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NINETY-FIRST SEASON 1971-1972

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MICHAEL TILSON THOMAS Associate Conductor

NINETY-FIRST SEASON 1971-1972

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Champagne is one of the great white wines Telephone 491-2411 or 491-7629 CONTENTS

Program for March 31 and April 1 1972 1291

Season summary 1330

Program notes

Bach - Christ lag in Todesbanden 1303 by John N. Burk

Del Tredici - Pop-pourri 1306 by the composer

Josquin - La deploration de Jehan Okeghem 1321 by Andrew Raeburn

Messiaen - Et exspecto resurrectionem mortuorum 1322 by the composer

Olivier Messiaen 1324 by Pierre Boulez

Olivier Messiaen 1326 by Klaus G. Roy

The Conductor 1327

The soloists 1328

The chorus 1329

ANDREW RAEBURN Program Editor and Assistant to the Music Director

1289

NINETY-FIRST SEASON 1971-1972

Friday evening March 31 1972 at 8.30

Saturday evening April 1 1972 at 8.30 MICHAEL TILSON THOMAS conductor FOUR RELIGIOUS CEREMONIES

BACH Cantata no. 4 'Christ lag in Todesbanden'

Sinfonia

Verse 1 : Christ lag in Todesbanden Verse 2: DerTod Niemand zwingen kunnt Verse 3: Jesus Christus, Gottes Sohn Verse 4: Es war ein wunderlicher Krieg

Verse 5: Hier ist das rechte Osterlamm Verse 6: So feiern wir das hohe Fest Chorale: Wir essen und leben wohl

MALLORY WALKER tenor LESLIE GUINN baritone HARVARD-RADCLIFFE COLLEGIUM MUSICUM

F. John Adams director DEL TREDICI Pop-pourri

Chorale Turtle soup 1 Litany of the Blessed Virgin Mary Jabberwocky Turtle soup 2 Chorale

PHYLLIS BRYN-JULSON soprano HARVARD-RADCLIFFE COLLEGIUM MUSICUM

F. John Adams director FELIX VISCUGLIA soprano saxophone FRANCIS NIZZARI soprano and tenor saxophone ROBERT KAROL electric guitar WILLIAM RHEIN bass guitar first performance in this version intermission

DES PREZ La deploration de Jehan Okeghem HARVARD-RADCLIFFE COLLEGIUM MUSICUM F. John Adams director first performance at a concert of the Boston Symphony Orchestra

MESSIAEN Et exspecto resurrectionem mortuorum first performance in Boston

The Boston Symphony Orchestra records exclusively for Deutsche Grammophon BALDWIN PIANO DEUTSCHE GRAMMOPHON AND RCA RECORDS

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Wasserman Development Corporation -c 84 Sherman Street, Cambridge, Mass. JOHANN SEBASTIAN BACH Cantata no. 4 'Christ lag in Todesbanden' (Christ lay in the bonds of death) Program note adapted from the notes of John N. Burk

Bach was born at Eisenach on March 21 1685; he died in Leipzig on July 28 1750. He probably first composed the Cantata no. 4 at Weimar between 1708 and

1714, then revised it for performance at the Thomaskirche in Leipzig on April 9 1724, the second day of Easter. The first performance by the Boston Symphony Orchestra was given on March 28 1931; Serge Koussevitzky conducted, the chorus was that of the Bach Cantata Club, and the soloists were Amy Evans, Margaret Matzenauer, Richard Crooks and Fraser Gange.

The score calls for cornetto, 3 trombones, strings, continuo, vocal soloists and four-part chorus.

The opening words, 'Christ lay in the bonds of death', are misleading as a title, for they fail to convey the spirit of this Easter Cantata. It would be more truly described by the second line: 'Now he is risen' ('Er ist wieder erstanden'), for this is music of solemn rejoicing. 'Christ lag in

Todesbanden' is in the past tense; the message of his resurrection is in the present tense; the emphasis of the text and the music is not upon the heaviness of death, but of death conquered by the spirit of everlast- ing life. Each of the seven verses closes with 'hallelujah'.

The Cantata is numbered fourth in the collected edition, and it seems to have been originally written during the Weimar years, then revised in Bach's second year as Cantor of the Thomaskirche in Leipzig, a year after the St John Passion. In the version we know today, it is the latest of the five surviving Easter cantatas.

This cantata is Bach's personal but formally traditional treatment of an Easter chorale on a text of Martin Luther, long familiar to the congre- gations at Leipzig. All seven verses of Luther's hymn are kept. The chor- ale melody by Johann Walter, Luther's contemporary, is also used by

Bach. The short introductory Sinfonia is given to the strings, and each verse is treated freely, with varied instrumental or vocal embellishment in the manner of the chorale preludes. The musical character of each verse closely expresses the sentiment of the text. There is no individual solo elaboration or actual solo indication (although in current perform- ances solo voices are sometimes employed); a second viola part is used, and in these respects, Bach deliberately adheres to the custom which preceded him, as found in the services of his predecessor, the Cantor

Johann Kuhnau (1660-1722). The seven verses, it will be noted, have a structural symmetry whereby the number of voices used in the successive movements are 4-2-1-4-1-2-4.

Sinfonia. Strings and continuo.

Verse 1. Vocal quartet, supported by brass instruments; strings and continuo.

The opening verse is the longest and most fully developed as the soprano part carries the melody in sustained half notes and the voices beneath weave an ever-changing contrapuntal pattern. The intricate

1303 hallelujah is forceful and stimulating, at last acquiring speed with an alia breve beat.

Christ lag in Todesbanden, Christ lay in the bonds of death fur unser Si'ind' gegeben. to redeem our sins.

Er ist wieder erstanden Now He is risen und hat uns bracht das Leben; a nd gives us eternal life. dess wir sollen frohlich sein, So let us be joyful, Gott loben und ihm dankbar sein and praise Cod and be thankful, und singen Hallelujah. Hallelujah! And sing Hallelujah. Hallelujah!

Verse 2. A duet between soprano and alto, each part supported, and continuo.

This verse, unlike the rest, is oppressed by the spectre of death. The two voice parts echo the falling intervals, the accents of sorrow. Beneath them is a beautiful, flowing bass figure. The hallelujah close is short and does not dispel the sombre mood.

Den Tod niemand zwingen kunnt Death no one can prevent, bei alien Menschenkindern, no child of man; das macht alles unser Sund', our sins have brought it, kein Unschuld war zu finden. none is guiltless. Davon kam der Tod sobald, Death has come upon us und nahm iiber uns Gewalt, and seized us hielt uns in seinem Reich gefangen. to hold us in its domain. Hallelujah! Hallelujah!

Verse. 3. Tenor, with two violins and continuo.

The spirit is lifted by an animated running figure from the violins as the tenors sing of the promise of redemption. As the form of Death appears {'denn Tod's Gestalt') the music slows heavily for a moment but regains its pace with 'its sting has gone', before a lively hallelujah.

Jesus Christus, Gottes Sohn, Jesus Christ, Son of God, an unser Statt ist kommen, is come to us on earth, und hat die Siinde weg getan, and has taken away our sins, da mit dem Tod genommen. thereby overcoming death. AN' sein Recht und sein' Gewalt, All the power of Death's form da bleibet nichts denn Tod's Gestalt, has lost its sting. Hallelujah! den Stach'l hat er verloren. Hallelujah!

Verse 4. Vocal quartet and continuo.

This again is an animated verse, rich in contrapuntal play. At 'ein Spott', a mockery of death, the voices fling the words back and forth with the confidence of scorn.

Es war ein wunderlicher Krieg, It was a mighty battle da Tod und Leben rungen; of life and death, das Leben das behielt den Sieg, but life is the victor, es hat den Tod verschlungen; it has vanquished death; die Schrift hat verkundiget das, so the scriptures have told us wie ein Tod den andern frass, how one death has atoned for another, ein Spott aus dem Tod ist worden, Death is made a mockery. Hallelujah! Hallelujah!

Verse 5. Bass with strings and continuo.

This is more in the nature of an accompanied aria, as if the priest were

1304 telling of the 'Paschal Lamb'. The vocal part has individual expression, especially where the voice drops at the word 'Tod' to a low E sharp, and rises at 'der Wurger' (the slayer) to a high D, held for four bars.

Hier ist das rechte Osterlamm, Here is the true Easter Lamb, davon Gott hat geboten; whom God has promised; das ist hoch an des Kreuzes Stamm, high upon the cross, in heisser Lieb' gebraten; filled with love, das Blut zeichnet unser Tik, he shed His blood at our threshold. das halt der Glaub, dem Tode fur; So faith is stronger than death; der Wiirger kann uns nicht mehr the slayer cannot harm us. Hallelujah! schaden. Hallelujah!

Verse 6. Soprano and tenor, with continuo.

The text is celebrational, and the music likewise. The accompaniment throughout has a striding dotted rhythm characteristic of Bach and, as Schweitzer has pointed out, associated with 'solemn majesty'.

So feiern wir das hohe Fest, So, we celebrate the holy Feast, mit Herzensfreud' und Wonne; our hearts filled with joy. das uns der Herre scheinen lasst, The sun is brilliant, er ist selber die Sonne; for our Lord is risen; der durch seiner Gnaden Glanz his loving glance fills us, erleuchtet uns're Herzen ganz, and the dark of night is gone. der SLinden Nacht ist verschwunden. Hallelujah! Hallelujah!

Verse 7. Chorale. Quartet with brass support, and continuo.

The chorale, according to custom, brings the conclusion, simply set and unadorned.

Wir essen und leben wohl We eat and have our being im rechten Osterfladen; in the true Easter loaf; der alte Sauerteig nicht soil sein the ancient leaven shall not be bei dem Wort der Gnaden; where the word of mercy is. Christus will die Koste sein Christ himself shall be the Feast und speisen die Seel' allein, and alone shall feed our souls; der Glaub' will keins andern leben. our faith shall be secure. Hallelujah! Hallelujah!

1305 DAVID DEL TREDICI 'Pop-pourri', for amplified soprano solo, amplified solo rock group, chorus and orchestra Program note by the composer

Del Tredici was born in Cloverdale, California, on March 16 1937. He composed the original version of Pop-pourri during a period of six weeks spent at the MacDowell Colony in 1968. He has made considerable revisions to the score since, and the present performances are the first in the 'final' version.

The score calls for amplified solo soprano, amplified solo rock group (2 soprano saxophones, tenor saxophone, 2 electric guitars, electric bass guitar), four-part chorus, and orchestra of 2 piccolos, 2 flutes, 2 oboes, english horn, 2 clarinets, bass clarinet, 2 bassoons, contra bassoon, 2 trumpets, 2 trombones, bass drum, anvil, wind machine, tubular chimes, low tarn tarn, electric bull horn and strings.

Pop-pourri, commissioned by the Musical Arts Society of La Jolla, Cali- fornia, is in five sections, each of which is separated by phrases from a chorale of Bach, 'Es ist genug', made famous by the final movement of Alban Berg's Violin concerto.

Turtle soup 1 , a setting of a text from Lewis Carroll's Alice in Wonder- land, is scored for the soprano, two saxophones and electric guitar only.

It plays obsessively on the opening notes of the Chorale (D flat, E flat, F, G), and fades eventually into Litany of the Blessed Virgin Mary for chorus and orchestra alone.

The Litany, too, is concerned with the same chorale notes, though it soon becomes severely fixated on the one note G — a musical evocation of the relentlessly repetitive verbal patterns of all the Litanies of the

Catholic liturgy which I heard as a child.

Jabberwocky, the longest section, is a setting of a verse from Carroll's Through the looking glass, and combines the solo soprano and 'rock

group' with the orchestra. I call it a 'Melodrama', and had in mind all

the old silent movies I had seen, where each element of the story, each

emotion, is spelled out as graphically as possible. The rock group becomes the personification of Carroll's terrifying Jabberwock, and each event of the tale — from the father's early warning to his son through the climactic battle with the Jabberwock to the son's final victory — is mirrored programatically in the music.

Turtle soup 2 is a rather strange da capo of Turtle soup 7. The solo soprano, saxophones and electric guitar play their earlier music once

more, only this time it is all backwards; simultaneously Turtle soup 1

is heard in its original version, played by the orchestra, a bizarre contra- puntal device known as 'Contrapunctus fictus'.

In good liturgical fashion I use the Bach chorale in its entirety as the work's concluding section, with occasional gusts of Turtle soup blowing over the sacred scene, producing a kind of 'When-worlds-collide' effect.

And what, you may ask, does this all mean? How does it all fit together?

1306 I can only quote from my text, 'Spare us, O Lord', and point to the title

I gave the piece.

Chorus

Es ist genug.

Solo soprano (speaking)

'Shall we try another figure of the Lobster-Quadrille?' the Gryphon went on . . .

TURTLE SOUP 1

'Or would you like the Mock Turtle to sing you a song?'

'Oh, a song please, if the Mock Turtle would be so kind,' Alice replied. The Mock Turtle sighed deeply, and began, in a voice choked with sobs, to sing this: —

(singing)

'Beautiful Soup, so rich and green, Waiting in a hot tureen! Who for such dainties would not stoop? Soup of the evening, beautiful Soup! Soup of the evening, beautiful Soup!

Beau - ootiful Soo - oop! Beau - ootiful Soo - oop! Soo - oop of the e-e-evening, Beautiful, beautiful Soup!

Beautiful Soup! Who cares for fish, Game, or any other dish? Who would not give all else for two Pennyworth only of beautiful Soup? Pennyworth only of beautiful Soup?

Beau - ootiful Soo - oop! Beau - ootiful Soo - oop! Soo - oop of the e-e-evening, Beautiful, beauti - FUL SOUP!'

LITANY OF THE BLESSED VIRGIN MARY

Chorus

Lord, have mercy. Christ, have mercy. Lord, have mercy. Christ, hear us, Christ, graciously hear us.

God the Father of heaven, have mercy on us. God the Son, Redeemer of the world, have mercy on us. God the Holy Spirit, have mercy on us. Holy Trinity, One God, have mercy on us.

Holy Mary, pray for us. Holy Mother of God, pray for us. Holy Virgin of virgins, Mother of Christ, Mother of divine grace, pray for us. Mother most pure, Mother most chaste, Mother inviolate, Mother undefiled,

1307 Mother most amiable, Mother most admirable, Mother of good counsel, Mother of our Creator, Mother of our Saviour, pray for us.

Mirror of justice, Seat of wisdom, Cause of our joy, Spiritual vessel, Vessel of honor, Singular vessel of devotion, Mystical rose, Tower of David, Ivory,

Virgin most prudent, Virgin most venerable, Virgin most renowned, pray for us.

House of gold, Gate of heaven, Morning star, Health of the sick, Ark of the Covenant, Comforter of the afflicted, Refuge of sinners, Help of Christians, Virgin most powerful, Virgin most merciful, Virgins most faithful, Queen of Angels, Queen of Patriarchs, Queen of Prophets, Queen of Apostles, Queen of Martyrs, Queen of Confessors, Queen of Virgins, Queen of all Saints, Queen assumed into heaven, Queen conceived without original sin, Queen of the most holy Rosary, Queen of Peace, pray for us.

Lamb of God, you who takes away the sins of the world, spare us, O Lord'.

Lamb of God, you who takes away the sins of the world, graciously hear us, O Lord!

Lamb of God, you who takes away the sins of the world, have mercy on us. O holy Mother of God, pray for us, that we may be made worthy of the promises of Christ. CHORALE

Chorus

Es ist genug: Herr, wenn es dir gefallt . . .

Solo soprano (speaking)

There was a book lying near Alice on the table, and while she sat . . . she turned over the leaves, to find some part that she could read, ' — for it's all in some language I don't know, she said to herself . . .

She puzzled over this for some time, but at last a bright thought struck her.

'Why, it's a Looking-glass book, of course! And, if I hold it up to a glass, the words will all go right away again.' This was the poem that Alice read: jABBERWOCKY

'Twas brillig, and the slithy toves, Did gyre and gimble in the wabe: All mimsy were the borogoves, And the mome raths outgrabe.

'Beware the Jabberwock, my son! The jaws that bite, the claws that catch! Beware the Jubjub bird, and shun The frumious Bandersnatch!'

He took his vorpal sword in hand: Long time the manxome foe he sought — So rested he by the Tumtum tree, And stood awhile in thought.

And, as in uffish thought he stood, The Jabberwock, with eyes of flame, Came whiffling through the tulgey wood,

And burbled as it came! continued on page 1319

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Among the major works

Beethoven - Symphony no. 9 Haydn - The seasons Berlioz -Te Deum Verdi - Four sacred pieces Mahler -Symphonies nos. 5, 6 and 8

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Eunice Alberts Alicia De Larrocha Jessye Norman John Alexander Misha Dichter Peter Serkin Gina Bachauer William Dooley Joseph Silverstein John Browning Doriot Anthony Dvvyer Joanna Simon Jeannine Crader Jules Eskin Alexis Weissenberj Phyllis Curtin Robert Hale Earl Wild Richard Lewis

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FINAL CONCERT OF THE SEASON

Sunday April 16 at 4 pm

Michael HAYDN Divertimento in B flat for oboe, bassoon, violin, viola and double bass

Boris BLACHER Trio for trumpet, trombone and piano op. 31

Ingolf DAHL Duettino concertante for flute and percussion

Olivier MESSIAEN Quartet for the end of time, for clarinet, violin, cello and piano

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"My insurance company? New England Life, of course. Why?" One, two! One, two! And through and through The vorpal blade went snicker-snack!

He left it dead, and with its head He went galumphing back.

'And hast thou slain the Jabberwock? Come to my arms, my beamish boy! O frabjous day! Callooh! Callay! He chortled in his joy.

'Twas brillig, and the slithy toves Did gyre and gimble in the wabe: All mimsy were the borogoves, and the mome raths outgrabe.'

(speaking)

'It seems very pretty,' she said when she finished it, 'but it's rather hard to understand! . . . Somehow, it seems to fill my head with ideas — only I don't exactly know what they are! However, somebody killed something: that's clear, .' at any rate —

CHORALE

Chorus

Es 1st genug: Herr, wenn es dir gefallt, so spanne mich doch uns ....

TURTLE SOUP 2

Solo soprano (speaking)

'Oh, the Mock Turtle's Song, again please,' cried Alice, so eagerly that the Gryphon said, in a rather offended tone, 'Hm! No accounting for tastes! Sing her "Turtle Soup", will you, old fellow?'

(singing) 'Beautiful Soup, so rich and green, Waiting in a hot tureen! Who for such dainties would not stoop? Soup of the evening, beautiful Soup! Soup of the evening, beautiful Soup!

Beau - ootiful Soo - oop! Beau - ootiful Soo - oop! Soo - oop of the e-e-evening, Beautiful, beautiful Soup!

Beautiful Soup! Who cares for fish, Game, or any other dish? Who would not give all else for two p Enny-worth only of Beautiful Soup? Pennyworth only of beautiful Soup?

Beau - ootiful Soo - oop! Beau - ootiful Soo - oop! Soo - oop of the e-e-evening, Beautiful, beauti - FUL SOUP!'

(speaking) 'Come on!' cried the Gryphon, and taking Alice by the hand, they hurried off

without waiting for the end of the song . . . while more and more faintly came, carried on the breeze that followed them, the melancholy words: —

1319 (singing) Soo - oop of the e-e-evening, Beautiful, beautiful Soup!' THE CHORALE

Es ist genug! It is enough.

Herr, wenn es dir gefallt, Lord, when it pleases thee, So spanne mich doch aus! Release my soul from earth. Mein Jesus kommt: My Jesus comes; Nun gute Nacht, o Welt! Now farewell, o world.

Ich fahr' ins Himmelshaus, I go to the heavenly mansions,

Ich fahre sicher hin mit Frieden, I go with great gladness. Mein grosser Jammer bleibt darnieden. My great sadness stays here below Es ist genug! Es ist genug! on earth.

It is enough.

David Del Tredici began his musical career as a pianist, studying prin- cipally with Bernhard Abramowitsch in Berkeley, California, and with Robert Helps in New York. He appeared frequently in recital and with symphony orchestras on the West Coast, including the San Francisco Symphony under the direction of Enrique Jorda and Arthur Fiedler.

After the encouragement of Darius Milhaud, with whom he studied at the Aspen Music Festival in 1958, David Del Tredici then devoted him- self to composition, studying with Arnold Elston and Seymour Shifrin at the University of California at Berkeley, and later with Roger Sessions and Earl Kim at Princeton. Del Tredici holds a BA with Phi Beta Kappa membership and a Master of Fine Arts.

Besides several summers' residency at Tanglewood, Yaddo and the MacDowell Colony, he has been a frequent resident at the Marlboro

Festival. / hear an army, commissioned by the Fromm Foundation,

received its first performance at Tanglewood, and Night-conjure verse was premiered at the Marlboro Festival.

With the premiere of Syzygy at Philharmonic Hall, New York, in July 1968, David Del Tredici was recognized as a major new talent by press and public alike. Commissioned by the Koussevitzky Music Foundation in honor of its twenty-fifth anniversary, Syzygy was first performed by soprano Phyllis Bryn-Julson with the Festival Chamber Ensemble con- ducted by Richard Duffalo. The first performance, available on a Colum- bia recording, was repeated at the Library of Congress in September 1968. Washington Post critic Paul Hume commented, 'It is music written after Webern, yet more inventive, treasonable though that may sound.

.' It is superb . .

In November 1969 Aaron Copland conducted the London Symphony Orchestra in the premiere performance of The lobster-quadrille, a work which 'enraptured the audience' and 'was great fun', according to

London music critics. Mr Del Tredici is at present at work setting all of the verse from Alice in Wonderland to music.

Besides the commissions mentioned above, David Del Tredici has received numerous awards: a Woodrow Wilson fellowship, Hertz award, Guggenheim fellowship, Naumberg Recording Award and an award from the National Council of Arts and Letters. A member of the music department of Harvard University since 1967, he recently resigned to devote all his time to composition.

1320 JOSQUIN DES PREZ La deploration de Jehan Okeghem Program note by Andrew Raeburn

Josquin was born about 1440, probably in Hainault, Burgundy; he died at Conde-sur-Escaut on August 27 1521. He wrote his memorial piece to Okeghem about 1495.

It had been thought until recently that Josquin was born between 1445 and 1450, but records show that the earlier date of 1440 is probably nearer the mark. He was a boy chorister at the collegiate church of Saint- Quentin, and all the evidence points to his having been a pupil of Jehan Okeghem, the greatest of the composers of the Franco-Netherlands school. Between 1459 and 1472 Josquin was a singer at Milan Cathedral, then was appointed to the court of Duke Galeazzo Sforza, in the same city, where he remained for five years. His next employer was Cardinal d'Ascanio in Rome, and from 1486 until 1494 he was a musician in the Papal establishment, serving under Popes Innocent VIII and Alexander VI. There were also brief visits to Ferrara and Florence during this time.

Josquin was choirmaster of Cambrai Cathedral for four years from 1495, then went to work at the court of Ercole d'Este in Ferrara. After a year or two traveling between France and Italy, he joined the service of Louis XII of France, with whom he remained until 1516. Josquin spent the last years of his life as Canon of St Gudule in Brussels and Provost of the chapter of the collegiate church of Conde.

Josquin was thought of as the greatest teacher and composer of his day, and had the unusual distinction of seeing his work printed in book form, thanks to Ottaviano dei Petrucci, one of the first Italian music publishers. His music was not only sung throughout Europe, but also

much admired by his contemporaries; it would probably have been lost

to us, had it not found a champion in the indefatigable English music historian of the eighteenth century, Charles Burney.

Josquin's music is in two distinct styles: one shows the influence of the contrapuntalists of the Netherlands, the other of his Italian predecessors, whose work was largely homophonic. Both are present in the moving tribute to his teacher Okeghem.

The custom of composing laments to the memory of recently dead musicians dates from the fifteenth century. The convention demanded that the departed be named in the text, and that a portion of the plain- song Requiem be included. Okeghem himself had written such a piece after the death of Gilles Binchois, in which the highest voice sings a commemorative ballade, while the tenor, during the final section, sings the words from the Dies irae, 'Pie jesu, Domine, dona ei requiem', to a slightly altered version of the plainchant melody.

Josquin's lament to Okeghem is set in five parts to a text by Jean

Molinet. The 'motet-chanson', as Alec Robertson describes it in his

admirable book Requiem (Cassell, London, 1967), is in two sections. In the first the tenor sings the plainsong 'Requiem aeternam dona eis, Domine, et lux perpetua luceat eis' (Grant them eternal rest, O Lord,

1321 and let perpetual light shine on them), while the other voices sing, in contrapuntal style, the poem of Molinet:

Nymphes des bois, Deesses des Nymphs of the woods, goddesses of fontaines, the streams, Chantres expers de toutes nations, Master-singers of every nation, Changez vos voix fort claires et Change the bright clarity of your haultaines voices En cris tranchants et lamentations: To cries of woe and lamentation. Car d'Atropos les molestations For the ravages of Atropos 1 Vostre Okeghem par sa rigeur attrape, Have cruelly seized your Okeghem, Le vrai tresoir de musique et chef The true light of master musicianship, d'oeuvre, Who has now succumbed to the Qui de trepas desormais plus call of death. n'eschappe lis great pity that earth covers Dont grand doumage est que la his body. terre coeuvre.

In the second section, which is composed homophonically, the tenors are silent until the final sentence.

Accoustrez-vous d'habits de deuil, Don your garb of mourning, 2 3 4 Josquin, Brumel, Pirchon, Compere; josquin, Brumel , Pirchon , Compere ; Et plorez grosses larmes d'oeuil. And weep great tears Perdu avec vostre bon pere. For the loss of your good father. Requiescat in pace. Amen. May he rest in peace. Amen.

It is worth mentioning that Josquin wrote his piece in black notes, an exceptional custom at the time, to symbolize the mourning character of the work.

1. One of the Fates in Greek mythology. 2. Antoine Brumel (flourished c. 1500), another pupil of Okeghem, at one time choirmaster of Notre-Dame in Paris. 3. No records are extant of this musician. 4. Louis Compere (c. 1455-1518), like Josquin a chorister at Saint-Quentin, and later canon there.

OLIVIER MESSIAEN

Et exspecto resurrectionem mortuorum (And I look for the resur- rection of the dead) Program note by the composer

Messiaen was born in Avignon on December 10 1908. He composed Ft exspecto in 1964. The first performance, a private one, took place at the Sainte-Chapelle, Paris, on May 7 1965.

The work is recorded on CBS stereo 32 11 0048 (co-production Erato-CBS records) by the Groupe Instrumental a percussion de Strasbourg and I'Orchestre du Domaine Musical, Paris, conducted by Pierre Boulez, and under the artistic supervision of the composer. For this recording Messiaen wrote his own note, here reprinted in the translation from the French by Felix Aprahamian.

This work was commissioned by Andre Malraux. It was composed and orchestrated in 1964. Its instrumentation intends it for vast spaces: churches, cathedrals and even performances in the open air and on

mountain heights . . .

1322 It is perhaps useful to recall that, at the time he was writing his score, the composer gladly surrounded himself with strong and simple pictures — of the stepped pyramids of Mexico, the temples and statues of Ancient Egypt, Romanesque and Gothic churches; that he re-read the texts of St Thomas Aquinas on 'The resurrection' and 'The world of the resuscitated'; that he worked in the High Alps, facing those powerful landscapes that are his true homeland.

May 7 1965, at eleven o'clock in the morning: the date of the first, private, performance at the Sainte-Chapelle. This was the ideal setting for the work, as much for the marriage of the colours of the instru- mental timbres and sonorous intricacies with resplendence of blues, reds, gold and purples, as for the alternating resonances due to the encircling of the stained-glass windows. A second performance took place under the direction of Serge Baudo in the Cathedral of Notre- Dame de Chartres before a large throng on Sunday, June 20 1965, at the end of High Mass. This was given in the presence of Monsignor Michon (the Bishop of Chartres) and of General Charles de Gaulle. The third performance was given in Paris, at a concert of the Domaine Musical, under the direction of Pierre Boulez, with the players taking part in the present recording. The orchestra comprises three ensembles: woodwind, brass, and metallic percussion instruments.

Woodwind: 2 piccolos, 3 flutes, 3 oboes, english horn, E flat clari- net, 3 clarinets, bass clarinet, 3 bassoons, contra- bassoon. Brass: trumpet in D, 3 trumpets, 6 horns in F, 3 trombones, bass trombone, tuba, bass saxhorn in B flat. Metallic Percussion: 3 sets of tuned cow bells, tubular bells, 6 gongs, 3 tarn tarns.

There are five pieces. Each bears a text from Holy Scripture. Here are the five texts, each followed by a short analysis of the piece:

1. 'Out of the depths have I cried unto thee, O Lord: Lord, hear my voice/ (Psalm 130, verses 1 and 2) Theme of the depths in the lower brass — harmonisation by the six horns in coloured clusters — a cry from the Abyss!

2. 'Christ being raised from the dead dieth no more; death hath no more dominion over him/ (Romans, chapter 6, verse 9)

A melody by default: the cessation of sounds gives it its outline. The cow bells and bells elaborate an Indian decitala beneath a trumpet melody which causes coloured woodwind clusters to spurt forth. A few silences, as important as the music. Conclusion by the solo clarinet and english horn.

3. 'The hour is coming when the dead shall hear the voice of the Son of God/ (St John, chapter 5, verse 25)

This voice that will awaken the dead is thrice symbolised here. First symbol: given to the woodwind ensembles, the disjointed song, with its contrasted dynamics, of the Uirapuru, a bird of the Amazon. Second symbol: the permutations of the bells. Third symbol: a long and power- ful resonance of the tarn tarn.

4. 'They shall be raised in glory, with a new name, when the morning

1323 stars sing together, and all the sons of God shout for joy/ (Corinthians

I, chapter 15, verse 43; Revelations, chapter 2, verse 17; Job, chapter 38, verse 7) The three mysterious blows, the three resonances, the pianissimo or fortissimo sounds of the tarn tarns, that continually interrupt the musical discourse, symbolise at the same time the solemn moment of the resur- rection and the distant melody of the stars. The Paschal introit of the

bells and cow bells, the Alleluia of the trumpets, with its halo of har- monics, symbolize the 'Gift of lucidity'. The song of the Short-toed Lark, a bird of Greece and Spain, given to the flutes, oboes, clarinets and bassoons, symbolises joy. The angels and stars and all the themes (even those of the first piece, played by the trombones) join in acclaim- ing the Risen in their glory — by superimposing four musical strains, four variations of colour, and four complexes of sonority.

5. 'And I heard the voice of a great multitude/ (Revelations, chapter 19, verse 6) The orchestral tutti and the striking of the gongs are entrusted with this chorale-like effect which stays enormous, unanimous and simple.

OLIVIER MESSIAEN — an essay by Pierre Boulez

Pierre Boulez wrote his essay especially for a program given by the Cleveland Orchestra on December 5 1970, which was devoted to the

discussion, rehearsal and performance of works by Messiaen. It is reprinted by kind permission of the author, and of the Cleveland Orches- tra, Klaus G. Roy, Director of Publications and Program Editor. The

translation from the French is by Simone Samuels.

The name of Messiaen is a symbol for those who have initially studied harmony, then analysis and composition at the National Conservatory of Music in Paris.

That institution, very respectable indeed, but often behind its own time

especially where composition is concerned — that adventure on which very young people embark — that institution has observed over the years the growing importance of one of its teachers. During the last years of the second world war, the number of students was certainly very limited, but no less certainly they were very enthusiastic and inclined to proselyte ... As the years went by, Messiaen's class grew

considerably in its radiance, and attracted an increasingly important number of students from extremely diverse countries.

i i

Thus the personality and the music of Messiaen have always been, for almost thirty years, the center of intense pedagogical activity; they have fostered the appearance of many new talents and have not ceased to attract the attention of young musicians on a number of questions — and sometimes of answers — that reveal to us the actual state of music.

The first observation that becomes essential is that Messiaen's music

ceases, without ignoring it, to consider the 'European' tradition as the

1324 only valid one, as the exclusive current that we must follow. He knows profoundly the musical literature that is familar to us, and also that which is less so; he understands its meaning, and is able to follow its evolution through the centuries. But to be willing in our time still to consider our own musical civilization as 'privileged' in relation to others, seems to him singularly narrow-minded. That is why he has tried to discover, in time and in space, other modes of musical thinking which could enrich his personality, his viewpoints and consequently his musical vocabulary, his own ideas.

He often says of himself that he is a 'rhythmician'. It is indeed in the domain of rhythm that he has shown himself as one of the most daring explorers of his time. Not only did he know how to draw the lesson and consequences of the works of Stravinsky, for instance (particularly those of The rite of spring), but thanks to the study of rhythms of the music practiced in India and thanks to a new utilization of the ancient Greek metrics, he has discovered a host of new ideas, codified little by little in the course of his most important works.

Time is for him a capital factor of music; and he has considerably enriched the occidental domain of rhythm in confronting it especially with the concepts of India, and more generally those of Asia.

The second phenomenon immediately evident in Messiaen's work is the diversity of the sonorous material he uses. Thus he possesses an entirely personal language. Yet it is not a lack of cohesion that I mean to imply. What is noteworthy is that he transforms a certain number of materials which have very different correlations, and sometimes very difficult ones with the music or between themselves, and that he inte- grates them into a work the diversity of which astonishes.

Thus it is with bird-song, for example. I note his predilection for birds: for their songs, of course, but also their colors and their life habits. Next to the term 'rhythmician' he would gladly place that of ornithologist to qualify himself. No one is obliged, of course, to follow him into the field of ornithology. As far as I am concerned, for example, the world of birds holds no particular attraction, and I do not believe that even

Messiaen's music has brought me around on that score . . . But what can, what must interest a musician is the manner in which he utilizes that given subject matter, specialized as it is, to make of it a musical work.

At this point, I should like to draw a parallel with his use of plain- chant. He has solid knowledge of Gregorian music — as a Catholic and as a musician having played the organ for many years in religious serv- ices. There also, he utilizes motives offered him by history and trans- forms them for the needs of his own music, to the point of making them an element purely personal.

Many other aspects of Messiaen's music could be described. But prob- ably none would be as important as the ones already dealt with. Perhaps one should link this need to explore and to transform, to relate to one- self all discoveries encountered along one's way, to his important pedagogical career. He has taught us to look around us and to under- stand that all can become music. copyright © 1970 by Pierre Boulez

1325 OLIVIER MESSIAEN by Klaus G. Roy

Olivier Messiaen is recognized today as one of the important figures in twentieth century music, as much for the influence he has exerted on younger men as for his work. Among his many outstanding pupils are Pierre Boulez and Karlheinz Stockhausen. He in turn has written about those who have influenced him: 'My mother, the poetess Cecile Sauvage; my wife, the composer Claire Delbos; Shakespeare, Claudel,

Reverdy and Eluard, Hello and Dom Columbia Marmion (dare I speak of the Holy Scriptures, which contain the only Truth?); birds; Russian music; the great Pelleas and Melisande of Claude Debussy; plainsong; Hindu rhythms; the mountains of Dauphine; and, finally, all that pertains to stained glass windows and rainbows.'

Messiaen is the scion of a literary family: his father, Pierre, was a professor of literature especially noted for his Shakespeare translations, his mother the poetess mentioned above. He began to play the piano early, and at the age of 11 enrolled in the Paris Conservatoire, where he studied with Jean and Noel Gallon, Marcel Dupre, Maurice Em- manuel, and Paul Dukas; he won several prizes there for harmony, organ, improvisation and composition, graduating in 1930. In 1931 he became organist at the Trinity Church in Paris; in 1936, together with Andre Jolivet, Yves Baudrier and Daniel Lesur he organized the group known as 'La jeune France', whose desire it was 'to create and promote a living music'. His composition of 1934, L'ascension: quatre medita- tions symphoniques, has been performed world-wide (by the Boston Symphony first at the Berkshire Festival under Serge Koussevitzky in 1949, later in Boston under Eugene Ormandy and Richard Burgin). He taught also at the Ecole Normale and the Schola Cantorum before serving in the French army; he was taken prisoner by the Germans, and spent some time (1940-41) in a prison camp in Silesia, where he wrote and performed his piano quartet, 'Pour la fin de temps'; later in 1941 he was repatriated and in 1942 appointed professor of harmony at the Paris Conservatoire, resuming also his post at the Trinite. In 1947 he began a new series of classes at the Conservatory, in analysis, aesthe- tics, and rhythm. In 1949 he led a seminar in composition at the Berkshire Music Center, gaining a considerable number of American disciples and enthusiasts. The first performance of Turangalila took place on December 2 of the latter year, with Leonard Bernstein con- ducting the Boston Symphony. Chronochromie, dating from 1960, is regarded as a score of exceptional significance both in Messiaen's own large output and nn the current literature of orchestral music. copyright © 1970 by the Musical Arts Association of Cleveland

EACH TIME YOU BUY A RECORD BY THE BOSTON SYMPHONY OR THE BOSTON POPS ORCHESTRA, YOU HELP TO REDUCE THE ORCHESTRA'S DEFICIT.

1326 THE CONDUCTOR MICHAEL TILSON THOMAS, Music Direc- tor of the Buffalo Philharmonic Orchestra and Associate Conductor of the Boston Symphony Orchestra, was born in Holly- wood in 1944. Between the ages of fourteen and seventeen he studied piano with John Crown and Muriel Kerr, harpsichord with Alice Ehlers. He enrolled in the University of Southern California with advanced stand- ing in 1962, and studied with Ingolf Dahl and John Crown. He was awarded the Alumni Prize as the outstanding student at the time of his graduation.

For four years Michael Tilson Thomas was conductor of the Young Musicians Foundation Debut Orchestra, a resident company of the Los Angeles Music Center. At the Monday Evening concerts he was con- ductor and piano soloist during this time in performances, many of them premieres, by contemporary composers, including Igor Stravinsky, Pierre Boulez, Karlheinz Stockhausen, Lukas Foss and Ingolf Dahl. He has been pianist in the classes of Gregor Piatigorsky and has prepared the orches- tra for the Heifetz-Piatigorsky concerts. During the 1966 Bayreuth Festi- val and Ojai Festival the following year, Michael Tilson Thomas was assistant conductor to Pierre Boulez. He was Conductor of the Ojai Festival in the summers of 1968 and 1969.

A conducting fellow of the Berkshire Music Center at Tanglewood dur- ing 1968, he conducted the premiere of Silverman's Elephant steps, and won the Koussevitzky Prize in conducting. During the 1968-1969 season he conducted youth concerts of the Los Angeles Philharmonic, and appeared as guest conductor with the Boston Philharmonia. He returned to Tanglewood in the summer of 1969 as a Fellow of the Berkshire Music Center, where he conducted the Berkshire Music Center Orches- tra, and was much involved in the musical preparation of the Center's production of Berg's Wozzeck. Appointed Assistant Conductor of the Boston Symphony Orchestra at the beginning of the 1969-1970 season, he replaced William Steinberg at concerts in New York during the fall when Mr Steinberg became ill. He conducted more than thirty of the Boston Symphony's concerts during that season, and was appointed Associate Conductor of the Orchestra in the spring of 1970. In May 1970 he made his London debut in concerts with the London Symphony. Dur- ing the summer he conducted at the Ravinia Festival and at the Lincoln Center Festival in New York, as well as at Tanglewood. On the Boston Symphony Orchestra's recent tour to Europe he conducted concerts in Wuppertal, Hanover, Frankfurt, Rome and Barcelona. He made his debut in Japan last May. He recently received the honorary degree of Doctor of Fine Arts from Hamilton College, Clinton, New York.

Michael Tilson Thomas has made several recordings for Deutsche Grammophon with the Boston Symphony Orchestra, among them per- formances of Debussy's Images, Tchaikovsky's Symphony no. 1, Ives's Three places in New England, Ruggles's Sun-treader, Piston's Symphony no. 2 and Schuman's Violin concerto, with Paul Zukofsky. He also plays the piano in an album of chamber music by Debussy, the first record made for Deutsche Grammophon by the Boston Symphony Chamber Players. -I327 THE SOLOISTS

PHYLLIS BRYN-JULSON, who appeared with the Boston Symphony Orchestra dur- ing the fall of 1966 in performances of Berg's Suite from 'Lulu', conducted by Erich Leinsdorf, was born in North Dakota, and educated at Concordia College in Moor- head, Minnesota. She attended the Berk- shire Music Center at Tanglewood for four summers, winning a Fromm Fellowship, a High Fidelity Magazine prize, and a Corn- Marvin sarkin studio position-performance award. In recent sea- sons she has given recitals in many parts of the United States, and has appeared with many leading musical organizations, among them the Louisville Symphony, the Louisville Bach Society, the Washington Choral Arts Society, the Bethlehem Bach Festival, the Aspen Festival, the New York Contemporary Chamber Ensemble, the New York Music Society and the Royal Philharmonic Orchestra of London. A specialist in con- temporary music, Phyllis Bryn-Julson has recorded for the Odyssey, Nonesuch, Columbia and Louisville labels. Her future engagements include appearances in London, New York, Washington, Baltimore, Buffalo and a tour of Texas.

A native of New Orleans, MALLORY WALKER earned his BA degree in history at Occidental College in Los Angeles. After serving in the US Army Chorus, he joined the Metropolitan Opera Studio, and sub- sequently launched his career in Europe as the leading Mozart tenor of the Cologne and Stuttgart Operas. He has appeared with the San Francisco Spring Opera, Central City Opera, Houston Grand Opera, Lake George Opera, and the Opera Society of Washington, as well as the Cincinnati Symphony, Buffalo Philharmonic, Washington National Symphony, and Los Angeles Philharmonic. He has appeared on television in the St Matthew Passion, and has recorded Bach's Mass in B minor for RCA.

Mallory Walker's most recent operatic performances include Rodolfo in La Boheme with the Central City Opera Festival, and Pinkerton in Madama Butterfly with the Opera Guild of Greater Miami, a role he repeated with the Kansas City Lyric Theatre, where he also sang in pro- ductions of The taming of the shrew and Gianni Schicchi. In recent orchestral appearances, he has sung performances of Britten's War requiem in Rochester, concert versions of both Gounod's Faust and Boito's Mefistofele with the Nauburg Concerts of New York, and a con- cert version of Fidelio at the Meadowbrook Music Festival. He makes his debut with the Boston Symphony Orchestra at these concerts.

1328 LESLIE GUINN, who was awarded in 1968 a special fellowship at the Berkshire Music Center and sang Der Mann in the Center's performance of Schoenberg's Die gluck- liche Hand, conducted by Erich Leinsdorf,

is a native of Texas. He began his formal voice training at Northwestern University. ci>? There he was heard by Lotte Lehmann, who invited him to study in Santa Barbara. After service in the US Army, during which he appeared as soloist with the Army Band and Chorus, and with the Washington National Symphony, he won the American Opera Auditions for performance in Italy. He has received a Martha Baird Rockefeller grant on three occasions, and from 1969 to 1971 was the Affiliate Artist at the Council of the Arts in Westchester County, New York, in an experimental program designed to build audi- ences outside the traditional concert setting. Now a teacher at the University of Michigan, Leslie Guinn gives frequent recitals, and has appeared with many major orchestras, among them the American Sym- phony, the Detroit Symphony, the Philadelphia, the Baltimore Symphony and the Los Angeles Philharmonic, with which he sang the West coast premiere of Britten's War requiem. He makes his debut with the Boston Symphony at these concerts.

THE CHORUS

THE HARVARD-RADCLIFFE COLLEGIUM MUSICUM was formed in the autumn of 1971 by F. John Adams, a doctoral candidate in music at Harvard. Dedicated to the performance of the finest music in the choral repertoire, the choir has given its debut concert and toured to Montreal in recent months. Sharing the office, the library and the conductor of the Harvard Glee Club and the Radcliffe Choral Society, the Collegium

Musicum is entirely student managed. The choir makes its first appear- ance with the Boston Symphony Orchestra at these concerts.

THANKS TO THE GENEROSITY OF SUBSCRIBERS WHO ARE UNABLE TO ATTEND THE CONCERTS OF THEIR SERIES AND WHO RELEASE THEIR SEATS, A LIMITED NUMBER OF TICKETS IS USUALLY AVAILABLE FOR EACH BOSTON SYMPHONY CONCERT. PLEASE TELEPHONE 266-1492 AND ASK FOR RESERVATIONS.

1329 SUMMARY OF THE SEASON 1971-1972

CONCERTS GIVEN IN THE SPECTRUM SERIES DURING THE SEASON 1971-1972

Program Date 1 October 8 & 9 2A January 7 2B January 8 3 March 31 & April 1

ALL CONCERTS WERE CONDUCTED BY MICHAEL TILSON THOMAS

WORKS PLAYED IN THE SPECTRUM SERIES Program BACH Cantata no. 4 'Christ lag in Todesbanden' 3 MALLORY WALKER tenor LESLIE GUINN baritone HARVARD-RADCLIFFE COLLEGIUM MUSICUM F. John Adams director

BARTOK Music for strings, percussion and celesta (1935)

DEL TREDICI Pop-pourri PHYLLIS BRYN-JULSON soprano HARVARD-RADCLIFFE COLLEGIUM MUSICUM F. John Adams director first performance in this version

DES PREZ La deploration de Jehan Okeghem HARVARD-RADCLIFFE COLLEGIUM MUSICUM F. John Adams director first performance at a concert of the Boston Symphony Orchestra

LISZT Hexameron for six pianos and orchestra RAYMOND LEWENTHAL GILBERT KALISH MARILYN NEELEY JOHN ATKINS ILANA VERED ANTONIO BARBOSA world premiere in this version

MESSIAEN Et exspecto resurrectionem mortuorum first performance in Boston

1330 MOZART Notturno in D for four orchestras K. 286 ARTHUR FIEDLER, JOSEPH SILVERSTEIN, HARRY ELLIS DICKSON assisting conductors

REICH Four organs STEVE REICH, MICHAEL TILSON THOMAS, NEWTON WAYLAND, AYRTON PINTO electric organs first performance in Boston

STRAVINSKY Symphonies of wind instruments 2A Introitus — T.S. Eliot in memoriam 2A MEN OF THE NEW ENGLAND CONSERVATORY CHORUS Lorna Cooke de Varon conductor first performance by the Boston Symphony Orchestra Requiem canticles 2A NEW ENGLAND CONSERVATORY CHORUS Lorna Cooke de Varon conductor first performance by the Boston Symphony Orchestra Le sacre du printemps (The rite of spring) 2A Scenes de ballet 2B Violin concerto in D 2B JOSEPH SILVERSTEIN Symphony of psalms 2B NEW ENGLAND CONSERVATORY CHORUS Lorna Cooke de Varon conductor

The following pieces, unannounced, were played at the Spectrum concerts:

GABRIELI Canzon septimi toni no. 2 1

STRAVINSKY Zvezdoliki 2A & B MEN OF THE NEW ENGLAND CONSERVATORY CHORUS Lorna Cooke de Varon conductor Fanfare for a new theatre 2B The owl and the pussycat 2B JOAN HELLER soprano MICHAEL TILSON THOMAS piano

The acoustics of Symphony Hall are as sensitive and beauti- ful as those of any other concert hall in the world. They are unfortunately as sensitive to coughing as to music. Patrons are earnestly requested, for the sake of their neighbors, to stifle their coughs to the quietest pianissimo.

1331 BOSTON POPS

EIGHTY-SEVENTH SEASON

OPENING TUESDAY NIGHT APRIL 25

&i^

r BOSTON

ARTHUR FIEDLER % MJ Conductor

April 25 - June 24

SYMPHONY HALL at 8.30

During the first week of the season, concerts will be held Tuesday through Sunday. Thereafter there will be concerts each Monday through Saturday.

The Pension Fund Concert will be on Sunday May 28.

Tickets will be placed on sale two weeks in advance of each concert After you visit Boston's major art museum* come across the street to Boston's major art gallery.

PAINTINGS • SCULPTURE* GRAPHICS by extraordinary young Boston and New York artists as well as major works by artists of international repute. PARKER STREET 4W

Parker Street 470 Gallery / 470 Parker Street, Boston opposite the Museum of Fine Arts / free parking

Ggutpriged ^ by degrees

The people who have bought our Condominiums at 30 St. Paul Street, Brookline, are an inter- esting bunch. Sixty percent of them have doctorates of one kind or another. What does it all mean? Who knows? What is important to them (and to us) is that for a relatively small invest- ment the buyer has a handsome two-bedroom suite with living room, kitchen and bath, deco- rated to individual taste. Maybe this is for you too — the convenience and security of an apartment, with all the advantages of real money savings and investment growth. If you buy our Condominium it will prove you're smart. You won't need an advanced degree. Drop in, noon to 4 Friday through Monday — or call 232-8224 and ask for Mr. Kinney. G §)t. Paul oJWailOlf 30 St Paul Street, Brookline, Ma. Sales and Management by Berman & Sons, Inc. Symphony Hall

Restaurants

1. Benihana of Tokyo 201 Stuart Street 542-1166

2. Boraschi 793 Boylston Street 536-6300

3. Cafe Amalfi 10 Westland Avenue 536-6396 4. Cafe Budapest 90 Exeter Street 734-3388 * 5. Cervantes 333 Newbury Street 536-2020

6. Charley's Eating and Drinking Saloon 344 Newbury Street 267-8645 : 7. Colonnade Hotel 120 Huntington Avenue 261-2800 Promenade Cafe/*Zachary's 8. Delmonico's 710 Boylston Street 536-5300

1 9. DuBarry 159 Newbury Street 262-2445 10. Fenway Motor Inn 1271 Boylston Street 267-8300 Kenmore Square 267-3100 11. Half-Shell 743 Boylston Street 536-2211 12. Joseph's 279 Dartmouth Street 266-1502 13. Kyoto 337 Massachusetts Avenue 536-9295 14. La Crepe 733 Boylston Street 267-1534 Copley Sq.

STUART ST

15. Locke-Ober Cafe 3 Winter Place 542-1340 16. Midtown Motor Inn 220 Huntington Avenue 262-1000 17. Nick's 100 Warrenton Street 482-0930 *18. Ritz Carlton 15 Arlington Street 536-5700 19. Sheraton-Boston Hotel 39 Dalton Street 236-2000 Cafe Riviera/Falstaff Room/Kon Tiki Ports 20. Sheraton-Plaza Hotel Copley Square 267-5300 Cafe Plaza/Copenhagen 21. Statler Hilton Hotel Park Square 426-2000 22. Symphony Sandwich Shop 252 Massachusetts Avenue 536-3068 Parking 247-9014 A. Auditorium Garage *23. Top of the Hub Prudential Center 536-1775 50 Dalton Street, Prudential Center *24. 57 Carver Street 57 Carver Street 423-5700 267-9875

Other Restaurants B. Colonnade Hotel 120 Huntington Avenue 261-2800 Admiralty Room 38 Comhill Street 742-9595 Park *Dini's 94 Tremont Street 227-0380 C. Fitz-lnn Auto 150 Huntington Avenue 262-8988 *Fenway Motor Inn 111 Memorial Drive, Cambridge 492-7777 D. Westland Garage 41 Westland Avenue 536-8862 *Five Chateaux 5 Cambridge Parkway, Cambridge 491-3600 *Maison Robert 45 School Street 227-3370 E. Prudential Center Garage *Maitre Jacques 10 Emerson Place 742-5480 Exeter Street and Huntington Avenue *Polcari's 283 Causeway 742-4142 267-2965

*See advertisement elsewhere in the program book zA legendary MExperience in Twining

at THE COLONNADE At the Prudential Center ^Boston s newest grand hotel 120 Huntington Avenue Boston, Massachusetts 02116 Garage parking in hotel for Reservations: 262-0600

MAITRE JACQUES Restaurant Francais 10 Emerson Place, Boston Lucien Robert Chef and owner

Live it up . . . way up at Stouffer's Top of the Hub. The view is totally Boston. The food, totally delicious. The cocktails, totally potent. Open daily 11:30 A.M. to 1 A.M. Sunday brunch 11 A.M. maison robert to 2:30 P.M. Dinner 4 to 9 P.M. Entertainment Monday through CUISINE FRANCHISE OLD CITY HALL Saturday. Call 536-1775. 45 SCHOOL STREET BOSTON, MASS.

227-3370 AND 227-3371

52nd Floor — Prudential Tower

1336 A fugue Dm Barry in eating French Restaurant and drinking

• Private dining room LUNCHEON 11:30 A.M. -3:30 P.M. • Open garden in summer DINNER 3:30 P.M. -1:00 A.M. • Fine selection of imported wines • Lunch and dinner TIL • Mon. thru Sat., Sun., 5-9 p.m. DRINKING 2:00 A.M. 159 Newbury Street/ Boston (near Copley Square & Prudential Center) 262-2445/247-8280 FREE VALET PARKING • LADIES INVITED 344 NEWBURY ST.. 266-3000

FOR INFORMATION ABOUT ADVERTISING SPACE AND RATES IN THE BOSTON SYMPHONY ORCHESTRA'S PROGRAMS CALL WILLIAM DORE AT MED1AREP CENTER INC., 1127 STATLER OFFICE BUILDING, BOSTON, MASSACHUSETTS 02116, TELEPHONE (617) 482-5233

The THE IMPOSSIBLE DREAM IN DINING i Restaurant 6EH}flNfE§ 200 Stuart Street. Luncheon and dinner from 1 1 :30 AM til Lunch 11:30 a.m. to 2:30 p.m. 2 AM. Open 12 noon Sun- days and holidays. Parking Dinner 6 p.m. to 12 p.m. for 1,000 cars. Function Reservations Requested 536-2020 rooms available. For reserva- St. tions call 423-5700. 333 Newbury — Boston — Ma. 02115

1337 This is where our Finance Committee meets, Fascinating, Mr Turbott. 1r Hastings The room dates Now gou tell me you're bach to 1695. It was part of in charge of the the first parish house. Church's investments? \ /

Have been for 18 gears

since before I retired from the bond Uh-ges Our expenses ...not guiteasmuch business. And, if I ...but things have dre up. Our income is in touch with the sag so, we've done well been more difficult down And I'm afraid market as before But... the last gear or two? that I'm not... well... gou retired. / /

Certainlg. You Know we Mr Hastings, I think we understand Er-whg I suppose keep up to date on each other. Now that gou're one of us, gou could sag that. Now, hundreds of issues I don't think gou'll want to miss our we're in some sound so we can advise our oak beams in the vestrg. common stocks and charitable trust customers

corporate bonds, but I We'd be glad to counsel 'd like verg wonder if uou people gou -or assume the much to see them, could just look at direction ofgour Mr Turbott. our portfolio... investments.

Where the man you talk to is New England Merchants National Bank

See Wendell Hastings in our Trust Department. New England Merchants Bank Building, 28 State St., Boston. Massachusetts 02109. Member FDIC. BOSTON SYMPHONY ORCHESTRA

NINETY-SECOND SEASON 1972-1973

SEIJI OZAWA Music Adviser

SPECTRUM CONCERTS

MICHAEL TILSON THOMAS conductor

THREE CONCERTS ON FRIDAY EVENINGS AT 8.30

THREE CONCERTS ON SATURDAY EVENINGS AT 8.30

Dates to be announced

Renewal cards to be mailed to subscribers in April

1339 CORPORATE BENEFACTORS OF THE BOSTON SYMPHONY ORCHESTRA

BOSTON EDISON COMPANY

WM FILENE'S SONS COMPANY

THE FIRST NATIONAL BANK OF BOSTON

THE GILLETTE COMPANY

JOHN HANCOCK MUTUAL LIFE INSURANCE COMPANY

MASSACHUSETTS PORT AUTHORITY

NEW ENGLAND MERCHANTS NATIONAL BANK

NEW ENGLAND MUTUAL LIFE INSURANCE COMPANY

NEW ENGLAND TELEPHONE AND TELEGRAPH COMPANY

POLAROID CORPORATION

RAYTHEON COMPANY

SEARS, ROEBUCK AND COMPANY

STANLEY HOME PRODUCTS INC. MUSICAL INSTRUCTIONS

IRMAROGELL HARPSICHORD

31 DEVON ROAD, NEWTON CENTRE, MASS. 332-9890

MINNIE WOLK KATE FRISKIN PIANIST and TEACHER Pianist and Teacher New Studio Location 8 Chauncy Street Cambridge, Massachusetts 108 Pel ham Hall 1284 Beacon St. Brookline, Mass., Tel: 232-2430 & 734-1734 ELiot 4-3891

EDNA NITKIN, M.MUS. PIANO Telephone: 88 EXETER STREET KEnmore 6-4062 COPLEY SQUARE, BOSTON

Voice Studios MARGOT WARNER, Soprano VOICE TECHNIQUE — REPERTOIRE June thi"ough August Summer and Winter 189 John Wise Avenue (Route 133) 2 Symphony Road Essex, Mass. 01929 Boston, Mass. 02115 (617) 768-6853 (617) 267-0332

assachusetts usic ducators ssociation

aking usic veryone s rt

FIT FOR LIFE Major In The Exercise Studio, 1230 Mass. Ave., Harvard Sq. Vd06 Performing Arts Unique boarding and day school opportunity for students interested in Music, Dance and Theatre as part of their secondary education. Full college preparatory curriculum provided in conjunction Come and get fit. No machines, with arts major. Individual musical instruction by no equipment. Just you. faculty provided by famed New England Conser- vatory of Music. Dance instruction (modern and Great way to relax. Individually- classical) offered in conjunction with apprentice opportunities with Boston Ballet and Concert tailored exercises. Meet people. Dance Company. Suburban campus accessible to Boston's artistic resources. Grades 9-12. Grades Music. Showers. Fun! 7 and 8 by arrangement. Write for free catalog. 36 Highland Street, Natick, Mass. 01760 FIT FOR LIFE 491-0665 Walnut Hill School

1341 1971-72 bo/ton university

) celebrity /erie/

Walter Pierce, Managing Director Mrs. Aaron Richmond, Consultant

SUN. APR. 9 at 4 • SYMPHONY HALL NETHERLANDS CHAMBER ORCHESTRA SZYMON GOLDBERG, Conductor and Violin Soloist

Bach, Brandenburg Concerto No. 3 in G Major; Mozart, Violin Concerto No. 5 in A Major, K. 219; Badings, Symphony; Haydn, Symphony No. 57 in D Major Tickets Now at Box-Office

FRI. EVE., APR. 14 at 8:30 P.M. SYMPHONY HALL PRESERVATION HALL JAZZ BAND Tickets Are Now on Sale at the Box-Office

FRI. EVE., APR. 21 at 8:30 P.M. SYMPHONY HALL CHICAGO SYMPHONY ORCHESTRA GEORG SOLTI, Conductor Schubert, Symphony No. 8 in B minor, D. 759 ("Unfinished"); Mahler, Symphony No. 5 in C sharp minor

Tickets on Sale at Box-Office

Coming in the 1972-73 BOSTON UNIVERSITY CELEBRITY SERIES Royal Philharmonic Orchestra of London Rudolf Kempe, Conductor Teiko Maeheshi, Violin Soloist London Symphony Orchestra Andre Previn, Conductor Israel Philharmonic Orchestra Zubin Mehta, Conductor

The listed orchestras are but three events of 35 music and dance attractions coming to Boston in the 1972-73 Boston University Celebrity Series. Current sub- scribers will receive the first announcement of the new series in mid-April. If you are not a subscriber, and wish to receive a brochure describing the new season in detail, write to Boston University Celebrity Series, Room 215, 420 Boylston St., Boston 02116. 80th Year The Vincent Club presents 'TAKE YOUR PICr an original musical production for the benefit of The Vincent Memorial Hospital April 11, 13, 14, 15 at 8:30 p.m. April 12 at 7:30 p.m. Saturday Matinee at 2:30 p.m. New England Life Hall.

Box Office, New England Life Hall open March 27 through April 15 Mondays through Fridays: 9:30 a.m. to 5 p.m. Telephone: 267-8085

OLD COLONY TRUST A DIVISION OF THE FIRST NATIONAL BANK OF BOSTON Quartet in F was written for strings, oboe, and

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