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After the show, enjoy the limelight.
Tanqueray. A singular experience.
New York. N.Y. Imported English Gin. 47.3% Alc/Vol (94.6°). 100% Grain Neutral Spirits. © 1988 Schieffelin & Somerset Co., Seiji Ozawa, Music Director Carl St. Clair and Pascal Verrot, Assistant Conductors One Hundred and Ninth Season, 1989-90
Trustees of the Boston Symphony Orchestra, Inc.
Nelson J. Darling, Jr., Chairman Emeritus
J. P. Barger, Chairman George H. Kidder, President Mrs. Lewis S. Dabney, Vice-Chairman Archie C. Epps, Vice-Chairman Mrs. John H. Fitzpatrick, Vice-Chairman William J. Poorvu, Vice-Chairman and Treasurer
David B. Arnold, Jr. Mrs. Eugene B. Doggett Mrs. August R. Meyer Peter A. Brooke Avram J. Goldberg Mrs. Robert B. Newman James F. Cleary Mrs. John L. Grandin Peter C. Read John F. Cogan, Jr. Francis W. Hatch, Jr. Richard A. Smith Julian Cohen Mrs. Bela T. Kalman Ray Stata
William M. Crozier, Jr. Mrs. George I. Kaplan William F. Thompson Mrs. Michael H. Davis Harvey Chet Krentzman Nicholas T. Zervas
Trustees Emeriti
Vernon R. Alden Mrs. Harris Fahnestock Mrs. George R. Rowland Philip K. Allen E. Morton Jennings, Jr. Mrs. George Lee Sargent Allen G. Barry Edward M. Kennedy Sidney Stoneman Leo L. Beranek Albert L. Nickerson John Hoyt Stookey Mrs. John M. Bradley Thomas D. Perry, Jr. John L. Thorndike Abram T. Collier Irving W. Rabb
Other Officers of the Corporation
John Ex Rodgers, Assistant Treasurer Michael G. McDonough, Assistant Treasurer Daniel R. Gustin, Clerk
Administration
Kenneth Haas, Managing Director Daniel R. Gustin, Assistant Managing Director and Manager of Tanglewood
Michael G. McDonough, Director of Finance and Business Affairs Evans Mirageas, Artistic Administrator Anne H. Parsons, Orchestra Manager Caroline Smedvig, Director of Public Relations and Marketing Josiah Stevenson, Director of Development
Robert Bell, Data Processing Manager Michelle R. Leonard, Media and Production Madelyne Codola Cuddeback, Director Manager, Boston Symphony Orchestra of Corporate Development Marc Mandel, Publications Coordinator Patricia F. Halligan, Personnel Administrator John C. Marksbury, Director of Sarah J. Harrington, Budget Manager Foundation and Government Support Margaret A. Hillyard, Director of Volunteers Julie-Anne Miner, Manager of Russell M. Hodsdon, Manager of Box Office Fund Reporting Craig R. Kaplan, Controller Richard Ortner, Administrator of Nancy A. Kay, Director of Sales & Tanglewood Music Center Marketing Manager Scott Schillin, Assistant Manager, John M. Keenum, Director of Pops and Youth Activities Tanglewood Music Center Development Joyce M. Serwitz, Director of Major Gifts/ Patricia Krol, Coordinator of Youth Activities Assistant Director of Development Steven Ledbetter, Musicologist & Cheryl L. Silvia, Function Manager Program Annotator Susan E. Tomlin, Director ofAnnual Giving
Programs copyright ©1990 Boston Symphony Orchestra, Inc.
Cover by Jaycole Advertising, Inc./Cover photo by Steve J. Sherman Board of Overseers of the Boston Symphony Orchestra, Inc.
John F. Cogan, Jr., (Chairman R. Willis Leith, Jr., Vice-Chairman Mrs. Ray A. Goldberg, Vice-Chairman Mrs. R. Douglas Hall III, Secretary
Mrs. David Bakalar Haskell R. Gordon E. James Morton Bruce A. Beal Steven Grossman David G. Mugar Mrs. Leo L. Beranek Joe M. Henson David Nelson Lynda Schubert Bodman Susan M. Hilles Robert P. O'Block Donald C. Bowersock, Jr. Glen H. Hiner Walter H. Palmer William M. Bulger Mrs. Marilyn Brachman Hoffman Andrall E. Pearson Mrs. Levin H. Campbell Ronald A. Homer John A. Perkins Earle M. Chiles Julian T. Houston Daphne Brooks Prout Mrs. C. Thomas Clagett, Jr. Lola Jaffe Millard H. Pryor, Jr. James F. Cleary Anna Faith Jones Robert E. Remis William H. Congleton H. Eugene Jones John Ex Rodgers William F. Connell Susan B. Kaplan Mrs. William H. Ryan Walter J. Connolly, Jr. Mrs. S. Charles Kasdon Keizo Saji Albert C. Cornelio Richard L. Kaye Roger A. Saunders Mrs. Eugene B. Doggett Robert D. King Mrs. Raymond H. Schneider Phyllis Dohanian Mrs. Gordon F. Kingsley Mark L. Selkowitz Hugh Downs Mrs. Carl Koch Mrs. Donald B. Sinclair Goetz B. Eaton Robert K. Kraft W. Davies Sohier, Jr. Harriett M. Eckstein George Krupp Ralph Z. Sorenson Edward Eskandarian Mrs. Hart D. Leavitt Ira Stepanian
Katherine Fanning Stephen R. Levy Mrs. Arthur I. Strang John A. Fibiger Frederick H. Lovejoy, Jr. Mark Tishler, Jr. Peter M. Flanigan Mrs. Charles P. Lyman Luise Vosgerchian Henry L. Foster C. Charles Marran Roger D. Wellington Dean Freed Nathan R. Miller Robert A. Wells Peter H.B. Frelinghuysen Hanae Mori Mrs. Thomas H.P. Whitney Mrs. James Garivaltis Mrs. Thomas S. Morse Mrs. John J. Wilson Jordan L. Golding Richard P. Morse Brunetta R. Wolfman Mark R. Goldweitz
Overseers Emeriti
Mrs. Weston W. Adams Mrs. Louis I. Kane Mrs. Peter van S. Rice Mrs. Frank G. Allen Leonard Kaplan Mrs. Jerome Rosenfeld Mrs. Richard Bennink Benjamin H. Lacy Mrs. William C. Rousseau Mary Louise Cabot Mrs. James F. Lawrence Francis P. Sears, Jr. Johns Congdon Mrs. Stephen V.C. Morris Mrs. Richard H. Thompson Mrs. Thomas J. Galligan Stephen Paine, Sr. Mrs. Donald B. Wilson Mrs. Richard D. Hill David R. Pokross
Symphony Hall Operations
Robert L. Gleason, Facilities Manager James E. Whitaker, House Manager
Cleveland Morrison, Stage Manager Franklin Smith, Supervisor of House Crew Wilmoth A. Griffiths, Assistant Supervisor of House Crew William D. McDonnell, Chief Steward H.R. Costa, Lighting Officers of the Boston Symphony Association of Volunteers
Nina Doggett, President Thelma Goldberg, Executive Vice-President Pat Jensen, Secretary Goetz B. Eaton, Treasurer Florence T. Whitney, Nominating Chairman
Vice - Presidents
Mary Bates, Hall Services Denise Mujica, Membership Charles Jack, Adult Education Susan Robinson, Fundraising Projects Marilyn Larkin, Tanglewood Carol Scheifele-Holmes, Public Relations Kathy Massimiano, Tanglewood Preston Wilson, Development Services Molly Millman, Regions Pat Woolley, Youth Activities
Chairmen of Regions
Krista Kamborian Baldini Kathleen G. Keith Patti Newton Joan Erhard Helen Lahage Pamela S. Nugent Bettina Harrison Janet Landry Beverly J. Pieper Betty Hosage Elaine Miller Patricia L. Tambone
Business and Professional Leadership Association Board of Directors
Harvey Chet Krentzman, Chairman James F. Cleary, BPLA President Members
J. P. Barger Thelma Goldberg Malcolm L. Sherman Leo Beranek Joe Henson Ray Stata William F. Connell George H. Kidder Stephen J. Sweeney Walter J. Connolly Vincent M. O'Reilly Roger Wellington Nelson J. Darling
For their continued support of the Boston Symphony Orchestra, special thanks to the
Massachusetts Council on the [[^0)) National $ arts and Endowment humanities for the Arts also serving science museums and environmental institutions ''Sometimes, the more successful you become, the more
you need to get away from it all. No car phones or appointment books. Just you and the sunrise. And at the end of the day, you don't even worry about how the stock market is going to close.
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This is the kind of attention I've been looking for. They
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BayBank mPrivatebanking For an introduction to Private Banking, call Pamela Henrikson, Senior Vice President, at (617) 556-6528 or Stephen Root, Senior Vice President, at (413) 781-7575. Member FDIC -
project, please call the Volunteer- Office at (617) 266-1348 between 9 a.m. and 4:30 p.m.
BSO Art Exhibits in the Cabot-Cahners Room For the sixteenth year, a variety of Boston- BayBanks to Sponsor area galleries, museums, schools, and non- at with Opening Night Pops 1990 profit artists' organizations are exhibiting t heir- Special Guests Anne Akiko Meyers, work in the Cabot-Cahners Room on the first Maureen McGovern, and balcony level of Symphony Hall. On display Steven Spielberg through May 14 are works from the Depot Tuesday, May 8 Square Gallery of Lexington. In conjunct ion with the Depot Square exhibit, there will be a Violinist Anne Akiko Meyers, singer Maureen wine and cheese reception on Thursday, April McGovern, and film director Steven Spielberg 26, from 5 to 7 p.m. in the Cabot-Cahners will join John Williams and the Boston Pops Room. The artists represented in the exhibit Orchestra for the opening concert of the 1990 will be present. All are welcome to attend. The Boston Pops season, Tuesday, May 8, celebrat- featured exhibit for May 14-June 11 will be ing Mr. Williams' tenth anniversary season as announced; it will be followed by works from Boston Pops Conductor. A project of the Bos- the Nancy Lincoln Gallery (June 11-July 9). ton Symphony Association of Volunteers, These exhibits are sponsored by the Boston Opening Night at Pops is made possible for Symphony Association of Volunteers, and a the third consecutive year through the gener- portion of each sale benefits the orchestra. ous support of BayBanks. BSAV members Please contact the Volunteer Office at (617) Susan Robinson and Ami Schwarz are co- 266-1492, ext. 177, for further information. chairmen of this year's organizing committee. The evening begins with a la carte cocktails at BSO Guests on WGBH-FM-89.7 6 p.m., followed by a picnic supper at 6:30 p.m. and the concert at 8 p.m. Remaining tick- On Tuesday, April 24, at 11 a.m. Morning pro ets are now on sale at the Symphony Hall box Musica with Robert J. Lurtsema will feature office and are priced at $175 ($125 tax- an interview with composer Ellen Taaffe deductible) for Benefactor preferred table Zwilich. Ms. Zwilich's new Concerto for Flute seats, including a post-concert champagne and Orchestra, commissioned by the BSO for reception; $80 ($35 tax-deductible) for table Doriot Anthony Dwyer, will receive its world seats; $65 ($25 tax-deductible) and $50 ($15 premiere on this season's final subscription tax-deductible) for first-balcony seats; and $45 concerts, April 26, 27, and 28. ($10 tax-deductible) and $30 for second- balcony seats. All ticket prices include a box "Presidents at Pops" Slated for June 6 supper. The ninth annual "Presidents at Pops" will take place Wednesday evening, June 6. Jack Symphony Hall Tour Guides Needed Sidell, President and CEO of U.S. Trust, is Visitors to Boston often ask to tour Symphony chairman of the 1990 "Presidents at Pops" Hall, one of the world's great concert halls. committee. More than 100 of the area's lead- For a number of years the Boston Symphony ing businesses will participate in this gala Association of Volunteers has been offering a event in support of the BSO. On Monday, May limited number of tours for adults in addition 14, the senior executives of the participating to those offered in conjunction with the BSO organizations will be honored at the Leader- Youth Concerts. With only a limited number ship Dinner, a formal dinner dance held at of qualified volunteer guides, the BSAV is Symphony Hall. A limited number of "Presi- unable to meet the increasing demand for dents at Pops" sponsorships are still available. tours and is seeking others who would like to The $6,000 full package includes two tickets to become tour guides. The requirements include the Leadership Dinner and twenty floor and an appreciation of Symphony Hall, and a will- balcony seats for the "Presidents at Pops" con- ingness to volunteer time during the day and cert, complete with cocktails and dinner. Half- to participate in a training program consisting packages are also available. For further infor- of written material, a video tour, and super- mation, please call Sarah Coldwell, BSO vised tours. If you are interested in this Corporate Development, at (617) 266-1492. References furnished on request
Armenta Adams Aaron Copland Santiago Rodriguez American Ballet John Corigliano Abbott Ruskin Theater Phyllis Curtin Kathryn Selby Michael Barrett Rian de Waal George Shearing Leonard Bernstein Michael Feinstein Bright Sheng William Bolcom Lukas Foss Leonard Shure Jorge Bolet Philip Glass Abbey Simon Boston Pops Orchestra Karl Haas Stephen Sondheim Boston Symphony David Korevaar Herbert Stessin Chamber Players Fernando Lakes Tanglewood Music Center Boston Symphony Garah Landes Virgil Thomson Orchestra Marian McPartland Nelita True Boston University John Nauman Craig Urquhart Schoor of Music Seiji Ozawa Earl Wild Joanne Brackeen Luciano Pavarotti John Williams Bradshaw and Buono Alexander Peskanov Yehudi Wyner Dave Brubeck Andre Previn and 200 others Baldwin* TODAY'S STANDARD OF MUSICAL EXCELLENCE.
6 BSO Members in Concert The Melisande Trio — Susan Miron, harp, Fenwick Smith, flute, and Burton Fine, BSO members Aza Raykhtsaum, violin, viola — perform music of Barber, Daniel Pink- Mark Ludwig, viola, and Jules Eskin, cello, ham, Persichetti, Piston, and Schuman with perform Schubert's Arpeggione Sonata, guest artist D'Anna Fortunate, mezzo-soprano, Debussy's cello sonata, and two works by on Sunday, May 6, at 3 p.m. General admis- Dvorak: the G minor Rondo for cello and sion is $12 ($10 for museum members). For piano, and the D major piano quartet, Opus further information call 267-9300, ext. 306. 23, with pianist Victor Rosenbaum on Sunday, Ronald Knudsen leads the Newton Sym- April 22, at 3 p.m. at the Berkshire Museum phony Orchestra in two of Debussy's as part of the Richmond Performance Series. Nocturnes, Beethoven's Piano Concerto No. 3 Admission is $14 ($12 for museum members). with soloist Gilbert Kalish, and Stravinsky's For further information call (617) 437-0204 Firebird Suite on Sunday, May 6, at 8 p.m. at or (413) 698-2837. Aquinas Junior College, 15 Walnut Park in Harry Ellis Dickson conducts the Boston Newton. Tickets are $12; for further informa- Classical Orchestra on Wednesday, April 25, tion call 965-2555. and Friday, April 27, at 8 p.m. at Faneuil Hall. The program includes the overture to Help the BSO Renovation Committee Mozart's Abduction from the Seraglio, Tans- man's Musique de Cour with classical guitarist The Renovation Committee of the BSO Trus- Neil Anderson, Wagner's Siegfried Idyll, and tees is looking for some very special pieces of Haydn's Symphony No. 96, Miracle. Tickets the highest quality period furniture, including are $18 and $12 ($8 students and seniors); for occasional tables and chairs, small-scale buf- further information call 426-2387. fets, and small couches or love seats, for some BSO members Leone Buyse, flute, and Ann of the renovated areas of Symphony Hall. Hobson Pilot, harp, will perform music of After committee approval and professional Bach, Donizetti, Pierne, Faure, Bizet, Ibert, appraisal, such gifts of furniture will be con- Marcello, Honegger, Debussy, and Persichetti sidered donations to the Boston Symphony on Sunday, April 29, at 4 p.m. at the Newman Orchestra. If you are moving to a smaller School in Needham, under the auspices of the home or have "one piece of furniture too Needham Concert Society. Tickets are $7.50 many" and would like to support the BSO in ($5 for students; children free with parent). this way, please call Lisa Lyles in the Develop- For information, call 444-7162 or 444-6080. ment Office at (617) 266-1492, ext. 131. Max Hobart leads the Civic Symphony Orchestra in John Adams' The Chairman Dances, Ravel's Pavane for a Dead Princess, Strauss's Four Last Songs and excerpts from Verdi's La traviata with soprano Ellen Check- ering, and Respighi's Pines of Rome on Sun- day, April 29, at 3 p.m. at Jordan Hall. Tickets are $12 and $8; for further informa- tion call 437-0231. BOSTONS only gallery BSO horn players Charles Kavalovski and dedicated exclusively to Eskimo art. Daniel Katzen will present a duo-horn faculty recital at Jordan Hall at the New England
Conservatory of Music on Tuesday, May 1 , at 8 p.m. They will be joined by members of the INUIT BSO string section for a program including IMAGES works of Mozart, Beethoven, Hindemith,
Rossini, and Katzen. Admission is free; for The finest in more information call 262-1120. sculpture, rare prints, books, BSO flutist Leone Buyse will perform music and wall hangings of Bach, Schumann, de Leeuw, Amlin, Messi- aen, Koechlin, and Bizet with Michael Web- SOLD * BOUGHT • APPRAISED ster, clarinet, and Martin Amlin, piano, on Sat- Call or write: P.O. Box 2501, Quincy, MA 02269 urday, May 5, at 8:30 p.m. at the Unitarian (617) 471-2626, Mon.-Fri., 9:00-5:00 Church in Harvard, MA. For more informa- (617) 471-1706 eve's & weekends tion, call (508) 839-5793. Seiji Ozawa
include Richard Strauss's Elektra, recorded during concert performances at Symphony Hall in Boston with Hildegard Behrens in the title role; and Mahler's Second (Resur- rection) and Fourth symphonies, part of a continuing Mahler cycle on Philips that also includes the Symphony No. 8 (Sym- phony of a Thousand). Mahler's Symphony
No. 1, Symphony No. 7, and Kindertoten- lieder, with Jessye Norman, have been recorded for future release. Mr. Ozawa's recent recordings with the Boston Sym- phony Orchestra for Deutsche Grammo- phon include Poulenc's Gloria and Stabat mater with soprano Kathleen Battle and the Tanglewood Festival Chorus, the two Liszt piano concertos and Totentanz with Now in his seventeenth year as music Krystian Zimerman, an album of music by director of the Boston Symphony Orches- Gabriel Faure, and "Gaite parisienne," an tra, Seiji Ozawa was named the BSO's album of music by Offenbach, Gounod, thirteenth music director in 1973, follow- Chabrier, and Thomas. Other Deutsche ing a year as music adviser. His many Grammophon releases include Prokofiev's tours with the orchestra in Europe, Japan, complete Romeo and Juliet, Berlioz's and throughout the United States have Romeo et Juliette and Damnation of Faust, included the orchestra's first tour devoted and, with Itzhak Perlman, an award- exclusively to appearances at the major winning album of the Berg and Stravinsky European music festivals, in 1979; four violin concertos. Also available are Schoen- visits to Japan; and, to celebrate the berg's Qurrelieder, on Philips; the complete orchestra's centennial in 1981, a fourteen- Beethoven piano concertos with Rudolf city American tour and an international Serkin, on Telarc; the Dvorak Cello Con- tour to Japan, France, Germany, Austria, certo with Mstislav Rostropovich and and England. In March 1979 Mr. Ozawa Tchaikovsky's Pathetique Symphony, on and the Boston Symphony Orchestra made Erato; Strauss's Don Quixote and the an historic visit to China for a significant Schoenberg/Monn Cello Concerto with musical exchange entailing coaching, Yo-Yo Ma, the Mendelssohn Violin Con- study, and discussion sessions with Chi- certo with Isaac Stern, and Berlioz's Les nese musicians, as well as concert perform- Nuits d'ete with Frederica von Stade, on ances, becoming the first American per- CBS Masterworks; and Stravinsky's Fire- forming ensemble to visit China since the bird, on EMI/Angel. establishment of diplomatic relations. In Mr. Ozawa pursues an active interna- December 1988 he and the orchestra gave tional career, appearing regularly with the eleven concerts during a two-week tour to Berlin Philharmonic, the Orchestre de England, the Netherlands, France, Ger- Paris, the French National Orchestra, the many, Austria, and Belgium. In December Vienna Philharmonic, the Philharmonia of 1989 Mr. Ozawa and the orchestra trav- London, and the New Japan Philharmonic. eled to Japan for the fourth time, on a Recent appearances conducting opera have tour that also included the orchestra's first included La Scala, the Vienna Staatsoper, concerts in Hong Kong. and the Paris Opera; he has also con- Mr. Ozawa's recent recordings for Phil- ducted at Salzburg and Covent Garden. In ips with the Boston Symphony Orchestra 1983, at the Paris Opera, he conducted the world premiere of Olivier Messiaen's While a student of Herbert von Karajan St. Francis ofAssisi. In addition to his in West Berlin, Mr. Ozawa came to the many Boston Symphony Orchestra record- attention of Leonard Bernstein. He accom- ings, he has recorded with the Berlin Phil- panied Mr. Bernstein on the New York harmonic, the London Philharmonic, the Philharmonic's 1961 tour of Japan and Philharmonia of London, the Chicago was made an assistant conductor of that Symphony Orchestra, the Orchestre orchestra for the 1961-62 season. In Janu- National, the Orchestre de Paris, the San ary 1962 he made his first professional Francisco Symphony, and the Toronto concert appearance in North America, with Symphony Orchestra, among others. His the San Francisco Symphony. Mr. Ozawa recording of Bizet's Carmen with Jessye was music director of the Chicago Sym- Norman and the Orchestre National was phony Orchestra's Ravinia Festival for five released by Philips this past summer. Forth- summers beginning in 1964, music director coming from Deutsche Grammophon is his of the Toronto Symphony Orchestra from recording of Les Contes d 'Hoffmann with 1965 to 1969, and music director of the Placido Domingo and Edita Gruberova. San Francisco Symphony from 1970 to 1976, followed by a year as that orches- Born in 1935 in Shenyang, China, to tra's music advisor. He conducted the Japanese parents, Seiji Ozawa studied Boston Symphony Orchestra for the first Western music as a child and later gradu- time at Tanglewood, in 1964, and made ated with first prizes in composition and his first Symphony Hall appearance with conducting from Tokyo's Toho School of the orchestra in 1968. In 1970 he was Music, where he was a student of Hideo named an artistic director of the Tangle- Saito. In 1959 he won first prize at the wood Festival. International Competition of Orchestra Conductors held in Besangon, France, and Mr. Ozawa holds honorary doctor of was invited to Tanglewood by Charles music degrees from the University of Munch, then music director of the Boston Massachusetts, the New England Conser- Symphony Orchestra and a judge at the vatory of Music, and Wheaton College in competition. In 1960 he won the Tangle- Norton, Massachusetts. He has won an wood Music Center's highest honor, the Emmy for the Boston Symphony Orches- Koussevitzky Prize for outstanding student tra's "Evening at Symphony" PBS televi- conductor. sion series. Leo Panasevich Carolyn and George Rowland chair Sheldon Rotenberg Muriel C. Kasdon and Marjorxe C. Paley chair Alfred Schneider Raymond Sird Ikuko Mizuno Amnon Levy
Second Violins Music Directorship endowed by Marylou Speaker Churchill John Moors Cabot Fahnestock chair Vyacheslav Uritsky BOSTON SYMPHONY Charlotte and Irving W. Rabb chair ORCHESTRA Ronald Knudsen Edgar and Shirley Grossman chair 1989-90 Joseph McGauley Leonard Moss First Violins * Malcolm Lowe Harvey Seigel * Concert-master Jerome Rosen Charles Munch chair * Sheila Fiekowsky Tamara Smirnova-Sajfar Ronan Lefkowitz Associate Concertmaster * Nancy Bracken Helen Horner Mclntyre chair Max Hobart *Jennie Shames Assistant Concertmaster *Aza Raykhtsaum Robert L. Beal, and ^Valeria Vilker Kuchment Enid L. and Bruce A. Beal chair * Bonnie Bewick Lucia Lin Assistant Concertmaster *Tatiana Dimitriades Edward and Bertha C. Rose chair *James Cooke Bo Youp Hwang *Si-Jing Huang John and Dorothy Wilson chair, fully funded in perpetuity Max Winder Violas Forrest Foster Collier chair Burton Fine Fredy Ostrovsky Charles S. Dana chair Dorothy Q. and David B. Arnold, Jr., Patricia McCarty chair, fully funded in perpetuity Anne Stoneman chair, Gottfried Wilfinger fully funded in perpetuity Ronald Wilkison Robert Barnes *Participating in a system of rotated seating within each string section %On sabbatical leave ^Substituting, 1989-90
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10 Jerome Lipson Oboes Trombones Joseph Pietropaolo Alfred Genovese Ronald Barron Michael Zaretsky Acting Principal Oboe J. P. and Mary B. Barger chair, Mildred B. Remis chair fully funded in perpetuity Jeanneret Marc Wayne Rapier Norman Bolter Betty Benthin *Mark Ludwig English Horn Bass Trombone * Roberto Diaz Laurence Thorstenberg Douglas Yeo *Rachel Fagerburg Beranek chair, fully funded in perpetuity Tuba Cellos ^Chester Schmitz Jules Eskin Clarinets Harold Wright Margaret and William C. Philip R. Allen chair Rousseau chair Ann S.M. Banks chair Martha Babcock §Gary Ofenloch Vernon and Marion Alden chair Thomas Martin Sato Knudsen Peter Hadcock Esther S. and Joseph M. Shapiro chair E-flat Clarinet Timpani Joel Moerschel Everett Firth Bass Clarinet Sandra and David Bakalar chair Sylvia Shippen Wells chair * Robert Ripley Craig Nordstrom Luis Leguia Farla and Harvey Chet Percussion Krentzman chair Robert Bradford Newman chair Charles Smith Carol Procter Peter and Anne Brooke chair Lillian and Nathan R. Miller chair Bassoons ^Arthur Press * Ronald Feldman Richard Svoboda Assistant Timpanist * Jerome Patterson Edward A. Taft chair Peter Andrew Lurie chair ""Jonathan Miller Roland Small Thomas Gauger Richard Ranti Frank Epstein Basses Edwin Barker Contrabassoon Harp Harold D. Hodgkinson chair Lawrence Wolfe Richard Plaster Ann Hobson Pilot Willona Henderson Sinclair chair Maria Nistazos Stata chair, fully funded in perpetuity Horns Joseph Hearne Charles Kavalovski Bela Wurtzler Helen Sagoff Slosberg chair John Salkowski Richard Sebring * Robert Olson Margaret Andersen Congleton chair *James Orleans Daniel Katzen *Todd Seeber Jay Wadenpfuhl Personnel Managers Richard John Stovall Mackey Lynn Larsen Jonathan Menkis Harry Shapiro Flutes Doriot Anthony Dwyer Trumpets Librarians Walter Piston chair Fenwick Smith Charles Schlueter Marshall Burlingame Louis Voisin chair Myra and Robert Kraft chair Roger William Shisler Leone Buyse Peter Chapman James Harper Marian Gray Lewis chair Ford H. Cooper chair Timothy Morrison Piccolo Stage Manager Steven Emery Position endowed by Lois Schaefer Angelica Lloyd Clagett Evelyn and C. Charles Marran chair Alfred Robison
11
" PHILIPS /^^^a/6^4d^
The Artistry of Alfred Brendel on Compact Disc.
the artistry of BEETHOVEN Alfred Brendel can be Diabelli Variations enjoyed in numerous
ALFRED concerto recordings BRENDEL with the world's
leading orchestras NEW RELEASE as well as in the
great solo literature SCHUBERT for piano -all on LATE PIANO WORKS Philips Classics. ALFRED BRENDEL
Also available Individually
temtJSttttHHHi^H BEETHOVEN
Piano Concertos 1 & 2 y ALFRED BRENDEL Sa CKIC*fi3S © 1990 Ptiiltps/PalyGram Records, Inc. <£&> 12 BOSTON SYMPHONY ORCHESTRA Seiji Ozawa, Music Director Carl St. Clair and Pascal Verrot, Assistant Conductors One Hundred and Ninth Season, 1989-90 Thursday, April 19, at 8 Saturday, April 21, at 8 SEIJI OZAWA conducting STRAVINSKY Chorale Variations on J.S. Bach's Christmas song, "Vom Himmel hoch da komm' ich her" TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor MAHLER Adagio from the Symphony No. 10 in F-sharp The performances of the Adagio from Mahler's Symphony No. 10 are being recorded by Philips for future release as part of the orchestra's continuing Mahler cycle on that label. Your cooperation in keeping noise in the Hall at a minimum is sincerely appreciated. INTERMISSION BEETHOVEN Piano Concerto No. 1 in C, Opus 15 Allegro con brio Largo Rondo: Allegro scherzando ALFRED BRENDEL These concerts will end about 10. RCA, Deutsche Grammophon, Philips, Telarc, CBS, EMI/Angel, New World, Erato, and Hyperion records Baldwin piano Alfred Brendel plays the Steinway piano. Please be sure the electronic signal on your watch or pager is switched off during the concert. 13 Week 23 Our 15^ Jimietrsary W" jewelers since Classical Harmonies: i / ius I Edition. <•£ LASSALE Lassale presents the perfect balance between elegance and practicality: The Opus III Edition for men and women. For men, gleaming white dials highlight four subdials showing moonphase, day, date and twenty-four hour time, one with gold case and brown padded lizard strap, the other with blue bezel and blue lizard strap. For ladies, elegance couldn't be simpler, with white dial and golden ©Seiko Time 1989 markers in a gold toned case with our new brushed bracelet design. All with three-year warranty. E.B. HORN • 429 WASHINGTON ST. • BOSTON, MA ALL MAJOR CREDIT CARDS ACCEPTED BUDGET TERMS MAIL OR PHONE ORDERS 542-3902 OPEN MON. AND THURS., TILL 7 14 BOSTON SYMPHONY ORCHESTRA Seiji Ozawa, Music Director Carl St. Clair and Pascal Verrot, Assistant Conductors One Hundred and Ninth Season, 1989-90 Friday, April 20, at 2 SEIJI OZAWA conducting Please note that the Adagio from Mahler's Symphony No. 10 replaces the Stravinsky work originally scheduled on this program, with the program order as follows: BACH/STOKOWSKI Toccata and Fugue in D minor, BWV 565 MAHLER Adagio from the Symphony No. 10 in F-sharp This performance of the Adagio from Mahler's Symphony No. 10 is being recorded by Philips for future release as part of the orchestra's continuing Mahler cycle on that label. Your cooperation in keeping noise in the Hall at a minimum is sincerely appreciated. INTERMISSION BEETHOVEN Piano Concerto No. 1 in C, Opus 15 Allegro con brio Largo Rondo: Allegro scherzando ALFRED BRENDEL This concert will end about 4:05. RCA, Deutsche (irammophon, Philips, Telare, CBS, EMI/Angel, New World, Erato, and Hyperion records Baldwin piano Alfred Brendel plays the Steinway 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. Week 23 BOSTON SYMPHONY ORCHESTRA Seiji Ozawa, Music Director Carl St. Clair and Pascal Verrot, Assistant Conductors One Hundred and Ninth Season, 1989-90 Friday, April 20, at 2 SEIJI OZAWA conducting STRAVINSKY Chorale Variations on J.S. Bach's Christmas song, "Vom Himmel hoch da komm' ich her" TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor BACH/STOKOWSKI Toccata and Fugue in D minor, BWV 565 INTERMISSION BEETHOVEN Piano Concerto No. 1 in C, Opus 15 Allegro con brio Largo Rondo: Allegro scherzando ALFRED BRENDEL This concert will end about 3:45. RCA, Deutsche Grammophon, Philips, Telarc, CBS, EMI/Angel, New World, Erato, and Hyperion records Baldwin piano Alfred Brendel plays the Steinway 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. 15 Week 23 Igor Stravinsky Chorale Variations on the Christmas song Vom Himmel hoch da komm' ich her by J.S. Bach, set for chorus and orchestra Igor Stravinsky was born at Oranienbaum, Russia, on June 17, 1882, and died in New York on April 6, 1971. He composed his arrangement and elabora- tion of J.S. Bach's canonic variations on th# old Lutheran Christmas hymn Vom Himmel hoch February 9, 1956, as a companion piece to th£ Can- ticum sacrum. The piece was premiered at the Qjai Festival in Ojai, California, on May 27, 1956, with the Festival Orchestra under the direction of Robert Craft, to whom the score is dedicated. The only pre- vious Boston Symphony Orchestra performance took place at Tanglewood on July 25, 1982, under the direction of Kurt Masur, with the Tanglewood Fes- tival Chorus, John Oliver, conductor. The score calls for mixed chorus and an orchestra of two flutes, two oboes and English horn, two bas- soons and contrabassoon, three trumpets, three trombones, harp, violas, and double basses. In 1746, J.S. Bach was admitted to membership in Christoph Mizler's Society of the Musical Sciences in Leipzig. Each new member was required to offer an example of his understanding of "musical science," and since strict canons had been regarded for centuries as the most technically challenging and "scientific" kind of composition, Bach offered a brilliant set of canons based on Martin Luther's Christmas hymn Vom Himmel hoch da komm' ich her. r\ r\ J J J Ee i i g % % m r r r f i r\ rr'T i ijr m Luther's words paraphrase the song of the angels to the shepherds in their fields (as recounted in the second chapter of Luke). Bach had already used the tune on numer- ous occasions, inserting it twice as a harmonized chorale in the second cantata of the Christmas Oratorio, BWV 248, and in the less familiar version, in E-flat with addi- tions to make it specifically suitable for Christmas, of the Magnificat in D, BWV 243a. There are, in addition, versions of the tune arranged for organ in the Orgel- buchlein (BWV 606), in choral arrangements in a collection of Bach materials assem- bled by the theorist J.P. Kirnberger (BWV 700 and 701), and elsewhere (BWV 738, 738a), as well as some versions that may or may not be by him (BWV Anh. 63, 64, 65). There is little question, though, that his final treatment of Luther's tune sur- passes all the others in contrapuntal ingenuity. It consists of five variations, each devised in the form of a canon (that is, a strict imitation between at least two lines in the score). Stravinsky was a great lover of canonic technique. As an act of homage to one of the supreme masters of the art, he orchestrated Bach's composition, choosing to begin it by adding a straightforward Bachian harmonization (as found in the Christ- 17 Week 23 ••••because comfort and grace are ageless An inviting lifestyle of elegance and quality. 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THE ESSEX Name(s) On Boston's North Shore Steps from the Peabody Museum 11 Church Street Historic Salem, MA State City Zip 744-4050 (508) Telephone Clip & Mail Coupon ALSO INQUIRE ABOUT OUR OTHER SENIOR COMMUNITIES THE GEORGIAN ON BOSTON'S IAMAICAWAY AND THE GARDENS OF CHESTNUT HILL. 18 mas Oratorio). And as if to ward off criticism of this activity, he amusingly noted at the end of the score, "Mit Genehmigung des Meisters" ("With the Master's approval"). But he did more than simply divide up Bach's organ lines among the instruments of the orchestra. He sometimes added independent counterpoints, enriching the tex- ture, and he created new canons in the second and third variations, extensions of Bach's own. He also put the second, third, and fourth variations in different keys (G, D-flat, and G respectively), retaining Bach's original C major for the rest. And he calls for a chorus to sing the chorale melody itself, highlighting the origin of the work in a congregational song. Vom Himmel hoch da komm' ich her, From heaven above I come hither, Ich bring' euch gute neue Mahr. I bring you good new tidings. Der guten Mahr bring' ich so viel, I bring great good tidings, Davon ich sing'n und sagen will. of which I want to sing and speak. This Stravinskian arrangement of Bach's intricate canons in variation form on a hymn tune by Martin Luther might never have come about were it not for the centu- ries-old chic rivalry' of the Italians. In 1955 Stravinsky had composed his Canticum sacrum, commissioned for performance by the organizers of the Venice Biennale International Festival of Contemporary Music as an homage to Venice, in honor of the city's patron saint, the evangelist Mark, and designed for performance in the Saint's own cathedral. But the Canticum sacrum was rather short, and Stravinsky wanted another new work on the program. Having already become interested in the work of the late Renaissance composer Gesualdo, he proposed to the festival commit- tee that he complete one of Gesualdo's sacred choral works that had come down to the present lacking two voice parts, and add to it a few other Gesualdo pieces. The committee objected that Gesualdo was a Neapolitan; his music would not be per- formed in the sacred precincts of Venice's principal church. So Stravinsky put off his Gesualdo reconstruction for several years and turned instead to the music of Bach (who, being a German and a Protestant rather than an Italian from a rival city, was more acceptable). — Steven Ledbetter /ItotofpPu^^staunwt-, $t All our services are free - no strings attached. We perform a veritable symphony of travel UNDER arrangements... at no NEW extra charge to you. MANAGEMENT Travel is our forte; Garber is our name. A Charming 19th Century Townhouse Give us a call- 734-2100 serving Superb Continental Cuisine and we'll get in tune 99 St Botolph Street with your travel needs. behind the Colonnade Hotel Boston, MA 02116 (617)266-3030 Main Office: serving daily 11:30 - midnight 1406 Beacon St., Brookline minutes from Symphony Hall 19 ongratulations to the Boston Symphony. May your 109th season be one of many high notes. Living the good life. Jordan marsh EST. 1851 MASSACHUSETTS • CONNECTICUT • RHODE ISLAND • NEW HAMPSHIRE MAINE • NEW YORK 20 Gustav Mahler Adagio from the Symphony No. 10 in F-sharp Gustav Mahler was born in Kalischt (now Kaliste), Bohemia, on July 7, 1860, and died in Vienna on May 18, 1911. He did most of the work on his unfinished Tenth Symphony in the summer of 1910. Ernst Krenek prepared a full score of the first and third movements in 1924; these sections were first performed on October 14 that year in a version incorporating some additional retouchings by Franz Schalk and Alexander von Zemlinsky, with Schalk conducting the Vienna Philharmonic Orchestra. The two movements were introduced in the United States in that edition by the Erie Philharmonic under Fritz Mahler, the composer's nephew, on December 6, 1949. Richard Burgin conducted the Boston Symphony's first performances of the Adagio only in December 1953. Charles Munch led both the Adagio and the third movement (Allegro moderato) in December 1959 and February 1960, Richard Burgin then leading tour performances of the two movements in the Far East that May and June. Except for Seiji Ozawa's performances this past February, the orchestra's only performance of the Adagio since then was given by Klaus Tennstedt at Tanglewood in August 1982, although Xiklaus Wyss conducted the entire symphony in Deryck Cooke's performing version on subscription concerts in February 1979 and at Tanglewood the following summer. At the present performances, Seiji Ozawa uses the score edited by Erwin Ratz for the International Gustav Mahler Society and published in 1964. The score calls for three flutes (third doubling piccolo), three oboes, three clarinets, three bassoons, four horns, four trumpets, three trombones, bass tuba, harp, and strings. Mahler's last years were a race against ill health, which he knew was persistently gaining on him. From the summer day in 1907 when, almost by accident, he discov- ered that he had a serious heart lesion caused by subacute bacterial endocarditis, Mahler's energies were turned ever more fully to composing whenever he could tear the free time away from the conducting commitments that supported him. The discov- ery came under tragic circumstances: his two daughters had contracted scarlet fever, and the elder one died. Mahler and his wife Alma were shattered. Soon afterward, his mother-in-law, who had come to help during this sad period, suffered a heart attack. The doctor who examined her also found that the strain had affected Alma's heart. In a morbid joking mood, Mahler remarked, "You might as well examine me too." And thus he learned that his activities had to be severely curtailed. During the summer of 1908 he composed Das Lied von der Erde {The Song of the Earth), a work that he carefully avoided calling his Ninth Symphony out of a super- stitious fear that no composer after Beethoven could live beyond a "Ninth." The work composed in 1910 and called the Ninth Symphony was actually, to the composer's mind, his tenth; thus he hoped to circumvent "the limit." No sooner had he finished the Ninth than he began extensive and concentrated work on what was to be the Tenth. But it was not to be finished: at his death he left extensive sketches, but not even the fair copy of a single completed movement. There are plenty of indications on the manuscript sketches that the Tenth-in- progress was to be an unusually personal symphony, and a very painful one at that. Mahler in 1910 was tormented by the knowledge that his greatly beloved, lively, and beautiful wife Alma was seriously considering leaving him for another man, Walter Gropius, who was on the verge of a distinguished career in architecture. She chose to 21 Week 23 Irs Quite obvious why Some Of today's MOST SUCCESSFUL INVESTORS NEVER TOOK THEIR MONEY OUT OF THE BANK. Shawmut Investment Management Services— In today's complex market, strong Stocks, Bonds, Assets & Other investment performance is more Under Management. important than ever. That's why a (Billions Of Dollars) growing number of investors rely on the expertise they receive from Shawmut's investment management. And why our total assets under management have grown a remark- able 104% since June 1984. When you invest with Shawmut, you receive the highest level of personalized, one-on-one service. 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But in 1924, when the composer Ernst Kfenek married the Mahlcrs' nineteen-year-old daughter Anna, Mahler's widow asked him to prepare a practical full score of the two movements that were most nearly complete. This he did (though others played a hand in its final form), and thus the Adagio, the most extended of the two movements, entered the repertory in a shadowy sort of way. More recently Deryck Cooke undertook to "complete" the entire symphony, by elaborating on Mah- ler's sketches as they stood at his death to produce a performing version. Cooke's ini- tial version w7 as first performed complete by the London Symphony under Berthold Goldschmidt in August 1964 at the Royal Albert Hall, a revised score being intro- duced by Wyn Morris and the New Philharmonia in October 1972 at the Royal Festi- val Hall (further revisions followed during the next several years). Cooke's work even wron the approval of Alma, who heard a tape in the early 1960s and found herself moved to tears to discover "how much Mahler there was in it." But there remains a scholarly dispute as to the ethics of second-guessing a compos- er's unfinished work, especially in the case of movements that were so far from com- pletion as were some of the five movements of the Tenth. The International Gustav Mahler Society, which has edited the critical editions of Mahler's works, produced for the Tenth only a score of the Adagio that Mahler intended as the first movement. Editor Erwin Ratz argues (and many agree with him) that no one could possibly Alma Mahler 23 Week 23 '' tm J*/*;,, y "/t *&w<& The Shreve Wedding For generations, New England brides have trusted the wedding experts at Shreve. From engagement rings and wedding bands to invitations, attendant gifts and the bridal registry, Shreve's is at your service. Let your elegant wedding begin at Shreve. 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As Ratz explains, "What stands on these sheets [the sketch pages] was fully intelligible to Mahler alone and not even a genius would be able from this stage of the work's development to divine the approach to its final shape." What we have, then, is the first movement only, which was nearest completion and is performed here in the edi- tion that follows the readings of Mahler's manuscript as exactly as possible. The movement is known as the "Adagio" even though the first fifteen measures are marked "Andante" becoming "Adagio" only in the sixteenth; it begins with a probing upbeat in the violas, questioning and wandering— a beginning that does everything but affirm the tonic of F-sharp. The main thematic material arrives in F-sharp in the first violins (marked "piano, but very warm") and becomes an urgent duet with the second violins. (It is worth remembering that in Mahler's day, the orchestral seating plan put second violins to the front of the stage on the conductor's right, so that this duet involved a conversation back and forth across the entire foreground of the orchestra.) The viola music from the opening recurs in developments through various keys as a questioning alternative to the warm F-sharp music. The conversation builds to a powerful climax in A-flat minor: woodwinds and brass instruments sustain full chords at maximum volume while harp and strings sweep up and down in broken- chord figurations, attempting to stem the crisis. A sustained solo trumpet holding a long high A is opposed by the second violins, then the cellos, which bring in a last recurrence of the F-sharp music, which partakes of reminiscences and fragments of all the thematic ideas before closing in a wide-spaced, gentle cadence. -S.L. SARGENT ESTATE BROOKLINE . . . 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What you'll discover is a promis- And get a firsthand look at ing vision of life in a countryside what your future could hold. *% ^ Life Care Services Corporation Edgew Call (508) 689*0202. 10284 26 Johann Sebastian Bach (arr. Leopold Stokowski) Toccata and Fugue in D minor, BWV 565 Johann Sebastian Bach was born in Eisenach, Sax- ony, on March 21, 1 685, and died in Leipzig on July 28, 1 750. The dating of his D minor Toccata is uncertain, but it is generally held to be an early work, composed before 1708. Leopold Stokowski was born Antoni Stanislaw Bloeslawowich in London, England, on April 18, 1882, and died in Nether Wallop, Hampshire, England, on September 13, 1977. His orchestration of Bach's Toccata was copy- righted in 1952, but he had performed it twenty-five years earlier, on February 8, 1926, with the Phila- delphia Orchestra. The Toccata and Fugue in D minor, in its original form for solo organ, has twice provided an unusual beginning for a Boston Sym- phony Orchestra concert (in both cases the organist was present to play a concerto on the same program): Wallace Goodrich was the soloist on December 27 and 28, 1907, and John Marshall on December 27 and 28, 1912. These are the first BSO performances of the Stokowski transcription, which calls for four flutes, three oboes and English horn, three clarinets and bass clarinet, three bassoons and contrabassoon, six horns, three trumpets, four trombones, tuba, timpani, celesta, two harps, and strings. It is difficult to know exactly when Bach composed many of his organ works. With the larger compositions, such as the B minor Mass and the Passions, we have the original manuscripts, which can tell us — through analysis of the handwriting and watermarks, among other things — the approximate date that the manuscript was written. But many of Bach's organ works survive only in copies, often made long after the fact. And unlike the cantatas, which were composed and performed in the framework of the liturgical year (a fact that has given modern scholarship a key to dating them with astonishing precision), the organ works can be used on many occasions. The work generally known as the Toccata and Fugue in D minor is one of the most famous of all organ compositions. Strictly speaking, it is not a toccata and fugue, because the fugue is embedded in the middle of the toccata and is, in any case, more an occasion for a new and varied texture than a thorough contrapuntal working-out. Scarcely a virtuoso organist doesn't warm up on some of its runs and turns and gigantic chords, much as horn players warm up on the Till Eulenspiegel theme. Bach was in his own lifetime renowned as an extraordinary organ virtuoso, and the toccata would give him every opportunity to show off both himself and his instrument. Leopold Stokowski was also an organist, and even as a small child with legs too short to reach the pedals, he managed to gain access to an organ in a church near his London neighborhood, through the good graces of a friend whose father was the sex- ton. As he grew tall enough to reach all the foot pedals, he played through all the organ works of Bach, whom he described as "my favorite composer always." As late as 1927 Stokowski told a group at the Curtis Institute in Philadelphia, "My teachers understood that I was in love with music and that I wouldn't go in for anything that made me hate it. They let me play Bach before I knew the key signatures or could name the chords." Though in the end he became a conductor — and one of the most extraordinary of the century— Stokowski never forgot his love of Bach. In those days Bach's music was known to few concertgoers. The cantatas were not part of anyone's musical expe- 27 Week 23 The Privileged Client. 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There were few recordings of any of his music, and fewer- performers who had any special interest in it. Bach remained the province of those who taught keyboard technique, for in that realm his influence never entirely disap- peared. Stokowski arranged a number of Bach's organ works for orchestra and intro- duced them in his concerts. The transcriptions made no attempt whatever to match the orchestral sound of Bach's day with the harmonic and thematic structures of his music; rather they reveled in brilliant, rich sonority (much as did Stokowski the con- ductor), and they were designed not as essays in scholarship but as a means to hook listeners on some great music. Purists have consistently attacked Stokowski for doing what he did, yet it is perhaps not merely an accident that many of Bach's works known to the general audience today are works that Stokowski arranged precisely with the goal of letting many people hear them. Probably more people have heard the D minor Toccata and Fugue in Stokowski's arrangement than have ever heard any other work by Bach in any form. That came about because the conductor happened to make the acquaintance of Walt Disney and persuaded him that the Disney studios could make a truly innovative animated motion picture with a musical score consisting of great music (under Stokowski's direction, of course). The result — after many years of discussion and debate — was Fantasia, in which the very first musical composition heard is Bach's mighty toccata. The story conference at the Disney studios, on November 8. 1938, must have been a wonder to behold: the stylish conductor describing Bach's work to Disney's executives and art- ists—few. if any of them, musicians — in such a way as to generate a visual image. He was convinced — and in the end, he persuaded Disney, too — that an abstract work by Bach could, if treated with sufficient care and a colorful approach, form the opening segment of a truly innovative film. Many musicians and scholars grumbled at Stokow- ski's "vulgarization" of Bach, but many thousands of people heard this soaring and energetic work for the first time because of it. As Leonard Liebling, a music critic who became a longtime friend of the conductor's, remarked, "He plays Bach as though he enjoys him and wishes his hearers to enjoy him too." -S.L. Leopold Stokowski 29 Week 23 ' Dover, Massachusetts Scarborough Beach, Maine "SOUTHGATE FARM"-60 ACRE ESTATE-30 ATLANTIC HOUSE - OCEANFRONT COMPOUND MINUTES BOSTON ON 24 ACRES OWNER FINANCING One of the last large, unrestricted estates in Dover. New England's finest beachfront compound is now its Includes a gracious brick manor house with indoor most successful. 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BARRETT & CO. 508/369-6453 Ten Post Office Square, Boston, Massachusetts 02109; (617) 723-1800 Ludwig van Beethoven Piano Concerto No. 1 in C, Opus 15 Ludwig van Beethoven was baptized in Bonn, Oer- l - many, on December 17, 1 770, and died in Vienna, ? Austria, on March 26, 1827. What we know as the First Piano Concerto was sketched 1795-96, com- pleted in 1 798 (three years after the work known as the Second Piano Concerto), and probably first per- : ' formed by Beethoven that year. Beethoven himself wrote three different cadenzas for the first movement later date, judging by | at a presumably after 1804, the range of keyboard required. The first American performance was given by the pianist Franz Werner with Frederic Ritter and the Philharmonic Society at the Music Hall in Cincinnati on March 19, 1857. Emit Paur conducted the first Boston Sym- phony performance in December 1895, with soloist Marie Geselschap. It has also been played at BSO concerts by pianists Robert Goldsand and Shirley Bagley (Serge Koussevitzky conducting); Leonard Bernstein (himself con- ducting); Ania Dorfmann and Sviatoslav Richter (Charles Munch); Claude Frank (Erich Leinsdorf); Rudolf Serkin and Jerome Lowenthal (Max Rudolf); Christoph Eschenbach (Seiji Ozawa); Misha Dichter (Michael Tilson Thomas); Claude Frank (Stanislaw Skrowaczewski); Emanuel Ax (Edo de Waart); and Malcolm Frager (Klaus Tennstedt), this list taking us through August 1980. Aside from a single subscription performance with Rudolf Serkin under Seiji Ozawa 's direction in October 1983, the orchestra's most recent subscription series was Erich Leinsdorfs, with soloist Claude Frank, in the fall of 1966. More recently, the orchestra has performed the concerto at Tanglewood: with soloists Justus Frantz (Christoph Eschenbach conducting); Christoph Eschenbach (himself conducting); Alfred Brendel (Hiroshi Wakasugi), and, at the most recent Tanglewood performance, in July 1989, Rudolf Firkusny, under the direction of Jesus Lopez-Cobos. The concerto is scored for solo piano with an orchestra of one flute, two each of oboes, clarinets, bassoons, horns, and trumpets, timpani, and strings. A composer who was also a virtuoso performer in the Classical era was much more likely to make a satisfactory' income from concertos that he wrote for himself to play than from any other musical genre (unless perhaps he had the good fortune to be a successful opera composer). In the early part of his career Beethoven composed more concertos than symphonies and became well-known to the musical public as a superbly dramatic and expressive pianist. If he had not lost his hearing — and thus been forced to forego playing in public — he might well have continued writing piano concertos all his life. (There is an unfinished draft for much of the first movement of what would have been the Sixth Concerto, written after the completion of the Emperor, but Beethoven lost interest and dropped it.) Actually Beethoven had already written at least two piano concertos before writing "Number 1." The first was composed in 1784 while he was still in Bonn and was never published. About 1795 he composed the B-flat concerto in Vienna and played it fairly frequently. Probably because performances were a reasonable source of income (and perhaps also because he was not totally satisfied with the work — he revised it substantially before publication) Beethoven withheld this concerto from the publishers for a number of years. As a result it finally came out as his Second Concerto, Opus 19, although there is no doubt that it was composed some years before the so-called First Concerto, Opus 15. The First Concerto, in C major, also proved financially remunerative to Beethoven. 31 Week 23 Only you can help the pieces fall into place. The BSO started the 1989-1990 season thereby weakening the Orchestras long- with a $10 million difference between what term financial foundation. we will earn— and what we must spend to Your generous gift will help us fund make our music. What is more, our annual outreach, educational and youth programs, grant support from the Massachusetts and attract the worlds finest musicians and Council on the Arts and Humanities has guest artists. been severely reduced due to state budget Become a Friend of the Boston cuts. Unless these funds are found else- Symphony Orchestra today. This year, where, continuing all current programs will more than ever, only you can help the result in reductions in our endowment, pieces fall into place. Yes, I want to help keep great music alive. I'd like to become a Friend of the BSO for the 1989-1990 season. (Friends' benefits begin at $50. ) Enclosed is my check for $ payable to the Boston Symphony Annual Fund Name Phone- Address. City State- Zip. Please send your contribution to: Susan E. Tomlin, Director of Annual Giving, Boston Symphony Orchestra, Symphony Hall, Boston, MA 02115. (617) 266-1492. KEEP GREAT MUSIC ALIVE L J . . He composed it about 1798 and played it in Prague that year. It marks a significant advance over its predecessor and was published almost immediately; perhaps it was the success of the C major concerto that induced Beethoven to rework the earlier B-flat concerto and make it publishable, although even after doing so he referred to it as an early work which "is not one of my best compositions." Beethoven felt — and critics have agreed with him — that he made significant progress between the B-flat and the C major concertos, and he was concerned that the higher opus number attached to the earlier work would give the public an unfavorable impression of his music. The Opus 15 concerto follows closely in the classical mold with an extended orches- tral exposition that remains in the tonic key (though with surprising feints to foreign tonalities, the first of which is E-flat). The soloist enters and dominates the conversa- tion, moving to the dominant for the first full statement of the lyrical second theme (which had been little more than hinted at in the orchestral statement). The develop- ment starts with a sudden upward sidestepping that leads to an extended passage in E-flat (an echo of the unexpected earlier appearance of that key). The concerto opened with an unusual quiet statement of the main theme; wiien time comes for the recapitulation, the element of surprise is no longer relevant, so Beethoven hamnmers out the theme fortissimo in the full orchestra, after which the recapitulation deals mostly with the secondary material. Beethoven himself wrote no fewer than three cadenzas for the first movement, each more elaborate than the one that preceded it. All of them were wTitten some years after the completion of the concerto; this is indi- cated by the fact that they wrere intended to be played on a piano of larger size then the one Beethoven had wiien he wrote the rest of the piece. (The piano was a develop- ing instrument at the turn of the eighteenth to nineteenth century, and, in particular, keyboards wT ere not yet standardized for the number of keys.) The Largo is the longest slowT movement to be found in any Beethoven concerto, an extended lyrical song-form with increasingly elaborate ornamentation. The rondo, built on a witty, bouncy tune that goes on just a bit longer than you think it will, is filled with all the standard rondo tricks: the suggestion of modulations to distant keys wThen it is in fact just about to settle on the tonic for a restatement, offbeat sforzan- dos and syncopations, rushing scales and a breakneck pace. Though the movement is long in number of measures, the music doesn't lose its smile for an instant. -S.L. ® If it's formal . CAREY we present LIMOUSINE the • CHAUFFEUR DRIVEN SEDANS, classics, VANS AND LIMOUSINES too! FOR ALL OCCASIONS • EXECUTIVE SERVICE Est. 1924 623-8700 24 HR. SERVICE/BOSTON AREA A&A LIMOUSINE RENTING INC. 161 BROADWAY—SOMERVILLE, MA SERVICE IN 300 CITIES • 60 COUNTRIES • 6 CONTINENTS MAJOR CREDIT CARDS ACCEPTED NATIONWIDE 1-800-336-4646 33 aa Atom:, ,4‘fcri/tx-rfiit-,dieeifr/-- 6/40PA-orszi, More . . . Stravinsky is without any doubt the best-documented composer of the twentieth cen- tury. Eric Walter White has produced a catalogue of his output with analyses of every work, prefaced by a short biography, in Stravinsky: The Composer and his Works (Uni- versity of California). The most convenient brief survey of his life and works is the volume by Francis Routh in the Master Musicians series (Littlefield paperback), though it suffers from the standardized format of the series, which deals with the works by genre in individual chapters, since Stravinsky's development often involved work on several different types of music in close proximity. The large, richly illus- trated volume by Vera Stravinsky and Robert Craft, Stravinsky in Pictures and Docu- ments (Simon and Schuster), is indispensable and fascinating, even though incomplete and ill-digested, a cornucopia of material, but confusingly organized, with a wealth of detail (often more than one can usefully assimilate) about some subjects while skim- ming over others. There is no currently available recording of Stravinsky's version of the Canonic Variations on Vom Himmel hoch, but Seiji Ozawa, the Boston Symphony Orchestra, and the Tanglewood Festival Chorus are recording it for Philips, for an album of Bach arrangements and transcriptions further described below. The revolution (no tamer word will suffice) in our knowledge of Bach's creative activity due to the researches of Alfred Diirr and Georg von Dadelsen (and a host of other scholars after them) has left any study of Bach more than forty years old hope- lessly out of date, including, unfortunately, the standard Schmieder catalogue of Bach's works, from which we get our BWV numbers. The best compact but thorough introduction to Bach's life and works is found in the superb article in The New Grove (by Walter Emery and Christoph Wolff), which has been reissued as a single volume (Norton paperback). The other most easily available general treatment that takes into account most of the new research is Karl Geiringer's Johann Sebastian Bach: Culmi- nation of an Era (Oxford), though even that has been overtaken by later scholarship. The basic documents of Bach's life are conveniently available in English translation in The Bach Reader, edited by Arthur Mendel and Hans T. David (Norton paperback). The Canonic Variations on Vom Himmel hoch can be heard in its original form, for organ solo, as part of a Bach program performed by Anthony Newman (Newport Classic). The Toccata and Fugue in D minor is among the most frequently recorded of all Bach's organ works. Recommended performances — each one part of an entire program of Bach selections — include those of Daniel Chorzempa (Philips), Anton Heiner (Vanguard), Ton Koopman (DG), Marie-Claire Main (Erato), and E. Power Biggs (CBS). Leopold Stokowski has been the subject of a number of biographies — including good ones by Abram Chasins (Leopold Stokowski: A Profile) and Oliver Daniel (Leopold Stokowski: A Counterpoint of View) —but these have little to do with his orchestral arrangements and naturally concentrate on his remarkable gifts as conduc- tor, program planner, supporter of new music, and recording artist. Nine of Stokow- ski's arrangements, including that of Bach's Toccata and Fugue in D minor, are cur- rently available in a recording by the Cincinnati Pops Orchestra under the direction of Erich Kunzel (Telarc; the other composers represented are Boccherini, Debussy, Beethoven, Albeniz, Rachmaninoff, and Mussorgsky). Seiji Ozawa and the Boston Symphony Orchestra will record Stokowski's transcription of the D minor Toccata for Philips records, for future release on an album of Bach orchestrations by a diverse group of arrangers also including Arnold Schoenberg and Hideo Saito. The best place to start reading about Gustav Mahler is Paul Banks's superbly insightful article in The New Grove Dictionary of Music and Musicians; it has been reissued in paperback, along with the Grove articles on Janiteek, Richard Strauss, and Sibelius, in The New Grove Turn of the Century Masters. Next, a little larger, is the splendid short study by Michael Kennedy in the Master Musicians series (Littlefield 35 Week 23 paperback). Going by increasing size, we conic to Kurt Blaukopfs biography, a read- able journalistic account (London), and ECgOU Gartenberg's, which is especially *rood on the Viennese milieu if somewhat trivial on the music (Schirmer paperback). Henry- Louis de La Grange's Mahler (Doubleday) is an extremely detailed biographical study. Only one volume has been published in English yet, although the second and third volumes are out in the original French. It will be the standard biographical study for many years. Donald Mitchell's perceptive and detailed study of the music now runs to three volumes, with a fourth yet to come; the series consists of Gustav Mahler: The Early Years, Qustav Mahler. The Wunderhorn Years, and Guslar Mahler: Songs and Symphonies of Death (California; the second volume is available in paperback). The extremely detailed study is informed by a strong musical intelligence. Alma Mahler's autobiography And the Bridge Is Love (Harcourt Brace Jovanovich) and her Gustav Mahler: Memories and Letters (University of Washington paperback) offer essential source material, but they must be treated with caution and considerable skepticism. The most recent edition of the latter book provides important corrections by Donald Mitchell and Knud Martner. Martner has edited Gustav Mahler: Selected Letters (Far- rar, Straus and Giroux), which contains all of the letters published earlier in Alma Mahler's less than reliable collection plus a good many more, though it is still a far David & Company Graduate Gemologist Sellers Buyers ol Fine Jewel • precious stones • estate jewelry ^^^ & r> diamonds A pair of platinum handmade earrings set with rare matched heart-shaped Colombian emeralds, approximately 3 carats total weight, surrounded by 2.50 carats of gem white diamonds $15,000.°° Subject to prior sale Visit us at our new location. 180 Linden Street, Wellesley, MA 02181 617-235-5139 800-DAVIDCO FAX 617-235-7683 36 cry from the complete edition of Mahler letters we need. Seiji Ozawa and the Boston Symphony Orchestra are recording the Adagio from Mahler's Tenth at these perform- ances for their continuing Mahler cycle for Philips. Most other available performances are of the Adagio only, though Riccardo Chailly has recorded Deryck Cooke's per- forming version with the Berlin Radio Symphony Orchestra (London, two CDs. cou- pled with Schoenberg's Verklarte Nacht), as has Simon Rattle with the Bournemouth Symphony Orchestra (Angel, two CDs, coupled with Schoenberg's orchestration of Brahms's Piano Quartet in G minor), the latter having the advantage of Cooke's final revisions. Other notable performances of the Adagio include those of Leonard Bern- stein with the New York Philharmonic (CBS, three CDs, coupled with Mahler's Sev- enth and Ninth), Claudio Abbado and the Vienna Philharmonic (DG, two CDs, cou- pled with the Ninth), and Klaus Tennstedt with the London Philharmonic (Angel, two CDs, coupled with the Fifth Symphony). The excellent Beethoven article by Alan Tyson and Joseph Kerman in The New Grove Dictionary of Music and Musicians is a short book in itself, and it has been reissued as such (Norton paperback). The standard Beethoven biography is Thayer's Life of Beethoven, written in the nineteenth century but revised and updated by Elliot THE NEXT HOROWITZ NEEDS Dinner at 6. YOUR PIANO Symphony at 8. Why not consider a tax $ Parking at 5. deductible gift to New England Conservatory? Make dinner at Boodle's part of your night out at the Symphony. When you do, you'll not only enjoy an award winning dining experi- ence from Boston's authentic grill, For further you'll also get special parking information please privileges at the Back Bay Hilton's call (617)262-1120, private garage. ext. 426. Just show us your tickets at dinner on the night of the performance and park your car for just $5. And with a deal like that, a night at the Symphony never sounded better. BOODLE'S OF • BOSTON An Authentic Grill Lunch and dinner daily. In Bostons Back Bay Hilton. Phone (617) BOODLES. 37 7* * * s h* * v*\* * * * * .^ % «» Providers of Quality Long-Term Nursing Care and Rehabilitative Services *^.vix-" Cape Heritage sandwich ma 508-888-8222 Cape Regency centerville ma 508-778-1835 Easton Lincoln north easton ma 508-238-7053 % Laeayette north kingstown ri 401-295-8816 N <* ^ ^ V^ y j Mayflower r plymouth ma 508-746-4343 * %J\ * northbridge northbridge ma 508-234-4641 northwood lowell ma 508-458-8773 * * Oakwood newport ri 401-849-6600 South County north kingstown ri 401-294-4545 * * woodlawn everett ma 617-387-6560 MANAGED FOR AMERICAN HEALTH FOUNDATION » * */* * * *s" *l* *s+ * <* * * 9 /\ *•* Forbes (Princeton, available in paperback). It has been supplemented by Maynard Solomon's Beethoven, which makes informed and thoughtful use of the dangerous techniques of psychohistory to produce one of the most interesting of all the hundreds of Beethoven books (Schirmer, available in paperback). Tovey's essay on the First Concerto can be found in Essays in Musical Analysis (Oxford), and Roger Fiske has contributed a short volume on Beethoven Concertos and Overtures to the BBC Music Guides (University of Washington paperback). Alfred Brendel has recorded Beetho- ven's Piano Concerto No. 1 with the Chicago Symphony Orchestra under the direction of James Levine (either on a single disc with the Second Concerto, or in a three-CD set of all five concertos recorded "live"). Seiji Ozawa and the Boston Symphony Orchestra have recorded the C major concerto with soloist Rudolf Serkin (Telarc, available on a single LP with the Concerto No. 2, or in a three-CD box including all five piano concertos and the Choral Fantasy). Arthur Rubinstein's performance with the Boston Symphony Orchestra under the direction of Erich Leinsdorf has been reis- sued on compact disc (RCA, coupled with the Moonlight Sonata). Other recordings of interest include Leon Fleisher's with the Cleveland Orchestra under the direction of George Szell (CBS Masterworks, in a three-disc set of the five Beethoven concertos plus Mozart's Piano Concerto No. 25), and, all paired with the Piano Concerto No. 2, Claudio Arrau's with the Dresden State Orchestra conducted by Sir Colin Davis (Philips), Murray Perahia's with the Concertgebouw Orchestra under Bernard Hai- tink (CBS), and Artur Schnabel's with the London Symphony under Sir Malcolm Sar- gent (Arabesque). For a recording on period instruments, there is Melvyn Tan's read- ing with the London Classical Players conducted by Roger Norrington (Angel). -S.L. THE WORLD'S LARGEST RECORD STORE IS WALKING DISTANCE FROM SYMPHONY HALL Tower Records has the largest selection of classical recordings in a department with its own sound environment. 1QIMMC«™OPEN TIL MIDNIGHT TO SERVE YOU! BOSTON gg Mass. Ave. At Newbury In Back Bay Above Auditorium T Stop on the Greenline 39 OFFICERS H. GILMAN NICHOLS President JOHN L. THORNDIKE JOHN W. COBB DANIEL A. PHILLIPS JOHN M.MEYER ROBERT N. KARELITZ JONATHAN R. PHILLIPS EDWARD P. THOMPSON RICHARD W STOKES GEORGE BLAGDEN LAURA N. RIGSBY JOHN F. WINCHESTER FREDERICK D. HOLTON SUSAN R. GUNDERSON i CHARLES R. EDDY, JR. GEORGE L. GRAY DOUGLAS R. SMITH-PETERSEN CHARLES C.J. PLATT FREDERIC C. R. STEWARD ANTHONY B. BOVA WILLIAM O'KEEFE J. FRANK WOODARD III JAMES J. ROCHE © ARTHUR C.PICKETT JONATHAN B. LORING NATALIE R. DUNHAM DENISE CRONIN ALTON L. CIRIELLO, JR. J. BRIAN POTTS JAMES G. NULAND, JR. MARY JANE SMITH NANCY B. SMITH ELLEN COPE-FLANAGAN DONALD P. 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Alfred Brendel Alfred Brendel's globe-spanning tour from January 1987 to the fall of 1988, a tribute to the piano works from the last Y six years of Schubert's life, was his third international tour | dedicated to the works of one composer. He has performed all five Beethoven concertos and given recitals of the com- plete Beethoven piano sonatas, including a seven-part series at Carnegie Hall and in eleven European cities. As part of his North American tour during the current season, he per- forms concertos by Beethoven, Brahms, and Mozart with leading American orchestras. His current Boston Symphony 4HH engagement is his fifth with the orchestra: he made his BSO debut on subscription concerts in February 1979 and has since appeared at Tangle- wood in 1982, 1986, and 1987. Also this season he appears for the fourth time with the New York Philharmonic and performs for the fifth time with the Cleveland Orchestra. He also performs again with the Philadelphia Orchestra and the Baltimore Symphony for the first time in many years. Last season Mr. Brendel joined the Orpheus Chamber Orchestra in two performances in Carnegie Hall, in Boston, Mon- treal, Chicago, and Iowa City, and appeared on the campuses of Cornell and Prince- ton universities. Solo recitals last season took him to Ottawa, Saint Paul, and Car- negie Hall. Born in Austria, Alfred Brendel began piano lessons when he was six; as a teenager he showed his artistic talents in the areas of painting and composition as well as in music. When he made his recital debut at seventeen, an art gallery near the concert hall was showing a one-man exhibition of his watercolors. He studied piano with Edwin Fischer, Paul Baumgartner, and Edward Steuermann. A prize in the Busoni Competition gave impetus to his decision to pursue a career in performance. Mr. Brendel is among the world's most recorded pianists. He was the first to record Beethoven's complete piano works and was awarded France's Grand Prix du Disque for his six-volume, thirty-six-side performance. Now recording exclusively for Philips, he has recorded the late piano works of Liszt and Schumann, the piano concertos of Mozart and Brahms, and works of Bach, Haydn, Schumann, and Schubert. With Dietrich Fischer-Dieskau he has recorded Schubert's Schwanengesang and Winterreise and Schumann's Dichterliebe. His 1983 recording of the complete Beethoven concer- tos, recorded live with the Chicago Symphony Orchestra under James Levine, has won four international awards, including the Deutsche Schallplattenpreis and the Grand Prix du Disque. This recording was also voted Concerto Recording of the Year and given the Production/Engineering Award in the 1985 Ovation Record Awards. Mr. Brendel's interests include literature, language, architecture, and films. His book of essays, "Musical Thoughts and Afterthoughts," has enjoyed much success on both sides of the Atlantic. 41 Tanglewood Festival Chorus John Oliver, Conductor Celebrating its twentieth anniversary this season, the Tan- glewood Festival Chorus was organized in the spring of 1970 when founding conductor John Oliver became director of vocal and choral activities at the Tanglewood Music Cen- ter. Co-sponsored by the Tanglewood Music Center and Bos- ton University, and originally formed for performances at the Boston Symphony^ s summer home, the chorus was soon playing a major role in the orchestra's Symphony Hall sea- son as well. Now the official chorus of the Boston Symphony Orchestra, the Tanglewood Festival Chorus is made up of members who donate their services, performing in Boston, New York, and at Tanglewood, and working with Music Director Seiji Ozawa, John Williams and the Boston Pops, and such prominent guests as Leonard Bernstein, Kurt Masur, and Charles Dutoit. Noteworthy recent performances have included the world premiere of Sir Michael Tippett's The Mask of Time under Sir Colin Davis in April 1984, the American premiere of excerpts from Olivier Messiaen's opera St. Francis of Assisi under Seiji Ozawa in April 1986, and the world premiere in April V-* 1987 of Donald Martino's The White Island, a Boston Symphony Orchestra centennial commission, performed at a special Symphony Hall concert under John Oliver's direc- tion. More recently, the chorus participated in performances under Seiji Ozawa's direction of Richard Strauss's Elektra, with Hildegard Behrens in the title role, in Boston, New York, and at Tanglewood. The Tanglewood Festival Chorus has collaborated with Seiji Ozawa and the Boston Symphony Orchestra on numerous recordings, beginning with Berlioz's The Damna- tion of Faust for Deutsche Grammophon, a 1975 Grammy nominee for best choral performance. An album of a cappella twentieth-century American music, recorded at the invitation of Deutsche Grammophon, was a 1979 Grammy nominee. Recordings with Mr. Ozawa and the orchestra available on compact disc also include Strauss's Elektra, Schoenberg's Gurrelieder, Mahler's Symphony No. 8, the Symphony of a Thousand, and Mahler's Symphony No. 2, Resurrection, on Philips, and Beethoven's Choral Fantasy with pianist Rudolf Serkin, on Telarc. The chorus has also recorded Poulenc's Stabat Mater and Gloria with Mr. Ozawa, the orchestra, and soprano Kath- leen Battle for Deutsche Grammophon. The chorus may also be heard in Debussy's La Damoiselle elue with the orchestra and mezzo-soprano Frederica von Stade on CBS, on the Philips album "We Wish You a Merry Christmas" with John Williams and the Boston Pops, and on a Nonesuch recording of music by Luigi Dallapiccola and Kurt Weill conducted by John Oliver. In addition to his work with the Tanglewood Festival Chorus, John Oliver is con- ductor of the MIT Choral Society, a senior lecturer in music at MIT, and conductor of the John Oliver Chorale, now in its thirteenth season. The Chorale gives an annual concert series in Boston and has recorded for Northeastern and New World records. Mr. Oliver made his Boston Symphony Orchestra conducting debut at Tanglewood in 1985 and led performances of Bach's B minor Mass at Symphony Hall in December that year. The Tanglewood Festival Chorus, John Oliver, conductor, was recently chosen to help close a month-long International Choral Festival that took place in and around Toronto, Canada, throughout June 1989. The chorus presented an afternoon concert of music by Tallis, Ives, Brahms, and Gabrieli under John Oliver's direction on Fri- day, June 30, and participated in the festival's closing performance— Verdi's Requiem with the Toronto Symphony under the direction of Charles Dutoit — that same evening. 42 Tanglewood Festival Chorus John Oliver, Conductor Sopranos Barbara Clemens James R. Kauffrnan Diane Droste David R. Pickett Michele M. Bergonzi Evelyn E. Kern David Raish Mary A.V. Crimmins Paula Folkman Christine P. Duquette Basses April Merriam Cheri E. Hancock Beth Taylor Eddie Andrews Lilian M. LeBlanc Dianne Terp Kirk H. Chao Sarah Jane Liberman Christina Wallace James W. Courtemanche Barbara S. MacDonald Edward E. Dahl Jan Elizabeth Norvelle Tenors Mark L. Haberman Anne Peckham John C. Barr Derrick A. Johnson Charlotte Russell William A. Bridges, Jr. David K. Lones Lisa Saunier David J. Deschamps Gregory Mancusi-Ungaro Genevieve Schmidt Michael P. Gallagher Joseph A. Oravecz Mezzo-sopranos George W. Harper Timothy Shetler John W. Hickman Maisy Bennett Richard P. Howell Clarissa Botsford Frank Corliss, Rehearsal Pianist Virginia Hecker, Manager For rates and information on BOSTON advertising in the SYMPHONY Boston Symphony, Boston Pops, ORCHESTRA SEIJI OZAWA and Music Director jJJT / t Tanglewood program books please contact: OT^ STEVE GANAK AD REPS 51 CHURCH STREET (617)-542-6913 BOSTON, MASS. 02116 43 Business/Professional Leadership Program BUSINESS The Boston Symphony Orchestra wishes to acknowledge this distinguished group of corporations and professional organizations for their outstanding and exemplary response in support of the orchestra's needs during the past or current fiscal year. Corporate Underwriters ($25,000 and above) Bank of Boston Country Curtains and The Red Lion Inn General Electric Plastics Business Group BSO Single Concert Sponsors Bank of New England Corporation Opening Night at Symphony Bay Banks, Inc. Opening Night at Pops NYNEX Corporation, WCVB-TV, Channel 5 Boston and WCRB 102.5 FM Salute to Symphony 1989 NEC Corporation and NEC Deutschland GmbH Boston Symphony Orchestra European Tour Boston Symphony Orchestra Asian Tour MCI Boston Pops Esplanade Orchestra National Tour Digital Equipment Corporation Boston Pops Orchestra Public Television Broadcasts Pepsi-Cola Bottlers of New England Boston Pops Esplanade Orchestra, Esplanade Concerts TDK Electronics Corporation Tanglewood Tickets for Children Suntory Limited BSO recording of Elektra For information on these and other corporate funding opportunities, contact Madelyne Cuddeback, BSO Director of Corporate Development, Symphony Hall, Boston, MA 02115, (617) 266-1492. 44 1989-90 Business Honor Roll ($10,000 and Above) Advanced Management Associates The Gillette Company Harvey Chet Krentzman Colman M. Mockler, Jr. Analog Devices, Inc. Grafacon, Inc. Ray Stata H. Wayman Rogers, Jr. AT&T GTE Products Corporation Robert Babbitt Dean T. Langford Bank of Boston Hill, Holliday, Connors, Cosmopuios, Inc. Ira Stepanian Jack Connors, Jr. Bank of New England Corporation The Henley Group Walter J. Connolly Paul M. Montrone BayBanks, Inc. Hewlett Packard Company William M. Crozier, Jr. Ben L. Holmes Bolt Beranek & Newman Houghton Mifflin Company Stephen R. Levy Harold T. Miller The Boston Company IBM Corporation George W. Phillips Paul J. Palmer The Boston Consulting Group John Hancock Mutual Life Insurance Company Jonathan L. Isaacs E. James Morton Boston Edison Company Stephen J. Sweeney Jordan Marsh Company Richard F. Van Pelt The Boston Globe William 0. Taylor The Lafayette Hotel Liam Madden Boston Herald Patrick J. Purcell Liberty Mutual Insurance Group Gary L. Countryman Bull, Worldwide Information Systems Roland Pampel Loomis-Sayles & Company, Inc. Peter G. Harwood Connell Limited Partnership William F. Connell MCI Nathan Kantor Coopers & Lybrand Vincent M. O'Reilly McKinsey & Company Country Curtains Robert P. O'Block Jane P. Fitzpatrick Morse Shoe, Inc. Creative Gourmets, Ltd. Manuel Rosenberg Stephen E. Elmont NEC Corporation Deloitte, Haskins & Sells Atsuyoshi Ouchi Mario Umana NEC Deutschland GmbH Digital Equipment Corporation Masao Takahashi Kenneth H. Olsen The New England Dynatech Corporation Edward E. Phillips J. P. Barger New England Telephone Company Eastern Enterprises Paul C. O'Brien Robert W. Weinig Northern Telecom, Inc. Ernst & Whinney John Craig Thomas M. Lankford Nynex Corporation Fidelity Investments/ Delbert C. Staley Fidelity Foundation PaineWebber, Inc. General Cinema Corporation James F. Cleary Richard A. Smith Peat Marwick Main & Co. General Electric Plastics Robert D. Happ Glen H. Hiner 1989-90 Business Honor Roll (continued) Pepsi-Cola Bottlers of New England The Stop & Shop Companies, Inc Pepsi Cola — East Avram J. Goldberg Michael K. Lorelli Suntory Limited Prudential-Bache Securities Keizo Saji David F. Remington TDK Electronics Corporation R&D Electrical Company, Inc. Takashi Tsujii Richard D. Pedone USTrust Raytheon Company James V. Sidell Thomas L. Phillips WCRB-102.5 FM The Red Lion Inn Richard L. Kaye John H. Fitzpatrick WCVB-TV, Channel 5 Boston Shawmut Bank, N.A. S. James Coppersmith State Street Bank & Trust Company William S. Edgerly 46 The Boston Symphony Orchestra gratefully acknowledges these Business and Professional Leadership Program members for their generous and valuable support totaling $1,250 and I above during the past fiscal year. Names which are both capitalized and underscored in the Business Leaders listing comprise the Business Honor Roll denoting support of $10,000 and above. Capitalization denotes support of $5,000-$9,999, and an asterisk indicates support of $2,500-$4,999. Business Leaders ($1,250 and above) Accountants J.N. Phillips Glass Company, Inc. Lee Kennedy Co., Inc. Norman S. Rosenfield Lee M. Kennedy ARTHUR ANDERSEN & CO. William F. Meagher Banking •National Lumber Company ARTHUR YOUNG & COMPANY BANK OF BOSTON Louis L. Kaitz Thomas P. McDermott Ira Stepanian PERINI CORPORATION David B. Perini Charles E. DiPesa & Company BANK OF NEW ENGLAND William F. DiPesa CORPORATION Consumer Goods/Distributors Walter J. Connolly COOPERS & LYBRAND •Barter Connections BAYBANKS, INC. Vincent M. O'Reilly Kenneth C. Barron William M. Crozier, Jr. DELOITTE, HASKJNS & SELLS FAIRWINDS GOURMET COFFEE Mario Umana THE BOSTON COMPANY COMPANY George W. Phillips ERNST & WHINNEY Michael J. Sullivan Cambridge Trust Company Thomas M. Lankford John Gilbert Jr. Co. Lewis H. Clark PEAT MARWICK Michael Facendola MAIN & CO. Chase Manhattan Bank PEPSI-COLA BOTTLERS Robert D. Happ John McCullough OF NEW ENGLAND PRICE WATERHOUSE CITICORP/CITIBANK PEPSI COLA -EAST Kenton J. Sicchitano Walter E. Mercer Michael K. Lorelli •Theodore S. Samet & Company *First Mutual of Boston SUNTORY LIMITED Theodore S. Samet Keith G. Willoughby Keizo Saji Tofias, Fleishman, First National Bank of Chicago Education Robert E. Gallery Shapiro & Co., P.C. BENTLEY COLLEGE Allan Tofias *GE Capital Corporate Finance Group Gregory Adamian Richard A. Goglia Advertising/Public Relations Electrical/HVAC •Rockland Trust Company Advertising *Cabot L. Electrical John F. Spence, Jr. Rudolph Company, Inc. William II. Monaghan Louis Rudolph BANK, N.A. DELLA FEMINA, MCNAMEE SHAWMUT John P. Hamill *p.h. mechanical Corporation WCRS, INC. Paul A. Hayes Michael H. Reingold STATE STREET BANK & TRUST COMPANY R&D ELECTRICAL COMPANY, INC. HILL, HOLLIDAY, CONNORS, William S. Edgerly Richard D. Pedone COSMOPULOS, INC. The Reflex Lighting Group Jack Connors, Jr. USTRUST James V. Sidell Paul D. Mustone Aerospace Wainwright Bank & Trust Company Electronics •Northrop Corporation John M. Plukas Alden Electronics, Inc. Thomas V. Jones Workingmens Co-operative Bank John M. Alden Antiques/Coin Dealers John E. McDonald •Analytical Systems The Great American Coin Company Building/Contracting Engineering Corporation Michael B. Rukin Bertram M. Cohen *A.J. Lane & Company Andrew J. Lane Lucas Epsco, Inc. Architects Wayne P. Coffin Bond Bros., Inc. ADD INC. ARCHITECTS Edward A. Bond, Jr. •The Mitre Corporation Philip M. Briggs Charles A. Zraket Chain Construction Corporation •LEA Group Howard J. Mintz PARLEX CORPORATION Eugene R. Eisenberg Herbert W. Pollack •Harvey Industries, Inc. ,utomotive/Service Frederick Bigony Energy GANS TIRE COMPANY, INC. Mass. Electric Construction Company CABOT CORPORATION David Gans Francis Angino Samuel W. Bodman 47 eet your own high M expectations. Quality performance and personal excellence have been the expectation at The Williston Northampton School for 150 years. THF Please send me a catalog and videotape. WILLISTON NORTHAMPTON SCHOOL Name 19PaysonAve. Box 300 Street Easthampton, MA 01027 413/527-1520 FAX: 413/527-9494 City State Zip you are cordially invited to sample our Symphony Menu at 'The Cafe Promenade ~3ho oionna III Ill 1 N 7or Reservations Call, 61 7-424- 7000 Reduced parking rates when dining at The Colonnade for Symphony Patrons. tPjiP The Colonnade Hotel is located at 120 Huntington Avenue, 'Boston 48 Engineering The Rockport Corporation DIGITAL EQUIPMENT Anthony Tiberii CORPORATION Goldberg-Zoino & Associates, Inc. Kenneth II. Olsen Donald T. Goldberg THE STRIDE RITE CORPORATION Arnold S. Hiatt ( 'OKPO Stone & Webster Engineering DYNATECH RATION J. P. Barger Corporation Furnishings/Housewares Philip Garfinkel ARLEY MERCHANDISE EG&G, INC. The Thompson & Lichtner CORPORATION Dean W. Freed Company, Inc. David I. Riemer General Eastern Instruments Oo. John D. Stelling Barton Brass Associates Pieter R. Wiederhold Barton Brass HELIX TECHNOLOGY Entertainment/Media BBF Corporation CORPORATION GENERAL CINEMA Boruch B. Frusztajer Robert J. Lepofsky CORPORATION Corona Curtain THE HENLEY GROUP Richard A. Smith Manufacturing Co., Inc. Paul M. Montrone National Amusements, Inc. Paul Sheiber HEWLETT-PACKARD COMPANY Sumner M. Redstone COUNTRY CURTAINS Ben L. Holmes Jane P. Fitzpatrick IBM CORPORATION Finance/Venture Capital Jofran Sales, Inc. Paul J. Palmer Robert D. Roy *3i Corporation Instron Corporation Ivan N. Momtchiloff Graphic Design Harold Hindman Carson Limited Partnership *Clark/Linsky Design *Intermetrics Inc. Herbert Carver Robert H. Linsky Joseph A. Saponaro FARRELL, HEALER & LABEL ART IONICS, INC. COMPANY, INC. Thomas Cobery Arthur L. Goldstein Richard A. Farrell, Jr. High Technology/Electronics Loral Hycor, Inc. THE FIRST BOSTON Joseph Hyman CORPORATION Alden Products Company Betsy Alden *M/A-Com, Inc. Malcolm MacColl Thomas F. Burke ANALOG DEVICES, INC. Ray Stata MASSCOMP Food Service/Industry Richard A. Phillips *Apollo Computer, Inc. •Boston Showcase Company Thomas A. Vanderslice MILLIPORE CORPORATION Jason E. Starr John A. Gil martin *Aritech Corp. The Catered Affair James A. Synk NEC CORPORATION Holly P. Safford Atsuyoshi Ouchi AUGAT, INC. Cordel Associates, Inc. Marcel P. Joseph NEC DEUTSCHLAND GmbH James B. Hangstefer Masao Takahashi Automatic Data Processing Cookies Cookin Arthur S. Kranseler *Orion Research, Inc. Glen Bornstein Alexander Jenkins III *Bachman Information Systems CREATrVE GOURMETS, LTD. Arnold Kraft PRIME COMPUTER, INC. Stephen E. Elmont BOLT BERANEK AND Russell Planitzer daka, Inc. NEWMAN, INC. RAYTHEON COMPANY Allen R. Maxwell Stephen R. Levy Thomas L. Phillips Gourmet Caterers BULL, WORLDWIDE SofTech, Inc. Robert A. Wiggins INFORMATION SYSTEMS Justus Lowe, Jr. Roland Pampel *TASC Footwear Cerberus Technologies, Inc. Arthur Gelb Converse, Inc. George J. Grabowski TDK ELECTRONICS Gilbert Ford Computer Power Group CORPORATION J. Baker, Inc. of America Takashi Tsujii Sherman N. Baker David L. Chapman TERADYNE INC. JONES & VTNING, INC. Costar Corporation Alexander V. d'Arbeloff Sven A. Vaule, Jr. Otto Morningstar THERMO ELECTRON MORSE SHOE, INC. CSC PARTNERS, INC. CORPORATION Manuel Rosenberg Paul J. Crowley George N. Hatsopoulos 49 Hotels/Restaura nts FRANK B. HALL & CO. OF MORGAN STANLEY & COMPANY 57 Park Plaza Hotel MASSACHUSETTS, INC. INC. William F. Ncwdl La/.li i Nicholas L. Yimos John *Fred S. James Company *Back Bay Hilton & of PAINEWEBBER, INC England, Inc. William Morton New James F. Cleary P. Joseph McCarthy The Bostoman Hotel SALOMON BROTHERS, INC. * International Insurance Group Sherif Timothy P. Kirwan A. Nada Perkins John * * Boston Copley Marriott Hotel State Street Development Company *The J. Peter Lyons Company John R. Gallagher III Jmgen Qioabort J. Peter Lyons TUCKER ANTHONY, INC. ( Safe Amalfi Patricia Nee JOHN HANCOCK MUTUAL John Goldsmith LIFE INSURANCE COMPANY Restaurant WOODSTOCK CORPORATION Christo'a E. James Morton Christopher Tsaganis Nelson J. Darling, Jr. *Johnson & Higgins of Fynn's Massachusetts, Inc. James Dunn Robert A. Cameron Legal THE i^afayette HOTEL * Keystone Provident Life BINGHAM, DANA & GOULD Liam Madden Insurance Company Everett H. Parker THE RED LION INN Robert G. Sharp *Choate, Hall & Stewart John H. Fitzpatrick LIBERTY MUTUAL INSURANCE Allen M. Bornheimer *The Ritz-Carlton, Boston GROUP Robert S. Frank, Jr. Sigi Brauer Gary L. Countryman Dickerman Law Offices * Sheraton Boston Hotel & Towers THE NEW ENGLAND Lola Dickerman Steve Foster Edward E. Phillips FISH & RICHARDSON *Sonesta International Robert D. Gordon Adjusters, Inc. Robert E. Hillman Hotels Corporation Robert D. Gordon *Gadsby & Hannah Paul Sonnabend SAFETY INSURANCE COMPANY Jeffrey P. Somers St. Richard B. Simches Botolph's Restaurant GOLDSTEIN & MANELLO John Harris Sullivan Risk Management Group Richard J. Snyder John H. Sullivan Industrial Distributors GOODWIN, PROCTER AND HOAR *Sun Life Assurance Company Robert B. Fraser Admiral Metals Servicenter of Canada Hubbard & Ferris Company Marcelle W. Farrington Charles A. Maxwell Burstein Hubbard ALLES CORPORATION Joyce & Joyce Investments Thomas J. Joyce Stephen S. Berman AMDURA NATIONAL Baring America Asset Management *Lynch, Brewer, Hoffman & Sands DISTRIBUTION COMPANY Company, Inc. Owen B. Lynch Stephen D. Brian MacKenzie Cutler Melick & Porter * Baring International Investment, Ltd. Richard P. Melick Brush Fibers, Inc. John F. McNamara Ian P. Moss *Mintz, Levin, Cohn, Ferris, Glovsky & Popeo, P.C. * Eastern Refractories Company BEAR STEARNS & COMPANY, INC. Francis X. Meaney David S. Feinzig Keith H. Kretschmer Nissenbaum Law Offices Millard Metal Service Center FIDELITY Gerald L. Nissenbaum Donald Millard, Jr. INVESTMENTS/ FIDELITY FOUNDATION * Nutter, McClennen & Fish Insurance * Goldman, Sachs & Company John K. P. Stone III Peter D. Kiernan *Arkwright PALMER & DODGE Frederick J. Bumpus KAUFMAN & COMPANY Robert E. Sullivan Sumner Kaufman CAMERON & COLBY CO, INC. Sarrouf, Tarricone & Flemming Lawrence S. Doyle THE KENSINGTON Camille F. Sarrouf INVESTMENT COMPANY * Charles H. Watkins & Company Sherburne, Powers & Needham Alan E. Lewis Paul D. Bertrand Daniel Needham, Jr. * Kidder, Peabody & Company Chubb Group International Weiss, Angoff, Coltin, Koski & John G. Higgins John Gillespie Wolf, P.C. LOOMIS-SAYLES & COMPANY, Dudley A. Weiss •Consolidated Group, Inc. INC. Woolsey S. Conover Mark W. Hollands Management/Financial/Consulting The Biltrite Corporation Textron, Inc. ADVANCED MANAGEMENT Stanley J. Bernstein B.F. Dolan ASSOCIATES Boston Acoustics, Inc. Wire Belt Company of America Harvey Chet Krentzman Frank Reed F. Wade Greer ARTHUR D. LITTLE, INC. Boston Sand & Gravel Company Media John F. Magee Dean M. Boylan THE BOSTON GLOBE *Bain & Company, Inc. *C.R. Bard, Inc. William O. Taylor William W. Bain Robert H. McCaffrey THE BOSTON CONSULTING CENTURY MANUFACTURING BOSTON HERALD GROUP COMPANY Patrick J. Purcell Jonathan L. Isaacs Joseph Tiberio WCRB- 102.5 FM Richard L. Kaye 'Corporate Decisions *Chelsea Industries, Inc. David J. Morrison Ronald G. Casty WCVB-TV, CHANNEL 5 BOSTON S. James Coppersmith The Forum Corporation CONNELL LIMITED John W. Humphrey PARTNERSHIP William F. Connell Personnel *Haynes Management, Inc. TAD TECHNICAL SERVICES G. Arnold Haynes Dennison Manufacturing Company Nelson G. Gifford CORPORATION Irma Mann Strategic Marketing David J. McGrath, Jr. Irma Mann Stearns *Erving Paper Mills Charles B. Housen Jason M. Cortell & Associates, Printing Inc. *FLEXcon Company, Inc. Bradford & Bigelow, Inc. Jason M. Cortell Mark R. Ungerer John D. GaUigan KAZMAIER ASSOCIATES, INC. GENERAL ELECTRIC PLASTICS Courier Corporation Richard W. Kazmaier, Jr. GlenH. Hiner Alden French, Jr. General Latex and Chemical Corp. Lochridge & Company, Inc. CPS Richard K. Lochridge Robert W. MacPherson Phineas E. Gay III MCKTNSEY & COMPANY Georgia-Pacific Corporation Customforms, Inc. Robert P. O'Block Maurice W. Kring David A. Granoff PRUDENTIAL-BACHE THE GILLETTE COMPANY DANIELS PRINTING SECURITIES Colman M. Mockler, Jr. COMPANY Lee S. Daniels David F. Remington GTE PRODUCTS CORPORATION Dean T. Langford Espo Litho Co., Inc. Rath & Strong David M. Fromer Dan Ciampa HARVARD FOLDING BOX INC. George H. Dean Company *Towers Perrin COMPANY, Melvin A. Ross Earle Michaud J. Russell Southworth H.K. Webster Company, Inc. GRAFACON, INC. William M. Mercer Meidinger K. Webster H. Wayman Rogers, Jr. Hansen Dean Chester D. Clark HMK Group Companies, Ltd. Publishing Joan L. Karol *The Wyatt Company Addison-Wesley Publishing Company, Michael H. Davis Hudson Lock, Inc. Stavisky Inc. Yankelovich Norman Clancy Shulman Warren R. Stone Kevin Clancy Kendall Company CAHNERS PUBLISHING COMPANY J. Dale Sherratt Manufacturer's Representatives Ron Segel LEACH & GARNER COMPANY BEN-MAC INC. MIFFLIN ENTERPRISES, Philip F. Leach HOUGHTON COMPANY Lawrence G. Bernhardt Harold T. Miller Leggett & Piatt, Inc. Little, Brown KITCHEN, & KUTCHIN, INC. Alexander M. Levine & Company Melvin Kutchin Kevin L. Dolan NEW ENGLAND BUSINESS PAUL R. CAHN ASSOCIATES, SERVICE, INC. INC. Real Estate/Development Richard H. Rhoads Paul R. Cahn THE BEACON COMPANIES New England Door Corporation Norman Leventhal Manufacturing/Industry Robert C. Frank Benjamin Schore Company Advanced Pollution Pierce Aluminum Control Corp. Benjamin Schore Michael F. Flaherty, Jr. Robert W. Pierce Boston Capital Partners •Avedis Zildjian Company Superior Brands, Inc. Christopher W. Collins Armand Zildjian Richard J. Phelps Herbert F. Collins *Barry Wright Corporation Termiflex Corporation Richard J. DeAgazio Ralph Z. Sorenson William E. Fletcher John P. Manning Dear Patron of the Orchestra: For many years the Boston Symphony Orchestra has been known as the "aristocrat of American orchestras." There is indeed a distinctive "BSO sound" that has earned worldwide acclaim and has attracted the greatest musicians to audition for membership in the orchestra. An important ingredient in the creation of this unique sound is having the finest musical instruments on the BSO's stage. However, the cost of many of these instruments (especially in the string sections) has become staggeringly high, and it is incumbent upon the Symphony to take steps to assure that musicians in key positions who do not themselves own great instruments have access to them for use in the orchestra. Two recent initiatives have been taken to address this concern: First, in 1988, the Boston Safe Deposit and Trust Company stepped forward with a creative loan program that is making it possible for players to borrow at one and a half percent below prime to purchase instruments. Second, last fall, the incentive of a Kresge Foundation challenge grant helped launch our effort to raise a fund of $1 million for the Orchestra to draw upon from time to time to purchase instruments for use by the players. The BSO in this case would retain ownership. Donations of both outright gifts and instruments are being sought to establish the BSO's Instrument Acquisition Fund. Fine pianos, period instruments, special bows, heirloom violins, etc. all make ideal gifts. The terms of the Kresge challenge grant require that we meet our goal of $1 million by October 1990. Opportunities for naming instruments and for other forms of donor recognition may be available according to the wishes of the donor. If you are interested in this program please contact me or Joyce Serwitz in the orchestra's Development Office at (617) 266-1492, ext. 132. Your support will help make a difference that will be music to our ears! George H. Kidder President 52 *The Chiofaro Company NEIMAN MARCUS Shaughnessy & Ahern Co. Donald Chiofaro William D. Roddy John J. Shaughnessy Combined Properties, Inc. * Purity Supreme Supermarkets Software/Information Services Stanton L. Black Frank P. Giacomazzi CULLINET SOFTWARE, INC. Demeter Realty Trust *Saks Fifth Avenue John J. Cullinane Alison Strieder Mayher George P. Demeter * International Data Group FIRST WTNTHROP CORPORATION SEARS, ROEBUCK & Patrick J. MoGovern Arthur J. Halleran, Jr. COMPANY •LOTUS DEVELOPMENT S. David Whipkey *The Flatley Company CORPORATION Thomas J. Flatley STOP & SHOP FOUNDATION Jim P. Manzi Avram J. Goldberg The Fryer Group, Inc. *Phoenix Technologies Foundation Malcolm F. Fryer, Jr. Stop & Shop Company Neil Colvin Lewis Schaeneman Heafitz Development Company Lewis Heafitz Suzanne Travel/Transportation Suzanne Seitz Hilon Development Corporation *Crimson Travel Service Haim S. Eliachar *Tiffany & Co. David Paresky William Chaney *John M. Corcoran & Company Garber Travel John M. Corcoran THE TJX COMPANIES, INC. Bernard Garber Sumner Feldberg Nordblom Company The Hallamore Companies Roger P. Nordblom Science/Medical Dennis Barry, Sr. Northland Investment Corporation Baldpate Hospital, Inc. *Heritage Travel, Inc. Robert A. Danziger Lucille M. Batal Donald R. Sohn *Trammell Crow Company Blake & Blake Genealogists Arthur DeMartino Richard A. Blake, Jr. Telecommunications Urban Investment & Development CHARLES RD7ER AT&T Rudy K. Umscheid LABORATORIES, INC. Robert Babbitt Henry L. Foster MCI * Portsmouth Regional Hospital Nathan Kantor Retail William J. Schuler NEW ENGLAND TELEPHONE Beverly Hills Flowers of Boston *CompuChem Corporation COMPANY Anthony DePari Gerard Kees Verkerk Paul C. O'Brien Child World, Inc. DAMON CORPORATION NORTHERN TELECOM, INC. Dennis H. Barron David I. Kosowsky John Craig DEMOULAS FOUNDATION J.A. Webster, Inc. NYNEX CORPORATION TA. Demoulas John A. Webster Delbert C. Staley FILENE'S Lectro-Med Health Screening David P. Mullen Services, Inc. Utilities Allan Kaye *Hills Department Stores BOSTON EDISON COMPANY Stephen A. Goldberger Services Stephen J. Sweeney JORDAN MARSH COMPANY *Asquith Corporation EASTERN ENTERPRISES Richard F. Van Pelt Lawrence L. Asquith Robert W. Weinig Karten's Jewelers *Giltspur Exhibits/Boston New England Electric System Joel Karten Thomas E. Knott Joan T. Bok 53 Tiffany Service Sterling silver flatware patterns of timeless elegance from Tiffany's exclusive collection. From top left: "Hampton", "Shell and Thread", "Chrysanthemum", "Century" and "Audubon". Tl FFANY & CO. SOSTON COPLEY PLACE 100 HUNTINGTON AVENUE 02116 617-353-0222 ©T&CO. 1989 The Boston Symphony Orchestra is grateful to those contributors who so generously responded to our fundraising programs during the past sea- /Boston son. Membership in the Higginson Society is Symphony awarded to those individuals whose gifts to the Annual Boston Symphony Annual Fund together with Fund their actual gifts to the general endowment funds of the Orchestra, total $1,250 or more. This list KEEP GREAT MUSIC ALIVE reflects gifts received between September 1, 1988 and August 31, 1989. The Higginson Society Patrons Mr. and Mrs. Vernon R. Alden Mrs. Marion Dubbs Mr. and Mrs. Charles P. Lyman Mr. and Mrs. Stephen H. Anthony Mrs. Harris Fahnestock Mr. and Mrs. William D. Manice ' Mr. and Mrs. David B. Arnold Hon. and Mrs. John H. Fitzpatrick Mr. and Mrs. Harry L. Marks Mr. and Mrs. J.P. Barger Mr. and Mrs. Richard M. Fraser Charlotte N. May Mr. and Mrs. John Barnard, Jr. Mr. and Mrs. Dean W. Freed Mrs. August R. Meyer Dr. and Mrs. Leo L. Beranek Dr. and Mrs. Kenneth J. Germeshausen Mr. and Mrs. Nathan R. Miller Dr. and Mrs. Edward F. Bland Carol R. and Avram J. Goldberg Mrs. Robert B. Newman Mrs. Henry M. Bliss Mr. and Mrs. John B. Goodwin Stephen Paine, Sr. Mr. and Mrs. Samuel W. Bodman III Haskell and Ina Gordon Mrs. James H. Perkins Mr. and Mrs. John M. Bradley Mrs. Rosamond Gowen Miss Pauline Perry Mrs. Ralph Bradley Mr. and Mrs. John L. Grandin, Jr. Mr. and Mrs. William J. Poorvu Mr. and Mrs. Peter A. Brooke Barbara and Steven Grossman Mr. and Mrs. Irving W. Rabb Mrs. Helene R. Cahners-Kaplan Mr. and Mrs. Francis W. Hatch Mr. and Mrs. Daniel E. Rothenberg Earle M. Chiles Ms. Susan Morse Hilles Mrs. George R. Rowland Mr. and Mrs. C. Thomas Clagett, Jr. Mrs. Ellen O. Jennings Mrs. George Lee Sargent Mr. and Mrs. James P. Cleary Mr. and Mrs. Bela T. Kalman Mr. and Mrs. Roger A. Saunders Mrs. George H.A Clowes Mr. and Mrs. Richard L. Kaye Dr. and Mrs. Raymond H. Schneider Mr. and Mrs. John F. Cogan, Jr. Mr. and Mrs. George H. Kidder Mr. and Mrs. George G. Schwenk Julian and Eunice Cohen Mr. and Mrs. Allen Kluchman Richard and Susan Smith Foundation Mrs. Nat Cole Mr. and Mrs. Carl Koch Dr. and Mrs. W. Davies Sohier Mr. and Mrs. Abram T. Collier Mr. and Mrs. Harvey Chet Krentzman Mr. and Mrs. Ray Stata Mr. and Mrs. William F. Connell Mr. and Mrs. George Krupp Mr. and Mrs. Sidney Stoneman Mrs. A. Werk Cook Dr. and Mrs. Edwin H. Land Miss Elizabeth B. Storer Mr. and Mrs. Lewis S. Dabney Mr. and Mrs. R. Willis Leith, Jr. William F. and Juliana W. Thompson Mr. and Mrs. Nelson J. Darling, Jr. Mrs. Ellis Little John and Samantha Williams Mr. and Mrs. Michael H. Davis Mr. and Mrs. Caleb Loring, Jr. Mrs. John J. Wilson Mrs. Pierre De Beaumont Mrs. Frederick H. Lovejoy, Sr. Mr. and Mrs. Cornelius A. Wood, Jr. Dr. and Mrs. Charles C. Dickinson Dr. and Mrs. Frederick H. Lovejoy, Jr. Sponsoi Mr. and Mrs. Harlan E. Anderson Prof, and Mrs. Ray A. Goldberg Mr. and Mrs. Gordon F. Kingsley Mr. and Mrs. Sherwood E. Bain Mr. and Mrs. Jordan L. Golding Philip Krupp Mr. and Mrs. David Bakalar Mrs. Henry M. Greenleaf Dr. Harry Levinson Mr. and Mrs. Bruce A. Beal Mr. and Mrs. James H. Grew Mr. and Mrs. Richard P. Morse Roger and Florence Chesterton-Norris Frank J. Hagney, Maj (Ret.) Mr. and Mrs. William B. Moses, Jr. Mr. and Mrs. Eugene H. Clapp II Rosamond Eleanor Hagney (d) Ms. Carolyn G. Mugar Mrs. Walter Connor Mr. and Mrs. Bayard Henry Mr. and Mrs. Robert P. O'Block Mr. and Mrs. Alex V. d'Arbeloff Mr. and Mrs. Charles A. Hubbard Mrs. Andrew Palmer M«. Phyllis Dohanian Mr. and Mrs. Christopher W. Hurd Nancy Edgehill Perry Mrs. Charles Freedom Eaton, Jr. Dr. and Mrs. S. Charles Kasdon Mrs. Daphne Brooks Prout Mrs. Beverly Brooks Floe Robert J. Kaufman Mr. and Mrs. David I. Riemer Mrs. Anne Dudley Gill Mr. and Mrs. Robert D. King Mr. and Mrs. Thomas A. Rosse BEFORE OR AFTER Go to one of our auctions Theatre, Symphony or Ballgame, and youU be Pearson's has the selection to please your crowd. We serve dinner 'til 11 pm, going once, offering steaks, seafood and pasta, and our Cafe Fare 'til midnight goingtwice, includes ribs, grilled steak sand- wiches, chilled shellfish and more. Dine in our casual lounge, outside three times. •# on the patio or in our fine dining room. Open until 1 am seven days, serving lunch and dinner, with brunch on Sundays. Valet parking. SKINNER Auctioneers andAppraisers ofAntiques andFineArt Steak & Sea Grille 357 Main Street 2 Newbury Street Commonwealth Avenue, corner of Dartmouth Street Bolton, MA 01740 Boston, MA 02116 617536-3556 Boston, MA 508-779-6241 617-236-1700 Serving Greater Boston Residential Properties **fo Sales and Rentals Condominiums Ine, Massachusetts 02146 1-800-343-8535 • FAX (617) 738-1512 56 Ir. and Mrs. Michael B. Salke Mrs. Patricia Hansen Strang Charles M. Werly Kiss Sylvia Sandeen Mr. and Mrs. John L. Thorndike Miss Christine White Ir. and Mrs. Francis P. Sears Mrs. Irving Usen Mrs. Margaret Williams-DeCclles Mrs. Donald B. Sinclair Dr. and Mrs. Charles W. Mr. and Mrs. Erwin X. Ziner Mr. and Mrs. Thornton Stearns von Rosenberg, Jr. Anonymous (4) Fellows Mrs. Weston W. Adams Mr. and Mrs. Thomas J. Galligan, Jr. Mr. and Mrs. Bertram R. Paley Mrs. Julius H. Appleton John Gamble Mrs. Leo N. Panesevich Mrs. Richard E. Bennink Mrs. Morton R. Godine Mrs. Paul Pigors James K. Beranek Mrs. Charles L. Hibbard, Jr. Mrs. Harry Remis VT. Walter Boyd Mr. and Mrs. Richard D. Hill Mr. and Mrs. Robert E. Remis Mr. and Mrs. William L. Brown Mr. and Mrs. George F. Hodder Mr. and Mrs. William C. Rousseau Mr. and Mrs. Eric T. Clarke Mr. and Mrs. Amos B. Hostetter, Jr. Robert Segel Dr. and Mrs. Stewart H. Clifford Mrs. Dewitt John Mr. and Mrs. Malcolm L. Sherman Mr. and Mrs. William H. Congleton Ms. Susan B. Kaplan and Mr. Ami Trauber Dr. and Mrs. Fredrick J. Stare Walter J. Connolly, Jr. Mr. and Mrs. John M. Kucharski Stephen Tilton Mr. and Mrs. John L. Cooper Mr. and Mrs. Stephen R. Levy Mr. and Mrs. Thomas H.P. Whitney Mr. and Mrs. Eugene B. Doggett Mr. and Mrs. Robert G. Millar Anonymous (6) Mr. and Mrs. Goetz B. Eaton Robert M. Morse Mrs. Robert G. Puller Mr. and Mrs. E. James Morton Members Mr. and Mrs. William F. Achtmeyer Mr. and Mrs. Stanford Calderwood Mr. and Mrs. Bradford M. Endicott Mr. and Mrs. Richard M. Adams Mrs. Elizabeth Paine Card Mr. and Mrs. Robert Fain Mrs. John M. Alden Mr. and Mrs. Harold Caro Peter Feith Mrs. Frank G. Allen Mr. and Mrs. Arthur Carr Mrs. Sewall H. Fessenden Mrs. Charles Almy Ms. Virgina L. Carroll Mr. and Mrs. Murray W. Finard Mr. and Mrs. James B. Ames Mrs. Barbara S. Chase Miss Anna E. Finnerty Mr. and Mrs. Walter Amory Charles Christenson Mr. and Mrs. Maynard Ford Mr. and Mrs. David L. Anderson James Russell Clarke, Jr. Dr. and Mrs. Henry L. Foster Prof, and Mrs. Rae D. Anderson Ms. Mary Hart Cogan Mr. and Mrs. Robert L.V. French Mrs. Elsie J. Apthorp Mr. and Mrs. I.W. Colburn Dr. and Mrs. Orrie M. Friedman Mr. and Mrs. Harry Axelrod Mr. and Mrs. Aaron H. Cole Mr. and Mrs. Robert L. Gable Mr. and Mrs. Hazen H. Aver Mr. and Mrs. Marvin A. Collier Mr. and Mrs. William H. Ganick Mr. and Mrs. Donald P. Babson Harold G. Colt Thomas Gardiner Mr. and Mrs. Richard B. Bailey Mr. and Mrs. Henry E. Cooper III Mr. and Mrs. Thomas P. Gerrity Mr and Mrs. Vincent Bajakian Mrs. Patricia E. Crandall Dr. and Mrs. Donald B. Giddon Dr. and Mrs. William H. Baker Mrs. John Crocker Mr. and Mrs. Bert J. Gilbert Mrs. Norman V. Ballou Mr. and Mrs. William M. Crozier, Jr. Mr. and Mrs. Joseph Giuffrida Kenneth C. Barron Mr. and Mrs. Ronald C. Curhan The Goldberg Foundation Mr. and Mrs. Stephen Y. Barrow Mr. and Mrs. Eric Cutler Mrs. Robert F. Goldhammer Mr. and Mrs. Clifford B. Barms. Jr. Mr. and Mrs. Charles H. Davis II Mr. and Mrs. Mark R. Goldweitz Mr. and Mrs. Allen G. Barn- Mr. and Mrs. Stanton W. Davis Mr. and Mrs. Saul Goldweitz Mr. and Mrs. Robert B.M. Barton Miss Amy Davol Mrs. Sylvan A. Goodman Mr. and Mrs. John E. Beard Mrs. F. Stanton Deland, Jr. Mrs. Harry N. Gorin Mr. and Mrs. George W. Berry Nathaniel T. Dexter Mrs. Stephen W. Grant Mr. and Mrs. Jordan Birger Mr. and Mrs. Allen F. Dickerman Mr. and Mrs. E. Brainard Graves Mr. and Mrs. Donald C. Bowersock, Jr. Mr. and Mrs. John H. Dickison Mr. and Mrs. Daniel S. Gregory Mrs. Alexander H. Bright Mr. and Mrs. Walter L. Downing Mr. and Mrs. Harold K. Gross Mr. and Mrs. Allan T. Buros Dr. Richard W. Dwight Mr. and Mrs. Henry R. Guild, Jr. Dr. and Mrs. Paul A. Buttenweiser Mrs. Otto Eckstein Mr. and Mrs. Graham Gund Mrs. Mary Louise Cabot Mr. and Mrs. William Elfers Mrs. Elisabeth F. Hale Mr. and Mrs. Thomas D. Cabot Mrs. Alexander Ellis, Jr. Mrs. Henry S. Hall, Jr. Milton Cades Mr. and Mrs. Richard S. Emmet Mr. and Mrs. R. Douglas Hall III 57 GUILD, MONRAD & OATES, INC. Family Investment Advisers 50 Congress Street Boston, Massachusetts 02109 Telephone: (617) 523-1320 For Those Who Want Specialized Individual Attention and Care in the Management of Investments and Tax and Estate Planning Henry R. Guild, Jr. Ernest E. Monrad William A. Oates, Jr. Robert B. Minturn, Jr. The Boston Home (formerly The Boston Home for Incurables) Est. 1881 Seeks Your Support for Another Century Write for Centennial Brochure: The Boston Home, IllC, David W. Lewis, Treasurer 2049-2061 Dorchester Avenue John Bigelow, Assistant Treasurer Boston, Massachusetts 02124 617/825-3905 58 ilrs. N. Penrose Hallowell, Jr. Mr. and Mrs. Wells Morss Mr. and Mrs. Charles II. Spaulding Mr. and Mrs. James B. Hangstefer David G. Mugar Mr. and Mrs. [ra Slepanian ir. and Mrs. Paul F. Hannah Mr. and Mrs. Raymond F. Murphy, Jr. Mr. and Mrs. Herbert B. Stern Mr. and Mrs. Harry R. Hauser Makito Nagashima Mr. and Mrs. Ezra F. Stevens Daniel P. Hays Mr. and Mrs. Melvin B. Nessel Mrs. Edward S. Stimpson m. and Mrs. Joe M. Henson Miss Alice B. Newell Mr. and Mrs. Harris B. Stone Mr. and Mrs. Noah T. Herndon Mr. and Mrs. Rodger P. Nordblom Mr. and Mrs. Henry 8. Stone Mr. and Mrs. Arnold S. Hiatt Mrs. Richard P. Nyquist Mr. and Mrs. James W. Storey Mrs. Richard R. Higgins Miss Mary-Catherine O'Neill Ms. Barbara P, Swaebe Mrs. Waldo H. Holcombe Mrs. Andrew Oliver Dr. and Mrs. Nathan B. Talbot Mr. and Mrs. D. Brainerd Holmes Miss Grace Marshall Otis Mr. and Mrs. John F. Taplin Carleton A. Holstrom Mr. and Mrs. Stephen Davies Paine Mrs. Charles II. Taylor Mr. and Mrs. Ronald A. Homer Mrs. Robert W. Palm Mr. and Mrs. William 0. Taylor- Mr. and Mrs. Stephen P. Hopkins Mr. and Mrs. Walter H. Palmer Mr. and Mrs. Theodore II. Teplow Harrison D. Horblit Gary M. Palter Dr. and Mrs. Richard II. Thompson Mr. and Mrs. Daniel A. Hosage Mrs. Brackett Parsons Mr. and Mrs. Richard K. Mr. and Mrs. William White Howells Dr. and Mrs. Oglesby Paul Thorndike Ms. Charmienne Hughes Mr. and Mrs. George W. Pearce Mr. and Mrs. W. Nicholas Mr. and Mrs. Walter Hunnewell Mr. and Mrs. Edward E. Phillips Thorndike Mr. and Mrs. Joseph Hyman Mr. and Mrs. Thomas L. Phillips Mr. and Mrs. Alan J. Tiehnor Mrs. James Jackson Mr. and Mrs. Richard D. Phippen Mr. and Mrs. John Tillinghast C.H. Jenkins, Jr. Sandra B. and William LaC. Phippen Dr. and Mrs. Eugene J. Tillman E. Morton Jennings Mr. and Mrs. John R. Pingree Mr. and Mrs. Stephen G. Traynor Mr. and Mrs. Stanley H. Kaplan Mrs. Hollis Plimpton, Jr. Mr. and Mrs. Charles W. Trippe, Jr. Mrs. Louise Shonk Kelly Mr. and Mrs. David R. Pokross Mrs. Richard F. Treadway Mason J.O. Klinck Mr. and Mrs. Albert Pratt Mrs. George C. Underwood Mr. and Mrs. William Kopans Mr. and Mrs. Richard Preston Mr. and Mrs. John H. Valentine Dr. and Mrs. Arthur R. Kravitz Mr. and Mrs. Peter C. Read Mr. and Mrs. Roger L. Voisin Edward J. Kutlowski Mr. and Mrs. David F. Remington Mr. and Mrs. James N. Mr. and Mrs. Benjamin H. Lacy Mrs. Charles A. Rheault, Jr. Von Germeten Mr. and Mrs. Allen Latham, Jr. Mr. and Mrs. Eugene J. Ribakoff Mrs. Roland von Weber Mrs. James F. Lawrence Mr. and Mrs. David Rockefeller, Jr. Mrs. H. St. John Webb Mr. and Mrs. Robert A. Lawrence Mr. and Mrs. John Ex Rodgers Mr. and Mrs. Stephen R. Weber Mr. and Mrs. Maurice Lazarus Mr. and Mrs. Warren M. Rohsenow Mr. and Mrs. Bernard Weinstein Dr. and Mrs. Brian WA. Leeming Jerry Rosen Mr. and Mrs. Matthew C. Weisman Dr. and Mrs. Clinton N. Levin Mr. and Mrs. Jerome Rosenfeld Mrs. Barrett Wendell, Jr. Barbara and Irving Levy Dr. Jordan S. Ruboy Miss Barbara West Mr. and Mrs. Edward H. Linde Mr. and Mrs. Robert Saltonstall Stetson Whitcher Mrs. Mary Ann Harris Livens Mr. and Mrs. Albert J. Sandler Dr. and Mrs. Harold J. White Ms. Isabelle Lloyd A. Herbert Sandwen Robert W. White Mrs. John Lloyd Mr. and Mrs. John G. Schmid Mrs. Florence T. Whitney Mr. and Mrs. Joseph P. Lombard Mr. and Mrs. Paul A. Schmid Richard T. Whitney Mr. and Mrs. John F. Magee Mr. and Mrs. Thomas J. Scott Mr. and Mrs. Ralph B. Williams Mr. and Mrs. Amos C. Mathews Mr. and Mrs. Michael S. Scott Morton Mr. and Mrs. Keith G. Willoughby Dr. Clinton F. Miller and Alan H. Scovell Mr. and Mrs. Donald B. Wilson Ms. Adele Wick Mr. and Mrs. Charles N. Shane Robert Windsor Mrs. Dudley L. Millikin Ms. Barbara Sidell Sherman M. Wolf Mr. and Mrs. Adolf F. Monosson Mr. and Mrs. Robert A. Sinclair Miss Elizabeth Woolley Mr. and Mrs. Paul M. Montrone Mrs. Lawrence W. Snell Dr. and Mrs. Nicholas T. Zenas Mrs. Olney S. Morrill Mr. and Mrs. Jeffrey P. Somers Anonymous (14) 59 Next Program . . . Thursday, April 26, at 8 Friday, April 27, at 2 Saturday, April 28, at 8 SEUI OZAWA conducting ZWILICH Concerto for Flute and Orchestra (world premiere; commissioned for Doriot Anthony Dwyer by the Boston Symphony Orchestra) Andante misterioso — Allegro Lento Allegro con spirito DORIOT ANTHONY DWYER INTERMISSION BRUCKNER Symphony No. 4 in E-flat, Romantic Bewegt, nicht zu schnell [With motion, not too fast] Andante quasi Allegretto Scherzo. Bewegt; Trio: Nicht zu schnell. Keinesfalls schleppend [Not too fast. On no account dragging] Finale. Bewegt, doch nicht zu schnell. [With motion, but not too fast] Single tickets for all Boston Symphony Orchestra concerts throughout the season are available at the Symphony Hall box office, or by calling "Symphony-Charge" at (617) 266-1200, Monday through Saturday from 10 a.m. until 6 p.m., to charge tickets instantly on a major credit card, or to make a reservation and then send payment by check. Please note that there is a $1.75 handling fee for each ticket ordered by phone. 60 Coming Concerts . . . Thursday 'C -April 26, 8-10 Dinner at 6. Friday 'A' -April 27, 2-4 Saturday 'A' -April 28, 8-10 SEIJI OZAWA conducting Symphony at 8. DORIOT ANTHONY DWYER, flute ZWILICII ( !oncerto for Flute and $ Orchestra Parking at 5. (world premiere; commissioned for Ms. Dwyer by the Boston Symphony Orchestra) of your Make dinner at Boodle's part BRUCKNER Symphony No. 4, Romantic night out for Symphony, and you'll enjoy more than just award-winning dining at Programs and artists subject to change. Boston's authentic wood grill. Because we're offering our customers special parking privileges in our private garage for just $5, and on Tuesdays and Thursdays, a free "Symphony Express" shuttle service. Just show us your tickets at dinner, and we'll arrange for your $5 parking, take you to Symphony after your meal, and return you to your car after the perfor- mance. And with a deal like that, a night at the Symphony never sounded better. _JL BOODLE'S OF • BOSTON An Authentic Grill Lunch and dinner daily. In Boston's Back Bay Hilton. Phone (617) BOODLES. Now with bookshelf or drawers. Our desk . . . stil Thelonious Monk. stands Outrageous Monkfish. alone. Not only do we serve up the freshest Stand-up desks seafood in town, we serve up the hottest and stools jazz. Every night at 8 in our bar. hand-crafted to your height So after the award-winning Chowder, in oak, walnut, smoked salmon, and black- turner mahogany, iw iAi . FISHERIES cherry and enedMonknsh,you can swing <* boston black deco. to an exciting foursome. E 5 The Stand-Up Reservations gladly accepted. Desk Co. E\R&RESWJRANT For free brochure: 5207 Baltimore Ave. (617)424-7425 (301)657-3630 Berhesda,Md. 20816 10 Huntington Avenue, Boston, Mass. 02116 61 PERFORMANCE YOU'LL APPRECIATE 3500-1 2800- 2100- 1400- 700 1975 1970 Don't worry about it anymore! Pulsifer & Associates Trustee and Investment Managers 27 North Main Street • P.O. Box 170 • Ipswich, MA 01938-0170 508-356-3530 In Boston: 617-227-7904 A NEW SENIOR LIFECARE RESIDENTIAL COMMUNITY IN THE FIVE COLLEGE AREA, SURROUNDED BY SCENIC BEAUTY, AND A WEALTH OF CULTURAL AND EDUCATIONAL OPPORTUNITIES. Please call 413»253*9833 or write: Applewood at Amherst, P.O. Box 829 Amherst MA 01004 62 Symphony Hall Information . . . FOR SYMPHONY HALL CONCERT IN CONSIDERATION of our patrons and AND TICKET INFORMATION, call (617) artists, children under four years of age will 266-1492. For Boston Symphony concert not be admitted to Boston Symphony program information, call "C-O-N-C-E-R-T" Orchestra concerts. (266-2378). THE SYMPHONY SHOP is located in the SYMPHONY performs ten THE BOSTON Huntington Avenue stairwell near the Cohen months a year, in Symphony Hall and at Wing and is open from one hour before each Tanglewood. For information about any of concert through intermission. The shop car- the orchestra's activities, please call Sym- ries BSO and musical-motif merchandise phony Hall, or write the Boston Symphony and gift items such as calendars, clothing, Orchestra, Symphony Hall, Boston, MA appointment books, drinking glasses, holiday 02115. ornaments, children's books, and BSO and THE EUNICE S. AND JULIAN COHEN Pops recordings. All proceeds benefit the WING, adjacent to Symphony Hall on Boston Symphony Orchestra. For merchan- Huntington Avenue, is currently undergoing dise information, please call (617) 267-2692. renovations. TICKET RESALE: If for some reason you FOR SYMPHONY HALL RENTAL are unable to attend a Boston Symphony INFORMATION, call (617) 266-1492, or concert for which you hold a ticket, you may write the Function Manager, Symphony make your ticket available for resale by call- Hall, Boston, MA 02115. ing the switchboard. This helps bring needed THE BOX OFFICE is open from 10 a.m. revenue to the orchestra and makes your until 6 p.m. Monday through Saturday; on seat available to someone who wants to concert evenings it remains open through attend the concert. A mailed receipt will intermission for BSO events or just past acknowledge your tax-deductible starting-time for other events. In addition, contribution. the box office opens Sunday at 1 p.m. when there is a concert that afternoon or evening. RUSH SEATS: There are a limited number Single tickets for all Boston Symphony sub- of Rush Tickets available for the Friday- scription concerts are available at the box afternoon, Tuesday-evening, and Saturday- office. For outside events at Symphony Hall, evening Boston Symphony concerts (sub- tickets are available three weeks before the scription concerts only). The continued low concert. No phone orders will be accepted price of the Saturday tickets is assured for these events. through the generosity of two anonymous donors. The Rush Tickets are sold at $6 TO PURCHASE BSO TICKETS: American each, one to a customer, on Fridays as of Express, MasterCard, Visa, a personal 9 a.m. and Saturdays and Tuesdays as of check, and cash are accepted at the box 5 p.m. office. To charge tickets instantly on a major credit card, or to make a reservation PARKING: The Prudential Center Garage and then send payment by check, call offers a discount to any BSO patron with a "Symphony-Charge" at (617) 266-1200, ticket stub for that evening's performance. Monday through Saturday from 10 a.m. There are also two paid parking garages on until 6 p.m. There is a handling fee of $1.75 Westland Avenue near Symphony Hall. for each ticket ordered by phone. Limited street parking is available. As a GROUP SALES: Groups may take advan- special benefit, guaranteed pre-paid parking tage of advance ticket sales. For BSO con- near Symphony Hall is available to subscrib- certs at Symphony Hall, groups of twenty or ers who attend evening concerts on Tuesday, more may reserve tickets by telephone. To Thursday, Friday, or Saturday. For more place an order, or for more information, call information, call the Subscription Office at Group Sales at (617) 266-1492. (617) 266-7575. 63 LATECOMERS will be seated by the ushers Cabot-Cahners Room on the first-balcony during the first convenient pause in the pro- level serve drinks starting one hour before gram. Those who wish to leave before the each performance. For the Friday-afternoon end of the concert are asked to do so concerts, both rooms open at 12:15, with between program pieces in order not to dis- sandwiches available until concert time. turb other patrons. BOSTON SYMPHONY BROADCASTS: SMOKING IS NOT PERMITTED in any Concerts of the Boston Symphony Orchestra part of the Symphony Hall auditorium or in are heard by delayed broadcast in many the surrounding corridors. It is permitted parts of the United States and Canada, as only in the Cabot-Cahners and Hatch well as internationally, through the Boston rooms, and in the main lobby on Massachu- Symphony Transcription Trust. In addition, setts Avenue. Friday-afternoon concerts are broadcast live CAMERA AND RECORDING EQUIP- by WGBH-FM (Boston 89.7); Saturday- evening concerts are broadcast live by both MENT may not be brought into Symphony WGBH-FM and WCRB-FM (Boston Hall during concerts. 102.5). Live broadcasts may also be heard FIRST AID FACILITIES for both men on several other public radio stations and women are available. On-call physicians throughout New England and New York. attending concerts should leave their names BSO FRIENDS: The Friends are annual and seat locations at the switchboard near donors to the Boston Symphony Orchestra. the Massachusetts Avenue entrance. Friends receive BSO, the orchestra's news- WHEELCHAIR ACCESS: During the reno- letter, as well as priority ticket information vation of the Cohen Wing, there will be a and other benefits depending on their level temporary handicap ramp at the Huntington of giving. For information, please call the Avenue entrance. Restroom facilities and Development Office at Symphony Hall week- elevators are available. days between 9 and 5, (617) 266-1492. If are already a Friend and AN ELEVATOR is located outside the you you have Hatch and Cabot-Cahners rooms on the changed your address, please send your new Massachusetts Avenue side of the building. address with your newsletter label to the Development Office, Symphony Hall, Bos- LADIES' ROOMS are located on the ton, MA 02115. Including the mailing label orchestra level, audience-left, at the stage will assure a quick and accurate change of end of the hall, and on the first-balcony address in our files. level, audience-right, outside the Cabot- Cahners Room near the elevator. BUSINESS FOR BSO: The BSO's Busi- ness & Professional Leadership program MEN'S ROOMS are located on the orches- makes it possible for businesses to partici- tra level, audience-right, outside the Hatch pate in the life of the Boston Symphony Room near the elevator, and on the first- Orchestra through a variety of original and balcony level, audience-left, outside the exciting programs, among them "Presidents Cabot-Cahners Room near the coatroom. at Pops," "A Company Christmas at Pops," COATROOMS are located on the orchestra and special-event underwriting. Benefits and first-balcony levels, audience-left, out- include corporate recognition in the BSO side the Hatch and Cabot-Cahners rooms. program book, access to the Higginson The BSO is not responsible for personal Room reception lounge, and priority ticket apparel or other property of patrons. service. For further information, please call the BSO Corporate Development Office at LOUNGES AND BAR SERVICE: There (617) 266-1492. are two lounges in Symphony Hall. The Hatch Room on the orchestra level and the 64 InRare CasesWoodDoi ^onduct Electricity. ink you Boston Symphony Orchestra for music that shines brighter every year. Bank of New England asten? ITALIAN PEELeJ^ fOMATOfitP ^Ty WITH BASIL LEAF ^ A fasten, |N RASTENE QUALITY mr 35 OZS. (2 LBS. 3 0!!.) WTO A I 992 HEIWT.16 0Z.IUB.)-453GRM»$