Boston Symphony Orchestra

SEIJI OZAWA, Music Director

I ^H BO!

105th Season 1985-86 Out of the wood comes the

1 il'J iium mx t iTiTii i tl ii'JA? of the world's first barrel-blended 12 year-old Canadian whisky.

** *

Barrel-Blending is the final process of blending selected whiskies as they are poured into oak barrels to marry prior to bottling. Imported in bottle by Hiram Walker Importers Inc., Detroit Ml © 1985. Seiji Ozawa, Music Director One Hundred and Fifth Season, 1985-86

Trustees of the Boston Symphony Orchestra, Inc.

Leo L. Beranek, Chairman Nelson J. Darling, Jr., President

J. P. Barge r, Vice-Chairman Mrs. John M. Bradley, Vice-Chairman

George H. Kidder, Vice-Chairman William J. Poorvu, Treasurer Mrs. George L. Sargent, Vice-Chairman

Vernon R. Alden Archie C. Epps Mrs. August R. Meyer David B. Arnold, Jr. Mrs. John H. Fitzpatrick E. James Morton Mrs. Norman L. Cahners Mrs. John L. Grandin David G. Mugar George H.A. Clowes, Jr. Francis W. Hatch, Jr. Thomas D. Perry, Jr. William M. Crozier, Jr. Harvey Chet Krentzman Mrs. George R. Rowland Mrs. Lewis S. Dabney Roderick M. MacDougall Richard A. Smith Mrs. Michael H. Davis John Hoyt Stookey Trustees Emeriti

Philip K. Allen E. Morton Jennings, Jr. John T. Noonan Allen G. Barry Edward M. Kennedy Irving W. Rabb

Richard P. Chapman Edward G. Murray Paul C. Reardon Abram T. Collier Albert L. Nickerson Sidney Stoneman Mrs. Harris Fahnestock John L. Thorndike Officers of the Corporation

Thomas W Morris, Vice-President, Special Projects and Planning

John Ex Rodgers, Assistant Treasurer Theodore A. Vlahos, Assistant Treasurer Jay B. Wailes, Assistant Treasurer Daniel R. Gustin, Clerk Mary Glenn Goldman, Assistant Clerk

Administration of the Boston Symphony Orchestra, Inc.

Daniel R. Gustin, Acting General Manager

Anne H. Parsons, Orchestra Manager Costa Pilavachi, Artistic Administrator Caroline Smedvig, Director of Promotion Josiah Stevenson, Director of Development Theodore A. Vlahos, Director of Business Affairs Arlene Germain, Financial Analyst Mare Mandel, Publications Coordinator Charles Gilroy, Chief Accountant Richard Ortner, Administrator of Vera Gold, Assistant Director of Promotion Tanglewood Music Center Patricia Halligan, Personnel Administrator Charles Rawson, Manager of Box Office Nancy A. Kay, Director of Sales Eric Sanders, Director of Corporate John M. Keenum, Director of Development Foundation Support Joyce M. Serwitz, Assistant Director Nancy Knutsen, Production Manager of Development Anita R. Kurland, Administrator of Diane Greer Smart, Director of Volunteers Youth Activities Nancy E. Tanen, Media/Special Projects Steven Ledbetter, Musicologist & Administrator Program Annotator Susan E. Tomlin, Director of Annual Giving

Programs copyright ®1986 Boston Symphony Orchestra, Inc. Cover photo by Christian Steiner Board of Overseers of the Boston Symphony Orchestra, Inc.

Harvey Chet Krentzman Chairman

Avram J. Goldberg Mrs. Carl Koch Vice-Chairman Vice-Chairman

Ray Stata Mrs. Gordon F. Kingsley Vice-Chairman Secretary

John Q. Adams Mrs. Thomas Gardiner Mrs. Hiroshi Nishino Mrs. Weston W. Adams Mrs. James G. Garivaltis Vincent M. O'Reilly Martin Allen Mrs. Ray A. Goldberg Stephen Paine, Sr. Mrs. David Bakalar Jordan L. Golding John A. Perkins Bruce A. Beal Joseph M. Henson Peter C. Read Peter A. Brooke Arnold Hiatt Robert E. Remis Mary Louise Cabot Mrs. Richard D. Hill Mrs. Peter van S. Rice Mrs. C. Thomas Clagett, Jr. Susan M. Hilles David Rockefeller, Jr. James F. Cleary Glen H. Hiner John Ex Rodgers John F. Cogan, Jr. Mrs. Marilyn Brachman Hoffman Mrs. Jerome Rosenfeld Mrs. Nat Cole Mrs. Bela T. Kalman Mrs. William C. Rousseau William H. Congleton Mrs. S. Charles Kasdon Mrs. William H. Ryan Arthur P. Contas Richard L. Kaye Gene Shalit Mrs. A. Werk Cook Robert D. King Mark L. Selkowitz Phyllis Curtin John Kittredge Malcolm L. Sherman A.V. d'Arbeloff Robert K. Kraft W Davies Sohier, Jr. Mrs. Michael H. Davis John P. LaWare Ralph Z. Sorenson

Mrs. Eugene B. Doggett Mrs. James F. Lawrence Mrs. Arthur I. Strang Harriett Eckstein Laurence Lesser William F. Thompson Mrs. Alexander Ellis R. Willis Leith, Jr. Luise Vosgerchian Katherine Fanning Mrs. Charles P. Lyman Mrs. An Wang John A. Fibiger Mrs. Harry L. Marks Roger D. Wellington Kenneth G. Fisher Hanae Mori Mrs. Thomas H.P. Whitney Gerhard M. Freche Richard P. Morse Mrs. Donald B. Wilson Peter H.B. Frelinghuysen Mrs. Thomas S. Morse Brunetta Wolfman Mrs. Thomas J. Galligan Mrs. Robert B. Newman Nicholas T. Zervas

Overseers Emeriti

Mrs. Frank G. Allen Mrs. Louis I. Kane Mrs. Stephen V.C. Morris Hazen H. Ayer Leonard Kaplan David R. Pokross Paul Fromm Benjamin H. Lacy Mrs. Richard H. Thompson

Symphony Hall Operations

Cheryl L. Silvia, Function Manager James E. Whitaker, House Manager

Earl G. Buker, Chief Engineer Cleveland Morrison, Stage Manager Franklin Smith, Supervisor of House Crew

Wilmoth A. Griffiths, Assistant Supervisor of House Crew William D. McDonnell, Chief Steward Officers of the Boston Symphony Association of Volunteers

Mrs. Michael H. Davis President Mrs. R. Douglas Hall III Mrs. Carl Koch Executive Vice-President Treasurer Mrs. Harry F. Sweitzer, Jr. Mrs. Gilman W. Conant Secretary Nominating Chairman

Vice-Presidents

Mrs. Eugene B. Doggett, Development Services Mrs. BelaT. Kalman, Youth Activities Ms. Phyllis Dohanian, Fundraising Projects Mrs. Hart D. Leavitt, Regions Mrs. Craig W. Fisher, Tanglewood Mrs. August R. Meyer, Membership Mrs. Mark Selkowitz, Tanglewood Ms. Ellen M. Massey, Public Relations

Chairmen of Regions

Mrs. Thomas M. Berger Ms. Prudence A. Law Mrs. F.L. Whitney Mrs. Charles A. Hubbard Mrs. Robert B. Newman Mrs. Thomas H.P. Whitney Mrs. Herbert S. Judd, Jr. John H. Stookey Mrs. Norman Wilson Mrs. Thomas Walker For everyone who ever wished they could play beautiful music.

WJIBFM97 Boston's easy listening radio station. Space is limited to 42 people on a first-come, first-served basis. The cost of the weekend, $375 per person, double occupancy ($485 for single occupancy), includes a $50 tax-deduct- BSO ible contribution to the orchestra and covers transportation, lodging, meals (excluding breakfast), and concert tickets. For further BSO Receives Gifts Totaling information, please call the Volunteer Office at S3 Million 266-1492, ext. 177. The Boston Symphony Orchestra has been the recipient of three extraordinary gifts during the past month. As a result of a challenge from

J. P. orchestra BSO Trustee Barge r, three chairs Boston Symphony Chamber Players have been fully funded and endowed in per- Spring Tour petuity at the $1 million level. The BSO From 6 May through 16 May, the Boston Sym- extends its deep appreciation to J. P. and Mary Players will Barger for endowing the principal trombone phony Chamber make their annual spring tour, with performances in Seattle, position, held by Ronald Barron; to Dorothy Tucson, Phoenix, Stockton, and David Arnold (BSO Trustee) for endowing San Francisco, Caldwell (Idaho), Los Angeles, Jolla, Fredy Ostrovsky's violin position; and to Maria La and St. Paul. Tour repertory will include and Ray Stata (BSO Overseer) for endowing Mozart's Quintet for piano winds, the double bass position held by Lawrence and K.452, the Brahms Piano Trio in C, Schubert's Trout Wolfe. Each of these gifts signifies exceptional Quintet, flute, cello, support of the Boston Symphony Orchestra, Hadyn's G major trio for and piano, Hob. XV:15, Hindemith's Kleine enabling it to maintain the highest level of Kammermusik for quintet, artistic excellence. wind and Leon Kirchner's Music for Twelve, a BSO centennial commission given its first performance by the Chamber Players in February 1985. For a bro- Friends Weekend at Tanglewood chure on the Chamber Players' 1986-87 sub- The Friends of the BSO have the opportunity scription series at Jordan Hall, please call to travel to Tanglewood via chartered bus for Symphony Hall, (617) 266-1492. three days of spectacular music by the Boston Symphony Orchestra the weekend of 25-27 July. This summer, the Friends Weekend includes the BSO concerts on Friday and Sat- Symphony Hall Tours urday evenings, as well as on Sunday after- noon. Performances include Seiji Ozawa Tours of Symphony Hall are available Mon- conducting music of Brahms, Haydn, and days through Thursdays at 9 a.m. and 4:30 Beethoven, Leonard Bernstein conducting p.m., Saturdays at 1 p.m., and occasionally at music of Tchaikovsky and Bernstein, and solo other hours. Organized by the Boston Sym- appearances by violinist Mi Dori and pianists phony Association of Volunteers, these tours Peter Serkin and Alfred Brendel. The Friends are conducted by trained volunteer guides and will stay at the Red Lion Inn and will have cover the history of the Boston Symphony door-to-door service provided by Greyhound Orchestra and of Symphony Hall, including Bus for all events. Dinner Friday night will be its architecture and acoustics. A $25 per at the Pittsfield Country Club. Lunch on Satur- group donation to the BSO is requested. For day will be at Seranak, the former home of the weekday-afternoon and Saturday tours, Serge Koussevitzky, and dinner will be at there is a $50 security charge. Groups must Mahkeenac Farm, adjacent to the Tanglewood consist of at least ten persons and cannot grounds. Sunday luncheon at Blantyre will pre- exceed twenty-five per guide. For appoint- cede the 2:30 p.m. concert. Anticipated arrival ments, which must be made at least ten days time in Boston on 27 July is 8 p.m. in advance, or additional information, please The weekend is available to Friends of the contact the Volunteer Office, Symphony Hall, BSO who have donated a minimum of $40. Boston, MA 02115, (617) 266-1492, ext. 178. V0&

How to conduct yourself on Friday night.

Aficionados of classical music can enjoy the Boston Symphony Orchestra every Friday night at 9 o'clock on WCRB 102. 5 FM. Sponsored in part by Honeywell.

Honeywell BSO Members in Concert Duo for violin and cello, and the Brahms B major piano trio, Op. 108, on Sunday, 11 May Max Hobart leads the Civic Symphony Orches- at 7 p.m. at Ellsworth Hall at Pine Manor Col- tra of Boston in Bartok's Deux Images, Bizet's lege in Brookline. Tickets are $7 ($5 students Symphony in C, and the Brahms Piano Con- and senior citizens); for further information, certo No. 2 with soloist David Deveau on Sun- please call 266-2322. day, 27 April at 3 p.m. in Jordan Hall at New Tanglewood Festival Chorus Conductor John England Conservatory. Tickets are available at Oliver leads his John Oliver Chorale in music of $10 and $7. For further information, please call Paul Hindemith and Frank Martin on Wednes- 326-8483. day, 21 May at 8 p.m. in Jordan Hall at New Ronald Feldman leads the Mystic Valley England Conservatory. For complete program Orchestra in Kyr's The Greater Changing and ticket information, call 484-2212. (world premiere), Schubert's Unfinished Sym- phony, and Bach's Double Harpsichord Con- certo in C minor, with Mark Kroll as a featured soloist, on Saturday, 3 May at 8 p.m. at Paine Art Exhibits in the Cabot-Cahners Room Hall, Harvard University, and on Sunday, 4 May at 8 p.m. at Dwight Auditorium, Fra- The Boston Symphony Orchestra is pleased mingham State College. Tickets for the that, for the twelfth season, various Boston- Cambridge concert are $6 ($4 students, area galleries, museums, schools, and non- seniors, and special needs). Tickets for the profit artists' organizations are exhibiting their Framingham concert are $8 ($5 students, work in the Cabot-Cahners Room on the first- seniors, and special needs). balcony level of Symphony Hall. On display BSO members Jules Eskin, principal cello, through 5 May are works from the Lettering and Aza Raykhtsaum, violin, perform music of Arts Guild, to be followed by works from Beethoven, Mendelssohn, and Dvorak with Wenniger Graphics through 2 June. pianist Yvette Roman Schleifer at the French Library in Boston, 53 Marlborough Street, on Sunday, 4 May at 5 p.m. For ticket information, With Thanks call 266-4351. The Boston Artists Ensemble, founded in We wish to give special thanks to the National for the Arts and the 1980 by its director, BSO cellist Jonathan Mil- Endowment Massachu- setts Council on the Arts Humanities for ler, performs the Schubert E-flat and Ravel and their piano trios on Sunday, 4 May at 7 p.m. at continued support of the Boston Sym- Ellsworth Hall at Pine Manor College in phony Orchestra. Brookline. Tickets are $7 ($5 students and senior citizens); for further information, call 266-2322. The North Shore Philharmonic, Max Hobart, music director, performs music of Offenbach,

Poulenc, and Schumann's Symphony No. 3, Rhenish, on a program featuring pianists Anthony and Joseph Paratore with narrator

Robert J. Lurtsema in Saint-Saens's Carnival of Animals on Sunday, 4 May at 7:30 p.m. at Salem High School auditorium. For ticket information, please call 1-631-6513. BSO concertmaster Malcolm Lowe is soloist WITH (/ US. in the Brahms Violin Concerto with Ronald Our performance will Knudsen conducting the Newton Symphony please you. Orchestra on Sunday, 4 May at 8 p.m. at Aqui- ^^^ -^ nas Junior College in Newton. Also on the pro- gram is Richard Strauss's Death and

: Transfiguration. Tickets are $8 at the door or ORUM ASSOCIATES INC by advance reservation—call 965-2555. REAL ESTATE OF DISTINCTION IN The Boston Artists Ensemble performs BROOKLINE AND NEWTON Mozart's C major piano trio, K.548, Kodaly's Seiji Ozawa

Symphony Orchestra, a post he relin- quished at the end of the 1968-69 season.

Seiji Ozawa first conducted the Boston Symphony in Symphony Hall in January 1968; he had previously appeared with the orchestra for four summers at Tanglewood, where he became an artistic director in 1970. In December 1970 he began his inau- gural season as conductor and music director of the San Francisco Symphony Orchestra. The music directorship of the Boston Symphony followed in 1973, and Mr. Ozawa resigned his San Francisco posi- tion in the spring of 1976, serving as music advisor there for the 1976-77 season.

As music director of the Boston Sym- phony Orchestra, Mr. Ozawa has strength- The 1985-86 season is Seiji Ozawa's thir- ened the orchestra's reputation inter- teenth as music director of the Boston Sym- nationally as well as at home, beginning phony Orchestra. In the fall of 1973 he with the BSO's 1976 European tour and, in became the orchestra's thirteenth music March 1978, a nine-city tour of Japan. At director since it was founded in 1881. the invitation of the Chinese government, Born in 1935 in Shenyang, China, to Mr. Ozawa then spent a week working with Japanese parents, Mr. Ozawa studied both the Peking Central Philharmonic Orches- Western and Oriental music as a child and tra; a year later, in March 1979, he returned later graduated from Tokyo's Toho School to China with the entire Boston Symphony of Music with first prizes in composition for a significant musical and cultural and conducting. In the fall of 1959 he won exchange entailing coaching, study, and first prize at the International Competition discussion sessions with Chinese musi- of Orchestra Conductors, Besancon, cians, as well as concert performances. Also France. Charles Munch, then music in 1979, Mr. Ozawa led the orchestra on its director of the Boston Symphony and a first tour devoted exclusively to appear- judge at the competition, invited him to ances at the major music festivals of Tanglewood, where in 1960 he won the Europe. Seiji Ozawa and the Boston Sym- Koussevitzky Prize for outstanding student phony celebrated the orchestra's one-hun- conductor, the highest honor awarded by dredth birthday with a fourteen-city the Berkshire Music Center (now the American tour in March 1981 and an inter- Tanglewood Music Center). national tour to Japan, France, Germany, Austria, and England in October/November While working with Herbert von Karajan that same year. In August/September 1984, in West Berlin, Mr. Ozawa came to the Mr. Ozawa led the orchestra in a two-and- attention of Leonard Bernstein, whom he one-half-week, eleven-concert tour which accompanied on the New York Philhar- included appearances at the music festivals monic's spring 1961 Japan tour, and he was of Edinburgh, London, Salzburg, Lucerne, made an assistant conductor of that orches- and Berlin, as well as performances in tra for the 1961-62 season. His first profes- Munich, Hamburg, and Amsterdam. This sional concert appearance in North February he returned with the orchestra to America came in January 1962 with the San Japan for a three-week tour. Francisco Symphony Orchestra. He was music director of the Ravinia Festival for Mr. Ozawa pursues an active interna- five summers beginning in 1964, and music tional career. He appears regularly with the director for four seasons of the Toronto Berlin Philharmonic, the Orchestre de Add 100 years toherlife.

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America's Tax-Free Investment. Paris, the French National Radio Orches- music of Ravel, Berlioz, and Debussy with tra, the Vienna Philharmonic, the Philhar- mezzo-soprano Frederica von Stade and monia of London, and the New Japan the Mendelssohn Violin Concerto with Philharmonic. His operatic credits include Isaac Stern; in addition, he has recorded Salzburg, London's Royal Opera at Covent the Schoenberg/Monn Cello Concerto and Garden, La Scala in Milan, and the Paris Strauss's Don Quixote with cellist Yo-Yo Ma Opera, where he conducted the world for future release. For Telarc, he has premiere of Olivier Messiaen's opera recorded the complete cycle of Beethoven St. Francis of Assisi in November 1983. piano concertos and the Choral Fantasy Messiaen's opera was subsequently with Rudolf Serkin. Mr. Ozawa and the awarded the Grand Prix de la Critique 1984 orchestra have recorded five of the works in the category of French world premieres. commissioned by the BSO for its centen- Mr. Ozawa conducted the Boston Sym- nial: Roger Sessions's Pulitzer Prize-win- phony Orchestra in the American premiere ning Concerto for Orchestra and Andrzej of scenes from St. Francis of Assisi earlier Panufnik's Sinfonia Votiva are available on this month in Boston and New York. Hyperion; Peter Lieberson's Piano Con- certo with soloist Peter Serkin, John Seiji Ozawa has won an Emmy for the Harbison's Symphony No. 1, and Oily Boston Symphony Orchestra's "Evening at Wilson's Sinfonia have been taped for New Symphony" television series. His award- World records. For Angel/EMI, he and the winning recordings include Berlioz's orchestra have recorded Stravinsky's Fire- Romeo et Juliette, Schoenberg's Gurrelieder, bird and, with soloist Itzhak Perlman, the and the Berg and Stravinsky violin concer- violin concertos of Earl Kim and Robert tos with Itzhak Perlman. Other recordings Starer. with the orchestra include, for Philips, Richard Strauss's Also sprach Zarathustra Mr. Ozawa holds honorary Doctor of and Ein Heldenleben, Stravinsky's Le Sacre Music degrees from the University of Mas- du printemps, Hoist's The Planets, and sachusetts, the New England Conservatory Mahler's Symphony No. 8, the Symphony of of Music, and Wheaton College in Norton, a Thousand. For CBS, he has recorded Massachusetts. References furnished request

Aspen Music Festival Liberace Burt Bacharach Panayis Lyras David Bar-Man Marian McPartland Leonard Bernstein Zubin Mehta Bolcom and Morris Metropolitan Opera Jorge Bolet Mitchell-Ruff Duo Boston Pops Orchestra Seiji Ozawa Boston Symphony Orchestra Philadelphia Orchestra Brevard Music Center Andre Previn Dave Brubeck Ravinia Festival David Buechner Santiago Rodriguez Chicago Symphony Orchestra George Shearing Cincinnati May Festival Abbey Simon Cincinnati Symphony Orchestra Georg Solti Aaron Copland Tanglewood Music Center Denver Symphony Orchestra Michael Tilson Thomas Ferrante and Teicher Beveridge Webster Natalie Hinderas Earl Wild Interlochen Arts Academy and John Williams National Music Camp Wolf Trap Foundation for Billy Joel the Performing Arts Gilbert Kalish Yehudi Wyner Ruth Laredo Over 200 others Baldwin

10 Violas Bass Clarinet Burton Fine Craig Nordstrom Charles S. Dana chair Patricia McCarty Bassoons Anne Stoneman chair Sherman Walt Ronald Wilkison Edward A. Taft chair Robert Barnes Roland Small Jerome Lipson Matthew Ruggiero Bernard Kadinoff Contrabassoon Joseph Pietropaolo Richard Michael Zaretsky Plaster Marc Jeanneret Horns Music Directorship endowed by Betty Benthin Charles Kavalovski John Moors Cabot *Mark Ludwig Helen Sagoff Slosberg chair *Roberto Diaz Richard Sebring BOSTON SYMPHONY Daniel Katzen ORCHESTRA Cellos Jay Wadenpfuhl Jules Eskin Richard Mackey 1985-86 fhilip R. Allen chair Jonathan Menkis Martha Babcock Vernon and Marion Alden chair First Violins Trumpets Malcolm Lowe Mischa Nieland Charles Schlueter Esther S. and Joseph M Shapiro chair Concertmastt r Roger Louis Voisin chair * Charles Munch chair Robert Ripley Andre Come Max Hobart Luis Leguia Ford H. Cooper chair Acting Assoeiatt Conn rtmattt r Carol Procter Charles Daval lit It ii llinni r MelIlly rt chair Ronald Feldman Peter Chapman Cecylia Arzewski *Jerome Patterson Acting Assistant Conct rhnasli r Trombones Robert L. Beat, and fJoel Moerschel

Kind and Hruci A. Hi ill chair Sandra and Daind Bakalar chair Ronald Barron Bo Youp Hwang *Jonathan Miller J.F. and Mary B. Barger chair Bolter Edward and Hrrlha C. Host chair *Sato Knudsen Norman Max Winder Bass Trombone John and Dorothy Wilson chair Basses Douglas Yeo Harry Dickson Edwin Barker Forrest Foster Collier chair Harold D. Hodgkinson chair Tuba Gottfried Wilfinger Lawrence Wolfe Chester Schmitz Fredy Ostrovsky Maria Stata chair Margaret and William C. Leo Panasevich Joseph Hearne Rousseau chair Carolyn and George Rowland chair Bela Wurtzler Sheldon Rotenberg Leslie Martin Timpani Mh in I C. Kasdon and John Salkowski Everett Firth Marjorie C. fairy chair Sylvia Shippen Wells chair Alfred Schneider John Barwicki Raymond Sird •Robert Olson Percussion flkuko Mizuno *James Orleans Charles Smith Amnon Levy feter and Anne Brooke chair Flutes Arthur Press Doriot Anthony Dwyer Assistant Timpanist Second Violins Walter fiston chair Thomas Gauger Marylou Speaker Churchill Fenwick Smith Frank Epstein Fahneslock rhair Myra and Robert Kraft chair Vyacheslav Uritsky Leone Buyse Charlotte and Irving W. Rabb chair Harp Ronald Knudsen Piccolo Ann Hobson Pilot Willona Henderson Sinclair chair Joseph McGauley Lois Schaefer Leonard Moss Evelyn and C. Charles Marran chair *Michael Vitale * Harvey Seigel Oboes *Jerome Rosen Ralph Gomberg Mildred B. Remis chair *Sheila Fiekowsky Personnel Managers Wayne Rapier tGerald Elias William Moyer Alfred Genovese Ronan Lefkowitz Harry Shapiro * Nancy Bracken English Horn Librarians *Joel Smirnoff Laurence Thorstenberg *Jennie Shames fhyllis Knight Beranek chair Marshall Burlingame *Nisanne Lowe William Shisler *Aza Raykhtsaum Clarinets James Harper *Lucia Lin Harold Wright Ann S.M. Banks chair Stage Manager * fart ici pat ing in a system of rotated Thomas Martin Position endowed by seating within each string section. Peter Hadcock Angelica Lloyd Clagett t On sabbatical leave. E-flat Clarinet Alfred Robison

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12 —

A Brief History of the Boston Symphony Orchestra

For many years, philanthropist, Civil War personality proved so enduring that he veteran, and amateur musician Henry Lee served an unprecedented term of twenty- Higginson dreamed of founding a great and five years. permanent orchestra in his home town of In 1936, Koussevitzky led the orchestra's Boston. His vision approached reality in first concerts in the Berkshires, and a year the spring of 1881, and on 22 October that later he and the players took up annual year the Boston Symphony Orchestra's summer residence at Tanglewood. inaugural concert took place under the Koussevitzky passionately shared Major direction of conductor Georg Henschel. For Higginson's dream of "a good honest nearly twenty years, symphony concerts school for musicians," and in 1940 that were held in the old Boston Music Hall; dream was realized with the founding at Symphony Hall, the orchestra's present Tanglewood of the Berkshire Music Center home, and one of the world's most highly (now called the Tanglewood Music Center), regarded concert halls, was opened in 1900. a unique summer music academy for young Henschel was succeeded by a series of artists. German-born and -trained conductors Wilhelm Gericke, Arthur Nikisch, Emil Expansion continued in other areas as Paur, and Max Fiedler—culminating in the well. In 1929 the free Esplanade concerts appointment of the legendary Karl Muck, on the Charles River in Boston were inau- who served two tenures as music director, gurated by Arthur Fiedler, who had been a 1906-08 and 1912-18. Meanwhile, in July member of the orchestra since 1915 and 1885, the musicians of the Boston Sym- who in 1930 became the eighteenth conduc- phony had given their first "Promenade" tor of the Boston Pops, a post he would concert, offering both music and refresh- hold for half a century, to be succeeded by ments, and fulfilling Major Higginson's John Williams in 1980. The Boston Pops wish to give "concerts of a lighter kind of celebrated its hundredth birthday in 1985 music." These concerts, soon to be given in under Mr. Williams's baton. the springtime and renamed first "Popu- Charles Munch followed Koussevitzky as lar" and then "Pops," fast became a music director in 1949. Munch continued tradition. Koussevitzky's practice of supporting con-

During the orchestra's first decades, temporary composers and introduced much there were striking moves toward expan- music from the French repertory to this sion. In 1915, the orchestra made its first transcontinental trip, playing thirteen con- certs at the Panama-Pacific Exposition in San Francisco. Recording, begun with RCA in the pioneering days of 1917, continued with increasing frequency, as did radio broadcasts of concerts. The character of the Boston Symphony was greatly changed in 1918, when Henri Rabaud was engaged as conductor; he was succeeded the following season by Pierre Monteux. These appoint- ments marked the beginning of a French- oriented tradition which would be main- tained, even during the Russian-born Serge Koussevitzky's time, with the employment of many French-trained musicians.

The Koussevitzky era began in 1924. His extraordinary musicianship and electric Henry Lee Higginson

13 dear friends

A new orchestra has recently been founded — the Boston Composers Orchestra — this group of skillful musicians will serve the composers as

boston Composers orchestra an essential instrument in their devel- Gunther Schuller, —Music Director opment and growth as creative 'artists. Boston, of course, has a long and 282 Linwood Avenue distinguished history as a center for Newtonville, Mass 02160

(617) 965-8630 new music, from the 1870s to the present, and one in which the Boston Symphony has played a splendid role. We see our orchestra's role as com- plementary to that of the B.S.O., hence harmony and collaboration should bind our two organizations for further enriching Boston's cultural, artistic life. The concert will honor William Schuman and other Boston composers as well. With great pride and pleasure, we invite you to attend our inaugural concert, May 1st, '86, 8 P.M. at Symphony Hall. — Gunther SchuUer WANTED HELP

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14 country. During his tenure, the orchestra abroad, and his program of centennial com- toured abroad for the first time, and its missions—from Sandor Balassa, Leonard continuing series of Youth Concerts was ini- Bernstein, John Corigliano, Peter Maxwell tiated. Erich Leinsdorf began his seven- Davies, John Harbison, Leon Kirchner, year term as music director in 1962. Peter Lieberson, Donald Martino, Andrzej Leinsdorf presented numerous premieres, Panufnik, Roger Sessions, Sir Michael restored many forgotten and neglected Tippett, and Oily Wilson—on the occasion works to the repertory, and, like his two of the orchestra's hundredth birthday has predecessors, made many recordings for reaffirmed the orchestra's commitment to RCA; in addition, many concerts were tele- new music. Under his direction, the orches- vised under his direction. Leinsdorf was tra has also expanded its recording activi- also an energetic director of the Tangle- ties to include releases on the Philips, wood Music Center, and under his lead- Telarc, CBS, Angel/EMI, Hyperion, and ership a full-tuition fellowship program was New World labels. established. Also during these years, the Boston Symphony Chamber Players were From its earliest days, the Boston Sym- founded, in 1964; they are the world's only phony Orchestra has stood for imagination, permanent chamber ensemble made up of a enterprise, and the highest attainable stan- major symphony orchestra's principal dards. Today, the Boston Symphony players. Orchestra, Inc., presents more than 250 concerts annually. Attended by a live audi- William Steinberg succeeded Leinsdorf ence of nearly 1.5 million, the orchestra's in 1969. He conducted several American performances are heard by a vast national and world premieres, made recordings for and international audience through the Deutsche Grammophon and RCA, media of radio, television, and recordings. appeared regularly on television, led the Its annual budget has grown from 1971 European tour, and directed concerts Higginson's projected $115,000 to more on the east coast, in the south, and in the than $20 million, and its preeminent posi- mid-west. tion in the world of music is due not only to Seiji Ozawa, an artistic director of the the support of its audiences but also to Tanglewood Festival since 1970, became grants from the federal and state govern- the orchestra's thirteenth music director in ments, and to the generosity of many foun- the fall of 1973, following a year as music dations, businesses, and individuals. It is adviser. Now in his thirteenth year as music an ensemble that has richly fulfilled director, Mr. Ozawa has continued to solid- Higginson's vision of a great and perma- ify the orchestra's reputation at home and nent orchestra in Boston. I&r^^

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

15 .

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16 BOSTON SYMPHONY ORCHESTRA

Seiji Ozawa, Music Director

One Hundred and Fifth Season, 1985-86

Friday, 18 April at 2 Saturday, 19 April at 8

SEIJI OZAWA conducting

CHOPIN Piano Concerto No. 1 in E minor, Opus 11 Allegro maestoso Romanza: Larghetto Rondo: Vivace

ALEXIS WEISSENBERG

INTERMISSION

CHOPIN Fantasia on Polish Airs, Opus 13, for piano and orchestra

Mr. WEISSENBERG

STRAUSS Don Juan, Tone poem after Lenau, Opus 20

Friday's program will end about 3:55 and Saturday's about 9:55. Philips, Telarc, CBS, Deutsche Grammophon, Angel/EMI, New World, Hyperion, and RCA records Baldwin piano Alexis Weissenberg plays the Steinway piano.

Please be sure the electronic signal on your watch or pager is switched off during the concert. The program books for the Friday series are given in loving memory of Mrs. Hugh Bancroft by her daughters Mrs. A. Werk Cook and the late Mrs. William C. Cox.

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18 BOSTON SYMPHONY ORCHESTRA

Seiji Ozawa, Music Director

One Hundred and Fifth Season, 1985-86

Friday, 18 April at 2 Saturday, 19 April at 8

SEIJI OZAWA conducting

Please note that Debussy's Prelude to "The Afternoon of a Faun'''will replace Chopin's Fantasia on Polish Airs at these concerts. A program note for Debussy's Prelude appears on the back of this insert.

CHOPIN Piano Concerto No. 1 in E minor, Opus 11 Allegro maestoso Romanza: Larghetto Rondo: Vivace

ALEXIS WEISSENBERG

INTERMISSION

DEBUSSY Prelude to "The Afternoon of a Faun'

STRAUSS Don Juan, Tone poem after Lenau, Opus 20

Friday's program will end about 3:45 and Saturday's about 9:45. Philips, Telarc, CBS, Deutsche Grammophon, Angel/EMI, New World, Hyperion, and RCA records Baldwin piano Alexis Weissenberg plays the Steinway piano.

Please be sure the electronic signal on your watch or pager is switched off during the concert. The program books for the Friday series are given in loving memory of Mrs. Hugh Bancroft by her daughters Mrs. A. Werk Cook and the late Mrs. William C. Cox. Week 21 Claude Debussy Prelude to "The Afternoon of a Faun

Achille-Claude Debussy was born at St. Germain-en-Laye, Department of Seine-et-Oise, France, on 22 August 1862 and died in Paris on 25 March 1918. He began composing the Prelude a l'Apres-midi d'un faune in 1892 and completed the full score on 23 October 1894. The work was performed with great success by the Societe Rationale de Musique on 22 and 23 December that year under the direction of the Swiss conductor Gustave Doret.

The first performance in the United States was given by the Boston Orchestral Club on 1 April 1902, Georges Longy conducting. Wilhelm Gericke conducted the first Boston Symphony performance on 30 December 1904. The orchestra's most recent subscription performances were given by Seiji Ozawa in December 1981. The scoring is for three flutes, two oboes and English horn, two clarinets, two bassoons, four horns, two harps, antique cymbals, and strings.

In 1865 the poet Stephane Mallarme produced a Monologue d'un faune, with which he hoped to obtain a performance at the Comedie Francaise. Having been told that his work would be of no interest as a theatrical piece, he put it aside for a decade. In 1875, Mallarme tried to get his Improvisation du faune published in a literary anthology, again without success. Finally, the following year, he brought out his first book, which contained the text of the eclogue entitled L'Apres-midi d'un faune. Mallarme contin- ued to hope for a theatrical performance, and as late as 1891 he promised in print to 'i produce a new version for the theater. Throughout his life, Mallarme was also inter- ested in music; he in fact had written an essay on Wagner for the Revue Wagnerienne in 1885. His own poetry, he said, was inspired by "music proper, which we must raid and paraphrase, if our own music [poetry], struck dumb, is insufficient."

We can be sure that Debussy knew Mallarme personally by 1892 (though he had set a text of his to music as early as 1884), when both poet and composer attended a performance of Maeterlinck's drama Pelleas et Melisande, and it is certainly likely that they discussed the musical possibilities of Mallarme's Faune. Debussy began composi- tion of the Prelude that year (along with most of the other compositions that were to occupy him for the next decade: his string quartet, the opera Pelleas et Melisande, the Nocturnes for orchestra, and a number of songs). Years later Debussy recalled that when Mallarme heard the music for the first time (apparently the composer's perform- ance at the piano in his apartment, not an orchestral version), he commented, "I was not expecting anything of this kind! This music prolongs the emotion of my poem, and sets its scene more vividly than color." The first performance of the Prelude made Debussy famous overnight; the striking character of this music, which everyone experienced as quite new, established his personality even in the eyes of those critics who expressed a wish for "an art more neat, more robust, more masculine."

The freshness comes in part from the delicacy of the instrumentation, which is filled with wonderfully new effects, of which the brilliant splash of the harp glissando over a dissonant chord at the end of the first flute phrase is only the most obvious (and the most easily imitated by lesser talents to weaker effect). The careful bridging of sections, so that nothing ever quite comes to a full close without suggesting continua- tion, effectively blurs the lines of what is, after all, a fairly straightforward ABA form. Debussy's success in obtaining this fluid, pastel effect can be measured by the fact that musicians will still argue about where the various sections begin and end. Most listeners, though, have been content to wallow in this exquisitely wrought play of color, harmony, and misty melody without bothering to consider how much of the future was already implicit in this score. —Steven Ledbetter BOSTON SYMPHONY ORCHESTRA

Seiji Ozawa, Music Director

One Hundred and Fifth Season, 1985-86

Tuesday, 22 April at 8

SEIJI OZAWA conducting

CHOPIN Piano Concerto No. 1 in E minor, Opus 11 Allegro maestoso Romanza: Larghetto Rondo: Vivace

ALEXIS WEISSENBERG

INTERMISSION

TCHAIKOVSKY Symphony No. 6 in B minor, Opus 74, Pathetique Adagio—Allegro non troppo Allegro con grazia Allegro molto vivace Finale: Adagio lamentoso

Tonight's concert will end about 10. Philips, Telarc, CBS, Deutsche Grammophon, Angel/EMI, New World, Hyperion, and RCA records Baldwin piano Alexis Weissenberg plays the Steinway piano.

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

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Audio Apart. Fryderyk Chopin Fantasia on Polish Airs, Opus 13 Piano Concerto No. 1 in E minor, Opus 21

Fryderyk Franciszek Chopin—or, as he called himself during his many years in France, Frederic Chopin—was born in Zelazowa Wola, near Warsaw, probably on 1 March 1810 and died in Paris on 17 October 1849. He composed the Fantasia on Polish Airs in 1828. The

first performance took place in Warsaw on 17 March 1830, on the same concert that included the premiere of Chopin's F minor concerto. The present perform- ances are the first by the Boston Sym- phony Orchestra.

Chopin composed the E minor con- certo during the summer of 1830 and was himself soloist at the first perform- ance, which took place at his final con- cert in Warsaw on 11 October the same year. The American premiere took place in New York on 21 November 1846, when the Philharmonic Society performed the work with soloist Henry C. Timm under the direction of George Loder. Alfred Jaell played the concerto in Boston in a concert given at the Melodeon on 11 December 1852, with the Germania Musical Society conducted by Carl Bergmann. Madeline Schiller was soloist for the first Boston Symphony perform- ance in December 1882, Georg Henschel conducting. BSO performances have also been conducted by Wilhelm Gericke, Arthur Nikisch, Emil Paur, Karl Muck, Pierre Mon- teux, Henri Rabaud, Serge Koussevitzky, Charles Munch, and Seiji Ozawa, who led the most recent performances in October 1974, with pianist Alexis Weissenberg. Earlier performances featured Adele aus der Ohe, Teresa Carreno, Egelka Utassi, Moriz Rosenthal, Eugene D Albert, Rafael Joseffy, Josef Hofmann, Ernest Hutcheson, Antoinette Szumowska, Elizabeth Claire Forbes, Leon Vartanian, and Gary Graffman. Besides the solo instrument, the score calls for two each of flutes, oboes, clarinets, and bassoons, two horns, two trumpets, trombone, timpani, and strings.

Chopin composed all of his works for piano and orchestra—including the two piano concertos—before he turned twenty-one, when he was still undergoing or had barely finished his formal studies. He had begun the study of composition in 1822, when he was twelve, with Jozef Eisner, director of the Warsaw Conservatory. His talent as a performer had been recognized even earlier. In February 1818, a month before Chopin's eighth birthday, he made his first public appearance as a pianist, playing a concerto of Gyrowetz. And even at that time he was constantly improvising little pieces—polonaises and the like. But formal composition studies were to lead ultimately to his greatest and most enduring fame. Eisner attempted to teach Chopin the traditional classical forms, supervising the composition of the First Sonata, Opus 4, which is almost completely un-Chopinesque. Eventually, though, Eisner recognized that Chopin simply had such gifts that it was useless to impose an outside taste on them. He retained the private hope that Chopin would one day compose the great Polish national opera, but that hope was vain, since the young man desired only to write music for the piano.

Few composers, indeed, have so consciously limited their output. Chopin never wrote a piece that did not include the piano, and the bulk of his works are for piano solo. But since it is on that instrument that he is most original, we are not inclined to complain. Despite his years of piano studies, he never became academic in the

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Warsaw was something of a musical backwater, but visiting celebrities gave Chopin a sense of the larger musical world. In 1828 he heard Hummel perform, and quickly adopted the decorative elegance of that composer in his ensuing works. The following year he heard Paganini, who was such a powerful influence on instru- mental music of the 1830s and 1840s by demonstrating the degree of virtuosic proficiency that might be possible.

Chopin composed the Fantasia on Polish Airs (or, as the formal published title ran, Fantaisie sur des airs nationaux polonais, Opus 13) in 1828, during his last year of formal conservatory training. That same year he composed another brilliant piece for piano and orchestra based on Polish melodies, Krakowiak, Opus 14. The follow- ing year, when he was nineteen, Chopin finished his formal studies and visited Vienna, where he attracted a great deal of attention, especially for works like the Krakowiak, the exotic Polish character of which was new to the Imperial capital. When he returned home on 12 September, he began work on his F minor piano concerto (published as No. 2, though it was the first to be composed).

After the two concerts of 17 and 22 March, on which Chopin had premiered his concerto, and on the first of which he had also premiered the Fantasy, he wrote to his close friend Titus Woyciechowski to report the events. On the whole the F minor concerto had been favorably received—especially its slow movement—but, accord- ing to Chopin, the Fantasy "did not in my opinion fully achieve its aim. [The audience] applauded because they felt they must show at the end that they had not

been bored." Perhaps it was a problem with his piano (which Eisner described as "woolly," hardly suitable for making a brilliant display in a public concert). In any case, Chopin did not include the Fantasy when he repeated the concert five days later. Yet the piece obviously had its partisans, because when Chopin was asked to give another concert, the Fantasy was specifically requested. In fact he did include

it, along with the premiere of the E minor concerto, on his last Warsaw concert, given on 11 October 1830. The following day he reported to Woyciechowski,

This time I understood what I was doing, the orchestra understood what it was doing and the audience realised it too. This time, as soon as they heard the first bars of the Mazurka in the Finale, they burst into applause and at the end—the usual silly business—I was called back. Not a soul hissed and I had to come back and bow four times ....

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! 24 The Fantasy begins with a slow introduction that offers the soloist plenty of opportunity for brilliant passage-work. Then comes an Andantino theme in 6/8 time identified as a folk song, "Already the moon had set." After it has appeared with variations, a somewhat melancholy Allegretto in 2/4 takes over. Chopin identified this as a theme by Karol Kurpinski, a professor at the Warsaw Conservatory. Finally comes the "mazurka" that Chopin referred to, a Kujawiak that brings the potpourri to a brilliant and exciting conclusion.

It was only a few months after the premiere of the F minor concerto and the Fantasia on Polish Airs that Chopin composed the E minor concerto, and a few months after that (November 1830) that he left Poland to study abroad, never to return.

It would be unrealistic to expect a piano concerto written by a budding young virtuoso not out of his teens to display a command of the symphonic style of concerto writing—the careful balancing of soloist and orchestra, the intricate development of thematic ideas, and so on—that we have come to recognize in the earlier works of Mozart and Beethoven. Not only was such a style inimical to Chopin's original genius, but he had not even encountered the concertos of Beethoven. (This is not to say that he disliked Beethoven's music; while working on the F minor concerto, he had taken part in a private reading of the Archduke Trio and wrote to Titus Woyciechowski, "I've never heard anything so great; in it Beethoven snaps his fingers at the whole world.") But the musical life of Warsaw had not yet admitted Beethoven to the pantheon, especially with his larger works. Hummel was the major composer whose concertos provided a basic model for Chopin, along with works of Ries, Gyrowetz, and Moscheles—concertos by keyboard virtuosi written to display their own technical prowess.

But for all of Chopin's youth and relative inexperience, his concertos are extraor- dinary in that special way that makes all of his best music personal and immediately identifiable—this in spite of the fact that Chopin avoids the expected key relation- ships, which help create the shape of the music by setting up the drama of musical incident. Chopin's first movement, most unusually, keeps to the tonic key for both first and second subjects, a procedure that Donald Francis Tovey regards as

"suicidal." Yet it is full of surprising and poetic and majestic moments for all its apparent lack of a strong ground plan. The second movement, labeled Romance, is nearer to the heart of Chopin, a pure outpouring of elegant and spontaneous melody. The finale, like the middle movement, is in E major. Its most characteristic element appears in the third theme, a krakowiak of great verve and rhythmic subtlety, which brings the concerto to a vigorous close. —Steven Ledbetter

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26 Richard Strauss Don Juan, Tone poem after Lenau, Opus 20

Richard Strauss was born in Munich, Germany, on 11 June 1864 and died in Garmisch-Partenkirchen, Bavaria, on 8 September 1949. Most biographers have concluded that the first drafts for Don Juan were made in the fall of 1887; Strauss completed the score in the sum- mer of 1888, and he conducted the first performance on 11 November 1889 with the Court Orchestra in the Grand Ducal Theater of Weimar. The Boston Sym- phony Orchestra gave the first American performance on 30 October 1891 under the direction of Arthur Nikisch. It was programmed at later Boston Symphony concerts by Wilhelm Gericke, Richard Strauss, Karl Muck, Max Fiedler, Pierre Monteux, Georg Schneevoigt, Henry Hadley, Serge Koussevitzky, Sir Henry Wood, Richard Burgin, Bruno Walter, Charles Munch, Jean Morel, Eugene Ormandy, Erich Leinsdorf, Josef Krips, Charles Wilson, and William Steinberg. Eugene Ormandy conducted the most recent subscription performances in February 1983; Seiji Ozawa conducted the most recent Tanglewood performance this past August, as well as the orchestra's most recent Symphony Hall performance, on this season's Opening Night concert. The score calls for three flutes (third doubling piccolo), two oboes and English horn, two clarinets, two bassoons and contrabassoon, four horns, three trumpets, three trombones and tuba, timpani, triangle, cymbals, glockenspiel, harp, and strings.

It is altogether fitting that Strauss's Don Juan, an evocation of the greatest erotic subject of all time, should be composed under the influence of his own first passion for Pauline de Anna, the soprano who was eventually to become his wife. Strauss met her in August 1887 while on a visit to his uncle Georg Pschorr in a village an hour's ride from Munich. Pauline was the daughter of a prominent musical villager, General de Ahna, and she had at that time already completed vocal studies at the Munich Conservatory, though she had made no progress in a career. Strauss, completely smitten by the girl, decided to supervise her further instruction, so that by the time he took over the opera in Weimar two years later, he was able to introduce her as one of the leading sopranos.

The story of Don Juan, has appeared over and over again in European literature and music. Strauss knew Mozart's Don Giovanni, of course, but his version owes no allegiance to the plot or characterization of the Mozart work. Nor did Byron's extended narrative poem "Don Juan" play a direct role in Strauss's plans. He found inspiration rather in the work of Nikolaus Lenau, an Austrian romantic poet of Hungarian birth who had died in a mental asylum in 1850 leaving unfinished a poetic drama on Don Juan partly inspired by Byron; the surviving fragments were pub- lished in 1851. Lenau's version of the legend was a psychological treatment of a man devoted to an idealistic search for the perfect woman. He glories in the experience of the individual moment above all else, but learns that each successful exploit has led to some great harm, a fact that makes his existence increasingly burdensome. In the end, challenged by the brother of one of the women he has seduced, he throws his sword away at the moment when he has all but conquered because he finds victory "as boring as the whole of life." His opponent puts an end to his career with a single sword stroke.

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NAD(USA) INC. • 675 CANTON STREET • NORWOOD, MA 02062, U.S.A. Strauss prefixed three excerpts from Lenau's work to his score. The first two, drawn from early in the play, show Don Juan discussing his philosophy with his brother Don Diego, who has been sent by their father to bring him home. The last comes from shortly before the final confrontation; Don Juan hopes that his enemy will soon put an end to his futile life. The poetic excerpts convey nothing of the action of the play, provide no details of the women that succumb to the Don's amorous powers. But they convey something of the psychology of the leading character who acts throughout this composition.

Regarding these excerpts, Donald Francis Tovey wryly remarked, "The philoso- phy of these sentiments is not good citizenship, but it is neither insincere nor weak. It is selfish, but not parasitic." It is also clearly not a "plot" for a musical score; there is no emphasis on action or any series of incidents. It tells us all Strauss wants us to know about his Don Juan. The various women with whom he is involved serve merely as a foil for musical ideas, not as individuals.

For a composer whose father consciously restricted his studies to the classics, particularly Mozart and Mendelssohn, and whose earliest compositions followed clearly in the same vein, Don Juan is an astonishing achievement, a rocket exploding in a quiet countryside. With one stroke Strauss conquered the most advanced style of composition and orchestral treatment—and he was himself only twenty-four. Having earlier composed music that carefully followed the "rules" of classical procedure, however irksome they may have become to him, Strauss was converted to the "music of the future" by Alexander Ritter, a violinist in his orchestra at Meiningen. Ritter was a devout follower of Liszt and Wagner and had married Wagner's niece. He persuaded Strauss that "new ideas must search for new forms," and Liszt's procedures in his symphonic poems of allowing the poetic element to become the guiding principle for the symphonic work dominated Strauss's output for nearly two decades.

The first results of the conversion were his four-movement symphony Aus Italien (From Italy), which fused conventional structures with new ideas. He followed it with the first version of Macbeth, which, after a private reading with his orchestra, he withheld for revisions, completed only after the astounding premiere of Don Juan.

In the fall of 1889, at the recommendation of Hans von Btilow, Strauss became assistant conductor at the Weimar Opera. His employers there, forward-looking

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30 Wagnerians, were enormously impressed when he played Don Juan to them on the piano, and they insisted that he give the premiere at a concert of the Weimar orchestra. Though Strauss had his doubts about the ensemble's ability to cope with the extraordinary demands of the new score, he agreed, rather than wait for an uncertain future performance in a larger musical center. The orchestra took the piece well after the initial shock of the first rehearsals. One of the horn players remarked, "Good God, in what way have we sinned that you should have sent us this scourge!" But Strauss was in good humor throughout the difficult rehearsals, and he wrote after the premiere, "We laughed till we cried! Certainly the horns blew without fear of death ... I was really quite sorry for the wretched horns and trumpets. They were quite blue in the face, the whole affair was so strenuous."

From the day of that first tumultuous performance in November 1889, Strauss was instantly recognized as the most important German composer to appear since Wagner. He was launched on his string of brilliant and innovative orchestral works, and he was to continue in that line until his attention gradually was directed almost totally to the operatic stage. Even as he conducted Don Juan, Death and Transfigura- tion, the nfxt in his series of "tone poems" (the descriptive term he preferred) lay all but finished on his desk.

The opening pages present a brilliant array of themes that clearly suggest a character of the fullest manly vigor. The first measure offers an oblique approach to the home key of E major through a bold arpeggio in C major that moves purposefully to the home key by the third measure. The first phrases contain a half dozen brief ideas, all of which will be further developed. For all his new-found independence of formal rules, Strauss shapes this opening like a traditional sonata-form movement with a long and carefully prepared transition (with sustained wind chords, string tremolos, and an expressive violin solo) to the "normal" secondary key of B, in which we hear an extended love scene, easily understood as the "second theme."

This is developed at length in a passage of Tristanesque richness, but as it dies away, the cellos dryly insert the arpeggio from the very opening—here suggesting unmistakably that Don Juan is already somewhat bored with this conquest and ready to move on. This begins a formal "development" of several motives from the first group. It builds into a frenzied climax suddenly breaking off as the woodwinds indicate the presence of a newly captivating woman, while violas and cellos begin the Don's wooing with a yearning theme, to which the flute coyly responds—and refuses

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his overtures. He continues to urge, though, and her capitulation comes with a poignant oboe melody that introduces a delicate episode in which the woodwinds (with the oboe in the lead) represent the girl's devotion, while the lower strings continue to recall Don Juan in her arms.

As this lovely music dies away, Strauss introduces a bold stroke—an entirely new theme for Don Juan, presented in the four horns in unison, a theme so memorable

that it remains the single best-known phrase of the score. It makes of the protagonist something positively heroic as he continues on his quest (despite the oboe's feverish attempt briefly to recall their love). The themes associated with the Don (including the new horn figure) lead suddenly into an elaborate pictorial passage often referred to as the "carnival scene" (possibly a reference to a scene at a masked ball in Lenau's play). A sparkling figure with triplets appears in the woodwinds and is developed at length against some of the earlier material, growing quickly to a pitch of excitement that collapses even more suddenly: Don Juan has hit rock bottom. He recalls his three former loves (in the flutes, then oboe and bassoon, finally solo violin).

All this happens over an extended dominant pedal in cellos, double basses, and timpani, suggesting that Strauss intends to recall traditional sonata procedure by arranging a formal recapitulation. Indeed, the dominant pedal continues while two of the themes build to a more confident mood, suddenly pausing as if for a breath at which the strings launch us into a formal recapitulation. Formal, but not literal. It is much abbreviated, climaxing in the return of the "new" Don Juan theme in the four horns, now in the tonic key of E (which calls for all four players to reach unprecedentedly high notes, no doubt the occasion for the lament of the horn players

in Strauss's orchestra who first had to deal with it).

The tail of this theme is extended and developed to an exciting climax, and all seems ready for a triumphant cadence when after a sudden long silence comes the collapse. This is the moment hinted by the passage in Lenau's poem planted at the head of the score: "the fuel is consumed, and the hearth is cold and dark." In Don Juan's final encounter with the brother of one of his conquests, he suddenly realizes the utter futility of his existence. He throws away his sword (a cold minor chord softly played by the orchestra) and is stabbed to death (a single dissonant note inserted into the minor chord by the trumpets, like a sword slipping between two ribs). With breathtaking suddenness the music collapses and ends, bleak and chill. —S.L.

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34 Pyotr Ilyich Tchaikovsky Symphony No. 6 in B minor, Pathetique

Pyotr Ilyich Tchaikovsky was born in Kamsko-Votkinsk, Vyatka province, Russia, on 7 May 1840 and died in St. Petersburg on 6 November 1893. He composed the Sixth Symphony between 16 February and 31 August 1893. The

first performance took place in St. Petersburg on 28 October that year (just a week before the composer's death). The American premiere was given at the Met- ropolitan Opera House by the New York (Symphony Society under Walter Damrosch on 16 March 1894. Emil Paur

conducted the first Boston Symphony performances on 28-29 December 1894

and repeated it two weeks later. He toured with the Pathetique and repro- grammed it in each of the three remain- ing seasons of his tenure in Boston. Since then it has been performed under the direction of WUhelm Gericke, Karl Muck, Max Fiedler, Pierre Monteux, Serge Koussevitzky (who conducted it ninety-four times at home and on tour!), Richard Burgin, Charles Munch, Ferenc Fricsay, Robert Shaw, Erich Leinsdorf, David Zinman, Seiji Ozawa, Michael Til son Thomas, and Christoph Eschenbach. The most recent performances have taken place within the last year under Seiji Ozawa's direction: at Tanglewood last August, and in Symphony Hall in November. The symphony is scored for two flutes and piccolo, two oboes, two clarinets, two bassoons, four horns, two trumpets, three trombones and tuba, timpani, bass drum, cymbals, tam-tam, and strings.

During Tchaikovsky's last years, his reputation grew enormously outside of Russia, but he was left prey to deepening inner gloom, since his countrymen rarely recognized his genius. He had, moreover, been shattered by the sudden breaking-off of the strange but profoundly moving epistolary relationship that he had carried on for fourteen years with Nadezhda von Meek, whose financial assistance and under- standing had sustained him through difficult times. Though they never met face to face, their relationship was one of the strongest, in its emotional depth, that either of them was ever to experience; she, for unknown reasons, decided to end the corre- spondence decisively in October 1890. Tchaikovsky never fully recovered from the blow.

Another reason for his depression was an old but continuing concern—the con- stant fear that his homosexuality might become known to the public at large or to the authorities (which would lead to terrible consequences, since homosexuality was regarded as a crime that might involve serious legal consequences, including banish- ment and the loss of his civil rights).

Tchaikovsky feared too that he was written out. In 1892 he began a symphony and had even partly orchestrated it when he decided to discard it entirely (some twenty years ago it was completed by a Russian musicologist and performed as Tchaikovsky's "Seventh Symphony"; the composer's self-critical view was right). But a trip to western Europe in December brought a warm reunion: he visited his old governess, whom he had not seen for over forty years. The two days he spent with her, reading over many letters from his mother and his brothers and sisters, not to mention some of his earliest musical and literary work, carried him off into a deep nostalgia. As the composer wrote to his brother Nikolai, "There were moments when 35 Week 21 p

I returned into the past so vividly that it became weird, and at the same time sweet, and we both had to keep back our tears."

The retrospective mood thus engendered may have remained even though he returned to Russia at low ebb: "It seems to me that my role is finished for good." Yet the recent opportunity to recall his childhood, when combined with his fundamen- tally pessimistic outlook, may well have led to the program for the work that suggested itself to him and captured his attention on the way home. Within two weeks of writing the foregoing words, Tchaikovsky was hard at work on what was to become his masterpiece. Home again, he wrote in mid-February to a nephew that he was in an excellent state of mind and hard at work on a new symphony with a program— "but a program that will be a riddle for everyone. Let them try and solve it." He left only hints: "The program of this symphony is completely saturated with myself and quite often during my journey I cried profusely." The work, he said, was going exceedingly well.

On 24 March he completed the sketch of the second movement—evidently the last to be outlined in detail—and noted his satisfaction at the bottom of the page: "0 Lord, I thank Thee! Today, 24th March, completed preliminary sketch well!!!"

The orchestration was interrupted until July because he made a trip to Cambridge to receive an honorary doctorate, an honor that he shared with Saint-Saens, Boito,

Bruch, and Grieg (who was ill and unable to be present). He was presented for the degree with a citation in Latin that appropriately singled out the ardor fervidus and the languor subtristis of his music. When he returned home he found that the orchestration would be more difficult than he expected: "Twenty years ago I used to go full speed ahead and it came out very well. Now I have become cowardly and unsure of myself. For instance, today I sat the whole day over two pages—nothing

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went as I wanted it to." In another letter he noted, "It will be ... no surprise if this symphony is abused and unappreciated—that has happened before. But I definitely find it my very best, and in particular the most sincere of all my compositions. I love it as I have never loved any of my musical children."

Though Tchaikovsky was eager to begin an opera at once, the Sixth Symphony was to be the last work he would complete. The premiere on 28 October went well despite the orchestra's coolness toward the piece, but the audience was puzzled by the whole—not least by its sombre ending. Rimsky-Korsakov confronted Tchaikovsky at intermission and asked whether there was not a program to that expressive music; - the composer admitted that there was, indeed, a program, but he refused to give any details. Five days later Tchaikovsky failed to appear for breakfast; he complained of indigestion during the night, but refused to see a doctor. His situation worsened, and in the evening Modest sent for medical help anyway. For several days Tchaikovsky lingered on, generally in severe pain. He died at three o'clock in the morning on 6 November.

Before going on to the music of the Sixth Symphony, it is worth pausing here to deal with the mystery that currently surrounds the composer's demise—especially because interpretations of the symphony have been colored by the circumstances of his sudden death. Until recently it was believed that Tchaikovsky drank a glass of unboiled water during a cholera epidemic and that he died of the disease. A very different story was published in the February 1981 issue of High Fidelity suggesting that the composer's death was a forced suicide—virtually, in fact, a murder. Accord- ing to this new account, the composer was about to be denounced to the Tsar as a homosexual by a duke with whose nephew Tchaikovsky had struck up a friendship. The duke gave his letter of complaint to the Chief Prosecutor of the State, a man named Yakobi, who had been the composer's classmate years earlier at the St. Petersburg College of Law. Apparently all the surviving students of that class convened a "court of honor" to decide what they might do to save the reputation of their school should Tchaikovsky be denounced. After argumentation that lasted for hours (and at which the composer was present), the decision was reached that he would have to commit suicide by some means that could be passed off as a disease the letter of denunciation would then be moot.

According to this story, then, one of the participants obtained a supply of poison and delivered it to Tchaikovsky, who consumed it and then refused to see a doctor until it was too late for help. All involved—including the doctor who finally treated him and his own family—had to be in on the secret, in order to protect his memory and their own reputations. Unfortunately, the story itself is almost totally undocu- mented except by a series of hearsay accounts. But the Russian musicologist Alexandra Orlova (who had seen documents in Russia that are not accessible to western scholars) convinced the English Tchaikovsky scholar David Brown of its truth, with the result that this version appears in The New Grove Dictionary of Music and Musicians. But a story derived largely from fourth-hand deathbed reports does not inspire confidence, especially when it is so obviously sensational in character.

There is a continuing debate among musicologists and specialists in Russian culture as to the validity of the sensational tale, and the final conclusions have surely not yet been drawn. All of this speculation has been fired, in part, by the extraordi- nary expressive richness of the Sixth Symphony, and especially by its finale. Some writers have gone so far as to assert that the music was composed because of the composer's premonitions of impending death. Yet perusal of his letters makes clear that until the last few days he was in better spirits than he had enjoyed for years, confident and looking forward to future compositions. The expressive qualities of the Sixth Symphony follow from his two previous symphonies, which are also concerned in various ways with Fate. The Fourth and Fifth symphonies had offered 37 Week 21 .

two views of man's response to Fate—on the one hand finding solace in the life of the peasants, on the other straggling to conquest, though through a somewhat uncon- vincing victory. In the Sixth Symphony, Fate leads only to despair.

Tchaikovsky never did reveal a formal program to the symphony though a note found among his papers is probably an early draft for one:

The ultimate essence of the plan of symphony is LIFE. First part—all impulsive passion, confidence, thirst for activity. Must be short. (Finale DEATH—result of collapse.) Second part love: third disappointments; fourth ends dying away (also short).

In the end, all of this (and any possible elaborations of it) remained the composer's secret. The title that it now bears came only the day after the first performance, when the composer, having rejected "A Program Symphony" (since he had no intention of revealing the program) and Modest's suggestion of "Tragic," was taken with his brother's alternative suggestion, "Pathetic." Modest recalled his brothers u reaction: 'Excellent, Modya, bravo, Pathetic?" and before my eyes he wrote on the

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38 score the title by which it has since been known." The title gives a misimpression in English, where "pathetic" has become a debased slang word, almost totally losing its original sense of "passionate" or "emotional," with a hint of its original Greek sense of "suffering." In French it still retains its significance. And the symphony is, without a doubt, the most successful evocation of Tchaikovsky's emotional suffering, sublimated into music of great power.

The slow introduction begins in the "wrong" key, but works its way around to B minor and the beginning of the Allegro non troppo. The introduction proves to foreshadow the main thematic material, which is a variant of the opening figure in the bassoon over the dark whispering of the double basses. The great climax to which this builds is a splendid preparation for one of Tchaikovsky's greatest tunes, a falling and soaring melody that is worked to a rich climax and then dies away with a lingering afterthought in the clarinet. An unexpected orchestral crash begins the tense development section, which builds a wonderful sense of energy as the opening thematic material returns in a distant key and only gradually works round to the tonic. The romantic melody, now in the tonic B major, is especially passionate.

The second movement is quite simply a scherzo and Trio, but it has a couple of special wrinkles of its own. Tchaikovsky was one of the great composers of the orchestral waltz (think of the third movement of the Fifth Symphony); here he chose to write a waltz that happens to be in 5/4 time! According to the conservative Viennese critic Eduard Hanslick: "This disagreeable meter upsets both listener and player/' But the odd rhythmic twist is more than compensated for by the extra- ordinary grace of the music.

The third movement is a brilliant march, beginning with rushing busy triplets that alternate with a crisp march melody that bursts out into a climactic full orchestral version, a momentary triumph. That triumph comes to a sudden end with the beginning of the final movement, which bears the unprecedented marking "Adagio lamt ntoso." The first theme is divided between the two violin parts in such a way that neither first nor second violin part alone makes sense, but when played together they result in a simple, expressive, descending melody. (Of course, the orchestra should be seated as it was in Tchaikovsky's day for the music to make its full effect. With the first violins at the front of the stage on the conductor's left and the second violins at the front on his right, the melody seems to leap back and forth from one side of the stage to the other on every note). The second theme, a more flowing Andante, builds to a great orchestral climax exceeded only by the climax of the opening material that follows. This dies away and a single stroke of the tam-tam, followed by a soft and sustained, dark passage for trombones and tuba, brings in the "dying fall" of the ending, the second theme descending into the lowest depths of cellos and basses.

Tchaikovsky's farewell vision is a sombre one, congruent with his own pessimistic view of life. But it is worth remembering—especially given all the stories that whirl around the composer—that his art, and especially the Pathetique Symphony, was a means of self-transcendence, a way of overcoming the anguish and torment of his life. It has sometimes been assumed in the past that Tchaikovsky chose to revel in his misery; but in the Sixth Symphony, at least, he confronted it, recreated it in sound, and put it firmly behind him. —S.L.

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Arthur Hedley contributed the volume Chopin to the Master Musicians series (Littlefield paperback); there is also a symposium volume of essays edited by Alan Walker, The Chopin Companion (Norton paperback), in which the chapter treating "Sonatas and Concertos" is by Peter Gould. Andre Boucourechliev's Chopin: A Pictorial Biography, translated into English by Edward Hyams, contains a wealth of drawings, paintings, and facsimiles (Viking). Seiji Ozawa and the Boston Symphony Orchestra will begin recording Chopin's complete works for piano and orchestra with Alexis Weissenberg in conjunction with these performances (Erato). An older BSO recording of the First Concerto with pianist Gary Graffman and conductor Charles Munch is available on a budget label (Victrola, coupled with the Men- delssohn Capriccio brillant). There are, of course, many recordings of the concerto, of which the following may be considered: Alexis Weissenberg's currently available performance is with Stanislaw Skrowaczewski and the Paris Conservatory Orches- tra in a three-disc set containing Chopin's complete music for piano and orchestra (Angel). Claudio Arrau's poetic reading with Eliahu Inbal and the London Philhar- monic is part of an extended boxed set of Chopin's works (Philips, nine discs). Dinu Lipatti's historic recording with Otto Ackermann and the Zurich Tonhalle Orchestra is available in a monaural set (Angel, four discs). Other possibilities are Martha Argerich with the London Symphony under Claudio Abbado (DG, coupled with the

Liszt Concerto No. 1), Maurizio Pollini with the Philharmonia Orchestra under Paul Kletzki (Seraphim), and Kristian Zimerman with the Los Angeles Philharmonic under Carlo Maria Giulini (DG). Recommended recordings of the Fantasia on Polish Airs include Claudio Arrau's with Eliahu Inbal and the London Philharmonic (Philips), Arthur Rubinstein's with Eugene Ormandy and the Philadelphia Orches- tra (RCA), and Garrick Ohlsson's with Jerzy Maksymiuk and the Polish National Radio Orchestra (Seraphim).

Strauss's Don Juan is given detailed consideration in the first volume of the three- volume biography Richard Strauss: A Critical Commentary on his Life and Works by Norman Del Mar (Barrie and Rockliff, London). Michael Kennedy's shorter study of Strauss in the Master Musicians series is excellent (Littlefield paperback), and the symposium Richard Strauss: the Man and his Music, edited by Alan Walker, is worth looking into (Barnes & Noble). There are several good choices for a recording oiDon Juan: Rudolf Kempe with the Dresden State Orchestra (Seraphim, with Strauss's early tone poem Macbeth), George Szell with the Cleveland Orchestra (CBS, with Death and Transfiguration and Till Eulenspiegel), Zubin Mehta with the Los Angeles Philharmonic (RCA, with Respighi's Feste Romane), and Arturo Toscanini's with the NBC Symphony (Victrola, monaural, with Till Eulenspiegel, the Queen Mob Scherzo from Berlioz's Romeo and Juliet, and Dukas's The Sorcerer's Apprentice).

David Brown is in the midst of writing a three-volume study of Tchaikovsky;

Volume I, Tchaikovsky: The Early Years, appeared several years ago (Norton) and proved to be the beginning of a superb and badly needed large study of this composer. Volume II, which deals with just four crisis-ridden years in Tchaikovsky's life, continues the promise of the first volume. The conclusion (which will deal with the Sixth Symphony) is eagerly awaited. Brown has also written the fine Tchaikovsky article in The New Grove. John Warrack's Tchaikovsky (Scribners) is an excellent book, beautifully illustrated, and Warrack has also contributed a very good short study, Tchaikovsky Symphonies and Concertos, to the BBC Music Guides (University of Washington paperback). The Life and Letters of Tchaikovsky by the composer's brother Modest is a primary source, but one must be warned about the hazards of Modest's nervous discretion and about problems in Rosa Newmarch's translation (Vienna House, available in paperback). Tchaikovsky's interesting let-

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42 ters have long since been published in Russian, but few have been available in English. Now, however, we have a welcome volume: Piotr Ilyich Tchaikovsky, Letters To His Family: An Autobiography (Stein and Day). Containing nearly 700 letters written between 1861, when Tchaikovsky was trying to decide to give up the law for music, and 1893, a short time before his death, the volume provides a fascinating personal glimpse of Tchaikovsky in the one area where he felt most at ease—in the bosom of his family. The letters are translated by the composer's grand-niece, Galina von Meek, who is also (by a pleasant ironic twist) the granddaughter of Tchaikovsky's patron Nadezhda von Meek; they are annotated by Percy M. Young. The symposium volume The Music of Tchaikovsky, edited by Gerald Abraham (Norton paperback), has a number of rather sneering contributions (echoing the attitude of the mid-1940s, when the book first appeared), but Edward Lockspeiser's biographical sketch is useful, as well as chapters on the ballet music, operas, and songs. Hans Keller's view of the symphonies in the first volume of Robert Simpson's The Symphony (Pelican paperback) is original and provocative. Donald Francis Tovey analyzes the Sixth Symphony in his Essays in Musical Analysis (Oxford paperback). The story of Tchaikovsky's presumed suicide, which is still the subject of debate, is told in "The Trial, Condemnation, and Death of Tchaikovsky" by Joel Spiegelman {High Fidelity, February 1981). Three Slavic specialists, Nina Ber- berova, Malcolm Brown, and Simon Karlinsky, wrote "Tchaikovsky's 'Suicide' Reconsidered: A Rebuttal" in the August 1981 issue; their arguments undermine the strongest points of the Spiegelman article. Since they wrote, however, Alexandra Orlova's original article on Tchaikovsky's last days has finally appeared belatedly in the English journal Music & Letters; it seems to undercut many of the critics' arguments. Further discussion on this point will no doubt be heated and interesting! The Path'etique is one of the most often performed and recorded of Tchaikovsky's works. Seiji Ozawa has recorded it with the Orchestre de Paris (Philips), and he is now recording it again with the Boston Symphony Orchestra (Erato). There is still a splendid old Boston Symphony recording under Pierre Monteux (RCA). Carlo Maria Giulini's fine performance with the Philharmonia Orchestra is available on the budget Seraphim label. The most fiery of all the performances I know of the last three Tchaikovsky symphonies are those of Yevgeny Mravinsky with the Leningrad Philharmonic (DG, originally issued as a boxed set, now available as singles). —S.L.

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among others. He has appeared at every major music festival, and he is among the most active performers in history, with a repertoire encompassing virtually all of the great piano literature ranging from music of the Baroque period to twentieth-century masterpieces. Mr. Weissenberg's more than forty recordings for Angel/EMI, RCA, and Connoisseur include the five Beethoven piano concertos with Herbert von Karajan and the Berlin Philharmonic, and he was awarded a gold medal by EMI for the half million sales of his recording of Tchaikovsky's First Piano Concerto. In conjunction with this week's Boston Symphony performances, he will begin recording Chopin's complete works for piano and orchestra with Seiji Ozawa and the Pianist Alexis Weissenberg has appeared Boston Symphony for the Erato label. as soloist with every major orchestra, including the Berlin Philharmonic, the Mr. Weissenberg's recent appearances have Boston Symphony, the Chicago Symphony, included orchestral and recital performances the Cleveland Orchestra, the Philadelphia in New York City, and orchestral appearances Orchestra, the New York Philharmonic, the in Houston and Salt Lake City. He has Orchestre de Paris, the Vienna Philhar- appeared with the Philadelphia Orchestra monic, the Philharmonia of London, and under Riccardo Muti in both Philadelphia the La Scala Orchestra of Milan. Born in and New York, and he was soloist with Zubin Sofia, Bulgaria, Mr. Weissenberg began his Mehta and the New York Philharmonic. He piano studies there and later continued his has recently recorded the Brahms Second musical education in Israel, where he made Piano Concerto with Muti and the Phila- his professional debut when he was four- delphians. Alexis Weissenberg first appeared teen. He was immediately invited to make a with the Boston Symphony Orchestra in Jan- tour of South Africa, then came to America uary 1970 performing the Bartok Piano Con- to attend the Juilliard School. Mr. Weissen- certo No. 2. He has also performed music of berg's early influences were Pantcho Rachmaninoff, Tchaikovsky, Ravel, Chopin, Wladigueroff in his native Sofia, and Olga and Beethoven with the orchestra, appearing Samaroff, Artur Schnabel, and Wanda most recently for Beethoven's Third Piano Landowska in America. After a successful Concerto at Tanglewood in 1984. tour of Israel, Egypt, Turkey, and South America, he made his American debut with the New York Philharmonic. That same year he won the Levintritt International Competition, was invited to appear with Eugene Ormandy and the Philadelphia Orchestra, and launched a United States concert tour. For several years he made annual tours of America, Europe, South America, and the Near East; then, after a self-enforced ten-year sabbatical in Madrid and Paris, he returned to the concert stage in Paris to thunderous acclaim.

The preferred pianist of many great con- ductors, Mr. Weissenberg appears regularly with Karajan, Solti, Ozawa, and Giulini,

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cover operating costs. Generous Iriends do! Your contribution to Boston the Boston Symphony Annual Fund makes the difference between &n orchestra and a world-class orchestra. Fund

Gifts may be sent to the Development Office Symphony Hall Boston, MA 021 15 Business Leaders ($1,000+)

Accountants William Carter Company National Lumber Company Manson H. ARTHUR ANDERSEN & CO. Carter Louis L. Kaitz William F. Meagher Architecture/Design *Perini Corporation David B. Perini ARTHUR YOUNG & COMPANY ADD INC ARCHITECTS Thomas R McDermott *J.F White Contracting Philip M. Briggs COOPERS & LYBRAND Company Interalia Design Associates Thomas J. White Vincent M. O'Reilly Judith Brown Caro Charles E.DiPesa& Co. *LEA Group Displays/Flowe rs William P. DiPesa Eugene R. Eisenberg ERNST &WHINNEY *Giltspur Exhibits/Boston Thomas E. Knott, Jr. James G. Maguire Banking BANK OF BOSTON *Harbor Greenery KMG Main Hurdman Diane Valle William A. Larrenaga William L. Brown PEAT, MARWICK, BANK OF NEW ENGLAND Education MITCHELL & CO. Peter H. McCormick *Bentley College Robert D. Happ BAYBANKS, INC. Gregory H. Adamian William M. Crozier, Jr. Theodore S. Samet & Co. STANLEY H. KAPLAN Theodore S. Samet Boston Safe Deposit and EDUCATIONAL CENTER TOUCHE ROSS & CO. Trust Company Susan B. Kaplan James T. Mc Bride James N. von Germeten Cambridge Trust Company Electrical/HVAC Advertising/Public Relations Lewis H. Clark Guzovsky Electrical *Berk and Company, Inc. Chase Manhattan Corporation Corporation Kenneth A. Berk Robert M. Jorgensen Edward Guzovsky BMC STRATEGIES, INC. *p.h. mechanical corporation Bruce M. McCarthy CITICORP/CITIBANK Clark Cogge shall Paul A. Hayes Harold Cabot & Co., Inc. *Eastern Corporate Federal R&D ELECTRICAL CO., INC. James I. Summers Credit Union Richard D. Pedone Clarke & Company, Inc. Jane M. Sansone Terence M. Clarke Framingham Trust Company Electronics THE COMMUNIQUE GROUP, INC. William A. Anastos Alden Electronics, Inc. James H. Kurland Mutual Bank John M. Alden *Hill, Holliday, Connors, Keith G. Willoughby *Analytical Systems Engineering Cosmopulos, Inc. * Patriot Bancorporation Corporation Jack Connors, Jr. Thomas R. Heaslip Michael B. Rukin Kenyon & Eckhardt, Inc. *Provident Financial Services, Inc. Bose Corporation Thomas J. Mahoney Robert W Brady Amar G. Bose NEWSOME & COMPANY Rockland Trust Company C & K Components, Inc. Peter Farwell John F Spence, Jr. Charles A. Coolidge, Jr. Young & Rubicam SHAWMUT BANK OF BOSTON The Mitre Corporation Alexander Kroll William F Craig Robert R. Everett Aerospace STATE STREET BANK & *Parlex Corporation Herbert Pollack * Northrop Corporation TRUST COMPANY W Thomas V. Jones William S. Edgerly * Signal Technology Corporation William E. Cook PNEUMO CORPORATION *UST Corp. Gerard A. Pulham James V. Sidell Energy Apparel Building/Contracting ATLANTIC RICHFIELD *Knapp King-Size Corporation *A.J Lane & Co., Inc. FOUNDATION

Winthrop A. Short Andrew J. Lane William F. Kieschnick

49 Great performances happen one at a time.

A banquet or reception, like a Quincy Suite, served by Seasons, symphony, demands a staff de- the crown jewel of Boston •• • voted to just one thing: restaurants.

A perfect Bring your special performance. THE occasions to The That's why we have Josiah Quincy Suite. just one function One at a time. room, The Josiah MUij SUITE

The Bostonian Hotel AT FANEUIL HALL MARKETPLACE (617) 523-3600

We Know A Great Crew When We See One. Best wishes to the whole BSO family and friends for the 1985-1986 Season. From Charles Square, with its river-view residences, shopping, dining, parking, and luxurious Charles Hotel. Just a waltz upriver, at cosmopolitan A Harvard Square. THE HARVARD SQUARE, CAMBRIDGE Charles Square Associates, (617) 491-6790.

50 CABOT CORPORATION * Federal Distillers, Inc. High Technology FOUNDATION Alfred J. Balerna ALLIED-SIGNAL, INC. Ruth C. Scheer Garelick Farms, Inc. Paul M. Montrone CORPORATION Peter M. Bernon EXXON ""Computer Partners, Inc. Stephen Stamas *Johnson, O'Hare Co., Inc. Paul J. Crowley MOBIL CHEMICAL Harry O'Hare *Data Packaging Corporation CORPORATION KIKKOMAN CORPORATION Otto Morningstar Rawleigh Warner, Jr. Katsumi Mogi *Encore Computer Corporation *Yankee Companies, Inc. *0'Donnell-Usen Fisheries Kenneth G. Fisher J. Montle Paul Corporation General Eastern Instruments Arnold S. Wolf Engineering Corporation THE PRINCE COMPANY, INC. Pieter R. Wiederhold Stone & Webster Engineering Joseph P. Pellegrino Corporation *Helix Technology Corporation * William F. Allen, Jr. Roberts and Associates Frank Gabron Richard J. Kunzig Hycor, Inc. Entertainment/Media Ruby Wines Joseph Hyman GENERAL CINEMA Theodore Rubin POLAROID CORPORATION CORPORATION Silenus Wines, Inc. William J. McCune, Jr. Richard A. Smith James B. Hangstefer RAYTHEON COMPANY National Amusements, Inc. *The Taylor Wine Company, Inc. Thomas L. Phillips Sumner M. Redstone Michael J. Doyle Hotel/Restaurant *New England Patriots Football Club WESTON/LOBLAW William H. Sullivan, Jr. COMPANIES LTD. Boston Park Plaza *Williams/Gerard Productions, Inc. Richard Currie Hotel & Towers Roger A. Saunders William J. Walsh Footwear FOUR SEASONS HOTEL Finance/Venture Capital Seamus McManus Chelsea Industries, Inc. *Farrell, Healer & Company Ronald G. Casty *The Hampshire House Richard Farrell Thomas A. Kershaw THE FIRST BOSTON *Jones & Vining, Inc. * Howard Johnson Company CORPORATION Sven A. Vaule, Jr. G. Michael Hostage George L. Shinn * Mercury International Mildred's Chowder House Kaufman & Company Trading Corporation James E. Mulcahy Sumner Kaufman Irving A. Wiseman MORSE SHOE, INC. THE RED LION INN *Narragansett Capital Manuel Rosenberg John H. Fitzpatrick Corporation * Arthur D. Little THE SPENCER Sheraton Boston COMPANIES, INC. Hotel & Towers Pioneer Financial C. Charles Marran Gary Sieland Richard E. Bolton STRIDE RITE Sonesta International Hotels *TA Associates CORPORATION Corporation Peter A. Brooke . Arnold S. Hiatt Paul Sonnabend Food Service/Industry THE WESTIN HOTEL ARCHER DANIELS Furnishings/Housewares Bodo Lemke MIDLAND COMPANY COUNTRY CURTAINS Insurance Dwayne 0. Andreas Jane P. Fitzpatrick *A.I.M. Insurance Agency, Inc. Azar Nut Company Hitchcock Chair Company James A. Radley Edward Azar Thomas H. Glennon ArkwrightrBoston Insurance Boston Showcase Company The Jofran Group Frederick J. Bumpus Jason Starr Robert D. Roy *Cameron & Colby Co., Inc. CREATIVE GOURMETS, LTD. Graves D. Hewitt Stephen E. Elmont Graphic Design "Consolidated Group, Inc. daka Food Service Management, Inc. Clark/Linsky Design, Inc. Woolsey S. Conover Terry Vince Robert H. Linsky *Frank B. Hall & Company of Dunkin' Donuts, Inc. *Weymouth Design, Inc. Massachusetts Robert M. Rosenberg Michael E. Weymouth Colby Hewitt, Jr.

51 r~r-

• i •J1

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M

52 p

JOHN HANCOCK MUTUAL Moseley, Hallgarten, Rath & Strong, Inc. LIFE INSURANCE COMPANY E stabrook & Weeden, Inc. Arnold 0. Putnam E. James Morton Fred S. Moseley The Wyatt Company Fred S. James & Co. •Putnam Mutual Funds, Inc. Michael H. Davis of New England, Inc. Lawrence J. Lasser P. Joseph McCarthy •Tucker, Anthony & * Johnson & Higgins R.L.Day, Inc. Manufacturers Representatives Robert A. Cameron Gerald Segel LIBERTY MUTUAL •Woodstock Corporation •Paul R. Cahn & Associates, Inc. INSURANCE COMPANIES Frank B. Condon Paul R. Cahn Melvin B. Bradshaw •Richard Dean Associates G. Dean Goodwin MANUFACTURERS LIFE Legal INSURANCE COMPANY •Bingham, Dana & Gould •Paul K. O'Rourke, Inc. E. Sydney Jackson Everett H. Parker Paul K. O'Rourke NEW ENGLAND MUTUAL Cargill, Masterman & Culbert •Shetland Co., Inc. WM. Sherman LIFE INSURANCE COMPANY Thomas E. Cargill, Jr. •Total Market Impact Edward E. Phillips Dickerman Law Offices Ronald J. Monahan Prudential Life Insurance Lola Dickerman Company of America Gadsby & Hannah Robert J. Scales Harry R. Hauser Sullivan Risk Management GOLDSTEIN & MANELLO Manufacturing/Industry Group Richard J. Snyder Acushnet Company John Herbert Sullivan •Mintz, Levin, Cohn, Ferris, Glovsky John T. Ludes Sun Life Assurance Company and Popeo, PC. Alles Corporation of Canada Francis X. Meaney Stephen S. Berman David D. Horn •Nissenbaum Law Offices Ames Safety Envelope •Charles H. Watkins & Gerald L. Nissenbaum Company Company, Inc. Sherburne, Powers & Needham Robert H. Arnold Richard P. Nyquist Daniel Needham, Jr. •Avondale Industries, Inc. Investments William F. Connell *ABD Securities Corporation Management/Financial *C.R. Bard, Inc. Theodor Schmidt-Scheuber Consulting Robert H. McCaffrey Amoskeag Company ADVANCED MANAGEMENT Checon Corporation Joseph B. Ely II ASSOCIATES, INC. Donald E. Conaway Harvey Chet Krentzman Bear, Stearns & Company Dennison Manufacturing Stuart Zerner BLP Associates Company Bernard L. Plansky Nelson S. Gifford *E.F. Hutton & Company, Inc. S. Paul Crabtree *Bain & Company Econocorp, Inc. FIDELITY INVESTMENTS William W. Bain, Jr. Richard G. Lee Samuel W. Bodman THE BOSTON ERVING PAPER MILLS CONSULTING GROUP •Fidelity Service Co. Charles B. Housen Arthur P. Contas Robert W. Blucke •Flexcon Company, Inc. Goldman, Sachs & Company General Electric Consulting Mark R. Ungerer Stephen B. Kay Services Corporation GENERAL ELECTRIC James J. O'Brien, Jr. HCW, Inc. COMPANY John M. Plukas Kazmaier Associates, Inc. John F. Welch, Jr. Richard W Kazmaier, Jr. •Kensington Investment GENERAL ELECTRIC Company •Killingsworth Associates, Inc. COMPANY/LYNN Alan E. Lewis William R. Killingsworth Frank E. Pickering KIDDER, PEABODY & CO., McKINSEY & COMPANY, INC. THE GILLETTE COMPANY INCORPORATED Robert P. O'Block Colman M. Mockler, Jr. John G. Higgins Mitchell and Company •Harvard Folding Box Co., Inc. LOOMIS SAYLES & Carol B. Coles Melvin A. Ross COMPANY Nelson Communications, Inc. The Horn Corporation Robert L. Kemp Bruce D. Nelson Robert H. Lang, Jr.

53

jjjlr I

We invite you to join us before or after Symphony for a fine dining experience. We're so close you can almost hear the music.

Lunch - 11:30 - 3 pm Dinner * 5 - 11 pm

CAFE AMALFI ITALIAN RESTAURANT SPECIAL FUNCTIONS and 8-10 WESTLAND AVENUE LARGE GROUPS ACCOMMODATED BOSTON, MASS. / 536-6396 RESERVATIONS RECOMMENDED

54 Kendall Company *WNEV-TV 7 *Boston Financial Technology J. Dale Sherratt Seymour L. Yanoff Group, Inc. Kenett Corporation Fred N. Pratt, Jr. Musical Instruments Julius Kendall Combined Properties, Inc. * Baldwin Piano & Organ Stanton L. Black * Leach & Garner Company Company Philip F. Leach *John M. Corcoran & Co. R.S. Harrison L.E. Mason Company John M. Corcoran Avedis Zildjian Company Harvey B. Berman *Corcoran, Mullins, Jennison, Inc. Armand Zildjian Joseph E. Monsanto Company Corcoran *The Flatley Company John P. Dushney Personnel Thomas J. Flatley NEW ENGLAND BUSINESS Dumont Kiradjieff & Moriarty SERVICE, INC. *Fowler, Goedecke, Ellis & Edward J. Kiradjieff Richard H. Rhoads O'Connor *Emerson Personnel, Inc. William J. O'Connor *Plymouth Rubber Company, Inc. Rhoda Warren Hilon Development Corporation Maurice J. Hamilburg *TAD Technical Services Haim S. Eliachar Princess House, Inc. Corporation Robert Haig Historic Mill Properties David J. McGrath, Jr. Bert Paley *Rand-Whitney Corporation Robert Kraft Printing *McGregor Associates Kathleen McGregor *Soundesign Corporation *Bowne of Boston, Inc. Robert H. Winer Albert G. Mather *Meredith & Grew, Incorporated George M. Lovejoy, Jr. Superior Pet Products, Inc. *Bradford & Bigelow, Inc. Northland Investment Richard J. Phelps John D. Galligan Corporation Tech Pak, Inc. Customforms, Inc. Robert A. Danziger William F. Rogers, Jr. David A. Granoff Ryan, Elliott & Coughlin DANIELS PRINTING *Termiflex Corporation John Ryan William E. Fletcher COMPANY Benjamin Schore Company *Towle Manufacturing Company Lee S. Daniels Benjamin Schore Leonard Florence *Espo Litho Company Stanmar, Inc. *Trina, Inc. David Fromer Stanley W Snider Thomas L. Easton In memory of Joseph B. Fromer Urban Investment H.K. Webster Company, Inc. *Label Art, Inc. & Corp. Dean K. Webster J. William Flynn Development R.K. Umscheid Inc. Webster Spring Company, Inc. *United Lithograph, Leonard A. Bernheimer A.M. Levine Retail

Wire Belt Company of America Child World, Inc. Publishing F Wade Greer, Jr. Dennis H. Barron *ADCO Publishing Company, Inc. FILENE'S Media Samuel D. Gorfinkle Michael J. Babcock THE BOSTON GLOBE/ Addison-Wesley Publishing AFFILIATED Company Herman, Inc. Bernard A. Herman PUBLICATIONS Donald R. Hammonds William 0. Taylor CAHNERS PUBLISHING Hills Department Stores Stephen A. Goldberger *The Boston Herald COMPANY, INC. Patrick J. Purcell Norman L. Cahners * Jordan Marsh Company WBZ-TV 4 HOUGHTON MIFFLIN Elliot Stone Thomas L. Goodgame COMPANY Karten's Jewelers WCIB-FM Marlowe G. Teig Joel Karten Lawrence K. Justice Marshall's, Inc. WCRB/CHARLES RIVER Real Estate/Development Frank H. Brenton BROADCASTING, INC. Amaprop Developments, Inc. *Neiman-Marcus Richard L. Kaye Gregory Rudolph William D. Roddy WCVB-TV 5 M.L. Beal Properties, Inc. *Purity Supreme, Inc. S. James Coppersmith Joanne Beal Frank P. Giacomazzi

55 or before and after the Symphony, a casual suggestion.

ROfclENADE

~Jho

B O S fh||U T O N

Adjacent to Copley Place. (617) 424-7000.

56 I^itourstrengthtowa-kfa-MXL

BANKOF BOSTON Call Dean Ridlon, Managing Director, Private Banking Group at (617) 434-

ANDOVER • BOSTON (FINANCIAL DISTRICT & BACK BAY) • BURLINGTON • HAVERHILL MARBLEHEAD • PITTSFIELD - SPRINGFIELD • WELLESLEY HILLS • WORCESTER © 1985 The First National Bank of Boston. A Special liM'-style Carleton-Willard Village is an exceptional continuing care retirement community.

': >'' ,: '''' ':."',;.''.: - Gracious independent living accommodations and fully licensed, long-term health care facilities exist in a traditional New England environment.

s CARLETON-WILLARD VILLAGE 100 Old Billerica Rd. Bedford, MA 01730 .." ::;:;- : (617) 275-8700 Owned and operated by Carleton-Willard -> Homes, Inc., a non-profit corporation :t 1

: Saks Fifth Avenue HEALTH PROGRAMS ""Heritage Travel, Inc. Ronald J. Hoffman INTERNATIONAL, INC. Donald R. Sohn Dr. Donald B. Shaw's Supermarkets Giddon *Lily Truck Leasing Corp. Stanton W. Davis * J.A. Webster, Inc. John A. Simourian THE STOP & SHOP John A. Webster, Jr. THE TRANS-LEASE GROUP John J. McCarthy, Jr. COMPANIES, INC. Services Avram J. Goldberg Travel Consultants International American Cleaning Co., Inc. Phoebe L. Giddon ZAYRE CORPORATION Joseph A. Sullivan, Jr. Maurice Segall *Asquith Corporation

Science/Medical Laurence L. Asquith Utilities *Victor Grillo & Associates *Charles River Breeding BOSTON EDISON Victor N. Grillo Laboratories, Inc. COMPANY Stephen J. Sweeney Henry L. Foster Software/Information Services Inc. EASTERN GAS & FUEL *Compu-Chem Laboratories, *First Software Corporation ASSOCIATES Claude L. Buller Rick H. Faulk William J. Pruyn Damon Corporation Interactive Data Corporation David I. Kosowsky John Rutherfurd New England Electric System *HCA Foundation Guy W Nichols Travel/Transpo rtation Hospital Corporation of NEW ENGLAND America Federal Express Corporation TELEPHONE COMPANY Donald E. Strange Frederick W Smith Gerhard M. Freche

For rates and information on BOSTON advertising in the SYMPHONY Boston Symphony, ORCHESTRA Boston Pops, SEIJI OZAWA A

1 and Musk Director J * * \» iter* Tanglewood program books please contact: ctV

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

57 Weknowa good investment whenwe hear one.

lit, *' Let's all support the BSO. Tucker, Anthony & R.L.Day, Inc. Serving investors in 34 offices in the U.S. and abroad. Since 1892. One Beacon Street, Boston (617) 725-2000. Tucker Anthony

Successful business trips For A Southeast Asian Treat are music to my ears. Garber Travel has been orchestrating travel plans for some of the finest companies in ^^ MANDALAY New England and f we've never BURMESE RESTAURANT missed a beat. Call me at 734-2100

I know we can work in perfect harmony.

Boston • 329 Huntington Avenue - 247-2111 (dx.—* fc~/^_

Cambridge • 143 First Street • 876-2111 Main Office: 1406 Beacon St., Reservation Suggested Brookline.

58 The following Members of the 'MASSACHUSETTS ' Massachusetts High Technology HKH TECHNOLOGY Council support the BSO through COUNCL the BSO Business & Professional Leadership Program:

AT&T DYNATECH LOTUS DEVELOPMENT Peter Cassels CORPORATION CORPORATION ANALOG DEVICES, INC. J. P. Barger Mitchell D. Kapor Ray Stata *EG&G, Inc. *M/A-COM, Inc. *The Analytic Sciences Dean W. Freed Vessarios G. Chigas Corporation *Epsilon Data Management, *Masscomp Arthur Gelb Inc. August P. Klein APOLLO COMPUTER, Thomas O. Jones Massachusetts High INC. The Foxboro Company Technology Council, Inc. A. Vanderslice Thomas Earle W Pitt Howard P. Foley Aritech Corporation GTE ELECTRICAL MILLIPORE James A. Synk PRODUCTS CORPORATION *Augat, Inc. Dean T. Langford John G. Mulvany Roger D. Wellington Foundation GenRad *Orion Research Incorporated BBF Corporation Linda B. Smoker Alexander Jenkins III Boruch B. Frusztajer *Haemonetics, Inc. * PRIME COMPUTER, INC. Barry Wright Corporation John F. White Joe M. Henson Ralph Z. Sorenson Harbridge House, Inc. * Printed Circuit Corporation BOLT BERANEK AND George Rabstejnek INC. Peter Sarmanian NEWMAN Hewlett-Packard Company Stephen R. Levy SofTech, Inc. Alexander R. Rankin *Compugraphic Corporation HONEYWELL Justus Lowe, Jr. Carl E. Dantas * Sprague Electric Company Warren G. Sprague Computervision Corporation John L. Sprague IBM CORPORATION Martin Allen *Tech/Ops, Inc. Paul J. Palmer Corning Glass Works Marvin G. Schorr Foundation Impact Systems, Inc. Melvin D. Platte TERADYNE, INC. Richard B. Bessey d'Arbeloff Instron Corporation Alexander V *Cullinet Software, Inc. Harold Hindman Thermo Electron Corporation John J. Cullinane George N. Hatsopoulos *Dennison Computer *Ionics, Incorporated Arthur L. Goldstein Supplies, Inc. WANG LABORATORIES, * Charles L. Reed, Jr. Arthur D. Little, Inc. INC. DIGITAL EQUIPMENT John F. Magee An Wang CORPORATION *XRE Corporation Kenneth H. Olsen John K. Grady

59 r

A Company PRESIDENTS^! Christmas

The Boston Symphony and the "Presidents at Pops" and "A Company Christmas at Pops" committees thank you for your support of our programs during the year. We hope that you will join us for these exciting business benefits this year.

"Presidents at Pops" occurs each June and involves over 100 leading Boston businesses participating in a special Boston Pops concert conducted by John Williams. Each company purchases a package of 20 tickets to use for their employees, customers or guests. Dinner and drinks

are served to everyone. "A Company Christmas at Pops" is modelled similarly and occurs during the week of Christmas Pops concerts.

For more information on each, please call the BSO Director ofCorporate Development at 266-1492. Thank you.

60 Coming Concerts . . .

Thursday '10'—24 April, 8-9:50 ELYENA FOSTER Friday 'A'—25 April, 2-3:50 Pianist and Musicologist Saturday 'A'—26 April, 8-9:50 M.A. Moscow Conservatory SEIJI OZAWA conducting Faculty Member Maderna Aura Mozart Violin Dorothy Taubman School of Piano Concerto No. 3 inG, K.216 Accepting Advanced and MALCOLM LOWE Artist Level Students Elgar Enigma Variations 617-244-0403 Programs subject to change.

They Fine; Art of Refinishing A

Wayne Towle, Inc. is greater SYMPHONY Boston's acknowledged expert in the restoration and preservation of in- terior and exterior architectural OF woodwork. Comprehensive paint- ing and fine period detailing services SERVICES available. Historic, contem- porary, and custom 1st American Bank is your full finishes are our service bank with 11 offices in speciality. Boston and on the South Shore. Let us orchestrate all your estimates: banking needs. For assistance 738-9121 call 436-1500.

^tlstflmerlcan Bank Member FDIC/DIFM

61 Business a Little Brisk Lately?

Sometimes the work we do allows

very little time for personal business.

Like planning for your retirement?

As the Boston Symphony Orchestra

gives you great music, it can also deliver some savvy ideas about personal financial planning.

There is a gift which can

*keep unearned income out of your current tax bracket

*pay substantial income when you

want it

*provide an immediate charitable deduction

*realize capital growth without tax

liability

*relieve you of investment management concerns forever

This gift can do all that and make an important contribution to the Boston Symphony Orchestra.

Now that's savvy.

For more information about gifts providing a life income, please call or write.

Jane Bradley Chairman, Planned Gifts Boston Symphony Orchestra Telephone: (617) 266-1492, xl32

62 mm .

Symphony Hall Information . .

FOR SYMPHONY HALL CONCERT AND make your ticket available for resale by call- TICKET INFORMATION, call (617) ing the switchboard. This helps bring 266-1492. For Boston Symphony concert needed revenue to the orchestra and makes program information, call "C-O-N-C-E-R-T." your seat available to someone who wants to attend the concert. A mailed receipt will THE BOSTON SYMPHONY performs ten acknowledge your tax-deductible months a year, in Symphony Hall and at contribution. Tanglewood. For information about any of the orchestra's activities, please call Sym- RUSH SEATS: There are a limited number phony Hall, or write the Boston Symphony of Rush Tickets available for the Friday- Orchestra, Symphony Hall, Boston, MA afternoon and Saturday-evening Boston 02115. Symphony concerts (subscription concerts only). The continued low price of the Satur- THE EUNICE S. AND JULIAN COHEN day tickets is assured through the gener- ANNEX, adjacent to Symphony Hall on osity of two anonymous donors. The Rush Huntington Avenue, may be entered by the Tickets are sold at $5.00 each, one to a Symphony Hall West Entrance on Hunt- customer, at the Symphony Hall West ington Avenue. Entrance on Fridays beginning 9 a.m. and FOR SYMPHONY HALL RENTAL Saturdays beginning 5 p.m. INFORMATION, call (617) 266-1492, or LATECOMERS will be seated by the write the Function Manager, Symphony ushers during the first convenient pause in Hall, Boston, MA 02115. the program. Those who wish to leave THE BOX OFFICE is open from 10 a.m. before the end of the concert are asked to until 6 p.m. Monday through Saturday; on do so between program pieces in order not

concert evenings, it remains open through to disturb other patrons. intermission for BSO events or just past SMOKING IS NOT PERMITTED in any starting-time for other events. In addition, part of the Symphony Hall auditorium or in the box office opens Sunday at 1 p.m. when the surrounding corridors. It is permitted there is a concert that afternoon or evening. only in the Cabot-Cahners and Hatch Single tickets for all Boston Symphony rooms, and in the main lobby on Massachu- concerts go on sale twenty-eight days setts Avenue. before a given concert once a series has begun, and phone reservations will be accepted. For outside events at Symphony Hall, tickets will be available three weeks before the concert. No phone orders will be Rental apartments accepted for these events. for people who'd rather hear French horns THE SYMPHONY SHOP is located in the than Car honiS» Enjoy easy living within Huntington Avenue stairwell near the easy reach of Symphony Hall. Cohen Annex and is open from one hour New in-town apartments before each concert through intermission. with doorman, harbor The shop carries all-new BSO and musical- views, all luxuries, health motif merchandise and gift items such as club, calendars, appointment books, drinking land 2 glasses, holiday ornaments, children's bedrooms and books, and BSO and Pops recordings. All penthouse duplex apartments. proceeds benefit the Boston Symphony Orchestra. For merchandise information, THE DEVONSHIRE please call 267-2692. O ^. One Devonshire Place. (Between Washington TICKET RESALE: If for some reason you _, fsT and Devonshire Streets, off State Street) Boston. are unable to attend a Boston Symphony £ Renting Office Open 7 Days. Tel: (617) 720-3410. Park free in our indoor garage while inspecting models. concert for which you hold a ticket, you may 2f

63 CAMERA AND RECORDING EQUIP- tra are heard by delayed broadcast in many MENT may not be brought into Symphony parts of the United States and Canada, as Hall during concerts. well as internationally, through the Boston Symphony Transcription Trust. In addi- AID FACILITIES for both men FIRST tion, Friday-afternoon concerts are broad- and women are available in the Cohen cast live by WGBH-FM (Boston 89.7); near the Symphony Hall West Annex Saturday-evening concerts are broadcast Entrance on Huntington Avenue. On-call live by both WGBH-FM and WCRB-FM physicians attending concerts should leave (Boston 102.5). Live broadcasts may also be their names and seat locations at the heard on several other public radio stations switchboard near the Massachusetts Ave- throughout New England and New York. If entrance. nue Boston Symphony concerts are not heard WHEELCHAIR ACCESS to Symphony regularly in your home area and you would Hall is available at the West Entrance to like them to be, please call WCRB Produc- the Cohen Annex. tions at (617) 893-7080. WCRB will be glad to work with you and try to get the BSO on AN ELEVATOR is located outside the the air in your area. Hatch and Cabot-Cahners rooms on the Massachusetts Avenue side of the building. BSO FRIENDS: The Friends are annual donors to the Boston Symphony Orchestra. LADIES' ROOMS are located on the Friends receive BSO, the orchestra's news- orchestra level, audience-left, at the stage letter, as well as priority ticket information end of the hall, and on the first-balcony and other benefits depending on their level level, audience-right, outside the Cabot- of giving. For information, please call the Cahners Room near the elevator. Development Office at Symphony Hall MEN'S ROOMS are located on the orches- weekdays between 9 and 5. If you are tra level, audience-right, outside the Hatch already a Friend and you have changed Room near the elevator, and on the first- your address, please send your new address balcony level, audience-left, outside the with your newsletter label to the Develop- Cabot-Cahners Room near the coatroom. ment Office, Symphony Hall, Boston, MA 02115. Including the mailing label will COATROOMS a,re located on the orchestra assure a quick and accurate change of and first-balcony levels, audience-left, out- address in our files. side the Hatch and Cabot-Cahners rooms. The BSO is not responsible for personal BUSINESS FOR BSO: The BSO's Busi- apparel or other property of patrons. ness & Professional Leadership program makes it possible for businesses to partici- LOUNGES AND BAR SERVICE: There pate in the life of the Boston Symphony are two lounges in Symphony Hall. The Orchestra through a variety of original and Hatch Room on the orchestra level and the exciting programs, among them "Presi- Cabot-Cahners Room on the first-balcony dents at Pops," "A Company Christmas at level serve drinks starting one hour before Pops," and special-event underwriting. each performance. For the Friday-after- Benefits include corporate recognition in noon concerts, both rooms open at 12:15, the BSO program book, access to the with sandwiches available until concert Higginson Room reception lounge, and time. priority ticket service. For further informa- BOSTON SYMPHONY BROADCASTS: tion, please call the BSO Corporate Concerts of the Boston Symphony Orches- Development Office at (617) 266-1492.

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