SEIJI OZAWA Music Director
COLIN DAVIS & MICHAEL TILSON THOMAS Principal Guest Conductors
NINETY-THIRD SEASON 1973-1974
THURSDAY A6 FRIDAY-SATURDAY 22
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SEIJI OZAWA Music Director
COLIN DAVIS & MICHAEL TILSON THOMAS Principal Guest Conductors
NINETY-THIRD SEASON 1973-1974
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BOSTON SYMPHONY ORCHESTRA
SEIJI OZAWA Music Director
COLIN DAVIS & MICHAEL TILSON THOMAS
Principal Guest Conductors * •
JOSEPH SILVERSTEIN Assistant Conductor
first violins cellos bassoons
Joseph Silverstein Jules Eskin Sherman Walt concertmaster Philip R. Allen chair Ernst Panenka Charles Munch chair Martin Hoherman Matthew Ruggiero Jerome Rosen Mischa Nieland Max Hobart Jerome Patterson III Rolland Tapley Robert Ripley contra bassoon Roger Shermont Luis Leguia Richard Plaster Max Winder Carol Procter Harry Ronald Dickson Feldman t •«*. Gottfried Wilfinger Joel Moerschel horns Fredy Ostrovsky Jonathan Miller Charles Kavaloski Leo Panasevich Martha Babcock Helen Sagoff Slosberg chair Sheldon Rotenberg ,*< Charles Yancich Alfred Schneider Harry Shapiro Stanley Benson basses •' David Ohanian Gerald Gelbloom fl k Henry Portnoi Richard Mackey Raymond Sird William Rhein Ralph Pottle Ikuko Mizuno Joseph Hearne Cecylia Arzewski Bela Wurtzler trumpets Amnon Levy Leslie Martin Armando Ghitalla John Salkowski Andre Come John Barwicki Rolf Smedvig Robert Olson Gerard Goguen in Lawrence Wolfe second violins
Clarence Knudson trombones Fahnestock chair flutes William Gibson William Marshall Doriot Anthony Dwyer Ronald Barron Michel Sasson Walter Piston chair Gordon Hallberg Ronald Knudsen James Pappoutsakis Leonard Moss Paul Fried William Waterhouse tuba Laszlo Nagy «»i Chester Schmitz Michael Vitale piccolo Spencer Larrison I!**'! 7 Marylou Speaker Lois Schaefer timpani Darlene Gray Everett Firth Ronald Wilkison Harvey Seigel oboes Bo Youp Hwang Ralph Gomberg percussion Victor Yampolsky John Holmes Charles Smith Wayne Rapier Arthur Press assistant timpanist Thomas Gauger english horn Frank Epstein violas Laurence Thorstenberg Burton Fine harps Charles S. Dana chair Reuben Green clarinets Bernard Zighera Eugene Lehner Ann Hobson George Humphrey Harold Wright S. Banks chair Jerome Lipson Ann M. Pasquale Cardillo librarians Robert Karol Peter Hadcock Bernard Kadinoff Victor Alpert Eb clarinet Vincent Mauricci William Shisler Earl Hedberg *r- Joseph Pietropaolo \*r\ bass clarinet stage manager Robert Barnes Michael Zaretsky Felix Viscuglia Alfred Robison 1~ K personnel manager William Moyer
1179 ?4&CitlulOctS • - • for entertaining!
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CONTENTS
Program for April 18, 19 and 20 1974 1183
Program notes
Hoist- The Hymn of Jesus op. 37 by Harry Neville 1185
Schoenberg - Moderner Psalm op. 50c by Harry Neville 1191
Mahler- Symphony No. 1 in D (with 'Blumine' movement) by Jack Diether 1195
The Music Director 1205
Soloists 1203
BOSTON Seven Newbury Street Georges Noel / Recent Paintings Andre Derain / Works On Paper
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1181 Are you still walking the dogs in your portfolio?
Old Colony Trust A DIVISION OF THE FIRST NATIONAL BANK OF BOSTON BOSTON SYMPHONY ORCHESTRA
SEIJI OZAWA Music Director COLIN DAVIS & MICHAEL TILSON THOMAS Principal Guest Conductors
NINETY-THIRD SEASON
Thursday evening April 18 1974 at 8.30 Friday afternoon April 19 1974 at 2 o'clock Saturday evening April 20 1974 at 8.30
SEIJI OZAWA conductor
HOLST The Hymn of Jesus op. 37 NEW ENGLAND CONSERVATORY CHORUS Lorna Cooke de Varon conductor
first performance by the Boston Symphony Orchestra
SCHOENBERG Moderner Psalm op. 50c ANDREW FOLDI speaker NEW ENGLAND CONSERVATORY CHORUS Lorna Cooke de Varon conductor
first Boston performance
intermission
*MAHLER Symphony No. 1 in D (with 'Blumine' movement) Langsam: schleppend wie ein Naturlaut (Slow: stretched out, like a sound of nature) ^Andante allegretto 'Blumine'
Kraftig bewegt, doch nicht zu schnell (Moving strongly, but not too fast) Feierlich und gemes,sen, ohne zu schleppen (Solemn and precise, without dragging) Sttirmisch bewegt (Moving stormily)
* first performance by the Boston Symphony Orchestra
The concert on Friday will end about 3.55, the concerts on Thursday and Saturday about 10.25
This evening's concert is being recorded by WGBH-TV for later telecast. Occasional scenes of the audience may be included.
THE BOSTON SYMPHONY ORCHESTRA RECORDS EXCLUSIVELY FOR DEUTSCHE GRAMMOPHON
BALDWIN PIANO DEUTSCHE GRAMMOPHON & *RCA RECORDS 1183 $2000 for braces but not one cent more for goodies. A 12-year-old's pocket money is not State Street Bank's normal concern. But she and her trust fund are. And we don't overlook the details. We have to be sure we give the right answers when requests for trust money are made. And we get requests for just about everything. From dentist bills to school bills. From new kitchens to new cars. Of 350 requests in a typical six months, we've had to say "no" to only nine. Because we don't give pat answers. In every case we respect not just the letter of the trust but its original intent. Which means putting ourselves in the shoes of the person who established it. And giving his beneficiaries the same answers he would have. If that means we have to disburse principal, we do it. Which may not fit your stereotype of a banker. Stern, conservative, remote. But neither would the trust officer we'd assign to your account. More than a trained professional, he or she is someone who becomes thoroughly involved with a family, and all its needs. And STATE STREET BANK works in a one-to-one relationship, almost as a member of the family. We do our homework. That's why our 12-year-old is dressed up for a "date." Braces Personal Trust Division ^^ 225 m and all. Her trust officer is taking her to lunch. And he's promised $T| ^^SSs^^i^ a hot dog with all the trimmings. ^1^ Street Boston Financial Corporation ^m
GUSTAV HOLST The Hymn of Jesus op. 37 Waterville Valley Program note by Harry Neville New Hampshire Hoist was born at Cheltenham on September 21 1874; he died in London on May 25 1934. The Hymn of Jesus, written in 1917, was first publicly performed at a Philharmonic concert at Queen's Hall, London, on March 25 1920, with the
composer conducting. The score is dedicated to Ralph Vaughan Williams. The present performances are the first by the Boston Symphony Orchestra.
The score, which calls for two choruses and semi-chorus, has the following instrumentation: three flutes (second doubling piccolo), two oboes, English horn, two clarinets, two bassoons, four horns, two trumpets, three trombones, timpani, bass drum, side drum, cymbals, tambourine, celesta, piano, organ and strings.
'Hoist's beginnings as a composer,' says the excellent Grove's Dictionary article on this musician, 'were remarkable more for the intensity of his preoccupation with music than for premature brilliance or facility. He was unusually free alike from vague aspirations and from the vanity of cleverness, desiring only to make music as well as he might. Though with the approach of maturity he found deeper sources of inspiration and a wider variety of aim, the main incentive remained the same and was Windsor Hill stronger even than the mystical inclinations suggested by the choice of RESORT CONDOMINIUMS subjects.' Studios, 1, 2, and 3 Bedrooms Commentators are almost invariably kind and sympathetic when dealing from under $25,000 with Hoist, and the perceptive words of the Grove's article are charac- teristic of nearly everything that has been written about him. Yet of the three major British composers who died in 1934, only Hoist has received something less than the recognition he deserves. Elgar's symphonies and © his violin and cello concerti, though hardly overplayed, have received Jennings Peak Rd. increasingly frequent performances, and the operas of Delius, who had WaterviUe Valley, N.H. an ardent champion in Sir Thomas Beecham, have recently aroused (603) 236-8388 (WaterviUe Office) interest in this country. With Hoist, performances are pretty much a (617) 482-5080 (Boston Office) matter of The Planets, whose recent popularity probably reflects a re- newed interest in astrology as much as a renewed interest in Hoist.
Hoist had but little influence on succeeding British composers, but many analysts credit him with having performed, in John Warrack's phrase, 'vigorous hatchet work on the Victorian weed-jungle,' enabling those When... who came after him to perceive more clearly the real traditions of English music. He was a composer capable of making egregious mis- • A mother is unable to care for takes, but, as Imogen Hoist, his daughter and biographer and best critic, children has pointed out, his mistakes need never be made again. Dance rhythms seemed to pose a special problem to him: the sober bacchanal, for • Serious illness disrupts family example, in the First Choral Symphony, or the chaste mating dance of life The Morning of the Year, or the numerous galumphing attempts at • An aging or ill person is exhilaration in 5/4 or 7/4 meter. But his lapses, whether technical or convalescing emotional, most often arise not from wild experiment but from a sudden and naive acceptance of one or another convention. A frequently cited •A person under psychiatric example occurs in The Hymn of Jesus, in the rather schoolboy-ish treatment needs temporary care in the home sequential entries at 'Beholding what I suffer.' But the same composer conceived, in the same work, the stunning effect of the chords moving • Parents need a vacation away from a unison in 'To you who gaze, a lamp am I.' He was an origi- nal, however rough-hewn and naive, and his lapses are often fascinating, • Handicapped people need help particularly their intrusion into a results in a powerful when score and • Chronic illness strikes otherwise unobtainable effect. •A terminal patient needs Imogen Hoist relates that when The Hymn of Jesus was first performed homecare the music came as 'a shock to those who were not prepared to accept such astoundingly unfamiliar religious music.' Miss Hoist goes on to say that her father's idea of Christ 'included the terrifying unexpected- Call ...
ness of the Byzantine mosaics,' which is surely an apt metaphor for the Suburban Homemaking juxtaposition of the naive and the profound that we find in a great deal of Hoist's music. and Maternity Agency, Inc. BROOKLINE 232-7650 He began composition of The Hymn of Jesus in August 1917, when he FRAMINGHAM 879-1516 was forty-three years old. This was to be his thirty-seventh work with
opus number, and it was begun in the same year that marked the com- pletion of The Planets. His choice of text, according to his daughter, came about as a result of -his interest in the connection between dancing and mystic ritual, an interest which drew him to the words 'Ye who
dance not, know not what we are knowing.' The line is from a hymn in 1185 "
A Giulini Sampler
with the London Symphony Orchestra and Chorus Beethoven Symphonies Nos. 8and 9 Armstrong, Reynolds, Tear, Shirley-Quirk SB 3795 with the Chicago Symphony Orchestra Mahler Symphony No. 1 in D (1888) S 36047 Beethoven Symphony No. 7 in A, Op. 92 S 36048
Berlioz Romeo and Juliet, Op. 17 The Orchestral Music SFO 36038 Stravinsky Petrouchka, Suite (1947) The Firebird, Suite (1919) SFO 36039 Brahms Symphony No. 4 in e, Op. 98 SFO 36040
with the Philharmonia Orchestra Boccherini Symphony in C Minor Overture in D Major Haydn Symphony No. 94 ("Surprise") S 35712 Debussy LaMer Trois Nocturnes S 35977 Tchaikovsky Francesca da Rimini, Op. 32 Romeo and Juliet, Fantasy Overture S 35980 Verdi Four Sacred Pieces S 36125 Britten Four Sea Interludes from "Peter Grimes" Young Person's Guide to the Orchestra 36215 I S Tchaikovsky Symphony No. 6 ("Pathetique") S 60031* Dvorak Symphony No. 9 "From the New World" Carnival Overture S 60045* Rossini Overtures S 60058* Brahms Symphony No. 3 "...he has Tragic Overture S 60101 * Verdi . . . the Promethean Requiem Mass SB 3649 Verdi /Rossini gift of fire. Overtures S 60138* CHICAGO TRIBUNE complete operas Verdi Don Carlo SDL 3774 Mozart Don Giovanni SDL 3605 Mozart The Marriage of Figaro SDL 3608 *Seraphim album the Apocryphal Acts of St John, and it forms the central idea of Hoist's setting of the hymn. For the prelude to the work, Hoist employed two plainsong chants, Vexilla regis and Pange lingua, and it is typical of his THE PLACE TO BUY thoroughness that before setting to work he visited a monastary in order to study the proper phrasing of the chants. The translation of the EVERYTHING hymn itself was the work of Hoist. He knew only a little Greek, but with from what's in style the help of one of his pupils he made first a literal translation and then, after much pondering, a final poetic version. Miss Hoist reports that he to what's traditional never spoke of the purely religious aspect of the words, 'being hedged about with an impenetrable barrier of reticence on such matters.' His * Sfc * nearest confession of faith, she says, was when he wrote: 'I believe most thoroughly in comradeship in all shapes as being the ideal of this world.
And as regards the future, I am Hindu enough to believe that comrade- OPEN THURSDAY EVENINGS UNTIL 8:30 ship becomes transmuted into Unity, only this is a matter that lies beyond all words.'
The Hymn of Jesus proved to be, after The Planets, Hoist's second great public and critical success, but it was a success of which he seemed genuinely suspicious. He was grateful to be told by Sir Donald Tovey, 'It bowls me over. Your presentation of it is the poem, the whole poem and nothing but the poem.' But he was mistrustful of the kind of publicity generated by success, and his words to his friend Clifford Bax on this subject were totally consistent with his straightforward and down-to- earth attitudes towards his craft: 'Some day I expect you will agree with 1-HOUR FREE PARKING at the me that it's a great thing to be a failure. If nobody likes your work, you Church Street Garage (right next door) have to go on just for the sake of your work. And you're in no danger of letting the public make you repeat yourself. Every artist ought to pray that he may not be "a success." If he's a failure he stands a good chance of concentrating upon the best work of which he's capable.' * * *
Vexilla regis prodeunt Fulget Crucis mysterium Quo carne carnis Conditor Suspensus est patibulo. 31 CHURCH ST. • CAMBRIDGE Pange lingua gloriosi praelium certaminis UNiversity 4-2300 et super crucis trophaeum Die triumphum nobilem Qualiter Redemptor orbis Immolatus vicerit. Amen.
Glory to Thee, Father! Amen. Amen. Glory to Thee, Word! Amen. Glory to Thee, O Grace! Amen. Glory to Thee, Holy Spirit! Amen. Glory to Thy Glory! We praise Thee, O Father, We give thanks to Thee, O shadowless light! Amen.
Fain would I be saved:
And fain would I save. Amen.
Fain would I be released:
And fain would I release. Amen.
Fain would I be pierced:
And fain would I pierce.
Fain would I be borne:
Fain would I bear.
Fain would I eat:
Fain would I be eaten.
Fain would I hearken:
Fain would I be heard.
Fain would I be cleansed:
Fain would I cleanse.
I am Mind of All! Amen.
Fain would I be known.
Divine Grace is dancing:
Divine Grace is dancing.
Fain would I pipe for you. Dance ye all! Amen.
Fain would I lament: Mourn, Mourn ye all! Amen. Amen.
The Heav'nly spheres make music for us; The Holy Twelve dance with us; All things join in the dance! Ye who dance not, know not what we are knowing. Amen. 1187 £WWW HE TWEKSOMUCH:' TO AYOIP POTCTON?..
"Sec for yourself. Senator. Does that look like "Those ofus who work in Washington get a distorted view ofwhat
we've been stockpiling fuel?" America is really like" . . . (The Huntsville, Ala., speech)
"Everything costs so much, I'm glad I'm broke."
.' "You can say that again!" 'Forty gallons of coffee and a cuppa diesel. .
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Fain would I flee.
And fain would I remain.
Fain would I be order'd: Specializing in And fain would I set in order.
Fain would I be infolded:
Fain would I infold.
I have no home; Lincoln in all I am dwelling I have no resting place: and other I have the earth.
I have no temple, desirable and I have Heav'n. West-of-Boston To you who gaze, a lamp am I: Amen. To you that know, a mirror. Amen. Communities knock, a door am I: To you who A. H.Tetreault.G.R.! fare, the way. Amen. Amen. To you who President Give ye heed unto my dancing: In me who speak, behold yourselves;
And beholding what I do, keep silence on my mysteries.
Divine ye in dancing what I shall do;
For yours is the passion of man that I go to endure. Ah Ah Ah
Ye could not know at all What thing ye endure, Had not the Father sent me to you as a Word.
Beholding what I suffer, ye know me as the Sufferer.
And when ye had beheld it, Ye were not unmoved; But rather were ye whirled along, Ye were kindled to be wise.
Had ye known how to suffer, Ye would know how to suffer no more. Learn how to suffer, o and ye shall overcome. c Behold in me a couch: rest on me! Amen.
When I am gone, ye shall know who I am; o For I am in no wise that which now I seem. When ye are come to me, 3 then shall ye know: what ye know not, will I myself teach you. o. Fain would I move to the music of holy souls! (D Know in me the word of wisdom! And with me cry again: Glory to Thee, Father! Amen. Amen. CO A complete service from Glory to Thee, Word! Amen. <5" planning to installation Thee, Spirit! Amen. Amen. Glory to Holy for kitchens, baths, Amen. Amen. 3 bedrooms, family rooms 3 and playrooms.
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EACH TIME YOU BUY A RECORD BY THE BOSTON "^ cAd Infinitum SYMPHONY OR THE BOSTON POPS ORCHESTRA, HELP REDUCE THE ORCHESTRA'S DEFICIT. YOU TO Sandra Kraft ^0 f 1189 Fiduciary Trust Company 10 POST OFFICE SQUARE, BOSTON BOARD of DIRECTORS Robert H. Gardiner President Edward H. Osgood Edmund H. Kendrick Vice President Vice President Philip Dean John W. Bryant Vice President Vice President John L. Thorndike John Plimpton Vice President V»ce President & Treasurer John W. Cobb H. Gilman Nichols, Jr. Vice President & Secretary Vice President John Q. Adams James Barr Ames Vice President, Ropes & Gray John Hancock Mutual Life Insurance Co. Samuel Cabot Mrs. John M. Bradley President, Samuel Cabof, Inc. Manchester, Mass. Robert W. Emmons, Jr. Edward L. Emerson Palmer & Dodge Scudder, Stevens & Clark John B. Gray Francis W. Hatch, Jr. Vice President, Dennison Beverly Farms, Mass. Manufacturing Co. Bayard Henry Albert B. Hunt Corporate Consultant Trustee George S. Johnston Ronald T. Lyman, Jr. Scudder, Stevens & Clark Scudder, Stevens & Clark New York, New York Malcolm D. Perkins Philip H. Theopold Herrick, Smith, Donald, Trustee Farley & Ketchum Robert G. Wiese Ralph B. Williams Scudder, Stevens & Clark Trustee We act as Trustee, Executor, Agent & Custodian WKKgVJt ARNOLD SCHOENBERG Moderner Psalm op. 50c Program note by Harry Neville IIRE Schoenberg was born in Vienna on September 13 1874; he died in Los Angeles on July 13 1951. According to the autograph score, composition of the Moderner Psalm, which was to have been one of a series of Moderne Psalmen, was begun CINTUWTO on October 2 1950, but the composer did not live to complete the music. The text, also by Schoenberg, was written on September 29 1950. The work was first CN75R4DIN. performed on May 29 1956 by the chorus and orchestra of the West German Radio, Nino Sanzogno conducting. The present performances are the first by the 4DMNCED STEEL-BELTED Boston Symphony Orchestra. MATCHING SNOW TIRES AVAILABLE Written for speaker, chorus and orchestra, the work calls for the following instrumentation: two flutes (second doubling piccolo), two oboes (second DESIGNED FOR AMERICAN CARS doubling English horn), clarinet, E-flat clarinet, bass clarinet, two bassoons, two "THE 40.000 MILES TIRE "... horns, two trumpets, trombone, tam-tam, bass drum, glockenspiel and strings. Also available in the new superb WIDE 70 SERIES tires Full inventories of textile and steel-belted radials (in summer or winter tread) to fit most European and Japanese cars as well as American compacts THE TIRE CENTERS CAMBRIDGE NEWTON 725 CONCORD AVE. 14 NEEDHAM ST. 547-1927 969-8665 MALDEN SALEM 300 EASTERN AVE. 311 DERBY ST. 321-1003 745-4400 Subsidiaries of Tyre Affiliates Ltd. For the finest in music, follow the Boston Symphony For the finest in savings banking Follow the Leader! Schoenberg's last completed compositions date from April 1949 and July 1950. These were, respectively, Dreimal tausend Jahre, op. 50a, for South Boston Savings Bank unaccompanied four-part chorus, and De profundis, op. 50b, for unac- companied six-part chorus. He was in poor health at this time and the ailments from which he suffered — diabetes, hernia, dropsy, kidney 109 years of great banking for Greater Boston trouble and failing eyesight — interfered drastically with his work. His W. Broadway, South Boston, Mass. 268-2500 mind, however, was as alert and inquiring as ever, and on April 23 1951 he wrote to a boyhood friend, Oskar Adler, about a work in progress, 'Psalms, Prayers and other Conversations with and about God,' on which he was currently working. 'So far there are twelve of them,' he wrote, Variations on a 'but I have material for fifty or more: our contemporaries' religious The theme: Travel. The problems.' f•'•V'A.M.i.^'llPfflP He completed the texts of fifteen of these psalms and a frag- variations: infinite, ment of a sixteenth, but he finished only a part of the music of the first fascinating and beauti- psalm before his death on July 13 1951. His papers show that he was fully realized for you working on the text of Psalm 16 only ten days before his death. by the skilled staff of Garber Travel. New The project, then, was one of considerable scope. We may gain some England's largest travel idea of its importance to Schoenberg from the fact that he originally agency. And if you've designated Psalm 1 as Psalm 151. Not a person overly given to false been "everywhere" — modesty, he had intended his psalms to be a continuation of the 150 Garber will create new psalms of the Bible. They embrace a variety of topics: the role of prayer, adventures for you. the idea of divine justice, atheism, miracles, Jesus, the 'Chosen People/ Take my word for it. the concept of evil, etc. — all dealt with in a manner that is meant to I'm Bernie Garber. bring contemporary relevance to these ancient ideas. No. 1, which Call me at 734-2100. serves as a general introduction to the series, discusses prayer as the fundamental means of communion with God. 1191 .1 — ^ " Remarkable true story that will end in 1983. How 'The Merchants"nursed $ $ a 5V2 million estate into 25 million so somebody could give it all away. It began in 1931 when a famous New England businessman died, leaving a substantial trust fund for his wife. Subsequently the entire income went to their only child, Alice. In 1937 "The Merchants," serving as trustee under the will, received $5J/2 million and began making a series of investments to provide a lifelong income for Alice. In 1955 she established a Foundation in memory of her father to serve as a vehicle for charitable giving during the course of her lifetime. "In terms offiduciary assets When Alice died five managed, amounting to almost years ago, all of the principal of $2 billion, 'The Merchants' ranks the trust fund under her father's among the 50 largest banks in will plus all of her own property the United States. went to the Foundation. By the The wide variety ofexperi- terms of her will, all of the princi- ence available within the pal as well as income was to be structure ofour Trust Divison committed to charity during a 15 enables 'The Merchants' to year period. She preferred that provide safe, efficient and sophis- recipients be primarily medical ticated investment service to care and research and medical both institutional and individual educational organizations, hospi- accounts. This is achieved tals and health care facilities, through innovative investment especially those in Boston. From strategies specifically tailored to 1937 until today, "The Merchants" account objectives, taking into has served as the sole trustee. By consideration current and careful management and prudent anticipated social, legislative investments they have turned the and economic factors. original $5J/2 million into $25 Successful investment million for the Foundation while management is a profession providing a healthy income for which, like any other, demands Alice. dedication to the client's In 10 more years, in accord- interests. This total effort, we ance with her will, the Founda- believe, continues to be translated tion will have given away every into a consistent, demonstrable penny of the family money. And record ofsuperiorpersonal serv- thanks to the investment ice and investment performance. managers at "The Merchants," they had more to give. C^4/C Antony Edgar Vice President Barbara Leece, R.N., looks after a young patient at Mass. Eye& Ear Infirmary, one of the hospitals receiving grants from the Foundation. New England Merchants National Bank. ^y „„ . Member FT). I. C. Where the man you talk to is the bank. Put him to work for your money. The compositional technique is that of Schoenberg's own 'Method of Composing with Twelve Tones,' and the set of notes on which the entire ^» Offering for the four- work is based is one with which Schoenberg was particularly pleased. •< teenth year a wide is 'offer variety double counterpoint Its effect, he said, to a greater than 4? variety of demonstration all sorts. course have to invent your theme as ordinarily, but of Of you and practice sessions you have more possibilities of producing strongly related configurations o for novices, amateur which in sound are essentially different.' w chefs and lovers of fine only eighty-six measures of the music, the final one of He composed foods and wines. Also which contains only the notation for the soprano part. The words are: a distinctive, complete 'Und trotzdem bete ich' ('And, for all that, I pray'). m program for the training O, du mein Gott: alle Volker of professional chefs. preisen dich und versichern dich 70 ihrer Ergebenheit. Was aber kann es dir bedeuten, ob ich das auch tue oder nicht? Z Wer bin ich, da/? ich glauben soil, mein Gebet sei eine Madeleine Kamman, Notwendigkeit? Wenn ich Gott sage, wei/? ich, Founder and Director. da/3 ich damitvon dem Einzigen, Audrey Wagner, Ewigen, Allmachtigen, Allwissen- Director den und Unvorstellbaren spreche, von dem ich mir ein Bild weder CD f machen kann noch soil. An den ich keinen Anspruch erheben darf Cooki IRI oder kann, der mein hei/?estes Gebet erfullen oder nicht Please call or write for beachten wird. One, of whom I neither can nor may make unto myself an image. French Carriage On whom I neither may nor can Replacements make the least claim, who will fulfil my most fervent prayer or made for missing not notice it. or broken parts And, for all that, I pray, as every- in American, thing that lives prays; for all that, 1 beg for grace and wonders; French, fulfilments. and German For all that, I pray, since I would striking and not be deprived of the felicitous chime clocks sense of unity, of union with Thee. O Thou my God, Thy grace has left us prayer as a means of con- GLENDENMNG SMITH tact, a blessed means of contact WeUesley, Massachusetts with Thee, as a bliss which gives 237-4473 444-0724 us more than would all fulfilment. 1193 pastels lighting nighttime Holiday allure. A slender spiraling of pastel color from hem to bare shoulder. Peach, aqua, white. The triangle cover-up in peach. Misses sizes. 72.00 Beacon Hill Shop, second floor, main store, Boston. D- 132. JORDAN MARSH eni GUSTAV MAHLER Symphony no. 1 in D Program note by Jack Diether Mahler was born in Kalist, Bohemia on July 17 1860; he died in Vienna on May 18 1911. He began his First symphony at Cassel in 1883 and completed it in Leipzig in 1888. He conducted the premiere himself on November 20 1889 at a Philharmonic concert in Budapest. Mahler also conducted the first American performance at a concert of the Philharmonic Society of New York on December 16 1909. The first performance by the Boston Symphony Orchestra was conducted by Pierre Monteux on November 23 1923. The most recent per- formances by the Orchestra in Boston were conducted by Bernard Haitink in April of last year. Gustav Mahler in 1900 In December 1909, approximately a year and five months before his death, Mahler wrote to his friend Bruno Walter from New York: 'The day before yesterday I introduced my First Symphony here! — without, it seems, striking any responsive chord. I, however, was quite satisfied with this youthful venture. I am strangely affected when I conduct one of these works of mine. I feel crystallized there a burning pain in my heart. What a world is this, that casts up such sounds and reflections of $225 images! Things like the funeral march, and the storm that erupts as soon as it is over, seem to me like a flaming indictment of the Creator.' LOVELY LUSTROUS It should not surprise us that this Symphony No. 1, completed in Leipzig in the spring of 1888, presents full-blown, as it were, all that we have CULTURED PEARLS come to recognize as Mahlerian. It was not his first attempt at writing a symphony— only the first to be acknowledged by him and passed down to us. In 1896 Mahler made passing reference to a student Sym- in the popular phony in A minor, of which he said, 'three movements exist; the fourth matinee length movement was completely finished, but only in my head, or rather at 22 inches. the piano'. His early biographers also mention a Nordic Symphony or Nordic Suite composed before 1882, which Guido Adler described as 'destroyed'. AT ALL OF LONG'S FIVE STORES Boston - 40 Summer Street Jack Diether, a naturalized American writer born in Vancouver, B.C., Wellesley - Peabody has been awarded the Mahler Medal of Honor from The Bruckner So- Burlington • Braintree ciety of America for his studies into the life and works of Gustav Mahler. He is editor of Chord and Discord. 1195 * >*v \ 0. - srufNm ^ m ;*tej Old iHativeg of moderti guitaiT From specimens in the remarkable Casadesus Collection of Antique Instruments at Symphony Hall. Drawings by Sylvia Gilman. Historic data by Laning Humphrey. the 18th • These instruments date only from century, but they have very ancient historical relationships. One of the earliest approaches to music-making was by plucking a tensed string, such as that of a hunting-bow. The addition of some kind of sound-box as a resonating chamber produced harps, lyres, and all manner of lute-like instruments. Some came to be played with an arched bow. Thus, the violin has been classified as a "bowed lute." From about 1400 to 1700 the lute itself was the instrument of virtuosos. But this long supremacy ran out in the 18th century, giving way to the guitar and mandolin. But in fashioning these, instrument-makers cast a backward look of admiration at the beauty of form shown in examples of the lute family. 2. MANDOLIN of Milanese design, relating it to mandola of 17th c. Typical mandolins of 18th c. are Neapolitan. 1. NEO-MANDOLA, 18th c. Vir- tually big mandolin. A mandola- like body is joined to a guitar fingerboard. 3. TROMPETTE MARINE. This one-string "fiddle" traces its ancestry far back through centuries. In 6th c. B.C. Pythagoras formed an exact musical scale by plucking a taut string at precisely measured distances. 3.' After four centuries as a tuning device called MONO- CHORD, it was raised to musical instrument status — ^ v: in late 11th c. First it was plucked. Later, bowed, it proved capable of trumpet-like, as well as cello and double-bass tones. It was used for the tuning of organs - in 19th c. 4. LYRE-GUITAR. French, late 18th c. The nickname of this hybrid creation — "lady's guitar" — indicates its attractiveness to women from Pans to London. Although Schubert's baritone friend, Johann Vogl, played it, most men considered it too awkward. Ladies thought it beautiful — even to look at on a table if one could not play it. And if a lady did, she could pose with it goddess-like, in her flowing Empire-style gown. The certainty of change makes necessary a continuous review of your insurance protection. We welcome the opportunity of providing this service for your business or personal needs. We respectfully invite your inquiry. CHARLES H. WATKINS & CO., INC. RICHARD P. NYQUIST, President CHARLES G. CARLETON, Vice President 479 Winter Street at Route 128 Waltham, Mass. 02154 890-3080 OBRION, RUSSELL & CO. Insurance of Every Description One Boston Place, Boston, Mass. 02106 723-7100 Either of these may be the conservatory symphony whose planned per- formance in 1877 (Vienna Conservatoire) came to an abrupt end when the director hurled the score at Mahler's feet, shouting: 'Your parts are Longy full of mistakes! Do you think I'm going to conduct a thing like that?' And finally, Willem Mengelberg tells of playing through on the piano, School r with the assistance of Max von Schillings, the manuscripts of no fewer than four such early Mahler symphonies. This was in 1907, in the home Music of the Baroness von Weber in Dresden. (Mahler had a passionate love affair in 1888 with this lady, whose husband was the grandson of Carl Maria von Weber. The present whereabouts of these manuscripts is unknown.) Private instrumental and vocal instruction; courses leading to It is more than likely that some known Mahlerian themes would crop Diploma and Bachelor of Music Degree up in these works if we could see them today. The recurrent musical ideas which seem to link all his works in a kind of continuous chain One Follen Street, Cambridge, Mass. are to be found in abundance in the Symphony No. 1 in D major; and Telephone 876-0956 02138 further links are to be expected, since making music was, for Mahler, such an associative process, almost biographical. The main theme of the first movement, for example (appearing after his slow introduction), is based entirely on Ging heut' morgens ubers Feld ('On the morning field I trod'), the second song in his cycle Lieder eines fahrenden Gesellen (Songs of a wanderer, 1884), set to Mahler's own text. The theme of the Scherzo is built on a stamping Landler (country dance) rhythm heard before in his song Hans und Grete (Hansel and Gretel). That song in turn was known in its earliest (unpub- lished) form as Maitanz im Grunen (May dance on the green, 1880). The funeral march, following the Scherzo, is of course the famous satirical canon on the popular folk-song Frere Jacques (or Bruder Mar- tin). But the middle, contrasting part of the movement is based on the dreamy music of 'Auf der Strasse stand ein Lindenbaum' ('By the road there stood a lime tree'), the final stanza of the fourth and last song in Lieder eines fahrenden Gesellen — the song entitled Die zwei blauen Augen von meinem Schatz (The two blue eyes of my sweetheart'). And this music goes further back still, to the deleted first part of Mahler's cantata Das klagende Lied (The song of lamentation), composed be- tween 1878 and 1880. The young knight of that cantata, having found the flower for which he and his rival brother have searched high and VIRTUOSO PERFORMANCE IN low, stretches out beneath a willow tree to the same ethereal melody HAND-FINISHED LAUNDRY to which the rejected 'wanderer' of the song-cycle lies down to find peace under the lime tree. Thus the same musical idea links the cantata (in its original form), song, and symphony. A further reference to Das klagende Lied also appears prominently in the finale of the symphony: during the 'flaming indictment' with which the finale sets off on its atonishing odyssey, the violins play the same chromatic wailing theme which the chorus in Das klagende Lied sings to the words 'Weh, wehi' ('Woe, woe!'). The emotional connections behind all this are as clear as f\ir\e the literal connections are mystifying. LAUNDRY As rescored and published by Mahler in 1899, the First Symphony itself DRY CLEANSERS also has a deleted section, for at its premiere, ten years earlier, it was in five movements rather than four. Between the first movement and the 10 Penniman Rd., Allston, Mass. Scherzo came an Andante in C major, subtitled Blumine. (The title is ROUTE SERVICE 783-1 166 derived from Herbst-Blumine — 'Autumn Flora' — the fanciful name of a collection of newspaper essays by Jean Paul.) And the main trumpet theme of Blumine has been identified with the lost incidental music which Mahler composed in 1884, at Cassel, for the dramatic pageant Der Trompeter von Sackingen by Joseph Viktor von Scheffel. In an article in Der Anbruch, Max Steinitzer quoted the theme from memory, a few years after Mahler's death, as 'Werner's Trumpet Song', and it turns out to be identical to the solo trumpet theme of the rediscovered Blumine, whose manuscript reposes in the Osborn Collection at Yale University. (A second manuscript was reportedly bought recently by the Bruno Walter Stiftung.) In the Sackingen pageant, according to Dr. Steinitzer, the trumpet song Fleuriste Francais served as an 'appropriate setting of the tableau wherein Werner plays a serenade across the moonlit Rhine toward the castle where Margareta 34 CHARLES STREET lives.' The original press notices further suggest that the whole of Mahler's Sackingen music was 'based on a single theme, the trumpet BOSTON, MASS. serenade, treated in turn as a march, an Adagio for the love scene, and spirited battle music' (Thus it is summed up by Henry-Louis de La Est. 1891 Tel. CA 7-8080 Grange in his two-part Mahler biography.) In its fully developed form as 1197 When horse drawn carriages were speeding along at ten miles an hour Napoleon III was Emperor of France and Abraham Lincoln was a struggling lawyer in Springfield, Illinois, Edward F. Kakas and Sons, Inc. opened their Boston store to manufacture and sell the finest in furs. Since that day 1 14 years ago, and five generations later, "KAKAS OF NEWBURY STREET" has built an unmatchable reputation for their quality furs. f&uiL 93 NEWBURY STREET, BOSTON • ORIGINATED 1858 INDUSTRIAL SCHOOL FOR CRIPPLED CHILDREN 241 St. Botolph Street, Boston, Mass., 02115 Provides For The Handicapped Child In A Free, Private, Day School A 12 Year Academic Program Vocational Training • Recreation Health Program • Transportation The Industrial School for Crippled Children solicits funds for its operation either through Bequests, Annuities or Life Insurance. In case of a life agreement a donor gives capital to the Industrial School for Crippled Children and in return receives income for life. Donors are invited to discuss these matters with the Treasurer. Charles E. Cotting, Treasurer 28 State St., Boston 02109 William 0. Taylor, President, William B. Bacon, M.D., V.P., Arthur H. Downing, V.P., David S. Lee, V.P., John L. Thorndike, Asst. Treas., William B. Osgood, Sec, Charles F. Adams, Charles H. Bradford, M.D., Francis H. Burr, H. Phelps Edwards, Jr., John H. Gardiner, Augustus P. Loring, Paul P. Perkins, Jr., Charles H. Taylor, Augustus Thorndike. the /Andante of the symphony, the music served the function of a lyric movement preceding the Scherzo — thus balancing the macabre fu- neral march after the Scherzo, just as the Scherzo of the Seventh Sym- phony is flanked by a 'spooky' nocturne and an amorous one. And in fact, the Mahler thoroughly integrated the Blumine themes into the whole sym- AINSWORTH phony, after his customary manner. One of the short figures in the Scherzo, for example, is simply a speeded-up dance-version of the GALLERY opening of the trumpet theme. And in the finale, a slow cadence-figure keeps harking nostalgically and longingly back to the string cadence of 42 BROMFIELD STREET this same extended trumpet theme. The Blumine piece, which thus pro- BOSTON. MASS. 02108 542-7195 vides a crucial reference-point and a characteristic Mahler shape to the total work, is restored in today's performance. The dropping of this Andante movement from the scheme of the sym- phony is bound up with Mahler's early difficulties over the then burning issue of 'program' versus 'absolute' symphonies. His colleague Richard Strauss had made it a burning issue with his 'symphonic poems' (after those of Liszt), and he encouraged Mahler to present his symphonies with elaborate program-books explaining their 'meaning' in detail, since they obviously were not un-'programmatic' in the classical sense. Mahler at first was glad to oblige; but he, who was an instinctual musician, rather than a representational one in the Lisztian-Straussian manner, . - soon found himself 'between the Devil and the deep blue sea'. His . < descriptions were, of course, taken quite literally by the critics, and, as a result, 'protests were heard that some of the "episodes" did not come off as scheduled'. After his removal of all official commentary, his critics then began to refer to 'much that might have been happily explained had not the composer laid the ban of silence on the program annotator!' The 'explanations' sought remind us of Louis Armstrong's definition of jazz: 'If you have to ask, you'll never know.' That is what Mahler soon Custom Framing realized — that if his music did not speak for itself, with its own voice, it would not speak at all. And so he successively offered his First, Second, Contemporary Graphics and Third symphonies each with its own literary program, only to drop the program after the initial performances. Characteristically, the Second and Third symphonies both contained vocal movements, whereas the First was purely orchestral; nevertheless the process was exactly the same. 'My music,' he said, 'is, everywhere and always, only a sound of nature! I do not recognize any other sort of program, at least not for my works. Although I have given them titles now and then, it is just because I wanted to indicate where emotion should become transformed into imagination. If words are necessary for this purpose, the articulate HARVARD human voice is there to fulfill the boldest ambitions — thanks to its asso- ciation with the revealing word.' CATERING The width of his breach with the Strauss school during the 1890s is fully indicated by the metamorphosis of the First Symphony, since its original designation (Budapest, 1889) was in fact 'Symphonic poem' rather than 'Symphony', with the added literary title Titan, after the romantic novel AGENCY by Jean Paul. Here is the full outline of the work as offered shortly after- ward in Weimar: providing 'TITAN' — A SYMPHONIC POEM IN TWO PARTS experienced, uniformed PART 1. FROM THE DAYS OF YOUTH (AUS DEN TACEN DER JUGEND) student bartenders, 1. Spring without end (Fruhling und kein Ende) waiters and waitresses 2. Blumine chapter (Bluminenkapitel) — andante 3. Under full sail (Mit vollen Segeln) — scherzo PART 2. THE HUMAN COMEDY (COMMEDIA UMANA) Four Holyoke St. 4. The hunter's funeral procession (Des Jagers Leichenbegangnis) Cambridge 5. From Inferno to Paradise {DaW Inferno a/ Paradiso) — allegro furioso 491-2792 At another performance in Hamburg, the introduction to the first move- ment was given its own title — Winterschlaf (Winter Sleep) — which, Hors d'Oeuvres Plastic Gl asses together with Fruhling und kein Ende, recalls his original titles for the opening of the Third Symphony: 'Pan awakes — summer marches in'. Personnel In Hamburg the fourth movement was also renamed Gestrandet — Ein Totenmarsch in Gallots Manier (Stranded — a dead march in the style Liquor Service Partyware of Callot). 1199 Rare and Unusual Gems and Jewel ry SHREVE.CRUMP&LOWCO. ESTABLISHED 1800 330 Boylston St., Boston, Mass. 021 1 6 (61 7) 267-91 00 and the Mall at Chestnut Hill 02167 (617) 965-2700 125Tremont Street at Park Street Station • Boston • 542-6050 All deposits insured-in-full All interest compounded continuously— paid monthly Merchants Co-operative Bank Ganson Along with Mahler's subsequent decision to designate the work simply as 'Symphony No. V, without further titles, apparently went his desire to have it accepted as a composition in the standard four symphonic movements — hence, perhaps, his simultaneous deletion of one of the movements. With the partly vocal Second and Third symphonies he relaxed again and permitted himself five and six movements respectively. MET Yet even in the case of the Second Symphony, he was later to speak of METROPOLITAN OPERA its Andante as an 'interruption' of its natural progression. And inciden- tally, the composing of the Second also witnessed Mahler's last flirtation OF NEW YORK first had originally with the 'symphonic poem' idea, since the movement April 22-27 been designed as a separate piece — a symphonic poem entitled Toten- Hynes Civic Auditorium feier (Funeral rites), after the poem by Adam Mickiewicz. Prudential Center Explaining the First Symphony's 'new look' to a friendly critic (still a rare Repertory phenomenon for him) in Berlin, Mahler wrote in March 1896: 'There is some justification for the title, Titan, and for the program. That is, at the April 22—L'lTALIANA IN ALGERI New Production time my friends persuaded me to provide a kind of program for the Boston Premiere April I VESPRI SICILIAN! D major symphony in order to make it easier to understand; therefore I 23— New Production had thought up this title and explanatory material after the actual com- Boston Premiere April 24 DON GIOVANNI I — position. I left them out for this performance, not only because think they are quite inadequate and do not even characterize the music accu- April 25—MADAMA BUTTERFLY April 26—DER ROSENKAVALIER rately, but also because I have learned through past experience how the April 27—Mat. TURANDOT public has been misled by them. But that is the way with every program! Believe me, the symphonies of Beethoven, too, have their inner program, Eve. RIGOLETTO and when one gets to know such works better, one's understanding for the proper succession of the emotions and ideas increases. In the end, Prices: $17.50, $15.50, $14.00, $12.50, $10.00, $9.50, $8.50, $7.00, $6.50, that will be true of my works also. $5.50, $3.50 Opening Night $17.50 seats $25.00, $15.50 'In the third movement (the funeral march) it is true that I got the imme- seats $20, $12.50 seats $15.00. diate inspiration from the well-known children's picture, "The hunter's funeral procession". But in this place it is irrelevant what is represented. The important thing is the mood which should be expressed, and from TICKETS NOW — ALL OPERAS which the fourth movement then springs suddenly, as lightning from a 9:30 to 6 Daily at Box Office Boston Opera Association dark cloud. It is simply the cry of a deeply wounded heart, preceded by 420 Boylston Street, Boston the ghastly brooding oppressiveness of the funeral march.' From the prior subtitle 'Dead march in the style of Callot', it is not clear whether Mahler was actually attributing the 'well-known children's pic- ture' which inspired his slow movement to Jacques Callot, the French engraver. It has since been identified as the work of Moritz von Schwind. At any rate its farcical depiction of woodland creatures — hares, foxes, Quick deer, etc. — in attitudes of mock grief, some playing musical instruments, as they carry the body of the hunter to his own grave, sorts well with the grotesque metamorphosis of Frere Jacques which first begins in the name one upper muted register of a solo string bass! Mahler's uniquely surrealist approach to music — his way of putting familiar, sometimes homely, musical ideas into the most bizarre and unexpected contexts — is famous pointed up at once by the analogy he makes here to the more familiar concept of surrealism in art. 'It is good,' he wrote, 'when, during the first period when my style still seems strange and new, the listener gets some Alaskan road-maps and milestones on the journey — or rather a map of the stars, that he may comprehend the night sky with its glowing worlds. But such an explanation cannot offer more. Man must make the association with artist something already is lost.' known — otherwise, he For centuries, the It is part of the eternal freshness of Mahler's music that we are always artists and artisans of making new associations as we listen to it, no matter how many times the Far North worked in we have heard it before. Mahler's style is no longer a mystery, but his anonymity, and their individual works are, for even as we learn more about ourselves and our work was scattered over world from day to day, so we come back to him and make some new the globe by explorers. discovery, some new connection. The instruction 'Wie ein Naturlaut Now, for the first time, ('Like a sound of nature') stands at the head of the first page of his First there will be a major Symphony, as though it applied indeed to every page of every symphony. showing of art from the The surrealistic cuckoo (solo clarinet) who breaks into that 'winter sleep' four Alaskan cultures, sings his one descending interval as a perfect fourth instead of the 'regu- gathered from collec- lation' major third, insisting on it again and again, until all nature bursts into song as if by some divine revelation. Later in the movement the tions all over the world. landscape suddenly darkens, to a great orchestral tolling, as of bells, but Far North: 2000 years with their interval reduced to a chilling semitone, then to an awesome The Indian Art minor third. It is, in retrospect, a mere passing summer storm — but, of Eskimo and more important, a harbinger of the furious outcry and apocalyptic reve- March 6 through May 26 lations of the finale. Museum of Fine Arts, Boston 1201 THE WORLDS GREATEST MUSIC recorded by the a new bequest idea BOSTON SYMPHONY ORCHESTRA for Symphony ORFF Carmina Burana (Ozawa) RCA/LSC 3161 Each year, the Friends of the Boston Sym- phony set a goal for annual giving, as do of Music at Tanglewood. Each the Friends PROKOFIEV gift is vitally needed and often given by and Juliet' music (Leinsdorf) RCA/LSC 2994 a Friend throughout a lifetime of devotion 'Romeo to the Orchestra. Symphony no. 5 (Leinsdorf) RCA/LSC 2707 Piano concertos 3 and 4 (Browning/Leinsdorf) RCA/LSC 3019 But what then? Even though a Friend has made a bequest provision in his or her will, as so many do, this annual giving plays ceases. It needn't. THE BOSTON SYMPHONY ORCHESTRA If you, as a Friend, leave a legacy to THE WORLD'S GREATEST MUSIC Symphony of at least twenty-five times the amount of your annual gift, it will guaran- ON tee the continuing of that gift, in your name, year after year. It will create an Annual Gift Endowment in your name. and Your bequest establishing an Annual Gift MBSQ Endowment can thus help provide a new and solid foundation for Friends income. This base, combined with continued an- nual giving of active Friends and gifts from new Friends, will furnish ever- increasing resources to preserve the Bos- ton Symphony's traditional place of lead- ership in the world of music. SoihebyBvrkeBernet For any information concerning legacies, bequests or gifts, please write or call the Development Department at Symphony is pleased to announce Hall (telephone 536-8940) or any member of the Board of Trustees, at Symphony the January opening of our Hall, Boston, Massachusetts 02115., New England office at 232 Clarendon Street Boston, Massachusetts 02116 under the direction of MRS PATRICIA WARD ADVERTISING IN THE Our representative will be available to: ORCHESTRA'S PROGRAMS arrange visits by Sotheby Parke Bernet special- ists in all fields of fine arts, jewelry and books For information about advertising for the inspection of property for sale and to space and rates in the programs of make appraisals for insurance or other pur- the Boston Symphony Orchestra, poses . . . please call Mr Stephen Campbell at advise and assist trust officers and executors of Media-Rep Center Inc., 1425 Statler estates . . . 1 1.-, .iiUIIITiITIIt„iii»HiHH' ji Office Building, Boston, Massachu- i'i answer inquiries and provide catalogues of up- u ^iiH setts 02116, telephone (617) 482-5233. aiamiigurn Hi.* coming sales in New York, London, Los Ange- les, Zurich, and elsewhere. For further information about our services write to the above address or telephone 617/247- 2851 As for the great finale itself, the music of 'And He shall reign for ever and ever', from Handel's Messiah, is the final proclamation of the brass in that pantheistic fantasia which traverses the spiritual cosmos, from Inferno to Paradise. 'As lightning from a dark cloud' is the flash of illu- mination and understanding we receive, and we remember Mahler's own words to Bruno Walter: 'Strange, but when I hear music — even *s§ while I conduct — I can hear quite definite answers to all of my ques- *§L tions, and I feel entirely clear and sure. Or rather, I feel quite clearly that >v there are no questions at all.' zu &ZZ. Although Bruckner introduced the four Wagner tubas into the sym- phony, it was Mahler's First which brought a full Ring-sized orchestra onto the concert platform for the first time. Its instrumentation calls for 4 flutes (2nd, 3rd and 4th doubling with piccolo), 4 oboes (3rd doubling with English horn), 4 clarinets in B flat, A and C (3rd doubling with bass clarinet in B flat, and 3rd and 4th with 'piccolo' clarinet in E flat), 3 bas- soons (3rd doubling with contrabassoon), 7 horns, 5 trumpets, 4 trom- s* 'RJiYi bones, bass tuba, timpani (2 players), percussion (bass drum, cymbals, f\ triangle and gong), harp, and strings. The Blumine is delicately scored er for just 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, trumpet, tim- pani (1 player), harp, and strings. THE SOLOISTS •vy-'JI my* ANDREW FOLDI, who is making his Boston Symphony debut at these performances, was born in Budapest. He has sung exten- wu sively in opera and concert in both Europe m and the United States. His European ap- pearances include La (Milan), Scala Staat- X*. m& soper (Vienna), San Carlo (Naples) and «3p Bayerische Staatsoper (Munich) as well as :3s«ffl the festivals in Vienna, Lucerne, Aldeburgh and Lausanne. In the United States his ap- pearances include San Francisco, Chicago, Santa Fe, Philadelphia and Houston. Andrew Foldi has been associated *Ti Wfc with several eminent composers, including Paul Hindemith, Zoltan Kodaly, Ernest Bloch and Igor Stravinsky. It was Stravinsky himself who invited him to sing the American premiere of his Abraham and Isaac. 4*BQ{- Among his most recent engagements Mr Foldi has appeared with the Bayerische Rundfunk in Munich, the Concertgebouw and the Orchestre de la Suisse Romande. THE NEW ENGLAND CONSERVATORY %£ CHORUS, under the direction of Lorna Cooke de Varon, has contributed signifi- cantly to Boston's musical life, and has tfL become known internationally through its tours and recordings. Composed of stu- «Si dents from all departments of the Con- servatory, the chorus has a full and varied program each season. It has sung several world premieres, including works by Irving Fine and Daniel Pinkham, and introduced several others to America, Bernstein's Kaddish and Bruckner's E minor Mass among them. Gunther Schuller, Leonard Bernstein and Aaron Copland are some of the composers who have conducted the chorus. For the past twenty-two years the Chorus has sung with the Boston Sym-' phony Orchestra each season, and has made many recordings with the *p* Orchestra for RCA and Deutsche Grammophon. In recent seasons the Chorus has sung in performances and recordings of Beethoven's Sym- phony no. 9, conducted by Erich Leinsdorf; of Carl Orff's Carmina Burana, conducted by Seiji Ozawa; of Debussy's Nocturnes and Ravel's Suite No. 2 from Daphnis et Chloe, conducted by Claudio Abbado; and of Hoist's The Planets, conducted by William Steinberg. In 1972 the Chorus sang with Orchestra in concerts of the Spectrum series, and in Romeo et Juliette by Berlioz in the regular subscription series. In early 1973 the Chorus sang in performances of Stravinsky's Les noces and Sy' » Ravel's Daphnis et Chloe, conducted by Michael Tilson Thomas. Most recently the New England Conservatory Chorus sang in performances of the Verdi Requiem conducted by William Steinberg and Monteverdi's "^ Vespro Delia Beata Vergine conducted by Michael Tilson Thomas. 1203 LOCAL GALLERY LOCAL GALLERY GUIDE GUIDE Ainsworth Gallery 42 Bromfield Street Boston Kanegis Gallery 244 Newbury Street Boston Alberts-Langdon 126 Charles Street Boston National Center of Afro-American Artists Elma Lewis School 122 Elm Hill Art/Asia Avenue Roxbury 8 Story Street Cambridge Nielsen Gallery Art Institute of Boston 179 Newbury Street 700 Beacon Street Boston Boston Nordest Gallery Ashton Gallery 232 Newbury Street 667 VFW Parkway Boston W. Roxbury Origins Art Gallery Cambridge Art Association 134 Newbury Street 23 Garden Street Cambridge Boston Childs Gallery Oriental Decor 169 Newbury Street 125 Newbury Street Boston Boston Copley Society Parker Street 470 158 Newbury Street 470 Parker Street Boston Boston Doll & Richards Pucker Safrai Gallery 172 Newbury Street 171 Newbury Street Boston Boston Gallery of Visual Arts Rolly-Michaux Galerie 67 Long Wharf 125 Newbury Street Boston Boston Graphics One & Two Judi Rotenberg Gallery 168 Newbury Street 130 Newbury Street Boston Boston Guild of Boston Artists Sotheby Parke Bernet 162 Newbury Street 232 Clarendon Street Boston Boston Harcus Krakow Gallery Vose Galleries 167 Newbury Street 238 Newbury Street Boston Boston THE MUSIC DIRECTOR SEIJI OZAWA, Music Director of the Boston and San Francisco Symphony Orchestras, was born in 1935, in Hoten, Manchuria, which was then a part of Japan. His family early recognized his love of music and arranged for him to receive lessons on traditional Japanese instruments. Not long afterwards, at age seven, he also began to study the piano and Western - music, and when he was sixteen he enrolled as a piano student at the .J*m& Toho School of Music in Tokyo. There, as a result of a finger broken while playing football, he decided to devote his time to composition and conducting, which he studied under the guidance of Professor Hideo Saito. His first conducting appearances were with the NHK and the Japan Philharmonic Orchestras, and his success was such during *^ ' these early years of his career that in January 1959 he was chosen by the NHK and the Friends of music magazine as the outstanding talent of the year. At the urging of Professor Saito, Mr Ozawa left Japan for Europe in the fall of 1959, in order to broaden his musical experience. The enterpris- ing young conductor persuaded a Japanese firm to give him a motor scooter and free transportation for the trip in exchange for his promo- tion of their product. Travelling around the continent on motor scooter * and supporting himself with various odd jobs, he entered the Interna- wmzZ? tional Competition of Orchestra Conductors at Besancon, France, in the fall of 1959 and won first prize. One of the judges was the Music Director of the Boston Symphony Orchestra, the late Charles Munch, who invited the young conductor to study at Tanglewood the following summer. At the end of the Tanglewood season Mr Ozawa received the Koussevitzky Memorial Scholarship as the outstanding young conductor m at the Berkshire Music Center. Shortly afterwards, he won a scholarship to study with Herbert von !/ .. Karajan in West Berlin. It was there that Leonard Bernstein, who was touring Europe with the New York Philharmonic, asked him to accom- pany him and his orchestra on a tour of Japan during the spring of 1961 and to return to New York during the 1961-1962 season as one of his nw/i assistants. He directed several concerts of the Philharmonic that season, though it was with the San Francisco Symphony Orchestra, during the same season, that he made his first full-length professional concert appearance in North America. Mr Ozawa's debut with the Toronto Symphony occurred during the n 1963-1964 season and his success there led to his appointment as Music Director of that Orchestra beginning with the 1965-1966 season. During I lm' his initial season with the Toronto he guest conducted a number of major orchestras in the United States and Europe, having in the previous season added the London Symphony and Lamoureux Orchestras to the list of his European debuts. At the end of the 1968-1969 season he resigned his post with the Toronto Symphony and devoted the following season to guest conducting. During the summer of 1969 he conducted opera for the first time, Cost ill fan tutte at Salzburg, and served as principal guest conductor of the Ravinia Festival. He opened the 1969-1970 season of the New York Philharmonic and later guest conducted L'Orchestre de Paris, the Phila- delphia and Cleveland Orchestras and the Berlin Philharmonic. In 1970 he was made artistic co-director, with Gunther Schuller, of the Berkshire Music Festival. That same summer he also returned to the Salzburg Festival, conducted Berlin Philharmonic concerts and co-directed, with Leonard Bernstein, another New York Philharmonic tour of Japan. He began his inaugural season as Conductor and Music Director of the San Francisco Symphony Orchestra in December 1970, and his triumphs with that Orchestra have included recording sessions — the Orchestra's first in twelve years — and a tour of Europe and the Soviet Union — the Orchestra's first ever. Beginning with the 1972-1973 season, Mr Ozawa was made Music Adviser to the Boston Symphony, and this fall he became that Orchestra's Music Director, a post he holds concurrently with his positions at Tanglewood and in San Francisco. His many record- ings for the RCA, Angel and Deutsche Grammophon labels include per- formances by the Boston Symphony of Stravinsky's Firebird and Petrushka suites, Orff's Carmina Burana and Berlioz's Symphonie fantastique. Whitestone Photo 1205 THE BOSTON HOME, INC Established 1881 2049 DORCHESTER AVENUE • BOSTON, MASS. A Home for the Care and Treatment of Women Who Are Afflicted with Incurable Diseases Your Contributions and Bequests Are Earnestly Solicited President Charles E. Cotting Secretary John B. French Treasurer David W. Lewis, 1 Washington Mall, Boston Across the street from Symphony Hall is the world headquarters ofthe Christian Science movement. You are warmly invited to stroll through the Church Plaza with its reflecting pool, benches, trees, and flower beds. As a music lover, you'll be interested to know The Mother Church has one of the finest organs in the Western Hemisphere, with 1 3,389 pipes. Music is part of every service. LOMBARDI The Mother Church, where services are held, is the large domed building you can see across Massachusetts Avenue from WANTSYOU Symphony Hall. You are welcome to visit one of our testimony meetings any Wednesday evening at 7:30. And you might also Creative ideas and outstanding enjoy attending a Sunday service at 1 0:45 a.m. or 7:30 p.m., account service are always avail- or in Spanish at 9:30 a.m. able at Boston's full-service advertising agency. President For information about the Center call 262-2300. Richard (Doc) Lombardi. Creative The First Church of Christ, Scientist Director Daryl (Daryl) Bach. And Christian Science Center, Boston the staff of Provandie Eastwood & Lombardi. Call them. Call Provandie Eastwood & Lombardi, and advertise to the world. Put a little . . . Lombardi in your life? FEPL Provandie Eastwood &f Lombardi Inc. Advertising 4620 PRUDENTIAL TOWER. BOSTON, TEL: 266-7515 BOSTON POPS EIGHTY-NINTH SEASON OPENING MONDAY NIGHT APRIL 29 April 29 - June 29 SYMPHONY HALL at 8.30 Pops concerts will be held Monday through Saturday The Pension Fund Concert will be on Sunday May 26 Tickets will be placed on sale two weeks in advance of each concert 1207 - FROM THE PRESIDENT OF THE BOSTON SYMPHONY ORCHESTRA . . . On the afternoon of Monday, March 11, Mrs Thomas Gardiner, Chair- man of the Musical Marathon, Steven L. Solomon, Co-ordinator of Spe- cial Events for the Boston Symphony, and Richard L. Kaye, Executive Vice-President and General Manager of VVCRB, spoke to the members of the Orchestra in Symphony Hall and told them that the Musical Mara- thon, which had a goal of $85,000, had raised $93,993 for the Boston Symphony. This announcement was greeted with cheers by the men and women who were central to this achievement — our players. ^s* The Musical Marathon is far more than a means of raising funds, des- ^s. perately It is a- *"7~p*, though these funds are needed. demonstration, an %>| example, of the importance and influence which this superlative artistic institution has in the life and spirit of our city, indeed of our State, with its proud history of cultural and intellectual eminence. To all the participating musicians who comprise this great orchestra, we owe a debt of profound gratitude — for their art, their generosity, their wit and human warmth. Equally are we indebted to the many volunteers who devoted months of intense effort to making the Marathon such a joyful and inspiring occasion — the members of the Committee which Mrs Gardiner chaired; our trustees Mrs Bradley, Mrs Fahnestock, Mrs Perkins and Mrs Sargent; Overseers from many communities who made notable contributions; countless Friends; and the sine qua non, station WCRB, its president Mr Theodore Jones, Mr Richard L. Kaye, and its dedicated staff. Congratulations to you all, and our thanks in fullest measure. tUt^fH /%~^ Talcott M. Banks President, Boston Symphony Orchestra Studio 350 1208 COUNCIL OF FRIENDS OF THE BOSTON SYMPHONY ORCHESTRA FUTURE ACTIVITIES The Annual meeting of the Friends will take place at Symphony Hall on Wednesday morning May 8. Arthur Fiedler will rehearse the Pops Orches- tra, Talcott M. Banks will speak and there will be refreshments and a box luncheon. Invitations will be mailed to all current Friends. The Annual meeting of the Council will be held on Wednesday May 29. Miss Mary Smith, Assistant to the Manager, will be the speaker. A Talk and Walk at Tanglewood, a popular event of last season, will take place again this summer. The date will be announced at the annual meeting. Under the leadership of Area Chairman Mrs Howard Hansen the various area chairmen and their council members conducted a letter writing campaign to encourage subscribers who had not already done so to become Friends. As a result of this effort, 176 new Friends subscribed a total of $4,377.50. This brings the total number of Friends as of March 1 to 4,522. There is still time to join the family of Friends for the current season — to be eligible to receive an invitation to the annual meeting. You may Derrick Te Paske use the form printed below. Friends of the Boston Symphony Orchestra Please enroll me as a Member of the Friends of the Boston Symhony Orchestra for the Season of 1973-74, and I would like to receive an invitation to the annual meeting of Friends on Wednesday, May 8. $5000 and over — Benefactor $1000 and over — Guarantor $500 and over — Patron $250 and over — Sustaining $100 and over — Sponsor Total Contribution $- $50 and over Donor Paid herewith $- — Balance due $- $15 and over — Contributor Gifts to the Boston Symphony Orchestra are deductible under the Federal Income Tax Laws. Please make check pay- able to the Boston Symphony Orchestra, Inc. 1209 8. Delmonico's 710 Boylston Street 536-5300 9. DuBarry 159 Newbury Street 262-2445 10. Fenway Motor Inn 1271 Boylston Street 267-8300 Kenmore Square 267-3100 Hall 11. Half-Shell 743 Boylston Street 536-2211 Symphony 12. Joseph's 279 Dartmouth Street 266-1502 13. Kyoto 337 Massachusetts Avenue 536-9295 *14. La Crepe 733 Boylston Street 267-1534 15. Locke-Ober Cafe 3 Winter Place 542-1340 *16. Midtown Motor Inn I Restaurants 220 Huntington Avenue 262-1000 17. Nick's 100 Warrenton Street 482-0930 1. Benihana of Tokyo 201 Stuart Street 542-1166 *18. Ritz Carlton 15 Arlington Street 536-5700 2. Boraschi 793 Boylston Street 536-6300 *19. Sheraton-Boston Hotel 39 Dalton Street 236-200 3. Cafe Amalfi 10 Westland Avenue 536-6396 Cafe Riviera/Falstaff Room/Kon Tiki Ports 4. Cafe Budapest 90 Exeter Street 734-3388 20 Copley-Plaza Hotel Copley Square 267-5300 5. Cervantes 333 Newbury Street 536-2020 Cafe Plaza 6. Charley's Eating and Drinking Saloon 21. Statler Hilton Hotel Park Square 426-2000 344 Newbury Street 266-3000 Trader Vies 7. Colonnade Hotel 120 Huntington Avenue 22. Symphony Sandwich Shop 261-2800 252 Massachusetts Avenue 536-3068 Promenade Cafe*Zachary's 247-9014 ra i ^ ; , I IOHi BSEHP9 ^--^^^ iHHlniili The Boston Symphony Orchestra presents the ' _H one hundred and sixty-first $ H "•»'•* PENSION FUND CONCERT RUDOLF SERKIN BOSTON SYMPHONY ORCHESTRA SEIJI OZAWA Music Director conducted by SEIJI OZAWA £ *km I Sunday afternoon April 21 1974 i •/» dram Wk SYMPHONY HALL BOSTON MASSACHUSETTS VAX • ' IBC^f? ' 1 1 • 'jl. SaXEx5?*«B BOSTON SYMPHONY ORCHESTRA SEIJI OZAWA Music Director COLIN DAVIS & MICHAEL TILSON THOMAS Principal Guest Conductors Sunday afternoon April 21 1974 at 3 o'clock SEIJI OZAWA Conductor RAVEL Menuet antique first Boston performance Ma Mere L'Oye, Complete Ballet Prelude Danse du rouet (Spinning-wheel dance) Pavane de la Belle au bois dormant (Pavane of the sleeping beauty) Les Entretiens de la Belle et la Bete (The conversation between Beauty and the Beast) Petit Poucet (Tom Thumb) Laideronette, Imperatrice des Pagodes (The ugly little empress of the Pagodas) Le Jardin Feerique (The fairy garden) first complete Boston performance intermission 'BRAHMS Piano Concerto No. 1 in D minor op. 15 Maestoso Adagio Rondo: allegro non troppo RUDOLF SERKIN Rudolf Serkin plays the Steinway piano THE BOSTON SYMPHONY ORCHESTRA RECORDS EXCLUSIVELY FOR DEUTSCHE GRAMMOPHON BALDWIN PIANO DEUTSCHE GRAMMOPHON & *RCA RECORDS u**. t;.-v "t RUDOLF SERKIN made his first appearance with the Boston Symphony in 1938 and has returned many times since, most recently in 1970 when he performed in the Beetho- u ven Festival. Born in Bohemia in 1903, he was educated in Vienna, where his com- position teacher was Arnold Schoenberg. * I He made his debut at the age of twelve with the Vienna Symphony, then started a 1 regular concert career only five years later. He appeared in the United States for the Kir'"* first time in 1933, and made his formal debut in New York in 1936 with H^H the New York Philharmonic conducted by Toscanini. He has made SH - annual tours of this country for nearly forty years, and has played regu- i V larly in Europe. He has also traveled to South America, Iceland, India, I > w Israel and the Far East. I For many years he was associated with his father-in-law, the late -V"'A^-\. •:•*;. ESQ Adolf Busch, and since 1950 has taken part in the Casals Festivals in the Pyrenees and Puerto Rico. He was appointed in 1939 head of the piano department at the Curtis Institute in Philadelphia, a post he still holds. As joint founder with Adolf and Hermann Busch, Blanche Honegger, Louis and Marcel Moyse, of the Marlboro School of Music, of which he is Artistic Director, Rudolf Serkin spends much of the summer teaching and performing in Vermont. A resident of the United States since 1939, he and his family have been American citizens for many years. Rudolf Serkin served in 1966 on the Carnegie Commission on educa- tional television, and in the same year played at the White House .at a dinner in honor of the President of Israel. He has received many awards and honorary degrees, and in 1963 President John F. Kennedy named him a recipient of the Presidential of Medal Freedom. ' In celebration of Beethoven's 200th Birthday he played a series of concerts of the composer's piano sonatas at Carnegie Hall in the 1970- 1971 season. In November of 1971 Rudolf Serkin played one of the first Founding Artist concerts at the John F. Kennedy Center for the Perform- ing Arts in Washington, D.C. Mr Serkin has made numerous recordings of concertos, chamber music and solo works for piano on the Colum- bia label. I n^nHyH Hpun EaUn HBhhI IH w > ;.:„»V yS/ Ft H I HP *MJBBflMBW 35ffl SEIJI OZAWA, Music Director of the Boston and San Francisco Symphony Orchestras, was born in Hoten, Manchuria, in 1935. A graduate of the Toho School of Music in Tokyo, he went to Europe in 1959 and won first prize at the International Competition of Conductors at Besancon. One of the judges, Charles Munch, invited him to Tanglewood to be a conducting student, and the following year he received the Koussevitzky Memorial Conducting Prize as the outstanding young conductor at the Berkshire Music Center. He became one of the New York Philharmonic's assistant conductors in 1961, and since that time he has appeared extensively with many of the world's greatest orchestras. During the summer of 1963 he flew to Chicago on forty-eight hour notice to replace an ailing conductor for two Ravinia Festival concerts with the Chicago Symphony, and the Festival immediately engaged him to become its Music Director for the following summer. Appointed Music Director of the Toronto Symphony beginning with the 1965-1966 season, he resigned that post after three seasons to devote himself to guest conducting. Mr Ozawa began his inaugural season as Music Director of the San Francisco Symphony in December, 1970, and this past fall he became Music Director of the Boston Symphony Orchestra as well. His many recordings for the Deutsche Grammophon, RCA and Angel labels include performances by the Boston Symphony of works of Stravinsky, Orff and Berlioz. THE BOSTON SYMPHONY PENSION INSTITUTION The Boston Symphony Pension Institution, established in 1903, is the oldest among American symphony orchestras. During the past few years the Pension Institution has paid annually over $500,000 to nearly one hundred pensioners or their widows. Pension Institution income is derived from Pension Fund concerts, from open rehearsals in Symphony Hall and at Tanglewood and from radio broadcasts, for which the mem- bers of the Orchestra donate their services. Contributions are also made each year by the Boston Symphony Orchestra, Inc. Representatives of the players and the Corporation are members of the Pension Institution's Board of Directors. Mr Serkin, Mr Ozawa and the Orchestra are all donating their services to the Pension Fund for today's performance. *23. Top of the Hub Prudential Center 536-1775 24. 57 Restaurant 200 Stuart Street 423-5700 Five Chateaux 5 Cambridge Parkway, Cambridge 491-3600 25. Admiralty Room 38 Cornhill Street 742-9595 Warren Tavern 2 Pleasant Street, Charlestown 26. Bette's Rolls Royce One Union Street 227-0675 241-8500 *27. Cafe Marliave 10 Bosworth Street 423-6340 *See advertisement elsewhere in the program book 28. Dini's 94 Tremont Street 227-0380 29. Dunfey's at the Parker House 60 School Street 227-8600 Parking 30. Les Tuileries 370 Commonwealth Avenue A. Auditorium Garage 266-0423 50 Dalton Street, Prudential Center 267-9875 *31. Maison Robert 45 School Street 227-3370 B. Church Park Garage 32. Maitre Jacques 10 Emerson Place 742-5480 35 Westland Avenue 267-0139 33. Mama Leone's 165 Dartmouth Street 262-6600 C. Colonnade Hotel 34. Newbury Steak House 94 Massachusetts Avenue 120 Huntington Avenue 261-2800 536-0184 D. Fitz-lnn Auto Park 35. The Point After 271 Dartmouth Street 536-6560 150 Huntington Avenue 262-8988 36. Scanbo 16-18 North Street 227-7881 E. Westland Garage *37. The Bull 400 Commonwealth 267-9010 Avenue 41 Westland Avenue 536-8862 38. Casa Romero 30 Gloucester Street 261-2146 F. Prudential Center Garage Athenian Taverna 569 Massachusetts Avenue, Exeter Street and Huntington Avenue 267-2965 Cambridge 547-6300 Arena Parking Lot 238 St. Botolph Street Fenway Motor Inn 777 Memorial Drive, Cambridge 492-7777 Uptown Garage 10 Cainsboro Street 266-7260 Drink a little. Dine a little. a little. AT YE OLD PROVINCE STEPS ON THE FREEDOM TRAIL «* ** ** Non-stop fun with songs, stories and snacks. Every night. $tafta«-o4me/i{can (Vsine (On the third floor.) OPEN DAILY — EXCEPT SUNDAYS II AM — 10 P.M. 10-11 BOSWORTH ST.. BOSTON. MASS TEL 423-6340 Kan Tiki Ports Beacon Hill's answer to Bali. A Polynesian feast of succulent flavors and rare 1 400 COMMONWEALTH AVE. BOSTON. MASS. rum drinks. 02215 Cocktails, (617) 267-9000 luncheon, dinner and Eat at supper. Rfiili^^^BB A great restaurant featuring roast rib of beef, steak, shashlik. seafood & make-your-own salad bar. Live it up at Cafe Riviera Flicks is one of Boston's liveliest night clubs, with con- tinuous live entertainment every night. Our singing waiters and wait- Authentic resses in a brilliant musical revue. Tuesday-Sunday. French Specialties An infinite variety of $3.50 Minimum delicious crepes, omelettes, quiche, onion soup, mousse, and _ French wines. Sheraton-Boston In Boston: 731 Boylston Street (across from Lord & Taylor) Hotel Open until after midnight 267-1534. SHERATON HOTELS AND MOTOR INNS A WORLDWIDE SERVICE OF III In Cambridge: PRUDENTIAL CENTER 1274 Massachusetts Avenue BOSTON, MASSACHUSETTS (across from Widener Library) 876-3990. J. Ganson Two on the aisle mr gets you The two CUISINE FRANCHISE OLD CITY HALL on the house. 45 SCHOOL STREET First BOSTON, MASS. 227-3370 AND 227-3371 maison robert Chair in Eating & Drinking We know you love the finer things in life. Like the symphony. The theater. And the drinks our bartender mixes. Luncheon 11:30 A.M. — 3:30 P.M. So bring your theater Dinner 3:30 P.M. — 1:00 AM. or concert ticket stubs to the Top. And when you enjoy Drinking til 2:00 AM. late supper with us, your tickets entitle you to one of our bartenders finest. At Restaurant Fran^ais 10 Emerson Place, Boston far? EATING & Lucien Robert DRINKINGUfllllMllU w ^^ Chef and owner FREE VALET PARKING LADIES INVITED 52nd floor • Prudential Center • 536-1775 MAITRE JACQUES 344 NEWBDRY ST. 266-3000 The lastplace to eat in Boston. It's a place you probably thought of earlier. Natural enough. Everyone knows the Last Hurrah is one of Boston's better restaurants. But did you know that our complete menu in all its eminently edible elegance is available till one? After theatres, after parties, after the game, it's just what you've always needed, a restaurant that waits up for you. So even if you've been bad, you don't have to go to bed hungry. Now that one of the city's great restaurants is the last place to eat in Boston. pvrMrlrF' .'. At Dunfeys Parker house - At the corner of Tremont & School Sts. Home of the Goodnight Guarantee. Free parking after 5 PM. Open till 2 AM. 227-8600. Qft(a&amiaf{nc. y/ie trousseau y/ousc o/'/jos/on C*nchanuria Our romantic bridal ensemble of polyester chiffon . . . the empire waist trimmed with pink satin ribbon ... the ruffles edged in pink. White with Pink. Petite, Small, Medium. $200.00 416 Boylston Street, Boston • 54 Central Street, Wellesley All the selections heard at this concert are available in the special "Events at Symphony Hall" section of the Coop, which has the largest classical record department in Greater Boston. Boston's biggest ^IMH Harvard Soyare. Record Shop^.^ ^pJK Cambridge. mam SUMMARY OF THE SEASON 1973-1974 CONCERTS GIVEN IN THE FRIDAY-SATURDAY SERIES DURING THE SEASON 1973-1974 Program Date Conductor 1 September 28 & 29 SEIJI OZAWA 2 October 5 & 6 SEIJI OZAWA 3 October 19 & 20 COLIN DAVIS 4 October 26 & 27 COLIN DAVIS 5 November 2 & 3 SEIJI OZAWA 6 November 9 & 10 SEIJI OZAWA 7 November 23 & 24 RAFAEL KUBELIK 8 November 30 & December 1 MICHAEL TILSON THOMAS 9 December 7 & 8 MICHAEL TILSON THOMAS 10 January 4 & 5 WILLIAM STEINBERG 11 January 11 & 12 WILLIAM STEINBERG 12 January 18 & 19 MICHAEL TILSON THOMAS 13 January 25 & 26 MICHAEL TILSON THOMAS 14 February 1 & 2 MICHAEL TILSON THOMAS 15 February 8 & 9 COLIN DAVIS 16 February 15 & 16 COLIN DAVIS 17 March 1 & 2 OKKO KAMU 18 March 8 & 9 SEIJI OZAWA 19 March 15 &16 SEIJI OZAWA 20 March 29 & 30 CARLO MARIA GIULINI 21 April 5 &4 CARLO MARIA GIULINI 22 April 19&20 SEIJI OZAWA WORKS PLAYED AT THE FRIDAY-SATURDAY SERIES Author's Program Initials Page BACH Suite no. 3 in D S. 1068 457 BARTOK Concerto for orchestra JL 349 BEETHOVEN Overture to 'Egmont' op. 84 17 JNB 905 Overture 'Leonore' no. 2 op. 72a 3 JNB 123 Symphony no. 4 in B flat op. 60 17 JNB 907 Symphony no. 5 in C minor op. 67 7 JNB 345 Piano concerto no. 5 in E flat op. 73 'Emperor' 2 JNB 69 CHRISTOPH ESCHENBACH BERLIOZ 'La damnation de Faust', legende dramatique op. 24 1 JD 13 EDITH MATH IS Marguerite STUART BURROWS Faust (Fri) HARRY THEYARD Faust (Sat) DONALD MclNTYRE Mephistopheles THOMAS PAUL Brander TANGLEWOOD FESTIVAL CHORUS John Oliver conductor BOSTON BOY CHOIR Theodore Marier director BOULEZ Eclat 13 CM 681 first Boston performance BRAHMS Symphony no.1 in C minor op. 68 2 JNB 77 Piano concerto no. 2 in B flat op. 83 9 JNB 469 MALCOLM FRAGER BRAHMS-SCHOENBERG Piano quartet in G minor op. 25 8 JD 411 BRUCKNER Symphony no. 2 in C minor 20 JD 1095 first Boston performance Symphony no. 7 in E 10 JNB 513 CAGE-HARRISON Suite for toy piano 8 AHR 401 first Boston performance Derrick Te Paske 1215 THOMAS COOK PRESENTS Journey to Music EUROPE '74 22 Days — From Boston August 25, 1974 SALZBURG International Festival Mozart Tour Upper Bavaria Tour VIENNA State Opera Thomas Cook is proud to announce Musical Vienna that once again John Salkowski, Hayden and the/Burgenland member of the Boston Symphony Orchestra, will escort a tour of musical Europe. JOURNEY TO MUSIC — EUROPE 74, planned by PRAGUE Mr. Salkowski in conjunction with Thomas Cook for a limited National Opera number of you who love music. You will attend outstanding performances Czech Composers Tour at international festivals of music at Salzburg, Besancon and Flanders, Central Bohemia Tour as well as the opening of the opera seasons in Vienna and Prague. Highlights include a special Salzburg Festival opera performance of the 80th birthday of Karl Bohm, conducted by the maestro; the BESANCON Besancon Festival featuring orchestral music and French artists; the International Festival Flanders Festival with performances occurring in medieval cathedrals, Burgundy Tour abbeys and castles; in Leuven, Ghent and Brussels. Opening nights at Vienna State and Prague National Opera. Conductors: Karl Bohm, Herbert von Karajan, Claudio Abbado and Zubin Mehta. Symphony FLANDERS Orchestras: Vienna Berlin Philharmonic, Philharmonic, ORTF International Festival Symphony, Los Angeles Philharmonic. Opera: Salzburg Festival, Flanders Tour Vienna State Opera, Prague National Opera, Ballet of Flanders and Chamber Concerts. Yes, I am interested in your Journey to Music Tour and would like to be MAIL TO: contacted concerning it. Thomas Cook Name: WORLD TRAVEL SERVICE Address: 1 56 Federal St., Boston, Mass. 02110 City _State_ .Zip (617)267-5000 Phone:. Author's Program Initials Page CHAUSSON J* 'Poeme' for violin and orchestra op. 25 12 HN 633 HENRYK SZERYNG DEBUSSY La mer JNB 243 FELDMAN Cello and orchestra 13 MF 691 JULES ESKIN first Boston performance 1 HAYDN JnP^ Symphony no. 1 in D 18 PH 961 Symphony no. 84 in E flat 4 177 first Boston performance Symphony no. 87 in A major 15 HN 797 h l^T :o first Boston performance Sinfonia concertante in B flat for oboe, bassoon, 18 JNB 965 violin and cello op. 84 RALPH GOMBERG oboe SHERMAN WALT bassoon Sfc JOSEPH SILVERS! EIN violin r^SJt-Tl JULES ESKIN cello 7v > * HINDEMITH &7*5P Wi •-. Symphony 'Mathis der Maler' 20 KGR 1077 A HOLST w. The hymn of Jesus op. 37 22 HN 1185 first performance by the Boston Symphony Orchestra KNUSSEN Introduction from 3 687 & Masque symphony no. 13 OKs V m %v premiere performance LIGETI m&*.7-ij 'Melodien' for orchestra (1971) AHR 75 MAHLER Symphony no. 1 in D (with 'Blumine' Movement) 22 JD 1195 &••>• MONTEVERDI JJfgjV Vespro della Beata Vergine 14 LM 737 SUSAN DAVENNY WYNER soprano MARYSTREBING soprano JOHN ALER tenor 'VkJL ALEXANDER STEVENSON tenor m TIMOTHY NOLEN baritone GREGORY REINHART bass NEW ENGLAND CONSERVATORY CHORUS Lorna Cooke de Varon conductor BOSTON BOY CHOIR Theodore Marier director L\ jJ1 first complete Boston performance MONTEVERDI-ORFF Lamento d'Arianna HN 403 ROSE TAYLOR first Boston performance MOZART Piano concerto in A K. 488 19 JNB 1017 MAURIZIO POLLINI March from 'Idomeneo' 15 HN 793 Concert Aria, 'Bella mia fiamma' K. 528 15 HN 795 JESSYE NORMAN «* . Scena and Rondo, 'Ch 'io mi scordi di te'- 15 HN 801 ,fcwft>»te -**: . 'Non temer amato bene' K. 505 '.^Mtf*-,*'**. a vr v -»* PISTON ^V-V'Aj? <** A '. fgfS&fr ,\ 1217 Pamper yourself. Luxury and elegance. The first two words that come to mind as you enter our 2 and 3 bedroom apartments. Plush wall-to-wall carpeting, elevator service, individual heat and air-conditioning, tasteful decor, recreation facilities and more. It's all waiting for you. Now. See our decorator model. 2 bedrooms from $365. For further information, call: 599-1000 Swampscott Or, R.W. Carlson Associates, Inc. Exclusive Rental Agent. 631-8800 Summit Estates in Swampscott* TICKET RESALE PLAN Symphony Hall has 2631 seats available for each concert during the winter season. There are more than two million people living in the Boston area, many of whom want to hear the Orchestra in concert, but can only make an occasional visit to Symphony. You, as a subscriber, can help. If you 1000 Paradise Road cannot come to a concert in your series, please avoid leaving your seat empty. You help yourself, you help the Orchestra, you help the other members of the com- munity, by releasing your ticket for resale. You help yourself, since you receive by mail a written acknowledgment of your gift to the Orchestra, which can be claimed as a tax deduction. Whenever you can't sit under You help the Orchestra, since if your Napoleon's palm trees . . . you're ticket is resold, the added income helps invited to our other late-night oasis. to reduce the annual deficit. (Last year the Orchestra benefited by more than $9,000 The French Room awaits you—for late from this scheme.) supper or a nightcap—night after night. But, once in a while, it may be You help the community by making it possible for those who cannot buy com- engaged as a function room plete subscriptions to obtain single tickets. Then visit the lounge next door. No gilded palm trees (like those under All you need do is telephone Symphony which Napoleon drank toasts to Hall (266-1492), and give your name and Josephine)—but the same generous seat location to the switchboard operator. Ritz drinks and dining and hospitality. Your ticket will then become available for resale. After-the-theater or late-evening in Boston can still be what you always thought it should be. The Ritz-Carlton Hotel . a REICH Music for mallet instruments, voices & organ 13 SR 695 JOAN HELLER PAMELA FRALEY jffifa&to&ft PATRICIA A. MILLER first Boston performance Stefcjp?Cloth^ ROSSINI Stabat mater 21 HN 1135 PHYLLIS CURTIN soprano wvift HOorcf^t.{Jj J, Va.. WoodWeed yV^Lf,L'f SUSAN CLICKNER contralto t-fr*,+°r ? > rtr^oY&h^e.refhova.' sr\etp~ DEAN WILDER tenor ROBERT HALE bass 4"X 6" TANCLEWOOD FESTIVAL CHORUS John Oliver conductor first performance by the Boston Symphony Orchestra SALLINEN 3i> Soy is tan Street Sinfonia 17 OK 911 first U.S. performance SCHOENBERG Concerto for violin and orchestra op. 36 6 MS 289 VISITING ORCHESTRAS JOSEPH SILVERSTEIN Moderner psalm 22 HN 1191 The following orchestra will ANDREW FOLDI speaker give a concert in Symphony Hall first Boston performance during the remainder of the 1973-1974 Ode to Napoleon Buonaparte op. 41b 18 HN 967 season: DANIEL WINDHAM narrator PAUL JACOBS piano first performance by the Boston Symphony Orchestra English Chamber Orchestra Verklarte Nacht op. 4 18 JNB 977 Pinchas Zukerman conductor SCHULLER Friday April 19 at 8.30 pm Capriccio stravagante 5 GS 241 first Boston performance Further information may be obtained from the offices of the BOSTON SCHUMANN UNIVERSITY CELEBRITY SERIES, Piano concerto in A minor op. 54 16 JNB 849 MICHAEL ROLL 420 Boylston Street (536-6037). SCHUMANN-RAVEL Carnaval (excerpt) 8 HN 409 THOUSANDS OF PEOPLE first U.S. performance INCLUDING CHILDREN ARE SIBELIUS GOING BLIND FROM Symphony no. 1 in E minor op. 39 15 JNB 803 RETINAL DEGENERATIONS. Symphony no. 4 in A minor op. 63 3 JD 131 RESEARCH SUPPORT STRAUSS IS NEEDED. Also sprach Zarathustra op. 30 9 JNB 459 Till Eulenspiegels Lustige Streiche op. 28 17 JL 915 STRAVINSKY Abraham and Isaac 13 DAVID EVITTS first performance by the Boston Symphony Orchestra Give to the Massachusetts Chapter Concerto in E flat for Chamber Orchestra 4 JD 179 Retinitis Pigmentosa Foundation 'Dumbarton Oaks' Box 158 Allston, Mass. 02134 first performance by the Boston Symphony Orchestra 266-8069 The Firebird (Complete Ballet Music) 19 HN 1021 first complete performance by the Boston Symphony Orchestra 'Orpheus', ballet in three scenes 3 JD 125 TCHAIKOVSKY Symphony no. 6 in B minor op. 74 'Pathetique' 6 JNB 299 Suite no. 3 in G op. 55 12 JNB 651 TIPPETT OG Symphony no. 3 16 BN 855 HEATHER HARPER first U.S. performance 112 Newbury St. VAUGHAN WILLIAMS Boston, Mass. 267-6660 Symphony no. 4 in F minor JD 183 first performance by the Boston Symphony Orchestra VIVALDI Handwoven Area Rugs The four seasons op. 8 21 HN&AHR 1129 4x6 Rya Rugs - $49.00 JOSEPH SILVERSTEIN violin JOHN GIBBONS harpsichord continuo Open Mon. thru Sat. 10 A.M. to 5:30 P.M. 1219 A1ALEOF TWOSIORIES (in one city) Most upper stories aren't separated from their lower stories by fifteen city blocks, so ifs pretty easy to get from one to the other. Ours is, so it isn't. Take your Greatest Expectations with you and start at either end of the map. At the Upper end, you'll find an absolutely beautiful store, filled with the very latest imports from the world's very best craftsmen: wrought iron candleholders from the Boda Glassworks; dinnerware by Arabia; crystal vases by Strombergshyttan; Rya rugs by Egetaep- per; stainless steel by Dansk; and furniture by Thayer Coggin. At the Lower end, you'll find a store thafs a different kind of beautiful. Because ifs filled with things that are just as exciting and about half as expensive. We call it our twelve-months-a-year sale. Ifs the place you've heard about but never have been able to find. Two stories in one city. Even Dickens couldn't ask for more than that. THE UPPER STORY THE LOWER STORY 1045 Massachusetts Ave. THE 171 Huron Ave, Cambridge. 547-3994 LOWER Cambridge. 547-5938 Mon.-Sat.10-6. Thurs.-til 9. Mon.-Sat. 9:30-5:30 Free Parking in rear. STORY Thursday 9:30-8:30 . WAGNER Overture to 'Der fliegende Hollander' 11 JNB 569 Eine Faust Ouverture 11 JNB 577 XANADU Prelude to 'Lohengrin' 11 JNB 577 571 private villa located in the exclu- Prelude to Act III 'Tannhauser' (original) 11 PH A Prelude to 'Tristan und Isolde' 11 JNB 583 sive Mammee Bay area on Jamaica's (with Wagner's concert ending) lush north coast. Only minutes from Kaisermarsch 11 PH 585 Duns River and the shopping and night Venusberg music from 'Tannhauser' 11 JNB 573 life of Ocho Rios. Three bedrooms each with adjoining baths, large living WEBERN room, dining room, terrace and patio Passacaglia op. 1 20 JNB 1073 opening onto pool and garden. Three minutes walk to private beach club. Staff of three—cook, maid and gardner. The authors of the notes, whose initials appear in the summary, are: Dec. 15—April 15, $600/week. Out of JNB— JOHN N. BURK LM — LAWRENCE MORTON season, $300/week. Call H. Bowdoin JD — JACK DIETHER HN — HARRY NEVILLE MF — MORTON FELDMAN BN — BAYAN NORTHCOTT (203) 232-9785. It's heaven. PH — PHILIP HALE WP — WALTER PISTON WH — WENDY HILTON AHR — ANDREW RAEBURN ADH — A. DAVID HOGARTH HFR — H. F. REDLICH OK — OKKO KAMU SR — STEVE REICH OKs — OLIVER KNUSSEN KGR — KLAUS G. ROY JL — JAMES LYONS GS — GUNTHER SCHULLER CM — COLIN MASON MS — MICHAEL STEINBERG V GENERAL ARTICLES PRINTED IN THE PROGRAMS OF THE FRIDAY-SATURDAY SERIES MAKE THE MOST OF Page YOUR VERMONT Bruckner's Seventh 519 JOHN N. BURK Nikisch, Muck and SKI HOLIDAY . . JOHN N. BURK Paganini-The Man and The Legend 647 RENT A COMPLETELY KENNETH FURIE Berlioz' Devil in Boston (reprinted MANAGED VACATION from High Fidelity Magazine) 828 HOME. WENDY HILTON Bach and the Dance For a week end, week or en- LOUIS KRASNER A Reminiscence of the Premiere tire season our property man- agement services offers a lux- (Schoenberg's Violin Concerto) 295 urious vacation home with BAYAN NORTHCOTT Sir Michael Tippett-A Biographical every convenience. Easy ac- Sketch 863 cessibility to Killington and other fine New England ski H. F. REDLICH Bruckner -A Character Sketch 527 areas. H. F. REDLICH The Man and the Artist (Monteverdi) 761 Call 802-746-5171 PETER REILLY Fun with Fiedler: Six Discs, Six HAWK, Box 38-A, Rt. 100, Decades (reprinted from Pittsfield, Vt. 05762 Stereo Review) 436 KLAUS GEORGE ROY Walter Piston 625 TIBOR SERLY A Bartok Tribute 355 .;. JOSEPH SILVERSTEIN A Symphony Sketchbook of David Omar White 433 Helen Sagoff Slosberg Endows Principal Horn Chair 545 RADIO BROADCASTS New Members of the Boston Symphony Orchestra 35, 149, 203 The concerts of the Boston Symphony New Trustee of the Boston Symphony Orchestra 35 Orchestra are heard regularly in many Some Changes in the Board of Trustees 491 parts of the United States and Canada Some Impressions of the Berkshire Music Center -1973 149, 205 by delayed broadcast. In addition the The Statues of Symphony Hall 247 Friday afternoon concerts in Symphony Symphony Hall's New Portativ Organ Console 495 Hall are broadcast live by WGBH-FM (Boston, 89.7), WMEH-FM (Bangor 90.9), WHEA-FM (Portland, 90.1), WAMC-FM CONCERTS GIVEN IN THE SPECTRUM SERIES (Albany, 90.3), and WFCR-FM (Amherst, DURING THE SEASON 1973-1974 88.5). The Saturday evening concerts in Symphony Hall are also broadcast live by WGBH-FM, WMEH-FM, WHEA-FM, November 29 PROGRAM OF TRANSCRIPTIONS WCRB-AM-FM (Boston, 102. 5FM & 1330AM), WFCR-FM and WPJB-FM (Provi- MICHAEL TILSON THOMAS conductor dence, 105.1). WGBH-FM and WCRB-FM cooperate in four-channel transmission of the Saturday evening concerts, in associa- CAGE-HARRISON Suite for Toy Piano tion with Acoustic Research Inc. of first Boston performance Cambridge. d'Arianna MONTEVERDI-ORFF Lamento The majority of the Tuesday evening con- ROSE contralto TAYLOR certs are broadcast live by WGBH-FM, first Boston performance WAMC-FM and WFCR-FM. Carnaval SCHUMANN- (excerpt) Acoustic Research Speaker Systems are RAVEL used to monitor the radio broadcasts of first U.S. performance the Boston Symphony Orchestra. BRAHMS- Piano Quartet in G minor op. 25 : SCHOENBERG * v 1221 1 QJarnan^a for tljfutarermnn. Mercedes Benz JENSEN For 20 years, we have specialized in importing cars. I • Ourexperience and knowledge will help in your pref- erence whether it be the exotic, the unconventional, the safest or perhaps the best engineered automobile ever built. Expert service. Overseas delivery. Come in and road test the car of your choice. /Into Engineering* inc. 436 Marrett Road (Rt. 2-A) Lexington 862-6700 ; jtfEtttL. A lot of people find out about us by process of elimination. SAGE'S H Founded 1898. A delightful alternative to the big store chains. Conveniently located at 60 Church St., Cambridge / Belmont Center, Belmont Charles River Park, Boston / 1241 Centre St., Newton Ctr. Ask about our free delivery Telephone: 876-221 January 24 WHERE WE'RE AT MICHAEL TILSON THOMAS conductor BOULEZ Eclat first performance in Boston STRAVINSKY Abraham and Isaac A SOLVABLE PARADOX DAVID EVITTS baritone Ticket Sales — 2,631 first performance by the Boston Symphony Orchestra (Seating capacity of Symphony Hall) People turned away at box office — 400 KNUSSEN Introduction & Masque from Symphony No. 3 premiere performance (No tickets available) Unoccupied seats — 50 FELDMAN Cello and Orchestra (All highly desireable locations) JULES ESKIN first Boston performance The above statistics come from the Boston Symphony concert of November 2 1973, REICH Music for Mallet Instruments, Voices and Organ a concert that was conducted by Seiji JOAN HELLER Ozawa and acclaimed by the public and PAMELA FRALEY critics alike. These statistics do not repre- PATRICIA A. MILLER sent a paradox. What happened was that first Boston performance several non-attending subscribers ne- glected to offer their tickets for resale. It was a situation that is typical of many April 11 THREE CENTURIES OF DRAMA IN MUSIC concerts this season: a sold-out house, MICHAEL TILSON THOMAS conductor many unoccupied seats, many people who keenly wanted those seats. This need not BACH Suite No. 1 in C S. 1066 have happened, because there is a ticket WENDY HILTON BAROQUE DANCE COMPANY resale plan — a plan that would have Melodramas for Speaker & Piano allowed fifty of those 400 to attend, a C.P.E. BACH Soliloquy from 'Hamlet' plan that brings additional and badly SCHUMANN Schon Hedwig, Ballad op. 106 needed revenue to the Orchestra, a plan LISZT Der blinde Sanger that reimburses the subscriber through MICHAEL WAGER speaker tax deductions. MICHAEL TILSON THOMAS piano first performances in Boston You help the Orchestra, the community and yourself by taking advantage of this BERIO Recital I (For Cathy) plan. All you need do is to telephone CATHY BERBERIAN mezzo-soprano Symphony Hall (266-1492) and give your §AHAN ARZRUNI piano name and seat location to the operator. ELIZABETH WALSH wardrobe mistress Your ticket will then become available first performance in Boston for resale, and you will receive by mail a written acknowledgement of your gift to the Orchestra, which can then be claimed CONCERTS GIVEN IN THE TUESDAY A SERIES as a tax deduction. You will also have DURING THE SEASON 1973-1974 allowed other music lovers, those who cannot obtain or afford subscriptions, to Program Date Conductor share the Boston Symphony experience. 1 October 9 SEIJI OZAWA 2 October 30 JOSEPH SILVERSTEIN What could be more sensible? May we 3 November 27 RAFAEL KUBELIK ask you to consider this plan the next 4 December 18 MICHAEL TILSON THOMAS time you cannot attend? Everyone gains. 5 January 8 WILLIAM STEINBERG No one loses. 6 January 29 JOSEPH SILVERSTEIN 7 February 12 COLIN DAVIS 8 March 12 SEIJI OZAWA 9 April 2 CARLO MARIA GIULINI 10 April 16 SEIJI OZAWA WORKS PLAYED IN THE TUESDAY A SERIES BACH Program Suite no. 3 in D S. 1068 6 BOSTON SYMPHONY Concerto for two pianos in C major S. 1061 6 LUISE VOSGERCHIAN ORCHESTRA PROGRAMS JOHN GIBBONS Boston Symphony Orchestra programs Concerto for two violins in D minor S. 1043 the Friday-Saturday series are avail- JOSEPH SILVERSTEIN for to buy a JEROME ROSEN able by mail to those wishing program subscription. The programs are Brandenburg concerto no. 2 in F S. 1047 mailed on the Friday of each pair of con- JOSEPH SILVERSTEIN violin Subscription prices for the 1973- ARMANDO GHITALLA trumpet certs. 1974 season are $16 (first class mail) and DORIOT ANTHONY DWYER flute be RALPH GOMBERG oboe $11 (third class mail). Requests should addressed to TREASURER'S OFFICE, BARTOK BOSTON SYMPHONY ORCHESTRA, Concerto for orchestra SYMPHONY HALL, BOSTON, MASSA- BEETHOVEN CHUSETTS 02115. Overture to 'Coriolan' op. 62 7 Symphony no. 5 in C minor op. 67 3 1223 $ Fine Genuine Irridescent Opals by Parenti Sisters Earrings, 14K Opals with Diamonds $720 Ring, 18K Black Opal with Diamonds $820 Ring, 18K Black Opal with Diamonds $1200 Ring, 18K Colorful Opal with Emerald )' and Diamond Border $1600 Subject to prior sale £*-JF XV" * v avertti ^idter t4 Incorporated 97 NEWBURY STBEET, BOSTON, MASS. 02116 '*>. ' ^Wt reaf Symphonies begin with one r\pte Qreat Savings begin with one DEPOSIT! jr. ^*> Come save with us. flklPC AND LOAN MMc> -»<> HOME OWNERS FEDERAL SAVINGSIllUO ASSOCIATION 21 MILK STREET PARKER HOUSE OFFICE DORCHESTER OFFICE BOSTON, MASS. 60 TREMONT ST. 347 WASHINGTON ST. . BERLIOZ Program 'La damnation de Faust', legende dramatique op. 24 1 BOSTON UNIVERSITY EDITH MATH IS Marguerite CELEBRITY SERIES HARRY THEYARD Faust WALTER PIERCE DONALD MclNTYRE Mephistopheles Managing Director THOMAS PAUL Brander TANCLEWOOD FESTIVAL CHORUS John Oliver conductor BOSTON BOY CHOIR Theodore Marier director Coming next season BRAHMS-SCHOENBERG BERLIN Piano quartet in G minor op. 25 PHILHARMONIC, Herbert Von Karajan, Conductor BRUCKNER Symphony no. 2 in C minor 9 LEIPZIG GEWANDHAUS Symphony no. 7 in E 5 from ORCHESTRA East Germany DVORAK LEONTYNE PRI Serenade in E for strings op. 22 HAYDN PETER PEARS and 10 Symphony no. 1 in D MURRAY PERAHIA Symphony no. 87 in A 7 Sinfonia concertante in B flat for oboe, bassoon, violin and cello JUILLIARD STRING QUARTET op. 84 8 RALPH GOMBERG oboe, SHERMAN WALT bassoon, CHAMBER MUSIC SOCIETY OF JOSEPH SILVERSTEIN violin, JULES ESKIN cello LINCOLN CENTER HINDEMITH CLAUDIO ARRAU Symphony 'Mathis der Maler' 9 MOZART ROYAL SWEDISH BALLET Piano concerto in A K. 488 8 BALLET F0LKL0RIC0 OF MEXICO MAURIZIO POLLINI PROKOFIEV L'ORCHESTRE DE LA Symphony no. 5 op. 100 SUISSE ROMANDE RAVEL CLEVELAND ORCHESTRA Alborada del gracioso 8 8 Rapsodie espagnole LUCIANO PAVAROTTI La Valse 8 SCHOENBERG BIRGIT NILSSON Verklarte Nacht op. 4 10 ISTOMIN STERN-ROSE TRIO SCHUMANN Overture to Byron's 'Manfred' op. 115 2 QUARTETTO ITALIANO SIBELIUS ANDRES SEGOVIA Symphony no. 1 in E minor op. 39 7 STRAUSS JULIAN BREAM Also sprach Zarathustra op. 30 4 MARTHA GRAHAM DANCE COMPANY STRAVINSKY The Firebird (Complete Ballet Music) 10 ALVIN AILEY CITY CENTER WEBERN DANCE THEATER Passacaglia op. 1 9 JEAN-PIERRE RAMPAL CONCERTS GIVEN IN THE TUESDAY B SERIES EMIL GILELS DURING THE SEASON 1973-1974 Program Date Conductor I SOLISTI Dl ZAGREB 1 October 16 COLIN DAVIS and HENRYK SZERYNG 2 November 6 SEIJI OZAWA 3 November 20 JOSEPH SILVERSTEIN SOVIET GEORGIAN DANCERS 4 January 22 MICHAEL TILSON THOMAS 5 March 5 SEIJI OZAWA SOUR CREAM 6 April 9 MICHAEL TILSON THOMAS with FRANS BRUEGGEN WORKS PLAYED IN THE TUESDAY B SERIES DUKE ELLINGTON and his ORCH BACH Program GINA BACHAUER Concerto in D minor for two violins S. 1043 5 JOSEPH SILVERSTEIN violin MOSCOW CHAMBER ORCHESTRA JEROME ROSEN violin are included among the more than Suite No. 3 in D S. 1068 forty outstanding music and dance events BEETHOVEN en the 1974-75 Overture to 'Coriolan' op. 62 BOSTON UNIVERSITY Piano concerto no. 5 in E flat op. 73 'Emperor' CELEBRITY SERIES CHRISTOPH ESCHENBACH The 1974-75 season brochure describing BRAHMS the series in detail will soon be available. Symphony no. 2 in D op. 73 1 For a copy, write 'to BOSTON UNIVERSITY CELEBRITY SERIES BRAHMS-SCHOENBERG. 420 BOYLSTON ST., BOSTON 02116 536-6037 Piano quartet in G minor op. 25 6 PHONE . » 1225 DEBUSSY Program La mer 2 DVORAK Serenade in E for strings op. 22 HAYDN Symphony no. 1 in D Sinfonia concertante in B flat for oboe, bassoon, violin and cello op. 84 RALPH GOMBERG oboe, SHERMAN WALT bassoon /. JOSEPH SILVERSTEIN violin, JULES ESKIN cello PISTON Toccata 4 PROKOFIEV Symphony no. 5 op. 100 3 wL~ RACHMANINOFF Symphony no. 3 in A minor op. 44 2 SCHOENBERG Verklarte Nacht op. 4 5 SCHULLER Capriccio stravagante 2 SCHUMANN Overture to Byron's 'Manfred' op. 115 3 STRAUSS Also sprach Zarathustra op. 30 6 TCHAIKOVSKY Suite no. 3 in G op. 55 4 CONCERTS GIVEN IN THE CAMBRIDGE SERIES DURING THE SEASON 1973-1974 Program Date Conductor 1 October 23 COLIN DAVIS 2 November 13 SEIJI OZAWA 3 December 4 MICHAEL TILSON THOMAS 4 January 15 WILLIAM STEINBERG 5 February 5 JOSEPH SILVERSTEIN 6 March 26 WILLIAM STEINBERG WORKS PLAYED IN THE CAMBRIDGE SERIES BEETHOVEN Program Overture 'Leonore' no. 2 op. 72a 1 \ i BRAHMS-SCHOENBERG Piano quartet in G minor op. 25 3 BRUCKNER Symphony no. 7 in E 6 CAGE-HARRISON Suite for toy piano 3 DVORAK Serenade in E for strings op. 22 5 MONTEVERDI-ORFF Lamento d'Arianna 3 ROSE TAYLOR PROKOFIEV Symphony no. 5 op. 100 5 SCHOENBERG Violin concerto op. 36 2 JOSEPH SILVERSTEIN SCHUMANN Overture to Byron's 'Manfred' op. 115 5 SCHUMANN-RAVEL Carnaval (excerpt) 3 SIBELIUS Symphony no. 4 in A minor op. 63 1 STRAVINSKY 'Orpheus', ballet in three scenes 1 TCHAIKOVSKY Symphony no. 6 in B minor op. 74 'Pathetique' 2 1226 WAGNER Program Overture to 'Der fliegende Hollander' 4 Eine Faust Ouverture 4 Prelude to 'Lohengrin' 4 Prelude to Act III 'Tannhauser' (original version) 4 Prelude to 'Tristan und Isolde' (with Wagner's concert ending) 4 Venusberg music from 'Tannhauser' 4 Kaisermarsch 4 CONCERTS GIVEN IN THE THURSDAY A SERIES DURING THE SEASON 1973-1974 Program Date Conductor 1 October 4 SEIJI OZAWA 2 October 25 COLIN DAVIS 3 December 20 JOSEPH SILVERSTEIN 4 January 31 MICHAEL TILSON THOMAS 5 March 7 SEIJI OZAWA 6 April 18 SEIJI OZAWA WORKS PLAYED IN THE THURSDAY A SERIES BEETHOVEN Program Overture 'Leonore' no. 2 op. 72a 2 Piano concerto no. 5 in E flat op. 73 'Emperor' 1 CHRISTOPH ESCHENBACH BRAHMS Symphony no. 1 in C minor op. 68 1 DVORAK Serenade in E for strings op. 22 3 HAYDN Symphony no. 1 in D 5 Sinfonia concertante in B flat for oboe, bassoon, 5 violin and cello op. 84 RALPH GOMBERG oboe, SHERMAN WALT bassoon JOSEPH SILVERSTEIN violin, JULES ESKIN cello HOLST The hymn of Jesus op. 37 first performance by the Boston Symphony Orchestra LIGETI 'Melodien' for orchestra (1971) 1 MAHLER Symphony no. 1 in D (with 'Blumine' movement) 6 MONTEVERDI Vespro della Beata Vergine 4 SUSAN DAVENNY WYNER soprano MARY STREBING soprano JOHN ALER tenor, ALEXANDER STEVENSON tenor TIMOTHY NOLEN baritone, GREGORY REINHART bass NEW ENGLAND CONSERVATORY CHORUS Lorna Cooke de Varon conductor BOSTON BOY CHOIR Theodore Marier director first complete Boston performance PROKOFIEV Symphony no. 5 op. 100 3 SCHOENBERG Moderner psalm op. 50c 6 ANDREW FOLDI speaker NEW ENGLAND CONSERVATORY CHORUS it v Lorna Cooke de Varon conductor first Boston performance Ode to Napoleon Buonaparte op. 41b DANIEL WINDHAM narrator PAUL JACOBS piano first performance by the Boston Symphony Orchestra Verklarte Nacht op. 4 4 ^ SCHUMANN Overture to Byron's 'Manfred' op. 115 3 SIBELIUS Symphony no. 4 in A minor op. 63 2 STRAVINSKY 'Orpheus', ballet in three scenes 2 1227 CONCERTS GIVEN IN THE THURSDAY B SERIES DURING THE SEASON 1973-1974 Program Date Conductor 1 January 17 MICHAEL TILSON THOMAS 2 February 7 COLIN DAVIS 3 March 28 CARLO MARIA GIULINI WORKS PLAYED IN THE THURSDAY B SERIES BRUCKNER Program Symphony no. 2 in C minor 3 first Boston performance CHAUSSON 'Poeme' for violin and orchestra op. 25 HENRYK SZERYNG HAYDN Symphony no. 87 in A major first performance in Boston HINDEMITH Symphony 'Mathis der Maler' MOZART March from 'Idomeneo' 2 Concert aria, 'Bella mia fiamma' K. 528 2 JESSYE NORMAN Scena and Rondo, 'Ch'io mi scordi di te' — 'Non temer, amato bene' K. 505 JESSYE NORMAN soprano ROBERT LEVIN piano PACANINI Violin concerto no. 3 in E HENRYK SZERYNG first Boston performance PISTON .•- ? Toccata 1 SIBELIUS Symphony no. 1 in E minor op. 39 2 TCHAIKOVSKY Suite no. 3 in G op. 55 1 WEBERN Passacaglia op. 1 3 CONCERTS GIVEN IN THE PROVIDENCE SERIES DURING THE SEASON 1973-1974 Program Date Conductor '•«• 1 November 1 SEIJI OZAWA 2 December 6 MICHAEL TILSON THOMAS 3 February 28 OKKO KAMU WORKS PLAYED IN THE PROVIDENCE SERIES BACH Program Suite no. 3 in D S. 1068 2 BEETHOVEN Symphony no. 4 in B flat op. 60 3 Overture to 'Egmont' op. 84 3 BRAHMS Piano concerto no. 2 in B flat op. 83 MALCOLM FRAGER piano DEBUSSY La mer 1 Wf* PISTON Flute concerto 2 DORIOT ANTHONY DWYER flute RACHMANINOFF Symphony no. 3 in A minor op. 44 1 SALLINEN Sinfonia 3 1228 SCHULLER Capriccio stravagante 1 STRAUSS Till Eulenspiegels Lustige Streiche op. 28 3 CONCERTS GIVEN IN THE SERIES AT AVERY FISHER HALL, NEW YORK, DURING THE SEASON 1973-1974 Program Date Conductor *1 October 10 & 12 SEIJI OZAWA *2 November 14 & 16 SEIJI OZAWA 3 December 12 & 14 MICHAEL TILSON THOMAS 4 February 20 & 22 COLIN DAVIS 5 March 20 & 22 SEIJI OZAWA program no. 7 took place at Carnegie Hall program no. 2 took place at Hunter College WORKS PLAYED AT AVERY FISHER HALL DURING THE SEASON 1973-1974 BACH Program Suite no. 3 in D S. 1068 3 BERLIOZ 'La damnation de Faust', legende dramatique op. 24 EDITH MATH IS Marguerite STUART BURROWS Faust DONALD MclNTYRE Mephistopheles THOMAS PAUL Brander TANCLEWOOD FESTIVAL CHORUS John Oliver conductor BOSTON BOY CHOIR Theodore Marier director DEBUSSY La mer 2 mm MOZART Piano concerto in A K. 488 5 MAURIZIO POLLINI PISTON Flute concerto DORIOT ANTHONY DWYER first New York performance RACHMANINOFF Symphony no. 3 in A minor op. 44 2 SCHULLER Capriccio stravagante 2 first New York performance SCHUMANN Piano concerto in A minor op. 54 ' ' MICHAEL ROLL piano MP STRAUSS Also sprach zarathustra op. 30 STRAVINSKY The Firebird (Complete Ballet Music) TIPPETT Symphony no. 3 HEATHER HARPER first New York performance ::."''" CONCERTS AT CARNEGIE HALL, NEW YORK, s**Si DURING THE SEASON 1973-1974 October 13 SEIJI OZAWA conductor BEETHOVEN Piano concerto no. 5 in E flat op. 73 'Emperor' CHRISTOPH ESCHENBACH LIGETI 'Melodien' for orchestra (1971) first New York performance BRAHMS Symphony no. 1 in C minor op. 68 December 13 MICHAEL TILSON THOMAS conductor CAGE-HARRISON Suite for toy piano first New York performance MONTEVERDI-ORFF Lamento d'Arianna ROSE TAYLOR first New York performance Ganson J. 1229 SCHUMANN-RAVEL Carnaval (excerpt) first New York performance BRAHMS- SCHOENBERG Piano quartet in G minor op. 25 December 15 MICHAEL TILSON THOMAS conductor BRAHMS- SCHOENBERG Piano quartet in G minor op. 25 BRAHMS Piano concerto no. 2 in B flat op. 83 MALCOLM FRAGER February 23 COLIN DAVIS conductor MOZART March from 'Idomeneo' Concert aria, 'Bella mia fiamma' K. 528 JESSYE NORMAN HAYDN Symphony no. 87 in A major MOZART Scena and Rondo, 'Ch'io mi scordi di te' 'Non temer, amato bene' K. 505 JESSYE NORMAN soprano ROBERT LEVIN piano SIBELIUS Symphony no. 1 in E minor op. 39 March 23 WILLIAM STEIN BERG conductor BRUCKNER Symphony no. 7 in E K CONCERTS IN OTHER CITIES October 11 - Brooklyn Academy of Music, Brooklyn SEIJI OZAWA conductor BEETHOVEN Piano concerto no. 5 in E flat op. 73 'Emperor' CHRISTOPH ESCHENBACH LIGETI 'Melodien' for orchestra (1971) BRAHMS Symphony no. 1 in C minor op. 68 November 5 - Bushnell Memorial Hall, Hartford SEIJI OZAWA conductor RACHMANINOFF Symphony no. 3 in A minor op. 44 SCHULLER Capriccio stravagante DEBUSSY La mer November 12 - Portland, Maine SEIJI OZAWA conductor SCHOENBERG Violin concerto op. 36 JOSEPH SILVERSTEIN TCHAIKOVSKY Symphony no. 6 in B minor op. 74 'Pathetique' December 10 - John F. Kennedy Center for the Performing Arts, Washington DC MICHAEL TILSON THOMAS conductor BRAHMS- SCHOENBERG Piano quartet in G minor op. 25 BRAHMS Piano concerto no. 2 in B flat op. 83 MALCOLM FRAGER February 19 - Woolsey Hall, New Haven COLIN DAVIS conductor BEETHOVEN Overture to 'Coriolan' op. 62 HADYN Symphony no. 87 in A SIBELIUS Symphony no. 1 in E minor op. 39 February 21 - Sheepshead Bay, Brooklyn COLIN DAVIS conductor BEETHOVEN Overture to 'Coriolan' op. 62 HAYDN Symphony no. 87 in A SIBELIUS Symphony no. 1 in E minor op. 39 March 18 -John F. Kennedy Center for the Performing Arts, Washington DC SEIJI OZAWA conductor MOZART Piano concerto in A K. 488 MAURIZIO POLLINI STRAVINSKY The Firebird (Complete Ballet Music) March 19 - County Center, White Plains SEIJI OZAWA conductor HAYDN Sinfonia concertante in B flat for oboe, bassoon, violin and cello op. 84 RALPH GOMBERG oboe, SHERMAN WALT bassoon JOSEPH SILVERSTEIN violin, JULES ESKIN cello MOZART Piano concerto in A K. 488 MAURIZIO POLLINI Derrick Te Paske 1230 RAVEL Rapsodie espagnole Alborada del gracioso La Valse March 21 -Academy of Music, Philadelphia SEIJI OZAWA conductor MOZART Piano concerto in A K. 488 MAURIZIO POLLINI STRAVINSKY The Firebird (Complete Ballet Music) NEW YORK STATE TOUR April T974 April 24 - Stanley Theatre, Utica SEIJI OZAWA conductor HAYDN Symphony No. 1 in D SCHOENBERG Verklarte Nacht op. 4 TCHAIKOVSKY Symphony No. 6 in B minor op. 74 'Pathetique' April 25 - Loew's Theatre, Syracuse SEIJI OZAWA conductor HAYDN Sinfonia Concertante in B flat for Oboe, Bassoon, Violin and Cello op. 84 RALPH GOMBERG oboe, SHERMAN WALT bassoon JOSEPH SILVERSTEIN violin , JULES ESKIN cello MAHLER Symphony No. 1 in D (with 'Blumine' movement) April 26 - Bailey Hall, Ithaca SEIJI OZAWA conductor HAYDN Sinfonia Concertante in B flat for Oboe, Bassoon, Violin and Cello op. 84 RALPH GOMBERG oboe, SHERMAN WALT, bassoon JOSEPH SILVERSTEIN violin , JULES ESKIN cello MAHLER Symphony No. 1 in D (with 'Blumine' movement) April 27- Eastman Theater, Rochester SEIJI OZAWA conductor HAYDN Symphony No. 1 in D SCHOENBERG Verklarte Nacht op. 4 m TCHAIKOVSKY Symphony No. 6 in B minor op. 74 'Pathetique' •'I'-' '.'V.:.'*';' Hess m CONCERTS GIVEN AT THE BERKSHIRE FESTIVAL 1973 Program Date Conductor 1A July 6 SEIJI OZAWA 1B July 7 STANISLAW SKROWACZEWSKI 1C July 8 SEIJI OZAWA 2A July 13 SEIJI OZAWA 2B July 14 RICCARDO MUTI 2C July 15 SEIJI OZAWA 3A July 20 EUGENE ORMANDY 3B July 21 EUGENE ORMANDY 3C July 22 STANISLAW SKROWACZEWSKI 4A July 27 JOSEPH SILVERSTEIN 4B July 28 JOSEPH SILVERSTEIN 4C July 29 EDO DE WAART 5A August 3 MICHAEL TILSON THOMAS 5B August 4 MICHAEL TILSON THOMAS 5C August 5 MICHAEL TILSON THOMAS 6A August 10 COLIN DAVIS 6B August 11 COLIN DAVIS 6C August 12 COLIN DAVIS 7A August 17 LAWRENCE FOSTER 7B August 18 ARTHUR FIEDLER 7C August 19 SEIJI OZAWA 8A August ;.24 SEIJI OZAWA 8B August 25 JAMES DE PREIST 8C August 26 SEIJI OZAWA Ganson J. 1231 WORKS PLAYED AT THE BERKSHIRE FESTIVAL 1973 BACH Program Brandenburg concerto no. 1 in F S. 1046 1A Concerto for two violins in D minor S. 1043 1A JOSEPH SILVERSTEIN violin JEROME ROSEN violin Cantata no. 52 'Falsche Welt, dir trau' ich nicht' 1A BENITA VALENTE soprano TANGLEWOOD FESTIVAL CHORUS John Oliver conductor Choral-variationen iiber das Weihnachtslied, 'Vom Himmel hoch da 5B komm'ich her', arranged by Igor Stravinsky TANGLEWOOD FESTIVAL CHORUS John Oliver conductor first performance at the Berkshire Festival BARTOK Piano concerto no. 2 (1931) 4C CHRISTOPH ESCHENBACH piano first performance at the Berkshire Festival /*=S BEETHOVEN Overture to 'Coriolan' op. 62 3C Overture 'Leonore' no. 3 op. 72b 3A ^* Symphony no. 3 in E flat op. 55 'Eroica' 3C Symphony no. 5 in C minor op. 67 3A Symphony no. 7 in A op. 92 5A Symphony no. 8 in F op. 93 3B Symphony no. 9 in D minor op. 125 3B PHYLLIS CURTIN soprano JOANNA SIMON contralto SETH McCoy tenor PETER LAGGER bass TANGLEWOOD CHOIR TANGLEWOOD FESTIVAL CHORUS John Oliver conductor Piano concerto no. 5 in E flat op. 73 'Emperor' 3A PHILIPPE ENTREMONT piano Violin concerto in D op. 61 3C SIDNEY HARTH violin BERLIOZ Overture to 'Beatrice et Benedict' 6B Overture 'Le carnaval romain' op. 9 4C Overture 'Le Corsaire' op. 21 7A Symphonie fantastique op. 14a 8A Lelio, or the return to life op. 14b 8A MICHAEL WAGER narrator MALLORY WALKER Horatio and the imaginary voice of Lelio VICTOR BRAUN Captain of the brigands TANGLEWOOD FESTIVAL CHORUS John Oliver conductor EVELYN ZUCKERMAN SIEGEL, NEWTON WAYLAND piano first performance at the Berkshire Festival •-, BRAHMS Symphony no. 1 in C minor op. 68 4A Symphony no. 2 in D op. 73 6B Symphony no. 4 in E minor op. 98 4C Piano concerto no. 2 in B flat op. 83 5C MALCOLM FRAGER piano Violin concerto in D op. 77 4A MIRIAM FRIED violin BRUCH Scottish fantasy for violin and orchestra op. 46 7A JOSEPH SILVERSTEIN violin BERNARD ZIGHERA harp CAGE Suite for toy piano (orchestrated by Lou Harrison) 5C first performance by the Boston Symphony Orchestra COPLAND Symphony no. 3 5A DVORAK Symphony no. 9 in E minor op. 95 'New World' 7B FRANCK Symphonic variations for piano and orchestra 7C ANDRE WATTS piano Ganson 1232 J. HANDEL Program Concerto grosso in B minor op. 6 no. 12 2C Messiah, A Sacred Oratorio 6C BENITA VALENTE soprano HELEN WATTS contralto RYLAND DAVIES tenor STAFFORD DEAN bass TANCLEWOOD FESTIVAL CHORUS John Oliver conductor ROBERT LEVIN harpsichord JOHN GIBBONS organ ARMANDO GHITALLA trumpet first complete performance at the Berkshire Festival HAYDN Symphony no. 84 in E flat 6B first performance by the Boston Symphony Orchestra Sinfonia concertante in B flat for oboe, bassoon, 2C violin and cello op. 84 RALPH GOMBERG oboe SHERMAN WALT bassoon JOSEPH SILVERSTEIN violin JULES ESKIN cello TheCreation 1C BENITA VALENTE Gabriel, Eve SETH McCOY Uriel THOMAS STEWART Raphael, Adam TANGLEWOOD CHOIR TANGLEWOOD FESTIVAL CHORUS John Oliver conductor NANCY LEE O'BRIAN solo contralto, final chorus first performance at the Berkshire Festival HOFMANN Cantata 'Meine Seele ruhmt und preist' for tenor, 1A flute, oboe, violin and continuo SETH McCOY tenor DORIOT ANTHONY DWYER flute RALPH GOMBERG oboe JOSEPH SILVERSTEIN violin % JULES ESKIN cello HENRY PORTNOI double bass first performance by the Boston Symphony Orchestra LISZT Totentanz, for piano and orchestra 7C ANDRE WATTS piano MAHLER Das Lied von der Erde (The Song of the Earth) for tenor, 4B contralto and orchestra NICOLAS Dl VIRGILIO tenor LI LI CHOOKASIAN contralto MOZART Symphony no. 34 in C K. 338 2B Symphony no. 35 in D K. 385 'Haffner' 1B Symphony no. 36 in C K. 425 'Linz' 2C I*- Symphony no. 38 in D K. 504 'Prague' 6A Piano concerto in C minor K. 491 2B ANDRE WATTS piano Violin concerto no. 3 in G K. 216 6A JOSEPH SILVERSTEIN violin Clarinet concerto in A K. 622 2A HAROLD WRIGHT clarinet Horn concerto no. 3 in E flat K. 447 2A CHARLES KAVALOSKI horn first performance by the Boston Symphony Orchestra Sinfonia concertante in E flat for violin and viola K. 364 2A JOSEPH SILVERSTEIN violin BURTON FINE viola Sinfonia concertante for oboe, clarinet, horn and bassoon in IB E flat K. 297b ""Hfc RALPH GOMBERG oboe HAROLD WRIGHT clarinet CHARLES KAVALOSKI horn \-' SHERMAN WALT bassoon Adagio and fugue in C minor K. 546 IB Six German dances K. 509 5C Mass in C K. 317 'Coronation' 6A BENITA VALENTE soprano Derrick Te Paske 1233 1K35 HELEN WATTS contralto Program RYLAND DAVIES tenor I f- i STAFFORD DEAN bass > TANGLEWOOD FESTIVAL CHORUS I TANGLEWOOD CHOIR John Oliver conductor 7 / Mentre ti lascio, o figlia K. 513 1B (As I leave you, my daughter) THOMAS STEWART baritone first performance at the Berkshire Festival MUSSORGSKY Prelude to 'Khovanshchina' 8B PROKOFIEV Symphony no. 5 op. 100 7A RACHMANINOFF Piano concerto no. 2 in C minor op. 18 7B EARL WILD piano Piano concerto no. 3 in D minor op. 30 8B BYRON JANIS piano ROSSINI Overture to 'La scala di seta' 2B first performance at the Berkshire Festival SCHUBERT Symphony no. 8 in B minor 'Unfinished' 4B SHOSTAKOVICH Symphony no. 5 op. 47 8B STRAUSS Till Eulenspiegels lustige Streiche op. 28 5C STAGE STRAVINSKY Suite from the ballet 'L'oiseau de feu' (1919) 5B ENTRANCE Symphony of psalms 5B TANGLEWOOD FESTIVAL CHORUS John Oliver conductor Canticum sacrum ad honorem Sancti Marci nominis 5B KENNETH RIEGEL fenor DAVID EVITTS bass TANGLEWOOD FESTIVAL CHORUS John Oliver conductor TCHAIKOVSKY Symphony no. 4 in F minor op. 36 7C VERDI Requiem mass for four solo voices, chorus and orchestra 8C LOU ANN WYCKOFF soprano MAUREEN FORRESTER mezzo-soprano SETH McCOY tenor EZIO FLAGELLO bass TANGLEWOOD CHOIR TANGLEWOOD FESTIVAL CHORUS John Oliver conductor VIVALDI Concerto in A for strings F. XI no. 4 2B WAGNER Prelude to 'Die Meistersinger von Niirnberg' 7B WEEKEND PRELUDES AT THE BERKSHIRE FESTIVAL July 6 J. S. BACH Concerto in G, after a concerto by Count Johann Ernst of Sachsen-Weimar S. 592 Four chorale preludes Passacaglia and Fugue in C minor S. 582 LARRY SMITH organ July 13 HAYDN Sonata no. 6 in G Sonata no. 37 in D MOZART Sonata in A K. 331 MALCOLM FRAGER piano 1234 Derrick Te Paske July 20 BEETHOVEN Bagatelle 'Fur Elise' Rondo a capriccio in G op. 129 ('Rage over the lost penny') 32 variations on an original theme in C minor Sonata no. 3 in D op. 10 ANDRE WATTS piano I July 27 BEETHOVEN In questa tomba oscura Bitten op. 48 no. 1 Vom Tode op. 48 no. 3 Die Ehre Gottes aus der Natur op. 48 no. 4 Ich liebe dich Wonne der Wehmut op. 83 no. 1 An die feme Geliebte op. 98 PETER LAGGER bass MALCOLM FRAGER piano August 3 SCHUTZ Cantate Domino canticum novum, for four voices G. GABRIELLI Cantate Domino canticum novum, in six parts J. S. BACH Komm, Jesu, komm, motet S. 229 WOLF Sechs geistlicher Lieder nach Gedichten von Joseph von Eichendorff BRAHMS FiinfGesange op. 104 TANGLEWOOD FESTIVAL CHORUS John Oliver conductor August 10 SHOSTAKOVICH Romances on words of Alexander Block op. 127 ROREM Ariel, for soprano, clarinet and piano (1971), based on poems by Sylvia Plath and dedicated to Phyllis Curtin PHYLLIS CURTIN soprano RYAN EDWARDS piano JOSEPH SILVERSTEIN violin JULES ESKIN cello HAROLD WRIGHT clarinet August 17 SCHUMANN Etudes symphoniques en forme de variations op. 13 LISZT Mephisto polka and waltz EARL WILD piano August 24 BRAHMS Clarinet trio in A minor op. 114 RAVEL Piano trio PETER SERKIN piano HAROLD WRIGHT clarinet JULES ESKIN cello JOSEPH SILVERSTEIN violin BERKSHIRE MUSIC CENTER 1973 SUMMARY Thirty-three years after its founding, the Berkshire Music Center remains unique: it is the only educational endeavor of its kind and scope wholly operated and supported by a symphony orchestra. With the guidance of Artistic Directors Seiji Ozawa and Gunther Schuller, and with Leonard Bernstein as Adviser, the Center's programs attempt what no college or conservatory can: intense con- frontation with all aspects of musical performance under the guidance of many of the world's finest professional musicians and within the environment of one of the world's major music festivals. Derrick Te Paske 1235 During its thirty-first session, the Music Center introduced two new programs: the Andre Watts Seminar for Pianists and the Listening and Analysis Seminar. The Watts Seminar was attended by seventeen outstanding young pianists, chosen in national auditions from among 300 advanced students. For thirty-one laymen, the Listening and Analysis Seminar offered a broad view of musical literature and analytical methods. As the principal program of the Berkshire Music Center, the Fellowship Program provides performing opportunities for young composers, conductors, singers and instrumentalists. This season's presentations included chamber music and orches- tral concerts, vocal music recitals and concerts of music by composers working in the Program. James Drew, John Heiss and Peter Lieberson were invited to write new works for the Festival. At the conclusion of the session, a Festival of Contemporary Music was presented by members of the Fellowship Program. Begun in 1971, the Music Theatre Project continued to receive unusual notice and praise for its innovative productions. This season it presented the American premiere of Bruno Maderna's Satyricon and the world premieres of Bo Lawer- gren's Triptych and Wolfgangerl, the latter a musical-literary portrait of Mozart devised by Ian Strasfogel, director of the Music Theatre Project. Completing its eighth season at Tanglewood, the Boston University Tanglewood Institute enrolled 241 students in programs of music, dance and movement, and painting. The season introduced a program for high school-aged singers modeled on the highly successful program for high school instrumentalists which the University has operated at Tanglewood since the beginning of its collaboration with the Music Center. Through national auditions outstanding young performers were auditioned and, in turn, offered the option of advance college credit toward a Bachelor of Music degree at the University. The Boston Symphony's determination to continue the Music Center is sup- ported by the generosity of the individual and corporate sponsors who help provide funds for the educational programs at Tanglewood. This support, from well over 1800 contributors, aided by grants from the Federal Government's r National Endowment for the Arts and the Massachusetts Council on the Arts, made possible the successful 1973 session of the Berkshire Music Center. BOSTON POPS The eighty-eighth season of the Boston Pops ran from May 1 1973 through June 30 1973. The Boston Pops Orchestra gave fifty-four regular concerts as well as a special concert to benefit the Orchestra's Pension Fund. Arthur Fiedler, Conductor, directed thirty-seven times; Harry Ellis Dickson, Assistant Conductor, thirteen times. Guest conductors were Erich Kunzel (six times), Reuben Gregorian, Dr Paul Shannon, Professor Peter Schickele and Jerome D. Cohen (once each). The many soloists and guest artists included: Karan Armstrong, Martha Babcock, Ronald Barron, Eubie Blake, Boston Ballet, Gino Cappelletti, Richard Casper, Lynn Chang, Edmund Cibas, Lorraine Ippolito DiGregorio, Eleanor Edwards, Luther Enstad, Virginia Eskin, Donn-Alexandre Feder, Burton Fine, Ella Fitzgerald, Virgil Fox, Richard Fredricks, Paul Fried, Stephen Geber, Richard T. Gill, Max Hobart, Ann Hobson, Warren Jones, Carmen de Lavallade, Mary Jane Levin, Amnon Levy, Leo Litwin, Raymond Mase, Robert Merrill, Deborah Moriarty, New England Conservatory Chorus, Lorna Cooke de Varon, conductor, The New Seekers, David Ohanian, Fredy Ostrovsky, James Pappoutsakis, Anthony Paratore, Christopher Parkening, George Plimpton, Boots Randolph, William Rhein, Mary Scott Riley, Myron Romanul, Jerome Rosen, Professor Peter Schickele, Bobby Short, Evelyn Zuckerman Siegel, Joseph Silverstein, Larry L. Skinner, Marylou Speaker, Catherine Stornetta, Richard Summers, Marcus Aurelius Thompson, Richard Tucker, liana Vered, Ralph Votapek and Berj Zamkochian. Twelve of the Pops 1973 concerts were recorded by WGBH-TV for delayed color telecast over the Public Broadcasting Service network throughout the nation. At Tanglewood 1973 the Boston Pops, Arthur Fiedler, Conductor, gave a concert to benefit the Orchestra's Pension Fund. The guest soloist was Leo Litwin. 1236 Ganson During the winter season 1973-1974 the Pops Orchestra gave concerts in Hyannis (October 15), Carnegie Hall (November 15; Earl Wild, soloist), C. W. Post Col- lege in Long Island (November 17), the Academy of Music in Philadelphia (December 11; Earl Wild, soloist) and in Hyannis (April 13). Arthur Fiedler conducted all these concerts. The Boston Pops also gave a special Christmas pro- gram (December 21 and 22; Tanglewood Festival Chorus, John Oliver, conduc- tor), which was recorded by WCBH-TV for delayed color telecast over the Public Broadcasting Service network throughout the nation. m «-r *#* ESPLANADE CONCERTS 1973 The Forty-fifth season of the Esplanade Concerts, Arthur Fiedler, Founder and 1^7 Director, was given, under the joint sponsorship of the Boston Symphony Orches- tra and the Metropolitan District Commission, from July 2 through July 14. There **~*J were concerts at the Hatch Memorial Shell, and, as part of Summerthing 1973, at Bunker Hill, Charlestown; Boston City Hall Plaza; Hynes Field, West Roxbury; Towne Field, Dorchester; The Fenway. The following is the list of business firms and organizations who gave their support to the Esplanade Concerts: The Boston Company Boston Edison Company Boston Gas Boston Globe William Filene's Sons Company First National Bank of Boston The Gillette Company Houghton Mifflin Company John Hancock Mutual Life Insurance Company Liberty Mutual Insurance Company Loomis, Sayles and Company, Inc. WPP National Shawmut Bank New England Mutual Life Insurance Company New England Telephone and Telegraph Company Niles Company, Inc. Raytheon Company State Street Bank and Trust Company United States Steel Foundation, Inc. Western Electric Company, Inc. William Underwood Company \ The concerts were also supported by grants from the National Endowment for the Arts in Washington D.C., and the Metropolitan District Commission (John W. Sears, Commissioner). /'a PENSION FUND Three special concerts have been given to benefit the Orchestra's Pension Fund. Arthur Fiedler conducted the Boston Pops Orchestra on Sunday May 27 in an 'Old Timers' Night' concert with guest artist Eubie Blake. At Tanglewood Arthur Fiedler conducted a F'ops concert with guest artist Leo Litwin. On April 21 Seiji Ozawa conducted a concert in Symphony Hall with Rudolf Serkin, soloist. The program consisted of Ravel's Menuet Antique and Ma mere I'oye (Mother Coose), and Brahms' Piano Concerto No. 7 in D minor. Eight open rehearsals were held at Symphony Hall during the 1973-1974 season (September 27, October 18, November 8, January 3, January 10, February 14, March 14). The revenue from ticket sales benefited the Pension Fund, as did that taken for the eight Saturday morning open rehearsals of the Berkshire Festival. RETIRING MEMBER -* One member of the Orchestra will retire at the end of the 1973-1974 season, William Marshall, assistant principal second violin, who joined the Orchestra in 1952. 1237 NEW MEMBERS Four players joined the Orchestra at the start of the 1973-1974 season: Martha Babcock, cello; Rolf Smedvig, trumpet; Victor Yampolski, violin and Michael Zaretsky, viola. Two players joined the Orchestra during the 1973 Pops season: Bo Youp Hwang, violin and Richard Mackey, French horn. CONCERTS GIVEN SINCE APRIL 9, 1973 BY THE BOSTON SYMPHONY CHAMBER PLAYERS JOSEPH SILVERSTEIN violin HAROLD WRIGHT clarinet BURTON FINE viola SHERMAN WALT bassoon JULES ESKIN cello CHARLES KAVALOSKI horn HENRY PORTNOI double bass ARMANDO GHITALLA trumpet DORIOT ANTHONY DWYER flute WILLIAM GIBSON trombone RALPH COMBERG oboe EVERETT FIRTH percussion April 30- Dallas Civic Music Association McFarlin Memorial Auditorium Dallas, Texas BEETHOVEN String Trio in G op. 9 no. 1 INGOLF DAHL Duettino Concertante for Flute and Percussion HINDEMITH Kleine Kammermusik op. 24 no. 2 BEETHOVEN Septet op. 20 May 1 - University of Texas at Austin Hogg Memorial Auditorium Austin, Texas Same program as April 30 May 3 - Houston Civic Music Association Jones Hall, Houston, Texas MOZART Quartet for Oboe and Strings K. 285 STRAVINSKY L'Histoire du Soldat (concert suite) BEETHOVEN Septet op. 20 May 7 - Koussevitzky Auditorium Berkshire Community College Pittsfield, Massachusetts BEETHOVEN String Trio in G op. 9 no. 1 KRAFT Line Drawings, for flute and percussion HINDEMITH Kleine Kammermusik op. 24 no. 2 BEETHOVEN Septet op. 20 May 11 - Monomoy Theatre Chatham, Massachusetts MOZART Quartet for Flute and Strings K. 285 NIELSEN Woodwind Quintet op. 43 BEETHOVEN String Trio in C minor op. 9 no. 3 May 12 -St. Barnabas Hall Falmouth, Massachusetts Same program as May 11 May 19 and 20 Loeb Drama Center Harvard University Cambridge, Massachusetts LERDAHL Aftermath, a dramatic work for three singers and chamber ensemble World Premiere, conducted by the composer August 10 - Berkshire Festival Tanglewood with Phyllis Curtin soprano Ryan Edwards piano SHOSTAKOVICH Seven Romances on Words of Alexander Block op. 127 ROREM Ariel, for soprano, clarinet and piano 1238 August 24 - Berkshire Festival Tanglewood with Peter Serkin piano BRAHMS Trio for Clarinet and Strings op. 114 RAVEL Piano Trio October 28 Sanders Theatre Series* Harvard University with Gilbert Kalish piano Ann Hobson harp SAINT-SAENS Fantaisie for Violin and Harp op. 124 WUORINEN Bassoon Variations accompanied by harp and bassoon world premiere PISTON Woodwind Quintet performed in celebration of the composer's 80th birthday BRAHMS Quartet for Piano and Strings no. 1 in g op. 25 November 15 - New York Cultural Center New York, New York BEETHOVEN String Trio in G op. 9 no. 1 PISTON Woodwind Quintet STRAVINSKY I'Histoire du Soldat (concert suite) November 1 7 - Academic Hall Dwight Morrow High School Englewood, New Jersey Same program as November 15 December 2 - Performing Arts Center State University of New York Albany, New York with Gilbert Kalish piano BEETHOVEN Sonata for Horn and Piano op. 17 PISTON Woodwind Quintet SAINT-SAENS Caprice on Danish and Russian Airs op. 79 MOZART Quintet for Piano and Winds K. 452 January 27 - Memorial Gymnasium University of Maine Orono, Maine SCHUBERT String Trio No. 2 in B flat D. 581 PISTON Woodwind Quintet BEETHOVEN Septet op. 20 February 17 Sanders Theatre Series* Harvard University with Gilbert Kalish piano BEETHOVEN Variations for Piano, Violin and Cello on Wenzel Muller's song 'Ich bin der Schneider Kakadu' op. 121a SPOHR Nonet in F op. 31 SHIFRIN Serenade MOZART Quintet for Piano and Winds K. 452 March 24 - Sanders Theatre Series* Harvard University with Robert Levin piano MOZART Trio for Violin, Cello and Piano in B flat K. 502 RIESMAN Chamber Concerto conducted by the composer BEETHOVEN Septet op. 20 ^Series co-sponsored by the Harvard University Department of Music The Chamber Players also gave master classes for instrumentalists on April 30 and May 7, sponsored by the public schools in Dallas, Texas and Pittsfield, Massachusetts respectively; also on May 1 sponsored by the University of Texas in Austin. Ganson 1239 RADIO BROADCASTS — » •» ill The concerts of the Boston Symphony Orchestra are heard regularly in many parts of the United States and Canada by delayed broadcast. In addition the Friday afternoon concerts in Symphony Hall are broadcast live by WGBH-FM (Boston, 89.7), WMEH-FM (Bangor 90.9), WHEA-FM (Portland, 90.1), WAMC-FM (Albany, 90.3) and WFCR-FM (Amherst, 88.5). The Saturday evening concerts in Symphony Hall are also broadcast live by WGBH-FM, WMEH-FM, WHEA-FM, WCRB-AM-FM (Boston, 102.5FM & 1330AM), WFCR-FM and WPJB-FM (Provi- X f^a dence, 105.1). WGBH-FM and WCRB-FM cooperate in four-channel transmis- sion of the Saturday evening concerts, in association with Acoustic Research ^H Inc. of Cambridge. The majority of the Tuesday evening concerts are broadcast live by WGBH-FM, WAMC-FM and WFCR-FM. Acoustic Research Speaker Systems are used to monitor the radio broadcasts of the Boston Symphony Orchestra. All regular weekend concerts by the Orchestra during the 1973 Berkshire Festival were broadcast live by WGBH-FM (Boston), WFCR-FM (Amherst) and WAMC-FM (Albany). WCRB-FM (Boston) and WPJB-FM (Providence) broadcast the Saturday evening concerts. ^ A «.^^ Complete transcriptions of the Friday and Saturday concerts, as well as concerts of the Boston Pops and of the 1973 Berkshire Festival, were broadcast through the Boston Symphony Transcription Trust on the following stations, both commercial and educational. Where known, the name of the sponsor is I 1# indicated. UNITED STATES Albany, New York WFLY Pearl-Grant-Richmans Abele Tractor Latham Motors Adams Jewelers Allentown, Pa. WFMZ Nan Carlby Clothes First Valley Bank Ames, Iowa WOI-AM-FM Educational-Sustaining Baltimore, Md. WBJC Educational-Sustaining Binghamton, New York WHRW Educational-Sustaining Birmingham, Alabama WAPI-AM-FM Sustaining 1**** r. Boston, Massachusetts WCRB-AM-FM Acoustic Research Inc. WGBH Educational Carbondale, III. WSIU Educational-Sustaining Champaign, III. WILL Educational-Sustaining Chicago, Illinois WFMT Sansui Cincinnati, Ohio WGUC Educational-Sustaining Cleveland, Ohio WCLV Sustaining Columbia, Missouri KBIA Sustaining Columbus, Ohio WOSU-FM Educational-Sustaining Corning, N.Y. WCLI Corning Glass Works Davis, California KDVS-FM Educational-Sustaining Dallas, Texas WRR City of Dallas Daytona Beach, Florida WNDB-AM-FM News Journal Corporation Dekalb, Illinois WNIU-FM Educational-Sustaining :M» Denver, Colorado KVOD Public Service Co. of Colorado Midland Federal Savings & Loan- Detroit, Michigan WDET Educational-Sustaining WQRS Sustaining Ellsworth, Maine WDEA Sustaining Gainesville, Florida WRUF Educational-Sustaining Grand Island, Nebraska KMMJ Bost Pharmacy Kinman Chevrolet-Cadillac 3f*n Schwesers Meyer's Jewelry First National Bank Derrick Te Paske 1240 Grand Rapids, Mich. WOOD Sansui ADVERTISERS IN THE PROGRAM Greenville, So. Carolina WMUU Educational-Sustaining SINCE APRIL 1973 Hartford, Connecticut WTIC Sustaining Hershey, Pennsylvania WITF Educational Houghton, Michigan WGGL Educational-Sustaining Houston, Texas KLEF Houston Chronicle The Trustees and Overseers of the Bank of Texas Boston Symphony Orchestra acknowl- Hyannis, Mass. WQRC Sustaining edge with appreciation the support Independence, Missouri KXTR Plaza Savings of the following advertisers in helping Royal Imports to make the contents of the winter Indianapolis, Indiana WFMS Sustaining season, Pops and Berkshire Festival Iowa City, Iowa WSUI Educational-Sustaining programs possible: Jonesboro, Arkansas KASU Educational Kalamazoo, Michigan WMUK Educational-Sustaining Ad Infinitum Keene, N.H. WKNE Simon's Jewelers Angel Records Knoxville, Tennessee WUOT Educational-Sustaining Appalachia Shop Lawrence, Kansas KANU-FM Sustaining Artists and Models Ball Lima, Ohio WLSR Public Service Arts and Crafts Society Los Angeles, Calif. KFAC Sustaining KPFK Educational-Sustaining 'Ask Your Father' Toy Shop Atlantic Records Louisville, Kentucky WHAS Sustaining Auto Engineering (Lexington) Maryville, Missouri KXCV Educational Auto Engineering South Miami, Florida WTMI Sustaining Baldwin Piano & Organ Co. Milwaukee, Wisconsin WFMR Marine National Exchange Bank Zimdar Motors Barney's Barnum Investment (Leisure Lee) Minneapolis, Minn. KSJR KSJN Educational-Sustaining Barre Publishers WLOL Sansui BASF Records Monroe, Louisiana KMLB Ouachita National Bank Beckett Woods Nashville, Tennessee WPLN Educational Belwin-Mills Publishing Co. Newark, Ohio WNKO The Park National Bank Benihana The Furniture House of Tokyo Berkshire County Development New Orleans, La. WWNO Educational-Sustaining Commission New York City, N.Y. WQXR Sports Illustrated Magazine Berkshire Lakes Estates Newport News, Virginia WGH-FM Riverside Funeral Home Poquoson Leasing Company Peg Biscotti Real Estate Broker Boeing Notre Dame, Indiana WSND Gilbert's Men's Clothing Electro-Voice Boston Edison Boston Globe Omaha, Nebraska KIOS Sustaining Boston Museum of Fine Arts Oneonta, New York WONT Wilbur National Bank Boston Safe Deposit Philadelphia, Pa. WFLN DeHaven & Townsend Brokers Crouter & Bodine Brokers Boston University Boston University Celebrity Series Pittsburgh, Pa. WDUQ Educational-Sustaining Brookline Chamber Music Society WLOA Second Federal Savings & Loan Bruni Farms Portland, Oregon KBOO-FM Educational-Sustaining August A. Busch (Michelob) Poughkeepsie, N.Y. WSPK Highland National Bank Cafe Amalfi Providence, R.I. WPJB-FM Blackstone Valley Electric Co. Cafe Marliave Provo, Utah KBYU Educational-Sustaining Cafe Riviera Raleigh, No. Carolina WKNC Educational-Sustaining Cambridge Savings Richmond, Virginia WRFK Educational-Sustaining Tom Carey's Place Rochester, N.Y. WBFB Sustaining Carter's of Concord St Louis, Missouri KFUO Sustaining Cecilia Society San Francisco, Calif. KKHI-AM-FM Sustaining Century Park Construction Springfield, Missouri KTXR Bank of Springfield Charley's Eating & Drinking Saloon Syracuse, New York WONO First Federal Savings & Loan Chesterwood Tacoma, Washington KPLU Educational-Sustaining Christian Science Center Tallahassee, Fla. WFSU Educational-Sustaining Cloud Nine Tyler, Texas KNUE Rose Tree Antiques Coca-Cola Bottling Rimmer Hardware Co. of Boston Colonial Hilton/Branding Iron Peoples National Bank Covered Bridge Art Gallery Karl's Cameras Creative Comfort Johnson's Jewelers La Crepe Urbana, Illinois WILL Educational-Sustaining Dannon Milk Products Utica, New York WZOW Boston Store Darrow School Washington, D.C. Voice of America Deck House WETA Educational Dickson Hardware WGMS Furs by Gartenhaus Dunfey's Last Hurrah Wilkes Barre, Pa. WYZZ First National Bank of Eastern Pa. Fiduciary Trust Company Wisconsin Rapids, Wis. WWRW Sustaining Filene's Youngstown, Ohio WYSU-FM Educational First National Bank of Boston "57" Restaurant CANADA Fishelson's Florist Edmonton, Alberta CKUA Alberta Government Telephone Fleischmann's Distributors Halifax, Nova Scotia CFDR Sustaining Folklore Productions CHFX Sustaining Foster Grant Montreal, Quebec CBF Canadian Broadcasting Corp. French Library in Boston Toronto, Ontario CJRT Educational Gallery Imago CKFM Jordan Wines Garber Travel 1241 General Investment TELEVISION BROADCASTS Waterville Valley) Great Barrington Pottery During the 1973 Pops season twelve concerts were recorded on videotape Hancock Shaker Village by WGBH Channel 2 and subsequently telecast in color nationwide on the Harvard Catering Agency network of the Public Broadcasting Service. William N. Cosel was producer, Harvard Coop Syrl Silberman was associate producer; David Atwood, Jim Field and William N. Hawk Development Cosel were directors of the programs. P. A. Ha\ es A Pops Christmas program was also recorded on videotape by WGBH and Edith Henderson Real Estate telecast in color over the same network. William N. Cosel was producer and Holiday Inn director; Claudia Allyn was production assistant and Jordan M. Whitelaw Home Carpet Cleaning Co. directed orchestral camera treatment. Homeowners Federal Savings Loan & During the 1973-1974 winter season four concerts were recorded on videotape Housewright, Inc. by WGBH, and telecast in color on Channels 2 and 44, Jordan M. Whitelaw Industrial School for Crippled was producer; David Atwood and Jim Field were directors. Four additional Children concerts from past seasons were rebroadcast. Interlochen Camp Jacob's Pillow WGBH Channel 2 also broadcast during the 1973-1974 winter season the Jack Daniels Norton Lecture Series as delivered by Professor Leonard Bernstein at Harvard Jenifer House University. Performances of the Boston Symphony Orchestra were incorporated Jordan Marsh Company into both the live and broadcast presentations of the lectures. Kakas Furs King's Chapel During the spring and fall of 1973 WCVB-TV Channel 5 filmed and broadcast a Horst Kloss special program commemorating Seiji Ozawa's arrival in Boston as new Music Kobrand Director of the Boston Symphony Orchestra. Fred Schlipp was executive pro- Lark Luggage ducer and Ed Nielson was director. Lenox Arts Center London Records Long's Jewelers Longy School of Music RECORDINGS Ludwig Furs The following new recordings have been released since May 1973: Maison Robert Makanna Manning Travel BOSTON SYMPHONY ORCHESTRA Martinelli Sparkling Cider on DEUTSCHE GRAMMOPHON Massachusetts Music Educators BEETHOVEN Piano Concerto No. 5 in E flat op. 73 'Emperor' Association CHRISTOPH ESCHENBACH Merchants Cooperative Bank conducted by Seiji Ozawa T. O. Metcalf BERLIOZ Symphonie fantastique op. 14a Midtown Motor Inn conducted by Seiji Ozawa Modern Gourmet MOZART Symphony No. 41 in C K. 551 'Jupiter' National Retinitis Pigmentosa SCHUBERT Symphony No. 8 in B minor 'Unfinished' Federation conducted by Eugen Jochum New England Jewish Forum New England Life Insurance Co New England Merchants Bank Fiedler conductor Nordblom Co. BOSTON POPS, Arthur Ogden Foods on POLYDOR Old Colony Trust SALUTE TO DISNEY Old Corner House on RCA Orpheus Ascending FIEDLER'S GREATEST TV HITS Otis Ridge -Grouse House with Chet Atkins Otis Ridge- Pinnacle MORE GREATEST HITS OF THE '30s Paine Furniture Company MORE GREATEST HITS OF THE '40s Parenti Sisters, Inc. MORE GREATEST HITS OF THE '50s Pastene Wine & Spirits Co., Inc. MORE GREATEST HITS OF THE '60s Phases Restaurant GREATEST HITS OF THE '70s Phonogram Inc. (Philips Records) THE GREATEST HIT SONGS FROM THE SPECIAL TV OFFERS volume 1 The Point After Polydor Inc. Potter's Wheel Proiect, Inc. YOUTH CONCERTS AT SYMPHONY HALL Provandie, Eastwood & Lombardi Under the direction of Harry Ellis Dickson, Youth Concerts at Symphony Hall Publick House- Sturbridge concluded its fifteenth season on April 8th with a presentation of Rossini's The Les Pyrenees Barber of Seville. The performance, played by members of the Boston Symphony RCA Records Orchestra, was staged and directed by Michael Kaye with singers from the Red Lion Inn Boston area. Regional Development (Sea Pines) Rhode Island Philharmonic The season consisted of three different programs, each performed five times to Ritz-Carlton Hotel a total of 13,000 young people from more than 100 communities in Eastern Irma Rogell Massachusetts, New Hampshire and Maine. The nine subscription concerts — six Rug Gallery on Saturday mornings and three on Friday mornings (new this season) — were E. R. Sage Company completely sold out and were attended by individuals and school groups. The Schlitz-Crown Distributors other six concerts were presented, admission-free, to sixth graders from Title I School and College Center schools (low income) in Boston and other metropolitan cities. These concerts Seaboard Gallery were made possible with support from the Massachusetts Council on the Arts Sheraton-Boston Hotel and Humanities, the Morse Trust, the Mabel Louise Riley Charitable Trust and Shreve Crump & Low Company other local corporations and foundations. 1242 Sitmar Tours In addition to the Opera, the opening program, entitled "What is an Orchestra?", Small Wonders featured Benjamin Britten's Young Persons' Guide to the Orchestra, conducted Glendenning Smith on November 3 by Arthur Fiedler and narrated by Harry Ellis Dickson. At subse- Somerset Hotel quent performances the piece was conducted by Mr Dickson and narrated by Sona of India high school students. Seiji Ozawa appeared at the concerts on November 9 and Sotheby Parke Bernet 10 and led the Orchestra in Berlioz's Hungarian March from The Damnation of South Boston Savings Bank Faust. Harry Dickson introduced each section of the Orchestra through the South Mountain Association music he selected and then concluded the program with Ravel's Bolero, a piece Spaulding & Slye for the entire Orchestra. State Street Bank & Trust Company The second program, dedicated to the memories of John F. Kennedy and R. H. Stearns Martin Luther King, was highlighted by segments of Mozart's Requiem and Story Street Michael Colgrass' The Earth's a Baked Apple. The latter piece was commis- Suburban Homemaking & Maternity sioned by Youth Concerts at Symphony Hall on the occasion of its tenth anni- Agency, Inc. versary and was narrated at these performances by the composer. Both pieces Summit Estates were sung by the Lincoln-Sudbury Regional High School Chorus under the Sunshine Laundry direction of Robert Wentworth. Several high school soloists, chosen by compe- Superex Electronics tition, appeared at these concerts, and Koeper's Profile for Three Trombones A. H. Tetreault was given its first Boston performance. The Boston Home The Prep Shop The schedule for the 1974-1975 season is now available and may be obtained The Tire Centers from Anita Kurland at Symphony Hall. Top of the Hub Tucker Anthony University Home Services Upper Story WHMT-FM M. S. Walker Margot Warner Wasserman Development Corporation Charles H. Watkins & Company Waterville Valley (General Development) West Sport Weston Nurseries Williamstown Theatre The Williamsville Inn 1243 MUSICAL INSTRUCTIONS RMAROGELL summer season winter season Aegina Arts Centre, Boston, New York Greece harpsichord and recording artist piano Tel: 332-9890 HORST L. KLOSS MASTER. VIOLIN MAKER Stringed Instruments Played with a Bow Restorations and Repairs Old and New Instruments for Sale Strings and Accessories Brighton, Mass. (617) 787-1433 MARGOT WARNER, Soprano VOICE TECHNIQUE AND COACHING June through August Summer and Winter 189 John Wise Avenue 2 Symphony Road (Route 133) Boston, Mass. 02115 Essex, Mass. 01929 (617) 267-0332 (617) 768-6853 Voice Studios i assachusetts ¥ usic Educators ^Association aking USIC CHARLES RIVER BROADCASTING COMPANY Everyone's #% rt WM FILENE'S SONS COMPANY THE FIRST NATIONAL BANK OF BOSTON THE GILLETTE COMPANY JOHN HANCOCK MUTUAL LIFE INSURANCE COMPANY NEW ENGLAND MERCHANTS NATIONAL BANK NEW ENGLAND MUTUAL LIFE INSURANCE COMPANY • NEW ENGLAND TELEPHONE AND TELEGRAPH COMPANY THE SHAWMUT ASSOCIATION BANKS I STATE STREET BANK AND TRUST COMPANY '