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Sir Colin Davis, Principal Guest Conductor Joseph Silverstein, Assistant Conductoi

One Hundred and Second Season, 1982-83 Trustees of the Boston Symphony Orchestra, Inc.

Abram T. Collier, Chairman Nelson J. Darling, Jr., President

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

Vernon R. Alden Mrs. John H. Fitzpatrick William J. Poorvu J.E Barger Mrs. John L. Grandin Irving W Rabb Mrs. John M. Bradley David G. Mugar Mrs. George R. Rowland 1

Mrs. Norman L. Cahners . Albert L. Nickerson Mrs. George Lee Sargent

George H.A. Clowes, Jr. Thomas D. Perry, Jr. William A. Selke Archie C. Epps III John Hoyt Stookey

Trustees Emeriti Talcott M. Banks, Chairman of the Board Emeritus

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

Richard E Chapman Edward G. Murray John L. Thorndike John T. Noonan Administration of the Boston Symphony Orchestra, Inc. Thomas W Morris General Manager

William Bernell Edward R. Birdwell Daniel R. Gustin Artistic Administrator Orchestra Manager Assistant Manager

Caroline Smedvig Walter D.Hill B.J. Krintzman Director of Director of Director of Promotion Business Affairs Planning

Judith Gordon Theodore A. Vlahos Joyce Snyder Serwitz Assistant Director Controller Acting Director of Promotion of Development Marc Solomon Arlene Germain Katherine Whitty Dtiector, Broadcasting Financial Coordinator of and Special Projects Analyst Boston Council

James E. Whitaker Elizabeth Dunton Anita R. Kurland Hall Manager, Director of Administrator of Symphony Hall Sales Youth Activities

James F. Kiley Charles Rawson Richard Ortner Operations Manager, Manager of Administrator, Tanglewood Box Office Berkshire Music Center Steven Ledbetter Marc Mandel Jean Miller MacKenzie Director of Editorial Print Production PubHcations Coordinator Coordinator

Programs copyright ©1982 Boston Symphony Orchestra, Inc. Cover photo by Peter Schaaf

1

; ' Board of Overseers of the Boston Symphony Orchestra, Inc.

William J. Poorvu Chairman

William M. Crozier, Jr. Mrs. Lewis S. Dabney Vice-Chairman Vice-Chairman Mrs. Richard D. Hill Secretary

John Q. Adams Graham Gund E. James Morton

Mrs. Weston Adams Mrs. R. Douglas Hall III John A. Perkins

David B. Arnold, Jr. Mrs. Richard E. Hartwell David R. Pokross

Hazen H. Ayer Francis W Hatch, Jr. Mrs. Curtis Prout Bruce A. Beal Ms. Susan M. Hilles Mrs. Eleanor Radin Mrs. Richard Bennink Mrs. Marilyn Brachman Hoffman Peter C. Read

Mrs. Edward J. Bertozzi, Jr. Mrs. Bela T. Kalman Harry Remis

Peter A. Brooke Mrs. Louis I. Kane Mrs. Peter van S. Rice

I i William M. Bulger Mrs. S. Charles Kasdon David Rockefeller, Jr.

Mary Louise Cabot Richard L. Kaye Mrs. Jerome Rosenfeld

Julian Cohen Mrs. F. Corning Kenly Jr. Mrs. William C. Rousseau

Mrs. Nat King Cole Mrs. Gordon F. Kingsley Mrs. William H. Ryan

Johns H. Congdon Mrs. Carl Koch Francis P. Sears

Arthur P. Contas Robert K. Kraft Mark L. Selkowitz

Ms. Victoria L. Danberg Harvey C. Krentzman Gene Shalit

William S. Edgerly Mrs. E. Anthony Kutten Donald B. Sinclair

Mrs. Alexander Ellis, Jr. Benjamin H. Lacy Richard A. Smith

Frank L. Farwell John P. LaWare Ralph Z. Sorenson

John A. Fibiger Mrs. James F. Lawrence Peter J. Sprague

Kenneth G. Fisher Mrs. Charles P. Lyman Ray Stata

Peter H.B. Frelinghuysen C. Charles Marran Mrs. Arthur I. Strang

Mrs. Thomas J. Galligan, Jr. Mrs. August R. Meyer Mrs. Richard H. Thompson

Mrs. Thomas Gardiner J. William Middendorf II Mark Tishler, Jr. Mrs. James Garivaltis Paul M. Montrone Ms. Luise Vosgerchian

Avram J. Goldberg Mrs. Hanae Mori Roger D. Wellington Mrs. Ray A. Goldberg Mrs. Stephen VC. Morris Mrs. Donald B. Wilson

Jordan L. Golding Richard P Morse John J. Wilson Haskell R. Gordon Mrs. Thomas Spurr Morse Nicholas T Zervas

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

Music at the Mall. .

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For good advice on personal trust and investment matters, call our Trust Division at (617) 742-4000. Or write Bank of New England, 28 State Street, Boston, Massachusetts 02109.

3 ENJOY THE CONVENIENCE OF YOUR FILENE CHARGE BSO

A Record-Breaking 1983 BSO/WCRB Musical Marathon!!

The 1983 BSO/WCRB Musical Marathon, which took place Friday; 11 March, Saturday, 12 March, and Sunday, 13 March, raised a total of $337,852 for the Boston Symphony Orchestra and the Boston Pops—the highest amount ever raised in the thirteen years the Marathon has been held. The total figure represented a twenty percent increase over the $279,918 raised last year and far exceeded this year's goal of $300,000.

The Marathon's highest premium—$50,000 for an evening performance by the Boston Pops under the direction of Conductor John Williams—was bought by the Met Center in Boston. This news was announced by Mary Louise Cabot, Chairman of the Special Events Committee and a Trustee of the Met Center, and by Joseph M. Hobbs, President of the Met Center, during the special Marathon telecast broadcast by WCVB- TV-Channel 5 on Sunday evening, 13 March. This was the first time this premium has been sold, and the Pops will present a special benefit at the Met Center sometime next fall.

Marathon co-chairmen Jane Sanger and Janice Hunt expressed their appreciation to the hundreds of volunteers who helped make this year's Marathon such a resounding success. "We're so very grateful for the generous support of everyone who made pledges to the Marathon. And the Marathon would not be possible without the tireless effort of more than six hundred volunteers who donated many months to make this year's Marathon the most successful ever," said Ms. Sanger. Echoing this sentiment, Janice Hunt also thanked Richard L. Kaye and the entire staff of WCRB for their many months of preparation and inspirational ideas. "WCRB makes the Musical Marathon possible," she said.

1983-84 BSO Subscription Information

Information about the Boston Symphony Orchestra's 1983-84 subscription season will be available within the next few weeks. Current subscribers will receive full program and renewal information in mid-April. Non-subscribers may request program and subscrip- tion information also around that time all subscription orders from new subscribers will ; be filled in order of arrival after current subscribers have been accommodated.

The Junior Council's Symphony Bark

The Symphony Bark is a miniature bar of deep rich chocolate candy with whole toasted almonds molded with the BSO colophon and wrapped in gold foil. The sale of the bark as well as the ever-popular Symphony Mint is made from a table in the Massachusetts

Avenue corridor of Symphony Hall near the elevator. All proceeds from this effort, which is staffed by Junior Council volunteers, go to the benefit of the Boston Symphony Orchestra.

To encourage use of the Symphony Bark as a delightful addition to your favorite child's

5 Easter basket, we have reduced the price of the Symphony Bark from $9 to $8 per box until Easter.

In addition to sales in the Hall, we also have mail order forms available which you can use to have the Symphony Mint or Symphony Bark sent to your favorite person, arriving on any date you specify.

The Junior Council of the Boston Symphony Orchestra is a group of young men and women who undertake a variety of fundraising activities on behalf of the orchestra. New members are admitted in September, January, and May. Membership inquiries are most welcome and may be directed to the Membership Chairman through the Friends' Office in Symphony Hall, (617) 266-1492.

BSOonWGBH

Live interviews by Robert J. Lurtsema with BSO personalities and guest artists continue this season on WGBH-FM-89.7's Morning Pro Musica. Coming up on Monday, 4 April at

11, conductor Vittorio Negri, who leads an all-Vivaldi program with the BSO in late

March/early April,- and on Friday, 15 April at 11, composer Peter Lieberson, whose Piano

Concerto written for the BSO's hundredth birthday will have its world premiere with soloist Peter Serkin on 21 April.

With Thanks

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

BSO Members in Concert

The contemporary chamber music ensemble Collage presents the fourth concert of its Tenth Anniversary Season at Sanders Theater in Cambridge on Monday, 4 April at 8 p.m. The program includes music of Consoli, Coban, Wyner, and Rands. BSO members of

Collage are Joel Moerschel, cello, Ann Hobson Pilot, harp, Joel Smirnoff, violin, and

Frank Epstein, percussion, who is also music director. For further information, call 232-1359. The concert will be preceded by a discussion with composer Yehudi Wyner.

BSO violinist Cecylia Arzewski will perform three recitals in April: on Sunday, 3 April at 3 p.m. in Warwick Community College in Rhode Island,- on Monday, 11 April at 7:30 p.m. at the Berkshire School in Sheffield, Massachusetts,- and on Thursday, 28 April at 11 a.m. at the Wentworth Institute in Boston.

The Boston Artists' Ensemble will close its 1982-83 subscription season at the Longy School of Music, 27 Garden Street, Cambridge, on Tuesday, 12 April at 8 p.m. The program will include Beethoven's Archduke Trio and Dvorak's Trio in F minor. The performers are Arturo Delmoni, violin, Jonathan Miller, cello, and Andrew Wolf, piano.

Single tickets at $6 will be available at the door,- all seats are unreserved. For additional information, call 277-2705 or 367-1380.

BSO cellist Ronald Feldman will conduct the Mystic Valley Chamber Orchestra on Saturday, 23 April at 8 p.m. at Arlington Town Hall, and on Sunday, 24 April at 4 p.m. at Sanders Theater in Cambridge. The program will include the Brahms Tragic Overture, .

the Divertimento from The Fairy's Kiss by Stravinsky, and the Beethoven Violin Concer- to. Marylou Speaker Churchill, principal second violinist of the Boston Symphony Orchestra, will be soloist in the concerto. Tickets are available at the door, and all seats are unreserved. For further information, please call 332-4210.

The Francesco String Quartet will close its 1982-83 subscription season on Sunday,

1 May at 3 p.m. at the Longy School of Music in Cambridge. The program will include music of Haydn, Bartok, and Beethoven. Tickets are $7, and seats are unreserved. For further information, call 862-0995. The quartet includes BSO violinists Bo Youp Hwang and Ronan Lefkowitz, violist Robert Barnes, and cellist Joel Moerschel.

The North Shore Philharmonic under Music Director and Conductor Max Hobart gives its final concert of the season at Salem High School Auditorium on Sunday, 15 May at 7:30 p.m. The program includes "Ode to Lord Buckley" Concerto for Alto Saxophone by David Amram, and the Brahms Symphony No. 4. Kenneth Radnofsky will be soloist in the concerto, which was written for him by the composer.

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w Seiji Ozawa

This is Seiji Ozawa's tenth season as music assistant conductor of that orchestra for the director of the Boston Symphony Orchestra,- 1961-62 season. His first professional concert in the fall of 1973 he became the orchestra's appearance in North America came in Janu- thirteenth music director since its founding in ary 1962 with the San Francisco Symphony 1881. Orchestra. He was music director of the Chicago Symphony's Ravinia Festival for five Born in 1935 in Shenyang, China, to summers beginning in 1964, and music Japanese parents, Mr. Ozawa studied both director for four seasons of the Toronto Sym- Western and Oriental music as a child and phony Orchestra, a post he relinquished at the later graduated from Tokyo's Toho School of end of the 1968-69 season. Music with first prizes in composition and conducting. In the fall of 1959 he won first Seiji Ozawa first conducted the Boston Sym- prize at the International Competition of phony in Symphony Hall in January of 1968; Orchestra Conductors, Besancon, France. he had previously appeared with the orchestra Charles Munch, then music director of the for four summers at Tanglewood, where he

Boston Symphony and a judge at the competi- became an artistic director in 1970. In Decem- tion, invited him to Tanglewood for the ber of 1970 he began his inaugural season as summer following, and he there won the conductor and music director of the San Fran- Berkshire Music Center's highest honor, the cisco Symphony Orchestra. The music direc- Koussevitzky Prize for outstanding student torship of the Boston Symphony followed in conductor. 1973, and Mr. Ozawa resigned his San Fran- cisco position in the spring of 1976, serving as While working with Herbert von Karajan music advisor there for the 1976-77 season. in West Berlin, Mr. Ozawa came to the atten- tion of Leonard Bernstein, whom he accom- As music director of the Boston Symphony panied on the New York Philharmonic's Orchestra, Mr. Ozawa has strengthened the spring 1961 Japan tour, and he was made an orchestra's reputation internationally as well as at home, leading conceits on the BSO's 1976 Garden, and La Scala in Milan. Mr. Ozawa has European tour and, in March 1978, on a nine- won an Emmy for the BSO's "Evening at city tour of Japan. At the invitation of the Symphony" television series. His award- Chinese government, Mr. Ozawa then spent a winning recordings include Berlioz's Romeo week working with the Peking Central Phil- et Juliette, Schoenberg's Guirelieder, and the harmonic Orchestra,- a year later, in March of Berg and Stravinsky violin concertos with 1979, he returned to China with the entire Itzhak Perlman. Other recent recordings with Boston Symphony for a significant musical the orchestra include, for Philips, Richard and cultural exchange entailing coaching, Strauss's Also sprach Zaraihustia, Stravinsky's study, and discussion sessions with Chinese he Sacre da phntemps, Hoist's The Planets, musicians, as well as concert performances. and Mahler's Symphony No. 8, the Sym- Also in 1979, Mr. Ozawa led the orchestra on phony of a Thousand; for CBS, a Ravel collab- its first tour devoted exclusively to appear- oration with mezzo-soprano Frederica von ances at the major music festivals of Europe. Stade and the Mendelssohn Violin Concerto

Most recently, Seiji Ozawa and the Boston with Isaac Stern,- and, for Telarc, Vivaldi's Symphony celebrated the orchestra's one-hun- Four Seasons with violin soloist Joseph Silver- dredth birthday with a fourteen-city Amer- stein, and music of Beethoven—the Fifth ican tour in March 1981 and an international Symphony, the Egmont Overture, and, with tour to Japan, France, Germany, Austria, and soloist Rudolf Serkin, the Fourth and Fifth England in October/November that same piano concertos. Mr. Ozawa has also recorded year. Roger Sessions's Pulitzer Prize-winning Con- Mr. Ozawa pursues an active international certo for Orchestra and Andrzej Panufnik's career. He appears regularly with the Berlin Sinfonia Votiva, both works commissioned by Philharmonic, the Orchestre de Paris, the the Boston Symphony Orchestra for its cen- French National Radio Orchestra, the Philhar tennial, for Hyperion records. Mr. Ozawa monia of London, and the New Japan Philhar- recently received an honorary Doctor of monic, and his operatic credits include the Music degree from the New England Conser- Paris Opera, Salzburg, London's Covent vatory of Music. ; :

Baldwin Piano & Organ Company pays tribute to the Boston Symphony Orchestra on its first century of achievement. We look forward to continuing our association at this, the start of the Boston's second century of excellence.

10

[ilOP Violas Pasquale Cardillo Burton Fine Peter Hadcock E-flat Clarinet Charles S. Dana chair

Patricia McCarty Mrs. David Stoneman chair Bass Clarinet Craig Nordstrom Ronald Wilkison Robert Barnes Bassoons Jerome Lipson Sherman Walt Bernard Kadinoff Edward A. Taft chair Joseph Pietropaolo Roland Small Music Directorship endowed by Michael Zaretsky Ruggiero John Moots Cabot Matthew Marc Jeanneret BOSTON SYMPHONY * Betty Benthin Contrabassoon ORCHESTRA * Lila Brown Richard Plaster * Mark Ludwig 1982/83 Horns Charles Kavalovski Cellos First Violins Helen Sagoff Slosberg chair Silverstein Jules Eskin Joseph Richard Sebring Concertmastei Philip R. Allen chat Daniel Katzen Charles Munch chair Martha Babcock Richard Mackey Emanuel Borok Vernon and Marion Alden chair Jay Wadenpfuhl Assistant Concertmastei Mischa Nieland Helen Horner Mclntyre chat Charles Yancich Esther S. and ]oseph M. Shapiro chair Max Hobart Jerome Patterson Trumpets Robert L Beal, and Ripley Enid and Bruce A. Beal chair Robert Charles Schlueter Luis Leguia Roger Louis Voisin chair Cecylia Arzewski Carol Procter Edward and Bertha C Rose chair Andre Come * Ronald Feldman Bo Youp Hwang Timothy Morrison * Moerschel ]ohn and Dorothy Wilson chair Joel * Jonathan Miller Trombones Max Winder Ronald Barron

P. and Mary B. Barger chair Harry Dickson Basses J. Forrest F. Collier chair Edwin Barker Norman Bolter Gottfried Wilfinger Harold D. Hodgkinson chair Gordon Hallberg Fredy Ostrovsky Lawrence Wolfe Tuba Leo Panasevich Joseph Hearne Chester Schmitz Carolyn and George Rowland chair Bela Wurtzler Margaret and William C. Rousseau chair Sheldon Rotenberg Leslie Martin Alfred Schneider John Salkowski Timpani Raymond Sird John Barwicki Everett Firth Ikuko Mizuno Robert Olson Sylvia Shippen Wells chair Amnon Levy Percussion Flutes Second Violins Charles Smith Doriot Anthony Dwyer Arthur Press Marylou Speaker Churchill Walter Piston chair Fahnestock chair Assistant Timpanist Fenwick Smith Thomas Gauger Vyacheslav Uritsky Mr. and Mrs. Robert K. Kraft chair Charlotte and Irving W Rabb chair Frank Epstein Ronald Knudsen Piccolo Harp Joseph McGauley Lois Schaefer Ann Hobson Pilot Leonard Moss Evelyn and C Charles Marran chair Willona Henderson Sinclair chair Laszlo Nagy ; Michael Vitale Oboes Personnel Managers * Harvey Seigel William Moyer Ralph Gomberg * Jerome Rosen Mildred B. Remis chair Harry Shapiro * Sheila Fiekowsky Wayne Rapier * Gerald Elias Librarians Alfred Genovese * Ronan Lefkowitz Victor Alpert * William Shisler Nancy Bracken English Horn * Joel Smirnoff James Harper Laurence Thorstenberg * Jennie Shames Phyllis Knight Beranek chair Stage Manager * Nisanne Lowe Alfred Robison * Aza Raykhtsaum Clarinets' Stage Coordinator * Participating in a system of rotated seating Harold Wright within each string section Ann S.M. Banks chair Cleveland Morrison A Brief History of the Boston Symphony Orchestra

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

During the orchestra's first decades, there young artists. Expansion continued in other were striking moves toward expansion. In areas as well. In 1929 the free Esplanade con- certs on the Charles River in Boston were inaugurated by Arthur Fiedler, who had been a member of the orchestra since 1915 and who in 1930 became the eighteenth conductor of the Boston Pops, a post he would hold for half a century, to be succeeded by John Williams in 1980.

Charles Munch followed Koussevitzky as music director in 1949. Munch continued Koussevitzky's practice of supporting contem- porary composers and introduced much music from the French repertory to this coun-

try. During his tenure, the orchestra toured

abroad for the first time, and its continuing series of Youth Concerts was initiated. Erich

Henry Lee Higginson

12 Leinsdorf began his seven-year term as music Sandor Balassa, Leonard Bernstein, John Cor- director in 1962. Leinsdorf presented numer- igliano, Peter Maxwell Davies, John Harbison, ous premieres, restored many forgotten and Leon Kirchner, Peter Lieberson, Donald Mar neglected works to the repertory and, like his tino, Andrzej Panufnik, Roger Sessions, Sir two predecessors, made many recordings for Michael Tippett, and Oily Wilson—on the

RCA,- in addition, many concerts were tele- occasion of the orchestra's hundredth birth- vised under his direction. Leinsdorf was also day has reaffirmed the orchestra's commit- an energetic director of the Berkshire Music ment to new music. Under his direction, the

Center, and under his leadership a full-tuition orchestra has also expanded its recording activ- fellowship program was established. Also dur- ities to include releases on the Philips, Telarc, ing these years, the Boston Symphony Cham- CBS, and Hyperion labels. ber players were founded, in 1964; they are From its earliest days, the Boston Sym- the world's only permanent chamber ensem- phony Orchestra has stood for imagination, ble made up of a major symphony orchestra's enterprise, and the highest attainable stand- principal players. William Steinberg suc- ards. Today, the Boston Symphony Orchestra, ceeded Leinsdorf in 1969. He conducted sever- Inc., presents more than 250 concerts al American and world premieres, made annually. Attended by a live audience of near- recordings for Deutsche Grammophon and ly 1.5 million, the orchestra's performances RCA, appeared regularly on television, led the are heard by a vast national and international 1971 European tour, and directed concerts on audience through the media of radio, tele- the east coast, in the south, and in the mid- vision, and recordings. Its annual budget has west. grown from Higginson's projected $115,000 to

Seiji Ozawa, an artistic director of the more than $16 million. Its preeminent posi-

Berkshire Festival since 1970, became the tion in the world of music is due not only to orchestra's thirteenth music director in the the support of its audiences but also to grants fall of 1973, following a year as music advisor. from the federal and state governments, and Now in his tenth year as music director, Mr. to the generosity of many foundations, busi-

Ozawa has continued to solidify the orches- nesses, and individuals. It is an ensemble that tra's reputation at home and abroad, and his has richly fulfilled Higginson's vision of a program of centennial commissions—from great and permanent orchestra in Boston.

Serge Koussevitzky

13

9^H THE BSO SALUTES BUSINESS:

PRESIDENTS Presidents Dinner Monday, May 9, 1983 Presidents at Pops Concert /^e^ay; June 21, 1983 )nducted by John Williams

'Presidents at Pops', The BSO's program designed to broaden the base of business and corporate support for the orchestra, has inaugurated its second successful year with an early sell out! There is still time, however, to place an advertisement in the Program Journal. For further information, contact Chet Krentzman, General Chairman, 332-3141; Vin O'Reilly, 574-5000 or Mai Sherman, 620-5000, Co-Chairmen; Lew Dabney, Program Journal, 542-8321; or Eric Sanders, Director of Corporate Development, Symphony Hall, 266-1492. The following companies will participate in this year's 'Presidents at Pops' Program.

Samuel D. Gorfinkle Treasurer ADCO Publishing Inc. William O. Taylor Chairman Affiliated Publications (The Boston Globe)

Andrew S. Kariotis President Alpha Industries Ray Stata President Analog Devices, Inc. Roger D. Wellington Chairman a CEO Augat Inc. Roderick M. MacDougall Chairman Bank of New England Ralph Z. Sorenson President & CEO Barry Wright Corporation

Richard F. Pollard Executive VP BayBanks, Inc. Irving M. Bell President Bell Manufacturing Company Dr. Gregory H. Adamian President * *Bentley College James Cleary Managing Director Blyth Eastman Paine Webber, Inc. Stephen R. Levy President & CEO Bolt Beranek and Newman Inc.

Arthur P. Contas Vice President The Boston Consulting Group

Thomas J. Galligan, Jr. Chairman & CEO Boston Edison Company William H. Wildes President Buckley and Scott Co. Sherwood E. Bain Chairman **Burgess & Leith Incorporated Craig L. Burr General Partner * *Burr, Egan, Deleage & Company Norman L. Cahners Chairman Cahners Publishing Co., Inc. Robert A. Cesari Managing Partner Cesari & McKenna Henry L. Foster, D.YM. President Charles River Breeding Laboratories, Inc. Sanford H. England Vice President * *Citicorp, Inc. Lawrence Dress President * *Clark-Franklin-Kingston Press Howard H. Ward President Commercial Union Insurance Companies Paul Crowley Chairman **Computer Partners, Inc. Vincent M. O'Reilly Managing Partner Coopers & Lybrand

Jane P. Fitzpatrick Treasurer Country Curtains

Stephen E. Elmont President Creative Gourmets, Limited

John J. Cullinane President Cullinet Software, Inc.

Dr. David I. Kosowsky President Damon Corporation Lee Daniels President Daniels Printing Otto Morningstar Chairman Data Packaging Corporation

George A. Chamberlain III VP & Treasurer Digital Equipment Corporation Robert M. Rosenberg President * *Dunkin' Donuts

J.P Barger President Dynatech Corporation William Pruyn President Eastern Gas & Fuel Associates J. Richard E. Lee President Econocorp, Inc. Thomas O Jones President Epsilon Data Management Richard Farrell President Farrell, Healer & Co.

Merwin F. Kaminstein Chairman Wm. Filene's Sons

George L. Shinn Chairman First Boston Corporation William L Brown Chairman First National Bank of Boston John Humphrey Chairman **The Forum Corporation 14 John C. Avallon President GTE Sylvania Inc. Harry R. Hauser Partner Gadsby & Hannah Richard A. Smith President General Cinema Corporation

Coleman M. Mockler, Jr. Chairman & CEO The Gillette Company

Thomas E. Knott, Jr. President **Giltspur Exhibits/Boston

Gordon F. Kingsley President Haemonetics Corporation

Webster B. Brockelman, Jr. Sr. VP Frank B. Hall & Co. of Massachusetts E. James Morton President John Hancock Mutual Life Ins. Co. Stanley Hatoff President Hatoff's Donald R. Sohn President Heritage Travel, Inc. Malcolm D. Perkins Partner Herrick & Smith Marlowe G. Teig Sr. VP Houghton Mifflin Company

S. Paul Crabtree Sr. VP a Regional VP E.F. Hutton & Company Inc.

Paul J. Palmer Vice President IBM Corporation Arthur L. Goldstein President Ionics Incorporated Harry O'Hare President Johnson, O'Hare Co., Inc. G. Michael Hostage President & CEO **Howard Johnson Company

Sven Vaule, Jr. President Jones &. Vining, Inc. Sumner Kaufman President Kaufman & Co. Thomas Mahoney Sr. VP Kenyon & Eckhardt Winthrop A. Short President Knapp King-Size Corporation Eugene Eisenberg President LEA Group

Leonard J. Peterson Chairman Label Art, Inc. Philip Leach Chairman **Leach & Garner Company Arthur H. Klein President Lee Shops, Inc. -Stuarts

Melvin B. Bradshaw Chairman &. CEO Liberty Mutual Life Insurance Co.

Harry L. Marks Chairman Markes International Irving Wiseman President * *Mercury International Trading Corp. Arthur D. Little Chairman Narragansett Capital Corporation Edward E. Phillips Chairman New England Mutual Life Ins. Co. Gerry Freche President New England Telephone Company Peter Farwell President Newsome & Co., Inc. Irving Usen Executive VP **0'Donnel-Usen Fisheries Harold Thorkilsen President Ocean Spray Cranberries Inc. Herbert W Pollack President * *Parlex Corporation Thomas R. Heaslip President **Patriot Bankcorporation Herbert E. Morse Partner Peat, Marwick, Mitchell & Co.

Maurice J. Hamilburg Executive VP Plymouth Rubber Company, Inc. Gerard A. Fulham Chairman & CEO Pneumo Corporation Joe M. Henson President & CEO Prime Computer, Inc. Peter Sarmanian President **Printed Circuit Corporation

Robert J. Scales President **Prudential Insurance Company of America Thomas L. Phillips Chairman Raytheon Company

William F. Craig President Shawmut Bank of Boston William Cook President Signal Technology Corporation (formerly Microsomes, Inc.) C. Charles Marran President Spencer Companies, Inc.

Peter S. Maher Vice Chairman State Street Bank & Trust Co.

Avram J. Goldberg President & CEO The Stop & Shop Companies, Inc. Arnold Hiatt President The Stride Rite Corporation Steven Baker President * *Systems Engineering & Mfg. Corporation Peter A. Brooke President TA Associates

David J. McGrath, Jr. President TAD Technical Services Corporation John F. Keydel Partner-in-Charge **Touche Ross & Co. Leonard Florence Chairman Towle Manufacturing Company Alan Lewis President **Trans National, Inc. R. Willis Leith Chairman Tucker, Anthony &. R.L. Day, Inc. James V Sidell President & CEO United States Trust Company Seymour L. Yanoflf VP & Gen. Mgr. WBZ-TV S. James Coppersmith VP&Gen. Mgr. WCVB-TV

Winthrop P. Baker President & Gen. Mgr. **WNEVTV Harry H.S. Chou Executive VP Wang Laboratories, Inc. Paul Montrone Executive VP Wheelabrator-Frye Frank B. Condon President Woodstock Corporation Malcolm L. Sherman Exec. VP& Gen. Mgr Zayre Corporation

**New supporters for President at Pops 1983.

15 BOSTON SYMPHONY ORCHESTRA

Seiji Ozawa, Music Director

Sir Colin Davis, Principal Guest Conductor

Joseph Silverstein, Assistant Conductor

One Hundred and Second Season, 1982-83

Thursday, 31 March at 8

Friday, 1 April at 2 Saturday, 2 April at 8 Tuesday, 5 April at 8

VITTORIO NEGRI conducting

VIVALDI "Domine ad adiuvandum me" (Psalm 69:2, Vulgate), RV 5 1 in G, for soprano, two choirs, two orchestras, and two continuos

Allegro: Domine ad adiuvandum me Andante molto: Gloria Patri Andante—Allegro: Sicut erat in principio

MARGARET MARSHALL, soprano TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor

VIVALDI "Beatus vir" (Psalm 111, Vulgate), RV 597, in C, for two sopranos, contralto, tenor, bass, two choirs, two orchestras, and two continuos

Allegro moderatO: Beatus vir

Allegro non molto : Potens in terra Antiphon- Allegro: Beatus vir

Allegro [comodo]: Gloria et divitiae Antiphon- Allegro: Beatus vir Andante molto: Exortum est in tenebris Allegro: Jucundus homo Antiphon- Allegro: Beatus vir

Andante molto s In memoria aeterna

Antiphon- Allegro = Beatus vir

Allegro : Paratum cor ejus Largo e spiccato—Presto: Peccator videbit Antiphon- Allegro: Beatus vir [Allegro moderate e maestoso]: Gloria Patri

MARGARET MARSHALL, soprano CLAUDINE CARLSON, mezzo-soprano BIRGIT FINNILAE, contralto JOHN GILMORE, tenor JULIEN ROBBINS, bass-baritone TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor

16 V

ar

INTERMISSION gt^

VIVALDI Introduction to "Dixit Dominus/' RV 636, in G, for soprano, string orchestra, and continuo

Allegro: Canta in prato Recitativo: Sacra fulgescit nobis Allegro: Avenae restrictae sinceri

MARGARET MARSHALL, soprano

"Dixit Dominus" (Psalm 109, Vulgate), RV 594, in D, for two sopranos, contralto, tenor, bass, two choirs, two orchestras, and two continuos

Allegro: Dixit Dominus Largo: Donee ponam inimicos tuos Allegro: Virgam virtutis tuae Andante: Tecum principium Adagio—Allegro: Juravit Dominus Allegro: Dominus a dextris tuis Largo: Judicabit in nationibus Andante: De torrente Allegro: Gloria Patri Allegro: Sicut erat in principio

MARGARET MARSHALL, soprano CLAUDINE CARLSON, mezzo-soprano BIRGIT FINNILAE, contralto JOHN GILMORE, tenor JULIEN ROBBINS, bass-baritone TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor

Thursday's and Saturday's concerts will end about 10 and Friday's about 4.

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18 Antonio Vivaldi Domine ad adiuvandum me, RV 593 Beatus vir,RV 597 Introduction to Dixit Dominus, RV 636 Dixit Dominus, RV 594

Antonio Lucio Vivaldi was born in

Venice, Italy, on 4 March 1678 and died in Vienna, Austria, on 28 July 1741. The dates of composition of his various pieces of sacred music are unknown, as are the

dates of first performance, though it is presumed that some of them, at least, were intended for the musicians of the state-supported orphanage, the Pio Ospedale della Pieta, where he was at various times director and teacher. They may come from the years 1713 to 1719, when there was no one else at the Pieta with the specific responsibility of com- posing sacred vocal music. These are the

first performances by the Boston Sym- phony Orchestra. String orchestras are required for all four works on this program, with the addition of two oboes and a bassoon to "orchestra I" in "Beatus vii," and two trumpets to "orchestra I" in Dixit Dominus." Two positive organs are required in "Domine ad adiuvandum me," "Beatus vir," and "Dixit Dominus"; the organists at these performances are James David Christie and John

Finney. The continuo bassoonist at these concerts is Matthew Ruggiero.

For a time in the eighteenth century and again in our own day (following a century's hiatus), Antonio Vivaldi became the most famous and influential Venetian composer of the Baroque era, largely on the strength of his many hundreds of concertos, which established a style and a flexible form that other composers were able to use for decades. But the rest of his output was almost totally forgotten, and by the time of his death even the concertos were beginning to fall into an abyss of oblivion from which they began to emerge almost by accident as a by-product of Bach research in the nineteenth century.

The discovery that J.S. Bach had taken Vivaldi seriously enough to copy out entire works and to rework some of his violin concertos for keyboard and orchestra caused a genera- tion of late nineteenth-century scholars to view Vivaldi in a slightly more respectful light.

Still, for some time it was impossible to study his work as a whole,- the only generally available compositions were the concertos and other instrumental works that had been published in the composer's lifetime. But a pair of remarkable discoveries in the 1920s established Vivaldi's claim as a composer of far greater range and variety than anyone had guessed. In 1926 the National Library of Turin asked a music historian named Alberto Gentili to look over a music collection that was about to be sold by the Salesian monks of the Collegio San Carlo in Monferrat. Of the ninety-seven volumes of musical manu- scripts, fourteen turned out to consist almost entirely of music by Vivaldi. Gentili, eager to obtain the collection for the Turin Library, found a local magnate, Roberto Foa, who was willing to buy the collection as a memorial to a son he had lost.

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20 No sooner had the collection arrived in Turin than the scholars who examined the

manuscripts realized that it comprised just half of a larger collection that had at some

time been split up, perhaps in an estate that had been divided between two heirs. Gentili managed to trace the ownership of the collection back to a marquis named Marcello

Durazzo and to locate his nephew, who was still alive. By extraordinary good fortune, the

younger Durazzo still held on to the remaining half of the collection. It was purchased by the Turin Library in 1930 with the aid of another local magnate, Filippo Giordano, who also contributed them in memory of a deceased son.

The manuscripts now known as the Foa-Giordano collection turned out to be a priceless trove: they contained hundreds of Vivaldi works that were totally unknown, including the scores of seventeen complete operas and large fragments of three others, and a substantial amount of sacred music, a genre that was otherwise almost totally lacking in the composer's output. Most of the works in these manuscripts are written in

Vivaldi's own hand. (Such is the case with each of the four works on the present

program,- all were unknown before the discovery of the Foa-Giordano manuscripts, and

all survive in that collection in the composer's autograph.) Scholars now believe that the collection was probably the composer's own personal library of his own works, kept on hand as a source from which manuscripts might be copied or as a basis for new works, which might be required in a hurry.

Vivaldi was fortunate to grow up in the Italian city with the richest musical tradition

of his day. His father was a violinist, though he had apparently started life following his father's trade as a baker he also apprenticed as a barber. But by the time Antonio was ;

born, music was the father's full-time profession. He had been hired as a violinist at St. Mark's under the surname Rossi ("Red"), which suggests that the nickname later given

to his son, "II prete rosso" ("The red priest"), came from the hair color, so striking in

northern Italy, that was genetically dominant in the family. From childhood he suffered from a "tightness of the chest" which has been variously interpreted as asthma or angina

pectoris. The fragility of his health required an entourage devoted to his care, but it did not prevent him from undertaking extensive tours during the years of his greatest fame under traveling conditions that we would find daunting.

Vivaldi was tonsured at age fifteen and ordained a priest in March 1703, but for some

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11 reason— his ill health and complete absorption with music have both been suggested—he ceased saying Mass almost immediately and had little or no experience in a pastoral capacity. His musical training and interest were distinctly secular. In September of 1703 he joined the staff of the Pio Ospedale della Pieta as violin teacher and later as concert director. The institution was one of four charitable, state-run orphanages for girls in Venice. The residents were given special training in music, and their frequent concerts were a high point in the Venetian social and artistic season. (Of course, the emphasis on musical training at these orphanages was not brought about solely from artistic motives on the part of the government, but rather to assure that the girls, when they came of age, could attract a husband who might support them and take them off the public rolls. Nonetheless, at least some of them became professional musicians in their own right.)

Sacred music was regularly performed at the Pieta, along with every kind of instru- mental music. But during Vivaldi's first years there, the task of composing what was needed for liturgical purposes fell to the choirmaster, Francesco Gasparini. He was supposed to produce at least two Mass and Vesper settings each year (one for Easter, one for the feast of the Visitation of the Blessed Virgin, to whom the Pieti was dedicated), two motets a month, and a variety of miscellaneous pieces for individual occasions such as funerals. In April 1713, Gasparini went on sick leave, obtaining permission to leave his post for six months, but promising to compose the new works that would be required during that time. He apparently failed to keep this promise. In fact, he seems to have used his leave to look for a new position, since he settled permanently in Rome soon after. The choirmaster who took over in the meantime, Pietro Dall'Oglio, was not a composer. The natural result was that Vivaldi was called upon to supply the necessary new music.

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He must have enjoyed a considerable success, because in June 1715 the governors of the Pieta voted him a special payment of 50 ducats— the equivalent of ten months' salary for his work in composing "a complete Mass, a Vespers, an oratorio, over 30 motets, and other works." The choir was not again to be directed by a composer until February 1719, so Vivaldi probably filled in the gap during the entire six-year period. Later on he may have written other sacred compositions during those brief periods between choirmasters,- such gaps occurred from March to May 1726, in September 1737, and in August 1739.

But he did not restrict his composition of sacred works solely to the Pieta. He received outside commissions for sacred works, too, though many of the pieces that must have been composed are no longer extant. Yet we do know that he wrote an Italian oratorio on The Adoration of the Three Kings and a Te Devon to be performed at the residence of the French ambassador in Venice to celebrate the birth of twin daughters to Louis XIV Several miscellaneous sacred works that have been located in libraries in Poland and Czechoslovakia may have been commissioned by Vivaldi's patrons and admirers in northern Europe.

There is very little evidence to indicate when and for whom the particular sacred works on the present program were composed. The Beatus vii and the Dixit Dominus both call for an independent bass voice, which suggests that they were not composed for the Pieti. If the bass and tenor sang only in the full choral sections, one could assume, as some Vivaldi specialists do today, that in the original performances, all the choral parts from soprano to bass were sung by the girls of the institution, with the bass parts sung an octave higher than written. The real bass line would be sounded on the instruments- cellos and double basses—that play along with the vocal parts, a kind of octave-doubling

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26 that Vivaldi is very fond of. But an independent bass line would require a male singer in order for the music to be heard in the proper register, and it is almost inconceivable that the mixture of men and women would have been possible in the rigid world of the Pieta.

Even the layout for double chorus—a popular Venetian device for centuries—does not guarantee that these works were composed for Venice. Composers had learned from the Venetians long before how to pull that trick, and by the early seventeenth century polychoral structure was as popular—and as brilliantly handled—in the Dresden of

Heinrich Schiitz as it was in the Venice of Giovanni Gabrieli and Claudio Monteverdi.

And certainly by Vivaldi's time it was part of the common musical stock-in-trade all over Europe. Like those older polychoral compositions, these sacred works of Vivaldi are designed for two "cori," a word that must not simply be taken to mean "choruses." It actually refers to any kind of group, vocal or instrumental, so that each half of the divided orchestra can be (and is) referred to as "Primo cow" and "Secondo cow."

Vivaldi's liturgical compositions are most frequently settings of texts from the Psalms. These texts form the heart of that portion of the liturgy known as the Office (the services that originally, in monastic establishments, were to take place roughly every three hours around the clock); they are entirely separate from the Mass, which has different musical

Portrait of a musician, now identified as probably Vivaldi, by an anonymous artist

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28 requirements. In the secular world, outside the monasteries, the one Office service that

remained most frequently celebrated was Vespers. It is not, therefore, surprising that most Psalm settings of the Baroque era were intended for Vespers services. Vespers begins with a versicle chanted by the celebrant: "Dew in adiutohum meum intende." The response

to this from the choir is "Domine ad adiuvandum me festina," followed by the lesser Doxology ("Gloria Path"). Vivaldi's setting of this text (RV 593),* for soprano solo with two vocal choirs and two groups of instruments, was surely intended to open a Vespers service. He has chosen to divide the versicle and the Doxology into three separate

movements. Of these, the first particularly captures the urgency of the word "festina" ("make haste"). The second movement omits the filling-in part of the continuo from

both instrumental ensembles, a device that is especially effective in Baroque music

because it is so rare. (It also looks forward to the eventual demise of the continuo by the

end of the century.) The soprano solo is the thread connecting the two opposing

"The almost incredible scope of Vivaldi's compositional output, and the fact that new works keep being discovered, have caused perpetual headaches for scholars trying to survey what he wrote. There are at least five different systems for referring to Vivaldi's works,- this means that one must

constantly translate from one numbering system to another in order to determine what piece is

under discussion. The newest catalogue by Danish scholar Peter Ryom is by far the most complete,

accurate, and rational,- its numbers are cited as "RV" (for "Ryom-Verzeichnis") to distinguish it

from the "R" numbers of the long-outdated Rinaldi catalogue. More recent listings, which are still frequently used, were prepared by Pincherle and Fanna (prefixed by "P" and "F" respectively), but both have errors and gaps. Moreover they deal only with the instrumental music, completely omitting roughly 50 operas, 45 cantatas and serenate, a half-dozen oratorios, and nearly 60 sacred

compositions. Since Ryom conveniently provides an appendix with tables to translate all the other

systems into his own, and since his does include the complete range of Vivaldi's work, there is really no longer any reason to use anything other than the "RV" numbers.

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29 instrumental ensembles. The last movement is given more weight, as befits a conclusion, with a massive introduction leading to a fugal finish.

Vivaldi composed at least two settings of "Beatus vir," one for soprano solo and orchestra in a single long movement (RV 598), and the other for the full panoply of double chorus, orchestra, and soloists. This larger work is divided into a number of movements following the Biblical text. In addition to this, Vivaldi brings back the opening lines of the text five times in a musical refrain that he labels "antiphon." The variety of texture and sonority from one movement to the next is extraordinary.

The solo sections are stylistically linked to the world of opera in vocal display and in their passion for translating individual words into concrete musical expression. One amusing example occurs in the fifth movement, "Jucundus homo," where the word "commovebitur" ("he shall be moved") generates an extended vocal run that, without any doubt, moves. But concentration on the individual word overlooks the sentence as a whole, which is in the negative: "he shall not be moved"! Of course, Vivaldi is by no means alone in the technique of translating individual words—even against the meaning of the whole sentence: the practice goes well back into the sixteenth century to many of the great madrigal composers, who showed off their virtuosity with strings of such examples of "word painting."

It is not entirely certain that the Introduction to Dixit Dominus (RV 636) was intended to precede this particular setting of the Psalm text (RV 594), but it is at least a possibility.

The case for a connection would be strengthened if the Introduction and the Psalm setting were in the same key, but they are in closely related keys (G major and D major respectively). The text of the Introduction comes as a surprise in that it is not Biblical. In

30 fact, its beginning is so full of Arcadian references that it sounds more like a Virgilian eclogue than the preface to a Psalm to be sung in a Christian church service. Philomela

represents the nightingale, whose song is transmuted into warbling violins. Gradually the nature imagery takes on a function more familiar in religious art— that of calling mortals to recognize and exult in the beauty of creation.

Following this invocation to sing the Dixit Dominus, Vivaldi's actual setting of the Psalm text begins with massive chantlike phrases over an active orchestra line. The second movement, like certain passages in Beatus vir, ranges from active imitative textures to bold unisons. Again the sonorities from movement to movement are selected with an ear to striking contrasts, and the words are painted with, at times, almost palpable

concreteness (as in the "torrent" of the eighth movement, "De torrente in via bibet"). The "Gloria Path" returns to the material of the opening movement,- this serves the double function of providing a small recapitulation and making a musical-textual pun,

using the words "as it was in the beginning" to suggest the musical beginning of the composition. That device became something of a commonplace in large compositions

that end with the "Gloria Path"; the most famous example is to be found in J.S. Bach's

Magnificat in D. Despite the division of choral and instrumental forces into two cori, it is the instruments that generally echo one another in the antiphonal effects so beloved of earlier Venetian composers. As for the voices, Vivaldi prefers to avoid facile echoing and to treat them as a more complex, eight-part choral unit, which can and does bring matters to a particularly sonorous conclusion.

—Steven Ledbetter

Texts and translations begin on page 33.

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32 . ..

Domine ad Adiuvandum Me

(Psalm 69=2 [Vulgate]; 70=2 [King James] with Doxology)

1 Domine ad adiuvandum me festina. Lord, make haste to help me.

2. Gloria Patri, Glory be to the Father, gloria et Filio et Spiritui Sancto. glory to the Son and to the Holy Spirit.

3. Sicut erat in principio As it was in the beginning, et nunc et semper is now, and ever shall be, et in saecula saeculorum. world without end. Amen. Amen.

Beatus Vir

(Psalm 111 [Vulgate],- 112 [King James] with Doxology)

1. Beatus vir qui timet Dominum, Happy is the man who fears the Lord in mandatis ejus volet nimis. and finds great joy in his commandments.

2. Potens in terra erit semen ejus, His descendants shall be the mightiest in the land, generatio rectorum benedicetur. a blessed generation of good men.

Beatus vir... Happy is the man...

3. Gloria et divitiae in domo ejus, His house shall be full of wealth and riches, et justitia ejus manet in saeculum saeculi. righteousness shall be his forever.

Beatus vir... Happy is the man...

4. Exortum est in tenebris lumen rectis: He is a beacon in the darkness for honest men misericors et miserator et Justus. gracious and compassionate and good.

5. Jucundus homo qui miseretur et commodat, It is right for a man to be gracious in his lending, disponet sermones suos in judicio,- to order his affairs with judgment. quia in aeternum non commovebitur. Nothing shall ever shake him.

Beatus vir... Happy is the man. .

6. In memoria aeterna erit Justus; The just man shall be remembered for all time. ab auditione mala non timebit. He shall fear no evil tidings.

Beatus vir... Happy is the man...

7. Paratum cor ejus sperare in Domino, His heart is ready to hope in the Lord, confirmatum est cor ejus,- non commovebitur, his heart is steadfast; it will not be shaken, donee despiciat inimicos suos. and in the end he will gloat over his enemies. Dispersit, dedit pauperibus: He gives freely to the poor: justitia ejus manet in saeculum saeculi; righteousness shall be his forever,- cornu ejus exaltabitur in gloria. his brow shall be exalted in glory.

8. Peccator videbit et irascetur,- The wicked man shall see it and be angry, dentibus suis fremet et tabescet: and grind his teeth in despair,- desiderium peccatorum peribit. the hopes of wicked men shall perish.

Beatus vir... Happy is the man. . 9. Gloria Patri et Filio et Spiritui Sancto. Glory to the Father and to the Son and the Holy Spirit.

Sicut erat in principio et nunc et semper As it was in the beginning, is now, and ever shall be, et in saecula saeculorum. world without end. Amen. Amen. .

•V

Introduction to "Dixit Dominus"

Canta, in prato, ride in fonte, Filomela. Sing in the meadow, laugh by the spring, Philomela. laeta in monte, vox respondeat exultando, Let the voice echo back with joy in the mountains. laeta in fonte, vox respondeat exultando. Let the voice echo back with joy in the spring.

Et vox ilia sit amoena, And let this voice be pleasant, vox laetitiae nee tua poena a voice of joy, and let not your pain gaudio turbet deplorando. cause unrest for gladness lost.

Sacra fulgescit nobis digna communi gaudio May the long-awaited day dawn with sacred rays optata dies. worthy of our communal rejoicing. Gauda beate Pater coelesti gloria tua. Be glad, blessed Father, in your heavenly glory. Vos mortales plaudite, et exultate, Ye mortals, applaud and rejoice, et si plaudent in coelo amoeni chori and when the rapturous hosts in heaven applaud gaudeat, et omnis vivens, et semper plaudendo may every living thing exult in the sound of the sacro tonari. eternal sacred tribute.

Avenae restrictae sinceri Demonstrate, ye pure ones, the fervid loving fervida amoria jubila docete vos. acclaim of the simple flute. Vos gaudia vincite timpano et organo, Express triumphantly your joy with timpani and organ, si agrestis fistula invitat vos, and when the shepherd's pipe calls you from the

field, ergo cantata Dixit. then sing the "Dixit."

Dixit Dominus

(Psalm 109 [Vulgate]; 110 [King James] with Doxology)

1 Dixit Dominus Domino meo : The Lord said to my lord, sede a dextris meis. "You shall sit at my right hand

2. Donee ponam inimicos tuos scabellum while I make your enemies the footstool under pedem tuorum. your feet."

3. Virgam virtutis tuae emittet Dominus When the Lord from Zion hands you the sceptre,

ex Sion : dominare in medio inimicorum tuorum. reign in the midst of your enemies.

4. Tecum principium in die virtutis tuae : On the day of your power you were endowed

with princely gifts. in splendoribus sanctorum ex utero ante I have borne you in the splendors of luciferem genui te. the saints before the dawn.

5. Juravit Dominus et non paenitebit eum : The Lord has sworn and will not change his purpose. Tu es sacerdos in aeternum secundum "You are a priest forever in the ordinem Melchisedech. succession of Melchizedek."

6. Dominus a dextris tuis : The Lord at your right hand confregit in die irae suae reges. has broken kings in the day of his anger.

34 7. Judicabit in nationibus. Implebit He will punish nations. He will fill up ruinas; ruins,- conquassabit capita in terra multonim. he will shatter heads over a wide expanse.

8. De torrente in via bibet, propterea He will drink from the torrent beside the exaltabit caput. path and therefore will hold his head high.

9. Gloria Patri et Filio et Spiritui Sancto. Glory to the Father and the Son and the

Holy Spirit.

10. Sicut erat in principio et nunc et semper As it was in the beginning, is now, and ever shall be, et in saecula saeculorum. world without end. Amen. Amen.

The interior of the Cathedral of San Marco in Venice, where Vivaldi's father played in the orchestra and for which Vivaldi himself wrote several works

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36 .

More . .

Vivaldi has been the subject of a great deal of study in recent years. Standard biographies include Marc Pincherle's (Norton paperback) and Walter Kolneder's (U. of California), though both have been to some extent superseded. The three most recent studies are all by Michael Talbot: a splendid brief survey in The New Grove, a superb volume in the Master Musicians series (Littlefield paperback), and a volume devoted to Vivaldi in the

BBC Music Guides (U. of Washington paperback) which is fine on its own terms but suffers somewhat in comparison with Talbot's longer book. Vittorio Negri has under- taken an extensive recorded documentation of Vivaldi's sacred music on Philips. All four of the works on the present program are to be found on a three-record set identified as

"Vols. 5, 6, & 7" with Negri conducting the English Chamber Orchestra and the John Alldis Choir,- vocal soloists include Margaret Marshall, Felicity Lott, Sally Burgess, Susan Daniel, Linda Finnie, Anne Collins, Anthony Rolfe Johnson, and Thomas Thomaschke.

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38 Vittorio Negri

Orange, Flanders, Versailles, Sagra Musicale Umbra, Dresden, Montreux, and Monte Carlo. Among his numerous award-winning recordings for Philips are Cimarosa's

Requiem, whose first modern performance he conducted at the Montreux Festival; Vivaldi's oratorio Juditha Thumphans; Vivaldi's com- plete sacred choral music,- and Vivaldi concer-

tos for various instruments with the Dresden Staatskapelle. He has also recorded the two- volume "Vivaldi at San Marco"; Vivaldi motets featuring soprano Elly Ameling; instrumental music by Vivaldi, Albinoni, and other Baroque masters; and, for CBS Master- works, Grammy-winning recordings of music by Gabrieli. Mr. Negri makes only infrequent

appearances in the United States,- he made his debut with the Boston Symphony Orchestra A native of Milan, Italy, Vittorio Negri stud- at Tanglewood in the summer of 1981, when ied at the Conservatory of Music in that city, he conducted music of Mozart and Vivaldi. where he obtained a degree in composition Mr. Negri is married to Georgia Schuler. He is and conducting. He began his conducting a founding member of the Societa Italiana di career at the Salzburg Mozarteum as assistant Musicologia, and he speaks Italian, English,- to Bernard Paumgartner. Acclaimed through- French, and German. out the world for his interpretations of Vene- tian Baroque music, Mr. Negri has made a significant contribution to contemporary knowledge of Vivaldi's vocal music, conduct- ing the first recording of that composer's com- plete sacred choral music with the John Alldis Choir and the English Chamber Orchestra, and both the first modern performance (at La

Scala) and the first recording (for Philips) of Vivaldi's opera, Tito Manlio. His award-win- ning Philips recording of Mozart's Betulia Lib- eiata established his reputation in conducting works of the classical period and led to many engagements, including a concert and televi- sion series with the Orchestre National de France, and an invitation to develop that orchestra's Haydn and Mozart repertoire. His gifts as a Rossini interpreter were evidenced by PROPERTY MANAGEMENT the warm reception accorded performances of RESIDENTIAL and COMMERCIAL II tuico in Italia in Nantes, France, in Decem- 1384 COMMONWEALTH AVENUE ber 1981. Mr. Negri's schedule takes him to Allston, Massachusetts 02134 the major opera halls houses and concert of Telephone: (617) 738-5700 the world, and he regularly participates at m such international festivals as Salzburg,

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40

II —

Margaret Marshall

Orfeo under Riccardo Muti's direction,- he invited her back to Florence as the Countess

in his first production of a Mozart opera he nozze di Figaro—in late 1979. She has since sung this role for Scottish Opera and, in November 1980, at the Royal Opera House, Covent Garden. Ms. Marshall also appeared in

1979 at the Piccolo Scala, Milan, singing the role of Lucio in Vivaldi's Tito Manlio. In the

spring of 1980 she made her first visit to the United States, singing Euridice in Boston Sym- phony concert performances of Orfeo ed Euridice and then joining the New York Phil- harmonic and Zubin Mehta for Handel's

Messiah. Now a popular recording artist, Ms. Marshall has worked for Philips, Decca, and EMI, in repertory including the Mozart C minor Mass with Neville Marriner, Soprano Margaret Marshall was born in Stir- Vivaldi's Tito Manlio and Vivaldi cantatas ling and studied at the Royal Scottish Acade- with Vittorio Negri, and Handel's Jephtha and my of Music in Glasgow,- she also studied Saul. Last season, Ms. Marshall appeared with privately with Ena Mitchell and Hans Hotter. Scottish Opera and La Scala in Milan, in addi- After giving concerts in Scotland, she first tion to engagements with various London won international fame when she was orchestras and on tour throughout the United awarded first prize at the International Com- Kingdom with the Scottish National petition in Munich in September 1974, result- Orchestra. ing in many concerts throughout Europe and her London debut at the Wigmore Hall early the next year. She made her Festival Hall debut in the St. Matthew Passion at the English Bach Festival in June 1976, and she has by now worked with all the main orches- tras in London and the provinces. She is a favorite with the Scottish National and Scot- Needlepoint Rugs tish Chamber orchestras, touring with them from Portugal regularly, and she has sung with the Orchestre de Paris under Daniel Barenboim and the Berlin Philharmonic under Helmuth Rilling. She has also appeared in Milan, Amsterdam,

Vienna, and nearly all the major German cit- ies. Ms. Marshall made her Edinburgh Fes- tival debut with Carlo Maria Giulini and the London Philharmonic in 1978, and she has appeared there each season since. Other con- Elegant handmade wool rugs from Lisbon. ductors with whom she has worked include Choose from our wide assortment or let us Abbado, Muti, Maazel, Marriner, Haitink, help you design your own. Free brochure. and Rozhdestvensky. She made her operatic Arkelyan Rugs 67 Chestnut St., Boston, MA 02108 — 617/523-2424 debut in Florence singing Euridice in Gluck's

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42 Claudine Carlson

performance at Lincoln Center under Raymond Leppard. Ms. Carlson made her Metropolitan Opera debut in Debussy's Pel- leas et MeUsande in 1977, and she has been a participant at summer festivals including those of Meadow Brook, Ravinia, and the Hollywood Bowl. Her recordings include Prokofiev's Ivan the Terrible and Alexander

Nevsky, the Brahms Songs for alto, viola, and piano, Gian Carlo Menotti's The Medium,

and music of William Grant Still. Born in

France, Ms. Carlson's first artistic interest was ballet, but her vocal abilities were discovered while she was on a visit to America as a

young girl. After some study in California, she came to New York to study at the Man- hattan School of Music. After a year of private Mezzo-soprano Claudine Carlson tours the coaching, she won first prize in the National United States and abroad in solo recitals, as Federation of Music Clubs Singing Competi- soloist with major symphony orchestras, and tion and the Martha Baird Rockefeller Award. in opera. Highlights of her 1982-83 season She made her operatic debut at the New York include the world premiere of Alberto City Opera as Cornelia in Handel's Giulio Ginastera's Symphony No. 2 with the St. Cesare, and composer Gian Carlo Menotti Louis Symphony in St. Louis and at Carnegie chose her to sing the role of Mrs. Nolan in Hall, and the United States premiere of The Medium with the Opera Society of Wash- Benjamin Britten's Qaatre Chansons fran- ington, a performance recorded for CBS. She gaises with the Chicago Symphony Orchestra. sang mezzo roles with a number of opera She also appears with the Boston Symphony companies in North and Central America, Orchestra, the Denver Symphony Orchestra, meanwhile concentrating on a large concert and the National Symphony, and in recital in repertoire which she has performed in San Francisco. Recent seasons have included Europe, Japan, the Middle East, and in Central the Orchestre de Paris under Daniel Baren- and North America. Ms. Carlson appeared boim, the Los Angeles Philharmonic under with the Boston Symphony Orchestra at Carlo Maria Giulini, Bernstein's Kaddish Tanglewood in music of Stravinsky, Haydn, Symphony with the composer and the Santa and Mozart in July 1974. Cecilia Orchestra in Rome, the New York Philharmonic under Rafael Kubelik, the Israel Philharmonic under Barenboim, and the

Chicago Symphony under Sir Georg Solti. She has also performed Bernstein's Kaddish Sym- phony with the composer conducting the National Symphony, Ravel's Sheherazade on a North American tour with the Dallas Sym- phony, Mahler's Das Lied von der Erde with L'Orchestre Symphonique de Quebec, Mahler's Eighth Symphony at the Kennedy Center, and the role of Sesto in Mozart's La clemenza di Tito in a Mostly Mozart concert

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44 Birgit Finnilae

Beethoven's Ninth Symphony with Carlo Maria Giulini, and a tour of Russia with the Stockholm Philharmonic under Gennady Rozhdestvensky Previous engagements in this country have included the Second and Third Mahler symphonies with the Chicago Symphony at Ravinia, concert performances of Strauss's Die dgyptische Helena with Antal Dorati and the Detroit Symphony, and her

Metropolitan Opera debut last season as Erda in Das Rheingold. A busy recording artist, she may be heard on the Angel, Philips, RCA, and Archive labels with a wide variety of orches-

tras and conductors and on a solo recital album made for Melodiya/Angel. Her record- ing of Vivaldi's Juditha Thumphans under A true contralto, Birgit Finnilae is in constant Vittorio Negri's direction gained her a Grand demand with the leading orchestras and opera Prix du Disque. A native of Sweden, Birgit houses of Europe and America, and she is Finnilae grew up in a musical family and often heard in recital. Among the numerous began studying voice seriously in Goteborg orchestras with which she has sung are the when she was seventeen. Marriage and a new London Philharmonia, the London Sym- home in Finland interrupted her studies for phony, the Halle Orchestra of Manchester, the two years until, returning to Goteborg, she Berlin Philharmonic, the Amsterdam Con- resumed her studies and in 1963 made a sensa- certgebouw, the Prague Symphony, the Israel tional debut there that brought her to the Philharmonic, and the orchestras of Oslo, attention of all Europe. She began coaching Stockholm, Copenhagen, Sydney, and with Roy Henderson in London, and she was Melbourne. On this side of the Atlantic, she soon singing with the leading orchestras of has been heard with the Chicago Symphony, England and the Continent and portraying the the New York Philharmonic, the Phila- great alto roles in a number of European opera delphia Orchestra, the Los Angeles Philhar- houses. monic, the National Symphony, and the symphony orchestras of Detroit, Cincinnati, Baltimore, Houston, and San Francisco. Con- ductors with whom she has worked include Claudio Abbado, Daniel Barenboim, Sergiu Comissiona, Bernard Haitink, Rafael Kubelik, and Eugene Ormandy. Ms. Finnilae made her only previous Boston Symphony appearances t^MANDALAY in Mahler's Third Symphony under Seiji BURMESE RESTAURANT Ozawa's direction, closing the Symphony Hall season in April 1977 and the Tanglewood season that August. In recent years, her busy fie *pe44t& European schedule has included the role of Erda at London's Festival Hall in a concert version of Das Rheingold with the London 329 HUNTINGTON AVENUE BOSTON, MASSACHUSETTS. 02115 2i7- 2111 {l~o blocks mest of Symphony Hall/ Philharmonic under Sir Georg Solti, Bach can- tatas in Sweden, recitals in Germany,

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46 John Gilmore

Chorale, and Orpheon Inc. He has sung Les Noces in Paris under the direction of Pierre Boulez, and he has also appeared with the Cincinnati Symphony, Washington Opera, and Kentucky Opera. He has been guest solo-

ist with the Israel Philharmonic in Tel Aviv

and on tour throughout Israel, with the Madi-

son Symphony, the Indianapolis Symphony, at

the Ambler Festival, and with the St. Paul Chamber Orchestra at the Platteville Music Festival. He has performed a variety of leading operatic roles with the Kentucky Opera, the Chautauqua Opera, the Fargo-Moorhead

Opera, and the University of Wisconsin at

Madison Opera, where he was artist-in-resi- The young American lyric tenor John dence on the faculty. Born in Bradford, Penn- Gilmore made his Metropolitan Opera debut sylvania, Mr. Gilmore received his bachelor in the October 1981 revival of Richard and master of music degrees from Indiana Strauss's Die Frau ohne Schatten under the University, where he studied with Elizabeth baton of Erich Leinsdorf and returned to the Mannion and Margaret Harshaw, and where Met this season for Boris Godunov, Don Carlo, he participated in Elisabeth Schwarzkopf's Lucia di Lammermoor, Macbeth, and Ara- master classes. bella. His current season also includes a return engagement with the Minnesota Orchestra and concerts with the Hartford and North- west Indiana symphony orchestras. He made his first Boston Symphony appearances at Tanglewood last summer in Haydn's Lord Nelson Mass and Stravinsky's Oedipus Rex; also last summer he appeared with the Min- nesota Orchestra in Mahler's Eighth Sym- fW^-%^V<^V *v^v^^»^^^^^^^^ phony. During the 1981-82 season, Mr. Gilmore sang Les Noces with the New York decor international Philharmonic, Oedipus Rex with the San 171 newbury 6t. boston Francisco Symphony, Bernstein's Songfest ^2-1529 with the Cleveland Orchestra, the title role of Haydn's Orlando paladino with Pennsylvania Opera Theatre, and Don Jose in Carmen in Portland. Other recent appearances have included the Beethoven Ninth with Mstislav Rostropovich and the National Symphony and Rossini's Stabat mater with Aldo Ceccato and the Philadelphia Orchestra. Mr. Gilmore made his New York debut during the 1980-81 season with five performances at Carnegie handwoven ruqe

Hall and Lincoln Center in a wide range of orientate • kilims • dhurries repertory with such organizations as the 6 related folk art American Philharmonic, the Pro Arte

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48 Julien Robbins

Milwaukee and Turandot with the New Mexico Symphony. In November 1983 he

appears with the St. Petersburg Opera in La boheme. For two consecutive years, Mr. Rob-

bins was a recipient of a National Opera Insti- tute Grant,- he studied at the Academy of Vocal Arts in Philadelphia. Following his 1976 debut with the Santa Fe Opera, Mr. Robbins was invited to become an ensemble member of the Opera School of Chicago. He has also appeared with the opera companies of Phila- delphia and Charlotte, at the Ravinia Festival in a conceit performance of La forza del destino under James Levine, and in Mozart's

Magic Flute in Santa Fe.

During his debut season with the Metro- politan Opera in 1979-80, bass-baritone Julien Robbins sang roles including Gremin in Eugene Onegin, Ramfis and the King in Aida, Don Fernando in Fidelio, and Monterone in Rigoletto. He has returned to the Met every season since then, and he sang Colline in last year's new production of La boheme. This Buy a season he has appeared in La foiza del destino, Un hallo in maschera, Macbeth, Parade, Pel- Condominium leas et Melisande, Arabella, and La boheme. He has also sung King Philip in Don Carlo with a with the Miami Opera, Jake Wallace in La fanciulla del West with Chicago Lyric Opera, strong and Lorenzo in Bellini's J Capuleti e i Montec- chi with both Washington Opera and the foundation. Opera Orchestra of New York at Carnegie Hall, and he has made return appearances at the Miami Opera for Turandot and at the Washington Opera for La boheme. Last sum- mer, Mr. Robbins gave a recital in Harrisburg,

Pennsylvania, sang Beethoven's Ninth at the Waterloo Festival, and appeared at Lincoln Center's Mostly Mozart Festival for Mozart's Vespers and Beethoven's Mass in C under the direction of Robert Shaw. He made his first Boston Symphony appearance on the opening subscription concert of this season in Beetho- ^fe^^^^* Cambridge

' ven's Fantasy, 1 Condominium Choral which he also recorded 1 i J with the orchestra for Telarc under Seiji ^P^^^^i Collaborative. Inc. Ozawa's direction. This spring he sings Bach's 371 Harvard St., Cambridge (617) 868-5464 B minor Mass with the Bel Canto Chorus of

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50 Tanglewood Festival Chorus John Oliver, Conductor

content from Baroque to contemporary. In the spring of 1977, John Oliver and the chorus were extended an unprecedented invitation by Deutsche Grammophon to record a pro- gram of a cappella twentieth-century Ameri- choral music this record received a can ; Grammy nomination for best choral perform- ance in 1979. In addition, Mr. Oliver and the chorus have recently completed a record for Nonesuch, featuring music of Dallapiccola and Weill, and scheduled for release in 1983.

The Tanglewood Festival Chorus has col- laborated with the Boston Symphony Orches- tra on numerous recordings for Deutsche Grammophon, New World, and Philips. For

Co-sponsored by the Berkshire Music Center the chorus' first appearance on records, in and Boston University, the Tanglewood Fes- Berlioz's Damnation of Faust, John Oliver and tival Chorus was organized in the spring of Seiji Ozawa received a Grammy nomination 1970 when John Oliver became director of for best choral performance of 1975. The Tan- vocal and choral activities at the Berkshire glewood Festival Chorus may be heard on the Music Center. Originally formed for perform- Philips releases of Schoenberg's Gunelieder, ances at the Boston Symphony Orchestra's taped live during Boston Symphony perform- summer home, the chorus was soon playing a ances and named best choral recording of 1979 major role in the orchestra's Symphony Hall by Gramophone magazine, and Mahler's season as well. Under the direction of conduc- Symphony No. 8, the Symphony of a Thou- tor John Oliver, the Tanglewood Festival Cho- sand. Other recordings with the orchestra rus is regarded by conductors, press, and pub- include music of Ravel, Liszt, and Roger Ses- lic as one of the great orchestra choruses of the sions, and the chorus has also recorded with world. The members of the chorus donate John Williams and the Boston Pops. their services, and they perform regularly In addition to his work with the Tangle- with the Boston Symphony Orchestra in Bos- wood Festival Chorus, John Oliver is conduc- ton, New York, and at Tanglewood, working tor of the MIT Choral Society, a senior lec- with Music Director Seiji Ozawa, Principal turer in music at MIT, and conductor of the Guest Conductor Sir Colin Davis, John John Oliver Chorale, now in its sixth season, Williams and the Boston Pops, and such and with which he has recorded Donald prominent guests as Leonard Bernstein, Martino's Seven Pious Pieces for New World Claudio Abbado, Klaus Tennstedt, Mstislav records. Rostropovich, Andre Previn, Eugene Orman- dy, and Gunther Schuller.

Unlike most other orchestra choruses, the Tanglewood Festival Chorus under John Oliver also includes regular performances of a cappella repertory in its schedule, requiring a very different sort of discipline from perform- ance with orchestra, and ranging in musical

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52 Tanglewood Festival Chorus John Oliver, Conductor

Sopranos Tenors Jeanne Jones Conboy Ralph A. Bassett Alice Honner-White Paul Clark Gailanne Cummings Hubbard Reginald A. Didham

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The Kendall Company *The First Boston Corporation

J. D. Sherratt George L. Shinn *Knapp King-Size Corporation Kaufman & Company Winthrop A. Short Sumner Kaufman

Construction *Narragansett Capital Corporation Arthur D. Little *J. F. White Contracting Company *TA Associates Thomas J. White Peter A. Brooke Consulting/Management Food/Hotel/ Restaurant *Advanced Management Associates, Inc. Harvey Chet Krentzman Creative Gourmets Limited Stephen Elmont *Boston Consulting Group, Inc. Cumberland Farms Food Stores Arthur P. Contas D. B. Haseotes *Devonshire Associates Dunfey Weston Howland Hotels Corporation Jon Canas Linenthal Eisenberg Anderson, Inc. The Farm Stand Corporation Eugene Eisenberg Crystal Condakes *Arthur D. Little, Inc. Johnson, O'Hare Company, Inc. John F. Magee Harry O'Hare Education Ocean Spray Cranberries, Inc. *Stanley H. Kaplan Educational Center Harold Thorkilsen Susan Kaplan Ogden Food Service Corporation

Electronics William F. Connell Red Lion Inn Microsomes, Inc. John H. Fitzpatrick William Cook Shaw's Supermarkets * Valpey-Fisher Corporation Stanton Davis Neil Bernstein Sonesta International Hotels Corporation Energy Paul Sonnabend

Atlantic Richfield Company The Stop & Shop Companies, Inc. Robert 0. Anderson Avram J. Goldberg *Atlas Oil Corporation Wm. Underwood Company Fred Slifka James D. Wells *Buckley & Scott Company Furnishings/Housewares William H. Wildes Country Curtains Eastern Gas & Fuel Associates Mrs. John Fitzpatrick William J. Pruyn HCWOil&Gas Health Care/Medicine

John M. Plukas & Robert Glassman Rudolph Beaver, Inc. John R. Beaver 57 —

»^T' QMS

CfRAMA'S^ S Mar bl eheac Fine Antique ClothingtkL'inens

and uoxtstKU/ urtesiA; lojc £n& riosri&

O'Rama's also offers expert cleaning and restoration ol k your Antique garments and textiles.

Worth Considering When Your Company §t ^otofpfuT^stauraH^ Needs Software Help

TELOS Consulting Services. A national staff of senior-level programmer/analysts available for on-site support.

Local Office at 50 Staniford St., Suite 800, Boston, MA 021 14. Call (617) 720-1519.

A charming 19th Century Townhouse serving superb continental cuisine in contemporary informal elegance. Offering lunch and dinner with a variety of fresh seafood specials daily, and our after theatre cafe menu till midnight.

Serving - lunch: 12:00-2:30 weekdays Dinner: 6:00-10:30 Sun.-Thurs. 6:00-12:00 Fri.-Sat.

Brunch: 1 1:00-3:00 Sat. & Sun.

reservations: 266-3030

99 St. Botolph Street behind the Colonnade Hotel

58 *Haemonetics U. S. Components, Inc.

Gordon F. Kingsley B. A. Jackson

*Healthco, Inc. *Wang Laboratories, Inc. Marvin Myer Cyker An Wang

*Western Electric Company, Inc. High Technology/Computers Donald E. Procknow * Analog Devices Insurance Ray Stata The Analytic Sciences Corporation Arkwright-Boston Insurance

Dr. Arthur Gelb Frederick J. Bumpus Analytical Systems Engineering Corporation *Berkshire Life Insurance Company

Michael B. Rukin Lawrence W Strattner, Jr.

*Augat, Inc. Brewer & Lord

Roger Wellington Joseph G. Cook, Jr.

*Bolt, Beranek & Newman, Inc. *Commercial Union Assurance Companies Stephen Levy Howard H. Ward

*Computer Partners, Inc. * Frank B. Hall & Company, Inc.

B. Paul J. Crowley John Pepper

*Cullinane Database Systems, Inc. *John Hancock Mutual Life Insurance Company

E. John J. Cullinane James Morton *Data Packaging Corporation *Liberty Mutual Insurance Company Otto Morningstar Melvin B. Bradshaw

*Digital Equipment Corporation *New England Mutual Life Insurance Company

Kenneth H. Olsen Edward E. Phillips

*Dynatech Corporation *Prudential Insurance Company of America

J. P. Barger Robert J. Scales

*Epsilon Data Management, Inc. Sun Life Assurance Company of Canada Thomas O. Jones John D. McNeil

*The Foxboro Company Investments Bruce D. Hainsworth Amoskeag Company *GTE Electrical Products Joseph B. Ely, Jr. John C. Avallon Moseley Hallgarten Estabrook & Weeden, Inc. *GenRad, Inc. Fred S. Moseley William R. Thurston Paine, Webber, Jackson &. Curtis, Inc. IBM Corporation Francis P. Sears Bradford Towle The Putnam Advisory Company, Inc. Instron Corporation John Sommers Harold Hindman Tucker, Anthony & R. L. Day, Inc. LFE Corporation R. Willis Leith, Jr. Herbert Roth, Jr. * Woodstock Corporation Management Decision Systems, Inc. Thomas Johnson John S. Wurts * Polaroid Corporation Legal

William J. McCune, Jr. *Cesari McKenna *Prime Computer, Inc. Robert A. Cesari John K. Buckner *Gadsby & Hannah *Printed Circuit Corporation Harry Hauser Peter Sarmanian *Goodwin Procter & Hoar *Raytheon Company Edward O'Dell Thomas L. Phillips *Herrick & Smith Technical Operations, Inc. Malcolm D. Perkins Marvin G. Shorr Leisure Thermo Electron Corporation * Heritage Travel Dr. George N. Hatsopoulos Donald Sohn

59 Alow would you like a location in the heart of downtown Boston, anchored by the

flagship stores of Jordan Marsh and Filene's? J§ A location with a population of more

than 3 million to draw from? j| A location with all the knowledge, science and art

that's ever been learned about successful retailing built into it? J§ A location where your neighbors are 187 of New England and America's most successful retailers, including 23 restaurants of varied nationalities and price ranges, and a five-hundred room Intercontinental Hotel? J§ A location with on-site parking for thirteen hundred cars as well as direct access from every form of public transportation? ^ A location

planned to be New England's major fashion event center? j| A location in a magnifi- cent three-level, multi-use complex destined to be the most important retail center in like New England? If You'd Please send me more information on I ~l Lafayette Place. all that? j| Welcome to Lafay- Name ette Place, open for business Business Address

October, 1983. % Now is the

Telephone Number time to plan for your success

Type of Store in Lafayette Place. Call Richard Mail coupon to:

. Mr. Richard MacNamara, Lafayette Place One Boston Place, Boston, Mass. 02108. MacNamara at 617-227-0690. J

lajfuaitt/iac£^ Structured For Success. Manufacturing *WNEV-TV/New England Television

Winthrop P. Baker Acushnet Company, Inc.

Robert L. Austin Printing/Publishing * Alpha Industries, Inc. * ADCO Publishing Company, Inc. Andrew S. Kariotis Samuel Gorfinkle * Baldwin Piano &. Organ Company *Berkshire Eagle R. S. Harrison Lawrence K. Miller Bell Manufacturing Company *Boston Globe Irving W Bell John I. Taylor Bird Companies *Cahners Publishing Company, Inc. Robert F. Jenkins Norman Cahners College Town, Inc. *Daniels Printing Company Arthur M. Sibley Lee Daniels Crane & Company * Houghton Mifflin Company Bruce Crane Harold T Miller

A. T. Cross Company *Label Art, Inc. Russell A. Boss Leonard J. Peterson Econocorp, Inc. Retailing Richard G. Lee * Filene's Sons Company *Gillette Company Wm. & Merwin Kaminstein Colman M. Mockler, Jr. Kimberly-Clark Corporation/Schweitzer Division *Gans Tire Company, Inc. David Gans Ronald Gill Howard Johnson Company * Marks International, Inc. G. Michael Hostage Harry Marks Kay Bee Toy & Hobby Shops Millard Metal Service Center, Inc. Howard Kaufman Donald Millard King's Department Stores, Inc. * Plymouth Rubber Company, Inc. Paul Kwasnick Maurice J. Hamilburg *Lee Shops *TAD Technical Services Corporation Arthur Klein David McGrath Mars Bargainland, Inc. *Towle Manufacturing Company Matthew Tatelbaum Leonard Florence Marshall's, Inc. Trina, Inc. Frank Brenton Arnold Rose *Zayre Corporation *WheelabratorFrye, Inc. Maurice Segall Michael H. Dingman * Barry Wright Corporation Science Ralph Z. Sorenson *Charles River Breeding Laboratories, Inc. Media Dr. Henry L. Foster Corporation *Cablevision Systems Damon Dr. David Kosowsky Charles Dolan *General Cinema Corporation *Ionics, Inc. Arthur L. Goldstein Richard A. Smith *WBZ-TV *Kaye Instruments, Inc. Clarence Kemper Seymour L. Yanoff *Millipore Corporation *WCRB/Charles River Broadcasting, Inc. Dimitri D'Arbeloff Richard L. Kaye

*WCVB-TV/Boston Broadcasters, Inc. Shoes

S. James Coppersmith * American Biltrite, Inc. * WNAC-TV/RKO General TV David W. Bernstein Pat Servodidio

61 .1

New and Different. ADS "Atelier" components. A record player, receiver, cassette deck in matte black modules with superb electronics and some fascinating design touches. So flexible you can put them anywhere. For details see an ADS dealer or write Analog & Digital Systems, 305 Progress Way, Wilmington, MA 01887 Or call 800-824-7888, Operator 483. ADS. Audio apart .

*Jones & Vining, Inc. Utilities Sven Vaule, Jr. * Boston Edison Company *Spencer Companies, Inc. Thomas J. Galligan, Jr. C. Charles Marran *New England Tel. & Tel. Company *Stride Rite Corporation Gerry Freche Arnold S. Hiatt

A When You Think Of All A Smile Can Do....

Share the warm, traditional atmosphere of Back Bay's oldest restaurant. Enjoy delicious, thick char- broiled steaks, fresh seafoods, barbequed chicken and ribs, a A smile can share your joy, limitless salad bar, imported beers comfort a and wine, plus generous sand- child, close a deal and catch an eye,

wiches all at modest prices . . Smiling can reflect warmth, confidence luncheons from $3.50 and dinners and your good health. from $6.50. We dedicate ourselves to providing Five minutes from Symphony the ultimate in Hall, the Hynes Auditorium fine dental care with and Prudential Center. sensitivity to your comfort and appear- ance. Charles Garzik,DMD.,D.Sc.D. NEWBURY'S Prosthodontist STEAKHOUSE Boston Scituate 267-3011 545-5232 94 Massachusetts Avenue (Comer of Newbury St.) / WHERE SMILES ARE A 536-0184 PERFORMING ART

Open from Noon to Midnight ? Free parking at garage on Newbury Street All major charge cards accepted

63 Strauss

"ALSO SPRACH This season ZARATHUSTRA'

Symphony take the Symphony Boston Ozawa

6514 2210 7337 221 O with you OZAWA g THE RITE OF SPRING (LESACREIXJPRINTEMPS) BOSTON SYMPHONY on PHILIPS

Records & 6769 069 O 7654 069 03 9500 7810 7300 855 Q TCHAIKOVSKY § Cassettes 1812 OVERTURE HOLST COLIN DAVIS TH€ PLnN€TS BOSTON SYMPHONY oznwn BOSTON SVMPHONV

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9500 782© 7300 856 SI Grieg - Schumann Piano Concertos Arrau Imported Pressings Davis Boston " Symphony Audiophile Sound

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These BSO Records & Cassettes Specially Priced at all Coop Outlets

list price $10.98 SALE PRICE $6.99 per disk

list price $12.98 SALE PRICE $7.99 per disk

Cambridge: 1400 Massachusetts Ave. & 84 Massachusetts Ave.

Boston: 396 Brookline Avenue & 1 Federal Street

© 1982 PolyGram Classics, Inc.

64 .

Coming Concerts . . Another Season Thursday, 7 April— 8-9=40

Thursday 'A' series Unusually Friday 8 April— 2-3=40 inventive dinners 5:45-io:i5pm Saturday 9 April— 8-9=40 Monday-Saturday SEIJI OZAWA conducting Mozart Symphony No. 3 1 , Paris Exquisite lunches ' ' Mozart 'Come scogho, ' from Noon—2pm Cosz fan tutte Tuesday—Saturday HILDEGARD BEHRENS, soprano 97 Mount Vernon St. Strauss Death and Boston Transfiguration 367-0880 Strauss Final scene from Salome HILDEGARD BEHRENS, soprano

Tuesday 19 April— 8-9=45

Tuesday 'B' series

SEIJI OZAWA conducting

Beethoven Symphony No. 1, Stravinsky The Firebird (complete)

Thursday 21 April— 8-10

Thursday '10' series Friday 22 April—2-4 Saturday 23 April—8-10 Tuesday 26 April— 8-10

Tuesday 'C' series

Designer furniture teases your SEIJI OZAWA conducting taste while Haydn Overture to Armida Lieberson Piano Concerto Kaleidoscopes of the arts swirl (world premiere,- commissioned by the Boston

old newness Symphony Orchestra for its centennial) Dazzles of poshness panoramas PETER SERKIN Bach Brandenburg Concerto No. uniqueness 5 PETER SERKIN All threaded together by textures J. Strauss Emperor Waltzes of soft velvet prices Monday 25 April at 7=30

Open Rehearsal Steven Ledbetter will discuss the program DECORATORS' at 6=45 in the Cohen Annex. CLEARINGHOUSE Thursday 28 April—8-9=25 Thursday 'B' series 1029 Chestnut St. Newton Upper Falls, Ma. Friday 29 April—2-3=25 (617) 965-6363 Saturday 30 April— 8-9=25 Monday-Saturday 9:30 am - 5:30 pm SEIJI OZAWA conducting Bruckner Symphony No. 8

65 irLns LPeialcm d\ug± of

A Distinctive Selection of Oriental Rugs and Wall Hangings

1643 Beacon Street, Waban Square

Hours: Tues-Sat 11-5, Thurs Evenings til 8 Phone (617) 964-2686

"DL cMoul

/ Youll need only "Three Words* to describe how you live... ^Duck after

Dvorak care-free lifesyle that Elegant French cuisine, ensures privacy, security and conveniences as well as reservations recommended. 354-1234 unrivaled amenities to complement the diversified SWAMPSCOTT living needs of today. Enjoy this incredibly secluded world of single family residences clustered on a lush former North Shore estate uniquely offering comprehensive grounds and exterior home mainten- ance, pool and tennis. One Salem Street..the address that says it all. Prices starting at $221,000. DIRECTIONS: From Route 128. Exit onto Route 129 - Lynn. Swampscott Left at

ERTAD 1 - Paradise Road. Right at Vlnnln Square, onto Salem Street Route A past the Tedesco Country Club.

From Bostoa Take Route 1 A to Swampscott Nahant Exit along Lynn D s Shore Drive to Humphrey Street Swampscott Turn Left onto Salem Street CYNTHIA PIERCE ASSOCIATES in the Sheraton-Commander Hotel Exclusive Realtor One Salem St.. Swampscott MA 01907 16 Garden St., Cambridge (617; 581-5070

66 n

Boston's place for business: Copley Place The four office buildings at Copley Place are the preeminent business address in Boston- They are situated at the heart of historic Back Bay and are part of a $460 million mixed-use complex—the largest private enterprise in Boston's history. Opening next year, the Copley Place offices provide access to an unparal- leled range of amenities: a Westin luxury hotel, a Marriott convention hotel, Neiman-Marcus and 100 elegant shops and boutiques, and restau- rants, cinemas and enclosed parking. The offices at Copley Place. The place to be in Boston for business. Leasing inquiries may be directed to Leggat

McCall & Werner Inc. , 60 State Street, |LJ* Boston, MA 02109; (617) 367-1177.

COPLEY PIACE

A project of Urban Investment and Development Co One of the AEtna Life & Casualty companies. . .

Nursing and Retirement Homes

for those who appreciate the difference .

Six superb nursing and retirement homes where we cater to the individual personalities and preferences of our guests in a truly elegant fashion. Each home is professionally staffed to meet nursing care needs, yet feels and functions like a fine hotel.

Harborview Manor— 173 Smithneck Road So. Dartmouth, Mass. Taber Street— 19 Taber Street New Bedford, Mass. Oakwood—601 Summer Street Manchester, Mass. Cape Cod—Lewis Point Road Bourne, Mass. Elmhurst—743 Main Street Melrose, Mass. Norwood—767 Washington Street Norwood, Mass.

Please feel free to visit or call for further information Owned and Managed by Astor & McGregor (617) 542-0573 Symphony Hall Information ,

FOR SYMPHONY HALL CONCERT AND concerts (subscription concerts only). The con- TICKET INFORMATION, call (617) tinued low price of the Saturday tickets is 266-1492. For Boston Symphony concert pro- assured through the generosity of two anony- gram information, call "CON-C-E-R-T." mous donors. The Rush Tickets are sold at $4.50 each, one to a customer, at the Sym- THE BOSTON SYMPHONY performs ten phony Hall West Entrance on Fridays begin- months a year, in Symphony Hall and at ning 9 a.m. and Saturdays beginning 5 p.m. Tanglewood. For information about any of the orchestra's activities, please call Symphony LATECOMERS will be seated by the ushers Hall, or write the Boston Symphony Orches- during the first convenient pause in the pro- tra, Symphony Hall, Boston, MA 02115. gram. Those who wish to leave before the end of the concert are asked to do so between ITHE EUNICE S. AND JULIAN COHEN program pieces in order not to disturb other ANNEX, adjacent to Symphony Hall on I patrons. Huntington Avenue, may be entered by the Symphony Hall West Entrance on SMOKING IS NOT PERMITTED in any part Huntington Avenue. of the Symphony Hall auditorium or in the

surrounding corridors. It is permitted only in FOR SYMPHONY HALL RENTAL INFOR- the Cabot-Cahners and Hatch rooms, and in MATION, call (617) 266-1492, or write the the main lobby on Massachusetts Avenue. Hall Manager, Symphony Hall, Boston, MA 02115. CAMERA AND RECORDING EQUIP- MENT may not be brought into Symphony THE BOX OFFICE is open from 10 a.m. until Hall during concerts. 6 p.m. Monday through Saturday; on concert evenings, it remains open through intermis- FIRST AID FACILITIES for both men and sion for BSO events or just past starting-time women are available in the Cohen Annex for other events. In addition, the box office near the Symphony Hall West Entrance on opens Sunday at 1 p.m. when there is a con- Huntington Avenue. On-call physicians cert that afternoon or evening. Single tickets attending concerts should leave their names

for all Boston Symphony concerts go on sale and seat locations at the switchboard near the twenty-eight days before a given concert once Massachusetts Avenue entrance.

\a series has begim, and phone reservations will be accepted. For outside events at Symphony Hall, tickets will be available three weeks before the concert. No phone orders will be accepted for these events.

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

RUSH SEATS: There are a limited number of

Rush Tickets available for the Friday after- noon and Saturday evening Boston Symphony

67 WHEELCHAIR ACCESS to Symphony Hall is BOSTON SYMPHONY BROADCASTS: Conl available at the West Entrance to the Cohen certs of the Boston Symphony Orchestra are Annex. heard by delayed broadcast in many parts of the United States and Canada, as well as inter | AN ELEVATOR is located outside the Hatch nationally, through the Boston Symphony and Cabot-Cahners rooms on the Massachu- Transcription Trust. In addition, Friday after- setts Avenue side of the building. noon concerts are broadcast live by WGBH-

FM (Boston 89.7), WMEAFM (Portland 90.1)J LADIES' ROOMS are located on the orchestra WAMC-FM (Albany 90.3), WMEH-FM level, audience-left, at the stage end of the (Bangor 90.9), and WMEM-FM (Presque Isle hall, and on the first-balcony level, audience- 106.1). Live Saturday-evening broadcasts are right, outside the Cabot-Cahners Room near carried by WGBH-FM, WCRB-FM (Boston the elevator. 102.5), WFCR-FM (Amherst 88.5), WPBH-FM

(Hartford 90.5), and WNPR-FM (Norwich MEN'S ROOMS are located on the orchestra 89.1). If Boston Symphony concerts are not level, audience-right, outside the Hatch Room heard regularly in your home area and you near the elevator, and on the first-balcony would like them to be, please call WCRB level, audience-left, outside the Cabot-Cahners Productions at (617) 893-7080. WCRB will be Room near the coatroom. glad to work with you and try to get the BSO on the air in your area. COATROOMS are located on the orchestra Friends are supporters of and first-balcony levels, audience-left, outside BSO FRIENDS: The the Hatch and Cabot-Cahners rooms. The the Boston Symphony, active in all of its endeavors. Friends receive BSO, the orchestra' BSO is not responsible for personal apparel or | other property of patrons. newsletter, as well as priority ticket informa- tion. For information, please call the Friends' LOUNGES AND BAR SERVICE: There are Office at Symphony Hall weekdays between

two lounges in Symphony Hall. The Hatch 9 and 5. If you, are already a Friend and would Room on the orchestra level and the Cabot- like to change your address, please send your Cahners Room on the first-balcony level serve new address with your newsletter label to the drinks starting one hour before each perform- Development Office, Symphony Hall, Boston ance. For the Friday afternoon concerts, both MA 02115. Including the mailing label will rooms open at 12:15, with sandwiches avail- assure a quick and accurate change of address able until concert time. in our files.

HOW TO HIRE AND HOW TO AN EXPERT. RENT ONE. Talk to the people who know how to find Talk to the temporary accounting and them. With 80 offices in 3 countries, the bookkeeping specialist. All Accountemps Robert Half organization is the largest employees are carefully screened. So recruiter of financial, accounting and when you call, you're likely to get some- edp professionals. So it gives you the one who is slightly overqualified for best choice of first-rate candidates. the job. An expert. rM OF BOSTON, INC. accounlemps' 100 Summer Street, Boston, MA 02110. (617) 423-1200 an affiliate of Robert Half of Boston, Inc Consultants Member Massachusetts Professional Placement 100 Summer Street. Boston, MA 02110. (617) 423-1200

68 In Scotland's Strathdearn vale, breeding

pride. It's a family tradition. Like « father, like son, like grandson. The % good things in life stay that way. ^ewar's® Whitelabel® never vanes.

Authentic. * The Dewar Highlander

BLENDED SCOTCH WHISKY • 86.8 PROOF • g 1982 SCHENLEY IMPORTS CO., N.Y.. M.Y. Catch of the day. Now you can bring home the Italian white wine that's so light and refreshing, the French - and who should know better - rated it best of all wines in Europe with fish. Bianchi Verdicchio. Surprisingly inexpensive, it's now in America at your favorite restaurant or Bianchi Verdicchio Imported by Pastene Wine & Spirits Co., Inc., Somerville, MA. Also available in party-size magnums.