HI

h Season 198()-87 ISeS BENEPKrriNE S A . eO proof imported from FRANCE, JULIUS WILE SONS A CO , LAKE SUCCESS NY

TO SEND A GIFT OF B&B LIQUEUR ANYWHERE IN THE U S CALL 1-800-238-4373 VOID WHERE PROHIBITED Seiji Ozawa, Music Director

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

Trustees of the Symphony Orchestra, Inc. Leo L. Beranek, Honorary Chairman George H. Kidder, President

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

Mrs. John M. Bradley, Vice-Chairman William J. Pooi'vu, Vice-Chaintian and Treasurer Mrs. George L. Sargent, Vice-Chairman

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

Mrs. Norman L. Cahners Avram J. Goldberg E. James Morton George H.A. Clowes, Jr. Mrs. John L. Grandin David G. Mugar William M. Crozier, Jr. Francis W Hatch, Jr. Mrs. George R. Rowland Mrs. Lewis S. Dabney Harvey Chet Krentzman Richard A. Smith Mrs. Michael H. Davis John Hoyt Stookey Trustees Emeriti

Philip K. Allen E. Morton Jennings, Jr. Thomas D. Perry, Jr. Allen G. Barry Edward M. Kennedy Irving W Rabb Richard P. Chapman Albert L. Nickerson Paul C. Reardon Abram T. Collier John T. Noonan Sidney Stoneman Mrs. Harris Fahnestock John L. Thorndike

Other Officers of the Corporation

John Ex Rodgers, Assistant Treasurer Jay B. Wailes, Assistant Treasurer Daniel R. Gustin, Clerk

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

Robert Bell, Data Processing Manager Steven Ledbetter, Musicologist <& Helen P. Bridge, Director of Volunteers Program Annofator MadehTie Codola Cuddeback, Director Marc Mandel, Publications Coordinator of Corporate Development Richard Ortner, Administrator of Vera Gold, Assistant Director of Tanglewood Music Center Promotion Nancy E. Phillips, Media and Patricia Halligan, Personnel Administrator Production Manager, Nancy A. Kay, Director of Sales Boston Symphony Orchestra John M. Keenum, Director of Charles Rawson, Manager of Box Office Foundation Support Joyce M. Serwitz, Assistant Director Anita R. Kurland, Administrator of of Development Youth Activities Susan E. Tomlin, Director of Annual Giving

Programs copyright ®1987 Boston Symphony Orchestra, Inc. Cover photo by Christian Steiner/Design by Wondriska Associates Inc. Board of Overseers of the Boston Symphony Orchestra, Inc.

Avrain J. Goldberg Chairman

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

John Q. Adams Gerhard M. Freche Richard P. Morse Mrs. Weston W. Adams Dean Freed Mrs. Thomas 8. Morse Martin Allen Mrs. Thomas J. Galligan Mrs. Robert B. Newman Mrs. David Bakalar Mrs. Thomas Gardiner Mrs. Hiroshi Nishino Bniee A. Beal Mrs. James G. Garivaltis Vincent M. O'Reilly Mrs. Richard Bennink Mrs. Ray A. Goldberg Stephen Paine, Sr. Peter A. Brooke Jordan L. Golding John A. Perkins William M. Bulger Haskell R. Gordon Brooks Prout Mary Louise Cabot Mrs. R. Douglas Hall HI Robert E. Remis Mrs. C. Thomas Clagett, Jr. Joseph M. Henson Mrs. Peter van S. Rice James F. Cleary Arnold Hiatt David Rockefeller, Jr. John F. Cogan, Jr. Mrs. Richard D. Hill John Ex Rodgers Julian Cohen Glen H. Hiner Mrs. Jerome Rosenfeld William H. Congleton Mrs. Marilyn B. Hoffman Mrs. William C. Rousseau

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

Overseers Emeriti

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

Symphony Hall Operations

Cheryl Silvia, Function Manager James E. Whitaker, House Manager

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

Wilmoth A. Griffiths, Assistant Supervisor of House Crew William D. McDonnell, Chief Steward Officers of the Boston Symphony Association of Volunteers

Mrs. Michael H. Davis President Mrs. R. Douglas Hall III Mrs. Harry F. Sweitzer, Jr. Executive Vice-Presidi nt Secretary Mr. Goetz Eaton Mrs. Seabiiry T. Short. Jr. Treasun r Soniinating Chairman

Vice-Presidents

Mrs. Eugene B. Doggett, Development Services Mrs. James T. Jensen, Hall Services Ms. Phyllis Dohanian, Membership Mrs. BelaT. Kalman, Youth Activities Mrs. Eugene Leibowitz, Tangle wood and Adult Education ]\Irs. Robert L. Singleton, Tangleivood Mrs. Hart D. Leavitt. Regions Mrs. Ray A. Goldberg, Fundraising Projects Ms. Ellen M. Massev, Public Relations

Chairmen of Regions

Mrs. Thomas M. Berger ]\Is. Prudence A. Law Mrs. F. T. Whitney Mrs. John T. Boatwright Mrs. Alfred F. Parisi Mrs. Thomas H.R Whitney Mrs. Charles A. Hubbard Mrs. Thomas Walker Mrs. Richard W. Young

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"Opening Night at Pops" 1987 Art Exhibits in the Cabot-Cahners Room

Conductor launches the 102nd The Boston S^^nphony Orchestra is pleased season of the Boston Pops when he leads the that, for the thirteenth season, various orchestra in a gala opening-night concert on Boston-area galleries, museums, schools, and Tuesday, 5 May at 8 p.m. The evening will non-profit artists' organizations have exhib- begin at 6:30 p.m. with a gourmet box dinner, ited their work in the Cabot-Cahners Room on and the concert will feature special guest art- the first-balcony level of Symphony Hall. On ist Tony Bennett. Sponsored by D^^latech, display through 4 May is an exhibit of textile "Opening Night 1987" is a project of the art from. Decor International of Boston, fea- Boston S^^nphony Association of Volunteers; turing a variety of tapestries, wall hangings, Barbara Steiner is chairman of this year's and New England hand-hooked rugs. On dis- Opening Night Committee. Remaining tickets play from 4 May through 1 June will be works are priced from $25 to $60 with dinner and from the Arnold Arboretum, to be followed wine included. For more information, contact through 12 July by works from the Gallery on the Volunteer Office at 266-1492, ext. 178. the Green.

Friends Weekend at Tanglewood Endowed Chairs

Friends of the BSO have the opportunity to The Boston Symphony Orchestra gratefully travel to Tanglewood by chartered bus for acknowledges the outstanding contributions three days of spectacular music the weekend of those who have fully endowed orchestra of Friday, July 24 through Sunday, July 26. chairs in perpetuity. Fully funded chairs Performances include con- provide total and permanent orchestra com- ducting the Academy of St. Martin-in-the- pensation for the musicians who occupy these Fields and Charles Dutoit the positions. No gift could be more valuable to Boston Symphony Orchestra in music of the BSO as it seeks to attract and retain the Roussel, Schubert, Wagner, and Stravinsky, most talented musicians. Gifts of this magni- with solo appearances by violinist Midori in tude enable the orchestra to direct additional

the Paganini Violin Concerto No. 1, and BSO funds toward commissioning new works, sub- principals Malcolm Lowe and Jules Eskin in sidizing youth programs, attracting outstand- the Brahms Double Concerto. The Friends ing guest artists, sustaining the Tanglewood will stay at the Red Lion Inn, with transporta- Music Center, and improving physical facili- tion pro\dded by Greyhound Bus. Dinner Fri- ties in Symphony Hall and at Tanglewood. day night will be at the Red Lion Inn, lunch on Remember, too, that another strong incentive Saturday at beautiful Seranak, and dinner to making such a valuable and lasting gift is Saturday night at the Tanglewood Tent Club. that, during this final year of the National Sunday luncheon at Blantyre will precede the Endowment for the Arts Challenge Grant, 2:30 p.m. concert. Anticipated arrival time every donor gift of $3 will be matched by $1 of back in Boston on Sunday, July 26 is 8:00 p.m. NEA support. For further information about The weekend is open to Friends of the BSO this and other endowment opportunities, who have donated a minimum of $40; space is please contact Josiah Stevenson IV, BSO limited to 45 people on a first-come, first- Director of Development, 266-1492, ext. 130. served basis. The cost of the weekend—$400 per person, double occupancy ($515 per per- With Thanks son for single occupancy)—includes a $50 tax-deductible contribution to the BSO and We wish to give special thanks to the National covers transportation, lodging, meals (exclud- Endowment for the Arts and the Massachu- ing breakfasts), and concert tickets. For fur- setts Council on the Arts and Humanities for ther information please call the Volunteer their continued support of the Boston Sym- Office at S\Tnphony Hall, 266-1492, ext. 177. phony Orchestra.

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Beverly, Cohasset, Concord, Marblehead. Osten ille, Wellesley, Westwood 922-2040 Seiji Ozawa

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

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

8 Mr. Ozawa led the American premiere of ings, on CBS, include music of Berlioz and excerpts from that work in Boston and Debussy \vith mezzo-soprano Frederica von New York in April 1986. Stade, the Mendelssohn Violin Concerto ^vitii Isaac Stem, and Strauss's Don Quixote and Seiji Ozawa has recorded ^vith the Boston the SchoenbergCMonn Cello Concerto with Symphony Orchestra for , Telarc, Yo-Yo Ma. He has also recorded the complete CBS, Deutsche Granmiophon, Angel/EMI, cycle of Beethoven piano concertos and the New AYorld, H\'perion, Erato, and RCA Choral Fantasy \sith Rudolf Serkin for records. His award-winning recordings Telarc, orchestral works by Strauss, include Berlioz's Romeo et Juliette on D6, Stra\'inslrv; and Hoist, and BSO centemiial Mahler's S^inphony Xo. 8, the Symphony of a commissions by Roger Sessions, Andrzej Hwusand, and Schoenberg's Gurrelieder, Panufnik, Peter Lieberson, , both on Philips, and, also on DG, the Berg and Oily ^N^ilson. and Stra\'insk\' \'iolin concertos with , with whom he has also recorded the Mr. Ozavv'a holds honorarv doctor of \'iolin concertos of Earl Kim and Robert music degrees from the University of Mas- Starer for Angel/EMI. With Mstislav sachusetts, the New England Consen^atory Rostropo^'ich, he has recorded the Eh'ofak of Music, and Wheaton College in Norton, Cello Concerto and Tchaikovsks^'s Variations Massachusetts. He has won an Emmy for on a Rococo Theme, newly available on a the Boston Symphony Orchestra's "Eve- single disc from Erato. Other recent record- ning at Symphony" PBS tele%ision series.

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

George Lillo

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

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

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A Brief History of the Boston Symphony Orchestra

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

The first photograph, actually a collage, of the Boston Symphony Orchestra under Georg Henschel, taken 1882 13 A New Standard: THE NAD 7220PE

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

15 References furnished on request

Aspen Music Festival Liberace Burt Bacharach Marian McPartland Leonard Bernstein

Bolcom and Morris . Jorge Bolet Mitchell-Ruff Duo Seiji Ozawa Boston Symphony Orchestra Luciano Pavarotti Brevard Music Center Orchestra Dave Brubeck Andre Previn David Buechner Ravinia Festival Chicago Symphony Orchestra Santiago Rodriguez Cincinnati May Festival George Shearing Cincinnati Symphony Orchestra Abbey Simon Denver Symphony Orchestra Tanglewood Music Center Eastern Music Festival Michael Feinstein Beveridge Webster Ferrante and Teicher Earl Wild Natalie Hinderas John Williams Dick Hyman Wolf Trap Foundation for Interlochen Arts Academy and the Performing Arts National Music Camp Yehudi Wyner Billy Joel Over 200 others HI Baldwin

16 BOSTON SYMPHONY ORCHESTRA

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

Friday, 17 April at 2 Saturday, 18 April at 8 Tuesday, 21 April at 8

SEIJI OZAWA conducting

BERG , Opera in three acts (fifteen scenes), Opus 7, after Georg Biichner

Act I Act II Act III

BENJAMIN LUXON, (AVozzeck) HILDEGARD BEHRENS, soprano (Marie) JACQUE TRUSSEL, tenor (Drum Major) JON GARRISON, tenor (Andres) RAGNAR ULFUNG, tenor (Captain) VOGEL, bass (Doctor) MARGARET YAUGER, mezzo-soprano (Margret)

RICHARD KENNEDY, tenor (An Idiot) BRIAN MATTHEWS, bass (1st Apprentice) , baritone (2nd Apprentice) TIMOTHY LARSON, boy soprano (Marie's child) ROCKLAND OSGOOD, tenor (A Soldier) TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor YOUTH PRO MUSICA, ROBERTA HUMEZ, director (Soldiers, apprentices, women, children)

Wozzeck will be performed without intermission; there will be brief pauses

after Acts I and II. A synopsis of the scenes begins on page 43.

Friday's concert will end about 3:45 and the evening concerts about 9:45. Philips, Telarc, CBS, Deutsche Grammophon, Angel/EMI, New World, H^^perion, Erato, and RCA records Baldwin piano

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

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

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18

Wozzeck, Opera in three acts (fifteen scenes), Opus 7, after Georg Biichner

Alhano Maria Joannes Berg was born in Vienna on 9 February 1885 and died there on 23 December 1935. Wozzeek, the

first of his two , was sketched out over a period of eight years, with numer- ous interruptions due to Berg's military service in Woj^Id War I and to other obli- gations, but was complete in short score by October 1921 and in full orchestral

score by the spring of 1922. The first per- formance of "TJiree Excerpts from Wozzeck. " cQi'ering the Milita ry March and Lullaby from Act I, Marie's scene in Act III, and from the Drowning Music to the end of the opera, took place in Frank- furt-am-Main on 22 June 1924, under the direction of Hermann Scherchen, with Beatrice Sutter-Kottlar singing the solo part. The first performance of the complete opera was given by the Berlin Opera on 14 December 1925 under 's direction, with Leo Schutzendorf in the title role and Sigrid Johanson in the role of Marie. The first performances in America were given by Philadelphia Grand Opera under 's direction, with Ivan Ivantroff and Anne Rosell in the principal roles, in Philadelphia on 19 March 1931 and in New York on 24 November that year. With as soloist, Richard Burgin intro- duced the Three Excerpts to Boston Symphony audiences in February and March 1958. Erich Leinsdorf programmed the Three Excerpts on two occasions, in February 1964 with soloist Phyllis Curtin (at which time a recording was made for RCA), and in November/December 1969 with Evelyn Lear. Leinsdorf also led two complete, staged performances in the Tanglewood Shed in August 1969 with the Tanglewood Music Center Orchestra and members of the TMC's vocal music program as pari of that summer's annual Festival of Contemporary Music at Tanglewood; the lead singers were Richard Taylor and Alexandra Hunt. The present performances are the Boston Symphony Orchestra's first of the complete opera.

Wozzeck calls for a large orchestra of four flutes (all four doubling piccolos), four oboes (the fourth doubling English horn), four clarinets in B-flat (the first doubling clarinet in A, and the third and fourth doubling piccolo clarinets in E-fiat), bass clarinet in B-flat, three bassoons and contrabassoon, four horns in F, four trumpets in F, four trombones (alto, two tenors, bass), contrabass tuba, four timpani, bass drum, several snare drums, rute (a bundle of birch dowels struck against the bass drum), hand cymbals, suspended cymbal, another cymbal fastened to the bass drum, large tam-tam, small tam- tam, triangle, xylophone, celesta, harp, and strings.

A chamber orchestra, separated from the main orchestra if possible, is required for Act

II, scene 3, with the same instrumentation as 's Chamber Symphony, Opus 9: flute (doubling piccolo), oboe, English horn, piccolo clarinet in E-flat, clarinet in A, bass clarinet in B-flat, bassoon, contrabassoon, two horns in F, two violins, viola, cello, and bass.

On stage the following are required: several snare drums (Act I, scene 2), a military band of twenty players (1/3), a dance band of two fiddles, clarinet in C, accordion, guitar, and bombardon in F (II/4), and an upright piano, out of tune (III/4).

Dramatis personae; Wozzeck, a soldier (baritone); Drum Major (heroic tenor); Andres, Wozzeck's buddy (lyric tenor); Captain (buffo tenor); Doctor (buffo bass); First Apprentice

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On-Site Sales Office (413)298-5186 (201)894-0132 r 20 (low bass); Second Apprentice (high baritone); An Idiot (high tenor); Marie, Wozzeck's common-law wife (soprano); Margret (alto); Marie's little boy (boy soprano); plus soldiers and boys (tenors, , and basses, with one tenor a soldier from among these), bargirls and whores ( and altos), and kids (unison voices). Special thanks to Seth Schneidman for his assistance with these performances of ''Wozzeck."

The year 1914 marked a eon\Tilsion in world history, but it was no less important a turning point in the history of music. For four years after the Great War broke out in August, composers, like everyone else, were irretrievably affected by rapidly developing events. As empires collapsed and new orders arose all over Europe, so did new musical languages and styles, aesthetic movements, and personal. destinies. , only a few weeks before the shooting began, had enjoyed the spectacular premiere of his opera The Nightingale, and as his neoclassical language formed in the next three years, he would not write as chromatically or texturally complex a work again for four decades. 's creativity had reached a peak in his most recent operas, and although he composed steadily until his death thirty-five years later, he never again wrote anything as challenging as or as popular as . An unknown composer named Bela Bartok would begin his longest orchestral work in 1914, the ballet The }\voden Prince, finishing it two years later. Arnold Schoenberg in 1914 was grappling simultaneously with the most difficult problems of musical form and personal theologj^ in a huge symphony; to be climaxed by his oratorio Die Jakobsleiter, which would have been his largest and

longest work if he had completed it; but it remained unfinished, a casualty of the war, and not until the 1920s would a new technique emerge in new works. Claude Debussy, for a decade the most illustrious composer in western Europe, was severely

ill, and deeply depressed by the suffering of his country; not until 1915 would he begin to write music again, in one final brilliant burst of creativity before his early

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21 TWENTY YEARS OF SMOOTH SAILING

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22 death. Maurice Ravel had likewise already written most of his best work, and after his experiences as an ambulance driver at the front had brought him to a nenous breakdown, his muse would never again sen'e him so well. And younger than any of these was Alban Berg, whose direct and indirect experience of the war helped him work out the musical expression of a debased human condition in the most powerful way, in his opera Wozzeck, a work which, sixty years after its first performance, still must be considered the most remarkable opera of the twentieth century.

In 1914 Berg was still searching for a personal expression as a composer which would satisfy both his own standards and the capricious intellectual and artistic demands of his redoubtable teacher Schoenberg. In March 1913 the performance in Vienna of two of Berg's Five Orchestra Songs to Picture-postcard Texts of Peter Altenberg, Opus 4, had touched off a riot, an experience which shocked Berg to the core; but worse than that, Schoenberg, who had conducted the performance, seems to have had little sympathy or understanding for Berg's oiiginality At a meeting a short while later Schoenberg told him flatly that the Altenberg Songs were too short and aphoristic, and too full of novelty for its own sake, in short, the wrong kind of music for Berg to be writing. It took Berg most of a year to recover his equanimity after this dressing-down, and the short Four Pieces for clarinet and piano. Opus 5, are his only completed work from 1913. In the spring of 1914, however, he felt ready to begin composing a large-scale and fully developed work as his teacher wanted, and this would be his Three Pieces for Orchestra, Opus 6. Doubtless Schoenberg's reproof had been unjust, but his judgment about the future was good; the Three Pieces were brilliant testimony to his intuition about Berg's capabilities. And in May 1914 something else happened with far-reaching consequences that only Berg could have foreseen, but his vision too was very clear. He attended the first Viennese performance of a short play called Wozzeck and was so deeply affected by it that he decided immediately to set it as an opera.

The author of W'ozzeck, Georg Biichner, a native of , had been a medical student in Zurich before his death in 1837 at the age of twenty-three. In his short life he left to posterity only a small corpus of works, but enough to convince later

Georg Biichner

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60 Federal Street Boston, MA 02110 423-9190 generations of his literary genius for all time. Among his works are a novella, a long

play about the French Revolution called Danton 's Death, a comedy, Leonce and Lena, various socialist tracts which made him a fugitive from the Hessian authorities, and, among his unpublished manuscripts and fragments, various drafts of a play . The difference in spelling is due to a misreading by the first editor of the

play, Karl Emil von Franzos, who published it in 1879; Franzos should not be too severely criticized, because Biichner's manuscript was so poorly legible that even today scholars disagree on many readings of the text. The structural problem is complicated by the lack of page numbers or scene numbers in the manuscript, and by the presence of many revisions of different scenes. Later editors were able to show that Biichner had modeled his play very loosely on an actual criminal case, that of Johann Christian Woyzeck, a former soldier who was hanged in 1824 for the murder of his unfaithful mistress.

It must have been immediately apparent to those who read Franzc-s's edition of Wozzeck that the play would be a controversial work to bring off on stage. That the dialogue is filled with slang and indecent expressions was perhaps the least of the problems. Above all it was Biichner's dramatic conception which was so radical—the large number of scenes barely connected or completely unconnected by any nar- rative continuity, many of them extremely short; the disordered, often dreamlike soliloquizing in fragmentary sentences; the intense and rapid pace of the thought process. Today we recognize all of these as characteristics of modern cinematogra- phy, with stream-of-consciousness narration and rapid cutting and flashbacking from scene to scene and from viewpoint to viewpoint. Beyond this is Biichner's uncanny vision of an oppressive world populated by irrational and predatory people, in which only the simple soldier Wozzeck and his faithless wife Marie stand out with a measure of human sanity.

It was Franzos's important achievement to establish a usable text which, notwith- standing the different opinions of a host of later editors, has not been effectively challenged in its authenticity and which has surpassed all variant readings in

Johann Christian Woyzeck (1780-1824)

25 Week 22 dramatic power. Regardless of the edition used (and there have been some wildly I wrong ones), Woyzeck, the correct name of the protagonist now long since restored, has been a permanent part of the twentieth-century stage repertory ever since it was first played, and it has been recognized everywhere as one of the great milestones in the history of literary and dramatic art. As the critic George Steiner wrote,

Woyzeck is the first real tragedy of low life. It repudiates an assumption implicit in Greek, Elizabethan, and neo-classic drama: the assumption that tragic suffering is the sombre privilege of those who are in high places.

Nor do we need to be reminded of how depressingly authentic the subject sounds in our own century of violence and dehumanization.

We do not know that much in detail about what particularly musical reasons attracted Berg to the play Wozzeck. But much of the documentary basis is intriguing. In Berg's notebooks can be found a tabular layout of short scenes, side by side with a comparable layout of scenes for Debussy's opera Pelleas et Melisande, a work about as different from Wozzeck as could be imagined, but which shares with it one all- important characteristic—the breakup of each act into short scenes separated by orchestral interludes with the curtain lowered. (The structure of Debussy's opera had been regarded as radical in its day, and he too had chosen a pre-existing stage play, by Maurice Maeterlinck, as the basis of his libretto.) Beyond this, we have the testimony of Berg's student Gottfried Kassowitz, who states that Berg began sketching out two scenes for the music right after seeing the play—in other words, while he was working on the March in the Three Pieces for Orchestra, Opus 6; this is borne out by one of Berg's sketchbooks containing fifty pages of sketches for the March, and a number of miscellaneous sketches for the Fantasy in Act II, scene 2

(the Captain and the Doctor) and for Act I, scene 2 (Wozzeck and Andres), as well as

Berg's verbal notes about the kinds of characters he envisioned for his opera. Thus it BALLY OF SWITZERLAND

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The difference between dressed, and well dressed. is not at all surprising that part of the music which was ultimately included in Act I, scene 2 (measures 274-278) is derived from measures 81-90 of the March, which he was working on in the spring of 1914.

The survi\ang sketches seem most of all to be in the form of quickly jotted-down musical ideas—short melodic or rh\i:hmic fragments associated with specific lines of text, a few rudimentary harmonies that could have originated from experimenting at the piano, and an occasional bit of a more concentrated or worked-out texture. What is most striking about Berg's manner of sketching, as seen in the Wozzeck sketches and in earlier works as well, is his habit of writing down first a generalized rhythmic and melodic shape, a contoured line of stems and beams sprawled over the staff, without notes. In other words. Berg's choice of pitches is not an initial but an intermediate stage of composition, not decided until the writing of the Particell (short score), itself the last stage before the full orchestral score.

Berg's first task in hand, in the summer of 1914, was to finish the Three Pieces, which he intended to dedicate to Schoenberg. The Praludium and March were completed in time for Schoenberg's birthday on 13 September, but the second piece, Reigen, was not finished until the summer of 1915. And on 15 August 1915, Berg reported for infantry training; two months later he was sent to reser\'e officers' school at Bruck an der Leitha in what is now Hungary.

Berg's experience as a soldier, even without ever seeing combat, was no different from that of millions of others. "From seven in the morning till one in the afternoon we were marching, running, charging across hill and dale, through the swamps and marshes, down on the ground, up again, and so on," he wrote uncomplainingly to his wife. "I've got a crust of mud all over me. Afternoon out again, but at least without

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27 the 6th Annual PRESIDENTS

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As the leader of your company, you can give your management team, your customers or clients, your vendors or possibly your other business friends a very special summer treat - and at the same time show your support of the Boston Symphony Orchestra.

Presidents at Pops 1987 is available to 108 businesses and professional organizations on a first-come, first-serv^ed basis. For $5,000 your company will receive 20 tickets to this event which Includes pre-concert cocktails and hors d'oeuvres, a gourmet picnic supper and a special Boston Pops concert, conducted by , designed to delight the corporate guests on this evening. The President or CEO of each

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28 pack or rifle." He once remarked to his faithful pupil Kassowitz, "Have you ever heard a lot of people all snoring at the same time? The pol^-phonic breathing, gasping and groaning makes the strangest chorus I have ever heard.'" He remembered this well when he wrote the snoring chorus in 11 5 of Wozzeck. His physical constitution, however, was not up to much rough activity, and in November, following an aggrava- tion of his bronchial asthma, he was reassigned to guard duty back in Vienna, and eventually to a job in the War Ministry, where he remained till the end of the war. In 1919, defending his ''fierce antimilitarism" in a letter to his pupil , he recalled his time in the War Ministrv': "Two and a half YEARS of daily duty from eight o'clock in the morning to six or seven in the evening of onerous paperwork under a frightful superior (a drunken imbecile!). All these years of suffering as a ."' corporal, humiliated, not a single note composed . .

In fact he had taken up serious work again on Wozzeck in the summer of 1917, and his degrading experiences as a soldier had a timely influence on his v»-ork. A year after that he wrote to his wife: "There is a bit of me in [Wozzeck's] character, since I have been spending these war years just as dependent on people I hate, have been in chains, sick, captive, resigned, humiliated.'' He did not need to mention that there is no mention of a war in the twenty- five scenes of Biichner's play, let alone in the fifteen which he adapted for the libretto of his own opera: for Biichner and Berg alike, Wozzeck's daily existence is that of Ever^-man under arms, at the mercy of a world gone mad.

By the summer of 1918 Berg could also write to his close friend that he was beginning to plan the formal organization of the opera, an organization that would later be seen as one of its most revolutionary aspects. Berg was clearly

Berg in his arniy uniform, 1915

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©1260211 hopeful that he was making progress. At the time of the Armistice, in November, Arnold Schoenberg, who had been demobilized the year before, was in Vienna with a fascinating project which became the famous Society for Private Musical Perform- ances. In December, Berg was appointed musical director of this society, and put in charge of concert planning and business affairs. These activities, plus some private teaching, took up most of Berg's time, and work on Wozzeck was slowed. (In any case, he did not consult Schoenberg about Wozzeck, after Schoenberg had told him that Biichner's play was unsuitable material for operatic treatment, and that the name "Wozzeck" was unsingable!)

Despite everything. Berg worked steadily on the opera, and in October 1921 the Particell was complete. By the spring of 1922 he had finished the orchestral score, and his pupil, Fritz Heinrich Klein, was working on the piano reduction. Berg had sufficient confidence in his accomplishment to take the considerable financial risk of having the complicated 230-page piano-vocal score engraved at his own expense, borrowing part of the money to cover the cost, and inviting interested people to purchase the score from him by subscription. (In the spring of 1923 both Wozzeck and the Three Pieces for Orchestra were taken over by Universal Edition.) Alma Mahler, the widow of , gave Berg the money to repay the debt, and in gratitude he dedicated the opera to her.

The new publication soon gained an underground circulation, but Berg's reputa- tion was still that of a little-known composer in the orbit of the dangerous radical, Schoenberg. Nevertheless, after Webern conducted the first performance, in 1923, of two of Berg's Three Pieces, Opus 6, curiosity about the opera increased. The conductor Hermann Scherchen, who had heard the performance, asked Berg to prepare a set of excerpts from the opera for concert use, and the performance of these "Three Excerpts from Wozzeck'' in Frankfurt in 1924 was successful. Mean- while Erich Kleiber, the newly appointed director of the Berlin Opera, had listened to the opera played on the piano. According to Willi Reich, after hearing just two scenes Kleiber was so impressed that he exclaimed, "I am going to do the opera in Berlin even if it costs me my job!"

It almost did cost Kleiber his job, not only because of the novelty of the musical language and its unprecedented technical difficulty, but also because of political machinations within the Berlin Opera management. Thirty-four full orchestral rehearsals were necessary—a nearly unthinkable number then, and absolutely

Janner 1923

- Euer Hcdi vvohlsebnrenl

]&> eriaub e mir rr.it2i.te !en, daS der Kiavlcragszug meiner Oper WOZZECK (nadi Gecrg Bud^ners Drama)

soeben erscfiienen ist. Der AuJ zug hat 230 GrcSquartseltcn, Icostet 150 000

OS .err. Kronen und ist direk vor. mir 2u beziehen.

Hod-.editungivoll Alban Berg ' W:«n, XIII, TrauttoiansdorfFgasse 27

J' f

Berg's announcement of the private publication of the vocal score of "Wozzeck"

31 Week 22 unthinkable now—but on 14 December 1925, the opera was produced at last, the first of seven performances in the season. All of these were an instant and astound- ing success with the public, just as they were vociferously denounced by most of the music-critical establishment. Paul Zschorlich's review in the Deutsche Zeitung was tjTDical:

As I was leaving the , I had the sensation of having been not in a public theater but in an insane asylum. On the stage, in the orchestra, in the

stalls—plain madmen. . . . Wozzeck might have been the work of a Viennese Chinaman. For all these mass attacks and instrumental assaults have

nothing to do with European music and musical evolution. . . . One may ask oneself seriously to what degree music may be a criminal occupation. We deal here, from a musical viev^TDoint. with a capital offense.

The pattern was repeated during the decade following, when Wozzeck was pro- duced in 1926 in Prague, in 1927 in Leningrad, and thereafter in over twenty opera houses in Europe (and in 1931 in Philadelphia, but not at the Metropolitan Opera in New York until 1959). The significance of the reception of Wozzeck went far beyond its avant-garde popularity. It was hailed as a work championing the proletarian cause: it was the first widespread public success of any work composed in a largely atonal idiom; and it made immediately, and continues to make today, an impact on composers comparable, among works of our century, only to two or three other works such as Stravinsky's Rite of Spring and Schoenberg's Five Pieces for Orchestra. Wozzeck also won for Berg, besides an international reputation, a good income from performance royalties, one which gave him a decent standard of living, and relative freedom to compose, for about seven years.

32 In 1930, with typical belatedness, Wozzeck was produced in Berg's native Vienna, the only seven performances there until after the war. Three years later, the political triumph in Germany of the Nazis brought a swift ban on '"degenerate"" music, and Berg's good fortune came to an end. (Berg and his wife were both from families which had been Catholic for as far back as records could be found, but that did not prevent him from being branded as a Jewish composer.) By the end of 1935 Berg was cut off from most of his income, in increasingly difficult financial circumstances, and in despair over the darkening political scene in central Europe. On 23 December 1935, with his second opera. , incomplete in orchestral score. Berg died of septicemia, a few weeks before his fifty-first birthday.

The Music Berg may well have realized from the start that to set Biichner's Wozzeck as an opera would demand a radical departure in operatic form, just as decisively as Biichner"s play was itself a radically new kind of dramaturg\^ What we can now appreciate, seventy-three years after Berg saw the play, is that no other composer could have been more appropriate to the text. Berg was in 1914 a newly but fully matured composer, one who had already shown in his Altenberg Songs, Opus 4, an extraordinarv" originality in approach to musical form, and who would soon push this aspect of his technique to the limit of complexity in his Three Pieces for Orchestra, Opus 6. In Wozzeck (which would be his last opus-numbered work. Opus 7) he sustained this intense formal invention with undiminished strength, but at the same time he placed it at the ser\'ice of the formal demands of Biichner's drama. The result is unlike an\1;hing else previously kno-wTi in opera. Considered overall,

Wozzeck is simultaneously several kinds of opera. At least in part, it is a traditional "number" opera, with well-defined indi\ddual songs, arias, dances, choruses, spoken dialogue, and recitatives. It is a leitmotivic opera in the Wagner tradition, with specific themes associated with characters and concepts, treated "s\TQphonically"

Baritone Leo Schiitzendorf, the first Wozzeck

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within the orchestra. It is a kaleidoscopic opera of successive short episodes con- nected by orchestral interludes, like Debussy's Pelleas, but with all the cinematic precision demanded by Biichner's almost aphoristic scenes. But what most of all has attracted the attention of analysts is the abstract formal design that dominates the opera as Berg's own personal imprint, from the microscopic details of choice of individual pitches to the comprehensive layout of entire scenes and acts. Each scene of Wozzeck is constructed as a specific musical form, either classical (sonata, rondo, etc.) or rigorously idiosyncratic (Rhapsody, "inventions," etc.).

A specific example is the first scene of Act II, whose pitch structure is based on four different harmonically related tetrachords. each dominating a particular sec- tion of the scene; these sections in turn correspond to sections of a classical sonata form which is also delineated by the use of specific themes; the whole scene in sonata form, finally, constitutes the first movement of Act II, which is designed as a

S^Tnphony in five movements. The Passacaglia which makes up Act I, scene 4, is no less tightly constructed; a series of twelve different pitches constitutes an ordered theme which underlies each of twenty-one variations, but much of the secondary melodic material is derived motivically from the Doctor's opening speech, and from leitmotives heard earlier in the opera. (The serial treatment of the passacaglia theme in this scene foreshadows Schoenberg's twelve-tone technique of a few years later, even if it does not exemplify^ that technique in a fully-formed way.) If the sonata form of II/l is well matched to the narrative details of Biichner's scene, it is more difficult to show how 1/4 demands the rigorous form of a passacaglia, unless it be the notion that this is pedantically appropriate for the vainglorious pseudo-science of Biichner's crazy doctor. Questions of this kind, and about hundreds of other details of Berg's endlessly interesting score, have engaged the attention of analysts for years and will certainly continue to do so. Yet Berg modestly insisted that formal aspects which preoccupied him as a composer need be no concern to anyone else; as he wrote in a celebrated article in 1928,

From the moment when the curtain rises until it descends for the last time, there must not be anyone in the audience who notices anything of these various fugues and inventions, suite movements and sonata movements, variations and passacaglias. Nobody must be filled with am1:hing except the idea of the opera—which goes far beyond the individual fate of Wozzeck.

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36 Wvzzecl- was Berg's longest work before Lulu, and it calls for the largest orchestra he ever used. Yet after the extravagant complexities of the Three Pieces for Orches- tra, Opus 6, Wozzeck does represent a simplification of Berg's musical language. In

Wozzeck the harmony is simultaneously more subtle and more controlled: it is often part of the formal organization itself. This is evident when harmonic progressions are used as motives, like the chord pair which is used at the end of all three acts, and at the beginning of the second:

i

^m1=

or the three chords (called X. Y. and Z in the analytical literature) which dominate the Rhapsody, 1/2: ^^^ ^ s y^

or the grotesque "Seduction Music" of 15: E^ cl. ^^

^— ti^^ ^R. Wi. ^ jr/4, VC-

all the way up to the series of twentv' chords used extensively in 11/4. Such harmonic de^'ices generally contain inter\'als which are tonally strong, thus reminders of a vestigial tonality that breathes a post-Mahlerian nostalgia even into Berg's most densely chromatic music. Only at rare inter\-als in Wozzeck does a recognizable tonality become explicit, as in the ''Es war einmal ein amies Kind" variation in IIIl. where the key signature of F minor appears, or the D minor Interlude before the final

scene. Even the idea of classical tonality itself is put to use s\Tnbolically in II 1. where Wozzeck gives Marie the money he has earned. Berg depicts here what he calls the '"ordinariness of money" by a plain C major triad. (Berg liked this whimsy enough to do it again in Lulu—an in-group joke if there ever was one.) At other times, the harmony will be paratonal, that is, having tone-centers which, by their verv' emphasis, are perceived as gravitational points for the harmony but \\ithout the classical system of diatonic scales and triads which are related in harmonic progression. The "Inven- tion on a single pitch'' is certainly the most persuasive example of this; its paratonality centers around B. We hear the B first at the very^ bottom of the orchestra, then moving into various other registers unobtrusively throughout most of the scene. When the moon rises, the B is suddenly heard softly in seven octaves of strings (Berg once compared this to the beginning of Mahler's First Symphony, ""like a sound of nature"), and then in an increasingly loud drumbeat when Wozzeck stabs Marie. After he runs off, we hear the B only in the low harp, followed by one of the most overpowering dramatic devices in all music: two gradual crescendi from pppp to /// on a unison B played by every instrument in the orchestra.

37 Week 22 .

Berg's musical language is often labeled "expressionist," which term, insofar as it associates Berg with the painters and dramatists who are also called expressionist, really only says something about the overheated psychological ambience of his operas. And whatever their formal abstraction, Berg's vocal works are products of their time, and are firmly rooted in the traditions of the Wagnerian opera and the German . In his teens he wrote nearly a hundred songs in a post-Brahmsian, early Mahlerian style, and it was these that Schoenberg meant when he wrote, in 1910, about Berg's untutored imagination

that could not work on an\i;hing but Lieder. . . . [When he began studying with me in 1904 he] was absolutely incapable of writing an instrumental

movement or inventing an instrumental theme. . . . [Yet] I am convinced that in time Berg will actually become ver>- good at instrumentation.

Like the Altenberg Songs and the Three Pieces for Orchestra, Wozzeck is a brilliant fulfillment of this prediction, but it also fulfills the promise of the boy who composed songs of "overflowing warmth of feeling." In no other work of Berg can we find such extremes of both vocal declamation and instrumental expressivity, pushing both singers* and players" physical technique to their limits and beyond. Wozzeck

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38 uses Schoenberg's Sprechstimme freely, but there is plenty of 5f/ cauto as well, and a recent analysis identifies no less than sixty-three gradations between natural speech and natural singing in the opera. The orchestral technique in Wozzeck is as spec- tacular as can be found in any opera: but it too is integral with the overall form, especially when certain thematic usages depend on characteristic orchestration. An example is the "Death"* motive, which first appears with divided strings and harp bass in I 3 when Marie is "sunk in thought."" and again in III 2 at the moment of her death, scored the same way but with added low horns and high flutes:

Another instance is the chord pair of Example 1, scored identically at the beginning of Act II and the very end of the opera, for four flutes and celesta.

Beyond moments like these there are any number of memorable orchestral touches in Wozzeck. ^^^lo but Berg would have thought of tuning four timpani to a segment of a chromatic scale, as he does in 1/2? One should point also to the wonderful moment when ]\Iarie slams the window shut in I 3, abiiiptly cutting off the sound of the band outside, as the main orchestra takes over. Or the whole of II 3, where Berg uses a chamber orchestra of fifteen instruments (the same instrumentation as Schoenberg's Chamber S^Tnphony, Opus 9) as a solo group ^vithin the ripieno of the larger orchestra. Or the whole unearthly "Dro^^Tiing Music" of III i, where the six-note chord glides upward in successively slo\Wng chromatic-scale layers, strings, then woodwinds, then brass, then over again, like ripples spreading over the surface of the pond. It is not that Berg demands from the players things seldom or never called for before, although

Set by P. Aravantinos for Act III, scene ii of the "Wozzeck" premiere

39 Week 22 1987-88 BSO Schedule

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In addition to those already mentioned, here are the principal leitmotives and the scenes of their most important occurrences, referring to the synopsis which follows. (The Interlude in Act III can be analyzed motivically as a summation before the final scene, the Epilogue.)

apk.. T/}^lP/2.^ui€r\uk) !^^' ^^\^ ^

J^'^*'-'"^ W;r mnt L£af-'! SeJ^.S'^^ Kerr }h>upUc^y-

' Sol- iia- hn, Sol- da- i\n SJ/jl Scho-/te. .-.

Alar'e w.^^n ^

S>ad^or i^ ai f^^niiTi

^'^'^ fe f^lz, Ti:js, ucA)

—Mark DeVoto

Mark DeVoto is Professor of Music at Tufts University. His doctoral dissertation for Princeton University (1967) was an analysis of the Altenberg Songs. In the fall of 1986, under a grant from the National Endowment for the Humanities, he spent two months in Vienna studying the original manuscripts of the Altenberg Songs, in preparation for a critical edition of the orchestral score to be published as part of the Alban Berg Gesamtausgabe. A program note by Mr. DeVoto on the Altenberg Songs appeared in the Boston Symphony Orchestra program book this past January. He also wrote the program note on the Three Pieces for Orchestra, Opus 6, when the orchestra performed it in December 1982.

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42 .

Synopsis of the Scenes [Berg's own descriptions and designations are given in square brackets.]

Act I [Wozzeck in his relation to the world around him: Five Character Pieces]

Scene 1. [Baroque Suite] The Captain's room. Wozzeck shaves the Captain. The Captain taunts him for his stupidity and for having fathered "a child which is not blessed by the clergj\" Wozzeck apologizes: "Poor folk like us!" The Captain: "You're a worthy man, but you do think too much!"

Scene 2. [Rhapsody on three chords] An open field, near evening. Wozzeck and his buddy, Andres, are gathering sticks. Wozzeck is haunted by bizarre visions: "This place is accursed!" Andres, singing gaily, dismisses Wozzeck's foolish

thoughts. Wozzeck stamps on the ground, thinking ii to be hollow underneath; the setting sun reminds him of "A fire there! It rises from the earth into heaven."

Scene 3. [Military March and Lullaby] Marie's room, beside the street. She watches a military band pass by. The Drum Major salutes her as she waves to him. She exchanges taunts with her neighbor Margret, who has remarked upon her interest in the Drum Major. Marie bangs the window shut. After singing a lullaby to her child, she sits ''sunken in thought." Wozzeck comes in suddenly, telling Marie of what he saw in the field, then leaves abruptly. "Poor man!"

Marie says to herself. "So distracted . . . Ah! Poor folk like us!"

Scene 4. [Passacaglia on a twelve-note theme] The Doctor's study. To earn extra money, Wozzeck has been subjecting himself to the Doctor's dietars' experi- ments. The Doctor talks grandiosely of his brilliant research, of "a whole revolution in medicine." Wozzeck tries to tell him of his visions, but the Doctor ignores him, promising him instead extra money. "Oh! my hv-pothesis!" the

Doctor raves. "Oh, my fame! I shall be immortal! Immortal! . . . Wozzeck. once more show me your tongue now!"

Scene 5. [Andante affetuoso, quasi Rondo] The street in front of Marie's room. Marie admires the Drum Major, who struts in front of her. "And you're a ripe

young woman!" he says, trying to embrace her. She fights him off. "Is it the Devil in your glances?" He grabs her again, and she ^aelds, falling into his arms as they disappear into her room.

Act II [Dramatic Development: Symphony in five movements]

Scene 1. [Sonata-allegro movement] Marie's room. Marie tries on the earrings the Drum Major has given her. The child stirs in his sleep. Wozzeck comes in unexpectedly, asking Marie what she has in her hand. "A gold earring ... I just found it." Wozzeck: "I have never found things of that sort, two together." Wozzeck looks at his child sweating in his sleep: "All our days spent endlessly

toiling . . . Poor folk like us!" He gives Marie the money he has earned, and leaves. Marie, to herself: "I am just a bad lot! I could kill myself for it!"

Scene 2. [Fantasy and Triple Fugue] A street in town. The Captain and the Doctor exchange banter. Becoming serious, the Doctor describes his recent cases: "Yes,

dear Captain, you might well have an apoplexia cerebri someday. . . . Then we shall do the most immortal experimenting." The Captain is panicked by these thoughts. Wozzeck hurries by, but they call him back. The Captain taunts him:

"Did you find a hair from such a beard in your nice porridge this morning. . . Of some Drum Major, perhaps?" Wozzeck complains that the Captain is joking

43 Week 22 with him. The Doctor feels Wozzeek's pulse. Wozzeck shouts: "God in heaven! One inifjht in desperation end all by hanging!" He runs off. The Captain: "A worthy man does not have any courage!"

Scene 3. [Largo for chamber orchestra] The street in front of Marie's room. Wozzeck confronts Marie. Marie: "There are many people who will be standing there, one

after the other." Wozzeck: "I've seen him, I say!" He rushes at her furiously. Marie: "Let me alone! Better a knife blade in my heart, than lay a hand on me!" He stares at her, bewildered.

Scene 4. [Scherzo] The garden at a tavern. Evening, with dancing to instruments on stage. Two drunken apprentices sing. A waltz begins. Marie dances with the Drum Major. Wozzeck watches: "How he mauls her with his hands—touches her body! And she just laughs ..." A chorus: "A hunter from the South was riding through a shady grove, bailee, hallo!" Wozzeck grouses to Andres, who asks him if he is drunk. A long ramble by one of the drunken apprentices is followed by a roar of approval; they carry him out. As the band tunes up, an

Idiot approaches Wozzeck: "Joyful, joyful, . . . and yet it reeks of blood!" Wozzeck watches as everyone begins to dance again.

Scene 5. [Introduction and Rondo] The barracks, the same night. Chorus of snoring soldiers. Wozzeck wakes up, tormented by dreams. He prays. Suddenly the Drum Major blusters in drunk. "I am a man! I have a woman! To breed me smart drummer boys!" He taunts Wozzeck. They fight, and Wozzeck loses. The Drum Major goes reeling out, banging the door. Wozzeck stares fixedly as the other soldiers go back to sleep. "One after another!"

Staats-Thcater Opernhaus

Berlin, Montag, den 14. Dezember 1925 1-4, Karten-Reservesatz. (AaB*r AboBs«oi*at.) Urauffuhrung: Georg Bucliners Wozzeck Oper in drci Akten (15 Szenen) von Alban Berg. MusLkalische Leitung: Generil-Musikdirektor Erich Heiber, In Szcne ^esetrt von Franz Ludwig Horth.

Wozzeck Leo Schiitzendorf Tambounnajor Fritz Soot Andres Gerhard Witting Hauptmann WaJdemar Henke Doktor Martin Abendroth 1. Handwerksbursch Ernst Osterkamp 2. Handwerksbursch Alfred Borchardt Der Narr Marcel No€

Marie Sigrid Johanson Margret Jessyka Koettrik Mariens Knabc Ruth Iris Witting Soldat Leonhard Kern Soldaten und Burschen, Magde und Dimen, Kinder.

Gesamtausstattung: P. -Aravantinos.

Techniscbe Einrichtung: Georg Linnebach.

Nich d«D 2. A^t Endet eioc lisger« Paiue ititl. " K.JD Vonpiel. D«n Beaachem der heutigen Vorstellang wird da« nea erschienene Heh der „ Blatter der Staatsoper" xinentgeltlich Terabfolgt

From the premiere of Berg's "Wozzeck"

44 Act III [Catastrophe and Epilo^e: Six Inventions]

Scene 1. [Invention on a melody] Marie's room. Marie reads the Bible, remorseful when she reads about Jesus and the adulterous woman. She tells a story to her child: "And once there was a poor wee child, and he had no father nor any mother, for all were dead, there was no one in the world ..." Wozzeck has not come, neither yesterday nor today. "Savior! as Thou hadst mercy on her, have mercy now on me. Lord!"

Scene 2. [Invention on a single pitch, B] A path through the woods, by a pond, at dusk. Wozzeck and Marie sit down. "Ah! How your lips are sweet to touch, Marie! All Heaven I would give, and eternal bliss, if I still could sometimes kiss you so." The moon rises. "Like a blood-red iron!"" Wozzeck says. "Not me, Marie, then no other, either!"' She screams, and he stabs her in the throat. He bends over her as she dies, and then he rushes away.

Scene 3. [Invention on a rhythm] A cheap tavern, later that night. An out-of-tune piano bangs out a fast polka. Wozzeck tries to forget. He dances with Margret, then sits down with her on his lap. She sings to him. She notices blood on his hand. "Am I a murderer? Off! or else someone pays the Devil!" He runs out.

Scene 4. [Invention on a six-note chord] Same as Scene 2, immediately afterward. Wozzeck looks frantically— for the knife. "All is still and dead! Murder! Murder! Ah! who cried? No 'twas me." He stumbles on Marie's corpse. "Marie! What is

that so like a crimson cord round your neck?"" He finds the knife, and throws it into the pond. The blood-red moon shines through the clouds. "The moon is bloody. Must then the whole world be blabbing it?" Crazed with fear, Wozzeck

wades into the pond, looking again for the knife so as to throw it into deeper

water, but cannot find it. "I ought to wash my body. I am bloody. . . . Woe! I wash myself with blood! The water is blood!" Wozzeck wades in further and drowns. The Captain and the Doctor, passing by, hear the noise but do nothing. Doctor: "There's someone drowning!" Captain: "It's uncanny! The moon is red. and the

mist is gray. . . . Come away! Quick!""

Orchestral Interlude [Invention on a key, D minor]

Scene 5. [Invention on a steady eighth-note rhythm] In front of Marie"s house. Bright morning, sunshine. Children are playing ring-a-ring-a-rosey. Marie's ." child is riding on a hobbyhorse. Other children run in. "Hey, Katie! Marie . . "What is it?" "Don't you know? They've all gone out there."" To Marie's child: "Hey, your mother is dead." The child, not listening, sings "Hopp, hopp!" "Let's go and look!" All of the children rush off except Marie's child, who rides his hobbyhorse, until he notices others running away, and then he too runs off after them. —M.DeV

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46 More . . .

An abundant literature on Wozzeck has been accumulated in the six decades since its first production, and especially since the widespread obser\'ances of the Alban Berg centennial two years ago. Berg himself wrote several short essays about various aspects of the opera, including its musical structure and how the opera should be produced. Several of these, plus an edited version of his own highly detailed lecture on the music, can be found in Willi Reich's Alban Berg (1965, Harcourt, Brace & World). The most authoritative study of Wozzeck, and likely to remain so for a long time, is George Perle's magnificent The Operas of Alban Berg: Volume Il/Wozzeck (1980, University of California Press), which contains a wealth of biographical and documentary detail without bogging down, and an analysis of the music which is not only comprehensive in scope but very readably written; the book also has an espe- cially valuable discussion of Biichner's drama. Douglas Jarman's The Music of Alban Berg (1979, University of California Press) also has excellent and extensive coverage of Wozzeck. Janet Schmalfeldt's Berg's Wozzeck: Harmonic Language and Dramatic Design (1983, Press) is strictly for specialists. Even more so, and narrowly focused, is virtually everything published on Wozzeck in German; the bibliography in Perle's book gives a good survey of the most important of these.

No good biography of Berg has yet been written, although we may expect one within the next few years. Mosco Garner's AZ&an Berg: The Man and The Work (second edition, 1983, Holmes & Meier) is an adequate sur\'ey without much detail, and with some significant inaccuracies. Karen ^lonson h Alban Berg (1979, Houghton Mifflin) is sensationalist and full of amateurish errors. H.F. Redlieh's Alban Berg: Versuch einer Wurdigung (1957, Vienna, Universal Edition) has many errors, some of which were not Redlieh's fault, but it still remains the best overall survey in German; Alban Berg: The Man and His Music (1957, London, John Calder) is Redlieh's own abridgement in English. Both these books have been out of print for many years.

Wozzeck has been commercially recorded four times. The original recording, made from 's concert performances with the in 1952, featuring and Eileen Farrell, is periodically reissued (Odys- sey, monaural only, two discs); despite numerous flaws, the expressive quality of this performance is still unsurpassed. The most recent recording, with Eberhard Waechter and Anja Silja, and the Vienna Philharmonic conducted by Christoph von Dohnanyi (Decca, two discs), is very accurately and sensitively performed, and beautifully engineered. I would recommend owning both of these recordings. Not as good, but satisfactory, is Karl Bohm's 1965 version with Dietrich Fischer-Dieskau and Evelyn Lear (DG, two discs); 's recording, with Walter Berrj' and Isabel Strauss (CBS, two discs), is inferior. —M.DeV

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48 —

Benjamin Luxon

formances with Scottish Opera of Jonathan Miller's acclaimed production of , which he also sang with in London in 1986. Also in 1986 he sang Onegin at La Scala under the direction of Seiji Ozawa, for whom he also sang Sherasmin in performances of Weber's Oberon at Tanglewood, in Frankfurt, and at the Edinburgh International Festival.

During the past few seasons, Mr. Luxon has appeared with all the major United States orchestras; he is a special favorite with Seiji Ozawa and the Boston Symphony, having made his BSO debut with Beethoven's Ninth in March 1976, later returning to both Symphony Hall and Tanglewood for music of Mahler, Bach, Born in Cornwall, England, baritone Tchaikovsky, Brahms, Faure, Dvorak, Benjamin Luxon studied at the Guildhall Weber, and Britten. He has also appeared School of Music, where he won the Gold with the London Philharmonic under Klaus Medal. A prizewinner at the International Tennstedt, the London Symphony under Competition in Munich, he developed a ver- , the Royal Philharmonic satile career in the late 1960s and through- under Antal Dorati, the BBC Welsh Sym- out the 1970s, working with major orches- phony under Andrew Davis, the Amsterdam tras both in the United and abroad Concertgebouw under , and and appearing at most of Britain's major the Israel Philharmonic under Zubin Mehta. festivals. He is now established as one of Other engagements have included concert Britain's most popular singers for opera, performances of Wozzeck with the Chicago concerts, and Lieder, and he is widely known Symphony under Abbado, and Men- as a television personality, having hosted his delssohn's Elijah with Seiji Ozawa and the addition, collabo- o^\Ti program for Westward TV and pre- Berlin Philharmonic. In he sented his own show on the BBC. He is a rates on a regular basis with the interna- regular visitor to both Covent Garden and tionally-known folk and jazz musician Bill the Glyndeboume Festival; his Covent Gar- Crofut. Mr. Luxon's more than eighty den appearances have included the title role recordings appear on such major labels as of , Wolfram in Tannhduser, RCA, Deeca, Philips, Deutsche Grammo- Marcello in La boheme, and Palke in a new, phon, and Argo. In 1986 he was named a televised production of . He Commander of the British Empire for his has sung three major Mozart roles in new services to music. Peter Hall productions at Glyndeboume , Papageno, and the Count in Figaro. He is a regular guest at the Frank- furt and Holland opera companies, and he has appeared in various productions at the Metropolitan Opera since his debut there as Onegin. He first sang the title role of Wozzeck for Scottish Opera, in 1980, at the Edinburgh Festival. In the 1982-83 season he sang in the opening production, Don Carlo, at the newly reestablished Brussels Opera. In the winter of 1985 he gave per-

49 —

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50 Hildegard Behrens

Solti, Ms. Behrens received tremendous acclaim for her Isolde at the Metropolitan Opera, and she is now established as a lead- ing Wagnerian soprano. At the Met, she has also sung , Marie in Wozzeck, Donna Anna in Don Giovanni, Leonore in , Elettra in , and Sieglinde in Die Walkure. She has also appeared at the Ba- varian State Opera and L'Opera de Monte Carlo.

A distinguished soloist with orchestra, Ms. Behrens first appeared with Seiji Ozawa and the Boston Symphony in a 1982 Tangle- wood staging of Fidelio; she has since sung music of Wagner, Mozart, Strauss, Berlioz, and Schoenberg with the orchestra. She has also appeared with Zubin Mehta and the Engaged with the Metropolitan Opera New York Philharmonic, the Chicago Sym- through the end of the decade, soprano phony under both Solti and Abbado, Riccar- Hildegard Behrens opened the Met's do Muti and the , and the , 1986-87 season as Briinnhilde in its new production of Die Walkure with James Herbert von Karajan and the Vienna Phil- harmonic, the Orchestre de Paris under Levine conducting, the first installment , and the Orchestra of in a new Ring cycle in which she sings the St. Luke's under Michael Tilson Thomas at Siegfried Briinnhilde next season. Other . Well represented on disc, she operatic highlights this season included her has recorded for Philips first performances of Elektra, at the Paris with Leonard Bernstein conducting, Fidelio Opera under Seiji Ozawa, in addition to with Solti and the Chicago S^nnphony for Fidelio at the Met and Wozzeck in Vienna. London, and Der Freischiitz under Rafael Concert performances in addition to Wozzeck Kubelik for Decca. Born in Oldenburg, Ger- wath the Boston Symphony under Ozawa studied voice at the include an appearance with Charles Dutoit many, Ms. Behrens Conservatory before joining the and the Montreal Symphony. Originally a Freiburg Deutsche Rhein in Diisseldorf in law student with an interest in choral sing- Oper am 1972. Performing with this company, she ing, Ms. Behrens has appeared with virtually was heard by Herbert von Karajan, who sub- every major orchestra of international stat- sequently signed her for the historic ure and performed in the world's leading Salzburg. The soprano resides in New opera houses. She made several important at York City. debuts in 1976, singing Giorgetta in 77 tabarro at the Met and Leonore in Fidelio at Covent Garden, and performing in Janacek's Katya Kabanova at the National Theatre of Prague. During the summer of 1977 she made her debut in the title role of Salome in a new production con- ducted by Herbert von Karajan and subse- quently recorded for Angel records. In 1979 she returned to Salzburg in the title role of , under the baton of the late Karl Bohm. Following her triumphant Bayreuth debut in 1983 under Sir Georg

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52 Jacque Trussel

ances of Charleston's inaugural season, as well as with Grand Opera and at the National Arts Centre in Ottawa. Mr. Trussel made his San Diego Opera debut in the American premiere of Saint-Saens's Henry 177/ during the 1982-83 season. He also appeared in the world premieres of 's Bilby's Doll and Thomas Pasatieri's The Seagull, as well as in the American premiere of 's Hugh the Drover, in which he sang the title role. At Opera, in addition to perform.ances of The Student Prince directed by Jack Hofsiss, he has appeared in new productions oiDer Freischutz, L'amore dei tre re, and Tosca. He has sung Shuiskv* in with , Danilo in The Merry One of America's most accomplished singing Widow in Houston, and Don Jose in Fort actors, tenor Jacque Trussel appears with Worth, and toured nationwide in a starring leading opera companies in Chicago, role in 's production Houston, San Francisco, New York, Boston, of Showboat. Orchestral appearances have Philadelphia, , , Fort included the Philadelphia Orchestra, the Worth, Baltimore, and San Diego. In recent Amsterdam Concertgebouw under Bernard seasons he has been heard as Don Jose in Haitink, the Milwaukee Symphony under \\dth the New Orleans Opera, as well Kenneth Schermerhorn, and performances as in the production of Beethoven's Ninth SjTuphony, the Missa tele\ised on "Live From ." Solemnis, and the Verdi with the Other roles have included Nero in L'incor- Indianapolis Symphony. A distinguished onazione di Poppea for Long Beach Grand recitalist, Mr. Trussel tours extensively Opera and Danilo in the San Diego Opera throughout the United States and Canada. production of Lehar's The Merry Widow. He previously appeared with the Boston The summer of 1985 brought performances Symphony as Grigorv' in a production of at Florence's Maggio Musicale and appear- scenes from Mussorgskj-'s Boris Godunov ances as Aiwa in Berg's Lulu with the under Seiji Ozawa at Tanglewood in July Munich State Opera. In 1981 he created the 1981. role of Edmund in the American premiere of Aribert Reimann's Lear at . Recent career highlights have included his Welsh National Opera debut as Don Jose, a role he has also sung wdth great success in Pittsburgh and San Diego. He has also won acclaim for his portrayals of Sergei and Zino\y in Shostakovich's Lady of Mtsensk for Lyric Opera of Chicago, at the Festival of T\\'o Worlds in Spoleto, , at Spoleto USA in Charleston, and with San Francisco Opera. He is also closely identified with the role of Hermann in Tchaikovsky's Queen of Spades, which he has performed at the Festival of Two Worlds and at the opening perform-

53 I The Boston Home (formerly The Boston Home for Incurables)

Est: 2881

Seeks Your Support for Another Century

Write for Centennial Brochure: The BoStOIl HomC, IllC.

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54 Jon Garrison

York City Opera for Bizet's Pearl Fishers and Massenet's \yeiihfr. Other recent career high- lights have included the national New York City Opera telecast of La rondine on "Live from Lincoln Center." an appearance on the Kemiedy Center Honors program honoring , the Metropolitan Opera's pro- duction of Romeo et Juliette on that company's 1985 spring tour. Magic Flute at the Santa Fe Festival, appearances as Cassio in Verdi's with San Diego Opera, Donizetti's with Montreal Opera, and La trav- iata with Orlando Opera. Appearances with orchestra have included the Pittsburgh and Houston s^Tnphonies, the Philadelphia Orchestra, Cleveland Orchestra. Calgarv^ Philharmonic, the Y Chamber Symphony, Hartford S^-mphony, San Francisco S\Tn- American tenor Jon Garrison divides his time phony Scottish Chamber Orchestra, Torino between opera and oratorio on the major RAI Orchestra, the New York Pops, Spec- stages of North America and Europe. This ulum Musicae, and the Puerto Rico Sym- season's engagements include a return to phony. He appeared twice with the Boston New York City Opera for performances of S\'mphony Orchestra at Tanglew-ood in 1984. Puccini's La boheme and La rondine, Mozart's in Beethoven's Ninth S\Tnphony, and as Ben- Magic Flute, Romberg's Student Prince, edick opposite in a stag- Stra\'insk}''s The Rake's Progress, and Verdi's ing of Berlioz's Beatrice et Benedict under the . He wdll also be heard in Offen- direction of Seiji Ozawa. Mr. Garrison made bach's Tales of Hoffmann \rith Cleveland his Metropolitan Opera debut in 1975, his Opera, Mozart's Magic Flute \^ath Portland European debut in 1978 at Spoleto, and his Opera, and Puccini's La boheme with Hawaii New York City Opera debut in 1982 in Opera Theatre. Orchestral appearances Ghick' sAlceste. He has also appeared with include Beethoven's Missa Solemnis with the Hamburg Opera, the Berlin Radio Orchestra, Seattle Symphony, Berlioz's Damnation of Lyons Opera, and at the Theatre du Chatelet with the Sacramento S\Tiiphony, a con- in Paris. Mr. Garrison was chosen by Zubin cert version of La traviata with the Thunder Mehta to appear with the New York Philhar- Bay S\Tnphony, Berlioz's Te Deum conducted monic in the gala concert celebrating by Andrew Da\is at the Cincinnati ]\Iay Fes- Carnegie Hall's ninetieth anniversary in tival, Handel's Israel in Egypt with the 1981. He has recorded the Evangelist in the Choral Arts Society of Philadelphia, St. Matthew Passion under Raymond Lep- Beethoven's Ninth with the Houston Sjtu- pard for EMI and Handel's Roman Vespers phony, and ]\Iichael Tippett's TJie Mask of for RCA. Time with the Toronto Symphony. Recent engagements have included Mozart's Magic Flute with , the 's Schubertiade, Carter's In Sleep and Th2inder with the New Music Consort, Stra\insk\''s Pulcinella with Boston's Handel & Haydn Society, Mendelssohn's Lobgesang with the Atlanta Symphony, Handel's with the Pittsburgh Symphony, a 's Eve Gala with the Philadelphia Orchestra, a solo recital in Cleveland, and a return to New

55 WITHOUTYOUR HELP YOU COULD BE HEARING LESS FROMTHE BSO

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

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

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Please make check payable to "Boston Symphony Annua! Fund" and send to: Sue Tomlin, Director of Annual Giving, Boston Symphony Orchestra, Symphony Hall, Boston, MA 02115. (617) 266-1492. KEEP GREAT MUSIC ALIVE.

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Tenor Ragnar Ulfung has been a permanent member of , Stockholm, since 1958. He has appeared with the world's major opera companies, including Oslo, Vienna, Helsinki, GhTidebounie, the Edinburgh Fes- tival, Covent Garden, the Metropolitan Opera, Chicago, Boston, Santa Fe, San Fran- cisco, Marseilles, and La Scala. Bom in Oslo, Mr. Ulfung made his debut as soloist at the age of fifteen as a boy soprano \\ith one of Norway's largest boy choirs. Following his xery successful concert debut in Oslo when he was twenty-one, he went to Italy for four years of further study, returning to Oslo in 1952 to sing the Magic Artist in Menotti's , a role for which he spent several months studying with a famous magician. He was honored in Norway by King Olav V, who bestowed upon him the Order of St. Olav, and he was named Royal Court Singer by the King of Sweden in 1977. He was recently awarded the Litteris et Artibus, the highest (asA f^M^RO order an artist can receive in Sweden. High- lights of Mr. Ulfung's recent engagements have included his first Otello in Verdi's opera and Macheath in TJie Beggar's Opera with the Royal Opera, Stockholm; the title role of Peter Maxwell Dalies" Taverner at the , Covent Garden; Basilio in Mozart's Marriage of Figaro and Strauss's Liehe der Danae at Santa Fe; the Captain in Wozzeck at the Metropolitan Opera and at the Mexican Cuisine Paris Opera; and the Earl of Kent in King Lear with, the San Francisco Opera. He has also sung Herod in Salome in Paris and Los in ". Angeles, Koko in The Mikado Toronto, . . ihe best Mexican Alfred in Die Fledemiaiis in Santa Fe, and food this side of Taxco . . . the cuisine at Casa Romero Mahler's Das Lied von derErde in St. Louis. is as sophisticated as He appears for the first time with the Boston the decor ..." S\Tiiphony Orchestra at these concerts. Gourmet Magazine

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58 Siegfried Vogel

Bass Siegfried Vogel was born in , Democratic Republic of Germany. After only three years of study at the Academy of Music in , he was engaged by the Opera House of Dresden. Since 1954 he has been principal bass at the Opera House of East Berlin, also singing regularly as a guest with the Komische Oper of East Berlin. Mr. Vogel appears regularly at the opera houses of Vienna, Diisseldorf, and Munich and has sung at all the important European opera houses, as well as in Toronto, Ottawa, and Buenos Aires. For sev- eral years he has been a regular participant at the Ba\Teuth and Salzburg festivals, appearing most recently at Ba\Teuth in 1986 in Tannhduser. He made his Metropolitan Opera debut this season as Hunding in the new production otDie Walkilre, the first The Fox &L Hounds installment of the Met's new Ring cycle under the direction of James Le\dne. This Restaurant spring he sings in TJie Merry Wives of Wind- sor at the Salle Pleyel in Paris, and he makes Originally Established 1937 his Boston SjTnphony Orchestra debut as A Small Club Opposite the Doctor in concert performances of The Public Gardea Berg's Wozzeck under Seiji Ozawa. Mr. Vogel's extensive operatic repertoire includes virtually all the great bass roles, including Hans Sachs, Gurnemanz, Wotan, King Henr\', the Landgraf, Daland, King ^lark. Baron Ochs, Rocco, Don Giovanni, and others. His extensive work as a recitalist has taken him frequently to Japan, and he has appeared with such conductors as Wolf- gang Sawallisch, Leonard Bernstein, Karl Riehter, Igor Marke\"itch, Seiji Ozawa, and Hounds Karl Bohm.

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60 Margaret Yauger

the Verdi Requiem with the s\iiipiiony orchestras of Trier, Monchengladbach- Krefeld, and East Berlin, Handel's Messiah with the Jacksonville S\inphony, in New- York City, and in Boston, and Beethoven's Ninth S\inphony \\'ith the s>inphony orches- tras of Duisburg and Dresden. She has recorded the Ninth with the Mexico City S>inphony. Ms. Yauger's honors include mention in the 1976 "'Who's Who in Opera" and in the first edition of "Who's Who in American Music." A recipient of the William^ ]\Iathis Sullivan Foundation scholarship and the ]\Iiss Alabama Competition Scholarship, she has also worked as a fashion model and as a nurse's aid. Ms. Yauger holds degrees from Converse College and the New Eng- land Consen'ator}" of Music. She currently \ Margaret Yauger has been a leading mezzo- lives in Germany \Wth her husband, bass- -i soprano wdth the Deutsche Oper am Rhein baritone Malcolm Smith. since 1978. She has performed in more than eighteen productions there, including the role of Fricka in Wagner's Ring, Euridice in