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TOSEND A GIFT OF B&B LIQUEUR ANYWHERE IN THE US CALL 1 •800-238-4373 VOID WHERE PROHIBITED Seiji Ozawa^ Music Director

Carl St. Clair and Pascal Verrot, Assistant Conductors One Hundred and Sixth Season, 1986-87

Trustees of the Boston Symphony Orchestra, Inc.

Leo L. Beranek, Honorary Chairman George H. Kidder, President

Nelson J. Darling, Jr., Chairman J. P. Barger, Vice-Chairman

Mrs. John M. Bradley, Vice-Chairman WiUiam J. Poorvu, Vice-Chairman and Treasurer Mrs. George L. Sargent, Vice-Chairman

Vernon R. Alden Archie C. Epps Roderick M. MacDougall David B. Arnold, Jr. Mrs. John H. Fitzpatrick Mrs. August R. Meyer

Mrs. Norman L. Cahners Avram J. Goldberg E. James Morton George H.A. Clowes, Jr. Mrs. John L. Grandin David G. Mugar

William M. Crozier, Jr. . Francis W. Hatch, Jr. Mrs. George R. Rowland Mrs. Lewis S. Dabney Harvey Chet Krentzman Richard A. Smith Mrs. Michael H. Davis John Hoyt Stookey Trustees Emeriti

PMlip K. Allen E. Morton Jennings, Jr. Thomas D. Perry, Jr. Allen G. Barry Edward M. Kennedy Irving W. Rabb Richard P. Chapman Albert L. Nickerson Paul C. Reardon Abram T. Collier John T. Noonan Sidney Stoneman Mrs. Harris Fahnestock John L. Thomdike Other Officers of the Corporation John Ex Rodgers, Assistant Treasurer Jay B. Wailes, Assistant Treasurer Daniel R. Gustin, Clerk

Administration of the Boston Symphony Orchestra, Inc. Kenneth Haas, Managing Director Daniel R. Gustin, Assistant Managing Director Anne H. Parsons, Orchestra Manager Costa FWaxachi, Artistic Administrator Caroline Smedvig, Director of Promotion Josiah Stevenson, Director of Development

Robert Bell, Data Processing Manager Steven Ledbetter, Musicologist d: Helen P. Bridge, Director of Volunteers Program Annotator Madelyne Codola Cuddeback, Director Mare Mandel, Publications Coordinator of Corporate Development Richard Ortner, Administrator of Vera Gold, Assistant Director of Tnnglfwood Music Center Promotion \ancy E. Phillips, Media and Patricia Halligan, Personnel Administrator Production Manager, Nancy A. Kay, Director of Sales Boston Symphony Orchestra John M. Keenum, Director of Charles Rawsoii. Managrr nf Hnx Office Foundation Support Joyce M. Serwitz, vl.v.s(.s7r/M/ Dinrtor Anita R. Kurland, Administrator of of Development Youth Activities Susan E. Tomlin, Director of Annual Giinng

Proj^ams copyri^fht ^1987 Boston Symphony Orchostra. Inc. Cover photo by Christian Stfinrr/Dfsigti by \\'on

1 s

Board of Overseers of the Boston Symphony Orchestra, Inc.

Avram J. Goldberg Chairman

Mrs. Carl Koch Ray Stata Mrs. Gordon F. Kingsley Vice-Chairmati Vice-Chairman Secretary

John Q. Adams Gerhard M. Freche Richard P. Morse Mrs. Weston W. Adams Dean Freed Mrs. Thomas S. Morse

Martin Allen Mrs. Thomas J. Galligan Mrs. Robert B. Newman Mrs. David Bakalar Mrs. Thomas Gardiner Mrs. Hiroshi Nishino Bruce A. Real Mrs. James G. Garivaltis Vincent M. O'Reilly Mrs. Richard Bennink Mrs. Ray A. Goldberg Stephen Paine, Sr. Peter A. Brooke Jordan L. Golding John A. Perkins William M. Bulger Haskell R. Gordon Daphne Brooks Prout Mary Louise Cabot Mrs. R. Douglas Hall HI Robert E. Remis Mrs. C. Thomas Clagett, Jr. Joseph M. Henson Mrs. Peter van S. Rice James F. Cleary Arnold Hiatt David Rockefeller, Jr. John F. Cogan, Jr. Mrs. Richard D. Hill John Ex Rodger Julian Cohen Glen H. Hiner Mrs. Jerome Rosenfeld William H. Congleton Mrs. Marilyn B. Hoffman Mrs. William C. Rousseau

Walter J. Connolly, Jr. Ronald A. Homer Mrs. William H. Ryan Mrs. A. Werk Cook H. Eugene Jones Mrs. Raymond H. Schneider Albert C. Cornelio Howard Kaufman Gene Shalit Phyllis Curtin Richard L. Kaye Mark L. Selkowitz A.V. d'Arbeloff Robert D. King Malcolm L. Sherman Mrs. Michael H. Davis Robert K. Kraft W Davies Sohier, Jr. Mrs. Eugene B. Doggett John P. LaWare Ralph Z. Sorenson Ms. Phyllis Dohanian Mrs. Hart D. Leavitt William F. Thompson Harriett Eckstein Laurence Lesser Mark Tishler, Jr. Mrs. Alexander Ellis R. Willis Leith, Jr. Mrs. An Wang Edward Eskandarian Frederick H. Lovejoy, Jr. Roger D. Wellington Katherine Fanning Mrs. Charles P. Lyman Mrs. Thomas H.P. Whitney John A. Fibiger Mrs. Harry L. Marks Mrs. Donald B. Wilson Kenneth G. Fisher C. Charles Marran Brunetta Wolfman Peter M. Flanigan Nicholas T. Zervas

Overseers Emeriti

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

Symphony Hall Operations

Cheryl Silvia, Function Manager James E. Whi taker. House Manager

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

Wilmoth A. Griffiths, Assistant Supervisor of House Crew William D. McDonnell, Chief Steward .

Officers of the Boston Symphony Association of Volunteers

Mrs. Michael H. Davis President Mrs. R. Douglas Hall III Mrs. Harry F. Sweitzer, Jr. Executive Vice-President Secretary Mr. Goetz Eaton Mrs. Seabury T. Short, Jr. Treasurer Nominating Chairman

Vice-Presidents

Mrs. Eugene B. Doggett, Development Services Mrs. James T. Jensen, Hall Services Ms. Phyllis Dohanian, Membership Mrs. Be'.a T. Kalman, Youth Activities Mrs. Eugene Leibowitz, Tanglewood and Adult Education Mrs. Robert L. Singleton, Tanglewood Mrs. Hart D. Leavitt, Regions Mrs. Ray A. Goldberg, Fundraising Projects Ms. Ellen M. Massey, Public Relations

Chairmen of Regions

Mrs. Thomas M. Berger Ms. Prudence A. Law Mrs. F. T. Whitney Mrs. John T. Boatwright Mrs. Alfred F. Parisi Mrs. Thomas H.P Whitney Mrs. Charles A. Hubbard Mrs. Thomas Walker Mrs. Richard W Young

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$^3i0(fOrchestra, Balcony (Sold Out) $10.00 Orchestra, Balcony $ 7.00 Orchestra, Balcony

As of March 16, tickets are available at the Jordan Hall box office, 536-2412. Boston Symphony Chamber Players at Jordan Hall

The Boston S^-Tnphony Chamber Players perform the last program of their three- BSO concert Jordan Hall series on Sunday, 5 April at 3 p.m. The program includes Hindemith's "White Island" Kleine Kammermusik for wind quintet. Opus World Premiere at 24, No. 2, Ravel's Trio for piano, \iolin, and Symphony Hall 8 April cello, Oliver Knussen's Ophelia Dances, Book I, conducted by the composer, and Louis Donald Martino's The White Island, the last of Spohr's Nonet in F for strings and winds. the BSO's centennial commissions, and writ- Gilbert Kalish is the guest pianist. Tickets at ten especially for John Oliver and the Tangle- $13, $10, and $7 are available at the Jordan wood Festival Chorus, will have its world Hall box office, 536-2412. premiere at S\Tnphony Hall on Wednesday, 8 April at 8 p.m. under the direction of John Friends at Oliver, with the Tanglewood Festival Chorus Weekend Tanglewood and members of the Boston Symphony Friends of the BSO have the opportunity to Orchestra. travel to Tanglewood by chartered bus for Also on the program is Bruckner's F minor three days of spectacular music the weekend Mass, with guest soloists Roberta Alexander, of Friday, July 24 through Sunday, July 26. soprano, Katherine Ciesinski, mezzo-soprano, Performances include Neville Marriner con- John Aler, tenor, and John Cheek, bass-bari- ducting the Academy of St. Martin-in-the- tone. Tickets are available at the SjTnphony Fields and Charles Dutoit conducting the Hall box office, at $19, $16, $12, and $10. Boston S\'mphony Orchestra in music of Roussel, Schubert, Wagner, and Stra^-insk^', with solo appearances by violinist Midori in Empire Brass to the Paganini Violin Concerto No. 1. and BSO Perform Benefit Concert principals Malcolm Lowe and Jules Eskin in The Empire Brass will present a concert on the Brahms Double Concerto. The Friends Sunday, 5 April at 4 p.m. at Trinity Episcopal will stay at the Red Lion Inn. with transporta- Church, 81 Elm Street, Concord, to benefit the tion provided by Greyhound Bus. Dinner Fri- Boston S\Tnphony Orchestra and the Boston day night will be at the Red Lion Inn, lunch on University Tanglewood Institute. This benefit Saturday at beautiful Seranak, and dinner performance is sponsored by Region V of the Saturday night at the Tanglewood Tent Club. Boston Symphony Association of Volunteers. Sunday luncheon at Blant\Te will precede the Patron tickets are $15 and include preferred 2:30 p.m. concert. Anticipated arrival time seating and a champagne reception follo\Wng back in Boston on Sunday, July 26 is 8:00 p.m. the concert. General admission at the door is The weekend is open to Friends of the BSO $5. For tickets and more information call Mrs. who have donated a minimum of $40; space is William Newton, 263-5922, or the Volunteer limited to 45 people on a first-come, first- Office, 266-1492, ext. 177. served basis. The cost of the weekend—$400 per person, double occupancy ($515 per per- son for single occupancy)—includes a $50 Art Exhibits in the Cabot-Cahners Room tax-deductible contribution to the BSO and The Boston Symphony Orchestra is pleased to covers transportation, lodging, meals (exclud- announce that, for the thirteenth season, various ing breakfasts), and concert tickets. For fur- Boston-area galleries, museums, schools, and ther information please call the Volunteer non-profit artists' organizations are exhibiting Office at Symphony Hall, 266-1492, ext. 177. their work in the Cabot-Cahners Room on the first-balcony level of SjTnphony Hall. On display With Thanks through 6 April is an exhibit from the Chinese Culture Institute which features works by two We wish to give special thanks to the National artists from Canton, Wang Shakong and Liu Endowment for the Arts and the Massachu- Zho-shu. Upcoming exhibits will feature works setts Council on the Arts and Humanities for from Decor International (6 April-4 May) and their continued support of the Boston Sym-

Arnold Arboretum (4 May-June 1). phony Orchestra. References furnished on request

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

Harry Ellis Dickson conducts the Boston bridge on Friday, 10 April at 8 p.m. Tickets are Classical Orchestra on Wednesday, 1 April $7 ($4 for students and seniors). For further and Friday, 3 April at 8 p.m. in Faneuil Hall information, call 253-7441. at Quincy Market. The program includes The Boston Artists' Ensemble, featuring Bach's Orchestral Suite No. 3, the Mozart cellist Jonathan Miller, clarinetist Peter Had- Bassoon Concerto with BSO principal cock, and pianist Hung-Kuan Chen, performs Sherman Walt, and the Beethoven Symphony trios by Brahms and Beethoven, and No. 8. Tickets are $18 and $12, $8 for stu- Debussy's First Rhapsody for clarinet and dents and senior citizens. For further infor- piano, in Ellsworth Hall at Pine Manor Junior mation, call 426-2387. PLEASE NOTE that College, 400 Heath Street in Chestnut Hill, on these concerts were scheduled originally for Sunday, 12 April at 7 p.m. Tickets are $9 18 and 20 March. general admission, $7 for seniors, and $5 for The Hawthorne Quartet—Bo Youp Hwang students. For reservations or further informa- and Ronan Lefkowitz, violins, Mark Ludwig, tion, call 437-0231. viola, and Sato Knudsen, cello—performs Guest conductor Oliver Knussen conducts music of Haydn, Stravinsky, Smetana, and the contemporary music ensemble Collage Gershwin at the Richmond Congregational (founded by BSO percussionist Frank Church in Richmond, Massachusetts, on Sun- Epstein) in an all-British program on Monday, day, 5 April at 3 p.m. No admission charge; 13 April 1987 at 8 p.m. at the Longy School of donations accepted at the door. For further Music in Cambridge. The music is by information, call (413) 698-3220. Knussen, Robert Saxton, Robin Holloway, Ronald Feldman conducts the world pre- Harrison Birtwistle, and Michael Tippett; miere of Alejandro Vifiao's Toccata del mago Joan Heller is the featured soprano. Tickets for string ensemble and computer sound on a are $8 general admission, $5 for students and concert sponsored by the MIT Experimental senior citizens. For further information, call Music Studio at Kresge Auditorium in Cam- 437-0231.

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Henry R. Guild, Jr. Ernest E. Monrad William A. Oates, Jr. Robert B. Minturn, Jr. Seiji Ozawa

Francisco Symphony from 1970 to 1976, followed by a year as that orchestra's music adviser.

Seiji Ozawa made his first Symphony Hall appearance with the Boston Sym- phony Orchestra in January 1968; he had previously appeared with the orchestra for four summers at Tanglewood, where he became an artistic adviser in 1970. For the 1972-73 season he was the orchestra's music adviser. Since becoming music director of the Boston Symphony Orchestra in 1973, Mr. Ozawa has strengthened the orchestra's reputation internationally as well as at home, leading concerts in Europe, Japan, and throughout the United States. In March 1979 he and the orchestra traveled to China for a significant musical Seiji Ozawa became music director of the and cultural exchange entailing coaching, Boston Symphony Orchestra in the fall of study, and discussion sessions with Chinese 1973. Now in his fourteenth year as music musicians, as well as concert performances. director, he is the thirteenth conductor to That same year, the orchestra made its first hold that position since the orchestra's found- tour devoted exclusively to appearances at ing in 1881. Bom in 1935 in Shenyang, China, the major European music festivals. In to Japanese parents, Mr. Ozawa studied both 1981, Ozawa and the orchestra celebrated Western and Oriental music as a child, later the Boston Symphony's centennial with a graduating from Tokyo's Toho School of fourteen-city American tour and an interna- Music 'wdth first prizes in composition and tional tour to Japan, France, Germany, conducting. In 1959 he won first prize at the Austria, and England. They returned to International Competition of Orchestra Con- Europe for an eleven-concert tour in the fall ductors held in BesanQon, France, and was of 1984, and to Japan for a three-week tour in\ited to Tanglewood by Charles Munch, in February 1986, the orchestra's third visit then music director of the Boston Symphony to that country under Ozawa' s direction. and a judge at the competition. In 1960 he Mr. Ozawa has also reaffirmed the orches- won the TanglcM^ood Music Center's highest tra's commitment to new music "wath the honor, the Koussevitzky Prize for outstand- recent program of twelve centennial com- ing student conductor. missions, and with a new program, begin- ning this year, to include such composers as While working with Herbert von Karajan Peter Lieberson and Hans Werner Henze. in West Berlin, Mr. Ozawa came to the attention of Leonard Bernstein. He accom- Mr. Ozawa pursues an active interna- panied Bernstein on the New York Philhar- tional career, appearing regularly with the monic's 1961 tour of Japan and was made Berlin Philharmonic, the Orchestre de an assistant conductor of that orchestra for Paris, the French National Radio Orches- the 1961-62 season. In January 1962 he tra, the Vienna Philharmonic, the Philhar- made his first professional concert monia of London, and the New Japan Phil- appearance in North America, with the San harmonic. His operatic credits include Francisco Symphony. Mr. Ozawa was music Salzburg, London's Royal Opera at Covent director of the Ravinia Festival for five Garden, La Scala in Milan, and the Paris summers beginning in 1964, music director Opera, where he conducted the world of the Toronto SjTnphony Orchestra from premiere of Olivier Messiaen's opera 1965 to 1969, and music director of the San St. Francis of Assisi in November 1983.

8 Mr. Ozawa led the American premiere of ings, on CBS, include music of Berlioz and excerpts from that work in Boston and Debussy \^ath mezzo-soprano Frederica von New York in April 1986. Stade, the Mendelssohn Violin Concerto witH Isaac Stem, and Strauss's Don Quixote and Seiji Ozawa has recorded with the Boston the Schoenberg/iVIonn Cello Concerto with Symphony Orchestra for Philips, Telarc, Yo-Yo Ma. He has also recorded the complete CBS, Deutsche Grammophon, Angel/EMI, cycle of Beethoven piano concertos and the New World, Hyperion, Erato, and RCA Choral Fantasy wdth Rudolf Serkin for records. His award-winning recordings Telarc, orchestral works by Strauss, include Berlioz's Romeo et Juliette on DG, Stra\dnslry, and Hoist, and BSO centennial Mahler's Symphony No. 8, the Symphony of a commissions by Roger Sessions, Andrzej Thousand, and Schoenberg's Gurrelieder, Panufnik, Peter Lieberson, John Harbison, both on Philips, and, also on DG, the Berg and Oily Wilson. and Stravinsky \dolin concertos with Itzhak Perlman, with whom he has also recorded the Mr. Ozawa holds honorar\' doctor of violin concertos of Earl Kim and Robert music degrees from the University of Mas- Starer for Angel/EMI. With Mstislav sachusetts, the New England Conservatory Rostropo\dch, he has recorded the EK^ofak of Music, and Wheaton College in Norton, Cello Concerto and Tchaikovsky's Variations Massachusetts, He has won an Emmy for on a Rococo Theme, newly available on a the Boston SjTnphony Orchestra's "Eve- single disc from Erato. Other recent record- ning at Symphony" PBS television series.

"There's no passion in the human soul. But finds its food in music."

George Lillo

Join us before or after the Symphony at the Bristol Lounge, overlooking the Public Garden at Four Seasons Hotel Also serving lunch, dinner and afternoon tea. The encore is over, but the music plays on. For Four Seasons Place FourSeasons Hotel Condominium Sales Information, BOSTON please call 617-338-4444. 200 Boylston Street Boston, Massachusetts 02116 (617) 338-4400 Fredy Ostrovsky Dorothy Q. and David B. Arnold, Jr., chair, fully funded in perpetuity Leo Panasevich Carolyn and Oeorge Rowland chair Sheldon Rotenberg Muriel C. Kasdon and Marjorie C. Paley chair Alfred Schneider Raymond Sird Ikuko Mizuno Amnon Levy Music Directorship endowed by John Moors Cabot Second Violins Marylou Speaker Churchill BOSTON SYMPHONY Fahnestock chair ORCHESTRA Vyacheslav Uritsky Charlotte and Irving W Rabb chair 1986-87 Ronald Knudsen Edgar and Shirley Grossman chair First Violins Joseph McGauley Malcolm Lowe Leonard Moss Concertmaster Charles Munch chair *Michael Vitale Tamara Smimova-Sajfar fHarvey Seigel Associate Concertmaster * Jerome Rosen Helen Homer Mclntyre chair * Sheila Fiekowsky Max Hobart Gerald Elias Assistant Concertmaster Robert L. Beal, and Ronan Lefkowitz Enid L. and Bruce A. Beal chair *Nancy Bracken Cecylia Arzewski * Jennie Shames Assistant Concertmaster *Aza Raykhtsaum Edward and Bertha C. Rose chair * Bo Youp Hwang Lucia Lin *Valeria Vilker John and Dorothy Wilson chair, Kuchment fully funded in perpetuity *Bonnie Bewick Max Winder Harry Dickson Violas Forrest Foster Collier chair Burton Fine Gottfried Wilfinger Charles S. Dana chair Patricia McCarty * Participating in a system of rotated Anne Stoneman chair, seating within each string section. fully funded in perpetuity + On sabbatical leave. Ronald Wilkison

10 Robert Barnes Piccolo Trumpets Jerome Lipson Lois Schaefer Charles Schlueter Bernard Kadinoff Evelyn and C. Charles Marran chair Roger Louis Voisin chair Joseph Pietropaolo Andre Come Ford H. Cooper chair Michael Zaretsk^' Oboes Charles Daval Marc Jeanneret Ralph Gomberg Peter Betty Benthin Chapman Mildred B. Remis chair Ludwig *Mark Wa^Tie Rapier Trombones *Roberto Diaz Alfred Genovese Ronald Barron J.P. and Mary B. Barger chair, fully funded in perpetuity Cellos English Horn Xorman Bolter Jules Eskin Philip R. Allen chair Laurence Thorstenberg Phyllis Knight Beranek chair, Bass Trombone fMartha Babcock fully funded in perpetuity Vernon and Marion Alden chair Douglas Yeo Miseha Xieland Esther S. and Joseph M. Shapiro chair Tuba Clarinets Chester Sehmitz Joel Moerschel Harold Wright Sandra and David Bakalar chair Margaret and William C. Ann S.M. Banks chair Rousseau chair *Robert Ripley Thomas Martin Luis Leguia Peter Hadcock Timpani Robert Bradford Xeicman chair E-Hat Clarinet Everett Firth Carol Procter Sylvia Shippen Wells chair Ronald Feldman *Jerome Patterson Bass Clarinet Percussion * Jonathan Miller Craig Nordstrom Charles Smith Farla and Harvey Chet *Sato Knudsen Peter and Anne Brooke chair Krentzman chair Arthur Press Basses Assistant Timpanist Bassoons Edwin Barker Thomas Ganger Harold D. Hodgkinson chair Sherman Walt Frank Epstein Edward A. chair Lawrence Wolfe Taft Maria Stata chair, Roland Small Harp fully funded in perpetuity Matthew Ruggiero Ann Hobson Pilot Joseph Heame Willona Henderson Sinclair chair Bela AVurtzler Leslie Martin Contrabassoon Personnel Managers John Salkowski Richard Plaster William Moyer John Barwicki Harrj' Shapiro *Robert Olson Horns Librarians *James Orleans Charles Kavalovski Marshall Burlingame Helen Slosberg chair Sagoff William Shisler Flutes Richard Sebring James Harper Margaret Andersen Congleton chair Doriot Anthony D\rv'er Daniel Katzen Walter Piston chair Stage Manager Fenwick Smith Jay Wadenpfuhl Position endowed by Myra and Robert Kraft chair Richard Mackey Angelica Lloyd Clagett Leone Buvse Jonathan Menkis Alfred Robison

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12 —s

A Brief History of the Boston Symphony Orchestra

Now in its one-hundred-and-sixth season, of Boston. His vision approached reality in the Boston Symphony Orchestra continues the spring of 1881, and on 22 October that to uphold the vision of its founder Henry year the Boston Symphony Orchestra's Lee Higginson and to broaden the interna- inaugural concert took place under the tional reputation it has established in direction of conductor Georg Henschel. For recent decades. Under the leadership of nearly twenty years symphony concerts Music Director Seiji Ozawa, the orchestra were held in the Old Boston Music Hall; has performed throughout the United Symphony Hall, the orchestra's present States, as well as in Europe, Japan, and home, and one of the world's most highly China, and it reaches audiences numbering regarded concert halls, was opened in 1900. in the millions through its performances on Henschel was succeeded by a series of radio, television, and recordings. It plays German-born and -trained conductors an active role in commissioning new works Wilhelm Gericke, Arthur Nikisch, Emil from today's most important composers, Paur, and Max Fiedler—culminating in the and its summer season at Tanglewood is appointment of the legendary Karl Muck, regarded as one of the most important who served two tenures as music director, music festivals in the world. The orches- 1906-08 and 1912-18. Meanwhile, in July tra's virtuosity is reflected in the concert 1885, the musicians of the Boston Sym- and recording activities of the Boston Sym- phony had given their first "Promenade" phony Chamber Players—the world's only concert, offering both music and refresh- permanent chamber ensemble made up of a ments, and fulfilling Major Higginson' major symphony orchestra's principal play- wish to give "concerts of a lighter kind of ers—and the activities of the Boston Pops music." These concerts, soon to be given in have established an international standard the springtime and renamed first "Popu- for the performance of lighter kinds of lar" and then "Pops,^' fast became a music. In addition, during its summer sea- tradition. son at Tanglewood, the BSO sponsors one During the orchestra's first decades, of the world's most important training there were striking moves toward expan- grounds for young musicians, the Tangle- sion. In 1915, the orchestra made its first wood Music Center, which celebrates its transcontinental trip, playing thirteen con- fiftieth anniversary in 1990. certs at the Panama-Pacific Exposition in For many years, philanthropist. Civil San Francisco. Recording, begun with RCA War veteran, and amateur musician Henry in the pioneering days of 1917, continued Lee Higginson dreamed of founding a great with increasing frequency, as did radio and permanent orchestra in his home town broadcasts of concerts. The character of the

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

13

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®1260211 Boston Symphony was greatly changed in ership a full-tuition fellowship program was 1918, when Henri Rabaud was engaged as established. Also during these years, in conductor; he was succeeded the following 1964, the Boston Symphony Chamber Play- season by Pierre Monteux. These appoint- ers were founded. beginning of a French- ments marked the William Steinberg succeeded Leinsdorf oriented tradition which would be main- in 1969. He conducted several American tained, even during the Russian-born Serge and world premieres, made recordings for time, the employment Koussevitzky's with Deutsche Grammophon and RCA, of many French-trained musicians. appeared regularly on television, led the The Koussevitzky era began in 1924. His 1971 European tour, and directed concerts extraordinary musicianship and electric on the east coast, in the south, and in the personality proved so enduring that he mid-west. served an unprecedented term of twenty- Seiji Ozawa, an artistic director of the five years. Tanglewood Festival since 1970, became In 1936, Koussevitzky led the orchestra's the orchestra's thirteenth music director in first concerts in the Berkshires, and a year the fall of 1973, following a year as music later he and the players took up annual adviser. Now in his fourteenth year as summer residence at Tanglewood. music director, Mr. Ozawa has continued to Koussevitzky passionately shared Major solidify the orchestra's reputation at home Higginson's dream of "a good honest and abroad, and his program of centennial school for musicians," and in 1940 that commissions—from Sandor Balassa, dream was realized with the founding at Leonard Bernstein, John Corigliano, Peter Tanglewood of the Berkshire Music Center Maxwell Davies, John Harbison, Leon (now called the Tanglewood Music Center). Kirchner, Peter Lieberson, Donald Martino, Andrzej Panufnik, Roger Expansion continued in other areas as Sessions, Sir Michael Tippett, and Oily well. In 1929 the free Esplanade concerts Wilson on the occasion of the orchestra's on the Charles River in Boston were inau- — hundredth birthday significantly reaffirmed gurated by Arthur Fiedler, who had been a the orchestra's commitment to new music. member of the orchestra since 1915 and Under his direction, the orchestra has also who in 1930 became the eighteenth conduc- expanded its recording activities to include tor of the Boston Pops, a post he would releases on the Philips, Telarc, CBS, Angel/ hold for half a century, to be succeeded by EMI, Hyperion, New World, and Erato John Williams in 1980. The Boston Pops labels. celebrated its hundredth birthday in 1985 under Mr. Williams's baton. From its earliest days, the Boston Sym- phony Orchestra has stood for imagination, Charles Munch followed Koussevitzky as enterprise, and the highest attainable stan- music director in 1949. Munch continued dards. Today, the Boston Symphony Koussevitzky's practice of supporting con- Orchestra, Inc., presents more than 250 temporary composers and introduced much concerts annually. Attended by a live audi- music from the French repertory to this ence of nearly 1.5 million, the orchestra's country. During his tenure, the orchestra performances are heard by a vast national toured abroad for the first time, and its and international audience. Its annual bud- continuing series of Youth Concerts was ini- get has grown from Higginson's projected tiated. Erich Leinsdorf began his seven- $115,000 to more than $20 million, and its year term as music director in 1962. preeminent position in the world of music is Leinsdorf presented numerous premieres, due not only to the support of its audiences restored many forgotten and neglected but also to grants from the federal and works to the repertory, and, like his two state governments, and to the generosity of predecessors, made many recordings for

many foundations, businesses, and individ- . RCA; in addition, many concerts were tele- uals. It is an ensemble that has richly vised under his direction. Leinsdorf was fulfilled Higginson's vision of a great and also an energetic director of the Tangle- permanent orchestra in Boston. wood Music Center, and under his lead-

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16 BOSTON SYMPHONY ORCHESTRA

Seiji Ozawa, Music Director Carl St. Clair and Pascal Verrot, Assistant Conductors One Hundred and Sixth Season, 1986-87

Thursday, 2 April at 8 Friday, 3 April at 2 Saturday, 4 April at 8

ANDREW DAVIS conducting

HANDEL Music for the Royal Fireworks Ouverture. Adagio—^Allegro Bouree La paix. Largo alia Siciliana La Rejouissance. Allegro

Menuet I; Menuet II

COLGRASS Chaconne, for viola and orchestra (United States premiere) RIVKA GOLANI

INTERMISSION

DVORAK Slavonic Dances

Op. 46, No. 1 in C (Presto) Op. 46, No. 2 in E minor (Allegretto scherzando) Op. 46, No. 3 in A-flat (Poeo allegro) Op. 46, No. 8 in G minor (Presto) Op. 72, No. 2 in E minor (Allegretto grazioso) Op. 72, No. 3 in F (Allegro) Op. 72, No. 4 in D-flat (Allegretto grazioso) Op. 72, No. 7 in C (Allegro vivace)

The evening concerts will end about 9:55 and the afternoon concert about 3:55. Philips, Telarc, CBS, Deutsche Grammophon, Angel/EMI, New World, Hyperion, Erato, and RCA records Baldwin piano

Please be sure the electronic signal on your watch or pager is switched oif 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.

17 Week 21 1

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18 George Frideric Handel Music for the Royal Fireworks

George Friedrich Handel was born in Halle, Saxony, on 23 February 1685 and died in London on 14 April 1759, having in the meantime adopted the anglicized spelling of his name, George Frideric Handel. He composed the Royal Fire- works Music in 1749 to be performed as part of an outdoor fireworks display. The first performance took place on 27 April 1749. Theodore Thomas led a suite from the Royal Fireworks Music in a Summer Park Concert in the Central Park Garden in New York on 21 October 1868; the music was apparently played

for the ''first time in this country" on that occasion. Richard Burgin played three movements at Boston Symphony concerts in January and February 1941; Charles Munch, Burgin, and Eugene Ormandy gave later performances of a four- movement suite arranged by Sir Hamilton Harty. The complete Barenreiter score being performed at the present concerts has been played only twice before by the orchestra, both times at Tanglewood, under Kurt Masur in 1984 and Trevor Pinnock in 1986. Originally written with parts for three oboes, two bassoons, contrabassoon, three horns, three trumpets, and three timpani, the first performance included many instruments on each part. Handel later reworked the score to include strings as well. The continuo harpsichordist is Mark Kroll.

The autumn of 1748 finally saw the end of the long and grinding European war known as the "War of the Austrian Succession," which had started in 1740 when Charles VI, head of the house of Hapsburg and also the Holy Roman Emperor, died without leaving a son. Though Charles had made a provision according to which his estates (a few modest parcels of land including Austria, Hungary, and Bohemia, plus various provinces in the southern Netherlands and northern Italy) would go to his daughter Maria Theresa, he had not dealt with the problem of succession to the elective title of Holy Roman Emperor, which had been in the Hapsburg family for three hundred years. Well before Charles's death other European rulers felt some interest in seeing that the Imperial title did not fall to Maria Theresa's husband Francis, who was a minor enough noble to be considered unsuitable for such an honor. But if anyone else were to be elected, the successful candidate would also have to be endowed with some of the Hapsburg inheritance.

It was Frederick II of Prussia (later known as Frederick the Great) who actually started the war by an aggressive move into Silesia, part of the Bohemian lands and one of the richest Hapsburg territories. But hostilities soon expanded to encompass all of Europe, including England and France, for whom the War of the Austrian Succession was just one more skirmish in a long duel between the two countries lasting from 1689 to the defeat of Napoleon in 1815. The signing of the peace treaty in Aix-la-Chapelle on 18 October 1748, after so many years of hardship and blood- shed, was therefore hailed as an achievement worthy of the most splendid celebra- tion. (Few were perhaps aware at the time that the "peace" was essentially a politicians' convenience; though much had been settled in central Europe, the dispute between France and England was scarcely addressed in the treaty, and war

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20 was to break out again between those two powers only a few years later, on the North American continent—^with what were to be fateful consequences for all concerned, including the loss of two empires and the eventual rise of a new republic.)

In any case, the peace was to be celebrated with a grand public display of fireworks in London's Green Park in April 1749. The King agreed that music should accompany the festivities, but with the stipulation that it should be music of "warlike instruments"—that is, wind and percussion, the types of instruments that might be part of a military band. Handel was commissioned to write the music, but at the last moment he demanded also to be allowed to include strings in the ensemble; no doubt he was worried about the problems of intonation with so many wind instruments, which were far more unreliable in their eighteenth-century versions than they are today. The Duke of Montague, Master of the Ordnance, wrote to the Comptroller of his Majesty's Fireworks to describe Handel's view of the matter:

Now Hendel proposes to lessen the nomber of trumpets, &c, and to have violeens. I don't at all doubt but when the King hears it he will be very much

displeased ... .1 am shure it behoved Hendel to have as many trumpets, and other martial instruments, as possible, tho he dont retrench the violins,

which I think he shoud, tho I beleeve he will never be persuaded to do it.

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22 Then there was a proposal by Handel's friend and admirer Jonathon Tyers, the owner of Vauxhall Gardens, one of the leading pleasure gardens of the day, and the site of much concert-giving, for a public rehearsal to be held there. Handel was opposed to the idea, but he seems to have been overruled, for one took place on 21 April. An audience estimated at 12,000 converged on the Gardens and created such a traffic jam on London Bridge that carriages were reported delayed for three hours.

The actual performance of the music with the fireworks took place on 27 April. The event seems to have been only a mixed success. Perhaps because of the wet weather, many of the rockets failed to explode, and those that did go off set fire to the building especially erected for the event, setting off a general panic among the crowd and a stampede in which many people were injured. The music, however, was immediately popular—so much so that Handel repeated it just a month later as part of a benefit concert for his favorite charity, the Foundling Hospital.

It is still not entirely clear whether the first performance took place with wind instruments only, as the king desired, or with added strings, as Handel preferred. Certainly the first movement was composed originally for wind ensemble, though string parts were added in the autograph (and in the eventual published form of the music). The other movements were composed for winds with strings, but the string parts were cancelled in the autograph—perhaps the best e\adence that the first performance was for winds alone. Still, the numbers of instruments called for by Handel in the autograph—twenty-four oboes, twelve bassoons, one contrabassoon, nine each of horns and trumpets, and timpani—fall far short of the ''band of 100 musicians" that two different sources claim took part in the premiere. Handel could have added a good forty strings to that wind ensemble to make up the hundred players. Or, possibly, he simply doubled all the other numbers! In any case, that first performance must have made a grand and glorious noise.

The structure erected for the Royal Fireworks; note the firefighters at lower right

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60 Federal Street Boston. MA 02110 423-9190 The overture is far and away the biggest movement of the score. Conceived in the mold of the French ouverture—with a slow introduction in crisp dotted rh\i:hms, followed by a faster, lightly fugal main section—it is superbly conceived for outdoor performance. Handel seems to have modeled the opening fanfare on an earlier composition, for which sketches survive. The early version presented the opening fanfare in unison. For the final version Handel decided to harmonize the first statement; this allows him to attain still further variety when the theme comes back on later occasions in two different harmonizations. The faster section of the overture does not come from the early sketches but seems to have been conceived specifically for this piece. Handel carefully designed the thematic material to be played by the brass instruments, which, in his day, could play chromatic notes only with great difficulty and in poor tune. The layout of the themes, with plenty of opportunity for triple antiphonal echoes between the different instrumental choirs, also suggests that they were conceived for this unusual ensemble.

The remaining movements consist of various types of dances, none of them aimed at matching or excelling the size or energy of the overture. To modern ears they may come as an anticlimax, but nothing was more tj-pical of the Baroque suite, in which the hea\y artillery^, so to speak, came first, followed up by a display of lighter arms. The various dances were intended to provide a variety of mood and rhythm, if rarely of key. Handel gave two of the movements titles that certainly were intended to reflect the purpose of the work as a whole: "La Rejouissance" ("The Rejoicing"') and "La Paix" ("The Peace"). —Steven Ledbetter

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26 Michael Colgrass Chaconne, for viola and orchestra

Michael Colgrass was bom in Chicago on 22 April 1932 and currently lives in New York City and Toronto. Commissioned by the Toronto Symphony with the assistance of the Ontario Arts Council and the Canada Council, and "Celebrating the

300th Year ofJ.S. Bach" (as the title page is inscribed), Chaconne was composed in

1984 for Eivka Golani, to v^hom it is dedi- cated; she played the solo part in the pre- miere with the Toronto Symphony, Andrew Davis conducting, on 27 Sep-

tember 1984. These are the first perform- ances by the Boston Symphony Orchestra

and the first in the United States. In addi- tion to the solo viola, the score calls for three flutes (two doubling piccolo, one alto flute), two oboes, two clarinets and bass clarinet, contrabassoon, four horns, three trumpets, three trombones and tuba, celesta/piano, harp, a large body of percussion (four chimes, marimba, crotales, two triangles, ratchet, three wood blocks, three cowbells and two mounted tambourines, bongos, timbales, field drum, sizzle cymbal for jazz, large cymbal, gong, bass drum, four timpani), and strings.

Michael Colgrass attended the University of Illinois, where he studied percussion with Paul Price and composition with Eugene Weigel. Further composition teachers included Lukas Foss, Darius Milhaud, Wallingford Riegger, and Ben Weber. He spent much of his early career working as a professional percussionist in a wide range of styles, including concert and theater orchestras and jazz bands. This played an important role in his own creative work. As he says of himself (in David Ewen's American Composers), "I came from a world of music where you improvise, and have close contact with your audience, and the music is not intellectualized. I grew up listening to Charlie Parker and people like that." His early works are largely for percussion instruments, often written with specific players in mind, but his oeuvre now ranges widely from orchestral works like As Quiet As . . . (performed by the Boston Symphony under Erich Leinsdorf in 1967) to varied chamber, vocal, and theatrical works. Since 1967, he has made his living exclusively as a composer. In 1978 his Deja vu (performed by the BSO in 1980) was awarded the Pulitzer Prize for music.

In recent years Colgrass has turned increasingly to literary ideas for musical inspiration. He studied the traditional Italian theater of the Commedia dell'arte at the Piccolo Teatro of Milan and undertook the course in physical training for actors at the Polish Theater Laboratory. He has begun to write drama and poetry and to incorporate it into such works as Virgil's Dream for four actor-singers and four mime-musicians and the comic opera Nightingale Inc.

Chaconne is one of a number of purely instrumental works that Colgrass has composed in the last few years, though even literary and artistic elements clearly play a role in the germination of his musical ideas, as the composer himself recounted in the program of a performance in Calgary:

I wrote Chaconne for violist Rivka Golani, who commissioned it with funds from the Canada Council and the Ontario Arts Council. She inspired me to

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28 write a work that was broad in scope and that would encompass her whole range as a soloist. Her way of inspiring me was to use her alternate talent, painting. She painted furiously while I was starting work on her piece, and she delivered paintings to my studio almost every day. At one point, my piano was surrounded by giant abstract works flaring their bright colors and passionate nature at me. Actually it was not the paintings themselves that gave me energy, but Rivka's intensity and her desire to impress upon me her seriousness concerning our piece.

At the premiere, with the Toronto Symphony, on September 27, 1984, a man asked me if I realized that the theme I used for this work was Jewish in character and if this was done purposely. Then, for the first time, I recalled that I had asked Rivka, long before I started the work, if she knew any interesting Jewish folk songs. She said no, and that wa^ that. Then I heard William Styron interviewed one day about his deeply moving book, Sophie's Choice, and his thoughts made such an impression on me that I wrote "Sophie's Choice" at the head of the first sketch page for Chaconne, as a working title. As the months rolled by my mind got into the music, which consisted of a short minor-key theme with twenty-four variations, and I forgot about Sophie. I think that Rivka, who is Israeli, may somehow have stirred something deep in me on the subject of oppressed peoples, which took hold and expressed itself in this work. Chaconne is affectionately dedicated to Rivka Golani.

A chaconne was originally a Baroque dance song in triple meter, a form that originated, evidently, in the New World and made its way back to Spain in the early

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Michael Colgrass's Chaconne, like the earlier works of this title, consists of a series of variations connecting with one another, usually identified by a slight change of tempo or a new orchestral texture. In the present instance, the first five variations (following the unaccompanied statement in solo viola of the chaconne melody) move to a progressively faster quarter-note beat. With the sixth variation, the tempo suddenly drops back and the mood is hushed. The variations of tem.po that follow are reinforced by imaginative variations in orchestral color, all designed to highlight without drowning out the solo instrument. Though the viola dominates almost throughout the work, certain instruments play almost a co-principal role; of these, the alto flute, vibraphone, oboe, and solo cello are especially important at various points. Overall, the progress through the twenty-five-minute work is a gradual progression through the lyrical, the dramatic, the mournful, and the energetic, to a ringing close. —S.L.

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32 Antonin Dvorak Selections from the Slavonic Dances, Opus 46 and Opus 72

Antonin Dvorak was born in Nelahozeves (Muhlhausen), Bohemia, yiear Prague, on 8 September 1841 and died in Prague

on 1 May 1904. He composed his first set of eight Slavonic Dances, Opus 46, for piano duet between 18 March and 7 May 1878 and scored them for full orchestra by 22 August. He had obviously begun the orchestrations even before finishing the complete set, however, since three of

the dances, Xos. 1, 6, and 3, were per- formed by the orchestra of the Czech Theater in Prague under the direction of Adolf Cech on 16 May 1878. They call for an orchestra consisting of two flutes and piccolo, two oboes, two clarinets, two bassoons, four horns, two trumpets, three trombones, timpani, bass drum, cym- bals, triangle, and strings. (No. 8 calls for one flute only).

Dvorak composed the second set of Slavonic Dances, Opus 72, also for piano duet between 4 June and 9 July 1886, scoring them between mid-November and the beginning

of the following January. Three of the dances—Nos. 1, 2, and 7—were premiered at the Czech National Theater in Prague on 6 January 1887 ivith the composer conducting.

Opus 72 calls for an ensemble of two flutes (plus piccolo in No. 7), two oboes, two clarinets, two bassoons, four horns, two trumpets, three trombones, timpani, bass drum, cymbals, triangle, and strings. (Nos. 2 and 4 do not use trumpets or trombones, Nos. 3

and 4 do not use triangle, and Nos. 2, 3, and 4 do not use bass drum or cymbals.)

In general Boston Symphony Orchestra performances have been limited to one or two of the dances at a time, and the records do not always specify which ones were played. Georg Henschel was the first to program any of Opus 46 here, on the third concert of the inaugural season, in November 1881, when he played Nos. 4 and 1 from the Opus 46 set;

he programmed Nos. 3, 6, 5, and 8 during the following seasons. William Gericke, Arthur Nikisch, and Pierre Monteux also played selections from the Opus 46 set, the most recent subscription performances being of Nos. 3 and 1 under Monteux in Febru- ary 1923. Wilhelm Gericke introduced unidentified selections from the Opus 72 set in November 1888. The only other subscription performances of any part of this set were given under the direction of Erich Leinsdorf in December 1967 (Nos. 2, 6, and 8), but Seiji Ozawa led Opus 72, No. 2, at Tanglewood in 1984.

It was the Slavonic Dances that made Dvorak's name outside of his native country. It might even be fair to say that the first set, Opus 46, truly made Dvorak himself. He had composed some fine works, especially in the chamber music line, before then, but his determination to spread Czech, or rather Slavonic, nationalism in his music opened a wellspring of melodic invention that bubbled forth irresistibly.

The idea for the work came from the publisher Simrock, who had recently agreed, on Brahms's recommendation, to bring out some of the music of this relatively unknown regional composer. Since Simrock had made a good profit from Brahms's Hungarian Dances, he proposed something similar designed to reflect the new- comer's homeland and native traditions. Dvorak readily agreed, and began creating eight dances for piano duet. So quickly did the ideas come that he could hardly write

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34 them down; the musical sketch outlines the bare melodic ideas, with only rare indica- tions of harmonic elements or other details.

Simroek paid Dvorak 300 marks for the eight dances and soon found himself repaid a thousandfold, as the set became enormously popular. He began to urge Dvorak to return to that successful line, rather to the composer's irritation, since he was eager to complete large-scale oratorios and sjTnphonies. He was also under- standably chan,' of trying to repeat a worldwide success without falling flat on his face. At the beginning of 1886 he wrote to Simroek, '"To do the same thing twice is de\ilishly difficult. I am not the least in the mood to think of such gay music." Perhaps to his surprise, then, in June he suddenly found the proper mood coming on him after he had completed his oratorio St. Ludmila. and the second set of eight dances came forth with almost the same ease and rapidity as the first, though—as Dvorak himself remarked—they are quite different from the earlier ones, somewhat more internalized and poetic, more delicately scored, compared to the vigorous and vital directness of the first set, and the basically simple form is extended with a greater multiplicity of themes.

Unlike Brahms, who had arranged existing folk dances and songs in his Hun- garian Dances, Dvorak chose to invent his o^vn material in characteristic dance t^-pes. At most he took a few fragments from existing material, but thoroughly changed its personality through adjustments of mode, and chromatic treatment. The Opus 46 set consists entirely of Bohemian or Czech dance forms, while Opus 72 draws also on Slovak, Polish, or Yugoslavian dance forms. Generally speaking the dances are all in a ternary- rondo form, alternating two themes of contrasting character with some broader development in the middle. Like all the great masters of dance forms—Schubert. Chopin, Johann Strauss, Sousa, and Scott Joplin, to name a few verj' diverse examples—Dvorak is able to invent music of astonishingly varied character within the seemingly restrictive bounds of the characteristic meter and tempo.

^

The first page of the manuscript of Opus 46, No. 1, in the composer's original four-hand piano version

35 Week 21 1987-88 BSO Schedule

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Opus 46, No. 1, is a vigorous furiant, a popular Czech dance that sounds like it is in 3/2 meter until it suddenly reveals itself to be a fast 3/4, with the first section written so that two bars sound as a broader single bar. The play of meters is utterly characteristic of this dance, but rarely has a furiant been so festive and fiery as this one. The middle section is more straightforward, waltzy, in character, though the basic syncopation of the opening section occurs there, too.

Opus 46, No. 2, is a dumka, Dvorak's favorite dance form, and one that he returned to on many occasions (most notably in the Dumky Trio, ""dumky' being the plural form of the word). It consists of sharply contrasted moods—slow then fast based here on melodies of similar shape but differing effect.

Opus 46, No. 3, is a polka in A-flat beginning in a warmJy lyrical mood, to which is contrasted a sunny and vigorous new section in a faster tempo. Various alternations and transmutations lead to the coda, built on the rhythmically energetic second figure.

Opus 46, No. 8, ends the first set of Slavonic Dances with another f^ery furiant, now in G minor, with a serene contrasting section in G major in which the flutes and oboes sing a long melody over hushed strings, which punctuate with a little motif

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Opus 72, No. 2, is another dumka in a plaintive E minor with poignant climaxes and a delicately contrasting middle section, which, with its accented dotted figure on the first beat, suggests a mazurka. The oscillating, yearning main theme returns and sticks in the mind.

Opus 72, No. 3, is a skocna, a kind of jig familiar from Smetana's employment of it as the Dance of the Comedians in The Bartered Bride. The opening has an unusual three-bar pattern, consisting of two resolute chords in the full orchestra followed by two bars of lively skipping. A rising fifth, progressively ornamented, comprises the next phrase, and several new ideas make their appearance after the return of the opening gesture. The progress is breathtaking as one idea follows another, inverting and further developing ideas already presented.

Opus 72, No. 4, is yet another example of the dumka, this one weighted with rather heavily accented downbeats to mark the basic mood, one of plaintive lament. Tempo contrast between sections is much less marked in this dumka than in the earlier ones, though the mood is somewhat brighter and more flowing in character.

Opus 72, No. 7, is a Serbian dance, the kolo, here providing the wildest and most frantic of all the dances in either set. It is marked by a constant rhythmic drive that all but conceals the art of Dvorak's organic development of thematic ideas, growing and turning from one to another in rapid succession and ending with magnificent verve. —S.L. BALLY OF SWITZERLAND

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Winton Dean's splendid Handel article in The New Grove has been reissued sepa- rately in book form (Norton, available in paperback). Stanley Sadie's Handel Concer- tos in the BBC Music Guides (U. of Washington paperback) charts a clear course through the tangled musicological thickets and contains a brief discussion of the Royal Fireworks Music, though it is not really a concerto. The standard biography is Paul Henry Lang's George Frideric Handel (Norton, now also in paperback); it is sometimes argumentative as Lang disputes what he perceives to be longstanding errors of Handelian interpretation, but it is also rich in cultural background and so well written as to have become a best-seller when it was first published, a rare enough achievement for any musicological work. There are excellent recordings of the Royal Fireworks Music to match every taste, whether you want the original wind scoring or a version with strings, too, or a recording with period instruments. Utterly spectacular in sonorous effect and sprightly playing is the wind version by the Cleveland Symphonic Winds under the direction of Frederick Fennell (Telarc compact disc, coupled with the two wonderful suites for military band by Gustav Hoist). Trevor Pinnock's reading with the English Consort is a zestful spirited version with period instruments (DG Archiv, coupled with two of Handel's concerti a due cori). And for fine performances of both the complete Fireworks music and the complete Water Music on modern instruments, you can't beat Neville Marriner's recording with the Academy of St. Martin-in-the-Fields (Argo, now reissued on compact disc).

An informative article about Michael Colgrass by Joseph Horowitz appeared in the November 1978 issue oiHigh Fidelity/Musical America, in which Colgrass was

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100 Old Billerica Rd. Bedford, MA 01730 (617) 275-8700 Owned and operated by Carleton-Willard Homes, Inc., a non-profit corporation featured as "Musician of the Month"; Kurt Stone's useful summarj' of his career and list of works appears in The New Grove Dictionary of American Music. Chaconne is not available on records, but the Pulitzer Prize work, Deja vu, has been recorded by Leonard Slatkin and the St. Louis S}Tnphony Orchestra (New World, coupled with Colgrass's Light Spirit for flute, \dola, percussion, and guitar, and Jacob Dvuckmans Aureole). The New Jersey Percussion Ensemble offers a splendid performance of the Fantasy-Variations for percussion (Nonesuch). Other large works that have been recorded include The Earth's a Baked Apple from 1968, recorded by the New Orleans Philharmonic-S\Tnphony under the direction of Carter Nice with the Xa\4er University Chorus (Orion), and Concertmasters, for three violins and orchestra, recorded by the American Symphony Orchestra conducted by Kazuyoshi Akiyama (Turnabout). Recordings of his smaller works include mu«ic for voice or percussion.

There are two good studies of Dvorak by John Clapham: Antonin Dvorak: Musician and Craftsman, more concerned with the composer's music than with his life (St. Martin's; currently out of print), andi Antonin Dvorak, a more purely biographi- cal account (Norton). Clapham has also contributed the Dvorak article to The New Grove, now available separately in The New Grove Late Romantic Masters (Norton, available in paperback; this volume contains the complete articles on Bruckner, Brahms, D^'ofak, and Wolf from The New Grove). The most important source materials for Dvorak's life were published by Otakar Sourek in Antonin Dvorak: Letters and Reminiscences (Artia). Alec Robertson's Dvorak in the Master Musicians series (Littlefield paperback) is an enthusiastic brief survey of his life and works. Andrew Da\ds has recorded the Opus 46 set of Slavonic Dances with the Philhar- monia Orchestra (CBS). Both Opus 46 and 72 remain available in the classic recordings of George Szell with the Cleveland Orchestra, on the budget Odyssey label (coupled with the Carnival Overture). Two complete versions on compact disc both offer fine, sparkling playing, but Neeme Jar\4's recording with the Scottish National Orchestra fits the entire work on a single disc (Chandos); Antal Dorati's version with the Royal Philharmonic Orchestra takes two discs but adds the rarely heard and charming Amencaw Suite to fill it out (London). — S.L.

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42 Andrew Davis

Philharmonic, the Boston Symphony, Chicago Symphony, Cleveland Orchestra, and Los Angeles Philharmonic. He is a wel- come guest with all the major London orchestras, he has conducted the Berlin Philharmonic, Stockholm Philharmonic, and Israel Philharmonic, he has recorded with the Bavarian Radio Symphony Orches- tra and the Orchestre National of Paris, and worked at La Scala, Milan, and with the Santa Cecilia Orchestra in Rome. In November 1985 he conducted the Britten War Requiem at the All Saint's Day concert in Vienna with Varady, Tear, and Fischer- Dieskau. He makes a return visit to the Berlin Philharmonic in 1988.

Particularly well-known for his inter- Andrew Davis has made Toronto his home pretations of Richard Strauss operas, and base since 1975, when he was appointed Andrew Davis has conducted Der music director of the Toronto Symphony, Rosenkavalier at the Paris Opera and which he has led to international recognition Covent Garden, and Salome and Ariadne and acclaim. Mr. Davis has conducted them aufNaxos at the Metropolitan Opera. He is throughout Canada and taken them on tours a regular visitor to the Glyndeboume Fes- which have included most of the important tival, where he is scheduled to appear into United States musical centers, China, the early 1990s. In the spring of 1986 he Japan, and Europe. Last summer they made conducted Salome at Covent Garden, and in a second tour of Europe, including London, 1987 he conducts Figaro at the Lyric Opera Cardiff, the Edinburgh Festival, Dublin, of Chicago. Under an exclusive recording Flanders, Helsinki, Bonn, Paris, and contract with CBS, Mr. Davis has recorded Copenhagen. With Mr. Davis, the Toronto all the Dvorak symphonies with the Philhar- Symphony has recorded twenty-five albums; monia, Mendelssohn symphonies with the the most recent recordings are Strauss's Bavarian Radio Symphony, and a Borodin Four Last Songs and the final scene from cycle with the Toronto Symphony. Future Salome with Eva Marton for CBS, and plans include recordings with the Toronto Hoist's The Planets for EML Symphony for EMI. With the Toronto Sym- phony, Mr. Davis recently conducted Sir Andrew Davis had a traditional English Michael Tippett's The Mask of Time, which musical upbringing, studying at London's he introduced to Europe at the BBC Proms Royal College of Music and then at King's in 1984. Future plans include a Barbican College, Cambridge, where he was an organ series with the London S>Tnphony Orches- scholar. He worked as a continuo player in tra and a tour of Germany with the London London with the English Chamber Orches- Philharmonic; and return visits to the tra and the Academy of St. Martin-in-the- Zurich Tonhalle, the Pittsburgh Symphony, Fields and then studied with Franco and the New York Philharmonic. Since his Ferrara in Rome. By 1974 he held posts first Boston Symphony appearances in Jan- with the BBC Scottish Symphony, the Phil- uary 1976, Mr. Davis has returned fre- harmonia, and the Royal Liverpool Philhar- quently for performances at Tanglewood monic; he had become a regular Promenade and Symphony Hall, most recently in conductor and had taken the Philharmonia March/April 1985. on tours to Europe and the English Cham- ber Orchestra to the Far East. By 1976, Andrew Davis had conducted the New York

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44 Rivka Golani

Acclaimed violist Rivka Golani is widely known as a champion of new music, as well as for her performances of traditional repertoire. More than forty works by com- posers of international repute have been composed for her, including ten concertos. Ms. Golani has appeared with some of the world's major orchestras, among them the Israel Philharmonic, the ORF Radio Orchestra in Vienna, the BBC Symphony, the BBC Scottish S\Tnphony, the London Sinfonietta, and the Toronto S\Tnphony. Her recital appearances have awakened audiences, critics, and colleagues to an un- precedented regard for her instrument; appearances in the United States, Canada, Mexico, Israel, and in eastern and western Europe have brought rave reviews and con- sistent reengagements. Her recordings include "Viola, Volume I," an album of viola encores, for Masters of the Bow; "'Viola. ^RO Volume II," major works for \'iola and piano (asA f^M with Samuel Sanders, is soon to be released. Her "Viola Nouveau" for Centre- discs was nominated for a Juno award and won the Canadian Grand Prix du Disque in 1985. In September 1984, with Andrew Davis and the Toronto S\Tnphony, Ms. Golani gave the world premiere of Chaconne, for viola and orchestra, by Pulitzer Prize-winning composer Michael Colgrass. This season she performs the Mexican Cuisine work with the RTBF Radio Orchestra in Brussels, the Orchestre S^mphonique du Quebec, and the Calgary Philharmonic. In

". its United States premiere, the work also . . the best Mexican

. the occasion for her debut per- . serves as food this side of Taxco . the cuisine at Casa Romero formances \^dth the Boston S^iuphony is as sophisticated as Orchestra. Ms. Golani has been a featured ..." the decor soloist at many international festivals, Gourmet including Holland, MIDEM, Malvern, Vic- Magazine toria, Cape and Islands, Mainly Mozart, the London Proms, Parry Sound, and Gidon Open Daily from 6:00 P.M. Kremer's Lockenhaus, among others. She for your pre-concert will make her Japanese debut for the open- pre- dining convenience ing of the new Suntorv Hall in Tokyo, miering a new work composed for her by Closed Sundays Joji Yuasa.

Reservations: 536-4341

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45 WITHOUTYOURHELP YOU COULD BE HEAEWGLESS FROMTHE BSQ

To keep the Boston Symphony a vibrant musical force, it needs vigorous support. Ticket sales, recordings and broadcast revenues generate only half the income we need. So, if you want to hear more from us, then we need to hear from you.

Yes, I want to keep great music alive and become a Friend for the 1986-87 season. (Friends' benefits begin at $40.) Enclosed is my check for

$ to the Boston Symphony Annual Fund. '^!^'*#'S%^?r'

Name Tel

Address

City State Zip

Please make check payable to "Boston Symphony Annual Fund" and send to: Sue Tomlin, Director of Annual Giving, Boston Symphony Orchestra, SymphcnvHall^Bostcn, MA 02II5. (617) 266-M92. ^^^^ GREATMUSICALIVE.

46 The Boston S^iiiphony Orchestra \\4shes to acknowledge particularly the follo\\'ing group of corporations and professional organizations for their outstanding and exemplar}' response in support of the orchestra's needs during the past or current fiscal year.

1986-87 Business Honor RoU (S10,000 + )

ADD Inc Architects General Electric Company L\Tin Philip M. Briggs Frank E. Pickering AT&T General Electric Plastics Business Group Robert C. Babbitt Glen H. Hiner Advanced Management Associates, Inc. The Gillette Company Han-ey Chet Krentzman Colman M. Mockler, Jr. American Express Company HBM Creamer, Inc. James D. Robinson III Edward Eskandarian Analog De\'ices. Inc. IBM Corporation Ray Stata Paul J. Palmer John Hancock Mutual Life Insurance Bank of Boston Company William L. Brown E. James Morton Bank of New England Stanley H. Kaplan Educational Center Peter H. McCormick Susan B. Kaplan BayBanks, Inc. Liberty Mutual Insurance Companies William M. Crozier, Jr. Melvin B. Bradshaw Boston Edison Company McKinsey & Company. Inc. Stephen J. Sweeney Robert P. 0" Block Boston Financial & Equity Corporation Moet-HennessyU.S. Corporation Sonny Monosson Ambassador Evan G. Galbraith The Boston Globe Affiliated Publications Morse Shoe. Inc. William 0. Taylor Manuel Rosenberg Boston Park Plaza Hotel & Towers Neiman-Marcus Roger A. Saunders Wniiam D. Roddy Boston Safe Deposit & Trust Company New England Telephone Company James N. von Germeten Gerhard M. Freche Bozelh Jacobs. Kenyon & Eckhardt. Inc. The New England Thomas Mahoney Edward E. Phillips Cahners Publishing Company PaineWebber, Inc. In memorv' of Norman L. Cahners James F. Clearv* Carter Hawley Hale Stores, Inc. Ra\1:heon Company Philip M. Hawley Thomas L. Phillips Coopers & Lybrand The Red Lion Inn Vincent M. O'Reilly John H. Fitzpatrick Country' Curtains Sha-v^Tnut Bank of Boston Jane P. Fitzpatrick William F. Craig Creative Gourmets, Ltd, Signal Technology Corporation Stephen E. Elmont William E. Cook Daniels Printing Company State Street Bank & Trust Company Lee S. Daniels William S. Edgerly Digital Equipment Corporation Terad\TLe, Inc. Kenneth H. Olsen Alexander Y. d'Arbeloff DjTiatech Corporation WCRB/Charles River Broadcasting, Inc. Richard L. Kaye J. P. Barger Wang Laboratories, Inc. E.F. Hutton & Company, Inc. An Wang S. Paul Crabtree WC\^B-T\^ 5 Fidelity Investments James Coppersmith Samuel W. Bodman S. Zayre Corporation GTE Electrical Products Maurice Segall Dean T. Langford General Cinema Corporation Richard A. Smith

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48 .

The Boston Symphony Orchestra gratefully acknowledges the following corporations and )rofessional organizations for their generous and valuable support totaling $1,000 + during he past fiscal year. Names which are both capitalized and underscored in the Business ^jcaders listing comprise the Business Honor Roll denoting support of $10,000 + Capitalization denotes support totaling $5,000-$9,999, and an asterisk indicates support ,otaling$2,500-$4,999.

Business Leaders ($1,000+)

iccountants Aerospace SHAW^a^T BANK OF BOSTON William F. Craig ARTHUR ANDERSEN & COMPANY *Northrop Corporation William F. Meagher Thomas Y. Jones STATE STREET BANK & TRUST ^THUR YOUNG & COMPANY PNEUMO CORPORATION COMPAN^^ William S. Edgerly Thomas P. McDermott Norman J. Ryker :OOPERS & LYBRAND UST CORPORATION James Y. SideU Vincent M. O'Reilly Architecture/Design ?harles E. DiPesa & Company INC ADD ARCHITECTS Building/Contracting William F. DiPesa Philip M. Briggs *A.J. Lane & Company. Inc.. ^RNST & WHINNEY LEA GROUP Andrew J. Lane James G. Maguire Eugene R. Eisenberg Chain Construction Corporation DklG Main Hurdman Howard Mintz ^ William A. Larrenaga Banking Lee Kennedy Co., Inc. :>EAT, MARWICK, Lee M. Kennedy \IITCHELL & COMPANY BANK OF BOSTON William L. Brown Robert D. Happ National Lumber Company BANK OF NEW ENGLAND Louis L. Kaitz Theodore S. Samet & Company Peter H. McCormick Theodore S. Samet *Perini Corporation rOUCHE ROSS & COMPANY BAYBANKS, INC. Da^'id B. Perini William M. Crozier, Jr. - James T. McBride *JF. WTiite Contracting BOSTON SAFE DEPOSIT Thomas J. WTiite idvertising/Public Relations & TRUST COMPANY Arnold & Company, Inc. James N. von Germeten Displays/Flowers Gerald Broderick Cambridge Trust Company *Giltspur Exhibits/Boston BMC STRATEGIES, INC. Lewis H. Clark Thomas E.Knott, Jr. Bruce M. McCarthy Chase Manhattan Corporation *Harbor Greenerj- BOZELL, JACOBS, KENYON & Robert M. Jorgensen Diane Valle ECKHARDT, INC. CITICORP CITIBANK Thomas Mahoney Education Walter E. Mercer Harold Cabot & Company, Inc. COLLEGE *Eastem Corporate Federal Credit BENTLEY William H. Monaghan Gregory,' H. Adamian Union HEM CREAMER, INC. Jane M. Sansone STANLEY H. KAPLAN Edward Eskandarian First Mutual of Boston EDUCATIONAL CENTER Clarke & Company, Inc. Keith G. Wllloughby Susan B. Kaplan Terence M. Clarke *Framingham Trust Company THE COMMUNIQUE GROUP, INC. William A. Anastos Electrical/mAC James H. Kurland NeWorld Bank *p.h. mechanical corporation HILL AND KNOWLTON, INC. James M. Gates Paul A. Hayes Peter A. FarweU *Patriot Bancorporation R&D ELECTRICAL COMPANY, INC. Thomas R. Heaslip Richard D. Redone Hill, HoUiday, Connors, Cosmopulos, Inc. *Provident Financial Sendees, Inc. Jack Connors, Jr. Robert W: Brady Electronics Young & Rubicam *Rockland Trust Company Alden Electronics, Inc. Mark Stroock John F. Spence, Jr. John M. Alden

49 Eor before and after the Symphony, a casual suggestion.

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50 Analytical Systems Engineering Food Service/Industry HITCHCOCK CHAIR COMPANY H. Glennon Corporation *Boston Showcase Company Thomas B. RuMn Michael Jason Starr The Jofran Group EPSCO Inc. CREATIVE GOURMETS, LTD. Robert D. Roy P. Coffin Wayne Stephen E. Elmont Mitre Corporation The daka Food Service Management, Inc. Graphic Design Everett Robert R. Terry Vinee Clark/Linsky Design, Inc. CORPORATION PARLEX Dunkin' Donuts, Inc. Robert H. Linsky Herbert W Pollack Robert M. Rosenberg Fader, Jones & Zarkades Design TECHNOLOGY SIGNAL * Federal Distillers, Inc. Associates CORPORATION Alfred J. Balema Roger Jones .' William E.Cook Garelick Farms, Inc. ^Gill Fishman and Associates Peter M. Bemon < Energy Gill Fishman CABOT CORPORATION JOHNSON O'HARE COMPANY, INCfWeymouth Design, Inc. FOUNDATION, INC. Harry O'Hare Michael E. Weymouth H RuthC. Scheer MOET-HENNESSY "SANKEE COMPANIES, INC. U.S. CORPORATION High Technology

J. Montle Ambassador Evan G. Galbraith Paul Allied Corporation NATIONAL DISTILLERS AND Edward L. Hennessy, Jr. Engineering CHEMICAL CORPORATION ANALOG DEVICES, INC. Goldberg-Zoino & Associates, Inc. John Hoyt Stookey Ray Stata Donald T. Goldberg Corporation ^pQLLO COMPUTER, INC. Stone & Webster Engineering ^?T/c"Arnold S. Wolfw?/'"^"""" Thomas A. Vanderslice Corporation *Roberts and Associates William F. Allen, Jr. *Aritech Corporation Richard J. Kunzig James A. Synk Entertainment/Media Ruby Wines AT&T Theodore Rubin GENERAL CINEMA Robert C. Babbitt CORPORATION *Silenus Wines, Inc. AUGAT, INC. Richard A. Smith James B. Hangstefer Roger D. Wellington National Amusements, Inc. The Taylor Wine Company, Inc. Automatic Data Processing Sumner M. Redstone Michael J. Doyle Josh S. Weston 'WiUiams/Gerard Productions, Inc. Shaws Supermarkets, Inc. BBF Corporation William J. Walsh Stanton W Davis Boruch B. Frusztajer Finance/Venture Capital United Liquors, Ltd. BOLT BERANEK AND Michael Tye AMERICAN EXPRESS COMPANY NEWMAN INC. James D. Robinson III Stephen R. Levy Footwear Carson Limited BOSTON FINANCIAL & EQUITY Herbert Carver *Jones & Vining, Inc. CORPORATION Sven A. Vaule, Jr. FARRELL, HEALER & COMPANY Sonny Monosson Richard Farrell MERCURY INTERNATIONAL *Compugraphie Corporation TRADING CORPORATION THE FIRST BOSTON Carl E. Dantas Irving A. Wiseman CORPORATION Computer Corporation of America Mark S. Ferber MORSE SHOE, INC. John Donnelly, Jr. Manuel Rosenberg HAMBRECHT & QUIST VENTURE COMPUTER PARTNERS PARTNERS The Rockport Corporation Paul J. Crowley Bruce Katz Robert M. Morrill Costar Corporation *Kaufman & Company STRIDE RITE CORPORATION Otto Momingstar Sumner Kaufman Arnold S. Hiatt DIGITAL EQUIPMENT TA ASSOCIATES CORPORATION Peter A. Brooke Fumishings/Housewares Kenneth H. Olsen

Tracy Financial, Inc. COUNTRY CURTAINS DYNATECH CORPORATION Robert E.Tracy Jane P. Fitzpatrick J. P. Barger

51 .

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52 SG&G, Inc. *Tech/Ops, Inc. Kendall Insurance, Inc. Dean W. Freed Marvin G. Schorr Kennett "Skip" Kendall, Jr. Sncore Computer Corporation TERADYNE, INC. LIBERTY MUTUAL INSURANCE Kenneth G. Fisher Alexander V. d'Arbeloff COMPANIES jeneral Eastern Instruments *Thermo Electron Corporation MeMn B. Bradshaw ^lorporation George N. Hatsopoulos THE NEW ENGLAND Wiederhold Pieter R. WANG LABORATORIES, INC. Edward E. Phillips JenRad Foundation An Wang Sullivan Risk Management Group Linda B. Smoker *XRE Corporation John Herbert Sullivan -lELIX TECHNOLOGY John K. Grady *Charles H. Watkins & Company, Inc. :ORPORATION Richard P. Nyquist Frank Gabron Hotels/Restaurants THE HENLEY GROUP BOSTON PARK PLAZA HOTEL & ' Paul M. Montrone TOWERS Roger A. Saunders Investments Hewlett-Packard Company Amoskeag Company Alexander R. Rankin *The Hampshire House Thomas A. Kershaw Joseph B. Ely II HONEYWELL HOWARD JOHNSON COMPANY BEAR STEARNS & COMPANY ^ Warren G. Sprague G. Michael Hostage Keith H. Kretschmer Hyeor, Inc. Meridien Hotel E.F. HUTTON & COMPANY, INC. Joseph Hyman Bernard Lambert S. Paul Crabtree [BM CORPORATION Mildred's Chowder House Endowment Management & Research Paul J. Palmer James E. Mulcahy Corporation Ionics, Inc. THE RED LION INN Stephen D. Cutler Arthur L. Goldstein John H. Fitzpatrick FIDELITY INVESTMENTS M/A-COM, Inc. Samuel W Bodman Vessarios G. Chigas *Sonesta International Hotels Corporation *Fidelity Sen-ice Company Masscomp Paul Sonnabend Robert W Blucke August P. Klein THE WESTIN HOTEL Goldman, Sachs & Company Massachusetts High Technology Bodo Lemke Stephen B. Kay Council, Inc. KENSINGTON INVESTMENT. Howard P. Foley Insurance COMPANY MATEC CORPORATION *A.I.M. Insurance Agency, Inc. AlanE. Lewis Ted Valpey, Jr. James A. Radley KIDDER, PEABODY & MILLIPORE CORPORATION *Allied Adjustment Service COMPANY, INC. John A. Gilmartin Charles A. Hubbard John G. Higgins The Norton Company Arkwright Boston Insurance *Loomis Sayles & Company Donald R. Melville Frederick J. Bumpus Robert L. Kemp Orion Research Incorporated CAMERON & COLBY CO., INC. MORGAN STANLEY & COMPANY Alexander Jenkins III Graves D. Hewitt Jack Wadsworth Polaroid Corporation *Consolidated Group, Inc. Moseley, Hallgarten, Estabrook & I.M. Booth Woolsey S. Conover Weeden. Inc. PRIME COMPUTER, INC. FRANK B. HALL & COMPANY OF Fred S. Moseley Joe M. Henson MASSACHUSETTS PAINEWEBBER, INC. PRINTED CIRCUIT Colby Hewitt, Jr. James F. Clearj- CORPORATION Robert D. Gordon Adjusters, Inc. *The Putnam Management Peter Sarmanian Robert D. Gordon Company, Inc. RAYTHEON COMPANY JOHN HANCOCK MUTUAL LIFE Lawrence J. Lasser Thomas L. Phillips INSURANCE COMPANY SALOMON INC. SofTech, Inc. E. James Morton Joseph P. Lombard Justus Lowe, Jr. Fred S. James & Company of New SMITH BARNEY, HARRIS UPHAM STELLAR COMPUTER England, Inc. & COMPAN^^ J. William Poduska P. Joseph McCarthy Robert H. Hotz •TASC *Johnson & Higgins * State Street Development Company Arthur Gelb Robert A. Cameron John R. Gallagher III

53 Music to your mouth.

Lobster pie, crisp native duck- ling, prime ribs, baked Indian pudcling, grasshopper pie. Our hearty Yankee fare ana libations taste as good as they sound. At The Publick House, traditions of cooking and hospitality go back about as far as symphonic ones. Why, we were feeding hungry travellers before Beethoven had his first birthday! We invite you to partake of dinner en route to Tanglewood, or supper on your way home. We're located only a few minutes (and two centuries) from the Massachusetts Turnpike and 1-84. So break your journey by breaking bread with us. ^^5V\ Buddy Adler —. Innkeeper .. . / l^r\T ¥ rublick ( /1^ ) House

On the Common -Sturbridge, MA (617) 347-3313. Exit 9 Mass.Tpke. or Exit 3 for 1-84.

54 TUCKER, ANTHONY & Jason M. Cortell & Associates, Inc. ERVING PAPER MILLS R. L. DAY, INC. Jason M. Cortell Charles B. Housen Segel Gerald The Forum Corporation *FLEXcon Company, Inc. Wainwright Capital John W Humphrey Mark R. Ungerer Plukas John M. *General Electric Consulting Services The Foxboro Company WOODSTOCK CORPORATION Corporation Earle W Pitt Frank B. Condon James J. O'Brien, Jr. GENERAL ELECTRIC PLASTICS KAZMAIER ASSOCIATES, INC. BUSINESS GROUP Richard W. Kazmaier, Jr. Glen H. Hiner

Legal Irma S. Mann, Strategic Marketing GENERAL ELECTRIC COMPANY/ Irma S. Mann LYNN 'Bingham, Dana & Gould Frank E. Pickering Everett H. Parker McKINSEY & COMPANY, INC. Dickennan Law Offices Robert P O'Block GENERAL LATEX & CHEMICAL CORPORATION L Lola Dickerman William M. Mercer-Meidinger, Inc. Robert W MacPherson "Fish & Richardson Chester D. Clark THE GILLETTE COMPANY John N. Williams Mitchell & Company Colman M. Mockler, Jr. 'Gadsby & Hannah Carol B. Coles GTE ELECTRICAL PRODUCTS Jeffrey P. Somers *Rath & Strong, Inc. Dean T. Langford GOLDSTEIN & MANELLO Arnold 0. Putnam Richard J. Snyder The Wyatt Company *Harvard Folding Box Company, Inc. Melvin A. Ross Hale & Dorr Michael H. Davis Paul Brountas HoUingsworth & Vose Company Gordon W Moran 'Mintz, Levin, Cohn, Ferris, Glovsky and Popeo, PC. Manufacturer's Representatives The Horn Corporation Francis X. Meaney Barton Brass Associates Robert H. Lang, Jr. Nissenbaum Law Offices Barton Brass The Kendall Company

Gerald L. Nissenbaum Paul K. O'Rourke, Inc. J. Dale Sherratt PALMER & DODGE Paul K. O'Rourke The Kenett Corporation Robert E. SuUivan Julius Kendall 'Peabody & Arnold LEACH & GARNER COMPANY Paul R. Devin Manufacturing/Industry Philip F. Leach 'Peabody & Brown Acushnet Company NEW ENGLAND BUSINESS Maurice Zilber John T. Ludes SERVICE, INC. Sherburne, Powers & Needham Alles Corporation Richard H. Rhoads Daniel Needham, Jr. Stephen S. Berman *New England Door Corporation Weiss, Angoff, Coltin, Koski & Ausimont Robert C. Frank Wolf, PC. Leonard Rosenblatt PLYMOUTH RUBBER Dudley A. Weiss *Avondale Industries, Inc. COMPANY, INC. William F. Connell Maurice J. Hamilburg * Barry Wright Corporation Princess House, Inc. Management/Financial/Consulting Ralph Z. Sorenson Robert Haig ADVANCED MANAGEMENT The Biltrite Corporation RAND-WHITNEY CORPORATION ASSOCIATES, INC. Stanley J. Bernstein Robert K. Kraft Harvey Chet Krentzman *C.R. Bard, Inc. S.A.Y Industries, Inc. Harry Axelrod Consultants, Inc. Robert H. McCaffrey Romilly H. Humphries Harry Axelrod William Carter Company Scully Signal Company ARTHUR D. LITTLE, INC. Manson H. Carter Robert Scully John F. Magee Checon Corporation *Soundesign Corporation 'Bain & Company Donald E. Conaway, Jr. Robert H. Winer William W. Bain, Jr. *Chelsea Industries, Inc. *Sprague Electric Company THE BOSTON CONSULTING Ronald G. Casty John L. Sprague GROUP Dennison Manufacturing Company Superior Pet Products, Inc.

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56 •Termiflex Corporation Hub Mail Northland Investment Corporation William E.Fletcher Wally Bemheimer Robert A. Danziger The HMK Group of Companies *Itek Graphix Corporation Benjamin Schore Company Steven E. Karol Patrick Forster Benjamin Schore TRINA, INC. LABEL ART, INC. Stanmar, Inc. Thomas L. Easton J William Flynn Stanley W Snider

H.K. Webster Company, Inc. Massachusetts Envelope Company Urban Investment & Development Dean K. Webster Steven Grossman Corporation R.K. Umscheid Webster Spring Company, Inc. MERCHANTS PRESS A.M. Le^'ine Doug Clott Reta il Wire Belt Company of America Rand Typography, Inc. J. Baker, Inc. F. Wade Greer, Jr. Mildred Nahabedian Sherman N. Baker Sir Speedy/Congress Street Media Ray Cadogan CARTER HAWLEY HALE STORES, INC. THE BOSTON GLOBE/ Philip M. Hawley AFFILIATED PUBLICATIONS Publishing William 0. Taylor Child Worid. Inc. Addison Wesley Publishing Dennis H. Barron Boston Herald The Company, Inc. J. Purcell Design Pak Incorporated Patrick Donald R. Hammonds Paul G. Grady WBZ-TV 4 CAHNERS PUBLISHING John J. Spinola COMPANY FILENE'S Michael J. Babeock WCRB/CHAKLES RIVER In memory of Norman L. Cahners BROADCASTING, INC. HOUGHTON MIFFLIN COMPANY Herman, Inc. Richard L. Kaye Bernard A. Herman Harold T. Miller WCVB-T\^ 5 Hills Department Stores Time Magazine S. James Coppersmith Stephen A. Goldberger Jeanne Kerr WNEV-TV 7 The E.B. Horn Company Yankee Publishing Incorporated SejTnour L. Yanoff Harr>' Finn Rob Trowbridge Jordan Marsh Company Personnel Elliot Stone Emerson Personnel, Inc. Real Estate/Development Karten's Jewelers Rhoda "Warren Amaprop Developments, Inc. Joel Karten Gregory Rudolph TAD Technical Ser\dces Corporation London Harness Company David J. McGrath, Jr. The Beacon Companies Murray J. Swindell Edwin N. Sidman Printing NEIMAN-MARCUS * Boston Financial Technology William D. W.E. Andrews Company Roddy Group, Inc. Martin E. Burkhardt Purity Supreme, Inc. Fred N. Pratt, Jr. Frank P. Giacomazzi *Bowne of Boston, Inc. *Combined Properties Inc. Saks Fifth Avenue Donald J. Cannava Stanton L. Black Ronald Hoffman Bradford & Bigelow, Inc. *John M. Corcoran & Company John D. Galligan John M. Corcoran Table Toppers Inc. Constance Isenberg CHADIS PRINTING CO., INC. Corcoran, Mullins, Jennison, Inc. John Chadis Joseph E. Corcoran THE STOP & SHOP COMPANIES, INC. Courier Corporation The Flatley Company Alden Jr. Avram J. Goldberg French, Thomas J. Flatley Customforms, Inc. Hilon Development Corporation ZAYRE CORPORATION Maurice Segall Darid A. Granoff Haim S. Eliachar DANIELS PRINTING COMPANY Historic Mill Properties, Inc. Science/Medical Bert Paley Lee S. Daniels Cambridge BioScience Leggat McCall Companies Gerald F. Buck 'Espo Litho Company The David Fromer J. Brad Griffith CHARLES RIVER

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57 A Private Psychiatric JCAH Accredited Facility For The Treatment Of Personality Problems, Psychoses, Alcohol and Drug Addiction

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58 "Compu-Chem Laboratories, Inc. Software/Information Services *Lily Truck Leasing Corporation John A. Simourian Claude L. Duller CULLINET SOFTW^ARE. INC. England Lincoln-Mercury DA^ION CORPORATION John J. CuUinane New Dealers Association Da^'id I. Kosowsky EPSILON DATA J.P LjTich HEALTH PROGRA]VIS ]VL\NAGEMENT, INC. INTERNATIONAL, INC. Thomas 0. Jones THE TRANS-LEASE GROUP Donald B. Giddon John J. McCarthy, Jr. Dr. Interactive Data Corporation International J. A. Webster, Inc. John Rutherfurd Travel Consultants John A. Webster, Jr. Phoebe L. Giddon International Data Group

Patrick J. McGovem Phoenix Technologies Ltd.

Setrices Neil J. Cohin miities

Cleaning Company. Inc. *Software International Corporation BOSTON EDISON COMPANY . American Joseph A. Sullivan, Jr. Frank Grywalski Stephen J. Sweeney

:'Asquith Corporation EASTERN GAS & FUEL Travel/Transportation Laurence L. Asquith ASSOCIATES Federal Express Corporation William J. Pru\Ti 'Bon Ton Rug Cleansers, Inc. Armen Dohanian Frederick W Smith New England Electric System

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60 Coming Concerts . . . Fine Quality Broadloom (^ Friday 'A"—17 April, 2-4 Hand Custom^ Saturday 'A'—18 April, 8-10 Knotted Area Tuesday "B'—21 April, 8-10 Orientals Rugs SEIJI OZAWA conducting (concert 284 WASHINGTON ST WELLESLEY hillS MA 0218' BERG Wozzeck ODe-" Mo'" Tjes ThufS Ffi unlii 5 30 Wed unlnSOO performance) Sat uot I 4 30 • (617)237 0800 BENJAMIN LUXON, baritone (Wozzeck) WeUesley Hills HILDEGARD BEHRENS, soprano (]Marie) Rug Shop JAGQUE TRUSSEL, tenor (Drum Major) inc. JON GARRISON, tenor (^ (Andres) ^ RAGNAE ULFUNG, tenor (Captain) SIEGFRIED VOGEL, bass (Doctor) X)eutfc& MARGARET YAUGER, mezzo-soprano (Margret) TANGLEWOOD FESTIVAL CHORUS, F P JOHN OLI\^R, conductor R y YOUTH PRO MUSICA, A ROBERTA HUMEZ, director N c c ? Wednesday, 22 April at 7:30 Fine Books in K A Foreign Languages Open Rehearsal Bought . Sold • Appraised I M Marc Mandel will discuss the program S M at 6:45 in the Cohen Annex. MAGDA TISZA Thursday 'B'—23 April, 8-9:55 SEIJI OZAWA conducting Chestnut Hill, MA 021 67 (617)527-5312 LISZT Piano Concerto No. 2 KRYSTIAN ZIMERIVL^N BRUCKNER Symphony No. 2

Friday 'B'—24 April, 8-9:50 Successful business trips SEIJI OZAWA conducting are music to my ears. LISZT Totentanz, for piano Garber Travel has been orchestrating and orchestra travel plans for some of the KRYSTIAN ZIMERMAN finest companies in New England and BRUCKNER Symphony No. 2 we've never missed a beat. Call me at 734-2100. Saturday 'B'—25 April, 8-9:55

I know we can work SEIJI OZAWA conducting in perfect harmony. LISZT Piano Concerto No. 1 KRYSTIAN ZIMERMAN Main Office: BRUCKNER Symphony No. 2 1406 Beacon St., Brookline.

Programs subject to change.

61 62 .

Symphony Hall Information . .

FOR SYMPHONY HALL CONCERT AND make your ticket available for resale by call- TICKET INFORMATION, caU (617) ing the switchboard. This helps bring 266-1492. For Boston Symphony concert needed revenue to the orchestra and makes program information, caU "C-0-N-C-E-R-T." your seat available to someone who wants to attend the concert. A mailed receipt will THE BOSTON SYMPHONY performs ten acknowledge your tax-deductible months a year, in Symphony Hall and at contribution. Tanglewood. For information about any of the orchestra's activities, please call Sym- RUSH SEATS: There are a limited number phony Hall, or write the Boston Symphony of Rush Tickets available for the Friday- Orchestra, Symphony Hall, Boston, MA afternoon and Saturday-evening Boston 02115. Symphony concerts (subscription concerts only). The continued low price of the Satur- THE EUNICE S. AND JULIAN COHEN day tickets is assured through the gener- ANNEX, adjacent to Symphony Hall on osity of two anonymous donors. The Rush Huntington Avenue, may be entered by the Tickets are sold at $5.50 each, one to a Symphony Hall West Entrance on Hunt- customer, at the Symphony Hall West ington Avenue. Entrance on Fridays beginning 9 a.m. and FOR SYMPHONY HALL RENTAL Saturdays beginning 5 p.m. INFORMATION, call (617) 266-1492, or LATECOMERS will be seated by the write the Function Manager, Symphony ushers during the first convenient pause in Hall, Boston, MA 02115. the program. Those who wish to leave THE BOX OFFICE is open from 10 a.m. before the end of the concert are asked to until 6 p.m. Monday through Saturday; on do so between program pieces in order not concert evenings, it remains open through to disturb other patrons. intermission for BSO events or just past SMOKING IS NOT PERMITTED in any starting-time for other events. In addition, part of the Symphony Hall auditorium or in the box office opens Sunday at 1 p.m. when the surrounding corridors. It is permitted there is a concert that afternoon or evening. only in the Cabot-Cahners and Hatch Single tickets for all Boston Symphony rooms, and in the main lobby on Massachu- subscription concerts become available at setts Avenue. the box office once a series has begun. For outside events at Symphony Hall, tickets will be available three weeks before the con- cert. No phone orders will be accepted for these events. Vast Selection of THE SYMPHONY SHOP is located in the A Huntington Avenue stairwell near the Arts, Scholarly & Cohen Annex and is open from one hour Literary Titles before each concert through intermission. Almost all discounted The shop carries all-new BSO and musical- motif merchandise and gift items such as 20% all the time calendars, appointment books, drinking $12.99 per disc on London, glasses, holiday ornaments, children's Deutsche Grammaphon,& books, and BSO and Pops recordings. All Philips Compact discs. welcome proceeds benefit the Boston Symphony Mail— Phone— Special orders Orchestra. For merchandise information, 230 Elm St., Davis Sq. Somerville 02144 please call 267-2692. N. on Mass. past TICKET RESALE: If for some reason you B«.ton Booh and Pofler Sq. Right on fucofd MarvhouM St. 3 blocks to Elm. are unable to attend a Boston Symphony Day Davis stop on Red Line 623-7766 concert for which you hold a ticket, you may

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

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