.) another clearly.) SIEGMUND SIEGMUND (in leiser Entzilckung) (in gentle ecstasy) Keiner ging, No one left, doch einer kam: but someone arrived: siehe, der Lenz look, Spring lacht in den Saal! is laughing in the hall!

(Siegmund zieht Sieglinde mit sanfter (Siegmund draws Sieglinde to him on the Gewalt zu sich auf das Lager, so dass sie couch with tender strength, so that she neben ihm zu sitzen kommt. Wachsende comes to sit beside him. Increasing bright- Helligkeit des Mondscheines.) ness of the moonlight.)

Wintersturme wichen Winter's storms yield dem Wonnemond, to the moon of delight,

48 in mildem Lichte spring shines forth leuchtet der Lenz; in a mild light; auf lauen Liiften on gentle breezes, lind und lieblich, mild and lovely, Wunder webend weaving miracles, er sich wiegt: he rocks himself. durch Wald und Auen Through forest and meadow weht sein Atem, his breath blows, weit geoffhet opened wide, lacht sein Aug'. his eye laughs. Aus sel'ger Voglein Sange From the songs of happy birds suss er tont, he sweetly takes his pitch, holde Diifte he breathes forth haucht er aus: lovely fragrances; seinem warmen Blut entbluhen from his ardent blood spring forth wonnige Blumen, ecstatic blossoms, Keim und Spross seed and sprout entspringt seiner Kraft. spring up from his power. Mit zarter Waffen Zier With the adornment of gentle weapons bezwingt er die Welt; he conquers the world; Winter und Sturm wichen winter and storms yield der starken Wehr: to this mighty armament: Wohl musste den tapfern Streichen To these bold blows die strenge Tiire auch weichen, even bolted doors had to open, die trotzig und starr which once, defiant and rigid, uns — trennte von ihm. divided us from him. Zu seiner Schwester Toward his sister schwang er sich her; he bounds; die Liebe lockte den Lenz: Love lures Spring: in unsrem Busen in our hearts

barg sie sich tief; she hid herself deeply; nun lacht sie selig dem Licht. now she laughs blissfully at the light. Die brautliche Schwester The brother has freed befreite der Bruder; his bridal sister; zertrummert liegt, shattered lies was je sie getrennt; everything that separated them; jauchzend griisst sich exulting the young pair das junge Paar: greet one another: vereint sind Liebe und Lenz! Love and Spring are united! SIEGLINDE SIEGLINDE Du bist der Lenz, You are the Spring nach dem ich verlangte for which I longed in frostigen Winters Frist. throughout the length of a frozen winter. Dich grusste mein Herz My heart greeted you mit heiligem Grau'n, with holy awe als dein Blick zuerst mir erbluhte. when your gaze first shone upon me. Fremdes nur sah ich von je, Until now I saw only strange things, freundlos war mir das Nahe; my surroundings were friendless; als hatt' ich nie es gekannt, everything that came my way war, was immer mir kam. was as if I had never known it before.

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49 Doch dich kannt' ich But you I recognized deutlich und klar: plain and clear: als mein Auge dich sah, from the moment my eye saw you, warst du mein Eigen; you were my own; was im Busen ich barg, whatever I concealed in my heart, was ich bin, all I am, hell wie der Tag bright as the day

taucht' es mir auf, it rose up within me, wie tonender Schall like a resounding peal

schlug's an mein Ohr, it struck my ear, als in frostig oder Fremde when, in a wintry and desolate foreign zuerst ich den Freund ersah. country, I first perceived my Friend.

(Sie hangt sich entziickt an seinen Hals (She hangs enraptured around his neck und blickt ihm nahe ins Gesicht.) and looks closely into his face.) SIEGMUND SIEGMUND (mit Hingerissenheit) (carried away) susseste Wonne! sweetest delight! Seligstes Weib! Most blissful woman! SIEGLINDE SIEGLINDE (dicht an seinen Augen) (close to his eyes) lass in Nahe let me press zu dir mich neigen, close to you, dass hell ich schaue so that I may see more brightly den hehren Schein, that holy light der dir aus Aug' that breaks forth und Antlitz bricht from your eyes and countenance und so suss die Sinne mir zwingt. and so sweetly overcomes my senses. SIEGMUND SIEGMUND Im Lenzesmond In the spring moonlight leuchtest du hell; you shine brightly; hehr umwebt dich your wavy hair das Wellenhaar: crowns you sublimely: Was mich beruckt, What moved me so, errat ich nun leicht — 1 can now easily guess — denn wonnig weidet mein Blick. for my glance feasts in delight. SIEGLINDE SIEGLINDE (schldgt ihm die Locken vor dem Stirn (pushes back the locks from his brow and zurilck und betrachtet ihn staunend.) observes him in amazement.) Wie dir die Stirn How broad and frank so offen steht, is your brow; der Adern Geast the delicate network of veins in den Schlafen sich schlingt! twines into your temples! Mir zagt es vor der Wonne, I am afraid of the delight die mich entziickt! that ravishes me! Ein Wunder will mich gemahnen: It reminds me of a miracle: den heut zuerst ich erschaut, though I first gazed on you only today, mein Auge sah dich schon! my eye has beheld you before! SIEGMUND SIEGMUND Ein Minnetraum A love-dream gemahnt auch mich: reminds me as well:

50 in heissem Sehnen in my ardent longing sah ich dich schon! I have seen you before! SIEGLINDE SIEGLINDE Im Bach erblickt' ich In the brook I saw mein eigen Bild — my own image — und jetzt gewahr ich es wieder: and now I am aware of it again: wie einst dem Teich es enttaucht, just as once it shown forth from the pond, bietest mein Bild mir nun du! so now you offer my own image to me! SIEGMUND SIEGMUND Du bist das Bild, You are the image das ich in mir barg. that I concealed within me. SIEGLINDE SIEGLINDE (den Blick schnell abwendend) (quickly turning her eyes away)

still! Lass mich Hush! Let me der Stimme lauschen: listen to your voice: mich diinkt, ihren Klang it seems to me that I heard hort' ich als Kind — its sound even as a child — Doch nein, ich horte sie neulich, But no, I heard it recently, (aufgeregt) (excitedly) als meiner Stimme Schall when the sound of my own voice mir widerhallte der Wald. echoed back to me from the forest. SIEGMUND SIEGMUND lieblichste Laute, loveliest of sounds denen ich lausche! to which I am listening! SIEGLINDE SIEGLINDE (ihm wieder in die Augen spahend) (again gazing into his eyes) Deines Auges Glut The glow of your eyes erglanzte mir schon: has shone upon me before; So blickte der Greis thus the old man gazed griissend auf mich, in greeting upon me als der Traurigen Trost er gab, when he offered consolation to my grief, An dem Blick by that look erkannt' ihn sein Kind — his child recognized him — schon wollt' ich beim Namen ihn nennen! 1 wanted to call him by name! (Sie halt inne und fahrt dann leise fori.) (She pauses and continues softly.) Wehwalt heisst du fiirwahr? Wehwalt is really what you are called? SIEGMUND SIEGMUND Nicht heiss ich so, I am not called that seit du mich liebst: now that you love me: nun wait ich der hehrsten Wonnen! now I am filled with the greatest ecstasy! SIEGLINDE SIEGLINDE Und Friedmund darfst du And you could not cheerfully froh dich nicht nennen? call yourself Friedmund? SIEGMUND SIEGMUND Nenne mich du, Name me yourself, wie du liebst, dass ich heisse: however you prefer that I am called: den Namen nehm ich von dir! I shall take my name from you!

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51 SIEGLINDE SIEGLINDE Doch nanntest du Wolfe den Vater? Yet you called your father Wolfe? SIEGMUND SIEGMUND Ein Wolf war er feigen Fiichsen! He was a wolf to craven foxes! Doch dem so stolz But the man whose eye strahlte das Auge, so proudly glowed, wie, Herrliche, hehr dir es strahlt, as does yours, splendid woman, der war: Walse genannt. he was named: Walse. SIEGLINDE SIEGLINDE (ausser sick) (beside herself) War Walse dein Vater Was Walse your father, und bist du ein Walsung, and are you a Walsung?

stiess er fur dich Then it was for you that he drove sein Schwert in den Stamm — his sword into the trunk — so lass mich dich heissen, let me then name you, wie ich dich liebe: as I love you, Siegmund — Siegmund [Victorious] — so nenn ich dich! thus I call you! SIEGMUND SIEGMUND (springt auf, eilt auf den Stamm zu, und (leaps up, hurries to the tree-trunk, and fasst den Schwertgriff.) grasps the hilt of the sword.) Siegmund heiss ich Siegmund I am called, und Siegmund bin ich! and Siegmund I am!

Bezeug' es dies Schwert, May this sword witness it, das zaglos ich halte! which I fearlessly grasp! Walse verhiess mir, Walse promised me in hochster Not at the moment of utmost need

The climax of Act I, in the original Bayreuth "Ring" of 1876

52 fand ich es einst: I should find it:

ich fass es nun! now I seize it! Heiligster Minne Most holy love's hochster Not, greatest need, sehnender Liebe searing desire's sehrende Not searing longing brennt mir hell in der Brust, burns brightly in my breast, drangt zu Tat und Tod: driving me to deeds and death: Notung! Notung! Notung [Needful]! Notung! So nenn ich dich, Schwert. Thus I name you, sword. Notung! Notung! Notung! Notung! Neidhcher Stahl! Envious blade! Zeig deiner Scharfe Show the biting teeth schneidenden Zahn: of your sharpness: heraus aus der Scheide zu mir! out from your scabbard to me!

(Er zieht mit einem gewaltigen Zuck des (With a powerful jerk, he pulls the sword Schwert aus dem Stamme und zeigt es der from the tree and shows it to the aston- von Staunen und Entzilcken erfassten ished and enraptured Sieglinde.) Sieglinde.)

Siegmund, den Walsung, Siegmund the Walsung siehst du, Weib! you behold, woman! Als Brautgabe As a bridal gift bringt er dies Schwert: he brings you this sword: so freit er sich thus he wins die seligste Frau; this loveliest of women; dem Feindeshaus from the enemy's house entfuhrt er dich so. he leads you thus away. Fern von hier Far from here, folge mir nun, follow me now, fort in des Lenzes out into Spring's lachendes Haus: joyous dwelling: dort schiitzt dich Notung, das Schwert, there Notung, the sword, will protect you, wenn Siegmund dir liebend erlag! even if Siegmund dies, loving you!

(Er hat sie umfasst, um sie mit sich (He has embraced her, in order to draw fortzuziehen.) her away with him.) SIEGLINDE SIEGLINDE (reisst sich in hochster Trunkenheit von (tears herself away from him in the high- ihm los und stellt sich ihm gegenuber.) est excitement, and stands before him.) Bist du Siegmund, Is this Siegmund den ich hier sehe — whom I here behold? Sieglinde bin ich, Sieglinde am I, die dich ersehnt: who has longed for you: Die eigne Schwester your own sister gewannst du zu eins mit dem Schwert! you have won along with the sword! SIEGMUND SIEGMUND Braut und Schwester Bride and sister bist du dem Bruder — are you to your brother — so bliihe denn, Walsungenblut! may the blood of the Walsungs flourish!

(Er zieht sie mit wutender Glut an sich, (He draws her to himself with passionate sie sinkt mit einem Schrei an seine Brust. ardor; with a cry she falls on his breast. Der Vorhang fallt schnell.) The curtain falls quickly.)

53 Bernard Haitink

Bernard Haitink is music director at London's Royal Opera House, where he conducts opera and ballet as well as concerts with the orchestra. He was music director at Glyndebourne from 1978 to 1988 and has conducted many operas for television and video with both companies. Mr. Haitink was chief conductor of the Concert- gebouw from 1964 until the centenary of the Concertgebouw Hall in April 1988, and principal conductor of the London Philharmonic from 1967 to 1969. He has toured widely with both those orches- tras in Europe, the United States, and the Far East. In autumn 1990 he became president of the London Philharmonic Orchestra, with which he works regularly. He also continues to work frequently with the Bayerische Rundfunk of Munich, the Berlin Philharmonic, and the Vienna Philharmonic. In the United States he has conducted in Boston, Chicago, Cleveland, and New York, and at the Metropolitan Opera. Mr. Haitink's 1991-92 season has included appearances with the Ber- lin Philharmonic and the London Philharmonic. At House he opened the season with Wagner's Ring and returned to conduct . Upcoming appearances include the Staatskapelle and a return visit to the Salzburg Summer Festival, where he will conduct Beethoven's and concerts with the Vienna Philharmonic. This summer he will conduct Mozart operas with the Royal Opera House in Japan. Mr. Hai- tink's many recordings for Philips, Decca, and EMI include music of Stravinsky, Liszt,

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54 Elgar, Hoist, and Vaughan Williams with the London Philharmonic, the complete sympho- nies of Mahler, Bruckner, and Beethoven with the Concertgebouw, and works by Brahms and Bruckner with the Vienna Philharmonic. Opera recordings for EMI include Don Gio- vanni, Cosifan tutte, and Figaro with Glyndebourne and the London Philharmonic, with the Dresden Staatskapelle, and , Daphne, Tannhauser, and Wagner's complete Ring with the Bayerische Rundfunk. This season he will record with the Royal Opera House. Mr. Haitink has recorded Fidelio for Philips, for which label he is recording a Brahms cycle with the Boston Symphony and a Berlin Philharmonic cycle of the Mahler symphonies. In November 1977 Bernard Haitink was created Honorary KBE; he is also a Commander of the Order of Oranje Nassau, recipient of the Gold Medal of the City of Amsterdam, recipient of the Erasmus Prize, and a Cheva- lier de l'Ordre des Arts et des Lettres. Among his other international honors are medals from the International Society, the Bruckner Society of America, and the Royal Philharmonic Society. Mr. Haitink has recorded Ravel's Daphnis and Chloe with the Boston Symphony Orchestra and the Tanglewood Festival Chorus. He made his initial Boston Symphony appearances in 1971 and 1973 and has since returned for subscription concerts in November 1985, April 1989, and March 1990.

Jeannine Altmeyer A native of Los Angeles, soprano Jeannine Altmeyer began her studies in singing and acting with and Lotte Leh- mann in Santa Barbara, studying later with soprano Gladys Kuchta and Max Epstein. After winning the Metropolitan Opera Auditions in 1971 Ms. Altmeyer appeared at the Met in The Magic Flute, Parsifal, and . Her 1972 Chicago Lyric Opera debut as Freia in Das Rheingold led to an invitation to perform the role under Herbert von Karajan's direction at the Salzburg Easter Fes- tival, which marked her European debut. Since then she has been a guest artist in all of the major opera houses, making her interna- tional reputation primarily in the leading dramatic Wagner roles, including Brunnhilde, Sieglinde, and Isolde. She has also appeared as Leonore in Fidelio, as Chrysothemis in , and in Europe as , Manon Lescaut, Amelia in Un hallo in maschera, and Mimi in La boheme. Ms. Altmeyer has sung the role of Sieglinde in the Patrice Chereau- Pierre Boulez centennial Ring production at Bayreuth, in the Peter Hall- Ring also at Bayreuth, in Jean-Pierre Ponnelle's Stuttgart Ring cycle, and in complete cycles at and the Metropolitan Opera. Her recordings include Sieglinde in Pierre Boulez's Ring cycle, currently available on videocassette and laserdisc from Philips, Brunnhilde in 's Ring cycle for Eurodisc, and Leonore in Fidelio also under Janowski. Ms. Altmeyer is making her Boston Symphony debut with these concert

performances of Die Walkilre, Act I.

Gary Lakes In addition to the heroic tenor roles of Wagner and Strauss, Gary Lakes also sings the demanding tenor roles of Beethoven, Berlioz, Bizet, Janacek, Saint-Saens, and Weber. His orchestral repertoire includes works by Handel, Mahler, Mendelssohn, and Verdi. He has won worldwide acclaim since singing opposite Jessye Norman in a

1985 concert performance of Die Walkiire, Act I, with and the Orchestre de Paris. Recent "firsts" in Mr. Lakes's career have included his first Parsifal, at the Metropolitan Opera last season; his debut, under in Schoenberg's Gurrelieder, a performance recorded for Sony Classical; his first Paris Samson et Dalila; his first Lohengrin, at the Teatro Colon in Buenos Aires; his first Paris recital; his La Scala debut, as Parsifal under Riccardo Muti; and his debut, as the Emperor in . Following his Boston Symphony orchestra debut this week he will appear for the first time with the

55 St. Louis and San Francisco symphonies, in May, in Verdi's Requiem. Mr. Lakes has received two Grammy Awards: for his Siegmund in Die Walkiire and Bacchus in , both under James Levine on Deutsche Grammophon. His discography also includes Alberic Magnard's Ouercoeur, Beethoven's Ninth Symphony, and Janacek's Glagolitic Mass. His appearances with orchestra have included the Chicago Symphony, the Los Angeles Philharmonic, the London Philharmonic, the Orchestre de Paris, the Orches- tre National de France, and the Prague Symphony on an extensive tour of Japan. In addi- tion to his appearances at the Metropolitan Opera, he sings frequent solo recitals both in Europe and the United States.

Paul Plishka A leading member of the Metropolitan Opera roster since 1967, bass Paul Plishka also appears regularly with the major opera companies of North America, including those of San Francisco, Chicago, Philadelphia, Houston, Pittsburgh, Dallas, San Diego, Toronto, Ottawa, and Vancouver. In Europe he has performed in Munich, Barcelona, Vienna, Berlin, and Zurich, as well as at La Scala in Milan, Covent Garden in London, the Hamburg Staats- oper, and the Paris Opera. Mr. Plishka' s engagements during the 1991-92 season have included two operas in San Francisco — War

and Peace and / Capuletti ed i Montecchi — followed by the title role in with Pittsburgh Opera; roles in The Flying Dutchman, La boheme, L'elisir d'amore, and at the Met, where he is now in his twenty-fifth season; perform- ances of the Mozart Requiem with the New York Philharmonic; Berlioz's Benvenuto Cellini with Geneva Opera, and with Montreal Opera. Later this spring he will be soloist with the Houston Symphony in performances of the Verdi Requiem. On March 21, 1987, Mr. Plishka was inducted into the Hall of Fame for Great American Opera Singers, in a celebration at the Academy of Vocal Arts in Philadelphia. Mr. Plishka made his Boston Symphony debut in July 1968 at Tanglewood, in Haydn's Nelson Mass. Subsequent Boston Symphony appearances included Beethoven's Ninth Symphony, Berlioz's Romeo et Juliette, Gremin in Tchaikovsky's Eugene Onegin in Boston and New York, Mephistopheles in Ber- lioz's Damnation of Faust, and Rocco in Beethoven's Fidelio. He appeared most recently with the orchestra at Tanglewood in 1987, as soloist in Verdi's Requiem.

A Special Offer The Boston Symphony Orchestra is pleased to announce a special promotion with Rizzoli Bookstore located in Copley Place, Boston. Upon presentation of your BSO ticket stub receive a 10% discount on any purchase. This offer is valid through May 3, 1992.

56 1991-92 SEASON SUMMARY WORKS PERFORMED DURING THE BOSTON SYMPHONY ORCHESTRA'S 1991-92 SUBSCRIPTION SEASON Week BARTOK Piano Concerto No. 1 19 ZOLTAN KOCSIS, piano BEETHOVEN Piano Concerto No. 1 in C, Opus 15 6 CHRISTOPH ESCHENBACH, piano Piano Concerto No. 2 in B-flat, Opus 19 6 CHRISTOPH ESCHENBACH, piano Piano Concerto No. 3 in C minor, Opus 37 21 BERNARD D'ASCOLI, piano Piano Concerto No. 4 in G, Opus 58 4 RICHARD GOODE, piano Symphony No. 1 in C, Opus 21 6 Symphony No. 3 in E-flat, Opus 55, Eroica 2 Symphony No. 5 in C minor, Opus 67 19 Symphony No. 8 in F, Opus 93 1 BERLIOZ Le Corsaire Overture, Opus 21 13 The Roman Carnival, Overture, Opus 9 2, 7 BRAHMS Symphony No. 4 in E minor, Opus 98 24 Variations on a Theme by Haydn, Opus 56a 24

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Suite on English Folk Tunes, A Time There Was . . . , Opus 90 10 BRUCKNER Symphony No. 5 in B-flat 23 BUSONI Berceuse elegiaque, Opus 42 10 COPLAND Symphony No. 3 5 DEBUSSY La Boite a joujoux, Ballet for children 10 The Martyrdom of St. Sebastian, Symphonic excerpts 11 Pelleas et Melisande, Instrumental excerpts 11 dvoMk Symphony No. 9 in E minor, Opus 95, From the New World 16 FRANCE Symphony in D minor 7 HAYDN Symphony No. 39 in G minor 4 Symphony No. 86 in D 16 Symphony No. 99 in E-flat 20 HINDEMITH Concerto for Cello and Orchestra 12 JANOS STARKER, cello IVES Symphony No. 4 22 KNUSSEN Symphony No. 2 for soprano and chamber orchestra, Opus 7 10 LISA SAFFER, soprano LOURlfi Fragments from the opera The Blackamoor of Peter the Great 22 GIDON KREMER, violin MAHLER Symphony No. 6 14 MARTINU Fantaisies symphoniques (Symphony No. 6) 13 MENDELSSOHN Symphony No. 5 in D, Opus 107, Reformation 13 MESSIAEN Un Sourire (American premiere) 19 MOZART Piano Concerto No. 21 in C, K.467 9 MARIA TIPO, piano Requiem in D minor, K.626 (commemorating the 200th anniversary 8 of Mozart's death) DEBORAH VOIGT, soprano; JANIS TAYLOR, mezzo-soprano; PHILIP LANGRIDGE, tenor; JOHN DEL CARLO, baritone; TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER conductor

58 POULENC Concert champetre for harpsichord and orchestra 7 TREVOR PINNOCK, harpsichord Concerto for Organ, String Orchestra, and Timpani 7 SIMON PRESTON, organ; EVERETT FIRTH, timpani PROKOFIEV Alexander Nevsky (complete, with Eisenstein's film) Opening Night JAMS TAYOR, mezzo-soprano; TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor Alexander Nevsky, Opus 78, Cantata for mixed chorus 1 and orchestra, with mezzo-soprano JAMS TAYOR, mezzo-soprano; TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor Piano Concerto No. 4 in B-flat, Opus 53, for left hand 2 LEON FLEISHER, piano Symphony No. 1 in D, Opus 25, Classical 18 RAVEL Piano Concerto in D for the left hand 2 LEON FLEISHER, piano ROREM Swords and Plowshares, for four solo voices and orchestra 5 (world premiere; commissioned by WCRB 102.5 FM, Classical Radio Boston, in celebration of its fortieth anniversary) CYNTHIA HAYMON, soprano; , mezzo-soprano; GRAN WILSON, tenor; ANDREW WENTZEL, bass-baritone SCHOENBERG Pelleas und Melisande, Symphonic poem, Opus 5 17 SCHUBERT Symphony No. 3 in D, D.200 25 SCHUMANN Cello Concerto in A minor, orchestrated by Dmitri Shostakovich 23 and arranged for violin GIDON KREMER, violin Symphony No. 4 in D minor, Opus 120 4

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59 SHOSTAKOVICH Cello Concerto No. 1 in E-flat, Opus 107 24 LYNN HARRELL, ceUo Violin Concerto No. 2 in C-sharp minor, Opus 129 23 GIDON KREMER, violin SIBELIUS Symphony No. 2 in D, Opus 43 17 SPOHR Violin Concerto No. 8 in A minor, Opus 47, Gesangsszene 20 MALCOLM LOWE, violin STRAUSS An Alpine Symphony, Opus 64 9 Don Quixote, Opus 35 12 JANOS STARKER, cello; BURTON FINE, viola Metamorphosen, Study for twenty-three solo strings 20 STRAVINSKY Apollo, Ballet in two scenes, for string orchestra 8 Suite from the ballet Pulcinella 18 TCHAIKOVSKY Pique Dame, Opus 68, Opera in three acts after Pushkin 3 MIRELLA FRENI, soprano; VLADIMIR ATLANTOV, tenor; MAUREEN FORRESTER, contralto; SERGEI LEIFERKUS, baritone; DMITRI HVOROSTOVSKY, baritone; KATHERINE CIESINSKI, mezzo-soprano; JANIS TAYLOR, mezzo-soprano; ERNESTO GAVAZZI, tenor; JULIAN RODESCU, bass; DOMINIQUE LABELLE, soprano; RICHARD CLEMENT, tenor; DENNIS PETERSEN, tenor; JORGE CHAMIN&, baritone; TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor; AMERICAN BOYCHOIR, JAMES LITTON, director; Production by DAVID KNEUSS; Design by JOHN MICHAEL DEEGAN and SARAH G. CONLY Serenade in C for strings, Opus 48 18 Violin Concerto in D, Opus 35 22, 23 GIDON KREMER, violin VERDI Requiem Mass in memory of Alessandro Manzoni 15 DEBORAH VOIGT, soprano; AGNES BALTSA, mezzo-soprano; LUIS LIMA, tenor; ROBERTO SCANDIUZZI, bass; JAMES COURTNEY, bass; TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor WAGNER Prelude, Good Friday Spell, and Burial of Titurel 11 from Act III of Parsifal Prelude to Tristan und Isolde (with Wagner's concert ending) 11 Die Walkiire, Act I 25 JEANNINE ALTMEYER, soprano; GARY LAKES, tenor; PAUL PLISHKA, bass WALTON Symphony No. 1 21 WEIR Music, Untangled (commissioned by the Boston Symphony Orchestra 21 to celebrate the fiftieth anniversary of the Tanglewood Music Center in 1990)

60 CONDUCTORS OF THE BOSTON SYMPHONY ORCHESTRA DURING THE 1991-92 SUBSCRIPTION SEASON Week SEIJI OZAWA, Music Director Opening Night, 1,2, 3, 7, 8, 9, 14, 15, 16, 22, 23

VLADIMIR ASHKENAZY 17 CHRISTOPH ESCHENBACH 6 BERNARD HAITINK 24, 25 MAREK JANOWSKI 19, 20 OLIVER KNUSSEN 10 GRANT LLEWELLYN 21 ERICH LEINSDORF 11, 12 ROGER NORRINGTON 13 KURT SANDERLING 4 ROBERT SPANO 8* YURI TEMIRKANOV 18 HUGH WOLFF 5

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61 SOLOISTS WITH THE BOSTON SYMPHONY ORCHESTRA DURING THE 1991-92 SUBSCRIPTION SEASON Week JEANNINE ALTMEYER, soprano 25 VLADIMIR ATLANTOV, tenor 3 AGNES BALTSA, mezzo-soprano 15 JORGE CHAMINE, bass 3

KATHERINE CIESINSKI, mezzo-soprano 3, 5 RICHARD CLEMENT, tenor 3 JAMES COURTNEY, bassf 15 BERNARD D'ASCOLI, piano 21 JOHN DEL CARLO, bass 8 CHRISTOPH ESCHENBACH, piano 6 BURTON FINE, viola 12 LEON FLEISHER, piano 2 MAUREEN FORRESTER, contralto 3 MIRELLA FRENI, soprano 3 ERNESTO GAVAZZI, tenor 3 RICHARD GOODE, piano 4 LYNN HARRELL, cello 24 CYNTHIA HAYMON, soprano 5 DMITRI HVOROSTOVSKY, baritone 3 ZOLTAN KOCSIS, piano 19 GIDON KREMER, violin 22, 23 DOMINIQUE LABELLE, soprano 3 GARY LAKES, tenor 25 PHILIP LANGRIDGE, tenor 8 SERGEI LEIFERKUS, baritone 3 LUIS LIMA, tenor 15 MALCOLM LOWE, violin 20 DENNIS PETERSEN, tenor 3 TREVOR PINNOCK, harpsichord 7 PAUL PLISHKA, bass 25 SIMON PRESTON, organ 7 JULIAN RODESCU, bass 3 LISA SAFFER, soprano 10 ROBERTO SCANDIUZZI, bass 15 JANOS STARKER, cello 12 JANIS TAYLOR, mezzo-soprano Opening Night, 1,3,8 MARIA TIPO, piano 9 DEBORAH VOIGT, soprano 8, 15* ANDREW WENTZEL, bass-baritone 5 GRAN WILSON, tenor 5

CITY OF BIRMINGHAM SYMPHONY ORCHESTRA, 22 SIMON RATTLE, conductor, with EMANUEL AX, piano; ROBIN BUCK, baritone; ELISE ROSS, soprano

AMERICAN BOYCHOIR, JAMES LITTON, director TANGLEWOOD FESTIVAL CHORUS, Opening Night JOHN OLIVER, conductor 1,3, 8, 15, 22

*Jessye Norman indisposed

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62 3

WORKS PERFORMED AT SYMPHONY HALL SUPPER CONCERTS DURING THE 1991-92 SUBSCRIPTION SEASON Week BEETHOVEN Quartet in E-flat for piano, violin, viola, and cello (arranged by Beethoven from his Opus 16 quintet for piano and winds)

String Quartet in C, Opus 59, No. 3, Razumovsky 6 Trio No. 6 in B-flat for piano, violin, and cello, Opus 97, Archduke 4

Trio in C minor for violin, viola, and cello, Opus 9, No. 3 21 BRAHMS Trio in A minor for clarinet, cello, and piano 24 DEBUSSY String Quartet in G minor, Opus 10 11 D'INDY Sarabande and Menuet (arranged for sextet from the 7

Suite dans le style ancien, Opus 24) HAYDN Divertimento in E-flat for piano, violin, bass, and 4 two horns, Hob. XIV: 1 Piano Trio in D minor, Hob. XV: 2 24 IVES Trio for violin, cello, and piano MAKTINU Duo for violin and cello 13 Three Madrigals for violin and viola 11 MENDELSSOHN Trio No. 1 in D minor for piano, violin, and cello, Opus 49 13 MOZART

Prelude and Fugue in F, K.404a, No. 3, for string trio 6 POULENC Sextet for piano, flute, oboe, clarinet, bassoon, and horn 7

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63 PROKOFIEV Sonata in C for two violins, Opus 56 18 SAINT-SAENS Caprice on Danish and Russian Airs, Opus 79, 7 for piano, flute, oboe, and clarinet SHOSTAKOVICH Piano Trio No. 2 in E minor, Opus 67 18 WEIR Distance and Enchantment, for piano, violin, viola, and cello 21

SUPPER CONCERT PERFORMERS DURING THE 1991-92 SUBSCRIPTION SEASON Week

MARTHA BABCOCK, cello 13 BONNIE BEWICK, violin 13 ROBERT BARNES, viola 11 NANCY BRACKEN, violin 5 GERALYN COTICONE, flute 7 DAVID DEVEAU, piano 4 RONALD FELDMAN, ceUo 11 SHEILA FIEKOWSKY, violin 11, 24 RANDALL HODGKINSON, piano 5, 21 HAWTHORNE STRING QUARTET 6 (RONAN LEFKOWITZ, violin; SI-JING HUANG, violin; MARK LUDWIG, viola; SATO KNUDSEN, ceUo) SHIELA KIBBE, piano 7 VALERIA VILKER KUCHMENT, violin 4 AMNON LEVY, violin 21 RICHARD MACKEY, horn 4 THOMAS MARTIN, clarinet 24 KAZUKO MATSUSAKA, viola 5 JONATHAN MENKIS, horn 7 JONATHAN MILLER, ceUo 5 JOEL MOERSCHEL, cello 4, 21 CAROL PROCTER, cello 13 WAYNE RAPIER, oboe 7 AZA RAYKHTSAUM, violin 18 JEROME ROSEN, piano 24 HARVEY SEIGEL, violin 13 ROLAND SMALL, bassoon 7 ROBERT SPANO, piano 13 TAMARA SMIRNOVA-SAJFAR, violin 18 VYACHESLAV URITSKY, violin 11 JULIE VAVERKA, clarinet 7 JAY WADENPFUHL, horn 4 TATIANA YAMPOLSKY, piano 18 OWEN YOUNG, cello 18, 24 MICHAEL ZARETSKY, viola 21

64 BOSTON SYMPHONY CHAMBER PLAYERS 1991-92 Subscription Season

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

November 3, 1991 MOZART Divertimento in D for violin, viola, bassoon, bass, and two horns, K.205(167A) KELLAWAY Esque, for trombone and double bass HINDEMITH Three Pieces for Five Instruments (clarinet, trumpet, violin, bass, and piano) BRAHMS Quartet in C minor for piano, violin, viola, and cello, Opus 60

Sunday, January 12, 1992 BEETHOVEN Quintet in E-flat for piano, oboe, clarinet, bassoon, and horn, Opus 16 KLUGHARDT Schilflieder ("Songs of the Reeds"), Five Fantasy Pieces for piano, oboe, and viola, Opus 28 BRAHMS Sextet in G for two violins, two violas, and two cellos, Opus 36

Sunday, March 1, 1992

MOZART Quartet in E-flat for piano, violin, viola, and ceUo, K.493 KIRCHNER Trio for violin, cello, and piano HAYDN Divertimento in G for flute, violin, and cello, Hob. IV:7 (Opus 100, No. 2) STRAVINSKY L'Histoire du soldat, Concert suite

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A Special Concert Honoring Ned Rorem, recipient of the BSO's Horblit Award

Sunday, November 17, 1991, at Jordan Hall with KATHERINE CIESINSKI, mezzo-soprano , tenor KURT OLLMANN, baritone MEMBERS OF THE BOSTON SYMPHONY ORCHESTRA

ROREM The Santa Fe Songs, for baritone, violin, viola, cello, and piano KURT OLLMANN, baritone Selected Songs VINSON COLE, tenor Poems of Love and the Rain, A cycle of seventeen songs for mezzo-soprano and piano KATHERINE CIESINSKI, mezzo-soprano

Three Concerts by Simon Rattle and the City of Birmingham Symphony Orchestra

Thursday, April 9, 1992 (Music of 1911)

NIELSEN Symphony No. 3, Opus 27, Sinfonia espansiva ELISE ROSS, soprano; ROBIN BUCK, baritone RAVEL Daphnis et Chloe (complete) TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor

Friday, April 10, 1992 (Music of 1912) SCHOENBERG Pierrot Lunaire, Opus 21 ELISE ROSS, soprano; EMANUEL AX, piano; BIRMINGHAM CONTEMPORARY MUSIC GROUP PROKOFIEV Piano Concerto No. 1 in D-flat, Opus 10 EMANUEL AX, piano DEBUSSY Images

Saturday, April 11, 1992 (Music of 1913) DEBUSSY Jeux—Poeme danse ELGAR , Symphonic study, Opus 68 STRAVINSKY The Rite of Spring

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Country Curtains and The Red Lion Inn BSO Single Concert Sponsor

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

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Analog Devices, Inc. Eastern Enterprises Ray Stata J. Atwood Ives

Arnold Fortuna Lane EG&G, Inc. Ed Eskandarian John M. Kucharski

Arthur Andersen & Co. Ernst & Young William F. Meagher Thomas P. McDermott AT&T Filene's Joseph M. Melvin Bank of Boston First Winthrop Corporation Ira Stepanian Arthur J. Halleran, Jr. Barter Connections Four Seasons Hotel Kenneth C. Barron Robin A. Brown BayBanks, Inc. General Cinema Corporation William M. Crozier, Jr. Richard A. Smith Bingham, Dana Gould & General Electric Plastics Joseph Hunt Glen H. Hiner

Bolt Beranek & Newman The Gillette Company Stephen R. Levy Alfred M. Zeien, Jr.

The Boston Company Grafacon, Inc. John Laird H. Wayman Rogers, Jr.

Boston Edison Company Greater Boston Hotel Association Bernard W. Reznicek Francois-L. Nivaud The Boston Globe GTE Corporation William 0. Taylor James L. Johnson

Boston Herald Hill, Holliday, Connors, Cosmopulos, Inc. Patrick J. Purcell Jack Connors, Jr.

Cahners Publishing Company The Henley Group Robert L. Krakoff Paul M. Montrone

Connell Limited Partnership Hewlett Packard Company William F. Connell Ben L. Holmes

Coopers & Lybrand Houghton Mifflin Company William K. O'Brien Nader F. Darehshori

Country Curtains IBM Corporation Jane P. Fitzpatrick Paul J. Palmer

Deloitte & Touche John Hancock Mutual Life Insurance Company James T. McBride E. James Morton

Digital Equipment Corporation Lawner Reingold Britton & Partners Kenneth G. Olsen Michael H. Reingold

68 1991-92 Business Honor Roll (continued)

Lexus PaineWebber, Inc. J. Davis Illingworth James P. Cleary

Liberty Mutual Insurance Group People Magazine Gary L. Countryman Peter S. Krieger Loomis-Sayles & Company, Inc. KPMG Peat Marwick Charles J. Finlayson Robert D. Happ Lotus Development Corporation Raytheon Company Jim P. Manzi Dennis Picard MCI Jonathan Crane The Red Lion Inn John H. Pitzpatrick McKinsey & Company Robert P. O'Block Shawmut Bank, N.A. John P. Hamill Millipore Corporation John A. Gilmartin State Street Bank & Trust Company NEC Corporation William S. Edgerly Tadahiro Sekimoto The Stop & Shop Foundation The New England Avram Goldberg Edward E. Phillips TDK Electronics Corporation New England Telephone Company Takashi Tsujii Paul C. O'Brien Thomas H. Lee Company Northern Telecom, Inc. Thomas H. Lee Brian Davis

Northwest Airlines WCRB-102.5 FM Terry M. Leo Richard L. Kaye

Nynex Corporation WCVB-TV, Channel 5 Boston William C. Ferguson S. James Coppersmith

<]AJBACH * V CLASSICAL MUSIC 104.9 FM

Celebrating a Quarter-Century of Classical Music on 104.9 FM.

1 (800) 370-104.9 (In Mass.) 1(508)927-104.9

69 BUSINESS AND PROFESSIONAL LEADERSHIP ASSOCIATION

The Boston Symphony Orchestra gratefully acknowledges these Business Leaders for their generous and valuable support of $1,500 or more during the past fiscal year. Names which are capitalized denote Business Honor Roll leadership support of $10,000 or more. A treble

clef ($) denotes support of $5,000-$9,999. An eighth-note symbol (JO indicates support of $2,500-$4,999.

Accountants LEXUS CSC Index, Inc. J. Davis Illingworth David G. Robinson ARTHUR ANDERSEN & CO. Cordel Associates, Inc. William F. Meagher Banking James B. Hangstefer J Charles E. DiPesa & Company BANK OF BOSTON •^Corporate Decisions William F. DiPesa Ira Stepanian David J. Morrison COOPERS & LYBRAND INC. BAYBANKS, Fairfield Financial Holdings William K. O'Brien | William M. Crozier, Jr. John F. Farrell, Jr. DELOITTE & TOUCHE Boston Bancorp The Forum Corporation James T. McBride Richard Laine John W. Humphrey ERNST & YOUNG THE BOSTON COMPANY •^General Electric Consulting P. McDermott Thomas John Laird James J. Harrigan KPMG PEAT MARWICK Chase Manhattan Corporation •fjrma Robert D. Happ Mann Strategic Marketing Brooks Sullivan Irma Mann Stearns J Theodore S. Samet Company & •^Eastern Corporate Federal J. Peter Lyons Companies Theodore S. Samet Credit Union J. Peter Lyons Tofias, Fleishman, Jane M. Sansone |Lochridge & Company, Inc. Shapiro & Co., P.C. SHAWMUT BANK, N.A. Richard K. Lochridge Allan Tofias John P. Hamill Advertising/Public Relations MCKINSEY & COMPANY South Boston Savings Bank Robert P. O'Block ARNOLD FORTUNA LANE Richard Laine •^Prudential Capital Corporation Edward Eskandarian STATE STREET BANK & Allen Weaver | Cabot Communications TRUST COMPANY | Prudential Securities William I. Monaghan William S. Edgerly Robert Whelan Clark/Linsky Design |USTrust Rath & Strong Robert H. Linsky James V. Sidell | Dan Ciampa HILL, HOLLIDAY, CONNORS, Wainwright Bank & Trust Company THOMAS H. LEE COMPANY COSMOPULOS, INC. John M. Plukas Thomas H. Lee Jack Jr. Connors, Building/Contracting ^The Wyatt Company Ingalls, Quinn & Johnson Paul R. Daoust Bink Garrison |Harvey Industries, Inc. Frederick Bigony LAWNER REINGOLD Yankelovich Clancy Shulman BRITTON & PARTNERS Lee Kennedy Co., Inc. Kevin Clancy Michael H. Reingold Lee M. Kennedy Consumer Goods/Food Service New England Insulation Orsatti & Parrish BARTER CONNECTIONS Louis F. Orsatti Theodore H. Brodie Kenneth C. Barron Aerospace •^Perini Corporation ^Boston Showcase Company David B. Perini Jason E. Starr | Northrop Corporation ^Walsh Brothers Kent Kresa Cordel Associates, Inc. James Walsh II Alarm Systems James B. Hangstefer Consulting: Management/ Creative Gourmets, Ltd. American Alarm & Communications Financial | Stephen E. Elmont Richard Sampson Advanced Management Associates Fairwinds Gourmet Coffee Company Antiques/Art Galleries Harvey Chet Krentzman Michael J. Sullivan •f'Galerie Mourlot •^Andersen Consulting Co. $,Johnson O'Hare Co., Inc. Sarah Hackett and Eric Mourlot William D. Green Harry "Chip" O'Hare, Jr. Automotive ^Arthur D. Little, Inc. $0'Donnell-Usen Fisheries Corp. John F. Magee -J.N. Phillips Glass Arnold S. Wolf Company, Inc. $The Boston Consulting Group Seasoned to Taste Alan L. Rosenfield Jonathan L. Isaacs Tom Brooks 70

I DHHH \l^M'-<^:.\%r'im^wv^

Welch's WCVB-TV, CHANNEL |Spaulding Investment Everett N. Baldwin 5 BOSTON Company S. James Coppersmith C.H. Spaulding Education Environmental $ State Street Development Bentley College Management Corp. * Jason M. Cortell and Gregory' Adamian John R. Gallagher III Associates, Inc. J* Tucker Anthony Jason M. Cortell Electrical/Electronics John Goldsmith Toxikon Corporation Analytical Systems •^Woodstock Corporation Laxman S. DeSai Engineering Corporation Nelson J. Darling, Jr. Michael B. RuMn Finance/Investments

Gluzovsky Electrical Corporation High Technology 3i Corporation Edward Guzovsky Geoffrey N. Taylor ANALOG DEVICES, INC. Mass. Electric Construction |Advent International Company Ray Stata Peter A. Brooke Bill Breen Automatic Data Processing •^Barclay's Business Credit Arthur S. Kranseler p.h mechanical Corp. Robert E. Flaherty Paul Hayes BBF Corporation J* Bear Stearns & Company, Inc. Boruch B. Frusztajer R&D Electrical Company, Inc. Keith H. Kretschmer Richard D. Pedone BOLT BERANEK AND BOT Financial Corporation — NEWMAN, INC. Inergy/Utilities Bank of Tokyo Stephen R. Levy E.F. McCulloch, Jr. BOSTON EDISON COMPANY | Bull, Worldwide Information Bernard W. Reznicek Carson Limited Partnership Systems Herbert Carver Axel Leblois Cabot Corporation Samuel W. Bodman | Essex Investment Management Costar Corporation Company, Inc. Otto Morningstar IEC, Inc. Joseph C. McNay, Jr. Inc. David S. Dayton $CSC Consulting, $Farrell, Healer & Company, Inc. Paul J. Crowley Mobil Oil Richard A. Farrell, Jr. Data General Corporation Richard J. Lawlor | Fidelity Investment Institutional Ronald L. Skates 'Jew England Electric System Group Davox Corporation Joan T. Bok John J. Cook, Jr. Daniel Hosage ngineering «^The First Boston Corporation DIGITAL EQUIPMENT Malcom MacColl CORPORATION jZA GeoEnvironmental * First Security Services Kenneth G. Olsen technologies, Inc. Robert L. Johnson Donald T. Goldberg DYNATECH CORPORATION •T'GE Capital Corporate Finance J. P. Barger tone & Webster Engineering Group orporation EG&G, INC. Richard A. Goglia Philip Garfinkle John M. Kucharski •^ Goldman, Sachs & Company ^EMC Corporation Intertainment/Media Martin C. Murrer Richard J. Egan

'HE BOSTON GLOBE | Kaufman & Company Helix Technology Corporation William 0. Taylor Sumner Kaufman Robert J. Lepofsky iOSTON HERALD | Kidder, Peabody & Company THE HENLEY GROUP Patrick J. Purcell John G. Higgins Paul M. Montrone

ontinental Cablevision |Krupp Companies HEWLETT PACKARD COMPANY L. Amos Hostetter, Jr. George Krupp Ben Holmes GENERAL CINEMA LOOMIS-SAYLES & IBM CORPORATION iORPORATION COMPANY, INC. Paul J. Palmer Richard A. Smith Charles J. Finlayson Instron Corporation Harold Hindman oews Theatres PAINEWEBBER, INC. A Alan Friedberg James F. Cleary Jjntermetrics Inc. EOPLE MAGAZINE J1 The Putnam Joseph A. Saponaro Peter S. Krieger Management Co., Inc. |Ionics, Inc. Lawrence J. Lasser Arthur L. Goldstein fCRB-102.5 FM Richard L. Kaye

71 •I IPL Systems, Inc. GREATER BOSTON Sun Life Assurance Company Robert W. Norton HOTEL ASSOCIATION of Canada LOTUS DEVELOPMENT Francois-L. Nivaud David Horn CORPORATION $ITT Sheraton Corporation Jim P. Manzi John W. Herold Legal £M/A-Com, Inc. THE RED LION INN BINGHAM, DANA & GOULD Thomas A. Vanderslice John H. Fitzpatrick Joseph Hunt

Microcom, Inc. ^The Ritz-Carlton Hotel i'Choate, Hall & Stewart James Dow Thomas Egan Robert Gargill

MTLLIPORE CORPORATION ^Sheraton Boston Hotel and Towers Curhan, Kunian, Goshko, John A Gilmartin Stephen Foster Burwick & Savran •^The Mitre Corporation •^Sonesta International Hotels Stephen T. Kunian Barry M. Horowitz Corporation Dickerman Law Offices NEC CORPORATION Paul Sonnabend Lola Dickerman Tadahiro Sekimoto The Westin Hotel, Copley Place | | Goldstein & Manello David King * Orion Research, Inc. Richard J. Snyder Graziano Chane DJ | Goodwin, Procter & Hoar Insurance $Parlex Corporation Robert B. Fraser Herbert W. Pollack ^American Title Insurance Company ^Hemenway & Barnes ^Polaroid Corporation Terry E. Cook John J. Madden

I. MacAllister Booth JArkwright Hubbard & Ferris |Prime Computer, Inc. Enzo Rebula Charles A. Hubbard II John Shields J1 Joyce Joyce | Berkshire Partners & ^Printed Circuit Corporation Carl Ferenbach Thomas J. Joyce

Peter Sarmanian 1 §Caddell & Byers J Lynch, Brewer, Hoffman & Sands RAYTHEON COMPANY Paul D. Bertrand Owen B. Lynch Dennis Picard | Cameron & Colby Co., Inc. $Mintz, Levin, Cohn, Ferris, | Signal Technology Corporation Lawrence S. Doyle Glovsky & Popeo, P.C. Dale J. Peterson Kenneth J. Novack J Chubb Group of Insurance Cos. SofTech, Inc. John Gillespie Nissenbaum Law Offices Justus Lowe, Jr. Gerald L. Nissenbaum |Frank B. Hall & Co. J 1 | Stratus Computer of Massachusetts, Inc. Nutter, McClennen & Fish William E. Foster William F. Newell Michael J. Bohnen i^TASC JOHN HANCOCK MUTUAL |Palmer & Dodge Arthur Gelb LIFE INSURANCE COMPANY Robert E. Sullivan TDK ELECTRONICS E. James Morton Rackemann, Sawyer & Brewster CORPORATION •^Johnson & Higgins of Stephen Carr Anderson Takashi Tsujii Massachusetts, Inc. Sarrouf, Tarricone & Flemming Termiflex Corporation Robert A. Cameron Camille F. Sarrouf William E. Fletcher •^Keystone Provident Life Sherburne, Powers & Needham |Thermo Electron Corporation Insurance Company Daniel Needham George N. Robert G. Sharp Hatsopoulos Wood, Clarkin & Sawyer fWhistler Corp. Lexington Insurance Company William C. Sawyer Charles A Stott Kevin H. Kelley Hotels/Restaurants LIBERTY MUTUAL Manufacturer's Representatives INSURANCE GROUP ^Back Bay Hilton Gary L. Countryman «^Ben Mac Enterprises Thomas McAuliffe James A. Daley THE NEW ENGLAND J Boston Harbor Hotel Edward E. Phillips Kitchen & Kutchin, Inc. James M. Carmody Melvin Kutchin | Safety Insurance Company J Boston Marriott Copley Place Richard B. Simches Jurgen Giesbert Manufacturing | Sedgwick James of New Christo's Restaurant England, Inc. JAlles Corporation Christopher Tsaganis P. Joseph McCarthy Stephen S. Berman

POUR SEASONS HOTEL Sullivan Risk Management Group Allwaste Asbestos Abatement, Inc. Robin A. Brown John H. Sullivan Paul M. Verrochi

72 Vutoroll Machine Corporation J* The Rockport Corporation •PJohn M. Corcoran & Company William M. Karlyn Anthony Tiberii John M. Corcoran

Avedis Zildjian Company | The Stride Rite Corporation Keller Co., Inc. Armand Zildjian Arnold S. Hiatt Joseph P. Keller

The Biltrite Corporation •^Superior Brands, Inc. •^Meditrust Corporation Stanley J. Bernstein Richard J. Phelps Jonathan S. Sherwin

Boston Acoustics, Inc. Textron Charitable Trust Nordblom Company Frank Reed B.F. Dolan Roger P. Nordblom

Jentury Manufacturing Co., Inc. •f'The Tonon Group •^Windsor Building Associates Joseph W. Tiberio Robert Tonon Mona F. Freedman

J.R. Bard, Inc. i'Watts Industries, Inc. Robert H. McCaffrey Timothy P. Home Retail

Chelsea Industries, Inc. Wire Belt Company of America $Arley Merchandise Corporation Ronald G. Casty F. Wade Greer David I. Riemer

:ONNELL LIMITED •T1 Carillon Importers, Ltd. ARTNERSHIP Printing/Publishing Ernest Capria William F. Connell COUNTRY CURTAINS •^Addison-Wesley Publishing Co., Inc. Converse, Inc. Jane P. Fitzpatrick Gilbert Ford Warren R. Stone FILENE'S CAHNERS PUBLISHING Dean K. Webster Family Joseph M. Melvin foundation COMPANY $Henri Bendel Dean K. Webster Robert L. Krakoff Jeff Byron ^LEXcon Company, Inc. •'Daniels Printing J. Baker, Inc. Mark R. Ungerer Lee S. Daniels Sherman N. Baker rTE Corporation GRAFACON, INC. * Jofran, Inc. James L. Johnson H. Wayman Rogers, Jr. Robert D. Roy JTE Electrical Products HOUGHTON MIFFLIN •f1 Jordan Marsh Company Dean T. Langford COMPANY Nader F. Darehshori Harold S. Frank GENERAL ELECTRIC Koko Sons, Inc. 'LASTICS Little, Brown & Company Boodakian & Harry and Michael Boodakian Glen H. Hiner William R. Hall •^Lancome Paris jeneral Latex and Monadnock Paper Mills, Inc. Steve Morse !hemical Corp. Bill Steel Robert W. MacPherson |Neiman Marcus William D. Roddy THE GILLETTE COMPANY Real Estate/Development Alfred M. Zeien, Jr. Prize Possessions Boston Capital Partners Virginia N. Durfee Jarvard Folding Box | Christopher W. Collins Company, Inc. Purity Supreme, Inc. Herbert F. Collins Melvin A. Ross Frank P. Giacomazzi Richard J. DeAgazio HMK Enterprises John P. Manning ^Saks Fifth Avenue Steven Karol Alison Strieder Mayher J 1 The Chiofaro Company Jones & Vining, Inc. Donald Chiofaro THE STOP AND SHOP Sven A. Vaule, Jr. FOUNDATION Combined Properties, Inc. Avram Goldberg jeach & Garner Company Stanton L. Black Edwin F Leach II ^Tiffany & Co. Corcoran-Jennison Companies Anthony Ostrom jegget & Piatt, Inc. Joseph E. Corcoran Alexander M. Levine FIRST WINTHROP Science/Medical •"Jew England Business CORPORATION Service, Inc. Arthur J. Halleran, Jr. Baldpate Hospital Richard H. Rhoads Lucille M. Batal J^The Flatley Company Parks Corporation Thomas J. Flatley Blake & Blake Genealogists Lee Davidson Richard Jr. Heafitz Development Company A. Blake, land-Whitney Corporation Lewis Heafitz $ Charles River Laboratories, Inc. Robert Kraft Horizon Commercial Henry L. Foster ieebok International Ltd. Management $Damon Corporation Paul Fireman Joan Eliachar Robert L. Rosen

73 •^HCA Portsmouth Regional Hospital Shaughnessy & Ahern Co. ^AT&T Network Systems William J. Schuler John J. Shaughnessy John F. McKinnon Robert Sanferrare | JA. Webster, Inc. |TAD Technical Services Corporation John A. Webster David J. McGrath, Jr. ^Cellular One •^Lifeline Charles Hoffman Arthur Phipps Travel/Transportation MCI Wild Acre Inns, Inc. NORTHWEST AIRLINES Jonathan Crane Bernard S. Yudowitz Terry M. Leo Services NEW ENGLAND TELEPHONE Patterson, Wylde & Co., Inc. COMPANY Asquith Corporation Norman Tasgal Paul C. O'Brien Lawrence L. Asquith EASTERN ENTERPRISES Telecommunications NORTHERN TELECOM, INC. Brian Davis J. Atwood Ives ^AT&T •^Phoenix Technologies Foundation Donald Bonoff NYNEX CORPORATION Neil Colvin Timothy Murray William C. Ferguson

FOR THAT VERY SPECIAL MOMENT, A VERY SPECIAL DINING EXPERIENCE.

For that special moment deserving of a

most extraordinary setting . . . permit us to suggest The Plaza Dining Room. Long recognized as Boston's most elegant and romantic setting for dinner, we proudly introduce an exciting new menu featuring Classic American Cuisine. Add to that Boston's most renowned collection of vintage wines, and you have

all the ingredients to make any occasion special.

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74

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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 Tan- glewood. 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 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.

FOR SYMPHONY HALL RENTAL INFORMATION, call (617) 638-9240, 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 con- cert 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 con- certs are available at the box office. For outside events at Symphony Hall, tickets are available three weeks before the concert. No phone orders will be accepted for these events.

TO PURCHASE BSO TICKETS: American Express, MasterCard, Visa, 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. There is a handling fee of $2.00 for each ticket ordered by phone.

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.

LATECOMERS will be seated by the ushers during the first convenient pause in the pro- gram. 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 under four will not be admit- ted to Boston Symphony Orchestra concerts.

TICKET RESALE: If for some reason you are unable to attend a Boston Symphony con- cert for which you hold a subscription ticket, you may make your ticket available for resale by calling (617) 266-1492. 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 the Friday- afternoon, and Tuesday-, Thursday-, and Saturday-evening Boston Symphony subscription concerts. The low price of these seats is assured through the Morse Rush Seat Fund. The tickets for Rush Seats are sold at $6.00 each, one to a customer, on Fridays as of 9 a.m. and Tuesdays, Thursdays, and Saturdays as of 5 p.m.

SMOKING IS NOT PERMITTED in any part of the Symphony Hall auditorium or in the surrounding corridors; it is permitted only in the Hatch Room and in the main lobby on Massachusetts Avenue. Please note that smoking is no longer permitted in the Cabot- Cahners Room.

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

WHEELCHAIR ACCESS to Symphony Hall is available via the Cohen Wing, at the West Entrance. Wheelchair-accessible restrooms are located in the main corridor of the West Entrance, and in the first-balcony passage between Symphony Hall and the Cohen Wing.

75 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 Massachusetts Avenue entrance.

PARKING: The Prudential Center Garage offers a discount to any BSO patron with a ticket stub for that evening's performance, courtesy of R.M. Bradley & Co., Inc., and The Prudential Property Company, Inc. 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 on Tuesday, Thursday, Friday, or Saturday. For more information, call the Sub- scription Office at (617) 266-7575.

ELEVATORS are located outside the Hatch and Cabot-Cahners rooms on the Massachu- setts 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 both sides of the first balcony, 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, audience-left, outside the Cabot-Cahners Room near the coatroom, 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. The BSO is not responsible for personal apparel or other property of patrons.

LOUNGES AND BAR SERVICE: There are two lounges in Symphony Hall. The Hatch Room on the orchestra level and the Cabot-Cahners Room on the first-balcony level serve drinks starting one hour before each performance. For the Friday-afternoon concerts, both rooms open at 12:15, with sandwiches available until concert time.

BOSTON SYMPHONY BROADCASTS: Friday-afternoon concerts of the Boston Sym- phony Orchestra are broadcast live by WGBH-FM (Boston 89.7) and by WAMC-FM (Albany 90.3, serving the Tanglewood area); Saturday-evening concerts are broadcast live by WCRB-FM (Boston 102.5). In addition, concerts of the Boston Symphony Orchestra are heard by delayed broadcast in many parts of the United States and Canada, as well as internationally, through the Boston Symphony Transcription Trust.

BSO FRIENDS: The Friends are annual donors to the Boston Symphony Orchestra. 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) 638-9251. If you are already a Friend and you have changed your address, please send your new address with your newsletter label to the Development Office, Symphony Hall, Boston, MA 02115. Including the mailing label will assure a quick and accurate change of address in our files.

BUSINESS FOR BSO: The BSO's Business & Professional Leadership 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 the BSO Corporate Develop- ment Office at (617) 638-9270.

THE SYMPHONY SHOP is located in the Cohen Wing at the West Entrance on Hun- tington Avenue and is open Wednesday, Thursday, and Friday from 11 a.m. until 4 p.m., Saturday from 12 p.m. until 6 p.m., and from one hour before each concert through inter- mission. The Symphony Shop features exclusive BSO merchandise, including The Sym- phony Lap Robe, calendars, coffee mugs, posters, 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.

76 BMBUH nnHHHifl

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

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

State Street Bank and Trust Company, wholly-owned subsidiary of State Street Boston Corporation, 225 Franklin Street, Boston, MA 02101. Offices in Boston, New York, Los Angeles, London, Munich, Brussels, Tokyo, Sydney, Hong Kong. Member FDIC. Copyright State Street Boston Corporation, 1989. paste*

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