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Seiji Ozawa, Music Director
Colin Davis, Principal Guest Conductor Joseph Silverstein, Assistant Conductor
Ninety-Sixth Season 1976-77 The Trustees of the Boston Symphony Orchestra Inc Talcott M. Banks President Philip K. Allen Sidney Stoneman Mrs. Harris Fahnestock Vice-President Vice-President Vice-President
John L. Thorndike Treasurer
Vernon R. Alden Archie C. Epps III Mrs. James H. Perkins Allen G. Barry David O. Ives Irving W. Rabb
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Nelson J. Darling, Jr. Edward G. Murray John Hoyt Stookey Albert L. Nickerson Trustees Emeritus Harold D. Hodgkinson Henry A. Laughlin John T. Noonan
Administration of the Boston Symphony Orchestra
Thomas D. Perry, Jr. Thomas W. Morris Executive Director Manager Gideon Toeplitz Daniel R. Gustin Assistant Manager Assistant Manager
Joseph M. Hobbs Walter Hill Dinah Daniels Director of Development Director of Business Affairs, Director of Promotion Richard C. White Anita R. Kurland Niklaus Wyss Assistant to the Mana^. Administrator of Youth Activities Advisor for the Music Director
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Programs copyright © 1976 Boston Symphony Orchestra Inc. Who's who in the future.
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BOSTON SYMPHONY ORCHESTRA
Seiji Ozawa, Music Director
Colin Davis, Principal Guest Conductor Joseph Silverstein, Assistant Conductor Ninety-Sixth Season
^^-
Thursday, 7 April at 8 : 30 Friday, 8 April at 2 Saturday, 9 April at 8:30 Tuesday, 12 April at 8:30
COLIN DAVIS, conductor
VAUGHAN WILLIAMS Fantasia on a Theme by Thomas Tallis
STRAVINSKY Symphony of Psalms
I — verses 13 and 14 of Psalm 38 II — verses 2, 3, and 4 of Psalm 39 III — Psalm 150 TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor
INTERMISSION
BEETHOVEN Mass in C major, Opus 86 Kyrie Gloria Credo Sanctus Agnus Dei BENITA VALENTE, soprano JAN DE GAETANI, mezzo-soprano RYLAND DAVIES, tenor MICHAEL DEVLIN, bass TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor
Thursday's, Saturday's, and Tuesday's concerts will end about 10:25, and
Friday's concert will end about 3 : 55
Deutsche Grammophon and Philips records Baldwin piano Jerome Lipson Robert Karol Bassoons Bernard Kadinoff Sherman Walt Edward A. chair Vincent Mauricci Taft Roland Small Earl Hedberg Matthew Ruggiero Joseph Pietropaolo Robert Barnes Michael Zaretsky Contra bassoon Richard Plaster
Cellos Jules Eskin Horns Philip R. Allen chair Charles Kavalovski Martin Hoherman Helen Sagoff Slosberg chair Mischa Nieland Charles Yancich Jerome Patterson Peter Gordon First violins David Ohanian Joseph Silverstein Robert Ripley Richard Mackey Concertmaster Luis Leguia Ralph Pottle Charles Munch chair Carol Procter Emanuel Borok Ronald Feldman Assistant Concertmaster Joel Moerschel Trumpets Horner Mclntyre chair Helen Jonathan Miller Armando Ghitalla Max Hobart Martha Babcock Andre Come Rolland Tapley Rolf Smedvig Roger Shermont Gerard Basses Goguen Max Winder William Rhein Harry Dickson Harold D. Hodgkinson chair Trombones Gottfried Wilfinger Joseph Hearne Ronald Barron Fredy Ostrovsky Bela Wurtzler Norman Bolter Leo Panasevich Leslie Martin Gordon Hallberg Sheldon Rotenberg John Salkowski William Gibson Alfred Schneider John Barwicki Gerald Gelbloom Robert Olson Tuba Sird Raymond Lawrence Wolfe Chester Schmitz Ikuko Mizuno Henry Portnoi Cecylia Arzewski Timpani Amnon Levy Flutes Everett Firth Bo Youp Hwang Doriot Anthony Dwyer Sylvia Shippen Wells chair Walter Piston chair Second violins James Pappoutsakis Percussion Victor Yampolsky Paul Fried Charles Smith Fahnestock chair Arthur Press Marylou Speaker Piccolo Assistant timpanist Michel Sasson Lois Schaefer Thomas Gauger Ronald Knudsen Frank Epstein Moss Leonard Oboes Vyacheslav Uritsky Ralph Gomberg Harps Laszlo Nagy Mildred B. Remis chair Bernard Zighera Michael Vitale Ann Hobson Darlene Gray Wayne Rapier Ronald Wilkison Personnel Managers Harvey Seigel English Horn William Moyer Jerome Rosen Laurence Thorstenberg Harry Shapiro Sheila Fiekowsky Gerald Elias Clarinets Librarians Lefkowitz Ronan Harold Wright Victor Alpert Ann 5.M. Banks chair William Shisler Violas Pasquale Cardillo Burton Fine Peter Hadcock Stage Manager Charles 5. Dana chair E-flat clarinet Reuben Green Alfred Robison Eugene Lehner Bass Clarinet George Humphrey Felix Viscuglia Seiji Ozawa, Music Director
Seiji Ozawa became Music Director of the the beginning of the 1965-66 season he Boston Symphony Orchestra in the fall became Music Director of the Toronto of 1973 and is the thirteenth conductor Symphony, a post he relinquished after to head the Orchestra since its founding four seasons to devote his time to study in 1881. and guest conducting.
He was born in Hoten, Manchuria, in In 1970 Mr. Ozawa became Artistic 1935, and graduated from the Toho Director of the Berkshire Music Festival, School of Music in Tokyo with first and in December of that prizes in composition and conducting. year he began his inaugural season as Conductor When he won first prize at the Inter- and Music Director of the national Competition of Conducting at San Francisco Symphony Orchestra, titles Besancon, France, shortly after his gradu- he held con- currently with his ation, one of the judges of the competition position as Music Director of the Boston was the late Charles Munch, then Music Symphony until he resigned them in Director of the Boston Symphony, who the spring of 1976. (He will be Honorary invited him to study at Tanglewood Conductor in San Francisco for the 1976-77 during the following summer. Mr. season). Ozawa's association with the Orchestra began during that session of the Berkshire Mr. Ozawa's recordings for Deutsche Music Center as a student of conducting Grammophon include Berlioz's Sym- in 1960. phonie fantastique, La damnation de Faust, and Romeo et Juliette (awarded a Beginning with the summer of 1964, Grand Prix du Disque). This spring, DG Mr. Ozawa was for five seasons Music will release the Ozawa/BSO recording of Director of the Ravinia Festival, and at Charles Ives's Fourth Symphony. The Board of Overseers of the Boston Symphony Orchestra Inc.
David O. Ives, Chairman Hazen H. Ayer, Vice Chairman
Mrs. Arthur I. Strang, Secretary
Charles F. Adams Weston P. Figgins Richard P. Morse Mrs. Frank G. Allen Paul Fromm David G. Mugar Mrs. Richard Bennink Carlton P. Fuller Dr. Barbara W. Newell
Dr. Leo L. Beranek Mrs. Thomas J. Galligan, Jr. Stephen Paine David W. Bernstein Mrs. Thomas Gardiner Mrs. Priscilla Potter David Bird Mrs. John L. Grandin Harry Remis Gerhard Bleicken Bruce Harriman Mrs. Peter van S. Rice Frederick Brandi Mrs. Richard D. Hill Mrs. Samuel L. Rosenberry
Curtis Buttenheim Mrs. Amory Houghton, Jr. Mrs. Jerome Rosenfeld
Mrs. Henry B. Cabot Richard S. Humphrey, Jr. Mrs. A. Lloyd Russell Mrs. Mary Louise Cabot Mrs. Jim Lee Hunt William A. Selke Mrs. Norman L. Cahners Leonard Kaplan Samuel L. Slosberg Levin H. Campbell, III Leon Kirchner Richard A. Smith
Dr. George H.A. Clowes, Jr. Mrs. James F. Lawrence Mrs. Edward S. Stimpson Arthur P. Contas Roderick MacDougall Mrs. Richard H. Thompson The Hon. Silvio O. Conte John S. McLennan Stokley P. Towles Robert Cushman Colman M. Mockler, Jr. D. Thomas Trigg
Michael J. Daly Mrs. Elting E. Morison Mrs. C. Russell Eddy Frank E. Morris
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Notes The Fantasia is scored for double string orchestra and solo String quartet. Vaughan Williams specified that the "Second Or- Ralph Vaughan Williams chestra consists of 2 First Violin players, 2 Second Violin players, 2 'Cello players, Fantasia on a theme by Thomas Tallis and 1 C'Bass player. These should be taken the 3rd desk each group (or Ralph* Vaughan Williams was born at from of in the case the C'Bass the 1st Down Ampney, Gloucestershire, England, of by player the 2nd desk), and should, possible, on 12 October 1872 and died in London of if be placed apart the First Orchestra. on 26 August 1958. He composed the from Fantasia on a theme by Thomas Tallis in Looking back over 52 years, the 84-year 1910, making revisions, chiefly some cuts old Vaughan Williams wrote: "It must near the end, in 1913 and again in 1919. have been in 1904 that I was sitting in my He himself conducted the first perfor- study in Barton Street, Westminster, mance with the London Symphony Or- when a cab drove up to the door and
chestra in Gloucester Cathedral at the 'Mr. Dearmer' was announced. I just Three Choirs Festival on 6 September knew his name vaguely as a parson who 1910: the program was completed by invited tramps to sleep in his drawing Elgar's own performance of The Dream room; but he had not come to see me of Gerontius. Walter Damrosch intro- about tramps. He went straight to the duced the Fantasia to this country at a point and asked me to edit the music of a
New York Symphony concert on 9 March hymn book. I protested that I knew very 1922. The first performances here were little about hymns but he explained to me given under the direction of Pierre that Cecil Sharp had suggested my name, Monteux at the Boston Symphony con- and I found out afterwards that Canon certs of 27 and 28 October 1922. Ten Scott Holland had also suggested me as a years later, when Vaughan Williams was possible editor, and the final clench was visiting America, Serge Koussevitzky given when I understood that if I did not asked him which of his works he would do the job it would be offered to a well- like to hear the orchestra play, and he known Church musician with whose
replied, "With that string section I would musical ideas I was much out of sym- like to hear the Tallis Fantasia," and so, pathy. At this opening interview Dearmer in those more flexible days, Koussevitzky told me that the new book was being programmed it for him*.* Richard Burgin, sponsored by a committee of eight clerics Milton Katims, William Steinberg, and who were dissatisfied with the new Hymns Joseph Silverstein have also conducted Ancient and Modern ... He told me that the Fantasia with the orchestra. The most these eight founders had put down five recent performance in Boston was given pounds each for expenses, and that my by Steinberg in October 1972 in obser- part of the work would probably take vance of the composer's centenary, but about two months. Neville Marriner led the work at Tangle- "I thought it over for 24 hours and then
wood in July 1975. decided to accept, but I found the work occupied me two years and that my bill for clerical expenses alone came to about *Ursula Vaughan Williams, the composer's two hundred and fifty pounds. The truth widow, notes: "Ralph's name was pro- is that I determined to do the work nounced Rafe, any other pronunciation used thoroughly, that, to infuriate him." and besides being a compendium of all the tunes of worth that were already in use, the book should, 'A few days later, Vaughan Williams wrote to in addition, be a thesaurus of all the finest " Gustav Hoist : . . . while in Boston I went to hymn tunes in the world — at all events i) a football match, and ii) Boston Symph. all such as were compatible with the Orch; both suffer I think from being too metres of the words for which I had to much organized." find tunes ..." Vaughan Williams also commissioned some new tunes as well as writing four of Thomas his own, the latter being attributed "with becoming modesty ... to my old friend, Cook Mr. Anon." The labor was immense, but presents the SIXTH so, over the years, was the difference made to music in English and American churches. And, as Michael Kennedy Journey points out in The Works of Ralph Vaughan Williams, certain of the tunes included in The English Hymnal were "in to Music varying ways ... to haunt [Vaughan EUROPE 77 Williams] all his life." One of these was the Third Mode Melody which Thomas FROM BOSTON Tallis contributed in 1567 as one of nine 5-26, new tunes for Archbishop Matthew September 1977 Parker's Whole Psalter translated into English Metre and which, in The English Tour conducted by Hymnal, carries Addison's text, "When, rising from the bed of death." This is the John Salkowski theme upon which Vaughan Williams Member Boston Symphony Orchestra composed his Fantasia in the early sum- mer of 1910: it is adumbrated almost once in the first plucked notes of violas, cellos, and basses, and is soon played Many exciting performances through — with Tallis's harmonies, but and sightseeing in a thoroughly modern texture — by second violins, violas, and half the cellos.
"Throughout its course," wrote J. A. EDINBURGH Fuller Maitland of the Fantasia, reviewing MOSCOW the first performance for The Times, "one is never quite sure whether one is listening VLADIMIR to something very old or very new ..." LENINGRAD Reaching across three and a half centuries, Vaughan Williams found renewal for his NOVGOROD own musical language and, more broadly, VIENNA for English music. I don't know whether MUNICH he had then come across Verdi's celebrated plea to return to antiquity because that would be progress, but the Fantasia speaks to just that point. We don't usually
find it listed with Pierrot lunaire, The Rite For information or reservations, of Spring, or Debussy's Jeux as one of the please send this coupon or call: great monuments of the revolution in Thomas Cook music just before the 1914 war, but in its WORLD TRAVEL SERVICE absolute liberation from the assumptions 156 Federal St., Boston, MA 02110 of the sonata tradition, in those modal (617)267-5000 harmonies that are the key to the marriage of the very old to the very new, even in its NAME sound, the Fantasia on a theme by Thomas ADDRESS Tallis is radical as they come. as CITY Before we hear those first notes of ZIP Tallis's psalm, the full stringed orchestra STATE. suggests what the sound and the atmo-
8 Ralph Vaughan Williams in his twenties. sphere of this music will be. You hear at issue. No doubt it requires a certain effort once that it is music written for a cathe- to tune oneself to the moral atmosphere dral. (It works in the concert hall, as not implied by a fine melody; and it is far all cathedral music does, but it works best easier to dwell in the miasma of the in one with the generous acoustic proper- languishing and sentimental hymn tunes ties of Symphony Hall.) The harmonies which so often disfigure our services. change slowly, and the distance from Such poverty of heart may not be uncom- lowest note to highest in the wonderfully mon, but at least it should not be en- voiced first chord seems almost a response couraged by those who direct the services to the great space of Gloucester's great of the Church ..." The Fantasia is the Norman interior. The sonorities are ample, composer's matured response to his rich, spacious, aereated, but to lean into excitement about the melodies of Tallis, this music, as some conductors do, as Gibbons, and others, that he rediscovered though it were related to Schoenberg's for English churches. No less than the slightly earlier Transfigured Night is to works of Stravinsky and Beethoven that mistake its character. The Fantasia knows follow it on this program, this noble, passion and urgency, and Vaughan Wil- sure, quietly bold work is, in the most liams will not have forgotten that Tallis encompassing sense, sacred music. wrote his Melody to go with a metrical — Michael Steinberg paraphrase of Psalm 2: "Why do the heathen rage, and the people imagine a vain thing?" Essentially, though, it is music of meditation, of rapt and com- posed serenity. C^A*«* In the preface to the English Hymnal, Hitj Vaughan Williams, in the course of de- fending his decision to dump certain popular but sleazy hymns, wrote: "The usual argument in favour of bad music is that the fine tunes are doubtless 'musically ESTABLISHED correct,' but that the people want 'some- 1875 thing simple.' Now the expression 'musi- More than a century cally correct' has no meaning; the only of famous
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10 KEH0RA1D0U OF AGKE5KER, made and entered into
this twelfth day of December , 1939, by and betwee Igor Strcvinsky of Paris, France, of the one part, and t:.e Trustees of the Boston Symphony Oro'nestra, Inc., of Boston, Less., of the other part,
^ITJTESSTH: That the said Stravinsky hereby agrees to compose
a Bymphony, the score and complete set of orchestral parts to be de-
livered to the Boston Symphony Orchestra, Inc., at Symphony Hall,
Boston, not later than September 20, 1930,- the score to be in
manuBcri"t and to remain in tlie possession of the Boston Symphony
Orchestra, Inc. The Boston Symphony Orchestra shall have the right
to buy a set of parts to keep.
The said Stravinsky also agrees that the Boston Symphony •
Orchestra shall lave the- first rorlc performance of said work and
the first performances in Boston and lew York and the right to
perform sail" work at any place or time during its Fiftieth Anniversary
season of 1930—1931 without the payment of any performance fees or
other charges. After the season of 1930-1931 the Boston Symphony
Orchestra shall have the right to perform said work at reasonable
performance fees. For the two seasons of 1930-1931 and 1931-1932
the Boston -Tynr-hony Irchestra Bhall have the exclusive right to
perform sail work for the purpoee of making records for reproduction.
15 CONSIDERATION of the performance of the above by the said
Stravinsky the said Trustees of the Boston Symphony Orchestra, Inc.,
agree to pay to the said Stravinsky or authorized representative
Three Thousand ($3,000) Dollars, Fifteen Hundred ($1,500) Dollars of
which are to he paid herewith and the balance of Fifteen Hundred
(11,500) Dollars to be raid on the receipt of the complete score
(and parts) of the said symphony.
The said Trustees also agree that except as specified above
the usual rights in said symphony will remain with the composer.
It is further mutually agreed that if on account of illness, accident or for any cause beyond the control of said Stravinaky he is unable to compose said symrhony, the said Stravinsky's only liability to the Trustees of the Beaton Symphony Orchestra, Inc., shall be to reimburse said Trustees for any amount already paid to the said Stravinsky under the contract.
IN ft'ITHESS BHEKEOF, the parties hereunto Bet their hands and Seals.
(Seal)
/ / .A\ ^ / * / /)^£^/r
Die contract for the commission Stravinsky filled by composing the Symphony of Psalms
11 did, however, give permission for the Igor Stravinsky European premiere — which thus became Symphony of Psalms the world premiere — to go ahead as plan- ned on 13 December, Ernest Ansermet Igor Fedorovich Stravinsky was born at conducting the chorus and orchestra of Oranienbaum, Russia, on 5 June (old the Brussels Philharmonic Society. style) or 17 June (new style) 1882 and died Koussevitzky introduced the work a week in New York on 6 April 1971. Re wrote later at the concerts of 19 and 20 Decem- the Symphony of Psalms in 1930, com- ber. The repeat performance after inter- pleting the score on 15 August of that mission was listed in the program but not, year at Nice. The work had been com- in fact, given. The chorus was the Cecilia missioned by Serge Koussevitzky for the Society, Arthur Fiedler, conductor. The Boston Symphony Orchestra's 50th dedicatory title page reads (translated anniversary. Stravinsky and Kous- from the French): "This symphony, sevitzky had met about 1907 at Rimsky- composed/to the glory of GOD/is dedi- Korsakov's. Koussevitzky had conducted cated to the/ "Boston Symphony Orches- The Rite of Spring in Moscow and St. tra"/on the occasion/of the fiftieth Petersburg as early as February 1914, anniversary of its existence." Kousse- given the premieres of the Symphonies of vitzky brought the Symphony of Psalms Wind Instruments (London, 1921) and back in the next two seasons and in four the Piano Concerto (Paris 1924, with the different years after that. Stravinsky composer as soloist), had invited Stra- conducted it in December 1939, and vinsky to introduce the Octet at one of conductors who have led it with the the Concerts Koussevitzky (Paris 1923), orchestra since include Robert Shaw, had conducted the first American per- Leonard Bernstein, Erich Leinsdorf (most formance — all in Boston — of the Piano recent subscription performances, Octo- Concerto, Oedipus Rex, and the Capric- ber 1962), and Michael Tilson Thomas cio for piano and orchestra, and, as (Spectrum concert, January 1972, and at founder and co-owner with his wife, Tanglewood, August 1973). Natalie, of the Editions Russe de Musique, The Symphony of Psalms is scored for was Stravinsky's principal publisher of mixed chorus (Stravinsky's preference the works from Petrushka to Perse'phone.* was for children's voices for the soprano The premiere of the Symphony of and alto parts) with five flutes (one Psalms was planned for the concerts of 12 doubling piccolo), four oboes, English and 13 December 1930, the new work to horn, three bassoons, contrabassoon, be preceded by Mozart's Symphony No. four horns, five trumpets (one of them a 40 in G minor, and then repeated in the high trumpet in D), three trombones, second half of the concert between Stra- tuba, kettledrums, bass drum, harp, two vinsky's Capriccio (Jesus Maria Sanroma, pianos, cellos, and basses. In these per- piano) and Schoenberg's orchestration of formances, the pianos are played by Bach's E flat major organ fugue. Kous- Jerome Rosen and Luise Vosgerchian. sevitzky fell ill, though, and Richard To say that in the Symphony of Psalms Burgin conducted an entirely different Stravinsky uses the word "symphony" in program on those dates. Koussevitzky a special way is to commit a redundancy.
With Stravinsky everything is a special case. No one composer has given us a *Pierre Monteux, Koussevitzky's predecessor more varied series of suggestions about in Boston, was also an old friend and associate of Stravinsky's. He gave several important what "symphony" can mean than Stra- Stravinsky performances here, among them vinsky with his sequence of Symphony in the first in America of The Rite of Spring. The E flat (1907), Symphonies of Wind In- first work of Stravinsky's to be played by the struments (1921), Symphony of Psalms Boston Symphony was Fireworks, given (1930), Symphony in C (1940), and under Karl Muck in 1914. Symphony in Three Movements (1945). Of these, the Symphonies of Wind
12 Instruments and the Symphony of Psalms idea he wrote down was the rhythmic are linked not only by their solemnity and figure their austere sound, but also by the composer's return in both works to the original sense of "symphony" as a min- gling of sounds, and his departure from the classic-romantic associations that surround the work. Koussevitzky made
no stipulations about instrumentation, which, as Laudate Dominum, is a vital and since Stravinsky had had the project presence throughout the quick part of the of composing psalm settings in mind for last movement. "The fast-tempo sections some time, that is what he went ahead of the Psalm were composed first," with. He had first thought of setting the Stravinsky writes, "and the first and psalms in Old Church Slavonic, and the second movements of the symphony decision to use Latin came only when he followed. The Alleluia and the slow was some way into the work.* He began, music at the beginning of the 150th Psalm, at any rate, with Psalm 150, and the first which is an answer to the question in the [39th] Psalm, came last." *The numbering of the psalms we give on composition should have unique pages 3, 15, and 17' of this program are, as That a in the score, those of the Vulgate (and the thematic material is a familiar enough idea, translation those of the Douay version). The corresponding numbers in the King James version are verses 12 and 13 of Psalm 39,
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13 ;
at least for the 19th and 20th centuries* that it should, or even can, have a unique sonority is more specifically a Stra- vinskian thought. What Stravinsky calls for in the Symphony of Psalms is an altogether special distribution with <£ouC&gfve unsual concentration on certain sounds Under New Management (flutes, trumpets, and pianos, for in- stance) and complete omission of others "Boston's Original Creperie" (clarinets and high strings). For that Authentic Brittany Crepes make matter, the scoring even of a common this favorite Boston restaurant the chord becomes an adventure. An E minor ideal spot for before and after chord is a familiar enough object, but Symphony, directly across from Stravinsky writes bar one of the Psalms Lord & Taylor on Boylston Street. as though it were the first triad in the history of the world : v American Express — Master Charge t li
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14 One of the first things a student learns in the Symphony is unified in that its three an elementary harmony class is that when movements are linked and are to be writing a triad you emphasize in the first played without break. The first psalm place its root and then its fifth (here those ascends rapidly to its conclusion, a bril- would be E and B respectively), but liant G major chord (and now we know
Stravinsky's chord, as it is distributed why that first E minor triad was so G- through his orchestra, is singularly under- laden). With the first notes of the next privileged in B's, even more in E's, and psalm it becomes clear that the G is the there is far more G than anything else, the dominant of the new key, C minor, that one that according to common practice the whole first movement has been one and academic theory is not to be doubled. great upbeat to the second. This move- Part of the extraordinary sound stems ment ends in the relative major, E flat, from the spacing — the concentration of and the finale continues the chain with its flutes, oboes, harps, and pianos at the delicate balance of E flat (the chorus) and top, and the parallel concentration of C (the bass). These two keys are the ones bassoon, contrabassoon, trombones, whose dominants collided in the six- tympani, basses, harp, and pianos at the teenth-note oboe-and-bassoon figurations bottom, with all that great gap between. at the very beginning.
Characteristic, too, is what happens Here is Stravinsky's own account of next — the scurrying sixteenth-notes in the second movement : "The Waiting for oboe and bassoon. Stravinsky's practice the Lord' Psalm makes the most overt use is opposed to the classic-romantic way of of musical symbolism, in any of my "modulating" organically from one event music before The Flood. An upside-down to the next. Instead, he proceeds by pyramid of fugues, it begins with a purely shock. He makes a leap of deliberate instrumental fugue of limited compass
violence from the chord to the figuration and employs only solo instruments . . . and back to the chord. Even within the the next and higher stage of the upside- Sixteenth-note pattern, the two chords down pyramid is the human fugue, which that are outlined — one based on B flat does not begin without instrumental help going up and one based on G coming for the reason that I modified the struc- down — are not brought into a relation- ture as I composed and decided to overlap ship of mutual relevance, but rather are instruments and voices to give the mate- left as opposed, and for the time being rial more development, but the human unreconciled, elements. choir heard a cappella after that. The Another vital feature is the dynamic human fugue also represents a higher marking of that first chord, mezzo-forte. level in the architectural symbolism by
The force of the gesture is unmistakable, the fact that it expands into the bass and every other composer would have register. The third stage, the upside-down expressed it with a smashing hammer- foundation, unites the two fugues [Et blow of a sound. Stravinsky turns its immisit in os meum canticum novum]." energy inwards, and the compressed, Stravinsky regards Psalm 150 "as a even repressed, nature of his expressive song to be danced, as David danced impulses provides an essential clue to the before the ark.*" He also startled many sources of the beauty and power of his of his listeners and readers when Dia- music. The Symphony's intensely moving logues and a Diary came out in 1963 with last pages, Laudate eum in cymbalis the statement that "the allegro in the
benesonantibus . . . , are another mani- 150th Psalm was inspired by a vision of festation of that same spiritual reserve. Elijah's chariot climbing the Heavens
Stravinsky is much concerned with [II Kings 2, 11]; I do not think I had ever unity. The psalms themselves are unified written anything quite so literal as the textually. The 39th Psalm is, as it were, *Tympano et choro, translated in Douay as an answer to the 38th. The Alleluia with "timbrel and choir," is given in King James as which the 150th begins is the "new "timbrel and dance." canticle" of the 39th. In another sense,
15 .
triplets for horns and piano to suggest the horses and chariot. The final hymn of praise," he continues, "must be thought of as issuing from the skies; agitation is followed by the calm of praise." One more great crescendo as God is praised Dixieland at with timbrel and choir, with strings and my place. organ (Stravinsky the does not take Consider me hep. Psalmist's hints on orchestration), but for After years oftrying, the praise on high sounding cymbals and I have learned to like cymbals of joy, the music settles into a Dixieland. timeless, motionless quiet. Great censers The process was something like learn- swing and quiet voices fill the air with ing to like olives. their adoration. Or, in music, pianos, Therefore, my restaurant in Boston Dixielandjazz every harps, tympani move through three notes now serves Sunday evening. over and over, while in the same register There's no cover charge and no mini- voices, later as the cellos and trumpets, mum, and the prices are modest enough on oboes, still later all the winds, spread to bring the family or friends, or anyone harmony at once rich and incredibly else who might be a fan of good dining, luminous. The alleluia, the new canticle good drinks, and goodjazzbands. Naturally, however, I'd rather appre- returns for a moment, to resolve, with the ciate it if, while you were here, youjoined last DOMINUM, everything into a C us for dinner: roast beef, fresh fish, J.C. major chord, severe and beatific, as Hillary's English Father's Irish Stew . . beautiful and as special as only Stravinsky Or an olive or two, served within a could make it. beverage. -M.S. (The traditional drink of Martini Street, or whatever, where Dixieland was born.) J. C. HILLARY'S Music whose time has returned, LTD. AG**' at precisely the same sort of restaurant.
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Hear my prayer, O Lord, and my supplica- Exaudi orationem meam, Domine, et depre- tion : give ear to my tears. cationem meam; auribus percipe lacrymas meas.
Be not silent : for I am a stranger with thee, Ne sileas, quoniam advena ego sum apud te, and a sojourner as all my fathers were. et peregrinus sicut omnes patres mei.
forgive me, that I may be refreshed, before Remitte mihi, ut refrigerer priusquam abeam
1 go hence, and be no more. et amplius no'n ero. verses 13 and 14 of Psalm 38
With expectation I have waited for the Lord, Exspectans, exspectavi Dominum, et intendit and he was attentive to me. mihi. And he heard my prayers, and brought me out Et exaudivit preces meas, et eduxit me de lacu of the pit of misery and the mire of dregs. miseriae et de luto faecis. And he set my feet upon a rock, and directed Et statuit super petram pedes meos, et direxit my steps. gressus meos. And he put a new canticle into my mouth, a Et immisit in os meum canticum novum, song to our God. carmen Deo nostro. Many shall see, and shall fear: and they shall Videbunt multi, et timebunt, et sperabunt hope in the Lord. in Domino.
verses 2, 3, and 4 of Psalm 39
Alleluia. Alleluia. Praise ye the Lord in his holy places Laudate Dominum in Sanctis ejus; praise ye him in the firmament of his power. laudate eum in firmamento virtutis ejus. Praise ye him for his mighty acts Laudate eum in virtu tibus ejus; praise ye him according to the multitude of laudate eum secundum multitudinem magni- his greatness. tudinisejus. Praise him with sound of trumpet Laudate eum in sono tubae;
[praise him with psaltery and harp . [laudate eum in psalterio et cithara.] ] Praise him with timbrel and choir: Laudate eum in tympano et choro; praise him with strings and organs. laudate eum in chordis et organo. Praise him on high sounding cymbals Laudate eum in cymbalis benesonantibus; praise him on cymbals of joy laudate eum in cymbalis jubilationis. let every spirit praise the Lord. Omnis spiritus laudet Dominum! Alleluia. Alleluia. Psalm 150 (Stravinsky omits the line in brackets)
17 Our game is growth and shelter.
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18 masses for the Princess Maria Hermene- Ludwig van Beethoven gild. Whether the commission for 1807 Mass in C major, Opus 86 had gone to Beethoven on the recom- mendation of his former teacher, Haydn,
we do not know. In any event, it all Beethoven was born probably Ludwig van turned into an unhappy occasion for on 16 December 1770, certainly in Bonn, Beethoven. There was absenteeism at died on 26 March 1827 in Vienna. He and rehearsals. There was the Prince's remark the Mass in in 1807 on commis- wrote C and Hummel's laughter, which Beethoven sion Prince Nikolaus Esterhdzy, and from misunderstood as being directed at him- it performed the first time on 13 was for self rather than at Esterhazy's peculiar September that year in the chapel at the formulation. Moreover, Beethoven was in Eisenstadt. It is not Esterhdzy palace offended at having been put up, not like the Mass first came to known when a proper guest in the castle, but in damp to Boston. These America or specifically quarters normally assigned to minor are the first performances at concerts of household officials. At any rate, he left the Boston Orchestra, though Symphony as soon as possible, and when the Mass the work has had a number of perfor- was published in 1812, it bore a dedica- mances here by various choral groups, tion, not to either of the Esterhazys, but most recently last month in Sanders to Prince Ferdinand Kinsky.* The C at a concert the Masterworks Theater of major Mass had several more perfor- under the direction Allen Chorale of mances during Beethoven's lifetime and Lannom. was, upon publication, the subject of an The Mass is scored for four-part mixed enthusiastic review by E. T. A. Hoffmann. chorus, soprano, alto, tenor, and bass And interestingly, in view of later litur- solos, and an orchestra two each of of gical developments, Beethoven concerned oboes, clarinets, bassoons, horns, flutes, himself with the possibility of making an and trumpets, kettledrums, organ, and edition in German (in contrast to Stra- strings. At these performances, the organ vinsky, who found it necessary to put into is played by Berj Zamkochian. his Psalms score a prefatory remark to
After the mysticism that informs the the effect that it should always be sung in Fantasia on a theme by Thomas Tallis, Latin). particularly after Stravinsky's Symphony Our sense of the normality of the C of Psalms, with its syllable-by-syllable, major Mass is obviously and greatly note-by-note, percussive hewing of the conditioned by the fact that we know the text, its idiosyncratic sonorities, its evo- later Missa solemnis, completed early in cation of ritual and of the gestures of 1823, so much better — and there is a masked actors, we are likely, in Beetho- work in which the text is treated as never ven's Mass, to begin by perceiving, re- before or since! It is tempting, therefore, sponding to, rejoicing in its normality. Yet to to think of Opus 86 as Beethoven's Haydn Beethoven, it was a "special" work — "I Mass. And of course Beethoven knew the believe I have treated the text as it has Haydn masses and other such works in seldom been treated," he wrote — and the Austrian classical tradition and he Prince Esterhazy, who had commissioned knew what was expected chez Esterhazy. it, said after the first performance, "My But even as a younger man, writing the dear Beethoven, what have you done this Trios, Opus 1, and the Piano Sonatas, time?" Opus 2, he was, no matter how attentive Esterhazy each year commissioned a to certain conventions, quite incapable of mass for performance on the Sunday following his wife's name-day. That is *Kinsky, together with Prince Lobkowitz and how Haydn came to write his six late and the Archduke Rudolph, had set up a fund in wonderful Masses between 1796 and 1808 to guarantee Beethoven an annual 1802, and Johann Nepomuk Hummel, stipend. Georg Ludwig Kinsky, who pre- who was the Esterhazy Capellmeister pared the counterpart of a Kochel catalogue for Beethoven, is no relative. from 1804 to 1811, also composed three
19 Princess Liechtenstein-Esterhazy whose name-day Maria Josepha Hermenegild, , for Beethoven's C major Mass was written. 20 composing anything that was not insis- the F minor here define the harmonic tently highly individual Beethoven. boundaries of the Mass — the rest is the In the C major Mass, Beethoven ob- filling in of this space.) The Cum sancto serves certain customs — the placing of spiritu moves with huge vigor, and one the musical articulations, ending the passage on the word Amen, done as dia- Gloria and the Credo with fugues, setting logue of chorus and orchestra, presages the Benedictus as an amiable allegretto in what is surely the harmonically most 2/4 time, and so on. But in fact, he begins dizzy-making passage at the correspond- remarkably, with the chorus basses ing place in the Missa solemnis. The un- intoning the word Kyrie by themselves expected return, compressed and excited, and quietly, to which the rest of the of Quoniam is one of the details Beetho- chorus and the strings respond with ven must have had in mind when he music whose softness always touches us spoke of setting the text as it had not been particularly in Beethoven, not least set before.
it surprises us.* The harmonies because And surely the mysterious, agitated move quickly to a rather distant E minor opening of the Credo is another. Wonder- and then even to E major, and the return ful is the shouting across great spaces, — after Christe eleison reverts to to C voice by voice, of Deum de Deo, lumen Kyrie eleison, and at the first fortissimo de lumine, building to an exultant climax — is abrupt and exciting ("not recom- on per quern omnia facta sunt, from there mended for imitation," says E. T. A. to settle again with qui propter nos Hoffmann). That particular key relation- homines into the softness so character- ship is fascinating to Beethoven, as it had istic of this Mass. A point Hoffmann been to Haydn and would be to Schubert makes in his review is that it has become and Brahms: the assertion of it so early the tendency for composers to respond in serves notice that a composition on a excess to details of the text and to fling grand scale and of large energies has the listener recklessly and brutally from begun. abject miseries to riotous rejoicings. The mature composer, suggests, has a clearly The Gloria starts with powerful excla- defined personality and religious point of mations. Beethoven moves quickly across view, and a mass by such a composer will much of the text, then to become dra- bring all the diverse elements of the text matically expansive on certain phrases — into harmony with that basic stance. He bonae voluntatis (where you also get one finds the C major Mass exemplary in this of his occasional and always striking uses respect and isolates its gentleness as its of the chorus without accompaniment), essential affect. (He died half a year be- or glorificamus te. Gratias agimus tibi, fore Beethoven finished the Missa begun as a tenor solo, makes lovely solemnis, a work whose ruthless, extreme euphony with the sustained chords of responses to the text would surely have clarinets and bassoons, and the flowing disconcerted, indeed dismayed him.) quarter notes in the strings. In the Kyrie, the harmonic explorations had been One further detail about the Credo: I toward the side of keys with sharps; now don't know of another instance of having Beethoven moves into the territory on the qui locutus est per Prophetas set, as it is here, as a of special other side of the world, first the F major moment drama of the Gratias, then the F minor of the and awe. pathos-filled Qui tollis peccata mundi. The Sanctus, too, moves into fresh (The E major of the Christe eleison and harmonic territory, and begins with another of those moments of chorus a cappella. *The tempo direction is Beethoven's longest: The Benedictus sensitively ex- Andante con moto assai vivace quasi Alle- plores the differences between solo and gretto ma non troppo. He is saying that he choral voices, and its sudden move into wants a fast andante, really very lively, so D major — in a movement that has been that it becomes virtually an allegretto, but not lazily content not to let go of F major — too much so. comes as a flood of magic sunlight.
21 The Agnus Dei begins in awe. Over its he is in his allegro spirits, and his masses repeated pleas of miserere nobis and its end brilliantly. Beethoven's music here is, anguished, obsessive contemplations of almost to the end, full of questions, of peccata, the clarinet makes itself more processes begun and broken off, of lat- and more independent, finally to lead the ticed textures. Then, at the very last, and way into the muted brightness of the dona in one of the most touching inspirations nobis pacem. No feature in the Missa of his whole life, he finds his way into the solemnis is more famous than the terri- music with which the Mass had begun. fying war music in what Beethoven We hear again those gentle thirds of explicitly tells us is a prayer for both sopranos and altos and violins, and in inward and outward peace. In this Mass, that inerrable moment Beethoven shows too he unmistakably evokes physical us how the prayer for peace — and even' terrors, and it is once again the clarinet other prayer — is comprehended in the who leads the music back to serenity. prayer of prayers, Kyrie eleison, Lord When Haydn reaches dona nobis pacem, have mercv upon us. — M.S.
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22 Kyrie eleison. Lord, have mercy upon us. Christe eleison. Christ, have mercy upon us. Kyrie eleison. Lord, have mercy upon us.
Gloria in excelsis Deo. Glory be to God on high, Et in terra pax hominibus bonae voluntatis. and in earth peace to men of good will. Laudamus te, benedicimus te, adoramus te, We praise thee, we bless thee, we worship thee, glorificamus te; gratias agimus tibi propter we glorify thee, we give thanks to thee for thy magnam gloriam tuam; Domine Deus, Rex great glory, O Lord God, heavenly King, God coelistis, Deus pater omnipotens. the Father Almighty. Domine fili unigenite Jesu Christe; Domine O Lord, the only-begotten Son Jesus Christ; O Deus agnus Dei, filius Patris; Lord God, Lamb of God, Son of the Father, Qui tollis peccata mundi, miserere nobis. that takest away the sins of the world, have Qui tollis peccata mundi, suscipe depreca- mercy upon us. Thou that takest away the sins tionem nostram. Qui sedes ad dexteram Patris, of the world, receive our prayer. Thou that miserere nobis; sittest at the right hand of God the Father, have mercy upon us. Quoniam tu solus sanctus, tu solus Dominus, For thou only art holy; thou only art the Lord; to solus altissimus Jesu Christe, cum sancto thou only, O Christ, with the Holy Ghost, art spiritu in gloria Dei Patris. most high in the glory of God the Father. Amen. Amen.
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Credo in unum Deum, Patrem ominpotentem, I believe in one God, the Father Almighty, factorem coeli et terrae, visibilium omnium Maker of heaven and earth, And of all things et invisibilium; visible and invisible
Et in unum Dominum Jesu Christum, filium And in one Lord Jesus Christ, the only-begotten
Dei unigenitum, et ex patre natum ante omnia Son of God, Begotten of his Father before all saecula, Deum de Deo, lumen de lumine, worlds, God of God, Light of Light, Very God Deum verum de Deo vero, genitum, non of Very God, Begotten, not made, Being of one factum, consubstantialem Patris per quern substance with the Father, By whom all things omnia facta sunt; were made
Qui propter nos homines et propter nostram Who for us men, and for our salvation came salutem descendit de coelis, down from heaven,
Et incarnatus est de Spiritu Sancto ex Maria And was incarnate by the Holy Ghost of the Virgine, et homo factus est Virgin Mary, And was made man,
Crucifixus etiam pro nobis, sub Pontio Pilato And was crucified also for us under Pontius passus et sepultus est; Pilate. He suffered and was buried,
Et resurrexit tertia die secundam Scripturas; And the third day he rose again according to Et ascendit in coelum; sedet ad dexteram the Scriptures, And ascended into heaven, and Patris, et iterum venturas est cum gloria sitteth on the right hand of the Father. And he judicare vivos et mortuos, cujus regni non shall come again with glory to judge both the erit finis; quick and the dead: Whose kingdom shall have no end.
Et in Spiritum Sanctum, Dominum et vivi- And I believe in the Holy Ghost, The Lord and ficantem, qui ex Patre Filioque procedit, qui Giver of life, Who proceedeth from the Father cum Patre et Filio simul adoratur et conglori- and the Son, Who with the Father and Son ficatur, qui locutus est per Prophetas, et in together is worshipped and glorified, Who unam sanctam catholicam et apostolicam spake by the Prophets. And I believe one ecclesiam, confiteor unum baptisma in remis- Catholic and Apostolic Church. I acknowledge sionem peccatorum, et exspecto resurrectionem one Baptism for the remission of sins. And I mortuorum. look for the Resurrection of the dead,
Et vitam venturi saeculi. Amen. And the life of the world to come. Amen.
Sanctus, sanctus, sanctus, Dominus Deus Holy, holy, holy, Lord God of hosts, Sabaoth. heaven and earth are full of thy glory. Pleni sunt coeli et terra gloria tua Hosanna in the highest. Osanna in excelsis. Blessed is he that cometh in the name of the Lord. Benedictus qui venit in nomine Domini. Hosanna in the highest. Osanna in excelsis.
Agnus Dei, qui tollis peccata mundi, miserere O Lamb of God, who takest away the sins of nobis. the world, have mercy upon us. Agnus Dei, qui tollis peccata mundi, dona O Lamb of God, who takest away the sins of nobis pacem. the world, give us peace. RVOTO ~o\A SUPERB JAPANESE CUISINE mm lTmiW 267 HUNTINGTON AVE. BOSTON • Near Sym. Hall Tuesday — Saturday; 11 am-2:30 5-11 p.m.; Sun. 12-11 p.m. • 536-9295
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MORE . . . Symphony of Psalms is quite satisfactory, Stravinsky's own with the C.B.C. Sym- For a superb pair of books on Vaughan phony and the Festival Singers of Toronto Williams, go to The Works of Ralph suffering from a lot of out of tune playing Vaughan Williams by Michael Kennedy and singing (Columbia, available as a and to R. V. W. — A Biography of Ralph single with the Symphony in C or in a Vaughan Williams by Ursula Vaughan five-record package with mostly superb Williams (both Oxford). The recording of performances of his most important the Tallis Fantasia that most eloquently works for orchestra). Your best bet is articulates the most special compositional Ansermet (London, with Les Noces) or and spiritual qualities of that work is the Robert Shaw (RCA, with Poulenc's one by Sir Adrian Boult and the London Gloria).
Philharmonic (Angel). Unfortunately, it The standard and huge Beethoven is coupled with two very much less inter- biography is Thayer's, edited by Elliot esting pieces, the Concerto Grosso and Forbes (Princeton, available in paper- the Partita for Double String Orchestra, back). If, however, you want to start with which is a possible reason for preferring something less daunting, you might try the record that puts Neville Marriner's George Marek's Beethoven: Biography good performance with some of Vaughan of a Genius (Simon and Schuster, avail- Williams's most beautiful works, The able as an Apollo paperback). Though the Lark Ascending, Five Variants of Dives soloists are not all of them, the stuff of and Lazarus, and the popular Green- which one's dreams are made, the strong- sleeves Fantasia (Argo). est recording of the C major Mass is the Stravinsky by Eric Walter White is a one by Herbert Kegel with the Leipzig big book, full of fascinating detail, not all Radio Chorus, the Gewandhaus Or- of it accurate (University of California). chestra, and with Hannelore Kuhse, Roman Vlad's Stravinsky has interesting Annelies Burmeister, Peter Schreier, commentary on the music (Oxford, avail- and Theo Adam (Telefunken). able in paperback). Stravinsky's own -M.S. close-mouthed biography is in print (October House, and Norton paperback), but of the volumes of dialogues with Robert Craft that were meant to supple- ment, or even to supplant it, only the two last, Themes and Episodes and Retro- spectives and Conclusions (both Knopf) are currently available, and they are neither the most interesting nor the most authentic. Craft's Igor Stravinsky — Chronicle of a Friendship (Knopf, and WALLIS WOOLLEN MILL A touch of class from Wales. British woollen clothing, Vintage paperback) and Lilian Libman's fabrics, home furnishings, knitting yarn and unusual gift items
And Music at the Close together give a Tel. 661-2590 good picture of Stravinsky as he was in his later years. For readers with consider- able knowledge of music, there is Stra- vinsky : a New Appraisal of his Work, ed. P. H. Lang (Norton paperback) and ART/ASIA GALLERY Perspectives on Schoenberg and Stra- Asian prints, ceramics, riecorative arts. Custom framing, art leasing. Member, Art Investment Asia. vinsky ed. Benjamin Boretz and Edward Tel: 6611596 T. Cone (Norton paperback, including Cone's essay, Stravinsky : the Progress of 49 PALMER STREET a Method, that has particular bearing on Cambridge, Mass. 02138
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29 Guest Artists
BENITA VALENTE
Soprano Benita Valente was born in California and studied voice at the Curtis Institute with Margaret Harshaw. She has also worked extensively with Martial Singher and the late Lotte Lehmann. She has appeared throughout the United States and Europe, and her performances with major U.S. orchestras include those with the Cleveland, Philadelphia and Minnesota Orchestras, the Detroit and National Symphonies, and the New York Philharmonic. In 1973, she made her Metropolitan Opera debut as Pamina in the Magic Flute. She has also performed with the well as performances with the Frankfurt, Met as Nannetta in Falstaff, and Susanna Strasbourg Operas, and the Paris Radio in the Marriage of Figaro. She has ap- Orchestra. Her many summer festival peared with the Opera Company of engagements have included the Cincin- Boston, the Opera Society of Washington, nati May Festival, Tanglewood, Robin the Houston and Ottawa Operas and Hood Dell, Ravinia, Casals Centenary starred in operatic productions at both in Mexico, and for four consecutive sea- Caramoor and Wolf Trap Farm Festivals. sons in Lincoln Center's Mostly Mozart She has sung abroad in Monteverdi's Festival. The most recent of her many Orfeo with the Netherlands Opera, and Boston Symphony appearances was in Purcell's The Fairy Queen in Vienna as Mozart's Requiem at Tanglewood in 1974.
JAN De GAETANI
Mezzo-soprano Jan DeGaetani is a native of Ohio and a graduate of the Juilliard School. Especially celebrated for her performances of new music, she sings all kinds of oratorio, opera, chamber music, and solo song. Her concert performances include appearances with the San Fran- cisco Symphony, the New York Phil- harmonic and the Atlanta and Cincinnati Symphonies. Her engagements abroad have included performances in London, Vienna, and Amsterdam, and she has been Artist-In-Residence at the University of Wisconsin, and at the Aspen Music Festival. She has also been on the faculty at Juilliard. all over the country. On 10 March 1977, Her Boston Symphony debut was in she performed at the White House at a October of 1974 in performances of dinner honoring the Prime Minister of Ravel's L Enfant et les Sortileges. She has Great Britain. She is now on the faculty since toured Europe extensively and done of Eastman School of Music as a Professor many recitals at colleges and universities of Voice.
30 ,
RYLAND DAVIES
Tenor Ryland Davies was educated at the Royal Manchester College of Music where he won the Ricordi and Imperial League of opera prizes. After graduating, he went to Glyndebourne where he was the first recipient of the Christie Prize. He has appeared frequently at Glynde- bourne, and has sung with every major opera house and orchestra in Great Britain. His American debut was with the San Francisco Opera in Cosi fan tutte and Otello. and since then he has appeared as soloist with the San Francisco Symphony and with the Boston Symphony under Seiji Ozawa at the Tanglewood Festival. Mr. Davies has performed at Covent tutte, and returned the following season Garden on numerous occasions in such for The Barber of Seville. operas as Don Giovanni, Falstaff, Otello, He has recorded works of Berlioz, Cosi fan tutte, The Barber of Seville Handel, Haydn, Massenet, Mozart and and Don Pasquale. He made his Metro- Verdi for Argo, DGG, London, Philips, politan Opera Debut in 1975 in Cosi fan RCA, and Vanguard Records.
MICHAEL DEVLIN
Michael Devlin was born in Chicago and raised in Houston. He made his debut in New York in 1966 with the New York City Opera on their opening night's per- formance of Ginastera's Don Rodrigo and later performed that work for the Com- pany's inauguration performance at Lincoln Center for the Performing Arts. Other operas in which he has appeared included title roles in Julius Caesar, Le none de Figaro, Mefistofele, Cosi fan tutte. Carmen. Les Contes d Hoffmann and Pelleas et Melisande. In addition to operatic work, he has the Glydebourne Festival Opera. The appeared with many of the country's next year, he made his Covent Garden major orchestras including the Chicago debut in Tippett's King Priam and later and Cincinnati Symphonies, the Los that season was invited to return there as Angeles and New York Philharmonics, Escamillo in Carmen. the Philadelphia Orchestra, and in a He has sung Bach's B minor Mass in Peace Concert which included Haydn's Memphis and Pittsburgh as well as with
Mass In Time of- War under Leonard the Philadelphia Orchestra, and Beetho- Bernstein in the National Cathedral in ven's Ninth Symphony with the San Washington. That performance was Francisco Symphony. recorded by Columbia Records. His most recent appearance with the In 1974, he made his European debut Boston Symphony was last season in as the Count in Le none de Figaro with Bach's St. Matthew Passion.
31 COLIN DAVIS
Colin Davis, the Principal Guest Con- ductor of .the Boston Symphony, is See three Music Director of the Royal Opera House, Covent Garden. His conducting career sterling began in 1949. In 1957 he became assistant conductor of the BBC Scottish Orchestra, was later appointed Music performances. Director of the Sadlers Wells Opera, and from 1967-1971 was Chief Conductor The Museum's English of the BBC Symphony, a post which he relinquished to take up his duties at Silver Collection . . . opening Covent Garden. He made his United April 6. Treasures of London States debut with the Minneapolis Sym- . . . April 6 through May 8. phony and has guest conducted the New York Philharmonic, and the Philadelphia The Folger's Coffee Collection Orchestra, as well as the Boston Sym- . . . April 6 through June 5. phony. Mr. Davis records exclusively Seethe largest exhibi- for Philips Records, and last December completed a series of the complete sym- tion of English silver ever dis- phonies of Sibelius for that company played in the United States, with the Boston Symphony Orchestra. at the
Museum of Fine Arts, Boston
FRAMINGHAM CHORAL SOCIETY Christopher Carlson, Conductor
presents
a** in P jffltnor
Sunday Plymouth May 15 Church 3 p.m. Framingham
For Tickets Call 899-8874 Celebrating 40th Season
32 TANGLEWOOD FESTIVAL CHORUS
The Tanglewood Festival Chorus was formed under the joint auspices of the Berkshire Music Center and Boston Uni- versity in 1970. The director since its foundation, John Oliver, is director of choral and vocal activities for Tangle- wood, a member of the MIT faculty and director of the MIT Choral Society. The Festival Chorus made its debut at Sym- phony Hall in a 1970 performance of Beethoven's Ninth Symphony, and has since taken part in concerts directed by William Steinberg, Seiji Ozawa, Eugene the Boston Symphony's Damnation of Ormandy, Colin Davis, Arthur Fiedler, Faust, conducted by Seiji Ozawa, was and Michael Tilson Thomas. Members of nominated for a Grammy as the best the chorus come from the Greater Boston choral recording of the year. They have area and from all walks of life, and they recently recorded 20th Century American rehearse throughout the year. The Choral Music for DGG with John Oliver Chorus's first appearance on records, in conducting.
Sopranos Altos Tenors Basses Cynthia Armstrong Mary Bennett Kent E. Berwick Peter Anderson Deborah London Berg Anne Butler Paul Blanchard Mitchell Brauner
Marie-Christine Casey Bette Carey Sewell E. Bowers, Jr. Neil Clark Susan Chapman Elizabeth H. Colt Albert R. Demers John W. Ehrlich
Victoria Clague Mary Crowe Paul Foster Bill Good Margo Connor Catherine Diamond Robert Greer Carl D. Howe
Susan R. Cook Ann Ellsworth Dean A. Hanson Daniel J. Kostreva
Lou Ann David June Fine Wayne Henderson Henry Magno, Jr. Kathrin Davidovich Roberta A. Gilbert James P. Hepp Martin Mason Yvonne Frazier Thelma Hayes Jeffrey Hoffstein Terry Melzer Marilyn L. Haskel Donna Hewitt Richard P. Howell Frank G. Mihovan Alice Honner Beth Holmgren Kent Kornmeyer John P. Murdock Beth Howard Karol Hommen Peter Krasinski Jules Rosenberg Frances Kadinoff Leah Jansizian Gregg Lange Peter Rothstein
Carole Stevenson Kane Alison D. Kohler Henry L. Lussier, Jr. Robert Schaffel Vivian LaMorder Dorothy Love Jack Maclnnis Eric Schwartz
Joyce Lucia Sharron J. Lovins Al Newcomb Frank Sherman Virginia Lambert Mason Nina Saltus Ray Parks Richard M. Sobel Betsy Moyer Janet Shapiro Stephen Pietrantoni Douglas Strickler H. Diane Norris Amy Wing Sheridan Peter D. Sanborn Jean Renard Ward Joan Pernice Lynne Stanton Robert W. Schlundt Nathaniel Watson Nancy Peterson Nancy Stevenson William Severson Pieter Conrad White Gail Ransom Laurie Stewart John Smith Robert T. Whitman
Rhonda Rivers Florence A. St. George Douglas Thompson Howard J. Wilcox Judith L. Rubenstein Lisa Tatlock Barbara A. Scales Kathi Tighe Francec Schopick Susan Watson Bette L. Snitzer Maria E. Weber
Ann K. Staniewicz Mary J. Westbrook Tane Stein Janet Wade Pamela Wolfe
33 .
able amount of time after the concert. the SYMPHONY HALL AMENITIES . . For Friday afternoon concerts, both rooms will open at 12:15, with sand- SYMPHONY HALL, AND ALL wiches available until concert time. CONCERT AND TICKET CAMERA AND RECORDING EQUIP- INFORMATION — (617)-266-1492 MENT may not be brought into Symphony THE BSO IN GENERAL: The Boston Hall during the concerts. Symphony performs 12 months a year, LOST AND FOUND is located at the in Symphony Hall and at Tanglewood. switchboard near the main entrance. For information about any of the PUBLIC TELEPHONES AND AN Orchestra's activities, please call Sym- ELEVATOR can be found outside the phony Hall, or write the Boston Symphony Hatch Room on the Massachusetts Orchestra, Symphony Hall, Boston, Avenue side of the first floor. Massachusetts 02115. COATROOMS are located on both the THE BOX OFFICE is open from 10 a.m. first and second floors in the corridor on until 6 p.m. Monday through Friday. the first violin side, next to the Huntington Tickets for all Boston Symphony con- Avenue stairways. certs go on sale 28 days prior to the TICKET RESALE : If for some reason you concerts and phone reservations will are unable to attend a Boston Symphony be accepted. For outside events at Sym- concert for which you hold a ticket, you phony Hall, tickets will be available 3 may make your ticket available for resale weeks before the concert. No phone by calling the switchboard. This helps orders will be accepted for these events. bring needed revenue to the Orchestra, FIRST AID FACILITIES for both men and makes your seat available to some- and women are available in the Ladies one who wants to attend the concert. You Lounge on the first floor next to the will receive a tax deductible receipt as main entrance of the Hall. On-call acknowledgement for your contribution. physicians attending concerts should LATE COMERS are asked to remain in leave their names and seat locations at the corridors until they can be seated by the switchboard. ushers during the first convenient pause WHEELCHAIR ACCOMMODATIONS in the program. Those who wish to leave in Symphony Hall may be made by before the end of the concert are requested calling in advance. House personnel to do so between program pieces in order stationed at the Massachusetts Avenue not to disturb other patrons. entrance to the Hall will assist patrons in RUSH SEATS : There is a limited number wheelchairs into the building and to of Rush Tickets available for the Friday their seats. afternoon and Saturday evening Boston LADIES' ROOMS are located on the Symphony concerts (Subscription con- first floor, first violin side, next to the certs only). The Rush Tickets are sold at stairway at the back of the Hall, and on $1.50 each (one to a customer) in the the second floor on the Massachusetts Huntington Avenue Lobby on Fridays Avenue side near the elevator. beginning at 10 am and on Saturdays MEN'S ROOMS are located on the first beginning at 6 pm. floor on the Massachusetts Avenue side BOSTON SYMPHONY BROADCASTS: by the elevator, and on the second floor Concerts of the Boston Symphony are next to the coatroom in the corridor on heard in many parts of the United States the first violin side. and Canada by delayed broadcast. In LOUNGES AND BAR SERVICE: There addition, Friday afternoon concerts are are two lounges in Symphony Hall. The broadcast live by WGBH-FM (Boston Hatch Room on the first floor, and the 89.7), WMEH-FM (Bangor 90.9), WHEA- Cabot-Cahners Room on the second, FM (Portland 90.1), WAMC-FM (Albany serve drinks from one hour before each 90.3), and WFCR-FM (Amherst 88.5). performance and are open for a reason- Saturday evening concerts are also broad-
34 : : :
cast live by WGBH-FM, WMEH-FM, Friends of the Boston Symphony, please WHEA-FM, WCRB-AM & FM (Boston call the Friends Office Monday through 102.5 FM: 1330 AM), WFCR-FM and Friday between nine and five. If you are WPIB-FM (Providence 105.1). The already a Friend and would like to change majority of the Tuesday evening concerts your address, please send your new are broadcast live by WGBH-FM, address with the label from your BSO WAMC-FM, and WFCR-FM. newsletter to the Development Office, BSO FRIENDS: The Friends are sup- Boston Symphony Orchestra, Symphony porters of the BSO, active in all of its Hall, Boston, Massachusetts 02115. endeavors. Friends receive the monthly Including the mailing label will assure a BSO news publication and priority ticket quick and accurate change of address information. For information about the in our files.
COMING CONCERTS . . .
Thursday, 14 April — 7 : 30-9 : 10 Sessions: When Lilacs Last in the Door- Thursday '10' series yard Bloom 'd
Friday, 15 April — 2-3 : 40 Florence Quivar, mezzo-soprano
Saturday, 16 April — 8 : 30-10 : 10 Esther Hinds, soprano COLIN DAVIS conducting Dominic Cossa, baritone Tanglewood Festival Chorus, Sibelius : March from Karelia Suite Oliver, conductor Violin Concerto John Miriam Fried, violin SPECIAL CONCERT, OPEN TO THE
Brahms : Symphony No. 4 in E minor PUBLIC FREE OF CHARGE Sunday, 24 April at 4, Sanders Theater, Sunday, 17 April at 4, Jordan Hall Boston Symphony Chamber Players with Cambridge Gilbert Kalish, piano Sessions: Piano Sonata No. 1 Russell Sherman, piano Louel : Brass Trio Faure: Quartet for piano and strings inC Sonata for Violin minor, Opus 15 Joseph Silverstein, violin Neikrug: Serenade
Thursday, 28 April — 7 : 30-9 : 15 Beethoven : Quintet for piano and winds, Thursday '10' series Opus 16
Friday, 29 April — 2-3 : 45
Saturday, 30 April — 8 : 30-10 : 15 Wednesday, 20 April — 7 : 30 Open Rehearsal, with discussion of the SEIJI OZAWA conducting program by Michael Steinberg in the Mahler: Symphony No. 3
Cabot-Cahners Room at 6 : 45 Birgit Finnila, contralto
Thursday, 21 April — 8 : 30-10 : 10 New England Conservatory Chorus, Thursday 'B' series Lorna Cooke DeVaron, conductor Friday, 22 April — 2-3:40 Boston Boy Choir,
Saturday, 23 April — 8 : 30-10 : 15 Theodore Marier, conductor Tuesday, 26 April — 7 : 30-9 : 10 THESE ARE THE FINAL SYMPHONY Tuesday 'B' series CONCERTS OF THE SEASON SEIJI OZAWA conducting
Vivaldi : Piccolo Concerto in C Lois Schaefer, piccolo Bassoon Concerto in F Sherman Walt, bassoon
35 Are you a Friend?
A Friend is anyone who makes an annual con- tribution of any amount to support the Boston Symphony Orchestra. Please send your contri- bution to the Boston Symphony Orchestra today. Everyone who loves the Orchestra should con- tribute to help maintain its excellence.
A contribution of $25.00 or more entitles a Friend to receive the monthly BSO Newsletter and priority ticket information.
ANNUAL FRIENDS' MEETING
Friday, May 13. 1977 Symphony Hall
11:15 To hear an open rehearsal of the Boston Pops Orchestra Arthur Fiedler, conducting
Optional Box Lunch $5.00 A la Carte Bar
Yes, I would like to be a Friend and receive an invitation to the Annual Friends' Meeting.
The Orchestra's fiscal year is September 1 to August 31.
Name _ Address Zip Code
36 ON BEQUESTS . . .
Over the years, the Boston Symphony Orchestra has been the fortunate beneficiary of bequests from many persons. These bequests have added substantially to the orchestra's endowment, and it is unrestricted bequests that have played a critical role in making up the deficit each year. Bequests are a lasting tribute to one's belief in the Boston Symphony, and the orchestra is always deeply grateful to those who find it possible to remember it. Questions concerning bequests and other forms of gifts are welcomed in the Develop- ment Office, Symphony Hall, Boston, MA 02115 (617-266-1492, extension 131). ENDOWMENT FOR GENERAL PURPOSES I give to the Boston Symphony Orchestra, Inc., a corporation organized under the laws of Massachusetts and situated in Boston, Massachusetts, (hereafter "BSO") [$ ]. The principal of this gift shall be held and may be mingled with other funds of the BSO. The income may be expended for any purpose within the corporate powers of the BSO.
[The following sentence is optional. ] This gift is made in memory of and shall be known as the Fund.
Take the Music home with you—
CSSb(he
Harvard Sq., Cambridge
New England's Largest Record Center
37 Wouldn V You Have Taken the Opportunity To Meet Beethoven?
The Boston Symphony Orchestra Invites you to meet the 1977 winner of its Horblit Award: the distinguished composer, ROGER SESSIONS.
Music Director Seiji Ozawa conducts Sessions' cantata, When Lilacs Last in the Dooryard Bloom'd, at the Boston Symphony concerts on April 21, 22, 23, and 26, as well as at the Open Rehearsal on April 20.
In addition to those performances, the following events are held in cooperation with Boston University School for the Arts, Har- vard University, and The New England Conservatory, and are FREE OF CHARGE:
Tuesday, April 19 at 5:30 pm in Jordan Hall, New England Con- servatory: A panel discussion of the cantata. With Gunther Schuller, John Harbison, Fred Lerdahl, and Justin Kaplan. Michael Steinberg is chairman.
Sunday, April 24 at 4:00 pm in Sanders Theater, Harvard Univer- sity: A concert of chamber music by Roger Sessions. Russell
Sherman performs the Piano Sonata No. 1 and Joseph Silverstein performs the Sonata for Solo Violin.
Monday, April 25 at 11:30 am at the Concert Hall, Boston University. A special convocation — with music by Roger Sessions — for the awarding of an honorary doctorate in music by the Trustees of Boston University to Roger Sessions. Sarah Caldwell will speak.
SHARE IN THE CELEBRATION AND TAKE THE OPPORTUNITY TO MEET ROGER SESSIONS. —
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How do you follow a great performance?
With a late supper and a generous nightcap at
a most congenial rendezvous: The Cafe at The Ritz. It's an old
Boston friend with a new look . . . and delicious suppers are now served until half- past midnight. See you this evening?
The Ritz-Carlton Hotel
39 Introducing the Bose 901® Series III in comparison to any
Series III: the most innovative new other speaker, regardless of size or speaker since the legendary price.
Bose 901 was introduced in 1968. For a full color 901 III
The 901 Series III reproduces brochure, write Bose, Dept. BSO, music with spaciousness and The Mountain, Framingham, realism unequalled, we believe, by Massachusetts any other speaker. Yet, due to its 01701. new, ultra-high-efficiency drivers, the 901 Series III requires less than V3 as much power as the original
901 : that means, for example, it can produce the same sound vol- ume with a 15 watt amplifier as the original 901 with a 50 watt ampli- fier. Outstanding bass perform- ance is made possible by the unique injection molded Acoustic Matrix™ enclosure (shown in this photograph of the 901 III with its grille and walnut veneer cabinet panels removed). To fully appreci- Patents issued and pending. Copyright © ate its spectacular performance, 1977 Bose Corp. Cabinets are walnut veneer. ask a Bose dealer to play the 901 Pedestals optional at extra cost
40 Accompanist to Boston Symphony Orchestra Boston Pops • Arthur Fiedler • Seiji Ozawa Andre Michel Schub • Tanglewood