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Boston Symphony Orchestra Archives 97th SEASON BOSTON SYMPHONY ORCHESTRA SEIJI OZAWA Miistc Director 'Mm . TRUST BANKING. A symphony in financial planning. Conducted by Boston Safe Deposit and Trust Company Decisions which affect personal financial goals are often best made in concert with a professional advisor. However, some situations require consultation with a number of professionals skilled in different areas of financial management. Real estate advisors. Tax consultants. Estate planners . Investment managers To assist people with these needs, our venerable Boston banking institution has developed a new banking concept which integrates all of these professional services into a single program. The program is called trust banking. Orchestrated by Roger Dane, Vice President, 722-7022, for a modest fee. DIRECTORS HansH. Estin George W. Phillips C. Vincent Vappi Vernon R. Alden Vice Chairman, North Executive Vice President, Vappi & Chairman, Executive American Management President Company, Inc. Committee Corporation George Putnam JepthaH. Wade Nathan H. Garrick, Jr. Partner, Choate, Hall Dwight L. Allison, Jr. Chairman, Putnam Vice Chairman of the Chairman of the Board Management & Stewart Board David C. Crockett Company, Inc. William W. Wolbach Donald Hurley Deputy to the Chairman J. John E. Rogerson Vice Chairman Partner, Goodwin, of the Board of Trustees Partner, Hutchins & of the Board Procter Hoar and to the General & Wheeler Honorarv Director Director, Massachusetts Robert Mainer Henry E. Russell Sidney R. Rabb General Hospital Senior Vice President, President Chairman, The Stop & The Boston Company, Inc. F. Stanton Deland, Jr. Mrs. George L. Sargent Shop Companies, Partner, Sherburne, Inc. Director of Various Powers & Needham William F. Morton Corporations Director of Various Charles W. Schmidt Corporations President, S.D. Warren Lovett C. Peters Company (A Division Director of Various of Scott Paper Company) Corporations BOSTON SAFE DEPOSIT AND TRUST COMPANY One Boston Place, Boston, Massachusetts 02106 Seiji Ozawa, Music Director Colin Davis, Principal Guest Conductor Joseph Silverstein, Assistant Conductor Ninety-Seventh Season 1977-1978 The Trustees of the Boston Symphony Orchestra Inc. Talcott M. Banks, Chairman Nelson J. Darling, Jr., President Philip K. Allen, Vice-President Sidney Stoneman, Vice-President Mrs. Harris Fahnestock, Vice-President John L. Thorndike, Vice-President Abram T. Collier, Treasurer Vernon R. Alden Archie C. Epps III Albert L. Nickerson Allen G. Barry E. Morton Jennings, Jr. Irving W. Rabb Leo L. Beranek Edward M. Kennedy Paul C. Reardon Mrs. John M. Bradley George H. Kidder David Rockefeller, Jr. Richard P. Chapman Roderick M. MacDougall Mrs. George Lee Sargent George Clowes Edward G. Murray John Hoyt Slookey Trustees Emeriti Harold D. Hodgkinson John T. Noonan Mrs. James H. Perkins Administration of the Boston Symphony Orchestra Thomas D. Perry, Jr. Thomas W. Morris Executive Director Manager Gideon Toeplitz Daniel R. Gustin Assistant Manager Assistant Manager Peter Gelb Joseph M. Hobbs Walter D.Hill Director of Promotion Director of Development Director of Business Affairs Elizabeth A. Young Candice L. Miller Richard C. White Assistant Director Assistant Director Assistant to the of Promotion of Development Manager Elizabeth Dunton Dorothy M. Sullivan Anita R. Kurland Director of Sales Controller Administrator of Youth Activities Charles Rawson Donald W. MacKenzie Katherine Whitty Manager of Box Office Operations Manager, Coordinator of Symphony Hall Boston Council Niklaus Wyss James F. Kiley Richard Ortner Advisor for Operations Manager, Assistant Administrator, the Music Director Tanglewood Berkshire Music Center Michael Steinberg Director of Publications Programs copyright © 1977 Boston Symphony Orchestra Inc. The Board of Overseers of the Boston Symphony Orchestra Inc. Leo L. Beranek Chairman Mrs. Norman L. Cahners Weston P. Figgins Mrs. Arthur I. Strang Vice Chairman Vice Chairman Secretary Charles F. Adams Mrs. Thomas Gardiner David G. Mugar Mrs. Frank G. Allen Mrs. James G.Garivaltis Barbara W. Newell Mrs. Richard Bennink Mrs. Robert Gibb Stephen Paine David W. Bernstein Jordan Golding Harry Remis David Bird Mrs. John L. Grandin Mrs. Peter van S. Rice Gerhard Bleicken Mrs. R. Douglas Hall, III Mrs. Samuel L. Rosenberry Frederick Brandi Mrs. Howard E. Hansen Mrs. Jerome Rosenfeld Curtis Buttenheim Mrs. Richard D. Hill Mrs. George Rowland Mrs. Henry B. Cabot Mrs. Amory Houghton, Jr. Mrs. A. Lloyd Russell Mrs. Mary Louise Cabot Richard S. Humphrey, Jr. Mrs. William Ryan Levin H. Campbell, III Mrs. Jim Lee Hunt Francis P. Sears, Jr. Johns H. Congdon Mrs. Louis I. Kane William A. Selke Arthur P. Contas Leonard Kaplan Gene Shalit Robert Cushman Benjamin Lacy Samuel L. Slosberg Michael J. Daly Mrs. James F. Lawrence Richard A. Smith Mrs. C. Russell Eddy John S. McLennan Mrs. Edward S. Stimpson Paul Fromm Colman M. Mockler, Jr. Mrs. Richard H. Thompson Carlton P. Fuller Mrs. El ting E. Morison D. Thomas Trigg Mrs. Thomas J. Galligan, Jr. Richard P. Morse Roger Woodworth Handel & Haydn Society at Symphony Hall Final concert of the Symphony Hall season Francis Poulenc / Gloria Marion Vernette Moore, soprano soloist (winner of the Opera Company of Boston 1977 Auditions) Zoltan Kodaly / Te Deum for chorus, soloists and orchestra Jon Humphrey, tenor W. A. Mozart / Piano Concerto in G Major, K. 453 Sheldon Shkolnik, pianist Join us for a rousing finale to a glorious season. Friday evening, March 3 at 8 o'clock mm H&H Tickets $12.50 $8.50 $5 on sale Feb. 13 at Symphony Hall Box Office only. Seiji Ozawa Seiji Ozawa became Music Director of the Boston Symphony Orchestra in the fall of 1973. He is the thirteenth conductor of the Orchestra since its founding in 1881. He was born in Hoten, Manchuria in 1935, and studied both Western and Oriental music as a child. He attended Toho School of Music in Tokyo and graduated with first prizes in composition and conducting. Shortly after his graduation, he won first prize at the International Competition of Conducting at Besanqon, France, and was invited by Charles Munch, then Music Director of the Boston Symphony and a judge at the competition, to spend a summer studying at Tanglewood. In 1964 and for the next five seasons, Mr. Ozawa was Music Director of the Ravinia Festival. At the beginning of the 1965-66 season he became Music Director of the Toronto Symphony, a position he relinquished four seasons later to study and guest conduct. In 1970 he accepted the position of Artistic Director of the Berkshire Music Festival, and in December of the same year he began his inaugural season as Conductor and Music Director of the San Francisco Symphony Orchestra, titles that he held concurrently with his position as Music Director of the Boston Symphony. In the spring of 1976 he resigned his San Francisco position although he remained Honorary Conductor for the 1976-77 season. Mr. Ozawa pursues an active international career and is a regular and favorite guest conductor with the Berlin Philharmonic, the Orchestre de Paris, and at the Salzburg Festival each year. He has conducted at Covent Garden, and returns to Japan annually to conduct the New Japan Philharmonic and other orchestras. The newest items on his large and growing discography with the Boston Symphony, are Bartok's Miraculous Mandarin Suite, and Music for Strings, Percussion, and Celeste, and Tchaikovsky's Symphony No. 5 (all on Deutsche Grammophon), and Roger Sessions's When Lilacs Last in the Dooryard Bloom'd New World Records). Seating within string sections follows a system of rotation. Since string players periodically occupy different chairs, the listing of string personnel after principal chairs is alphabetical. Violas Bass Clarinet Burton Fine Felix Viscuglia Principal Charles 5. Dana chair Robert Barnes Bassoons Betty Benthin Sherman Walt Edward A. Taft chair Reuben Green Roland Small Earl Hedberg Matthew Ruggiero Marc Jeanneret Bernard Kadinoff Contra Bassoon Eugene Lehner Richard Plaster ^:""^^ Jerome Lipson Vincent Mauricci Horns SYMPHONY Joseph Pietropaolo Charles Kavalovski BOSTON Michael Zaretsky Helen Sagoff Slosberg chair ORCHESTRA Charles Yancich Cellos Peter Gordon 1977/78 Jules Eskin David Ohanian Principal Richard Mackey Phillip R. Allen chair Ralph Pottle Martha Babcock Ronald Feldman Violins Trumpets Martin Hoherman Ghitalla Joseph Silverstein Armando Luis Leguia Roger Louis Voisin chair Concertmaster Charles Munch chair Jonathan Miller Andre Come Emanuel Borok Joel Moerschel Rolf Smedvig Assistant Concertmaster Mischa Nieland Gerard Goguen Helen Horner Mclntyre chair Jerome Patterson Marylou Speaker Carol Procter Trombones Principal Second Violin Robert Ripley Ronald Barron Fahnestock chair Norman Bolter Cecylia Arzewski Basses Gordon Hallberg Emanuel Boder Edwin Barker Harry Dickson Principal Harold D. Hodgkinson chair Tuba Gerald Ellas John Barwicki Chester Schmitz Sheila Fiekowsky Hearne Gerald Gelbloom Joseph Leslie Timpani Darlene Gray Martin Max Hobart Robert Olson Everett Firth Sylvia Shippen Wells chair Bo Youp Hwang Will Rhein Ronald Knudsen John Salkowski Lawrence Wolfe Percussion Ronan Lefkowitz Charles Smith Bela Wurtzler Amnon Levy Arthur Press Ikuko Mizuno Flutes Assistant Timpani Leonard Moss Doriot Anthony Dwyer Thomas Gauger Laszlo Nagy Walter Piston chair Frank Epstein Fredy Ostrovsky James Pappoutsakis Leo Panasevich Paul Fried Harps Jerome Rosen Bernard Zighera Piccolo Sheldon Rotenberg Lois Schaefer Ann Hobson Michel Sasson Alfred Schneider Oboes Personnel Managers Harvey Seigel Ralph
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  • STRAVINSKY's NEO-CLASSICISM and HIS WRITING for the VIOLIN in SUITE ITALIENNE and DUO CONCERTANT by ©2016 Olivia Needham Subm
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  • Doctor of Musical Arts
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  • Barber Hartmann Berg Stravinsky Britten
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  • Introduction
    INTRODUCTION What distinguishes Stravinsky’s initial North American tours from those of many other visiting composer-performers is the music-loving public’s preconception of Stravinsky as a radical modernist, a notion sustained over many years. In 1925, for example, Petrushka was regarded in Philadelphia as “ultra-modern music,”1 and the Piano Concerto reviewed in New York under the banner “Ultra-Modern Concerto Disgusts.”2 Chicago that year even considered him an “anarchist” and “diabolical.”3 The “modernist” label stemmed mostly from the initial reception in Paris of The Rite of Spring in 1913. Its worldwide notoriety continues even into our own epoch with, for example, Jan Kounen’s 2009 film, Coco Chanel et Igor Stravinsky4 and the 2013 centenary celebrations of the Rite’s premiere.5 For many years the ignorance or laziness (often both) of North American critics, national and local, helped perpetuate this reputation of a “modernist” (Seattle, 1937, and Minne- apolis, 1940),6 even a “Prince of Modernists” (Toronto, 1937).7 One clear proof lies in the shocked reaction as late as 1944 of US government officials to Stravinsky’s arrangement of “The Star-Spangled Banner”:8 not the arranger’s rather straightforward diatonic har- monization but his name and reputation that caused the outcry. Thus, in the early 1940s Stravinsky struggled to overcome his undeserved reputation as an extreme modernist. During 1940, his first year in Los Angeles, for example, only hisFirebird was heard, and that in four performances only. His music was not played very often in his adopted hometown. A glance at the concert calendars for these years shows a paucity of concert engagements, and that was only partly due to wartime privations.
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  • A Tutto in Questo Numero Intervista a Salvatore Accardo
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