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Seiji Ozawa, Music Director One Hundred and Fifth Season, 1985-86
Trustees of the Boston Symphony Orchestra, Inc.
Leo L. Beranek, Chairman Nelson J. Darling, Jr., President
J. P. Barge r, Vice-Chairman Mrs. John M . Bradley, Vice-Chairman
George H. Kidder, Vice-Chairman William J. Poorvu, Treasurer
Mrs . George L. Sargent, Vice-Chairman
Vernon R. Alden Archie C. Epps Mrs. August R. Meyer David B. Arnold, Jr. Mrs. John H. Fitzpatrick E. James Morton Mrs. Norman L. Cahners Mrs. John L. Grandin David G. Mugar George H.A. Clowes, Jr. Francis W Hatch, Jr. Thomas D. Perry, Jr. William M. Crozier, Jr. Harvey Chet Krentzman Mrs. George R. Rowland Mrs. Lewis S. Dabney Roderick M. MacDougall Richard A. Smith Mrs. Michael H. Davis John Hoyt Stookey Trustees Emeriti
Philip K. Allen E. Morton Jennings, Jr. John T. Noonan Allen G. Barry Edward M. Kennedy Irving W. Rabb Richard P. Chapman Edward G. Murray Paul C. Reardon Abram T. Collier Albert L. Nickerson Sidney Stoneman Mrs. Harris Fahnestock John L. Thorndike Officers of the Corporation
Thomas W Morris, Vice-President, Special Projects and Planning John Ex Rodgers, Assistant Treasurer Theodore A. Vlahos, Assistant Treasurer Jay B. Wailes, Assistant Treasurer Daniel R. Gustin, Clerk Mary Glenn Goldman, Assistant Clerk
Administration of the Boston Symphony Orchestra, Inc.
Daniel R. Gustin, Acting General Manager
Anne H. Parsons, Orchestra Manager Costa Pilavachi, Artistic Administrator Caroline Smedvig, Director of Promotion Josiah Stevenson, Director of Development Theodore A. Vlahos, Director of Business Affairs Arlene Germain, Financial Analyst Marc Mandel, Publications Coordinator Charles Gilroy, Chief Accountant Richard Ortner, Administrator of Vera Gold, Assistant Director of Promotion Tanglewood Music Center Patricia Halligan, Personnel Administrator Charles Rawson, Manager of Box Office Nancy A. Kay, Director of Sales Eric Sanders, Director of Corporate John M. Keenum, Director of Development Foundation Support Joyce M. Serwitz, Assistant Director Nancy Knutsen, Production Manager of Development Anita R. Kurland, Administrator of Diane Greer Smart, Director of Volunteers Youth Activities Nancy E. Tanen, Media/Special Projects Steven Ledbetter, Musicologist & Administrator Program Annotator Susan E. Tomlin, Director ofAnnual Giving
Programs copyright ©1986 Boston Symphony Orchestra, Inc. Cover photo by Christian Steiner Board of Overseers of the Boston Symphony Orchestra, Inc.
Harvey Chet Krentzman Chairman
Avram J. Goldberg Mrs. Carl Koch Vice-Chairman Vice-Chairman
Ray Stata Mrs. Gordon F. Kingsley Vice-Chairman Secretary
John Q. Adams Mrs. Thomas Gardiner Mrs. Hiroshi Nishino Mrs. Weston W. Adams Mrs. James G. Garivaltis Vincent M. O'Reilly Martin Allen Mrs. Ray A. Goldberg Stephen Paine, Sr. Mrs. David Bakalar Jordan L. Golding John A. Perkins Bruce A. Beal Joseph M. Henson Peter C. Read Peter A. Brooke Arnold Hiatt Robert E. Remis Mary Louise Cabot Mrs. Richard D. Hill Mrs. Peter van S. Rice Mrs. C. Thomas Clagett, Jr. Susan M. Hilles David Rockefeller, Jr. James F. Cleary Glen H. Hiner John Ex Rodgers John F. Cogan, Jr. Mrs. Marilyn Brachman Hoffman Mrs. Jerome Rosenfeld Mrs. Nat Cole Mrs. Bela T. Kalman Mrs. William C. Rousseau William H. Congleton Mrs. S. Charles Kasdon Mrs. William H. Ryan Arthur P. Contas Richard L. Kaye Gene Shalit Mrs. A. Werk Cook Robert D. King Mark L. Selkowitz Phyllis Curtin John Kittredge Malcolm L. Sherman A.V. d'Arbeloff Robert K. Kraft W. Davies Sohier, Jr. Mrs. Michael H. Davis John P. LaWare Ralph Z. Sorenson
Mrs. Eugene B. Doggett Mrs. James F. Lawrence Mrs. Arthur I. Strang Harriett Eckstein Laurence Lesser William F. Thompson Mrs. Alexander Ellis R. Willis Leith, Jr. Luise Vosgerchian Katherine Fanning Mrs. Charles P. Lyman Mrs. An Wang John A. Fibiger Mrs. Harry L. Marks Roger D. Wellington Kenneth G. Fisher Hanae Mori Mrs. Thomas H.P. Whitney Gerhard M. Freche Richard P. Morse Mrs. Donald B. Wilson Peter H.B. Frelinghuysen Mrs. Thomas S. Morse Brunetta Wolfman
Mrs. Thomas J. Galligan Mrs. Robert B. Newman Nicholas T. Zervas
Overseers Emeriti
Mrs. Frank G. Allen Mrs. Louis I. Kane Mrs. Stephen V.C. Morris Hazen H. Ayer Leonard Kaplan David R. Pokross Paul Fromm Benjamin H. Lacy Mrs. Richard H. Thompson
Symphony Hall Operations
Cheryl L. Silvia, Function Manager James E. Whitaker, House Manager
Earl G. Buker, Chief Engineer Cleveland Morrison, Stage Manager Franklin Smith, Supervisor of House Crew
WilmothA. Griffiths, Assistant Supervisor of House Crew William D. McDonnell, Chief Steward
< Officers of the Boston Symphony Association of Volunteers
Mrs. Michael H. Davis President Mrs. R. Douglas Hall III Mrs. Carl Koch Executive Vice-President Treasurer Mrs. Harry F. Sweitzer, Jr. Mrs. Gilman W. Conant Secretary Nominating Chairman
Vice-Presidents
Mrs. Eugene B. Doggett, Development Services Mrs. BelaT. Kalman, Youth Activities Ms. Phyllis Dohanian, Fundraising Projects Mrs. Hart D. Leavitt, Regions Mrs. Craig W. Fisher, Tanglewood Mrs. August R. Meyer, Membership Mrs. Mark Selkowitz, Tanglewood Ms. Ellen M. Massey, Public Relations
Chairmen of Regions
Mrs. Thomas M. Berger Ms. Prudence A. Law Mrs. F.L. Whitney Mrs. Charles A. Hubbard Mrs. Robert B. Newman Mrs. Thomas H.P. Whitney Mrs. Herbert S. Judd, Jr. John H. Stookey Mrs. Norman Wilson Mrs. Thomas Walker References furnished request
Aspen Music Festival Liberace Burt Bacharach Panayis Lyras David Bar-Man Marian McPartland Leonard Bernstein Zubin Mehta Bolcom and Morris Metropolitan Opera Jorge Bolet Mitchell-Ruff Duo Boston Pops Orchestra Seiji Ozawa Boston Symphony Orchestra Philadelphia Orchestra Brevard Music Center Andre Previn Dave Brubeck Ravinia Festival David Buechner Santiago Rodriguez Chicago Symphony Orchestra George Shearing Cincinnati May Festival Abbey Simon Cincinnati Symphony Orchestra Georg Solti Aaron Copland Tanglewood Music Center Denver Symphony Orchestra Michael Tilson Thomas Ferrante and Teicher Beveridge Webster Natalie Hinderas Earl Wild Interlochen Arts Academy and John Williams National Music Camp Wolf Trap Foundation for Billy Joel the Performing Arts Gilbert Kalish Yehudi Wyner Ruth Laredo Over 200 others Baldwin BSO Business & Professional Leadership Program
Corporate support of the BSO has more than tripled in the past three years, with the result BSO that nearly 400 companies are contributing more than $1 million annually to the orches- tra. This has been accomplished through the activities of the BSO Business & Professional Friends Weekend at Tanglewood Leadership Program, which was founded in The Friends of the BSO have the opportunity 1980 by area executives in recognition of the to travel to Tanglewood via chartered bus for BSO's significant contribution to the corpo- three days of spectacular music by the Boston rate community. The program is overseen by a Symphony Orchestra the weekend of committee including business leaders from 25-27 July. This summer, the Friends Weekend companies throughout New England, making includes the BSO concerts on Friday and Sat- it possible for businesses to participate in the urday evenings, as well as on Sunday after- life of the Boston Symphony Orchestra noon. Performances include Seiji Ozawa through some of the most original and excit- conducting music of Brahms, Haydn, and ing programs of their kind in America: "Presi- Beethoven, Leonard Bernstein conducting dents at Pops," "A Company Christmas at music of Tchaikovsky and Bernstein, and solo Pops," the BSO Corporate Enrichment Pro- appearances by violinist Mi Dori and pianists gram, leadership dinners held in Symphony Peter Serkin and Alfred Brendel. The Friends Hall, and special-event underwriting. Contri- will stay at the Red Lion Inn and will have butions for membership begin at $1,000. For door-to-door service provided by Greyhound further information on how your company or Bus for all events. Dinner Friday night will be professional partnership can join this pro- at the Pittsfield Country Club. Lunch on Satur- gram, contact Eric Sanders in the BSO Cor- day will be at Seranak, the former home of porate Development Office, (617) 266-1492. Serge Koussevitzky, and dinner will be at Mahkeenac Farm, adjacent to the Tanglewood grounds. Sunday luncheon at Blantyre will pre- In Appreciation cede the 2:30 p.m. concert. Anticipated arrival time in Boston on 27 July is 8 p.m. Travel arrangements for Monsieur and The weekend is available to Friends of the Madame Messiaen have been generously pro- BSO who have donated a minimum of $40. vided by Air France, and their accommoda- Space is limited to 42 people on a first-come, tions in Boston by the Hotel Meridien. The first-served basis. The cost of the weekend, Boston Symphony Orchestra is most grateful $375 per person, double occupancy ($485 for to both companies for their support. single occupancy), includes a $50 tax-deduct- ible contribution to the orchestra and covers transportation, lodging, meals (excluding BSO Guests on WGBH-FM-89.7 breakfast), and concert tickets. For further information, please call the Volunteer Office at The featured guests with Ron Delia Chiesa dur- 266-1492, ext. 177. ing the intermissions of live Boston Symphony broadcasts for the rest of the season will be Harry Ellis Dickson (11 and 12 April), and the co-chairmen of this year's "Opening Night at Pops," Susan Reeder (18 and 19 April) and Art Exhibits in the Cabot-Cahners Room Molly Millman (25 and 26 April). The Boston Symphony Orchestra is pleased that, for the twelfth season, various Boston- area galleries, museums, schools, and non- With Thanks profit artists' organizations are exhibiting their work in the Cabot-Cahners Room on the first- We wish to give special thanks to the National balcony level of Symphony Hall. On display Endowment for the Arts and the Massachu- through 5 May are works from the Lettering setts Council on the Arts and Humanities for Arts Guild, to be followed by works from their continued support of the Boston Sym- Wenniger Graphics through 2 June. phony Orchestra. Baume & Mercier, performing art.
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Max Hobart leads the Civic Symphony Orches- Subscribers to the BSO evening concerts are tra of Boston in Bartok's Deux Images, Bizet's invited to attend one or all of the outstanding Symphony in C, and the Brahms Piano Con- supper series programs offered during the certo No. 2 with soloist David Deveau on Sun- 1985-86 season. Sponsored by the Boston day, 27 April at 3 p.m. in Jordan Hall at New- Symphony Association of Volunteers, "Supper England Conservatory. Tickets are available at Talks" (formerly "Pre-Symphony Suppers") $10 and $7. For further information, please call combine dinner and an informative talk by a 326-8483. BSO member. "Supper Concerts" (formerly Ronald Feldman leads the Mystic Valley "Chamber Preludes") give concertgoers the Orchestra in Kyr's The Greater Changing opportunity to hear members of the Boston (world premiere), Schubert's Unfinished Sym- Symphony perform chamber music in the inti- phony, and Bach's Double Harpsichord Con- mate setting of the Cabot-Cahners Room. The certo in C minor, with Mark Kroll as a featured final Supper Concert of the season will take soloist, on Saturday, 3 May at 8 p.m. at Paine place at 6 p.m. on 24 April. The one-hour Hall, Harvard University, and on Sunday, concert, which is followed by supper in the 4 May at 8 p.m. at Dwight Auditorium, Fra- Cohen Annex, will feature works by composers mingham State College. Tickets for the whose symphonic music is scheduled on that Cambridge concert are $6 ($4 students, evening's BSO concert. Single tickets are seniors, and special needs). Tickets for the available at $16.50. The price of dinner is Framingham concert are $8 ($5 students, included. For reservations and further seniors, and special needs). information, please call the Volunteer Office at BSO members Jules Eskin, principal cello, 266-1492, ext. 177. and Aza Raykhtsaum, violin, perform music of Beethoven, Mendelssohn, and Dvorak with pianist Yvette Roman Schleifer at the French Library in Boston, 53 Marlborough Street, on Sunday, 4 May at 5 p.m. For ticket information, call 266-4351. The Boston Artists Ensemble, founded in 1980 by its director, BSO cellist Jonathan Mil- ler, performs the Schubert E-flat and Ravel piano trios on Sunday, 4 May at 7 p.m. at Ellsworth Hall at Pine Manor College in Brookline. Tickets are $7 ($5 students and senior citizens); for further information, call 266-2322. The North Shore Philharmonic, Max Hobart, music director, performs music of Offenbach,
Poulenc, and Schumann's Symphony No. 3, Rhenish, on a program featuring pianists |^> *tfj^-+ti^itf -.MiPm. Anthony and Joseph Paratore with narrator
Robert J. Lurtsema in Saint-Saens's Carnival of Animals on Sunday, 4 May at 7:30 p.m. at Salem High School auditorium. For ticket information, please call 1-631-6513. BSO concertmaster Malcolm Lowe is soloist WITH (/ US* in the Brahms Violin Concerto with Ronald Our performance will Knudsen conducting the Newton Symphony please you. Orchestra on Sunday, 4 May at 8 p.m. at Aqui- ^^^ ^^ nas Junior College in Newton. Also on the pro- gram is Richard Strauss's Death and Transfiguration. Tickets are $8 at the door or OkUIVI ASSOCIATES INC by advance reservation—call 965-2555. REAL ESTATE OF DISTINCTION IN BROOKLINE AND NEWTON Seiji Ozawa
Symphony Orchestra, a post he relin- quished at the end of the 1968-69 season.
Seiji Ozawa first conducted the Boston Symphony in Symphony Hall in January 1968; he had previously appeared with the orchestra for four summers at Tanglewood, where he became an artistic director in 1970. In December 1970 he began his inau- gural season as conductor and music director of the San Francisco Symphony Orchestra. The music directorship of the Boston Symphony followed in 1973, and Mr. Ozawa resigned his San Francisco posi- tion in the spring of 1976, serving as music advisor there for the 1976-77 season.
As music director of the Boston Sym- phony Orchestra, Mr. Ozawa has strength- The 1985-86 season is Seiji Ozawa's thir- ened the orchestra's reputation inter- teenth as music director of the Boston Sym- nationally as well as at home, beginning phony Orchestra. In the fall of 1973 he with the BSO's 1976 European tour and, in became the orchestra's thirteenth music March 1978, a nine-city tour of Japan. At director since it was founded in 1881. the invitation of the Chinese government, Born in 1935 in Shenyang, China, to Mr. Ozawa then spent a week working with Japanese parents, Mr. Ozawa studied both the Peking Central Philharmonic Orches- Western and Oriental music as a child and tra; a year later, in March 1979, he returned later graduated from Tokyo's Toho School to China with the entire Boston Symphony of Music with first prizes in composition for a significant musical and cultural and conducting. In the fall of 1959 he won exchange entailing coaching, study, and first prize at the International Competition discussion sessions with Chinese musi- of Orchestra Conductors, Besancon, cians, as well as concert performances. Also France. Charles Munch, then music in 1979, Mr. Ozawa led the orchestra on its director of the Boston Symphony and a first tour devoted exclusively to appear- judge at the competition, invited him to ances at the major music festivals of Tanglewood, where in 1960 he won the Europe. Seiji Ozawa and the Boston Sym- Koussevitzky Prize for outstanding student phony celebrated the orchestra's one-hun- conductor, the highest honor awarded by dredth birthday with a fourteen-city the Berkshire Music Center (now the American tour in March 1981 and an inter- Tanglewood Music Center). national tour to Japan, France, Germany, Austria, and England in October/November While working with Herbert von Karajan that same year. In August/September 1984, in West Berlin, Mr. Ozawa came to the Mr. Ozawa led the orchestra in a two-and- attention of Leonard Bernstein, whom he one-half-week, eleven-concert tour which accompanied on the New York Philhar- included appearances at the music festivals monic's spring 1961 Japan tour, and he was of Edinburgh, London, Salzburg, Lucerne, made an assistant conductor of that orches- and Berlin, as well as performances in tra for the 1961-62 season. His first profes- Munich, Hamburg, and Amsterdam. This sional concert appearance in North February he returned with the orchestra to America came in January 1962 with the San Japan for a three-week tour. Francisco Symphony Orchestra. He was music director of the Ravinia Festival for Mr. Ozawa pursues an active interna- five summers beginning in 1964, and music tional career. He appears regularly with the director for four seasons of the Toronto Berlin Philharmonic, the Orchestre de
8 Paris, the French National Radio Orches- music of Ravel, Berlioz, and Debussy with tra, the Vienna Philharmonic, the Philhar- mezzo-soprano Frederica von Stade and monia of London, and the New Japan the Mendelssohn Violin Concerto with Philharmonic. His operatic credits include Isaac Stern; in addition, he has recorded Salzburg, London's Royal Opera at Covent the Schoenberg/Monn Cello Concerto and Garden, La Scala in Milan, and the Paris Strauss's Don Quixote with cellist Yo-Yo Ma Opera, where he conducted the world for future release. For Telarc, he has premiere of Olivier Messiaen's opera recorded the complete cycle of Beethoven St. Francis of Assisi in November 1983. piano concertos and the Choral Fantasy Messiaen's opera was subsequently with Rudolf Serkin. Mr. Ozawa and the awarded the Grand Prix de la Critique 1984 orchestra have recorded five of the works in the category of French world premieres. commissioned by the BSO for its centen- Mr. Ozawa will lead the Boston Symphony nial: Roger Sessions's Pulitzer Prize-win- Orchestra in the American premiere of ning Concerto for Orchestra and Andrzej scenes from St. Francis of Assisi in April Panufnik's Sinfonia Votiva are available on 1986 in Boston and New York. Hyperion; Peter Lieberson's Piano Con- certo with soloist Peter Serkin, John Seiji Ozawa has won an Emmy for the Harbison's Symphony No. 1, and Oily Boston Symphony Orchestra's "Evening at Wilson's Sinfonia have been taped for New Symphony" television series. His award- World records. For Angel/EMI, he and the winning recordings include Berlioz's orchestra have recorded Stravinsky's Fire- Romeo et Juliette, Schoenberg's Gurrelieder, bird and, with soloist Itzhak Perlman, the and the Berg and Stravinsky violin concer- violin concertos of Earl Kim and Robert tos with Itzhak Perlman. Other recordings Starer. with the orchestra include, for Philips, Richard Strauss's Also sprach Zarathustra Mr. Ozawa holds honorary Doctor of and Ein Heldenleben, Stravinsky's he Sacre Music degrees from the University of Mas- du printemps, Hoist's The Planets, and sachusetts, the New England Conservatory Mahler's Symphony No. 8, the Symphony of of Music, and Wheaton College in Norton, a Thousand. For CBS, he has recorded Massachusetts. We invite you to join us before or after Symphony for a fine dining experience. We're so close you can almost hear the music.
Lunch - 11:30 - 3 pm Dinner - 5 - 11 pm
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10 Violas Bass Clarinet Burton Fine Craig Nordstrom Charles S. Dana chair Patricia McCarty Bassoons Anne Stoneman chair Sherman Walt Ronald Wilkison Edward A. Taft chair Robert Barnes Roland Small Jerome Lipson Matthew Ruggiero Bernard Kadinoff Contrabassoon Joseph Pietropaolo Richard Plaster Michael Zaretsky Marc Jeanneret Horns Music Directorship endowed by Betty Benthin Charles Kavalovski John Moors Cabot *Mark Ludwig Helen Sagoff Slosberg chair *Roberto Diaz Richard Sebring BOSTON SYMPHONY Daniel Katzen ORCHESTRA Cellos Jay Wadenpfuhl Jules Eskin Richard Mackey 1985-86 Philip R. Allen chair Jonathan Menkis Martha Babcock Vernon and Marion Alden chair First Violins Trumpets Mischa Nieland Malcolm Lowe Charles Schlueter Esther S. and Joseph M. Shapiro chair Concertmaster Roger Louis Voisin chair Charles Munch chair *Robert Ripley Andre Cdme Max Hobart Luis Leguia Ford H. Cooper chair Acting Associate Concertmaster Carol Procter Charles Daval Helen Horner Mclntyre chair Ronald Feldman Peter Chapman Cecylia Arzewski * Jerome Patterson Acting Assistant Concertmaster Trombones Robert L. Beal, and fJoel Moerschel Enid and Bruce A. Beal chair Sandra and David Bakalar chair Ronald Barron J.P. Mary B. Barger chair Bo Youp Hwang *Jonathan Miller and Norman Bolter Edward and Bertha C. Rose chair *Sato Knudsen Max Winder Bass Trombone John and Dorothy Wilson chair Basses Douglas Yeo Harry Dickson Edwin Barker Forrest Foster Collier chair Harold D. Hodgkinson chair Tuba Gottfried Wilfinger Lawrence Wolfe Chester Schmitz Maria Stata chair Fredy Ostrovsky Margaret and William C. Leo Panasevich Joseph Hearne Rousseau chair Carolyn and George Rowland chair Bela Wurtzler Timpani Sheldon Rotenberg Leslie Martin Muriel C. Kasdon and John Salkowski Everett Firth Marjorie C. Paley chair Sylvia Shippen Wells chair Alfred Schneider John Barwicki Raymond Sird *Robert Olson Percussion * flkuko Mizuno James Orleans Charles Smith Amnon Levy Peter and Anne Brooke chair Flutes Arthur Press Doriot Anthony Dwyer Assistant Timpanist Second Violins Walter Piston chair Thomas Gauger Marylou Speaker Churchill Fenwick Smith Frank Epstein Fahnestock chair Myra and Robert Kraft chair Vyacheslav Uritsky Leone Buyse Charlotte and Irving W. Rabb chair Harp Ronald Knudsen Piccolo Ann Hobson Pilot Willona Henderson Sinclair chair Joseph McGauley Lois Schaefer Leonard Moss Evelyn and C. Charles Marran chair *Michael Vitale *Harvey Seigel Oboes *Jerome Rosen Ralph Gomberg Mildred B. Remis chair * Sheila Fiekowsky Personnel Managers Wayne Rapier fGerald Elias William Moyer Alfred Genovese Ronan Lefkowitz Harry Shapiro *Nancy Bracken English Horn Librarians *Joel Smirnoff Laurence Thorstenberg *Jennie Shames Phyllis Knight Beranek chair Marshall Burlingame *Nisanne Lowe William Shisler *Aza Raykhtsaum Clarinets James Harper * Lucia Lin Harold Wright Ann S.M. Banks chair Stage Manager * Participating in a system of rotated Thomas Martin Position endowed by seating within each string section. Peter Hadcock Angelica Lloyd Clagett t O/i sabbatical leave. E-fiat Clarinet Alfred Robison
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LISTEN TO WCRB-102.5-FM WATCH WCVB-TV CHANNEL 5
Hear celebrity interviews, historic performances, trivia Seiji Ozawa conducts the Boston Symphony Orchestra contests, and more! in a live performance. Join Chet Curtis, Natalie Jacob- son, Frank Avruch, and Lisa Karlin as they salute the Friday, April 1 1 : noon to 2 p.m. great traditions of the BSO and Pops, Monday, April 14 9 to 1 1 p.m. from 7:30 to 9 p.m., simulcast on WCRB. Call Saturday, April 12: 11 a.m. to 1 p.m. 262-8700 and give your pledge to one of the volunteer 6 to 8 p.m. telephone operators. Sunday, April 13: 10 a.m. to midnight
Monday, April 14: 7 to 1 1 p.m. BRUNCH AND PROMENADE AT NEMAN'S VISIT QUINCY MARKET A feast of sights, sounds, and gourmet delicacies awaits
Local performing artists, introduced by celebrity hosts, you on Sunday, April 13 from 11:30 a.m. to 2:30 p.m. brighten the midday scene with lively entertainment on the three levels of Neiman-Marcus at Copley Place. under the Rotunda. Performances take place on each Tickets, priced at $50 per person, are available by day of Salute to Symphony beginning at noon. Join invitation only. To receive an invitation, please call the fun! the Volunteer Office, 266-1492, ext. 178.
If you contribute $40 or more to Salute to Symphony, you become a Friend of the BSO and help the
orchestra maintain the highest artistic standards. You will receive a membership card which entitles you to
the following benefits:
• a special "Friends Day" at Symphony Hall, which includes a BSO musical program,
tours of the Hall, and an exclusive one-day-only discount at the Symphony Shop
• invitations to the annual new Friends reception and other special events
• the opportunity to purchase tickets for the opening night concerts of the BSO and Pops in advance of public sale
• a subscription to BSO, the quarterly newsletter of the orchestra
Salute to Symphony, a project of the Boston Symphony Association of Volunteers to support the Boston Symphony
Orchestra, is partially underwritten by Neiman-Marcus, Carter Hawley Hale, and Raytheon.
12 1
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A Brief History of the Boston Symphony Orchestra
For many years, philanthropist, Civil War personality proved so enduring that he veteran, and amateur musician Henry Lee served an unprecedented term of twenty- Higginson dreamed of founding a great and five years. permanent orchestra in his home town of In 1936, Koussevitzky led the orchestra's Boston. His vision approached reality in first concerts in the Berkshires, and a year the spring of 1881, and on 22 October that later he and the players took up annual year the Boston Symphony Orchestra's summer residence at Tanglewood. inaugural concert took place under the Koussevitzky passionately shared Major direction of conductor Georg Henschel. For Higginson's dream of "a good honest nearly twenty years, symphony concerts school for musicians," and in 1940 that were held in the old Boston Music Hall; dream was realized with the founding at Symphony Hall, the orchestra's present Tanglewood of the Berkshire Music Center home, and one of the world's most highly (now called the Tanglewood Music Center), regarded concert halls, was opened in 1900. a unique summer music academy for young Henschel was succeeded by a series of artists. German-born and -trained conductors Wilhelm Gericke, Arthur Nikisch, Emil Expansion continued in other areas as Paur, and Max Fiedler—culminating in the well. In 1929 the free Esplanade concerts appointment of the legendary Karl Muck, on the Charles River in Boston were inau- who served two tenures as music director, gurated by Arthur Fiedler, who had been a 1906-08 and 1912-18. Meanwhile, in July member of the orchestra since 1915 and 1885, the musicians of the Boston Sym- who in 1930 became the eighteenth conduc- phony had given their first "Promenade" tor of the Boston Pops, a post he would concert, offering both music and refresh- hold for half a century, to be succeeded by ments, and fulfilling Major Higginson's John Williams in 1980. The Boston Pops wish to give "concerts of a lighter kind of celebrated its hundredth birthday in 1985 music." These concerts, soon to be given in under Mr. Williams's baton. the springtime and renamed first "Popu- Charles Munch followed Koussevitzky as lar" and then "Pops," fast became a music director in 1949. Munch continued tradition. Koussevitzky's practice of supporting con-
During the orchestra's first decades, temporary composers and introduced much there were striking moves toward expan- music from the French repertory to this sion. In 1915, the orchestra made its first transcontinental trip, playing thirteen con- certs at the Panama- Pacific Exposition in San Francisco. Recording, begun with RCA in the pioneering days of 1917, continued with increasing frequency, as did radio broadcasts of concerts. The character of the Boston Symphony was greatly changed in 1918, when Henri Rabaud was engaged as conductor; he was succeeded the following season by Pierre Monteux. These appoint- ments marked the beginning of a French- oriented tradition which would be main- tained, even during the Russian-born Serge Koussevitzky's time, with the employment of many French-trained musicians.
The Koussevitzky era began in 1924. His extraordinary musicianship and electric Henry Lee Higginson
13 How to conduct yourself on Friday night.
Aficionados of classical music can enjoy the Boston Symphony Orchestra every Friday night at 9 o'clock on WCRB 102. 5 FM. Sponsored in part by Honeywell.
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14 country. During his tenure, the orchestra abroad, and his program of centennial com- toured abroad for the first time, and its missions—from Sandor Balassa, Leonard continuing series of Youth Concerts was ini- Bernstein, John Corigliano, Peter Maxwell tiated. Erich Leinsdorf began his seven- Davies, John Harbison, Leon Kirchner, year term as music director in 1962. Peter Lieberson, Donald Martino, Andrzej Leinsdorf presented numerous premieres, Panufnik, Roger Sessions, Sir Michael restored many forgotten and neglected Tippett, and Oily Wilson—on the occasion works to the repertory, and, like his two of the orchestra's hundredth birthday has predecessors, made many recordings for reaffirmed the orchestra's commitment to RCA; in addition, many concerts were tele- new music. Under his direction, the orches- vised under his direction. Leinsdorf was tra has also expanded its recording activi- also an energetic director of the Tangle- ties to include releases on the Philips, wood Music Center, and under his lead- Telarc, CBS, Angel/EMI, Hyperion, and ership a full-tuition fellowship program was New World labels. established. Also during these years, the Boston Symphony Chamber Players were From its earliest days, the Boston Sym- founded, in 1964; they are the world's only phony Orchestra has stood for imagination, permanent chamber ensemble made up of a enterprise, and the highest attainable stan- major symphony orchestra's principal dards. Today, the Boston Symphony players. Orchestra, Inc., presents more than 250 concerts annually. Attended by a live audi- William Steinberg succeeded Leinsdorf ence of nearly 1.5 million, the orchestra's in 1969. He conducted several American performances are heard by a vast national and world premieres, made recordings for and international audience through the Deutsche Grammophon and RCA, media of radio, television, and recordings. appeared regularly on television, led the Its annual budget has grown from 1971 European tour, and directed concerts Higginson's projected $115,000 to more on the east coast, in the south, and in the than $20 million, and its preeminent posi- mid-west. tion in the world of music is due not only to Seiji Ozawa, an artistic director of the the support of its audiences but also to Tanglewood Festival since 1970, became grants from the federal and state govern- the orchestra's thirteenth music director in ments, and to the generosity of many foun- the fall of 1973, following a year as music dations, businesses, and individuals. It is adviser. Now in his thirteenth year as music an ensemble that has richly fulfilled director, Mr. Ozawa has continued to solid- Higginson's vision of a great and perma- ify the orchestra's reputation at home and nent orchestra in Boston.
Thi first photograph, actually a collage, of the Boston Symphony Orchestra under Georg Hi nschel, taken 1882
15 The very soul of France. In the very heart of Boston.
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BOSTON SYMPHONY ORCHESTRA
Seiji Ozawa, Music Director
One Hundred and Fifth Season, 1985-86
Thursday, 10 April at 8 Friday, 11 April at 2 Saturday, 12 April at 8 Tuesday, 15 April at 8
SEIJI OZAWA conducting
The Ondes Martenot players at
these performances are
JEANNE LORIOD, DOMINIQUE KIM,
and VALERIE HARTMANN-CLAVERI E
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Seiji Ozawa, Music Director
One Hundred and Fifth Season, 1985-86
Thursday, 10 April at 8 Friday, 11 April at 2 Saturday, 12 April at 8 Tuesday, 15 April at 8
SEIJI OZAWA conducting
MESSIAEN Three Tableaux from St. Francis ofAssisi: Franciscan Scenes in Three Acts and Eight Tableaux (American premiere)
Third Tableau: St. Francis Kisses the Leper Seventh Tableau: The Stigmata
INTERMISSION
Eighth Tableau: Death and New Life
JOSE VAN DAM, bass-baritone (St. Francis) KATHLEEN BATTLE, soprano (the Angel) KENNETH RIEGEL, tenor (the Leper) PHILIPPE ROUILLON, baritone (Brother Leo) TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor
Chorus soloists:
Edward J. Kiradjieff, tenor (Brother Masseo) Aubrey Botsford, bass (Brother Rufino) Edward E. Dahl, bass (Brother Bernard) Timothy Lanagan, bass (Brother Sylvester)
Thursday's, Saturday's, and Tuesday's concerts will end about 10:15 and Friday's about 4:15. Philips, Telarc, CBS, Deutsche Grammophon, Angel/EMI, New World, Hyperion, and RCA records Baldwin piano
Please be sure the electronic signal on your watch or pager is switched off during the concert. The program books for the Friday series are given in loving memory of Mrs. Hugh Bancroft by her daughters Mrs. A. Werk Cook and the late Mrs. William C. Cox.
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NAD(USA) INC. • 675 CANTON STREET • NORWOOD, MA 02062, U.S.A. Olivier Messiaen Three Tableaux from Saint Francis ofAssisi
Olivier Messiaen was born in Avignon, France, on 10 December 1908. He lives in Paris. Messiaen's only opera, Saint Francois d'Assise (subtitled Scenes franciscaines [Franciscan Scenes],), was commissioned by Rolf Liebermann for the Paris Opera in 1975. The composer spent eight years writing the libretto and composing and orchestrating the work.
The six-hour score received its world pre- miere at the Opera on 28 November 1983; Seiji Ozawa conducted. Bass-baritone Jose van Dam created the role of St. Francis, soprano Christiane Eda-Pierre the Angel, and tenor Kenneth Riegel the Leper. The present performances include three of the eight tableaux which comprise the full six-
hour opera, and they are the first perform- ances in America of music from St. Francis. The score calls for a large and varied ensemble detailed in the composer's statement below.
During the last years of World War II and for a few years after the end of the war, Olivier Messiaen taught semi-private lessons in musical analysis in the home of a friend. A talented group of young composers flocked to these lessons, which were quite unofficial, for although Messiaen was on the faculty of the Conservatoire, he was not, at the time, allowed to teach anything but harmony there, since his directorate considered his influence to be potentially dangerous. The most gifted of these students was Pierre Boulez, who studied with Messiaen in the winter of 1944-45, and whose recollections not only conjure up the sense of excitement, of newly opened possibilities at the time, but also give an indication of the breadth of Messiaen's musical interests:
In the desert, the solitude of the Conservatoire, one man seemed to us the only sheet-anchor. He was only a teacher of harmony, but his reputation was rather notorious. To choose to study with him already meant a great deal: it was as if one were withdrawing oneself from the mass and electing for obstinacy ... It was truly an epoch of exploring and freedom—fresh air and openness amidst
the stupidity which surrounded us . . . And our investigation was not confined to Europe: acquaintance with Asia and Africa taught us that we were not alone in having the privilege of "tradition." They brought us to a stage at which music
was not just an art object but truly a way of life, a permanent branding.
Messiaen's analytical attention was directed to everything from Greek meters and Hindu rhythms to the songs of birds, Beethoven string quartets, Debussy's Pelleas, and music by Schoenberg and his pupils. Such a wide range of material—far beyond the normal analyst's concern with the western musical tradition alone—suggests some of the artistic concerns of Messiaen's own creative work as well. After all, analysis, when undertaken by a composer, is almost always closely related to composition; the com- poser-analyst asks, "What has been done before? How was it done? Did it work? If so, are further steps possible in this direction? If not, why not?" Thus every piece of music observed and studied by a composer becomes a part of him, whether he ultimately accepts or rejects the technical and expressive devices by which it operates.
Olivier Messiaen's musical education began in early childhood. He was already composing by the age of seven and entered the Paris Conservatoire at eleven. In 1926 he won the first prize in fugue, following that in 1928 with the prize in piano accompani- ment. During the two successive years he bore off the palm in music history and in
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20 .
composition. His teachers included Marcel Dupre for organ, Messiaen's principal instrument, and Paul Dukas in composition.
Almost immediately after finishing his studies, Messiaen took up the position of organist at the church of La Trinite in Paris, remaining in the post from 1930 until the early '70s. He began teaching in Paris in the Ecole Normale de Musique and the Schola Cantorum. And, of course, he continued composing. The '30s saw the completion of many organ compositions, as well as piano works, the elegant and expressive song cycle Poemes pour Mi for voice and piano (later orchestrated), and a number of works for orchestra, mostly on religious themes. Already during this period Messiaen's music was introduced to Boston by Serge Koussevitzky, who led the American premiere of Les Offrandes oubliees (The Forgotten Sacrifice) in October 1936. The composer was still two months short of his twenty-eighth birthday.
Messiaen was imprisoned in a Silesian military camp in 1940; there he composed one
of his most powerful and moving compositions, the Quatuor pour la fin du temps (Quartet for the End of Time) for violin, clarinet, cello, and piano; the instrumentation was determined by the fact that he knew three other professional musicians in the camp who had their instruments with them, and he wrote the piano part for himself. The first
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performance took place in those stark surroundings in 1941, with an audience consisting of 5000 prisoners, who listened to the new piece, running well over a half hour, with rapt attention.
After his release from the camp in 1941, Messiaen became professor of harmony at the Conservatoire. Not long after, he began the series of lessons in the home of a friend that attracted the attention of the brightest young composers at the institution. After the war, Messiaen composed a group of pieces not on religious themes but on poems of love. Even when writing for small forces, as in Harawi, subtitled "Song of love and death" (for voice and piano), settings of poems by the composer, he was making innovations in rhythm and harmony that were to play a role in his work for years to come and to be a strong influence on others, notably Pierre Boulez. The largest of these works was the Turangalila-Symphonie, and it offered another Boston connection, having been commis- sioned by Serge Koussevitzky and first performed by the BSO under Leonard Bernstein in December 1949. Messiaen had spent the summer of 1949 as composer-in-residence at Tanglewood. He and Aaron Copland shared the duties of teaching eighteen fellows in composition, and Koussevitzky conducted the BSO in his "four symphonic meditations" L'Ascension, a composition of 1933.
During the 1950s, Messiaen's fame spread both through performances of his own works and his acknowledged influence on such students as Boulez. He traveled widely and found inspiration in many cultures, not to mention in the bird songs of many lands. He was named professor of composition at the Conservatory in 1966 and was elected a member of the Institute the following year.
Messiaen has described himself as "composer and rhythmician." Rhythm is assuredly at the heart of his music, and it is with rhythm that he has been most influential. He has WANTED HELP
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studied the rhythms of ancient Greek poetry as well as the various dialects of rhythmic patterns in thirteenth-century Hindu music. Under the influence of Schoenbergian dodecaphony, Messiaen began to experiment with the idea of creating a rhythmic equivalent of the tone row. Where Schoenberg arranged all possible pitches into a particular pattern to be used as the basis of his work, Messiaen created a similar pre- planned pattern of rhythmic durations. It is this aspect of his music that was most enthusiastically followed by Boulez in his passion for establishing a serial organization for all the possible "parameters" of music.
Messiaen's harmonic language is both personal and flexible, combining elements of old and new musical styles—tonal, modal, atonal, and serial—in a fusion that is Messiaen's own. After turning to a somewhat more acerbic style under the influence of serialism in the 1950s, he has returned to a more encompassing view of harmony, % integrating the kinds of chords he had used earlier with the more complex inventions of his years of serial discovery.
Color plays a vital role in Messiaen's music, especially when he is writing for orchestra and thus has the enormous range of timbres to play with. He has said that he sees colors while composing, and will describe certain passages as being of one particu- lar color or another. But it is his originality in combining orchestral colors that will strike the listener most directly. His 1960 composition Chronochromie, the culmination of his creative development in the '50s, emphasizes in its very title—combining the Greek words chronos, "time," and chroma, "color"—the centrality of duration and instrumental timbre to his thought (it was heard here in a 1969 performance by the BSO under the direction of Georges Pretre). h£ Finally, one vital aspect of Olivier Messiaen the man and artist is his strong religious commitment. The emphasis on religious subject matter has been mentioned earlier in connection with his compositions of the 1930s, but it by no means vanished after that. In fact, one might have predicted in advance that if Messiaen were ever persuaded to undertake the creation of an opera, it would have been on a subject like St. Francis. Indeed, as the composer himself explains below, St. Francis—the simple, Christlike man who gave up wealth and position for a life of service and who preached to the birds—would seem to be a foregone conclusion as the subject for an opera by Messiaen. It is by no means a typically "operatic" opera, filled with grand melodramatic strokes. There is no rivalry in love, no assassination or murder or suicide, no romantic jealousy, no elephants or dancing slave girls—none of the usual folderol of the grand opera. The subject is a most unusual one for opera—the infusion of a human soul by divine grace. And Messiaen has lavished on it all of his invention of color and rhythm to produce a "symphonic spectacle" almost in the style of one of the old Medieval religious dramas by which those things that are hidden from the multitude can be made visible to all. —Steven Ledbetter
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24 The material that follows appeared in the program book of the Paris Opera for the premiere of St. Francis ofAssisi. It is reproduced here, as translated by Gerald Levinson, in its entirety, though it occasionally refers to scenes that will not be heard at the present performances.
Preface by the Composer
It was in 1975 that Rolf Liebermann commissioned me to write an opera for the Paris Opera. At first I was unwilling, but thanks to his insistence I finally agreed. It is entirely due to him that I have written an opera, something I would probably never have done otherwise. Thus I would like before all else to express to Rolf Liebermann my deepest gratitude.
From the age of eight I have read all the plays of Shakespeare, and later in my class at the Paris Conservatory I often analyzed operas—from Monteverdi, Rameau, and Mozart to Pelleas et Melisande and Wozzeck, by way of Wagner and Boris Godunov—but I did not feel that I had a gift for the theater. Moreover I have titled my work "Saint Francis ofAssisi: Franciscan Scenes" and only then, "opera in three acts and eight tableaux." Indeed, it was not my intention to write a conven- tional drama, complete with love story and associated crimes, but only scenes depicting different aspects of Grace in the soul of St. Francis. However, the work is more than a symphonic spectacle. The scenery, characters, and costumes are all indispensable, as are the staging, the story, and the action of each scene. I have always admired St. Francis—first, because he is the Saint who most resembles Christ, and also for a more personal reason: he spoke to the birds, and I am an ornithologist. Thus it was altogether natural for me to choose this subject for an opera.
Although time is of no importance in the matter, it should nevertheless be known that I worked nearly eight years on Saint Francois d'Assise. I began the poem during the summer of 1975 and composed the music from 1975-1979. The orchestration and copying of the eight full scores of the eight tableaux took from 1979-1983.
The poem has no literary pretensions. It exists solely for the sake of the music, and I often altered the words in order to follow my melodic lines and to give good vowels in the high vocal registers. I eliminated much, only taking the main lines of my subject. My preference was always to choose that which could partake of the marvellous, of color, of bird song. Thus one will not find here Pietro Bernadone,* or the great St. Clare, or the famous Wolf of Gubbio. There are numerous works about St. Francis, the earliest being the First Life and the Second Life (Vita Prima, Vita Secunda) of Thomas of Celano, then the two Lives of Saint Francis (Legenda Major, Legenda Minor) by St. Bonaventure. Of the many modern works I will mention only one which I especially admire: Lire Francois D'Assise by Father Louis-Antoine, Capuchin.
For the libretto of my opera, beyond the quotations from the Holy Scriptures, my ornithological recollections, and all that is poetry, I am entirely responsible for the organization and text of each scene. However, I did have certain sources of inspira- tion: the Fioretti, the Considerations on the Stigmata, and the writings of St. Francis himself, particularly the Canticle of the Creatures.^
These are the characters in the opera: the Angel (soprano); St. Francis (baritone); the Leper (tenor); three Friars especially dear to St. Francis: Brother Leo (bari- tone), Brother Masseo (tenor), and Brother Bernard (bass); and Brother Elias (tenor), who appears for contrast—an excellent organizer, his ideas were perhaps anti-Franciscan (this is the point of view of the Fioretti).
*Father of St. Francis (trans.). tWidely known as the Canticle of Brother Sun (trans.). 25 Week 20 Each character is associated with a particular theme and a particular bird song. The Angel has several themes: 1) ensembles of seven flutes playing chords in permutations; 2) high shrill calls by the oboe and E-flat clarinet in the style of Japanese Noh; 3) fortissimo chords, with their overtones; 4) a melodic theme in the second mode*; 5) a melodic and harmonic theme in the third mode, associated with the words "But God is greater than your heart"; 6) the song of the Gerygone, a small, yellow-breasted warbler from the Island of Pines near New Caledonia, played by piccolos, xylophone, and glockenspiel. This bird song precedes and announces each appearance of the Angel.
There are also several themes for St. Francis: 1) a melodic theme for the violins which returns whenever he is on stage; 2) a harmonic theme, contrasting a cluster with a trombone chord, which occurs only when St. Francis sings with solemnity; 3) a theme of Decision, an energetic descending leap of a double octave; 4) a theme of Joy; 5) the song of the Capinera (Blackcap), a typical bird at the Carceri in Assisi, whose strophes often interrupt St. Francis in the sixth tableau.
The Leper has for his theme a dochmiac rhythm,f aggressive and agitated, which will be transformed into a dance of joy at the end of the third scene, and will return for the final luminous song of Resurrection in the eighth tableau.
*For explanations of the composer's "Modes of limited transposition" see his Technique of My Musical Language, ch. 16; or Paul Griffiths, Olivier Messiaen and the Music of Time, ch. 2 (trans.). fA Greek metrical foot, composed of an iamb and a eretic (amphimacer): u — s^ — o (trans.).
(< Detail from Giotto's fresco The Sermon to the Birds
26 Brother Leo has his own song: "I am afraid, I am afraid on the road ..."
Brother Masseo has a very simple, pure melodic theme, supported by chords of transposed inversions.*
Brother Elias is accompanied, or rather caricatured, by glissandos in the strings and trombones, by the Notou (a New Caledonia bird), and by the acidulous rhythms of the Reed Warbler.
Brother Bernard has a melodic theme in the horns and strings, often interrupted by the song of the Philemon (monk bird) from the Island of Pines near New Caledonia, played by the woodwinds.
The chorus and orchestra require a large number of singers and players, not to produce a large volume but to permit a great variety of colors and of mixtures of colors. Here is the exact orchestration:
Woodwinds: three piccolos, three flutes, alto flute; three oboes, English horn; two piccolo clarinets in E-flat, three B-flat clarinets, bass clarinet, contrabass clarinet; three bassoons, contrabassoon.
Mallet instruments: xylophone, xylorimba, marimba, glockenspiel, vibraphone.
Brass: D trumpet, three C trumpets, six horns, three trombones, two tubas, contrabass tuba.
Ondes: three Ondes Martenot, placed in different locations in the hall, in order to produce spatial effects. The first Onde is in a proscenium box to the left of the conductor, on the side of the first violins. The second is similarly placed to the right side, by the cellos. The third is in the pit, in front of the conductor.
Chorus: mixed chorus of 150 singers (on stage); fifteen per part: first and second sopranos, mezzo-sopranos, first and second altos, first and second tenors, baritones, first and second basses.
Strings: sixteen first violins, sixteen second violins, fourteen violas, twelve cellos, ten double basses.
Percussion: I: first tubular chimes, first claves, Aeoliphone (wind machine), snare drum; II: first triangle, second claves, six temple blocks, two cymbals (high and very high), suspended cymbal; III: second triangle, third claves, woodblock, whip, mar- acas, reco-reco, three wind-chimes (glass, shell, and wood), tambourine, three gongs; IV: third triangle, fourth claves, crotales, medium and large suspended cymbals, two tom-toms, three tam-tams; V: second tubular chimes, thunder sheet, fifth claves, Geophone (sand machine), bass drum.
For each scene I have carefully indicated the rise and fall of the curtain, the decors in great detail, and the most important stage movements. Before each scene there is a description of the costume of each of the characters to appear in it. For example, here is St. Francis: he should be rather short, with a sparse reddish beard and a humble manner. His brownish-red hair, tonsure, and brown robe distinguish him from the other Friars. Like them, however, he wears a rope for a belt and a pointed cowl hanging at his back. He should attempt to resemble the portrait by Cimabue at Assisi, and the attitudes in which he is portrayed in the frescoes of Giotto, also at Assisi.
For another example: the leper must be horrible and repulsive, half-naked, dress- ed in tattered rags, his arms and legs covered with black and bloody spots. He should resemble the leper depicted by Matthias Griinewald in the Isenheim altar- piece (the Temptation of St. Anthony). After his miraculous cure, from the moment
*i.e., progressions of Messiaen's "chord on the dominant"; see Technique of My Musical Language, ch. 14 (trans.). fttysfr>lW
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28 he is kissed by St. Francis, his appearance is completely changed. His skin is unblemished (no more spots or blood) and he wears a new garment (in which he will reappear, together with the Angel, in the last tableau)—the robe of a medieval nobleman, orange-red with a red waistcoat and flowing red fringed sleeves. Cos- tumes of this kind are still seen in Assisi at the festival of the Calends of May.
A final example: the Angel. We know that the angels are pure spirit, incorporeal and invisible. I have adopted, however, the iconographic tradition of representing them with human face and body, crowned with a halo, and possessed of two great wings at the back, and I have chosen from among the frescoes and altarpieces of Fra Angelico at Florence an extraordinary figure of an angel, whose portrait has haunted me throughout the composition of this work. This angel has long blond hair, curling at the neck, and a thin golden circle over the top of the head for a halo. His costume should reproduce that found in one of the Annunciations by Fra Angelico in the Museo di San Marco in Florence*: long pink-mauve robe (between lilac and salmon), touching the ground, with golden adornments on the sleeves and across the chest and upper back. Four long yellow ribbons hang to the ground at the back and sides, extending the robe. The wings, in five colors, are attached at the back and are each divided into vertical bands: first, at the edge, a band of red, in scallops, ending in a long pointed red plume; then a blue and a black band, followed by five bands successively yellow, blue, yellow, green, yellow; in the center, a large blue disc. The two wings resemble two harps, or two rows of organ pipes.
In this opera I have used a great number of bird songs: first, the Capinera «£ (Blackcap), then the Robin and the Wren, all notated at Assisi. But there are many BE other European birds: the Mistle Thrush (notated in Bevagna, Umbria), the Sky Lark (very common in Italy), the Blackbird, the Song Thrush, the Garden Warbler, the Nightingale, the Golden Oriole, the Linnet, the Cuckoo, the Wood Pigeon, the ^c Turtle Dove, the Reed Warbler (only for Brother Elias), the Kestrelf (who alerts St.
*The Annunciation of the Armadio degli Argenti (trans.). fA type of falcon (trans.).
Sketch of the Angel's costume from the world premiere of "St. Francis"
29 Week 20 w " 1
Francis to the arrival of the Angel in the fifth tableau), the Subalpine Warbler (notated at Galeria, in Corsica), the Scarlet Grosbeak and the Bhiethroat (both from Sweden), and the Blue Rock Thrush (notated at Delphi, Greece), played by the xylo- phone, xylorimba, and marimba at the end of the leper's dance in the third scene. There are also nocturnal birds: the Little Owl (played by piccolo, flute, and alto flute during St. Francis' parable in the first tableau) and the Tawny Owl (heard in the violins, horn, and Ondes in the total blackness of the opening of the seventh tableau). Finally, St. Francis having called upon the birds of distant islands, I traveled for the occasion to New Caledonia and to a small nearby island, the He Kounie, or Island of Pines. Birds from this island who sing in the sixth tableau are: Eopsaltria (a yellow- breasted nightingale), Philemon (monk bird), Gerygone (a yellow-breasted warbler), and Gammier, whose rising and falling runs seem to touch each degree of a scale. Philemon often accompanies Brother Bernard, and Gerygone is one of the Angel's principal themes, ushering in each of his appearances.
I have also used other birds completely foreign to Italy: the Grey-headed Stone- chat and the Telephone Tschagra from Morocco, the Notou and the Zosterops from New Caledonia, the Australian Lyre-bird (on the Onde Martenot), and several
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30 Japanese birds: the Hoaka (a grey-headed bunting), the Fukuro (Ural owl) which is heard at the end of the third tableau, and two typical Japanese birds which I notated at Nikko and at Karuizawa: the Uguisu (Japanese Cetti's warbler) and the Hoto- toguisu (a small, grey-headed cuckoo).
The rhythms of these bird songs and my own rhythms are both extremely complex. Thus I have had to use meters in which the beats are of unequal durations, and which change constantly. Since these rhythms are entrusted to groups, they must be played with the greatest exactitude. The conductor's beats are generally determined by the "xylo" group (xylophone, xylorimba, marimba) or by the group of twenty-two wood- winds, and the other instruments must find their way within the beats of the "xylos" or woodwinds. During the sixth tableau, the sermon to the birds, in order to render the impression of organized disorder one receives from a real bird concert at sunrise or sunset, I have added to the strict rhythms of the conductor's beat several instruments placed outside the tempo. These are soloists (piccolo, clarinet, D trumpet, horn, solo cello, temple block, etc.); each begins at a sign from the conduc- tor and plays in his own time, at his own speed, without regard for the meter of the rest of the orchestra, and stops at another sign from the conductor. This is not aleatory music, but the superimposition of different tempos on one another.
There are in this work hundreds of different chords. Each is a complex of tones with a corresponding complex of colors. Chords in mode two, chords in mode three, chords of transposed inversions, chords of contracted resonance: each has its particular colors. There is thus an incessant movement of blue, of red, of violet, orange, green, purple, and gold—and my music should offer above all an experience of sound-sight, based on the sensation of color.
I will undoubtedly be reminded that St. Francis was poor, that he invoked Lady Poverty and her sister Holy Humility, and that poverty was one of his most distinctive characteristics. Now, elaborate orchestration, very complex rhythms, and sound complexes which are also complexes of colors—all this may indeed seem excessively rich in regard to St. Francis. My answer is that, while it is true that St. Francis was poor, completely poor, he retained his childhood admiration for all the beauty surrounding him and was thus rich in the sun, in the moon, in the colors of the sky, of clouds, of trees, of grass, of flowers, in the sounds of the wind, in the power of the fire, and in the clarity of water. He had nothing; he was rich in everything. His biographies tell us this, and the Canticle of the Creatures is there to prove it. Far from doing him an injustice, a music high in colors of timbres, of durations, of sound complexes, seems to me to be perfectly in harmony with his true interior nature. —Olivier Messiaen (translated by Gerald Levinson)
31 Week 20 Synopsis
The action takes place in thirteenth-century Italy. The subject of each scene is borrowed from the Fioretti (Little Flowers of Saint Francis) and from the Consider- ations on the Stigmata, both writings of anonymous Franciscans of the fourteenth century.
There are seven characters: the Angel, Saint Francis, the Leper, Brother Elias, and three Friars especially dear to St. Francis: Brother Leo, Brother Masseo, and Brother Bernard. During the course of the play we observe the progress of grace in the soul of St. Francis.
ACT I 1st Tableau: "The Cross." St. Francis explains to Brother Leo that for the love of Christ one must patiently endure all manner of contradictions and sufferings, and that therein lies "perfect Joy."
2nd Tableau: "Lauda." After the Friars chant the morning office, St. Francis, alone, asks of God that he might encounter a leper, and that he might find it in himself to love the leper.
3rd Tableau: "Saint Francis Kisses the Leper." A leprosarium. A leper, horrible and repulsive, covered with bloody spots and blisters, protests violently against his disease. St. Francis enters, sits by the leper, and speaks gently to him. An Angel
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/W?4>yy'™- 1 "ViOt 3 Z-viot t~ afros f vet if' A page from the autograph manuscript of the eighth tableau 32 m appears behind a window, saying: "Leper, your heart condemns you, but God is greater than your heart." Troubled by the Angel's voice and the kindness of St. Francis, the leper repents of his anger. St. Francis kisses the leper. A miracle! The leper is cured. He dances a wild dance of joy. More important than the healing of the leper is the deepening of grace in the soul of St. Francis and his exultation at the victory he has won over himself. ACT II 4th Tableau: "The Traveling Angel." A forest path on Mount La Verna. An Angel appears on the path, his magnificent costume and many-colored wings seen only by the audience. The other characters take him simply for a traveler. The Angel knocks at the door of the monastery, making a terrifying noise, which symbolizes the violent entry of grace. Brother Masseo opens the door. The Angel poses a question about predestination to Brother Elias, who refuses to answer and throws the Angel out. The Angel knocks again and repeats the same question to Brother Bernard, who, however, answers with great wisdom. After the Angel leaves, Brother Bernard and ." Brother Masseo look at one another, saying, "Perhaps it was an Angel . . 5th Tableau: "The Musical Angel." The Angel appears to St. Francis, and, to give him a foretaste of heavenly bliss, plays him a solo on the viol. This music is so sweet that St. Francis faints. 6th Tableau: "The Sermon to the Birds." At the Carceri, in Assisi: a large holm oak. It is spring; many birds are singing. St. Francis, accompanied by Brother Masseo, gives a sermon to the birds and solemnly blesses them. The birds respond in a great concert, in which we hear not only birds of Umbria—especially the Capinera (Black- cap), a typical bird at Carceri—but also those of other countries and of distant islands, notably from the Island of Pines, near New Caledonia. ACT III 7th Tableau: "The Stigmata." At La Verna, night. A cave under a rock ledge. St. Francis is alone. A large Cross appears. The voice of Christ, symbolized by the chorus, is heard almost continuously. Five rays of light emanate from the Cross, striking in turn the two hands, the two feet, and the right side of St. Francis, with the same awesome noise which accompanied the Angel in the third tableau. These five wounds, reproducing the five wounds of Christ, are the seal, the mark of divine approval of the holiness of St. Francis. 8th Tableau: "Death and New Life." St. Francis, dying, lies on the ground, sur- rounded by all the Friars. He bids farewell to all he has loved, and sings the last verse of his Canticle of the Creatures, the lines concerning "our sister bodily Death." The Friars chant Psalm 141.* The Angel and the leper appear to St. Francis to comfort him. St. Francis pronounces his last words: "Lord! Music and poetry have led me toward you by want of Truth; dazzle me forever with your excess of Truth ..." He dies. Bells ring; all is dark. As the chorus sings of Resurrection, a pool of light shines on the spot where the body of St. Francis had lain. This light grows until it becomes blinding and unbearable. The curtain falls. * Psalm 142 in the King James and Revised Standard Versions (trans.) 33 Week 20 . J_X)uis Vuitton. A commitment to quality, x Beyond the famous that make each trunk, suitcase 'Monogram" canvas, Louis Vuitton and bag an outstanding example represents a unique concept in of durability, strength and re- luggage and accessories. finement. 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Copley Place 100 Huntington Avenue Boston, MA 02116 (617) 437-6519 LOUIS VUITTON MAILETIER A PARIS MAISON FONDEE EN 1854 34 . . . . — . — Three Tableaux from SAINT FRANCOIS D'ASSISE (Saint Francis of Assisi) Franciscan Scenes Opera in 3 Acts and 8 Tableaux Poem and Music by Olivier Messiaen ACT 1, 3rd Tableau: "Saint Francis Kisses the Leper" Near Assisi, at the Hospital of San Salvatore delle Parete. A low room in the leprosarium. A bench, two stools. At the rear, on the right, a window opening onto a dark alley. The chorus is onstage, almost invisible. The leper is seated, alone. Le Lepreux: The Leper: Comment peut-on vivre une telle vie? Tous How can one live such a life? All ces Freres qui veulent me rendre service . . these Friars who want to serve me S'ils enduraient ce que j'endure, s'ils if they had to endure what I endure, if they souffraient ce que je souffre! Ha! . . suffered what I suffer! Ah! peut-etre se revolteraient-ils a leur They would probably disgust even tour . . themselves. Saint Francis enters. He recoils, recoils again. He approaches. Saint Francois: Saint Francis: Dieu te donne la paix, frere bien-aime! God give you peace, beloved brother. Saint Francis sits beside the leper. Le Lepreux: The Leper: Quelle paix puis-je avoir de Dieu, qui m'a What peace can I have from God, who has taken enleve tout bien, m'a rendu tout pourri, et away from me everything that is good and made fetide? me all rotten and stinking? Saint Francois: Saint Francis: Les infirmites du corps nous sont donnees The infirmities of the body are given to us pour le salut de notre ame. Comment for the salvation of our soul. How can we comprendre la Croix, si on n'en a pas porte understand the Cross, if we have not carried un petit morceau? a small piece of it? Le Lepreux: The Leper: J'en ai assez! assez! et plus qu'assez! I've had enough! enough! and more than enough! Les Freres que tu as mis a mon service, The Brothers you place at my service do a poor ils me soignent mal! Au lieu de me job of caring for me. Instead of relieving soulager, ils m'infligent leurs horribles me, they inflict their awful jabbering, bavardages, leurs remedes inutiles! their useless remedies! Saint Francois: Saint Francis: Et que fais-tu, ami, que fais-tu de la And what about the virtue of patience, vertu, la vertu de patience? my friend? Le Lepreux: The Leper: Mais ce sont eux qui m'agacent, me bousculent But it is they who irritate me, jostling me dans tous les sens . . . et la demangeaison de every which way! And the itching of my mes pustules me rend fou . . sores is driving me mad . . Saint Francois: Saint Francis: Offre ton mal en penitence, mon fils. Offer up your illness in penance, my son. Le Lepreux: The Leper: La penitence! la penitence! Enleve-moi Penance! Penance! First take away my d'abord mes pustules, et apres je ferai sores and afterwards, then I'll do penitence! Et puis, tes Freres, je sais penance. Besides, I know that I am —Please turn the page quietly 35 ...... 1 bien que je les degoute: quand ils me disgusting to your Friars. When they see me voient, ils ne retiennent meme pas leur they do not even hide their nausea. envie de vomir . . Saint Francois: Saint Francis: Pauvres Freres, ils font tout ee qu'ils Poor Brothers, they are doing all they peuvent . . can . . Le Lepreux: The Leper: Autrefois, j'etais jeune, et fort! In the old days I was young and strong! Maintenant, je suis comme une feuille Now I am like a leaf frappee de mildiou: tout jaune, avec eaten by mildew—all yellow with des taches noires . . black spots . . Saint Francois: Saint Francis: Si l'homme interieur est beau, il apparaitra If the inner man is beautiful, he will appear glorieux a l'heure de la resurrection. glorious at the hour of the resurrection. ; , The Angel appears behind the window, in the blackness of the alley. An unreal light allows the audience partly to distinguish his face, costume, and wings. He is only visible to the audience; Saint Francis and the leper are facing with their backs toward him. L'Ange: The Angel: Lepreux, lepreux, lepreux, ton coeur Leper, leper, leper, your heart , t'accuse, ton coeur. condemns you, your heart. Le Lepreux: The Leper: 1 D'ou vient cette voix? Where is that voice coming from? Saint Francois: Saint Francis: Ecoute! . . Listen! L'Ange: The Angel: Mais Dieu, mais Dieu, mais Dieu est plus But God, but God, but God is greater, grand, plus grand que ton coeur. greater than your heart. Le Lepreux: The Leper: Qui est-ce qui chante ainsi? Who is singing like this? Saint Francois: Saint Francis: C'est peut-etre un Ange envoye du ciel pour Perhaps it is an Angel, sent from heaven to te reconforter . . comfort you. L'Ange: The Angel: 11 est Amour, 11 est Amour, 11 est plus grand, He is Love, He is Love, He is greater, plus grand que ton coeur, 11 connait tout. greater than your heart. He knows all. Le Lepreux: The Leper: Que dit-il? Je ne comprends pas . . What is he saying? I do not understand . . Saint Francois: Saint Francis: 11 dit: "ton coeur t'accuse, mais Dieu est He says: "Your heart condemns you, but God is plus grand que ton coeur." greater than your heart." L'Ange: The Angel: Mais Dieu, mais Dieu, mais Dieu est tout But God, but God, but God is all Amour, et qui demeure dans l'Amour demeure Love; he who dwells in Love dwells en Dieu, et Dieu en lui. in God, and God in him. The Angel disappears. Le Lepreux: The Leper: Pardonne-moi, Pere: je recrimine toujours . . Forgive me, Father. I still complain: Tes Freres m'appellent: le lepreux! your Friars call me "the leper." 36 ...... Saint Francois: Saint Francis: Ou se trouve la tristesse, que je chante la Where there is sadness, may I sing of joie! joy! Le Lepreux: The Leper: Je sais bien que je suis horrible, et je me I know quite well that I am horrible, and I degoute moi-meme . . disgust myself . . Saint Francois: Saint Francis: Ou se trouve l'erreur, que j'ouvre la Verite! Where there is error, may I let in Truth! Le Lepreux: The Leper: Mais toi, tu es bon! Tu m'appelles: mon But you, you are good! You call me "my ami, mon frere, mon fils! friend," "my brother," "my son!" Saint Francois: Saint Francis: Ou se trouvent les tenebres, que j'apporte Where there is darkness, may I bring la lumiere! Pardonne-moi, mon fils: je ne light! Forgive me, my son: I have not t'ai pas assez aime . . loved you enough. Saint Francis kisses the leper. He draws away. The leper stands, cured, arms raised, completely transformed. Le Lepreux: The Leper: Miracle! Miracle! Miracle! Regarde, Pere, A miracle! A miracle! A miracle! Look, regarde: les taches ont disparu de ma peau! Father, look! The spots have disappeared from Je suis gueri! my skin! I am cured! The leper leaps and dances like a madman, then returns and sits near Saint Francis. Le Lepreux: The Leper: Pere, Pere, j'ai tellement proteste contre Father, Father, I have protested so much mes souffrances, j'ai tellement injurie les against my suffering; I have so much insulted Freres qui me soignaient . . the Brothers who were caring for me. Saint Francois: Saint Francis: Tu etais la pyramide renversee . . . renversee You were the inverted pyramid, the pyramid sur sa pointe . . . Mais Dieu t'attendait, de inverted on its point . . . But God was waiting l'autre cote de l'erreur . . for you, on the far side of error. Le Lepreux: The Leper: Je ne suis pas digne d'etre gueri . . I am not worthy of being cured. He takes his head in his hands and weeps. Saint Francois: Saint Francis: Ne pleure pas si fort, mon fils! Moi non Do not weep so much, my son: I too am not plus, je ne suis pas digne d'etre gueri . . worthy to be cured . . They pray together in silence. Little by little night has fallen on the two; the Chorus is now visible, across the whole stage. Choeur: Chorus: A ceux qui ont beaucoup aime: tout est For those who have greatly loved, all is pardonne! forgiven. 37 Week 20 . . . . ACT HI, 7th Tableau: "The Stigmata" At Mount La Verna. Strange, chaotically piled rocks. A kind of cave under a ledge, at the foot of stairs rising to the left. On the right a very narrow path, with no outlet, rises toward the cliff face. A large pointed stone rests suspended, wedged between the two walls of the narrow path. This is the "Sasso Spicco." Everywhere the stone is carpeted with dark green moss. All is cracked, fissured, carved. It is night. A portion of black sky can be seen over the rocks. The curtain rises on total night. The Chorus is present but invisible. The stage becomes partly visible. Saint Francis is seen, kneeling, at center stage. Saint Francois: Saint Francis: Seigneur Jesus Christ, accorde-moi deux Lord Jesus Christ, grant me two graces, avant que je ne meure! La premiere: graces before I die! The first is que je ressente dans mon corps cette douleur that I may feel in my body that pain que tu as enduree a l'heure de ta cruelle which you endured in the hour of your cruel Passion. La seconder que je ressente dans Passion. The second is that I may feel in mon coeur cet amour dont tu etais embrase, my heart that love with which you were amour qui te permit d'accepter une telle inflamed, a love which enabled you to accept Passion, pour nous, pecheurs. such a Passion for us, sinners. Here the stage begins to brighten little by little with a pallid glow, alarming and strange. Choeur: Chorus: Les miens, je les ai aimes: jusqu'au bout, I have loved my own to the end, jusqu'a la fin, jusqu'a la mort de la Croix, to the very end, to my death on the Cross, jusqu'a ma chair et mon sang, livres, until my flesh and my blood were given, donnees, en nourriture, dans l'Eucharistie. yielded up in the Eucharist. Si tu veux m'aimer, vraiment, et que l'Hostie, If you would truly love Me, and if la Sainte Hostie, te transforme davantage the Host, the Sacred Host, is to further en Moi: il te faut souffrir transform you into Me, then you must suffer dans ton corps les cinq plaies de mon Corps in your body the five wounds of my Body en Croix, accepter ton sacrifice, en union on the Cross, accept your sacrifice in oneness avec mon Sacrifice, et, te depassant toujours with my Sacrifice and, surpassing yourself plus, comme une musique plus haute, devenir ever more, like a higher music, become toi-meme une seconde hostie . . yourself a second Host . . The stage brightens further, with dark green and ivory glimmerings. Saint Francois: Saint Francis: faiblesse! . . . Ame tres meprisable! . . weakness! Contemptible soul! mon corps indigne! . . . Puis-je, Seigneur, my unworthy body! Lord, how can I te les offrir? . . offer these to you? Detail from Gentile da Fabriano's depiction of St. Francis receiving the Stigmata 38 . . . . hB' .•1 At the Chorus' reply, "C'est moi!" ("It is II"), an immense black Cross appears, extending vertically and horizontally across the entire background. This Cross is not an object; it must be produced by projection. At the appearance of the Cross the Chorus advances slightly, becoming partly visible. Choeur: Chorus: C'est Moi, c'est Moi, c'est Moi, je suis It is I, it is I, it is I, I am l'Alpha et l'Omega. Alpha and Omega. Je suis cet apres qui etait avant. Je suis I am that afterward which was before; I am cet avant qui sera apres. Par Moi tout a that before which shall be afterward. It was ete fait. C'est Moi, c'est Moi, qui ai by Me that all was made. It is I, it is I who pense les temps et l'espace. C'est Moi, thought time and space. It is I, c'est Moi qui ai pense toutes les etoiles. it is I who thought all the stars. C'est Moi qui ai pense le visible et It is I who thought the visible and l'invisible, les anges et les hommes, toutes the invisible, angels and men, all les creatures vivantes. Je suis la Verite living creatures. I am the Truth d'ou part tout ce qui est vrai, la premiere from which comes all that is true, the first Parole, le Verbe du Pere, celui qui donne Word, the Word of the Father, He who gives l'Esprit, est mort et ressuscite, Grand Spirit, Who died and rose again, eternal Pretre eternellement: l'Homme-Dieu! Qui High Priest: the God-Man! who vient de l'envers du temps, va du comes from the far side of time, leads from futur au passe, et s'avance pour the future toward the past, and approaches to juger, juger le monde . . judge the world . . A red and violet glow inflames the entire stage. Four luminous rays emanate from the Cross, striking the two hands and the two feet of Saint Francis. A fifth ray from the Cross strikes Saint Francis in the right side. Five spots of blood can be seen on his hands, feet, and right side. It is now very bright. The whole stage is red-orange. The huge black Cross has become golden and brilliant. Choeur: Chorus: Francois! . . Francis! . . Saint Francois: Saint Francis: Mon Seigneur et mon Dieu! My Lord and my God! Choeur: Chorus: Francois! . . Francis! . . Beaucoup desirent mon celeste royaume, peu Many desire my heavenly kingdom; few consentent a porter ma Croix. consent to bear my Cross. Saint Francois: Saint Francis: Parle, Seigneur, parle, Seigneur, ton Speak, Lord, speak; your serviteur ecoute. servant is listening. Choeur: Chorus: Francois! . . . Francois! . . . Si tu portes de bon Francis! . . . Francis! . . . If you will gladly bear coeur la Croix, elle-meme te portera, et te the Cross, it will bear you and will conduira au terme desire. Est-il rien de bring you to the end you desire. What penible qu'on ne doive supporter pour la hardship would one not endure for the sake of Vie, pour la Vie, pour la Vie eternelle? Life, of Life, of eternal Life? Saint Francis remains kneeling, arms raised, immobile, as though in ecstasy. 39 Week 20 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. dear friends A new orchestra has recently been founded — the Boston Composers Orchestra — this group of skillful musicians will serve the composers as boston Composers orchestra an essential instrument in their devel- Gunther Schuller, —Music Director opment and growth as creative artists. Boston, of course, has a long and 282 Linwood Avenue distinguished history as a center for Newtonville, Mass 02160 (617) 965-8630 new music, from the 1870s to the present, and one in which the Boston Symphony has played a splendid role. We see our orchestra's role as com- plementary to that of the B.S.O., hence harmony and collaboration should bind our two organizations for further enriching Boston's cultural, artistic life. The concert will honor William Schuman and other Boston composers as well. With great pride and pleasure, we invite you to attend our inaugural concert, May 1st, '86, 8 P.M. at Symphony Hall. — Gunther Schuller 40 . . —. . *i£n sa ACT HI, 8th Tableau: "Death and New Life" Interior of the small Church of the Porziuncola, at St. Mary of the Angels. Blackened arches, flagstone floor. The bare walls are made of uncut stones crudely placed on one another, half crookedly. It is almost night. All the Friars are there: Sylvester, Rufino, Bernard, Masseo, Leo, and the others. Saint Francis, dying, lies on the floor. The Friars surround him in a semicircle, kneeling. In the background: the Chorus (black, indistinct shapes). Saint Francois: Saint Francis: Adieu, creature de Temps! Adieu, Farewell, creature of Time! Farewell, creature d'Espace! Adieu, Mont de la Verna, creature of Space! Farewell, Mount La Verna, adieu, foret, adieu, rocher qui m'as recu farewell, forest, farewell, rock which once dans ton sein! Adieu, mes chers oiseaux! received me! Farewell, my beloved birds! Adieu, frere Gheppio, mon faucon Crecerelle! Farewell, brother Gheppio, my Kestrel! Adieu, soeur Capinera, ma Fauvette, ma Farewell, sister Capinera, my Blackcap! Pauvette a tete noire! Adieu, sainte cite Farewell, Holy city of d'Assise: par toi, beaucoup d'ames seront Assisi: through you many souls will be sauvees! saved! Adieu, Sainte Marie des Anges! Adieu, Farewell, Saint Mary of the Angels! Farewell, petite eglise de la Porziuncola, que Dame little church of the Porziuncola; may Lady Pauvrete te garde, avec sa soeur Sainte Poverty preserve you, with her sister Holy Humilite! Humility. Adieu, Frere Massee! Adieu, Frere Farewell, Brother Masseo! Farewell, Brother Leon, adieu! petite brebis, brebis de Dieu! Leo, farewell, little lamb of God! Adieu, Frere Bernard! mon premier disciple, Farewell, Brother Bernard, my first disciple, mon premier ne! Adieu, a vous tous, mes my first-born! Farewell to you all, my Freres, demeurez en paix, fils bien-aimes. Brothers; dwell in piece, my beloved sons. Frere Bernard: Brother Bernard: '**>> Pere Francois, reste avec nous! Ne nous Father Francis, stay with us! Do not quitte pas: il se fait tard, et le jour leave us. It grows late, and the day est sur son declin . . is waning . . Frere Massee: Brother Masseo: C'est la nuit It is night . . —Please turn the page quietly h Sketch of St. Francis's costume from the world premiere 41 ...... Frere Leon: Brother Leo: C'est la nuit: les alouettes ne chantent It is night; the larks sing no . . plus . . more Saint Francois: Saint Francis: Mais notre frere Rossignol va chanter . . But our brother Nightingale will sing . . Chantez, petites brebis: je chanterai, Sing, little lambs. I shall sing, nous chanterons, avec lui! Loue sois-tu, we shall sing, with him. Praise to You, mon Seigneur, pour soeur Mort, pour notre my Lord, for sister Death, for our soeur la Mort corporelle, la Mort! a qui sister bodily Death, for Death! whom nul homme ne peut echapper. no man may escape. Loue sois-tu, Seigneur! Praise to You, Lord! Trois Freres (Sylvestre, Rutin, Bernard): Three Brothers (Sylvester, Rufino, Bernard): Ma detresse est devant Toi: I pour out my distress before you: Choeur: Chorus: Mais Toi, tu connais mon chemin. But You know my path. Trois Freres (Sylvestre, Rufin, Bernard): Three Brothers (Sylvester, Rufino, Bernard): Seigneur, tu seras ma part, Lord, you will be my portion, Choeur: Chorus: Dans la terre des Vivants. In the land of the living. Trois Freres (Sylvestre, Rufin, Bernard): Three Brothers (Sylvester, Rufino, Bernard): Autour de moi les justes feront cercle: The righteous will surround me, Choeur: Chorus: lis attendront que tu me recompenses. For you will deal bountifully with me. Trois Freres (Sylvestre, Rufin, Bernard): Three Brothers (Sylvester, Rufino, Bernard): Sois attentif a ma clameur, tire mon ame de Give heed to my cry, and bring my soul out sa prison! from prison! Choeur: Chorus: Et que ton Saint Nom soit beni. And may your Holy Name be blessed. Saint Francois: Saint Francis: Bienheureux celui que la premiere mort Blessed is he who at the first death is trouvera conforme a ta Sainte Volonte: found in your Holy Will, la seconde mort ne lui fera point de mal. for the second death cannot harm him. Loue sois-tu, Seigneur! Praise to you, Lord! All the Friars rise. Choeur: Chorus: - J'appelle: Ha! et ma voix: Ha! J'appelle I call: Ah! and my voice: Ah! I call, et ma voix, et ma voix crie, et dit: Ha! and my voice, my voice cries out, and says: vers le Seigneur! vers le Seigneur que Ah! to the Lord, the Lord whom I j 'implore! implore! The Angel appears suddenly, luminous, near Saint Francis. He is visible only to Saint Francis, not to the other characters. L'Ange: The Angel: Francois! Francois! Rappelle-toi . . Francis! Francis! Remember . . Francois! Francois! le chant derriere la Francis! Francis! the song behind the fenetre . . . Mais Dieu, mais Dieu, mais Dieu window . . . But God, but God, but God est plus grand, plus grand que ton coeur, is greater, greater than your heart. II connait tout. He knows all. The leper appears beside the Angel. He is handsome and richly dressed, as at the end of the third scene. Like the Angel, he is visible only to Saint Francis. 42 .. . ' ' Si * - L'Ange: The Angel: • . ...^ , C'est lui! c'est le lepreux que tu as It is he! the leper whom you BK embrasse! II est mort saintement, et revient kissed. He has died in holiness, and returns Ih&k avec moi pour t'assister. Tous deux, nous with me to help you. Together we t'encadrerons, pour ton entree au Paradis, will guide you in your entrance into Paradise, dans la clarte, la clarte de la gloire! in the brightness, the brightness of glory! Aujourd'hui, dans quelques instants, tu vas Today, in a moment, you will hear entendre la musique de l'invisible . . . tu vas the music of the invisible . . . you will H entendre la musique de l'invisible . . . et tu hear the music of the invisible . . . and you AJH l'entendras a jamais . . will hear it for all eternity. The Angel and leper disappear. Bells ring. fU< Saint Francois: Saint Francis: Seigneur! Seigneur! Lord! Lord! Seigneur! Seigneur! Musique et Poesie m'ont Lord! Lord! Music and Poetry have conduit vers Toi: par image, par symbole, et led me toward You, by image, by symbol, and par defaut de Verite. by want of Truth. Seigneur! Seigneur! Lord! Lord! Seigneur! Seigneur! Seigneur, illumine-moi Lord! Lord! Lord, illuminate me de ta Presence! Delivre-moi, enivre-moi, by your Presence. Deliver me, intoxicate me, eblouis-moi pour toujours de ton exces de dazzle me forever by your excess of Truth! Verite . . He dies. Frere Leon: Brother Leo: II est parti . . . comme un silence, comme un He is gone, like a silence, a familiar silence amical qu'on touche avec des mains silence we touch with gentle hands. tres douces. II est parti . . . comme une larme, He is gone, like a tear, comme une larme d'eau claire qui tombe like a tear of clear water falling lentement d'un petale de fleur. II est slowly from a flower petal. He is parti comme un papillon, un papillon dore gone, like a butterfly, a golden butterfly qui s'envole de la Croix pour depasser les taking flight from the Cross to pass beyond etoiles . . the stars. All disappear, all is dark. The chorus takes its place at the front of the stage. A single, intense pool of light shines on the spot where the body of Saint Francis had been before. This light must grow gradually until the end of the act. When it has become blinding and unbearable, the curtain falls. Choeur: Chorus: Autre est l'eclat de la lune, autre est There is one glory of the moon, and another l'eclat du soleil, Alleluia! Autres sont glory of the sun, Alleluia! The earthly les corps terrestres, autres sont les corps bodies are one, the celestial bodies celestes, Alleluia! another, Alleluia! Meme, une etoile differe en eclat d'une Even one star differs from another in glory! autre etoile! Ainsi en va-t-il de la So it is with the resurrection des morts, Alleluia! resurrection of the dead, Alleluia! Alleluia! Alleluia! De la douleur, de la faiblesse, et de From suffering, from weakness, from l'ignominie: il ressuscite, il ressuscite, dishonor, are resurrected, resurrected, il ressuscite de la Force, de la Gloire, resurrected Power, Glory, and Joy!!! de la Joie!!! (RIDEAU) (CURTAIN) —Olivier Messiaen —translation by Gerald Levinson 43 Olivier Messiaen Olivier Messiaen was born in Avignon, France, on 10 December 1908, the son of literary parents: his father was a translator of Shakespeare, and his mother was the poet Cecile Sauvage, who wrote a book of poems entitled "L'Ame en Bourgeon" for his birth. Messiaen passed his early years in Grenoble, and the mountains of the Dauphine (Hautes Alpes) are his true homeland. It is there that he has written nearly all his works, during the summer months. From 1919 to 1930 he studied at the Paris Conservatory, where Paul Dukas and Marcel Dupre were among his teachers. While there he earned Premiers Prix in piano accompaniment, organ and improvisation, fugue and counterpoint, and com- position. He also pursued independent studies in other, less traditional areas of music, including Hindu rhythm (especially the Deci-Talas, or provincial rhythms of ancient India), as well as Greek metrics, Gregorian chant, theology, exotic folklore, and the philosophy of Time and Duration. He became an expert on sound-color, actively researching the manifold colorations of every possible sound-complex. He has studied ornithology and undertaken the musical notation of the song of every French bird, grouped by habitat and by region: birds of the field and of the forest, birds of the high mountains and of the seacoast, birds of the reeds, ponds, and marshes—an immense, never-ending task. In May 1941 Messiaen was named professor of harmony at the Paris Conservatory. In 1947 he was named professor of musical analysis and rhythm, then in 1966 professor of composition at the Conservatory. He has also given courses in composi- tion at Budapest, Darmstadt, Sarrebriick, Tanglewood, and Buenos Aires. In 1978, his seventieth birthyear, more than a hundred concerts of his works were given in three months: first in Japan, then in Poland, Canada, Germany, Switzerland, Belgium, England, Sweden, and many other countries, as well as fifty concerts in various cities in the United States and forty concerts in Paris and elsewhere in France. Principal Works Preludes Quatuor pour la fin du temps for piano (1929) for violin, clarinet, cello, and piano (1941), written during Les Offrandes oubliees the war, in captivity for orchestra (1930) Visions de l'Amen Hymne for two pianos (1943) for orchestra (1931) Trois Petites Liturgies de la presence divine L'Ascension for women's chorus, onde Martinot, for orchestra (1933) solo piano, celesta, vibraphone, La Nativite du Seigneur percussion, and string orchestra (1944) for organ (1935) Vingt Regards sur l'Enfant-Jesus Poemes pour Mi for piano (1944) for voice and orchestra (1936) Harawi (chant d'amour et de mort) Chants de terre et de ciel for voice and piano (1945) for voice and piano (1938) Turangalila- Symphonie Les Corps glorieux for solo piano, solo Onde Martenot, and for organ (1939) very large orchestra (1946-1948) 44 . Canteyodjaya Couleurs de la cite celeste for piano (1948) for solo piano, wind orchestra, and percussion Cinq Rechants (1964) for mixed chorus of twelve voices (1949) Et exspecto resurrectionem mortuorum Quatre Etudes de rythme for winds, brass, and for piano (1949) metallic percussion Messe de la Pentecote La Transfiguration de Notre for organ (1950) Seigneur Jesus-Christ Livre d'orgue for very large orchestra, mixed chorus, for organ (1951) and seven instrumental soloists: piano, flute, clarinet, cello, Reveil des oiseaux xylorimba, vibraphone, marimba (1965-1968) for solo piano and orchestra (1953) Meditations sur le mystere de la Oiseaux exotiques Sainte Trinite for solo piano, two clarinets, small wind for organ (1969) orchestra, xylophone, glockenspiel, and percussion La Fauvette des jardins for piano (19 70) Catalogue d'oiseaux for piano (1956-1958) Des Canyons aux etoiles . . for solo piano, solo horn, Chronochromie xylorimba, glockenspiel, and for large orchestra (1960) small orchestra (1971-1974) Sept Haikai Saint Francoise d'Assise Japanese sketches, for solo piano, Scenes franciscaines xylophone, marimba, en trois actes et huit tableaux and small orchestra (1963) (1975-1983) Saint Francis of Assisi 1182 Giovanni di Bernadone is born in Assisi, son of a rich cloth merchant. His mother being French, he is nicknamed Francesco. Fond of chivalry, he passes a carefree youth, but war, captivity, and illness force him to renounce his knightly dreams. 1205 The crucifix in the church of San Damiano speaks to him. 1206 He renounces his family wealth and gives away his money to the poor. 1208 He gathers his first disciples and travels from village to village preaching the Gospel: the equality of man, contempt for money, the legitimacy of the quest for justice, the nobility of the poor and humble, and the beauty of love. 1209 He presents his Rule to Pope Innocent III, who approves it. 1210 Numbering twelve, the friars settle at the Porziuncola. The Order grows rapidly. 1218 Francis sends several friars abroad and travels himself to Egypt. 1223 He draws up the Second Rule, also approved by the Pope. 1223 On Mount La Verna he receives the Stigmata. 1225 The Canticle of Brother Sun. Francis reconciles the feuding factions in Assisi. 1226 He dies at the Porziuncola. 45 I Classical, rock and all that jazz sound better on audio systems by ADS. W~ 1011 For proof see an ADS dealer. For information call (617) 658- 5100. Or write to Analog & Digital Systems, 425 Progress Way, Wilmington, MA 01887. Audio Apart. © . 'MISS More . . A number of studies exist of Messiaen and his music. First, of course, is the com- poser's own Technique de mon langage musicale, published in Paris in 1944 and translated into English in 1957. R. Sherlaw Johnston's Messiaen, an account of the music, is excellent, though quite technical in orientation (University of California). The least technical, though first-rate, is the book by Roger Nichols, also entitled Messiaen (Oxford). Saint Francois d'Assise has not yet been recorded, but many of Messiaen's other works are available. Just to list pieces mentioned in the program note: The I beautiful song cycle Poemes pour Mi has recently appeared in a superb recording by soprano Lucy Shelton and pianist Lambert Orkis (Nonesuch; coupled with Faure's JBSS Chanson d'Eve). The Quartet for the End of Time for clarinet, violin, cello, and piano can be heard on a stunning recording by Joseph Rabbai, Isidore Cohen, Timothy Eddy, and Robert Levin (Candide, coupled with Merle Noir for flute and piano) and on a newer recording that I haven't heard yet featuring Daniel Barenboim as the pianist (DG). There are two recordings of Harawi, the "song of love and death," both M performed by distinguished specialists in contemporary vocal music on imported labels: Dorothy Dorow (Bis) and Jane Manning (Unicorn). Seiji Ozawa's recording of the Turangalila-Symphonie with the Toronto Symphony Orchestra has, unfortunately, been deleted from the catalogue, but one recording remains in print conducted by Louis de Froment, with soloists Yvonne Loriod and Jeanne Loriod, and the Luxem- bourg Radio Orchestra (Forlane, two LPs). L 'Ascension, the work that Koussevitzky conducted at Tanglewood during Messiaen's residency there, is available only in its alternative version for organ solo; among the performances is one by Jennifer Bate, who has issued six volumes of Messiaen's organ works on Unicorn (seven LPs), and another by Louis Thiry, who has similarly recorded the bulk of the organ works (Calliope). The New England Conservatory Chorus, directed by Lorna Cooke deVaron, has recorded the Cinq Rechants of 1949, Messiaen's homage to the musique mesuree of the French Renaissance. Chronochromie is not currently available, but other works for orchestra or large ensemble that can be located include Pierre Boulez's recordings with the Domaine Musicale orchestra of Couleurs de la cite celeste and Et exspecto resurrectionem mortuorum (CBS) and Vaclav Neumann's recordings with the Czech Philharmonic Orchestra of Messiaen's bird pieces, including Oiseaux exotiques, Reveil des oiseaux, and Catalogue d'oiseaux No. 9, "La Buscarle," with Messiaen and his wife Yvonne Loriod as soloists (Candide). —S.L. 47 Week 20 . Batonpoised, the expectant hush . . a rising crescendo signals the renewal ofaproudand cherished tradition. We salute Mr. Seiji Ozawa and the Members ofthe Boston Symphony Orchestra with our best wishesfor a triumphant one hundred Jfc fifth season. I Jordan marsi Jordan Marsh A Unit of Allied Stores. 48 iv Jose van Dam are the title roles in Verdi's Attila and Berg's Wozzeck, Mozart's Don Giovanni, and Mozart's Figaro, which he is scheduled to perform at the Metropolitan Opera next sea- son. He has performed the title role in Der fliegende Hollander at the Salzburg Easter Festival and appeared as Leporello in the film version of Don Giovanni, the soundtrack of which was conducted by Lorin Maazel and recorded by CBS. Mr. van Dam's many recordings with the Berlin Philharmonic and Herbert von Karajan include Beethoven's Fidelio, Missa Solemnis, and the Ninth Sym- phony, the Brahms and Mozart Requiems, Bruckner's Te Deum, Mozart's Coronation Mass, and Debussy's Pelleas et Melisande with the Deutsche Oper. Other recordings Internationally renowned bass-baritone Jose include Charpentier's Louise conducted by van Dam takes time out from his crowded Julius Rudel, Bizet's Carmen conducted by European schedule this season for two impor- Sir Georg Solti, Berlioz's Romeo et Juliette tant United States appearances: his first U.S. with the Boston Symphony Orchestra under Hans Sachs in Die Meistersinger, with the Seiji Ozawa, Verdi's Simon Boccanegra with Lyric Opera of Chicago, and these perform- Claudio Abbado conducting the La Scala ances of scenes from St. Francis ofAssisi, Orchestra, Cosi fan tutte and Salome, both ImUnlgBW recreating the title role he portrayed in the with the Vienna Philharmonic, Parsifal with work's world premiere. He made his most the Deutsche Opera and the Berlin Philhar- recent appearance in the United States in monic, Herbert von Karajan conducting, and 1983, as Golaud in the Metropolitan Opera's a three-disc collection of Ravel art songs, production of Pelleas et Melisande. Other U.S. with soprano Teresa Berganza and baritone appearances have included performances Gabriel Bacquier. Jose van Dam received a with the Chicago Symphony Orchestra, the Grammy award in 1985 for his performance Boston Symphony Orchestra, the Los in another recording of Ravel songs, with Angeles Philharmonic, and the Berlin Phil- Pierre Boulez conducting the BBC Sym- harmonic. Born in Brussels, Mr. van Dam phony Orchestra. Mr. van Dam's only pre- began his musical education at the age of vious Boston Symphony appearances took eleven, studying piano and solfege. He began place in October 1975 in Boston and New at thirteen, and at seventeen he vocal lessons York, in performances under Seiji Ozawa of KJ entered the Brussels Conservatory, graduat- Berlioz's Romeo et Juliette, subsequently ing a year later with diplomas and first prizes recorded for Deutsche Grammophon. in both voice and opera performance. Numer- ous awards and prizes from international his ~- competitions followed. Although he made 1M ft , I operatic debut in Liege as Don Basilio in The p£SmH9SA Barber of Seville, it was the role of Escamillo wfMmnmk in Carmen that brought him to La Scala, ""' Paris, and Covent Garden. After recording Ravel's L'Heure espagnole for Deutsche Grammophon with Lorin Maazel, Mr. van Dam was invited by the conductor to join the Deutsche Oper in West Berlin, where he has ^1 been singing leading roles since 1967. Among the roles for which he is in worldwide demand 49 Performance Understanding Accountability "Charming Hall" Perkins Cove. Ogunquit, Maine Hyannisport Oceanfront. Rambling Summer House Beautiful Georgian Manor House & Guest House Wonderful Porches. Spectacular Views Nantucket Formal Gardens. Walk to Beaches. $575,000 Sound Plus Beachfront Swimming Lot. $525,000 Martha's Vineyard, Tisbury - Beachfront Gem! Osterville/Wianno Restored Carriage House Exceptional Katzenbach Designed Little Jewel Water Views, Private Beach & Boat Mooring Unobstructed Water Views. Walk to Golf. $645,000 Protected Pastoral Setting & Pond. $750,000 Specializing in Distinctive Properties Exclusively vLandVest^ Headquarters 14 Kilby Street, Boston, Massachusetts 02109 Telephone (617) 723-1800, BOS TELEX 294-116 Kathleen Battle Mozart's Cost fan tutte, recorded live at the Salzburg Festival, Riccardo Muti conducting, on EMI/Angel; the Mahler Fourth Symphony with Lorin Maazel and the Vienna Philhar- monic on CBS; the Berg Lulu Suite with the Cincinnati Symphony and music director Michael Gielen on Vox Cum Laude; Mahler's Symphony No. 2 with the Saint Louis Sym- phony and music director Leonard Slatkin on Telarc; and Bach's Wedding Cantata on RCA's "Music from Ravinia" series, James Levine conducting. Recent and forthcoming recordings include Verdi's Un ballo in mas- chera with Luciano Pavarotti and Sir Georg Solti on Decca/London; complete recordings of Mozart's Don Giovanni with the Berlin Philharmonic under Herbert von Karajan on Acclaimed soprano Kathleen Battle is a reg- Deutsche Grammophon and Abduction from ular guest with the orchestras of New York, the Seraglio with the Vienna Philharmonic Chicago, Boston, Philadelphia, Cleveland, conducted by Solti on Decca/London; Mozart Paris, and Berlin; at the Salzburg, Ravinia, concert arias conducted by Andre Previn for Tanglewood, and Cincinnati May festivals; EMI/Angel; and a joint recital album with and at the major opera houses, including the classical guitarist Christopher Parkening, Metropolitan, Paris, Vienna, and the Royal also on EMI/Angel. Opera, Covent Garden. Her 1985-86 season A native of Portsmouth, Ohio, Kathleen has included return appearances at the Met- Battle received her bachelor and master of ropolitan Opera as Sophie in Der Rosen- music degrees from the College-Conservatory kavalier and as Susanna in the new Jean- of Music, University of Cincinnati, which has Pierre Ponnelle production of Mozart's Le awarded her an honorary doctoral degree, as nozze di Figaro, the latter videotaped for the has the Westminster Choir College in PBS "Live from the Met" television series. In Princeton, New Jersey. She made her profes- addition to her Boston Symphony appear- sional debut in the summer of 1972 at the ances at Symphony Hall and in New York, invitation of Thomas Schippers, appearing in Ms. Battle's orchestral commitments this the Brahms Requiem at the Cincinnati May season include Bach's St. Matthew Passion Festival and the Festival of Two Worlds in with the New York Philharmonic conducted Spoleto, Italy. Her Metropolitan Opera debut by Zubin Mehta and performances of Le nozze came five years later, as the Shepherd in di Figaro with the Orchestre de Paris con- Wagner's Tannhduser. Since her first Boston ducted by Daniel Barenboim. Ms. Battle has Symphony appearances in 1978, Ms. Battle built an international reputation as one of the has sung music of Verdi, Mozart, Mahler, most important interpreters of Lieder before Britten, Haydn, Bach, and Poulenc with the the public today. recital schedule Her orchestra, appearing most recently for Bach's includes appearances in such music centers Cantata 51, "Jauchzet Gott in alien Landen" as New York's Lincoln Center, Pasadena's and Poulenc 's Gloria in January 1985. Ambassador Auditorium, Chicago, Toronto, Paris, Vienna, and Florence. In the summer of 1984, her first recital at the Salzburg Fes- tival, with James Levine at the piano, was recorded live by Deutsche Grammophon. Ms. Battle's many recordings include the Brahms Requiem and Brahms songs with the Chicago Symphony and Mr. Levine on RCA; 51 Business a Little Brisk Lately? Sometimes the work we do allows very little time for personal business. Like planning for your retirement? As the Boston Symphony Orchestra gives you great music, it can also deliver some savvy ideas about personal financial planning. There is a gift which can *keep unearned income out of your current tax bracket *pay substantial income when you want it provide an immediate charitable deduction realize capital growth without tax liability relieve you of investment management concerns forever This gift can do all that and make an important contribution to the Boston Symphony Orchestra. | Now that's savvy. For more information about gifts providing a life income, please call or write. Jane Bradley Chairman, Planned Gifts Boston Symphony Orchestra Telephone: (617) 266-1492, xl32 52 Kenneth Riegel on Deutsche Grammophon; Mahler's Sym- phony No. 8 on Philips with Seiji Ozawa and the Boston Symphony; Berlioz's Damnation of Faust with Sir Georg Solti conducting the Chicago Symphony, which won a 1982 Grand Prix du Disque as well as a Grammy; and the first recording of Zemlinsky's Der Geburtstag der Infantin, with Gerd Albrecht conducting the Berlin Radio Symphony, winner of the Preis der Deutschen Schallplattenkritik. mamk Mr. Riegel 's recent appearances have included the title role in the Met's first-ever production of La clemenza di Tito, conducted by James Levine; the title role in Les Contes d'Hoffmann in a new Deutsche Oper produc- tion in Berlin; Jason in Cherubini's Medea at the Bonn Opera; a visit to the Vienna Festival in Pennsylvania, Ken- Born West Hamburg, with the Hamburg State Opera in Geburtstag neth Riegel first came to the attention of the der Infantin; a return to the Salzburg Festival international music world with his perform- with St. Francis ofAssisi; and a debut at the ance of the title role in the New York pre- Santander Festival in Damnation of Faust, miere of Hans Werner Henze's The Young with the visiting Deutsche Oper Berlin, as then, at the Lord. Since he has sung Metro- well as his Covent Garden debut in the politan Opera, Vienna State Opera, La Geburtstag der Infantin, Das Lied von der Scala, the Deutsche Oper in West Berlin, the Erde with the Florida Symphony, Oedipus State Opera, the Bonn Opera, and Hamburg Rex with Bonn Opera, and concert perform- I V.*V;-«A' the Opera. frequent guest of the Geneva A ances under Seiji Ozawa of scenes from Paris Opera, Mr. Riegel was the first Amer- St. Francis of Assisi with London's BBC Sym- ican tenor chosen there for the title roles in phony and the Berlin Philharmonic. Upcom- Faust and Les Contes d'Hoffmann. He created ing recording commitments include The the role of Aiwa in the Paris Opera's world Bassarides with Gerd Albrecht conducting on premiere of the complete three-act version of Deutsche Grammophon and Mahler's Eighth ^n hi Berg's Lulu, repeating that role at the Met Symphony with the Frankfurt Radio Orches- again for a live nationwide telecast. In 1983, tra on CBS Nippon. Mr. Riegel has appeared at the Paris Opera, Mr. Riegel portrayed the regularly with the Boston Symphony Orches- Leper in the world premiere of Messiaen's St. tra since his debut at Tanglewood in 1971, Francis of Assisi, the role he sings at these most recently for performances and a Philips concerts. Mr. Riegel makes frequent guest recording of Mahler's Eighth Symphony; appearances with the major orchestras in Bach's St. John Passion, scenes from Mus- America and in Europe, as well as at the sorgsky's Boris Godunov, and Stravinsky's important summer festivals. He appeared as Oedipus Rex at Tanglewood; and Beethoven's Don Ottavio in Joseph Losey's film of Choral Fantasy, which he performed and Mozart's Don Giovanni, the soundtrack of recorded with the orchestra for Telarc in which is available on CBS. His many other October 1982. recordings include a Grammy-winning per- formance of Orffs Carmina burana with Michael Tilson Thomas conducting the Cleve- land Orchestra; Liszt's Faust Symphony on Deutsche Grammophon with Leonard Bern- stein and the Boston Symphony, which won a 1978 Grand Prix du Disque; the Paris pro- duction of Lulu conducted by Pierre Boulez 53 m Investments are like trees. Tb stay healthy, they must withstand the winds of change. Having a financial strategy that is not firmly rooted can be rather dangerous. Because if the eco- nomic climate changes for the worse, the whole thing can get blown away. So, call our Financial Consulting Group at 1-800-SHAWMUT. They can help you weather any storm. Shawmut Financial Management W® Division Look tousfordirection. 54 4!fc *<% Philippe Rouillon first prize at the 1983 Rio de Janeiro Inter- national Singing Competition. In 1977, Philippe Rouillon made his debut at the Lille Opera House as Ourias in Gounod's Mirexile and as Jack in Romberg's The Desert Song. Engaged by the Theatre National de l'Opera de Paris in 1980, Mr. Rouillon's fcf* roles there have included Le Directeur in Poulenc's Les Mamelles de Tir'esias, Esca- millo, le Doncaire, and Morales in Bizet's ;< Carmen, and Figaro in Rossini's E barbiere di Siviglia; he created the role of Le Chevalier in Daniel Lesur's Ondine. More recent roles at the Paris Opera include Tchelkalov in Mussorgsky's Boris Godunov, the Helmsman in Wagner's Tristan und Isolde, and the High Priest in Gluck's Al- Born in Paris in 1952, baritone Philippe ceste. His appearances elsewhere include the Rouillon studied voice and chamber music at role of Huascar in Rameau's Les Indes ga- the Conservatoire National Superieur de lantes at the Rouen Theatre des Arts and a Escamillo, ilb Musique de Paris, where he received first subsequent appearance there as Lucretia prizes in both subjects in 1976 and 1977. He Tarquinius in Britten's The Rape of studied for two years at the Lyric Art School at the Albi Festival, recitals in Lille and at of the Paris Opera, where his teachers were the Theatre Musical de Paris (Chatelet), and Michel Senechal and Gabriel Bacquier. Mr. performances of Beethoven's Ninth Sym- in Grenoble and Paris. He makes his Rouillon is the recipient of numerous phony with the Boston Symphony awards, including first prize at the 1978 first appearances Brother in Ostende International Competition in Orchestra this season, as Leo Belgium, second prize and the Prize of the scenes from Messiaen's St. Francis ofAssisi Public at the third International Vocal Com- in Boston and New York. petition in Vervier, Belgium, in 1979, and 55 It's like having your own private symphony. A banquet or reception at The Seasons, the crown jewel of Bostonian Hotel is always a Boston restaurants. Here, «• •. great performance. every detail is That's because we orchestrated to have just one func- please a single, tion room, The select group of JosiahQuincy ^vf^/ }bm?jjs J guests: Yours. Suite, served by X IIA/Vfvw] SUITE The Bostonian Hotel AT FANEUIL HALL MARKETPLACE (617) 523-3600 MAKE SUCH Audi BEAUTIFUL ANNIS PORSCHE + AUDI, INC. hm New England's #1 Volume Dealer ___ Route 9, Natick TOGETHER| IJ (617) 237-5759 56 Tanglew ood Festival Chorus John Oliver, Conductor ings, beginning with Berlioz's The Damnation of Faust for Deutsche Grammophon, a 1975 Grammy nominee for best choral perform- ance. The chorus may also be heard on the Philips releases of Schoenberg's Gurrelieder, taped live during Boston Symphony perform- ances and named best choral recording of 1979 by Gramophone magazine, and Mahler's Symphony No. 8, the Symphony of a Thou- sand; both of these have been newly issued on compact discs. The Tanglewood Festival Cho- rus under John Oliver also includes regular performances of a cappella repertory in its schedule; their album of a cappella twentieth- century American choral music, recorded at the invitation of Deutsche Grammophon, received a Grammy nomination for best choral performance of 1979. The most recent Co-sponsored by the Tanglewood Music recordings by Mr. Oliver and the chorus Center and Boston University, and now in include music of Luigi Dallapiccola and Kurt its sixteenth year, the Tanglewood Festival Weill for Nonesuch, Beethoven's Choral Fan- Chorus was organized in the spring of 1970 tasy with Seiji Ozawa, Rudolf Serkin, and the when founding conductor John Oliver Boston Symphony Orchestra for Telarc (a became director of vocal and choral activi- compact disc), and Debussy's La Damoiselle ties at the Tanglewood Music Center. Origi- elue with the orchestra and mezzo-soprano nally formed for performances at the Frederica von Stade for CBS. The chorus has Boston Symphony Orchestra's summer also recorded a Christmas album, "We Wish home, the chorus was soon playing a major You A Merry Christmas," with John Williams role in the orchestra's Symphony Hall sea- and the Boston Pops for Philips. son as well. Now the official chorus of the orchestra, the Tanglewood Festival Chorus In addition to his work with the Tangle- is regarded by conductors, press, and pub- wood Festival Chorus, John Oliver is con- lic as one of the great orchestra choruses ductor of the MIT Choral Society, a senior of the world. The members of the chorus lecturer in music at MIT, and conductor of donate their services, and they perform the John Oliver Chorale. Since its inception regularly with the Boston Symphony nine years ago, the John Oliver Chorale has Orchestra in Boston, New York, and at built an impressive repertoire ranging from Tanglewood, working with Music Director masterpieces by Bach, Beethoven, Mozart, Seiji Ozawa, John Williams and the Boston and Stravinsky to less frequently per- Pops, and such prominent guests as Sir formed works by Carissimi, Bruckner, Ives, Colin Davis, Leonard Bernstein, and Klaus Martin, and Dallapiccola. The Chorale has Tennstedt. In April 1984, the chorus recorded Charles Ives's The Celestial Coun- received international attention for its par- try and Charles Loeffler's Psalm 137 for ticipation in the world premiere perform- Northeastern records and Donald Mar- ances under Sir Colin Davis of Sir Michael tino's Seven Pious Pieces for New World Tippett's The Mask of Time, commissioned Records. Newly available from North- by the Boston Symphony Orchestra for its eastern records is the Chorale's album centennial in 1981. "Christmas Antiphonies," featuring polychoral works of Schiitz, Scheidt, The Tanglewood Festival Chorus has col- Praetorius, Bax, and Daniel Pinkham. laborated with Seiji Ozawa and the Boston Symphony Orchestra on numerous record- 57 Architecture reminds me of frozen music' Ganteaume & McMullen, Inc Architects • Engineers 99 Chauncy Street* Boston* 617-423-7450 ThCy THERE IS Fin&Art of MONEY IN Refinishing YOUR HOUSE. Wayne Towle, Inc. is greater Boston's acknowledged expert in the With our remarkable 13.00%* restoration and preservation of in- Home Equity Loan (13.19% terior and exterior architectural A.RR.), your house can get woodwork. Comprehensive paint- you money for tuition, home ing and fine period detailing services available. Historic, contem- improvement, vacations, or porary, and custom for any reason. Borrow from finishes are our $5000 up to 80% of the speciality. equity you have in your home. *Plus 1 point 13.19% Annual Percentage Rate. Example: if estimates: you were to borrow $10,000 for 15 years, you would have 180 monthly payments at $126.52 per month. Total pay- 738-9121 ment $22,773.60, total finance charge (including points) $12,873.60. Total amount of 1st mortgage and Home Equity Loan may not exceed 80% of appraised value of property. Bank may increase the rate of the loan after three years. ^OlstHmericanBank 11 offices in Boston and South Shore • 436-1500 (=J Equal Housing Lender Member FDIC/DIFM 58 Tanglewood Festival Chorus John Oliver, Conductor Sopranos Judith F. Cobble Richard P. Howell Margaret Aquino Arnalee Cohen Stanley Hudson Stawn Barber Ethel Crawford Warren D. Hutchison Ingrid Bartinique Catherine Diamond James R. Kauffman Michele M. Bergonzi Sara Dorfman Edward J. Kiradjieff Ellen N. Brown Kitty DuVernois David E. Meharry Susan Cavalieri Mary F. Ellis Mehrdad Moasser Bonita Ciambotti Paula Folkman Dwight E. Porter Lorenzee Cole Dorrie Freedman Peter Pulsifer , Joanne L. Colella Dorrie Fuchs David Raish Margo Connor Irene Gilbride David A. Redgrave Mary A.V. Crimmins Thelma Hayes Barry Singer Helen Eberle Daly Donna Hewitt-Didham Michael W. Spence Lou Ann David Lisa Hoitsma Terence Stephenson . Jeanne Duffy Leah Jansizian R. Spencer Wright am Christine P. Duquette Angeline Lakis Carl Zahn Susan Rose Edelman Suzanne D. Link Amy G. Harris Dorothy W. Love Cecile A. Hastie April Merriam Basses Lois Hearn Vanessa M. Ovian Peter Crowell Anderson Lisa Heisterkamp Ellen Beth Resnick J Barrington Bates Alice Honner-White Ellen D. Rothberg William S. Biedron Kristin E. Hughes Deborah Ann Ryba Aubrey Botsford Christine M. Jaronski Amy Sheridan Daniel E. Brooks John F. Cavallaro Frances V. KadinofF Linda Kay Smith Carol Kirtz Ada Park Snider Jonathan Cleveland Lydia A. Kowalski Julie Steinhilber Edward E. Dahl Patricia Mary Mitchell Nancy Stockwell-Alpert Agostino M. DeBaggis John Duffy Heidemarie Miiller Judith Tierney TEH H. Diane Norris Hazel von Maack Mark L. Haberman Fumiko Ohara Lorraine Walsh Robert Matthew Kobee Nancy Lee Patton Timothy Lanagan Julia Poirier Lee B. Leach Michael Graubart Levin Sharman T. Propp Tenors David K. Lones Charlotte C. Russell Priest Kent Anderson Jamie Redgrave Antone Aquino David B. McCarthy Robert S. McLellan Lisa Reynolds John C. Barr Lisa Saunier Ralph A. Bassett Gary J. Merken Genevieve Schmidt Donato Bracco Francisco Noya Lucy Seger William A. Bridges, Jr. Stephen H. Owades Nathaniel Pulsifer Joan Pernice Sherman John T. Crawford Vladimir Roudenko Deborah L. Stanton James Gary Cronburg David Sanford Diane M. Stickles David J. Deschamps Robert Schaffel Bernadette Yao Reginald Didham Timothy E. Fosket Frank R. Sherman MegD Zeller William E. Good Roch Skelton J. Stephen Groff Scott V. Street Mezzo-sopranos David M. Halloran Peter S. Strickland Maisy Bennett Dean Armstrong Hanson Andrew Tidd Karen Bergmann George Harper Thomas C. Wang Christine Billings John W Hickman Cliff Webb Barbara Clemens Fred G. Hoffman Pieter Conrad White Sarah Harrington, Manager Martin Amlin, Rehearsal pianist 59 .** S CARin 100 Old Billerica Rd. Bedford, MA 01730 (617) 275-8700 Owned and operated by Carleton- Homes, Inc., a non-profit corporat ! BvKS The Boston Symphony Orchestra gratefully acknowledges the following corporations i and professional organizations for their generous and valuable support during the past or current fiscal year. (* denotes support of at least $2,500; capitalization denotes support of at least $5,000; names which are both capitalized and underscored within Si the Business Leaders' listing comprise the Business Honor Roll.) 1985-86 Business Honor Roll ($10,000+) ADD Inc Architects Stanley H. Kaplan Educational Philip M. Briggs Centers, Ltd. Advanced Management Susan B. Kaplan Associates, Inc. Kikkoman Corporation Harvey Chet Krentzman Katsumi Mogi Allied- Signal, Inc. Liberty Mutual Insurance Companies Paul M. Montrone Melvin B. Bradshaw Analog Devices, Inc. Lotus Development Corporation Ray Stata Mitchell D. Kapor Bank of Boston Manufacturers Life Insurance Company William L. Brown E. Sydney Jackson Bank of New England McKinsey & Company, Inc. Peter H. McCormick Robert P. O'Block BayBanks, Inc. Mobil Chemical Corporation William M. Crozier, Jr. Rawleigh Warner, Jr. Boston Edison Company Morse Shoe, Inc. Stephen J. Sweeney Manuel Rosenberg The Boston Globe/ New England Mutual Life Affiliated Publications Insurance Company William 0. Taylor Edward E. Phillips Cahners Publishing Company, Inc. New England Telephone Company Norman L. Cahners Gerhard M. Freche Country Curtains Peat, Marwick, Mitchell & Co. Jane P. Fitzpatrick Robert D. Happ Creative Gourmets, Ltd. Pneumo Corporation Stephen E. Elmont Gerard A. Fulham Digital Equipment Corporation The Prince Company, Inc. Kenneth H. Olsen Joseph P. Pellegrino Dynatech Corporation Raytheon Company J. P. Barger Thomas L. Phillips Exxon Corporation The Red Lion Inn Stephen Stamas John H. Fitzpatrick GTE Electrical Products State Street Bank & Trust Company Dean T. Langford William S. Edgerly General Cinema Corporation Teradyne, Inc. Richard A. Smith Alexander V. d'Arbeloff General Electric Company WCRB/Charles River Broadcasting, Inc. John F. Welch, Jr. Richard L. Kaye The Gillette Company WCVB-TV 5 Colman M. Mockler, Jr. S. James Coppersmith John Hancock Mutual Life Wang Laboratories, Inc. Insurance Company An Wang E. James Morton Weston/Loblaw Companies Ltd. Honeywell Richard Currie Warren G. Sprague Zayre Corporation Maurice Segall 61 Business Leaders ($1,000+) Accountants William Carter Company National Lumber Company Manson H. Carter Louis L. Kaitz ARTHUR ANDERSEN & CO. *Perini Corporation William F. Meagher Architecture/Design David B. Perini ARTHUR YOUNG & COMPANY ADD INC ARCHITECTS M.F. White Contracting Thomas P. McDermott Philip M. Briggs Company COOPERS & LYBRAND Interalia Design Associates Thomas J. White Vincent M. O'Reilly Judith Brown Caro *Charles E. DiPesa & Co. *LEA Group Displays/Flowers William F. DiPesa Eugene R. Eisenberg *Giltspur Exhibits/Boston ERNST & WHINNEY Banking Thomas E. Knott, Jr. James G. Maguire BANK OF BOSTON *Harbor Greenery KMG Main Hurdman Diane Valle William A. Larrenaga William L. Brown PEAT, MARWICK, BANK OF NEW ENGLAND Education Peter H. McCormick MITCHELL & CO. *Bentley College Robert D. Happ BAYBANKS, INC. Gregory H. Adamian William M. Crozier, Jr. *Theodore S. Samet & Co. STANLEY H. KAPLAN Theodore S. Samet Boston Safe Deposit and EDUCATIONAL CENTER TOUCHE ROSS & CO. Trust Company Susan B. Kaplan James T. McBride James N. von Germeten Cambridge Trust Company Electrical/HVAC Advertising/Public Relations Lewis H. Clark Guzovsky Electrical *Berk and Company, Inc. Chase Manhattan Corporation Corporation Kenneth A. Berk Robert M. Jorgensen Edward Guzovsky BMC STRATEGIES, INC. CITICORP/CITIBANK *p.h. mechanical corporation Bruce M. McCarthy Clark Coggeshall Paul A. Hayes Harold Cabot & Co., Inc. *Eastern Corporate Federal R&D ELECTRICAL CO., INC. James I. Summers Credit Union Richard D. Pedone Clarke & Company, Inc. Jane M. Sansone Terence M. Clarke Framingham Trust Company Electronics GROUP, INC. THE COMMUNIQUE William A. Anastos Alden Electronics, Inc. James H. Kurland Mutual Bank John M. Alden *Hill, Holliday, Connors, Keith G. Willoughby •Analytical Systems Engineering Cosmopulos, Inc. * Patriot Bancorporation Corporation Jack Connors, Jr. Thomas R. Heaslip Michael B. Rukin Kenyon & Eckhardt, Inc. *Provident Financial Services, Inc. Bose Corporation Thomas J. Mahoney Robert W Brady Amar G. Bose NEWSOME & COMPANY Rockland Trust Company C & K Components, Inc. Peter Farwell John F Spence, Jr. Charles A. Coolidge, Jr. Young & Rubicam SHAWMUT BANK OF BOSTON The Mitre Corporation Alexander Kroll William F. Craig Robert R. Everett Aerospace STATE STREET BANK & *Parlex Corporation Herbert Pollack *Northrop Corporation TRUST COMPANY W Thomas V. Jones William S. Edgerly * Signal Technology Corporation William E. Cook PNEUMO CORPORATION *UST Corp. Gerard A. Fulham James V. Sidell Energy Apparel Building/Contracting ATLANTIC RICHFIELD *Knapp King-Size Corporation *A.J. Lane & Co., Inc. FOUNDATION Winthrop A. Short Andrew J. Lane William F. Kieschnick 62 CABOT CORPORATION •Federal Distillers, Inc. M High Technology FOUNDATION Alfred J. Balerna ALLIED-SIGNAL, INC. Ruth C. Scheer Garelick Farms, Inc. Paul M. Montrone EXXON CORPORATION Peter M. Bernon lUyPtXH* •Computer Partners, Inc. Stephen Stamas •Johnson, O'Hare Co., Inc. Paul J. Crowley Harry O'Hare MOBIL CHEMICAL •Data Packaging Corporation CORPORATION KIKKOMAN CORPORATION Otto Morningstar Rawleigh Warner, Jr. Katsumi Mogi •Encore Computer Corporation •Yankee Companies, Inc. *0'Donnell-Usen Fisheries Kenneth G. Fisher Paul J. Montle Corporation General Eastern Instruments Arnold S. Wolf Engineering Corporation THE PRINCE COMPANY, INC. Pieter R. Wiederhold Stone & Webster Engineering Joseph P. Pellegrino Corporation •Helix Technology Corporation William F. Allen, Jr. •Roberts and Associates Frank Gabron Richard J. Kunzig Hycor, Inc. Entertainment/Media Ruby Wines Joseph Hyman GENERAL CINEMA Theodore Rubin POLAROID CORPORATION CORPORATION Silenus Wines, Inc. William J. McCune, Jr. Richard A. Smith James B. Hangstefer RAYTHEON COMPANY National Amusements, Inc. •The Taylor Wine Company, Inc. Thomas L. Phillips Sumner M. Redstone Michael J. Doyle Hotel/Restaurant •New England Patriots Football Club WESTON/LOBLAW William H. Sullivan, Jr. COMPANIES LTD. Boston Park Plaza •Williams/Gerard Productions, Inc. Richard Currie Hotel & Towers William J. Walsh Roger A. Saunders Footwear FOUR SEASONS HOTEL Finance/Venture Capital Seamus McManus Chelsea Industries, Inc. •Farrell, Healer & Company Ronald G. Casty •The Hampshire House Richard Farrell Thomas A. Kershaw THE FIRST BOSTON •Jones & Vining, Inc. •Howard Johnson Company CORPORATION Sven A. Vaule, Jr. G. Michael Hostage George L. Shinn •Mercury International Mildred's Chowder House Kaufman & Company Trading Corporation James E. Mulcahy Sumner Kaufman Irving A. Wiseman MORSE SHOE, INC. THE RED LION INN •Narragansett Capital Manuel Rosenberg John H. Fitzpatrick Corporation Arthur D. Little THE SPENCER •Sheraton Boston INC. Hotel & Towers Pioneer Financial COMPANIES, C. Charles Marran Gary Sieland Richard E. Bolton Sonesta International Hotels *TA Associates STRIDE RITE Corporation Peter A. Brooke CORPORATION Arnold S. Hiatt Paul Sonnabend Food Service/Industry THE WESTIN HOTEL ARCHER DANIELS Furnishings/Housewares Bodo Lemke MIDLAND COMPANY COUNTRY CURTAINS Insurance Dwayne 0. Andreas Jane P. Fitzpatrick *A.I.M. Insurance Agency, Inc. Azar Nut Company Hitchcock Chair Company James A. Radley Edward Azar Thomas H. Glennon Arkwright-Boston Insurance Boston Showcase Company The Jofran Group Frederick J. Bumpus Jason Starr Robert D. Roy •Cameron & Colby Co., Inc. CREATIVE GOURMETS, LTD. Graves D. Hewitt Stephen E. Elmont Graphic Design •Consolidated Group, Inc. daka Food Service Management, Inc. Clark/Linsky Design, Inc. Woolsey S. Conover Terry Vince Robert H. Linsky •Frank B. Hall & Company of Dunkin' Donuts, Inc. •Weymouth Design, Inc. Massachusetts Robert M. Rosenberg Michael E. Weymouth Colby Hewitt, Jr. 63 JOHN HANCOCK MUTUAL Moseley, Hallgarten, Rath & Strong, Inc. LIFE INSURANCE COMPANY E stabrook & Weeden, Inc. Arnold 0. Putnam E. James Morton Fred S. Moseley The Wyatt Company Fred S. James & Co. *Putnam Mutual Funds, Inc. Michael H. Davis of New England, Inc. Lawrence J. Lasser P. Joseph McCarthy *Tucker, Anthony & * Johnson & Higgins R.L.Day, Inc. Manufacturers Representatives Robert A. Cameron Gerald Segel LIBERTY MUTUAL *Woodstock Corporation *Paul R. Cahn & Associates, Inc. INSURANCE COMPANIES Frank B. Condon Paul R. Cahn Melvin B. Bradshaw *Richard Dean Associates G. Dean Goodwin MANUFACTURERS LIFE Legal INSURANCE COMPANY * Bingham, Dana & Gould *Paul K. O'Rourke, Inc. Paul K. O'Rourke E. Sydney Jackson Everett H. Parker * Shetland Co., Inc. NEW ENGLAND MUTUAL Cargill, Masterman & Culbert WM. Sherman LIFE INSURANCE COMPANY Thomas E. Cargill, Jr. *Total Market Impact Edward E. Phillips Dickerman Law Offices Ronald J. Monahan Prudential Life Insurance Lola Dickerman Company of America Gadsby & Hannah Robert J. Scales Harry R. Hauser Sullivan Risk Management GOLDSTEIN & MANELLO Manufacturing/Industry Group Richard J. Snyder Acushnet Company John Herbert Sullivan *Mintz, Levin, Cohn, Ferris, Glovsky John T. Ludes Sun Life Assurance Company and Popeo, PC. Alles Corporation of Canada Francis X. Meaney Stephen S. Berman David D. Horn *Nissenbaum Law Offices Ames Safety Envelope Charles H. Watkins & Gerald L. Nissenbaum Company Company, Inc. Sherburne, Powers & Needham Robert H. Arnold Richard P. Nyquist Daniel Needham, Jr. *Avondale Industries, Inc. Investments William F. Connell *ABD Securities Corporation Management/Financial *C.R. Bard, Inc. Theodor Schmidt-Scheuber Consulting Robert H. McCaffrey Amoskeag Company ADVANCED MANAGEMENT Checon Corporation Joseph B. Ely II ASSOCIATES, INC. Donald E. Conaway Harvey Chet Krentzman Bear, Stearns & Company Dennison Manufacturing Stuart Zerner BLP Associates Company Bernard L. Plansky Nelson S. Gifford *E.F. Hutton & Company, Inc. S. Paul Crabtree *Bain & Company Econocorp, Inc. FIDELITY INVESTMENTS William W Bain, Jr. Richard G. Lee Samuel W. Bodman THE BOSTON ERVING PAPER MILLS CONSULTING GROUP Fidelity Service Co. Charles B. Housen Arthur P. Contas Robert W Blucke *Flexcon Company, Inc. Goldman, Sachs & Company General Electric Consulting Mark R. Ungerer Stephen B. Kay Services Corporation GENERAL ELECTRIC James J. O'Brien, Jr. HCW, Inc. COMPANY John M. Plukas Kazmaier Associates, Inc. John F. Welch, Jr. Richard W Kazmaier, Jr. * Kensington Investment GENERAL ELECTRIC Company *Killingsworth Associates, Inc. COMPANY/LYNN Alan E. Lewis William R. Killingsworth Frank E. Pickering KIDDER, PEABODY & CO., McKINSEY & COMPANY, INC. THE GILLETTE COMPANY INCORPORATED Robert P. O'Block Colman M. Mockler, Jr. John G. Higgins Mitchell and Company "Harvard Folding Box Co., Inc. LOOMIS SAYLES & Carol B. Coles Melvin A. Ross COMPANY Nelson Communications, Inc. The Horn Corporation Robert L. Kemp Bruce D. Nelson Robert H. Lang, Jr. 64 Hi Kendall Company WNEV-TV 7 * Boston Financial Technology J. Dale Sherratt Seymour L. Yanoff Group, Inc. Fred N. Pratt, Jr. Kenett Corporation Musical Instruments jES Julius Kendall Combined Properties, Inc. *Baldwin Piano & Organ Stanton L. Black * Leach & Garner Company Company Philip F. Leach *John M. Corcoran & Co. R.S. Harrison John M. Corcoran L.E. Mason Company Avedis Zildjian Company Harvey B. Berman *Corcoran, Mullins, Jennison, Inc. Armand Zildjian Joseph E. Corcoran Monsanto Company The Flatley Company John P. Dushney Personnel Thomas J. Flatley NEW ENGLAND BUSINESS Dumont Kiradjieff & Moriarty SERVICE, INC. *Fowler, Goedecke, Ellis & Edward J. Kiradjieff O'Connor Richard H. Rhoads *Emerson Personnel, Inc. William J. O'Connor •Plymouth Rubber Company, Inc. Rhoda Warren Hilon Development Corporation Maurice J. Hamilburg TAD Technical Services Haim S. Eliachar Princess House, Inc. Corporation Historic Mill Properties Robert Haig David J. McGrath, Jr. Bert Paley * Rand-Whitney Corporation *McGregor Associates Robert Kraft Printing Kathleen McGregor *Soundesign Corporation *Bowne of Boston, Inc. *Meredith Grew, Incorporated Robert H. Winer Albert G. Mather & George M. Lovejoy, Jr. Superior Pet Products, Inc. * Bradford & Bigelow, Inc. Northland Investment Richard J. Phelps John D. Galligan Corporation Customforms, Inc. Tech Pak, Inc. Robert A. Danziger William F. Rogers, Jr. David A. Granoff Ryan, Elliott & Coughlin DANIELS PRINTING *Termiflex Corporation John Ryan William E. Fletcher COMPANY Benjamin Schore Company Towle Manufacturing Company Lee S. Daniels Benjamin Schore Leonard Florence *Espo Litho Company Stanmar, Inc. *Trina, Inc. David Fromer Stanley W. Snider Thomas L. Easton In memory of Joseph B. Fromer Urban Investment & H.K. Webster Company, Inc. *Label Art, Inc. Development Corp. Dean K. Webster J. William Flynn R.K. Umscheid Lithograph, Inc. Webster Spring Company, Inc. *United Leonard A. Bernheimer A.M. Levine Retail Wire Belt Company of America Child World, Inc. Publishing F. Wade Greer, Jr. Dennis H. Barron *ADCO Publishing Company, Inc. FILENE'S Media Samuel D. Gorfinkle Michael J. Babcock THE BOSTON GLOBE/ Addison-Wesley Publishing AFFILIATED Company Herman, Inc. Bernard A. Herman PUBLICATIONS Donald R. Hammonds William 0. Taylor CAHNERS PUBLISHING Hills Department Stores Stephen A. Goldberger *The Boston Herald COMPANY, INC. Patrick J. Purcell Norman L. Cahners *Jordan Marsh Company WBZ-TV4 HOUGHTON MIFFLIN Elliot Stone Thomas L. Goodgame COMPANY Karten's Jewelers WCIB-FM Marlowe G. Teig Joel Karten Lawrence K. Justice Marshall's, Inc. WCRB/CHARLES RD7ER Real Estate/Development Frank H. Brenton BROADCASTING, INC. Amaprop Developments, Inc. *Neiman-Marcus Richard L. Kaye Gregory Rudolph William D. Roddy WCVB-TV 5 *J.L. Beal Properties, Inc. * Purity Supreme, Inc. S. James Coppersmith Joanne Beal Frank P. Giacomazzi 65 Saks Fifth Avenue HEALTH PROGRAMS *Heritage Travel, Inc. Ronald J. Hoffman INTERNATIONAL, INC. Donald R. Sohn Dr. Donald B. Giddon Shaw's Supermarkets *Lily Truck Leasing Corp. Stanton W. Davis *J.A. Webster, Inc. John A. Simourian THE STOP & SHOP John A. Webster, Jr. THE TRANS-LEASE GROUP John J. McCarthy, Jr. COMPANIES, INC. Services Avram J. Goldberg Travel Consultants International American Cleaning Co., Inc. Phoebe L. Giddon ZAYBE CORPORATION Joseph A. Sullivan, Jr. Maurice Segall *Asquith Corporation L. Asquith Science/Medical Laurence Utilities *Victor Grillo & Associates *Charles River Breeding BOSTON EDISON Victor N. Grillo Laboratories, Inc. COMPANY Stephen J. Sweeney Henry L. Foster Software/Information Services EASTERN GAS & FUEL *Compu-Chem Laboratories, Inc. *First Software Corporation ASSOCIATES Claude L. Buller Rick H. Faulk William J. Pruyn Damon Corporation Interactive Data Corporation David I. Kosowsky John Rutherfurd New England Electric System Guy Nichols *HCA Foundation W Travel/Transportation Hospital Corporation of NEW ENGLAND America Federal Express Corporation TELEPHONE COMPANY Donald E. Strange Frederick W Smith Gerhard M. Freche "There's no passion in the human soul. But finds its food in music." George Lillo Join us before or after the Symphony at the Bristol Lounge, overlooking the Public Garden at Four Seasons Hotel Also serving lunch, dinner and afternoon tea. The encore is over, but the music plays on. For Four Seasons Place FourSeasons Hotel Condominium Sales Information, please call 617-338-4444. BOSTON 200 Boylston Street Boston, Massachusetts 02116 (617) 338-4400 66 The following Members of the MASSACHUSETTS Massachusetts High Technology MGH TECHNOLOGY Council support the BSO through GOUNCL the BSO Business & Professional » « • * * * 9 » i k . Leadership Program: ".i'^Ef? AT&T DYNATECH LOTUS DEVELOPMENT Peter Cassels CORPORATION CORPORATION ANALOG DEVICES, INC. J. P. Barger Mitchell D. Kapor Ray Stata *EG&G, Inc. *M/A-COM, Inc. *The Analytic Sciences Dean W. Freed Vessarios G. Chigas Corporation *Epsilon Data Management, *Masscomp Arthur Gelb Inc. August P. Klein APOLLO COMPUTER, Thomas O. Jones Massachusetts High INC. The Foxboro Company Technology Council, Inc. Thomas A. Vanderslice Earle W. Pitt Howard P. Foley Aritech Corporation GTE ELECTRICAL MILLIPORE James A. Synk PRODUCTS CORPORATION *Angat, Inc. T. Langford Dean John G. Mulvany Roger D. Wellington GenRad Foundation *Orion Research Incorporated BBF Corporation Linda B. Smoker Alexander Jenkins III Frusztajer Boruch B. *Haemonetics, Inc. * PRIME COMPUTER, INC. Barry Wright Corporation John F. White Ralph Z. Sorenson Joe M. Henson Harbridge House, Inc. * Printed Circuit Corporation BOLT BERANEK AND George Rabstejnek NEWMAN INC. Peter Sarmanian Hewlett-Packard Company Stephen R. Levy SofTech, Inc. Alexander R. Rankin *Compugraphic Corporation HONEYWELL Justus Lowe, Jr. Carl E. Dantas * Sprague Electric Company Warren G. Sprague Computervision Corporation John L. Sprague Martin Allen IBM CORPORATION *Tech/Ops, Inc. Paul J. Palmer Corning Glass Works Marvin G. Schorr Foundation Impact Systems, Inc. TERADYNE, INC. Richard B. Bessey Melvin D. Platte Alexander V. d'Arbeloff *Cullinet Software, Inc. Instron Corporation Harold Hindman Thermo Electron Corporation John J. Cullinane George N. Hatsopoulos *Dennison Computer *Ionics, Incorporated Supplies, Inc. Arthur L. Goldstein WANG LABORATORIES, Charles L. Reed, Jr. *Arthur D. Little, Inc. INC. DIGITAL EQUIPMENT John F. Magee An Wang CORPORATION *XRE Corporation Kenneth H. Olsen John K. Grady 67 r ACompatxy' :NTS Christmas The Boston Symphony and the "Presidents at Pops" and "A Company Christmas at Pops" committees thank you for your support of our programs during the year. We hope that you will join us for these exciting business benefits this year. "Presidents at Pops" occurs each June and involves over 100 leading Boston businesses participating in a special Boston Pops concert conducted by John Williams. Each company purchases a package of 20 tickets to use for their employees, customers or guests. Dinner and drinks are served to everyone. "A Company Christmas at Pops" is modelled similarly and occurs during the week of Christmas Pops concerts. For more information on each, please call the BSO Director ofCorporate Development at 266-1492. Thank you. v 68 Coming Concerts . . . Investment Real Estate Management, Brokerage and Consulting Services Friday 'B'—18 April, 2-3:55 Since 1898 Saturday 'B'—19 April, 8-9:55 SEIJI OZAWA conducting Chopin Piano Concerto No. 1 Chopin Fantasy on Polish Airs ALEXIS WEISSENBERG Donald L. Saunders, Strauss Don Juan President & Chief Executive Officer SAUNDERS ASSOCIATES & Tuesday 'B'—22 April, 8-9:55 20 Park Plaza • Boston • MA • 021 16 SEIJI OZAWA conducting (617)426*4000 Chopin Piano Concerto No. 1 Exclusive Agent for the Statler Office Building ALEXIS WEISSENBERG Tchaikovsky Symphony No. 6, Pathetique Thursday 10'—24 April, 8-9:50 Friday 'A'—25 April, 2-3:50 Saturday 'A'—26 April, 8-9:50 For A Southeast Asian Treat SEIJI OZAWA conducting Maderna Aura Mozart Violin Concerto No. 3 inG,K.216 MANDALAY MALCOLM LOWE BURMESE RESTAURANT Elgar Enigma Variations Programs subject to change. Boston • 329 Huntington Avenue • 247-2111 Cambridge • 143 First Street • 876-2111 Reservation Suggested All our services are free —no strings attached. We perform a veritable symphony of travel arrangements... at no extra charge to you. Travel is our forte; Garber is our name. Give us a call- 734-2100 and we'll get in tune with your travel needs. Beautiful Books Main Office: 1— and Classic Recordings 1406 Beacon St. Brookline. Copley Place 437-0700 69 •N Gifts may be sent to the Development Office Symphony Hall Boston, MA 021 15 Symphony Hall Information . . . FOR SYMPHONY HALL CONCERT AND make your ticket available for resale by call- TICKET INFORMATION, call (617) ing the switchboard. This helps bring 266-1492. For Boston Symphony concert needed revenue to the orchestra and makes program information, call "C-O-N-C-E-R-T." your seat available to someone who wants to attend the concert. A mailed receipt will THE BOSTON SYMPHONY performs ten acknowledge your tax-deductible months a year, in Symphony Hall and at contribution. Tanglewood. For information about any of the orchestra's activities, please call Sym- RUSH SEATS: There are a limited number phony Hall, or write the Boston Symphony of Rush Tickets available for the Friday- Orchestra, Symphony Hall, Boston, MA afternoon and Saturday-evening Boston 02115. Symphony concerts (subscription concerts only). The continued low price of the Satur- THE EUNICE S. AND JULIAN COHEN day tickets is assured through the gener- ANNEX, adjacent to Symphony Hall on osity of two anonymous donors. The Rush Huntington Avenue, may be entered by the Tickets are sold at $5.00 each, one to a Symphony Hall West Entrance on Hunt- customer, at the Symphony Hall West ington Avenue. Entrance on Fridays beginning 9 a.m. and FOR SYMPHONY HALL RENTAL Saturdays beginning 5 p.m. INFORMATION, call (617) 266-1492, or LATECOMERS will be seated by the write the Function Manager, Symphony ushers during the first convenient pause in Hall, Boston, MA 02115. the program. Those who wish to leave THE BOX OFFICE is open from 10 a.m. before the end of the concert are asked to until 6 p.m. Monday through Saturday; on do so between program pieces in order not concert evenings, it remains open through to disturb other patrons. intermission for BSO events or just past SMOKING IS NOT PERMITTED in any starting-time for other events. In addition, part of the Symphony Hall auditorium or in the box office opens Sunday at 1 p.m. when the surrounding corridors. It is permitted there is a concert that afternoon or evening. only in the Cabot-Cahners and Hatch Single tickets for all Boston Symphony rooms, and in the main lobby on Massachu- concerts go on sale twenty-eight days setts Avenue. before a given concert once a series has begun, and phone reservations will be accepted. For outside events at Symphony Hall, tickets will be available three weeks before the concert. No phone orders will be Rental apartments accepted for these events. for people who'd rather hear French horns THE SYMPHONY SHOP is located in the Enjoy living within Huntington Avenue stairwell near the than Car horns* easy easy reach of Symphony Hall. Cohen Annex and is open from one hour New in-town apartments before each concert through intermission. with doorman, harbor The shop carries all-new BSO and musical- views, all luxuries, health motif merchandise and gift items such as club. calendars, appointment books, drinking Iand2 glasses, holiday ornaments, children's £ ^||j^^^j^SBi^^^^^ bedrooms and penthouse duplex books, and BSO and Pops recordings. All i ^3$^®3li»ia^^ proceeds benefit the Boston Symphony apartments. Orchestra. For merchandise information, please call 267-2692. THE DEVONSHIRE ^r^ One Devonshire Place. (Between Washington TICKET RESALE: If for some reason you I — I and Devonshire Streets, off State Street) Boston. are unable to attend a Boston Symphony 3 Renting Office Open 7 Days. Tel: (617) 720-3410. 2 Park free in our indoor garage while inspecting models. concert for which you hold a ticket, you may 71 CAMERA AND RECORDING EQUIP- tra are heard by delayed broadcast in many MENT may not be brought into Symphony parts of the United States and Canada, as Hall during concerts. well as internationally, through the Boston Symphony Transcription Trust. In addi- AID FACILITIES for both men FIRST tion, Friday-afternoon concerts are broad- and women are available in the Cohen cast live by WGBH-FM (Boston 89.7); Annex near the Symphony Hall West Saturday-evening concerts are broadcast Entrance on Huntington Avenue. On-call live by both WGBH-FM and WCRB-FM physicians attending concerts should leave (Boston 102.5). Live broadcasts may also be their names and seat locations at the heard on several other public radio stations switchboard near the Massachusetts Ave- throughout New England and New York. If nue entrance. Boston Symphony concerts are not heard WHEELCHAIR ACCESS to Symphony regularly in your home area and you would Hall is available at the West Entrance to like them to be, please call WCRB Produc- the Cohen Annex. tions at (617) 893-7080. WCRB will be glad to work with you and try to get the BSO on AN ELEVATOR is located outside the the air in your area. Hatch and Cabot-Cahners rooms on the Massachusetts Avenue side of the building. BSO FRIENDS: The Friends are annual donors to the Boston Symphony Orchestra. LADIES' ROOMS are located on the Friends receive BSO, the orchestra's news- orchestra level, audience-left, at the stage letter, as well as priority ticket information end of the hall, and on the first-balcony and other benefits depending on their level level, audience-right, outside the Cabot- of giving. For information, please call the Cahners Room near the elevator. Development Office at Symphony Hall MEN'S ROOMS are located on the orches- weekdays between 9 and 5. If you are tra level, audience-right, outside the Hatch already a Friend and you have changed Room near the elevator, and on the first- your address, please send your new address balcony level, audience-left, outside the with your newsletter label to the Develop- Cabot-Cahners Room near the coatroom. ment Office, Symphony Hall, Boston, MA 02115. Including the mailing label will COATROOMS are located on the orchestra assure a quick and accurate change of and first-balcony levels, audience-left, out- address in our files. side the Hatch and Cabot-Cahners rooms. The BSO is not responsible for personal BUSINESS FOR BSO: The BSO's Busi- apparel or other property of patrons. ness & Professional Leadership program makes it possible for businesses to partici- LOUNGES AND BAR SERVICE: There pate in the life of the Boston Symphony are two lounges in Symphony Hall. The Orchestra through a variety of original and Hatch Room on the orchestra level and the exciting programs, among them "Presi- Cabot-Cahners Room on the first-balcony dents at Pops," "A Company Christmas at level serve drinks starting one hour before Pops," and special-event underwriting. each performance. For the Friday-after- Benefits include corporate recognition in noon concerts, both rooms open at 12:15, the BSO program book, access to the with sandwiches available until concert Higginson Room reception lounge, and time. priority ticket service. For further informa- BOSTON SYMPHONY BROADCASTS: tion, please call the BSO Corporate Concerts of the Boston Symphony Orches- Development Office at (617) 266-1492. 72 1985 BENEDICTINE SA, 80 PROOF IMPORTED FROM FRANCE. JULIUS WILE SONS & CO., LAKE SUCCESS. NY. tenuta S. Anna ESTATE BOTTLED mmum x~-*- - A '-T- 71 I tuatin | SEEm V FENUTA r*4 | t j S.ANNA p P^ .ftttia Si 3, t IKttI 1 togmdilison RABOSO If w DILONCON m E9 _^~^ ^__r__^r THE ITALIAN RENAISSANCE Fine wines imported from Italy by Pastene Pastene Wine & Spirits Co., Inc., Somerville, MA 02143