Boston Symphony Orchestra Concert Programs, Season 102, 1982-1983

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2 4 THE 'F I R ST NAME IN COGNAC SINCE 17 EXCLUSIVELY fINt CHAMPAGNE COGNAC f ROM T.H£ TWO BEST DISTRICTS Of THE COGNAC RESIGN

Sole U.S.A. Distributor Foreign Vintages, Inc. N.Y.,hl.Y.80 Proof. Seiji Ozawa, Music Director

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

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. P. Barger Mrs. John L. Grandin Irving W. Rabb Mrs. John M. Bradley David G. Mugar Mrs. George R. Rowland 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 P 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 Dhector Controller Acting Director of Promotion of Development Marc Solomon Arlene Germain Katherine Whitty Dhector, 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 PubUcations Coordinator Coordinator

1 Board of Overseers of the Boston Symphony Orchestra, Inc.

William J. Poorvu Chairman

William M. Crozier, Jr. Mrs. Lewis S. Dabney Vice-Chaiiman 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

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

a "Harrison, did you know that the dollar is now worth 31<£ and

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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. ENJOY THE CONVENIENCE OF YOUR FILENE CHARGE BSO

Earl Kim Receives Horblit Award from the BSO

The Boston Symphony Orchestra has awarded Earl Kim the Mark M. Horblit Award for distinguished composition by an American composer. This prestigious award, consisting of a cash prize of $5,000, has been presented only fifteen times previously since its incep- tion in 1947; past recipients have included Aaron Copland, Walter Piston, Leonard Bernstein, Gunther Schuller, Roger Sessions, and, most recently, in 1980, William Schu- man. The Horblit Award was established by the late Boston attorney Mark M. Horblit "to foster and promote the writing of symphonic compositions by composers resident in the

United States... in recognition of meritorious work in that field," in Horblit's own words. The Award Committee includes BSO Music Director Seiji Ozawa BSO Board President ; Darling, and Christoph Wolff, Chairman of the Harvard University Music Nelson J. Jr. ;

Department. "This is a great honor," responded Kim, when notified of the award last week. "I'm happy to accept this award. I'm looking forward to working with the Boston

Symphony, Seiji Ozawa, and the extraordinary violinist Itzhak Perlman." The concert version of Earl Kim's multi-media Exercises en Route will be featured on the Boston Symphony Chamber Players' program this Sunday afternoon, 6 March at 4 p.m. in Jordan Hall.

Coming Next Week: THE 1983 BSO/WCRB MUSICAL MARATHON!!

DO YOU KNOW that the BSO/WCRB Musical Marathon is one of the most important fundraising events of the year for the Boston Symphony Orchestra? And that this year's BSO/WCRB Musical Marathon will take place Friday through Sunday, 11-12-13 March?

This is the thirteenth annual BSO/WCRB Musical Marathon, sponsored by the Council of the Boston Symphony Orchestra, the BSO's major volunteer fundraising group, and WCRB-102.5-FM. Next weekend will bring three days of round-the-clock

broadcasting anchored and produced by WCRB's Richard L. Kaye. Coverage includes live interviews with members of the Boston Symphony and celebrity guests interspersed with musical selections of historic Boston Symphony recordings. Co-hosts include William Pierce, the "radio voice" of the BSO Robert Conrad, the voice of the Cleveland Orchestra; ; and WCRB personalities Dave MacNeill, Dave Tucker, Peter Ross, and Janice Gray. WCRB-102.5-FM will broadcast the entire event live from Symphony Hall and Quincy Market, where a Musical Marathon Pledge Booth will be located in the Quincy Market rotunda at Faneuil Hall Marketplace, and where a series of jazz and classical performances and appearances by special guest celebrities will take place. A highlight of this year's Marathon will be a live televised performance featuring the Boston Symphony Orchestra, Seiji Ozawa, Music Director, and the Boston Pops, John Williams, Conductor,

from 5:30 to 8 p.m. on WCVB-TV-Channel 5. Hosts for this broadcast will be Channel 5's Natalie Jacobson, Chet Curtis, and Frank Avruch. Gene Shalit of the "Today" Show will be a special guest.

The Boston Symphony Orchestra is offering hundreds of unusual gift premiums this year, ranging from a $15 Teddy Bear wearing a hand-knit BSO sweater to a $5,000 ninety- minute chamber music concert by the Empire Brass Quintet. Many of this year's premiums are musical gifts from BSO members. Concertmaster Joseph Silverstein offers a recital of violin music to benefit your favorite charity. Principal flute Doriot Anthony Dwyer offers a repeat performance of her gala recital program celebrating her thirtieth anniversary with the orchestra. Principal bass Edwin Barker and BSO violinists Joel Smirnoff and Jerome Rosen are among the other orchestra members offering a wide variety of live appearances. Again this year, the opportunity to conduct the Boston Pops in The Stars and Stripes Forever will go to the highest bidder above $2,500.

More than 600 volunteers under the sponsorship of the Council of the Boston Symphony Orchestra participate in the planning and production of the BSO/WCRB

Musical Marathon. If you have not already received your Marathon Premium Catalog in the mail, please call Symphony Hall, (617) 266-1492. Throughout the three-day event, pledges for premiums can be made at Symphony Hall, at Faneuil Hall Marketplace, or by calling (617) 262-8700. The toll-free number for Cape Cod and Western Massachusetts is 1-800-952-7410. The toll-free number for New Hampshire, Vermont, Rhode Island,

Connecticut, New York, and New Jersey is 1-800-225-7660.

Help us reach this year's Marathon goal of $300,000. LISTEN to WCRB-102.5-FM Friday, Saturday, and Sunday, 11-12-13 March. WATCH WCVBTVChannel 5 on Sunday, 13 March, from 5:30 to 8 p.m. TELL YOUR FRIENDS to call (617) 262-8700 and PLEDGE, PLEDGE, PLEDGE!!

The 1983 BSO/WCRB Musical Marathon has been partially funded by New England Telephone.

BSO and Pops Recording Honors

The Hollywood Foreign Press Association has presented its annual Golden Globe Award in the category of Best Original Musical Score to John Williams for his film score for "E.T (the Extra-Terrestrial)." Mr. Williams has also been nominated for four Grammy awards for the same score, in the categories of Best Album of an Original Score Written for a Motion Picture or Television Special, Best Instrumental Composition (the "Flying Theme"), Best Arrangement (again for the "Flying Theme"), and Best Pop Instrumental Performance.

Two Boston Symphony recordings have been nominated for Grammy awards in the category of Best Classical Performance by an Instrumental Soloist or Soloists with Orchestra: pianist Rudolf Serkin has been nominated for his performance of Beethoven's

Fourth Piano Concerto with Seiji Ozawa and the BSO on Telarc, and concertmaster Joseph Silverstein has been nominated for his performance in Vivaldi's Four Seasons also under the direction of Seiji Ozawa on Telarc.

BSO Members in Concert

The Civic Symphony Orchestra of Boston, under its Music Director Max Hobart, will perform music of Mozart, Hovhaness, Mendelssohn, and Berlioz in Jordan Hall on Friday, 4 March at 8:30 p.m. Included on the program are the Mendelssohn Violin Concerto with Alexander Romanul and the Berlioz Symphonie fantastique. For ticket information, please call the Jordan Hall box office at 536-2412.

Conductor Ronald Knudsen leads the Newton Symphony Orchestra on Tuesday, 8 March at 8 p.m. at the Boston College Theater Arts Center. BSO principal clarinetist Harold Wright will perform the Mozart Clarinet Concerto, and the concert will close with Tchaikovsky's Pathetique Symphony. For additional information, please call 965-2555.

The North Shore Philharmonic, Max Hobart Music Director and Conductor, performs at Salem High School Auditorium on Sunday, 13 March at 2:30 p.m. The program includes Cimarosa's Concerto for two oboes, the Schumann Conzertstuck for four horns and orchestra, and Tchaikovsky's Pathetique Symphony. Soloists in the Schumann are BSO horn players Charles Kavalovski, Richard Sebring, Daniel Katzen, and Richard Mackey.

BSO cellist Luis Leguia, who gave a recital at the Library of Congress on 7 January, will tour Portugal and Spain between 20 February and 1 March. His itinerary includes trio and solo performances in Lisbon, unaccompanied recitals in Porto and Madrid, and master classes. Featured on his program will be the Poeme for cello and piano by the American composer Charles Martin Loeffler, who was assistant concert-master of the Boston Sym- phony Orchestra from 1882 until 1903.

Gelbloom Scholarship Fund Concert

A gala concert will be held on Friday, 4 March 1983 at 8 p.m. at the Longy School of Music in Cambridge to benefit the Gerald Gelbloom Scholarship Fund. Gerald Gelbloom was a violinist with the Boston Symphony Orchestra and the Boston Pops for twenty-one years until his unexpected death last June. Featured will be performances by Joseph Silverstein, Roman Totenberg, and members of the Boston Symphony Orchestra in music by Bach, Vivaldi, Mozart, and Beethoven. The performance will be followed by a wine-tasting and a reception. Tickets for this gala may be obtained by sending a tax-

deductible contribution of $50 to the Gerald Gelbloom Scholarship Fund, Development . Office, Symphony Hall, Boston, MA 02115. 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 next month.

Silverstein Named to Utah Symphony Post

The Board of the Utah Symphony has recently announced the appointment of BSO concertmaster Joseph Silverstein as artistic director of that orchestra effective 29 August 1983. The one-year appointment, which will not affect his BSO commitments for

1983-84, is renewable upon mutual consent, with the possibility that Silverstein will be named music director of the Utah Symphony beginning with the 1984-85 season. Silverstein has been a member of the BSO since 1955 he became concertmaster in 1962 ; and was named assistant conductor in 1971. He is also first violinist and music director of the Boston Symphony Chamber Players, chairman of the faculty of the Berkshire Music Center, and adjunct professor of music at Boston University. He also serves as music director of the Worcester Symphony and as principal guest conductor of the Baltimore Symphony Orchestra.

7 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 attention 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 concerts 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 Gurrelieder, 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 Zarathustia, Stravinsky's study, and discussion sessions with Chinese he Sacre du printemps, 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.

SOB 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 Violas Pasquale Cardillo Burton Fine Peter Hadcock

Charles S. Dana chair E-flat Clarinet

Patricia McCarty Mrs. David Stoneman chair Bass Clarinet Ronald Wilkison Craig Nordstrom Robert Barnes Bassoons Jerome Lipson Sherman Walt Bernard Kadinoff Edward A. Taft chaii Joseph Pietropaolo Music Directorship endowed by Roland Small Michael Zaretsky John Moors Cabot Matthew Ruggiero Marc Jeanneret BOSTON SYMPHONY * Betty Benthin Contrabassoon ORCHESTRA * Lila Brown Richard Plaster * Mark Ludwig 1982/83 Horns First Violins Cellos Charles Kavalovski Helen Sagoff Slosbeig chair Joseph Silverstein Jules Eskin Concertmastei Philip R Allen chair Richard Sebring Charles Munch chaii Daniel Katzen Martha Babcock Emanuel Borok Vernon and Marion Alden chair Richard Mackey Assistant Concertmastei Mischa Nieland Jay Wadenpfuhl Helen Homer Mclntyre chair Esther S. and Joseph M. Shapiro chair Charles Yancich Max Hobart Jerome Patterson Robert L Beal, and Trumpets Robert Ripley Enid and Bruce A. Beal chair Charles Schlueter Luis Leguia Cecylia Arzewski Roger Louis Voisin chat Carol Procter Edward and Bertha C Rose chair Andre Come * Ronald Feldman Bo Youp Hwang Timothy Morrison * John and Dorothy Wilson chair Joel Moerschel * Max Winder Jonathan Miller Trombones Ronald Barron Harry Dickson P. and B. Basses J. Mary Barger chat Forrest F Collier chat Edwin Barker Norman Bolter Gottfried Wilfinger Harold D. Hodgkinson chair Gordon Hallberg Fredy Ostrovsky Lawrence Wolfe Leo Panasevich Joseph Hearne Tuba Carolyn and George Rowland chair Bela Wurtzler Chester Schmitz Margaret and William C. Rousseau chat Sheldon Rotenberg Leslie Martin Alfred Schneider John Salkowski Timpani Raymond Sird John Barwicki Everett Firth Ikuko Mizuno Robert Olson Sylvia Shippen Wells chat Amnon Levy Flutes Percussion Second Violins Doriot Anthony Dwyer Charles Smith Marylou Speaker Churchill Walter Piston chair Fahnestock chat Arthur Press Fenwick Smith Assistant Timpanist Vyacheslav Uritsky Mr. and Mrs. Robert K. Kraft chair Charlotte and Irving W Rabb chair Thomas Gauger Frank Epstein Ronald Knudsen Piccolo Joseph McGauley Lois Schaefer Harp Leonard Moss Evelyn and Charles Marran chair C Ann Hobson Pilot Laszlo Nagy Michael Vitale Oboes Personnel Managers : Harvey Seigel Ralph Gomberg William Moyer Jerome Rosen Mildred B. Remis chair Harry Shapiro Sheila Fiekowsky Wayne Rapier Gerald Elias Librarians Alfred Genovese Ronan Lefkowitz Victor Alpert Nancy Bracken William Shisler English Horn Joel Smirnoff James Harper Laurence Thorstenberg Jennie Shames Phyllis Knight Beranek chaii Nisanne Lowe Stage Manager Aza Raykhtsaum Alfred Robison Clarinets Participating in a system of rotated seating Harold Wright Stage Coordinator 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 concerts 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 contemporary 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 THE BSO SALUTES BUSINESS:

PRESIDENTS Presidents Dinner Monday, May 9, 1983 Presidents at Pops Concert Tuesday, June 21, 1983 -' conducted 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 & 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 Momingstar 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 President Eastern Gas & Fuel Associates William J. Pruyn 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 Hatoffs 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 & 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.

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'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, 3 March at 8

SEIJI OZAWA conducting

ROSSINI Overture to La Cenerentola

STARER Concerto for Violin and Orchestra (world premiere given by the Boston Symphony Orchestra on 15 October 1981)

Allegro Lento—Andante—Lento Allegro moderato— Presto leggiero ITZHAK PERLMAN

The Boston Symphony Orchestra and Itzhak Perlman will record Robert Starer's Concerto for Violin and Orchestra for Angel/EMI records. This recording has been funded in part by generous grants from the National Endowment for the Arts and the American Express Foundation.

INTERMISSION

Tonight's concert will end about 9:50.

Philips, Telarc, CBS, Deutsche Grammophon, and RCA records

Baldwin piano

16 STRAVINSKY The Firebird (complete score of 191 1)

Introduction Scene L Kashchei's Enchanted Garden Appearance of the Firebird Pursued by Ivan Tsarevich Dance of the Firebird Ivan Tsarevich Captures the Firebird Supplication of the Firebird Appearance of Thirteen Enchanted Princesses The Princesses' Game with the Golden Apples (Scherzo) Sudden Appearance of Ivan Tsarevich The Princesses' Khorovod (Round Dance) Daybreak Ivan Tsarevich Penetrates the Palace of Kashchei Magic Carillon,- Appearance of Kashchei's Guardian Monsters; Capture of Ivan Tsarevich Arrival of Kashchei the Immortal; His Dialogue with Ivan Tsarevich; Intercession of the Princesses Appearance of the Firebird Dance of Kashchei's Retinue under the Firebird's Spell

Infernal Dance of all Kashchei's Subjects Lullaby (Firebird) Kashchei's Death

Scene II : Disappearance of the Palace and Dissolution of Kashchei's Enchantments,- Animation of the Petrified Warriors General Thanksgiving

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

17 Week 17 BOSTON SYMPHONY ORCHESTRA

Seiji Ozawa, Music Director

Sir Colin Davis, Principal Guest Conductor

Joseph Silverstein, Assistant Conductor One Hundred and Second Season, 1982-83

Friday, 4 March at 2 Saturday, 5 March at 8

SEIJI OZAWA conducting

ROSSINI Overture to La Cenerentola

KIM Violin Concerto

Parti Introduction: Adagio molto sostenuto

Variation 1 : Con forza

Variation 2-. Poco scherzando

Episode 1 : Lento assai, cantante e tranquillo Episode 2 (Cadenza): Allegro

Part II Introduction: Andante Episode: Adagio ma non troppo, con affetto Finale: Allegro molto

(played without pause) ITZHAK PERLMAN

The Boston Symphony Orchestra and Itzhak Perlman will record Earl Kim's Violin Concerto for Angel/EMI records. This recording has been funded in part by generous grants from the National Endowment for the Arts and the American Express Foundation.

INTERMISSION

Friday's concert will end about 3:50 and Saturday's about 9:50.

Philips, Telarc, CBS, Deutsche Grammophon, and RCA records

Baldwin piano

18 mm

BOSTON SYMPHONY

L ORCHESTRA

SEIJI OZAWA J$

tl/rj Mujtc Director ja A/ 91

^-xJ5> *S^

STRAVINSKY The Firebird (complete score of 191 1)

Dance of Kashchei's Retinue under the Firebird's Spell

Infernal Dance of all Kashchei's Subjects Lullaby (Firebird) Kashchei's Death

Scene II : Disappearance of the Palace and Dissolution of Kashchei's Enchantments,- Animation of the Petrified Warriors General Thanksgiving

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

The program books for the Friday series are given in loving memory of Mrs. Hugh Bancroft by her daughters Mrs. A. Werk Cook and the late Mrs. William C. Cox.

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20 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, 3 March at 8 Friday, 4 March at 2 Saturday, 5 March at 8

Seiji Ozawa is ill and Joseph Silverstein will conduct these concerts. The program at each of these concerts remains unchanged.

Joseph Silverstein

This year, Joseph Silverstein celebrates his Soviet Union, Germany, and England, as well twentieth anniversary as concertmaster of the as a fourteen-concert European tour in May of Boston Symphony Orchestra. He joined the 1980 and their recent fifteen-city American BSO in 1955 at the age of twenty-three, became tour. He has participated with the Chamber concertmaster in 1962, and was named assistant Players in recordings for RCA and Deutsche conductor at the beginning of the 1971-72 Grammophon, he has recorded works of Mrs. season. Born in Detroit, he began his musical H.H.A. Beach and Arthur Foote for New studies with his father, a violin teacher, and World records with pianist Gilbert Kalish, and later attended the Curtis Institute in Phila- his recording of the Grieg violin sonatas with delphia,- among his teachers were Josef pianist Harriet Shirvan is available from Gingold, Mischa Mischakoff, and Efrem Sound Environment Recording Corporation. Zimbalist. In 1959 he was a winner of the He has also recently recorded Vivaldi's Four Queen Elizabeth of Belgium International Seasons with the Boston Symphony Orchestra Competition, and in 1960 he won the Walter for Telarc records. W Naumburg Award. Mr. Silverstein has Mr. Silverstein is chairman of the faculty of appeared as soloist with the orchestra of Den- the Berkshire Music Center at Tanglewood ver, Detroit, Los Angeles, New York, Indiana- and adjunct professor of music at Boston Uni- polis, Milwaukee, Philadelphia, and Rochester versity. In the fall of 1976 he led the Boston in this country, and abroad in Geneva, Jeru- University Orchestra to a silver medal prize in salem, and Brussels. He appears regularly as the Herbert von Karajan Youth Orchestra soloist with the Boston Symphony, and he con- Competition in Berlin, and for the 1979-80 ducts the orchestra frequently in Symphony season he was interim music director of the Hall and at Tanglewood. He has also con- Toledo Symphony. Mr. Silverstein is music ducted, among others, the Los Angeles Philhar- director of the Worcester Symphony and prin- monic, the Rochester Philharmonic, and the cipal guest conductor of the Baltimore Sym- Jerusalem Symphony. phony Orchestra. Next season, while still

As first violinist and music director of the maintaining his BSO commitments, he Boston Symphony Chamber Players, Joseph becomes artistic director of the Utah Sym- Silverstein led that group's 1967 tour to the phony Orchestra.

no BBS

^^H(jSradnn Gioacchino Rossini Overture to La Cenerentola

Gioacchino Antonio Rossini was born in

Pesaro, Italy, on 29 February 1792 and died at Passy, near Paris, on 13 November 1868. He began his opera buffa La Cenerentola, ossia La bonta in trionfo ("Cinderella, or Goodness Triumphant")

on 25 December 1816; it was first performed in Rome at the Teatro Valle one month later, on 25 January 1817. The

opera received its first American performance in Philadelphia on 26 June 1826,

when it was given by the Garcia Troupe and an orchestra of twenty-two instruments conducted by one N. de Luce; the following night the same forces performed the work at the Park Theatre in New York. The present performances of the overture are the first by the Boston Symphony Orchestra. The score calls for two flutes and piccolo, two each of oboes, clarinets, bassoons, horns, and trumpets, one trombone, timpani, bass drum, and strings.

How many Rossini operas there are that the average music-lover knows today only by

their overtures! And how ironic Rossini would have found that fact! First of all, because his overtures were sometimes shuffled from one opera to another, so slight was their connection with the drama to follow. And in any case, he soon gave up writing overtures altogether, choosing instead to begin many of his operas only with an "Introduzione," an

extended orchestral prelude leading directly to the first scene, but not in any sense self- sufficient. There are even spurious overtures cooked up by third-rate hacks at the behest of operatic managements determined to begin the evening with an overture, regardless of the composer's wishes. (In such cases, the "overture" was usually a potpourri of music,

generally drawn from the finale and other big moments of the score.) It is well known

that The Barber of Seville, one of the greatest of comic operas, is performed all over the world with an overture that had already served Rossini twice for serious operas. La Cenerentola, too, has a borrowed overture, though one that at least comes from another

opera buffa.

The Barber of Seville had premiered at the Teatro Valle in Rome in February 1816, and

despite the ambivalence with which it was at first greeted by audiences, the theater

management promptly offered Rossini a contract for another opera buffa, which was to be ready for the opening night of that year's Carnival season (the period running from the day after Christmas to the beginning of Lent). He would be required to accept whatever libretto was handed him, and, in the custom of the day, might be called upon to recom- pose any portion of his score to suit the whims of prima donnas or the theater management's casting choices (which usually meant that secondary roles could not be too difficult, because the manager did not want to have to hire expensive singers to play them).

In the meantime, Rossini went to Naples, where he produced two operas in the fall of 1816: La gazzetta in the Teatro dei Fiorentini on 26 September and Otello in the Teatro

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dw del Fondo on 4 December. This latter production detained him in Naples so long that he only arrived in Rome by the middle of December, clearly unready to produce an opera on the 26th. But delays would have come in any case. His chosen librettist, Jacopo Ferretti, had written a comedy based on a French farce,- the Roman censors found it obscene and demanded changes (Rome was still under the direct rule of the Pope, and Church censorship was, if anything, more potent on questions of theatrical "morality" than the politi- cal censorship that bedeviled Milan—under Austrian control — or Naples— under the Spanish-dominated Kingdom of the Two Sicilies). The changes seemed impossible to make, and the subject was abandoned.

Rossini and Ferretti tried to come up with a new subject and somehow hit upon Cinderella. Ferretti wrote the words to the opening on Christmas Day, and Rossini set to work at once on the music, composing each scene as it arrived from the hands of his librettist. (Two minor musical numbers and quite possibly the recitative as well were composed by someone other than Rossini.) The entire opera was finished within three weeks and put on the stage just a month after the first notion had occurred to the collaborators.

Naturally, with so much work to do just finishing the opera, Rossini saw no reason to write an overture, too. After all he could simply draw from the works performed a few months earlier in Naples and still unknown in Rome. Thus it was that the overture originally composed for La gazzetta became firmly connected to an opera that proved a much greater hit, La Cenerentola. Rossini's autograph manuscript of the score (now in the Accademia Filarmonica in Bologna) shows this clearly: the overture is not even copied out in full. A copyist had simply written out the bass line of the entire overture Brewer &. Lord?

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24 onto a sheet that precedes the rest of the score. That was enough to allow Rossini to play along while directing from the keyboard, as his contract required him to do for the first three performances.

Since the overture bears no connection, musically or dramatically with the opera to follow, there is no need to expand here upon the ways that Ferretti's libretto diverges from the traditional fairy tale or to discuss the opera as a kind of midpoint between the early buffo farces (such as L'italiana in Algieri) and later works which begin to take on the elements of romantic comedy. It is, nonetheless, a typically brilliant example of the

Rossini overture, with its slow introduction to establish the tonality (here beginning softly with fortissimo punctuations from the full orchestra). The main part of the overture, in a fast tempo, begins with a little fanfare-like theme in the strings; a pensive answer in the minor mode is followed by a lightning return to the major and a dynamic move to the dominant key hammered out by the full orchestra. A little hesitant song in the clarinet soon returns with a little more confidence and bravura and leads into the extended crescendo that is one of Rossini's trademarks. A very short modulation leads back to the home key and a restatement of the opening passage. A sudden harmonic leap seems about to take us far from home, but it is only a momentary jolt by way of compen- sation for remaining in the home key. The little hesitant song (now entrusted to the flute) and a return of the crescendo bring the overture to its brilliant end.

—Steven Ledbetter

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ZjSssi Robert Starer Concerto for Violin and Orchestra

Robert Starer was born in Vienna on 8 January 1924 and lives in Woodstock, New York. He composed his Concerto for Violin and Orchestra during the winter of 1979-80. Itzhak Perlman was the solo-

ist in the world premiere performances,

given in Symphony Hall on 15, 16, and 11 October 1981 with the Boston Symphony

Orchestra directed by Seiji Ozawa. In addition to the violin soloist, the score of

Starer' s violin concerto calls for an orchestra of two flutes (second doubling piccolo), two oboes, two clarinets, two bassoons, two horns, two trumpets, two trombones, timpani, snare drum, tenor drum, bass drum, three suspended cymbals, tambourine, triangle, gong, wood block, two temple blocks, three bongos, xylophone, vibraphone, and strings.

Robert Starer's musical life began with piano lessons in his native Vienna at the age of four when he was thirteen he entered the State Academy of Music in Vienna, but a year ; later he moved to Jerusalem, where he continued his studies at the Jerusalem Conservato- ry. Following wartime service in the British Royal Air Force, Starer came to the United States in 1947 to study at the Juilliard School on a post-graduate fellowship. He spent the summer of 1948 as a composition student of Aaron Copland at Tanglewood, and he was awarded his diploma from Juilliard in 1949. Thereafter he remained in the United States, becoming an American citizen in 1957. He taught at Brooklyn College of the City

University of New York and is now a Professor of Music there. He has written music in virtually every medium, including three operas, ballets for Martha Graham, Herbert Ross, and Anna Sokolov, choral works with and without orchestra, symphonies and concertos, and a wide variety of chamber music. Robert Starer's music is directly expressive and dramatic in quality, with melodic lines that are poignantly lyrical. He composed his violin concerto expressly for Itzhak Perlman.

-S.L.

The composer has supplied the following note on his score.-

Every composer should write at least one violin concerto in his lifetime, and he should write it for a violinist whose playing he truly admires. For me that violinist is Itzhak Perlman, whose sound seems to emanate directly from his soul. Itzhak Perlman was born in a place in which I spent my formative years (1938-47), and in writing this work for him I tried to draw on that in myself which is part of our heritage in common.

The concerto opens with some straightforward chords. The main theme has a slight near-Eastern flavor with its grace notes, as does the more lyrical second idea. After a brief return to the opening music, the violin breaks into a rhapsodic passage, more in the improvisatory manner of the Eastern European fiddler. It is accompanied only by drums and sharp interjectory chords of the orchestra. A similar section occurs near the end of the movement.

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28 In the second movement the violin is at first accompanied only by timpani and the gentler percussion instruments, various cymbals and the vibraphone. This grows into a long melody, the kind one should only write for the violin. It is accompanied by solo strings. In the middle there is a dialogue between the soloist and the brass section. The movement fades into gentle clusters.

The last movement has a recurring main theme and a number of different interposed sections. The first of those is quite martial, the next is in very fast five-time with a

repetitive accompanying figure. There is also an interlude, somewhat slower, with a touch of Viennese elegance, and after a brief cadenza the concerto comes to a virtuoso close.

—Robert Starer

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30 Earl Kim Violin Concerto

Earl Kim was born in Dinuba, California,

on 6 January 1920; he is living in Cam- bridge, Massachusetts. He began sketching the Violin Concerto in mid- 1978 and completed the score on

4 October 1979. Its composition was supported in part by a grant from the National Endowment for the Arts. The

work is dedicated to ltzhak Perlman, who played the world premiere with the New York Philharmonic, Zubin Mehta conducting, on 25 October 1979. The

present performances are the first by the Boston Symphony Orchestra, and the

first in Boston. In addition to the solo violin, the score calls for three flutes (third doubling piccolo), two oboes, three clarinets (third doubling bass clarinet), two bassoons, three horns, three trumpets, three trombones, suspended cymbals, high conga drum, small bass drum, covered drum, bells, glockenspiel, tam-tam, high claves, celesta, harp, and strings.

Earl Kim is a Californian by birth and training. He studied composition with two of this century's greatest teachers, both of whom happened then to be in his home state: Arnold Schoenberg at UCLA (in 1940-41), and Roger Sessions at Berkeley (from 1947 to 1952). Of his teachers, Kim has commented:

It was not only their music but their attitude to music that had a profound effect on me, especially their utter dedication to the idea of music as an extraordinarily

important human expression and the responsibility they inspired one to feel toward one's materials.

Following his student years, Earl Kim taught at Princeton University from 1952 to

1967, in which year he moved to Harvard, where he is now the James Edward Ditson Professor of Music. In addition to being active as a conductor and ensemble pianist (especially with singers), he has received numerous grants and awards for his work as a composer. These have included commissions from the Fromm, Guggenheim, Kousse- vitzky, and Naumburg foundations as well as the University of Chicago, the Hartford Symphony and Boston University (for the Empire Brass Quintet). Awards have included the Prix de Paris, the National Institute of Arts and Letters Award, and the Brandeis Creative Arts Award. Last week, the Boston Symphony announced that Earl Kim will receive, at the time of these concerts, the Mark Horblit Award given by the BSO from time to time to an American composer for lifetime achievement.

Many of Earl Kim's works are music/theater pieces, often settings of texts by Samuel

Beckett, to whom he is particularly drawn, and whose words he has expressed in particularly evocative music. One such work, involving mixed media (film, dancers, and three actresses, as well as a singer and instrumentalists), is Exercises en Route of 1970,- a concert version, introduced at the Marlboro Festival last summer, will be performed by

Benita Valente and the Boston Symphony Chamber Players this Sunday afternoon at Jordan Hall. Another elaborate work of this type, Narratives, performed in Cambridge in

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^MasHSt 1979, also draws its texts from Beckett; it calls for an actress, a high soprano, a televised actor, chamber ensemble, and lights. The last section of the piece, Earthlight, has received a number of performances and has been recorded. Its premiere fell in the period when Kim was composing the Violin Concerto.

The concerto itself has led to a further work for Itzhak Perlman, Caprices for solo violin, composed in 1980 and performed at Avery Fisher Hall last December. And following the Caprices, Kim returned to Beckett to write a short opera, Footfalls, based on a play of the same title. It had a workshop performance in Cambridge in 1981.

August 1981 saw the composition of the most recent work of Earl Kim's to be performed in Symphony Hall. It was a deeply felt, though long-delayed, outgrowth of his experiences in the Second World War, in which he served as a combat intelligence officer with the U.S. Army Air Force. As such, he was assigned to fly over Nagasaki on 10 August 1945—twenty-four hours after the atomic bomb was dropped on the city—to observe the damage. That experience could not fail to have a powerful effect on him, one that was to express itself specifically in a musical composition thirty-six years later in a song cycle entitled Now and Then for soprano, viola, flute, and harp, with texts by

Beckett, Anton Chekhov, and William Butler Yeats. Given its world premiere in Chicago in January 1982, it was heard here in February and has since been performed in Tokyo and Nagasaki, at Tanglewood last August, and elsewhere. His most recent composition, just completed, is a song cycle for soprano, harp, and string orchestra entitled Where Grief

Slumbers-, it consists of settings from the poetry of Apollinaire and Rimbaud in English translation.

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Please feel free to visit or call for further information Owned and Managed by Astor & McGregor (617) 542-0573 Kim was a vocal coach for many years. He worked with soprano Bethany Beardslee and appeared with her in recital as her accompanist. Certainly his extensive experience with vocal music—as composer, performer, and coach—has played some role in his lyric conception of the solo part for his Violin Concerto. He has said that one of his most valuable early experiences was the opportunity to coach Susanna in a production of Mozart's The Marriage of Figaro. "I'm always studying Mozart. He's been a constant

source of inspiration to me : in his music everything is critical, everything counts,

nothing is wasted." His own music is notable for its carefully refined finish, for the sense

that every note, every sound is somehow tangible. An extended section of a composition—such as Earthlight or the opening pages of the Violin Concerto—may be based on only three pitches (in the case of the concerto, C, D, and F-sharp), a tiny cell that some-

how comes to life in its imaginatively varied presentations, through changes in register, orchestral color, rhythmic placement, and type of attack. As Kim himself explains below,

he is dubious about the usefulness of descriptive program notes to a listener who is about to encounter a new composition. For the world premiere, he allowed himself to be persuaded to write a fairly extensive description of the events in the score, but second thoughts have supervened. He would rather that you concentrate totally on the music itself, and not divide your attention in any attempt to follow printed verbal cues during the performance.

-S.L.

The composer has supplied the following remarks for these performances:

Much of my music belongs within the vocal/dramatic tradition, not only because of its connection with the human voice, but also because of its connection with words and narratives. This concerto is no exception— the violin replaces the voice, and the scenario derives from Joyce and Beckett.

I am reluctant to attempt a specific description of the concerto, since it may be more

misleading than helpful. So often, I find program notes, especially those for contemporary music, to be intimidatingly complex or so technical that they are boring,- and certainly a compilation of musical signposts which, if recognized, are cause for celebra- tion and mutual congratulation is hardly a justification for program notes—or, for that matter, musical performances.

Why not just listen? Perhaps we may be surprised, puzzled, moved, alarmed, rewarded, offended, excited, or whatever,- but we will have listened, and that is a compliment that every composer hopes for. The rest is the rest.

The concerto was written for Itzhak Perlman, whose performances are for me a continuing source of joy and inspiration.

—Earl Kim

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36 Igor Stravinsky The Firebird

Igor Stravinsky was born at Oranien- baum, Russia, on 27 June 1882 and died in New York on 6 April 1971. He began composition of The Firebird in early November 1909 at a "dacha" of the

Rimsky-Korsakov family near St. Peters-

burg. He completed the score in the city, finishing the actual composition in

March and the full score a month later; following some further retouching, the final score bears the date 18 May 1910. Commissioned by Diaghilev as a ballet in

two scenes, the work was first performed by the Ballets Russes at the Paris Opera on 25 June 1910, with a cast including Tamara Karsavina (the Firebird), Michel Fokine (Prince Ivan), Vera Fokina (the Tsarevna), and Alexis Bulgakov (Kashchei); Gabriel Pierne conducted. The scenario was by Fokine in collaboration with Diaghilev and his staff; Fokine also created the choreography. Alexandre Golovine designed the settings, Golovine and Leon Bakst the costumes.

The score is dedicated to Andrei Rimsky-Korsakov, the son of the composer Nikolay, who had been Stravinsky's teacher. The American premiere of the ballet was given by the Ballets Russes at the Century Theatre in New York on 17 January 1916. Stravinsky made suites from the ballet on three separate occasions, the first in 1911 (employing virtually the original orchestration), the second in 1919 (for a much smaller orchestra), and the third in 1945 (using the same orchestra as the second but containing more music). Pierre

Monteux led the first Boston Symphony Orchestra performance of the 1911 suite on 31

October 1919, and Stravinsky himself conducted the first BSO performance of the second suite on 14 March 1935. Other conductors to have performed one or another of the suites here include Serge Koussevitzky, Andre Kostelanetz, Leonard Bernstein, Jean Martinon, Thomas Schippers, Robert Shaw, William Steinberg Erich Leinsdorf, Eugene Ormandy,

Max Rudolf, Seiji Ozawa, Josef Krips, and Daniel Barenboim. Michael Tilson Thomas led the most recent performance of one of the suites (the 1919 version) at Tanglewood in

1973. The first Boston Symphony performances of the complete score were given by Seiji

Ozawa on 15 and 16 March 197 4; he has also led all of the BSO's performances since then—at Tanglewood that same year, in February 1976 and on a European tour immedi- ately afterward, and at Tanglewood in July 1982.

Stravinsky's precise instrumentation of the original score (even specifying the exact number of string instruments) calls for two piccolos (second doubling as third flute) and two flutes, three oboes and English horn, three clarinets (third doubling a clarinet in D) and bass clarinet, three bassoons (third doubling a second contrabassoon) and contrabassoon, four horns, three trumpets, three trombones and tuba, timpani, triangle, tambourine, cymbals, bass drum, tam-tam, bells, xylophone, celesta, piano, three harps, sixteen first violins, sixteen second violins, fourteen violas, eight celli, and six double basses, plus an ensemble behind the scenes consisting of three trumpets, two tenor tubas, two bass tubas, and bells.

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The Firebird may be the only case of a major Stravinsky ballet which was not the composer's own idea, at least in its original germ. The Russian legend of the Firebird had been discussed as a possible subject for a ballet by Diaghilev and his staff early in 1909, and Michel Fokine, who was to create the choreography, worked out the scenario combining several Russian fairy tales. The choice of composer was problematic; Diaghilev wanted his old harmony teacher Liadov, but the latter was notoriously slow about finishing scores. So in the fall of 1909, the impresario approached the twenty-seven-year-old Stravinsky, whose Fireworks he had heard earlier in the year. Stravinsky was then deeply engrossed in his opera The Nightingale, having just completed the first of two acts, but he naturally recognized at once the extraordinary opportunity that a Ballets Russes commission represented, and he was excited about the possibility of writing the big, formal dance numbers. He did have reservations about the necessity of writing gestural music to fit the dramatic passages of mime that related the story (in the style derided as "Mickey

Mousing" when used to reflect the action in animated cartoons). In fact, much later, in Expositions and Developments, one of his series of published "conversations" with

Robert Craft, he claimed, "The Firebird did not attract me as a subject. Like all story ballets, it demanded descriptive music of a kind I did not want to write." Nonetheless, given the likely boost to his career from such a commission, he was prepared to drop We know a good investment whenwe hear one.

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opera and take up The Firebird at once. So willing was he, in fact that he work on the ; began the composition in November, six weeks before Diaghilev was able to offer a definite commission. He composed the opening pages at a dacha belonging to the

Rimsky-Korsakov family about seventy miles south of St. Petersburg. Returning to the city in December, he continued quickly with his work, finishing the composition by March and the full score by the following month. The final date on the manuscript, 18 May 1910, reflects a last period of refinements of detail.

The premiere of the lavishly colorful score marked a signal triumph for the Ballets Russes and put the name of Stravinsky on the map. Diaghilev could hardly wait to get another work from him, and in the ensuing years he quickly turned out Petrushka and finally the epoch-making Rite of Spring— all this before having time to return to his unfinished opera! When he finally did get back to The Nightingale, Stravinsky was already among the most famous and influential composers of the century, but he was a vastly different composer from the one who had written the first act of that oddly divergent work.

For much of the rest of his life Stravinsky claimed a cordial dislike for The Firebird, calling it "too long and patchy in quality." But even if we acknowledge that there is some truth in his self-criticism, we must also recognize that his irritation stems partly from the fact that one of his most popular scores remained completely unprotected by copyright in the United States (this cost him a fortune in potential royalties) and partly from his frustration with listeners who were willing to follow him through Firebird to Petrushka and perhaps even to The Rite of Spring—but no farther. Stravinsky is by no means the first composer to denigrate a popular early work in the hope of attracting attention to his more recent music.

The scenario of The Firebird involves the interaction of human characters with two supernatural figures, the magic Firebird, a sort of good fairy, and the evil sorcerer

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Kashchei, a green-taloned ogre who cannot be killed except by destroying his soul, which is preserved in a casket in the form of an egg. Stravinsky needed to find a way to distin- guish musically between the human and the supernatural elements of the story and he used the same means employed by Rimsky-Korsakov in his last (and best-known) opera, The Golden Cockerel (which had not yet been performed when Stravinsky started work, though he certainly knew it in score): the humans are represented by diatonic, often folklike, melodies, the supernatural figures by chromatic ideas, slithery for Kashchei and his realm or shimmering arabesques for the Firebird (whose music is largely derived from a single motive).

The Firebird is most often heard in one or another of Stravinsky's suites. But this narrative ballet is really a danced opera, with "recitative" (the gestural music) and "arias" (the set pieces). Stravinsky claimed— late in life — that he had not wanted to write gestural music, yet there is no question that while he was actually composing, he shaped his music to follow Fokine's scenario in elaborate and effective detail. Thus, hearing only the suite is like listening to a record of the favorite arias from a popular opera without ever hearing the dramatic links. The full score allows the set dances a chance to "breathe," to grow out of something and find their motivation. The full score of the

Michel Fokine and Tamara Karsavina in the

first performance of 'The Firebird," Paris, 1910

41 Week 17 mBm §31 §p

ballet is thus a much more satisfying artistic experience than simply hearing the suite of

popular dances. Only in a hearing of the complete music is it possible to appreciate the

confidence and imagination of the young composer writing his first ballet score, which showed at once that he was born to the field. His music reflects —and creates—the motion and the emotions of the characters on the stage in all their color and variety.

A short, hushed prologue creates a mood of magical awe. The double basses present a melodic figure (two semitones and a major third) that lies behind all the music of the Firebird. Following a culminating shower of brilliant harmonics on the violins (played

with a new technique discovered by Stravinsky for this passage), a muted horn call

signals the rise of the curtain on a nocturnal scene in the "Enchanted Garden of

Kashchei," which continues the mysterious music of the opening (a chromatic bassoon phrase foreshadows the sorcerer). Suddenly the Firebird appears (shimmering strings and woodwinds), pursued by a young prince, Ivan Tsarevich. The Firebird performs a lively

dance, all shot through with brilliant high interjections from the upper woodwinds. But

Ivan Tsarevich captures the magic bird (horn chords sforzando) as it flutters around a tree bearing golden apples. The Firebird appears to be freed in an extended solo dance, but Ivan

takes one of its feathers—a magic feather— before allowing it to depart. Ivan is left alone

in the garden, though the unseen presence of Kashchei is still recalled by the bassoon.

Thirteen enchanted princesses, the captives of Kashchei, are allowed into the garden only at night. They appear—tentatively at first—and shake the apple tree. At the second

try some golden apples come tumbling down (this is evident in the music), and they begin to play a game of catch. Ivan Tsarevich rudely interrupts the lively game they are playing, for he has fallen in love with one of them. They dance a khorovod (a stately

slow round dance) to one of the favorite passages of the score, a melody first introduced

by the solo oboe (this is an actual folk song). As day breaks (cock-crow being represented by solo trumpets with an augmented fourth), he learns that theyare under the ogre's spell and must return to his castle. In pursuit of them, Ivan Tsarevich penetrates into the

palace, but a magic carillon (a masterfully scored series of superimposed ostinatos) warns the monsters that serve as Kashchei's guards of the stranger's approach, and they capture the prince.

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All the tintinnabulation brings the immortal Kashchei himself for a fierce encounter with the prince. He begins an interrogation of ever-changing moods (bringing back several themes from earlier in the ballet). The princesses attempt to intercede, but in vain. Kashchei begins to turn Ivan into stone, making a series of magic gestures: one

two—. . . But before he can make the third and final gesture, Ivan Tsarevich remembers

the Firebird's feather; he waves it, summoning the Firebird to his aid. Kashchei's followers are enchanted by the magic bird, who sets them dancing to an "infernal dance" of wild syncopation and striking energy. The Firebird, in a slow gentle dance like a lullaby, reveals Kashchei's secret to the prince who, as the ogre wakes up from his enchantment, finds the casket and smashes the tgg, destroying the monster's soul. A profound darkness yields to the dawn of a new day,- the palace and the followers of Kashchei have disappeared. All the knights that had been turned to stone before come

back to life (in a sweetly descending phrase of folklike character) and all take part in a dance of general happiness (a more energetic version of the same phrase). The Firebird has disappeared, but her music, now rendered more "human" in triadic harmony, sounds

in the orchestra as the curtain falls.

Though much of the matter is of a piece with Rimsky-Korsakov's fairy tale opera composed only a short time previously, there are things in the manner of The Firebird that already foreshadow the revolutionary composer to come: the inventive ear for new and striking sounds, the love of rhythmic irregularities (though there is much less of it here than in the ballets to come!), and the predilection for using ostinatos— repeated fragments of a melodic and rhythmic idea —to build up passages of great excitement, a procedure that will reach the utmost in visceral force with The Rite of Spring. As seen from the vantage point of today, The Firebird is almost a romantic work of the last

century, but the dancers at the first performance found the music demanding, challeng- . ing them to the utmost. If, in listening to this familiar score, we can cast our minds back into the framework of 1910, we may be able to sense afresh the excitement of being on the verge of a revolution. -S.L.

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More . .

Philip Gossett's magnificent Rossini article in The New Grove is the very best place to start for information about this composer, who has been the subject of all too many half- scholarly (or worse!) discussions. The popular biographies by Francis Toye (Rossini.- A Study in Tragi-Comedy [Norton paperback]) and Herbert Weinstock (Rossini [Knopf]) need to be reconsidered in the light of Gossett's work. He is at present finishing a full- length study of Rossini which will surely be the standard work for some time to come. Meanwhile, Gossett's articles "Gioacchino Rossini and the Conventions of Composition" (Acta musicologica, 1970) and "The Overtures of Rossini" (19th Century Music, 1979) are very useful. At long last Rossini's operas are being published and recorded in authentic editions based on the best scholarship. La Cenerentola is among the first to benefit from the fruits of this new Rossini work; Claudio Abbado has recorded the score in the new critical edition with the London Symphony Orchestra and a cast including Teresa Berganza, Renato Capecchi, and Luigi Alva (DG). For a recording of the overture alone, fine performances are available in single-disc Rossini overture collections by Claudio Abbado and the London Symphony (DG), Carlo Maria Giulini and the Philharmonia

Orchestra (Seraphim), Neville Marriner with the Academy of St. Martin-in-the-Fields

(Philips), and Arturo Toscanini with the NBC Symphony (Victrola, mono, in a collection of overtures by Rossini and Verdi).

Itzhak Perlman will record Robert Starer's Concerto for Violin and Orchestra with Seiji Ozawa and the Boston Symphony Orchestra following this performance (for Angel/EMI, coupled with Earl Kim's Violin Concerto). Those wishing to hear more of Robert Starer's music will find a number of recordings of pieces in various genres covering most aspects of his output. The most recent recording is a dramatic monologue for soprano and four instruments, Anna Margarita's Will (text by Gail Godwin), recorded by soprano Phyllis Bryn-Julson (CRI). Starer's Concerto for viola, strings, and percussion has been recorded by Melvin Berger with the English Chamber Orchestra under John Snashall (Turnabout). One of his few serial works, Mutabili, Variations for Orchestra, has been recorded by Jorge Mester and the Louisville Orchestra (Louisville). A nicely varied selection of choral and instrumental works has been collected on a Desto disc that contains On the Nature of

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Things for unaccompanied chorus (the Collegiate Chorale directed by Abraham Kaplan), Variants for violin and piano (James Oliver Buswell IV and David Garvey), Piano Sonata No. 2 (Paul Schoenfield), and Dialogues for clarinet and piano (David Glazer and David Garvey).

Earl Kim's Violin Concerto will be recorded by Itzhak Perlman and the Boston

Symphony Orchestra with Seiji Ozawa conducting following the present performances,- it will be coupled with Robert Starer's Violin Concerto (Angel/EMI). Earthlight, the. final section of Kim's Narratives, is available on New World 237 with soprano Merja Sargon, the composer at the piano, and his wife Martha Potter, violin (coupled with music by Paul Chihara, Chou Wen-Chung, and Roger Reynolds). The only other pieces by Earl Kim currently available are two bagatelles for piano— rather early works, dating from 1948 and 1950—played by Robert Helps on CRI 288 (a two-disk set also containing piano music by Arthur Berger, Milton Babbitt, Miriam Gideon, Ben Weber, Leo Kraft, Morton Gould, Vivian Fine, George Perle, and others).

Stravinsky is without any doubt the best-documented composer of the twentieth century. Eric Walter White has produced a catalogue of Stravinsky's output with analyses of every work, prefaced by a short biography, in Stravinsky.- The Composer and His Works (University of California). The most convenient brief survey of his life and works is the volume by Francis Routh in the Master Musicians series (Littlefield paperback), though it suffers from the standardized format of the series (which deals with the works by genre in individual chapters) since Stravinsky's development often involved work on several different types of music in close proximity. The most recent and large-scale study is an indispensable, incomplete, undigested, fascinating volume by Vera Stravinsky and

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Robert Craft, Stravinsky in Pictures and Documents (Simon and Schuster). It is a cornucopia of material, but confusingly organized, with a wealth of detail about the composition of some works (often more than one can usefully assimilate) while skim- ming over others. The most thorough and enlightening discussion of Stravinsky's work

is both the newest and one of the oldest books about the composer: Boris Asaf'yev's A Book about Stravinsky, written in Russian (under the pseudonym Igor Glebov) and

published in Leningrad in 1929. It has only just been translated into English by Richard

F. French and published in this country (UMI Research Press, 300 N. Zeeb Road, Ann Arbor, MI 48106). Though the book obviously cannot deal with any of Stravinsky's later

works, it is full of enlightening analytical commentary on all of the works up to the

instrumental compositions of the mid- 1920s, to which is appended a short added chapter dealing with Stravinsky's return to the theater in Oedipus Rex, Apollo, and The Fairy's

Kiss. Since Stravinsky's style had a very distinct and recognizable personality throughout

his life, despite the frequent surface changes evident in his music, the richness of observation in this book explains a good deal about the composer and his work even

beyond its cutoff date. Stravinsky's own recording of the complete Firebird score is still

available (Columbia). Other recordings of the full score include readings by Seiji Ozawa with the Orchestre de Paris (Angel) and by Sir Colin Davis with the Concertgebouw

Orchestra (Philips). There are many recordings of the Firebird Suite,- perhaps the finest of

them all is Carlo Maria Giulini's with the Philharmonia Orchestra (Seraphim, coupled with Bizet's Jeux d'Enfants and Ravel's Ma Mere L'Oye).

-S.L.

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which Time magazine hailed as "the return of the prodigy," Mr. Perlman joined the ranks of superstar performers known throughout

the world. It is not just his flawless technique

that commands this position,- it is his commu- nication of the sheer joy of making music that

is evident in his appearance, whether alone, or with distinguished colleagues in chamber music or orchestral repertoire. Mr. Perlman has won numerous Grammy awards for his recordings, and his records appear regularly on the best-seller charts. His recordings are on EMI, Angel, CBS Masterworks, London/Dec- ca, RCA, and Deutsche Grammophon. His

repertoire is vast, encompassing all the standard violin literature, as well as many works by Itzhak Perlman's hold on the public imagina- new composers, whose efforts he has cham- tion stems from a unique combination of tal- pioned. Among the works written expressly ent, charm, and humanity quite unrivaled in for him are the Robert Starer and Earl Kim our time. The young Israeli-born violinist's violin concertos being performed and recorded artistic credentials are supreme, but since his this week with Seiji Ozawa and the Boston initial appearance on the famed Ed Sullivan Symphony Orchestra. Mr. Perlman was Show in 1958, his personality has combined selected as "Musician of the Year" and with his technique in such a manner as to appeared on the cover of Musical America's create an artistic force of unique and compel- Annual Directory of Music and Musicians for ling nature. Mr. Perlman has been heard with 1981. He lives in New York with his wife every major orchestra in the world, on most of Toby and their four children. the great concert stages either alone or in close Mr. Perlman's association with the Boston collaboration with great artists, on countless Symphony Orchestra dates back to 1966 and national television shows, and in recording 1967, when he performed and recorded the studios here and abroad. On every occasion, Tchaikovsky, Sibelius, and Prokofiev Second he has displayed not only the gifts that make violin concertos with Erich Leinsdorf . These him a great musician, but also those that recordings, and the Dvorak Opus 11 Romance, make him a great man. In 1981, the Interna- have recently been reissued on RCA Gold tional Year of the Disabled Person, Mr. Perl- Seal. In recent seasons he has performed man's presence on stage, on camera, and in music of Beethoven, Bach, Stravinsky, Berg, personal appearances of all kinds spoke elo- Starer, and Saint-Saens with the orchestra, giv- quently for the cause of the handicapped and ing the October 1981 world premiere of the disabled. He champions this cause, and his Starer Concerto being repeated this week, and devotion to it is an integral part of his life. participating in the Gala Centennial Concert Born in Israel in 1945, Itzhak Perlman com- celebrating the BSO's hundredth birthday that pleted his initial training at the Academy of same month. His recording of the Alban Berg

Music in Tel Aviv. Following study at the and Igor Stravinsky violin concertos with Seiji Juilliard School in New York with Ivan Gala- Ozawa and the Boston Symphony for Deu- mian and Dorothy Delay, he won the pres- tsche Grammophon won the 1981 Grammy tigious Leventritt Competition and began his award for Best Classical Performance by an international career. After a return to Israel, Instrumental Soloist with Orchestra.

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Arthur P. Contas

* Devonshire Associates Weston Howland

Linenthal Eisenberg Anderson, Inc. Eugene Eisenberg

* Arthur D. Little, Inc.

John F. Magee

Education

*Stanley H. Kaplan Educational Center Susan Kaplan

Electronics

*Microsonics, Inc. A charming 19th Century Townhouse William Cook serving superb continental cuisine * in contemporary informal elegance. Valpey-Fisher Corporation Offering lunch and dinner with a variety Neil Bernstein of fresh seafood specials daily, and our after theatre cafe menu till midnight. Energy

* Atlantic Richfield Company Serving - Robert O. Anderson Lunch: 12:00-2:30 weekdays * Atlas Oil Corporation Dinner: 6:00-10:30 Sun.-Thurs. Fred Slifka 6:00-12:00 FriSat. *Buckley & Scott Company Brunch: 11:00-3:00 Sat. & Sun. William H. Wildes

reservations: 266-3030 * Eastern Gas & Fuel Associates William 99 St. Botolph Street J. Pruyn behind the Colonnade Hotel *HCWOil&Gas John M. Plukas & Robert Glassman

53 "'.•:"•'. *' :.-.'".- 51 - -

HH *fjir*JSttj

*Hatoff's Stanley Hatoff * Mobil Chemical Corporation

Rawleigh Warner, Jr. Northeast Petroleum Corporation John Kaneb

Yankee Oil & Gas, Inc.

Graham E. Jones Finance Buy a *Farrell, Healer &. Company, Inc. Richard Farrell Condominium

*Fidelity Fund, Inc.

Edward C. Johnson III with a

The First Boston Corporation

George L. Shinn strong Kaufman & Company Sumner Kaufman foundation. *Narragansett Capital Corporation

Arthur D. Little *TA Associates Peter A. Brooke

Food/Hotel/Restaurant

*Creative Gourmets Limited Stephen Elmont

*Cumberland Farms Food Stores

D. B. Haseotes Dunfey Hotels Corporation Jon Canas The Farm Stand Corporation 0^^^^0* Cambridge Condominium Crystal Condakes C^P^^^^0( Johnson, O'Hare Company, Inc. Collaborative, Inc. Harry O'Hare 371 Harvard St.. Cambridge (617) 868-5464

* Ocean Spray Cranberries, Inc. Harold Thorkilsen

*Ogden Food Service Corporation

William F. Connell *Red Lion Inn John H. Fitzpatrick *Shaw's Supermarkets A distent Soutfocwt rfti** foeat Stanton Davis

*Sonesta International Hotels Corporation Paul Sonnabend *The Stop &. Shop Companies, Inc. T^MANDALAY Avram J. Goldberg * Wm. Underwood Company BURMESE RESTAURANT James D. Wells

< Furnishings/ Housewares frvt P%e- 76eatne *?ea&U *Country Curtains Mrs. John Fitzpatrick

Health Caie/Medicine 329 HUNTINGTON AVENUE. BOSTON MASSACHUSETTS. 02115 2C7-2111 fTwo blocks west of Symphony HalU * Rudolph Beaver, Inc. John R. Beaver

54 BH

*Haemonetics

Gordon F. Kingsley

*Healthco, Inc. Marvin Myer Cyker

High Technology/Computers

* Analog Devices Ray Stata The Analytical Sciences Corporation Dr. Arthur Gelb Analytical Systems Engineering Corporation

Michael B. Rukin

*Augat, Inc. UNION OYSTER HOUSE Roger Wellington *Bolt, Beranek & Newman, Inc. Boston 's Oldest Restaurant Stephen Levy 41 Union St- 227-2750 *Computer Partners, Inc.

Paul J. Crowley

*Cullinane Database Systems, Inc.

John J. Cullinane *Data Packaging Corporation Otto Morningstar Worth Considering * Digital Equipment Corporation When Your Company Kenneth H. Olsen *Dynatech Needs Software Help Corporation J. P. Barger

*Epsilon Data Management, Inc. TELOS Consulting Services. A national staff Thomas O. Jones of senior-level programmer/analysts available for on-site support. *The Foxboro Company Bruce D. Hainsworth Local Office at 50 Staniford St., Suite 800, *GTE Electrical Products Boston, MA 021 14. Call (617) 720-1519. John C. Avallon

*GenRad, Inc. William R. Thurston IBM Corporation Bradford Towle Instron Corporation Harold Hindman LFE Corporation

Herbert Roth, Jr.

Management Decision Systems, Inc.

John S. Wurts * Polaroid Corporation

William J. McCune, Jr.

* Prime Computer, Inc. John K. Buckner * Printed Circuit Corporation Peter Sarmanian * Raytheon Company

Thomas L. Phillips

Technical Operations, Inc. Marvin G. Shorr Thermo Electron Corporation Dr. George N. Hatsopoulos —

A Distinctive Selection of Oriental Rugs and Wall Hangings

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

"3D

QiRAMA'S^ " Mar bl ehead Fine Antique ClothingtklAnens

J $(tenuity uea* <7i//u ^Lin^e^ie,

O'Rama's also otters expert cleaning and restoration of h your Antique garments and textiles.

148 Washington St. Marblehead, Mass. 631-0894 W-Sat. 1-5

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. BO ROBERT IMILF EH OF BOSTON, INC. accounlemps 100 Summer Street, Boston, MA 02110. (617) 423-1200 an affiliate of Robert Half of Boston, Inc. Member Massachusetts Professional Placement Consultants 100 Summer Street. Boston, MA 02110. (617) 423-1200

56 U. S. Components, Inc.

B. A. Jackson

*Wang Laboratories, Inc. An Wang < ^Jvely^rts * Western Electric Company, Inc. c Donald E. Procknow

Insurance

July 1 - 24 & Aug. 7-14 Arkwright-Boston Insurance Springs, N.Y. at Skidmore College, Saratoga Frederick J. Bumpus July 10-17 * Berkshire Life Insurance Company

at Mt. Holyoke College, South Hadley, Mass. Lawrence W Strattner, Jr. or July 17-24 Brewer & Lord

at Williams College, Williamstown, Mass. Joseph G. Cook, Jr. *Commercial Union Assurance Companies For a memorable experience, enjoy a Howard H. Ward week or extended weekend vacation with *Frank B. Hall & Company, Inc. the arts! Our unique program includes per- John B. Pepper formances by The Philadelphia Orchestra, *John Hancock Mutual Life Insurance Company New York City Ballet, Boston Symphony, and Williamstown Theater Company, plus a E. James Morton great jazz weekend featuring star perform- * Liberty Mutual Life Insurance Company ers. Also included are seminars in philoso- Melvin B. Bradshaw

phy, literature, economics, art history, mu- *New England Mutual Life Insurance Company

sic, and drama. Edward E. Phillips Excellent facilities for swimming, tennis * Prudential Insurance Company of America and golf are available for sports enthusiasts. Robert J. Scales Accommodations include modern dorm- Sun Life Assurance Company of Canada itories and apartments. John D. McNeil

Write for a brochure. Investments ALLENS LANE ART CENTER Amoskeag Company (dept B) Joseph B. Ely, Jr. Aliens Lane and McCallum St. Moseley Hallgarten Estabrook & Weeden, Inc. Phila., PA. 19119 (215) 248-0546 Fred S. Moseley

Paine, Webber, Jackson & Curtis, Inc.

Francis P. Sears

The Putnam Advisory Company, Inc. John Sommers

*Tucker, Anthony & R. L. Day, Inc.

R. Willis Leith, Jr. * Woodstock Corporation Thomas Johnson

Legal

*Cesari McKenna Robert A. Cesari

*Gadsby &. Hannah Harry Hauser *Goodwin Procter & Hoar

Continental Cuisi Edward O'Dell on the Charles *Herrick & Smith 10 Emerson I'ltue lio.st.on 742-^180 Malcolm D. Perkins

Leisure

* Heritage Travel Donald Sohn

57 Vjs^

This is a CoacK Belt

It is one of ten models we make out of real Glove Tanned Cowhide in ten colors and eight lengthl^®^ for men and women from size 26 to 40. Coach® Belts are sold in selected stores throughout the country. If you cannot find the one you want in a store near you, you can also order it directly from the Coach Factory in New York. For Catalogue and Store List write: Consumer Service, Coach Leatherware, 516 West 34th Street, New York City 10001.

n m '•vM: •'• " ' ffffl V* UK J M* ;N • \ 8 SB IB I ^tral PSb^"' IsB^il' ''^K&iM^

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 S. Harrison R. 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 * *Gillette Company Wm. Filene's &. Sons Company Merwin Kaminstein Colman M. Mockler, Jr. Kimberly-Clark Corporation/Schweitzer Division *Gans Tire Company, Inc. Ronald Gill David Gans Howard Johnson Company *Marks International, Inc. Harry Marks Howard B. Johnson Kay Bee Toy &. Hobby Shops Millard Metal Service Center, Inc. Donald Millard Howard Kaufman King's Department Stores, Inc. *Plymouth Rubber Company, Inc. Paul Kwasnick Maurice J. Hamilburg *Lee Shops *TAD Technical Services Corporation David McGrath Arthur Klein *Towle Manufacturing Company Mars Bargainland, Inc. Tatelbaum Leonard Florence Matthew Marshall's, Inc. Trina, Inc. Brenton Arnold Rose Frank *Zayre Corporation *Wheelabrator-Frye, Inc. Michael H. Dingman Maurice Segall *Barry Wright Corporation Science Ralph Z. Sorenson *Charles River Breeding Laboratories, Inc.

Media Dr. Henry L. Foster

*Cablevision Systems Damon Corporation Charles Dolan Dr. David Kosowsky *General Cinema Corporation *Ionics, Inc. Richard A. Smith Arthur L. Goldstein *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 59 t^^^^^l^^^B^—^M MHHM^H^^^H

Singleness of Purpose

In most trust companies, commercial banking constitutes the

principal business, while the trust department is assigned a role of lesser importance.

Fiduciary Trust Company feels strongly that the problems of

trusteeship require full time, not part time, effort;

that they call for nothing less than complete attention.

In consequence, Fiduciary Trust Company, true to its name,

devotes all of its activities to its fiduciary obligations.

By thus restricting our activities, we are in a position to provide the constant care and undivided attention necessary for the successful management of trust funds.

FIDUCIARY BOSTON TRUSTEES

Fiduciary Trust Company 175 Federal Street, Boston, Massachusetts 02110 Telephone (617) 482-5270

60 K3&96 ' ''SB

* 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

Youll need only "Three Words' to describe how you live... .Duck after Dvorak A care-free lifesyle that Elegant French cuisine, ensures privacy, security reservations recommended. 354-1234 and conveniences as well as unrivaled amenities to .SWAMPSCOTT complement the diversified 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: ERTAD From Route 128. Exit onto Route 129 - Lyna Swampscott Left at Route 1 A - Paradise Road. Right at Vlnnin Square, onto Salem Street past the Tedesco Country Club. s From Boston. Take Route 1 A to Swampscott, Nahant Exit along Lynn D Shore Drive to Humphrey Street Swampscott Turn Left onto Salem Street

in the Sheraton-Commander Hotel CYNTHIA PIERCE ASSOCIATES Exclusive Realtor 16 Garden St., Cambridge One Salem St.. Swampscott MA 01907 (617) 581 5070

61 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

Coming Concerts . .

Thursday, 10 March— 8-9:55

Thursday 'B' series

Friday, 11 March— 2-3:55 Saturday, 12 March— 8-9:55 . 1 1 1 SEIJI OZAWA conducting li'l'jl Ives Symphony No. 2 Brahms Piano Concerto No. 2 MAURIZIO POLLINI PROPERTY MANAGEMENT RESIDENTIAL and COMMERCIAL Thursday, 31 March— 8-9=45 1384 COMMONWEALTH AVENUE Thursday '10' series Allston, Massachusetts 02134 1 2-345 Telephone: (617) 738-5700 Friday, April— m Saturday, 2 April— 8-9=45 Tuesday, 5 April— 8-9=45

Tuesday 'B' series VITTORIO NEGRI conducting Vivaldi "Dominead adiuvandum me" "Beatus Vir" Introduction to "Dixit"

' 'Dixit Dominus' MARGARET MARSHALL, soprano CLAUDINE CARLSON, mezzo-soprano BIRGIT FINNILAE, contralto Share the warm, traditional JOHN GILMORE, tenor atmosphere of Back Bay's oldest restaurant. JULIEN ROBBINS, bass-baritone Enjoy delicious, thick char- TANGLEWOOD FESTIVAL CHORUS, broiled steaks, fresh seafoods, JOHN OLIVER, conductor barbequed chicken and ribs, a limitless salad bar, imported beers and wine, plus generous sand- 8-9=40 wiches all at modest prices . . Thursday, 7 April— $3.50 dinners luncheons from and Thursday 'A' series from $6.50. Friday, 8 April— 2-3=40 Five minutes from Symphony Hall, the Hynes Auditorium Saturday, 9 April— 8-9=40 and Prudential Center. SEIJI OZAWA conducting

Mozart Symphony No. 31 , Paris

' ' NEWBURY'S Mozart 'Come scogLio, ' from STEAKHOUSE Cos! fan tutte HILDEGARD BEHRENS, soprano 94 Massachusetts Avenue (Corner of Newbury St.) / Strauss Death and 536-0184 Transfiguration Strauss Final scene from Open from Noon to Midnight * Free parking at garage on Newbury Street Salome All major charge cards accepted HILDEGARD BEHRENS, soprano

63 Strauss

SPRACH This season ZARATHUSTRA" take the Symphony Boston Symphony Ozawa

6514 221 O 7337 221 B with you MAHLER 8th B OZAWA g SYMPHONY OF A THE RITE OF SPRING THOUSAND (LES/OEDUPRINTEMPS) BOSTON SYMPHONY on OZAWA X*y* BOSTON X PHILIPS SYMPH<

Records & 6769 069 O 7654 069 03 9500 781 7300 855 B TCHAIKOVSKY § Cassettes 1812 OVERTURE HOLST COLIN DAVIS TH€ PMN€TS BOSTON SYMPHONY oznwn BOSTON SVMPHONV

9500 892 O 7300 892 Q 9500 782 O 7300 856 Q Grieg -Schumann Piano Concertos Arrau Davis Imported Pressings Boston " Symphony Audiophile Sound

9500 891 O 7300 891^3

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

64 Symphony Hall Information ,

FOR SYMPHONY HALL CONCERT AND concerts (subscription conceits 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 "CONOE-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 THE EUNICE S. AND JULIAN COHEN program pieces in order not to disturb other ANNEX, adjacent to Symphony Hall on 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 FOR SYMPHONY HALL RENTAL INFOR- corridors. It is permitted only in 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 began, 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 afternoon and Saturday evening Boston Symphony

65 sOi

How wouldyou like a location where 60,000people shop your store window every day?

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

flagship stores of Jordan Marsh and Filene's? | 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

Intercontinental Hotel? A location with on-site parking for thirteen hundred room |f

transportation? location cars as well as direct access from every form of public |f A

planned to be New England's major fashion event center? jj A location in a magnifi-

cent three-level, multi-use complex destined to be the most important retail center

'; in New England? : You'd like Please send me more information on I ~i 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: Richard MacNamara, Lafayette Place LMr. One Boston Place, Boston, Mass. 02108 MacNamara at 617-227-0690. j

tajfMttFliace^ Structured For Success. WHEELCHAIR ACCESS to Symphony Hall is BOSTON SYMPHONY BROADCASTS: Con- 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), 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 and first-balcony levels, audience-left, outside BSO FRIENDS: The Friends are supporters of the Hatch and Cabot-Cahners rooms. The the Boston Symphony, active in all of its

BSO is not responsible for personal apparel or endeavors. Friends receive BSO, the orchestra's other property of patrons. newsletter, as well as priority ticket information. 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 12J5, with sandwiches avail- assure a quick and accurate change of address able until concert time. in our files.

Haydn's Creation?

Interior design by Barbara Winter Glauber & Assoc. Residential and Commercial (617) 723-5283

67 ^€& tA& ^Boston iJtfsnftAofu// OrcAestra kcpms a&seamdcenter^ and 9laAeH^. j(urts&na begins Ai& second decade u>uAmorning bra-mwucay,

tA& as&Muatiofi/ continue uh^ ' iuv&Ofi&rfrmus/ea ,,—a&€r^^^ conversations uhiA tn^S€as/m^sdeatureds&kis£&,,

cone/actors a/idconiAaser&.

jftforninpjhra masica is oroaa^xist coast to- coast

an stations of tAc ^U/dic tflaaifr (joofreratioc' am/is Aeardin tA& 3$aston/area any WffGRJ&fSy. £frnj

eocrtf morning/rant seven untilnoon/.

68 In Scotland's Strathdearn vale, breeding

)ride. It's family tradition. ] a Like ""^llt father; like son, like grandson. The t*P^ ? good things in life stay that way. ^Dewar's. White Label® never vanes.

te/

The Dewar Highlander

BLENDED SCOTCH WHISKY • 86.8 PROOF • S 1982 SCHENLEY IMPORTS CO., N.Y./N.Y. ' , jf

fSiiP Wbianctsi

iMELUftwa- m ttimi W.Mlt t QHIRavVKlii '- Tf- W

$H«

,M?0«TCO BV .,,« win* a SPIRITS

1*3*1

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 store. Bianchi Verdicchio Imported by Pastene Wine & Spirits Co., Inc., Somerville, MA. Also available in party-size magnums.