BOSTONSymphony

OrchestraSeiiiOzawa

MUSIC DIRECTOR

One Hundred Eleventh Season

LASSALETHE ART OFSEIKO

THE E.B. HORN COMPANY429 WASHINGTON STREET, BOSTON, MA

ALL MAJOR CREDIT CARDS ACCEPTEDMAIL OR PHONE ORDERS (617) 542-3902 OPEN MON. AND THURS. 'TIL 7

Seiji Ozawa, Music Director

One Hundred and Eleventh Season, 1991-92

Trustees of the Boston Symphony Orchestra, Inc.

Nelson J. Darling, Jr., Chairman Emeritus

J.P. Barger, Chairman

Mrs. Lewis S. Dabney, Vice-Chairman

Mrs. John H. Fitzpatrick, Vice-Chairman

George H. Kidder, President

Archie C. Epps, Vice-Chairman

William J. Poorvu, Vice-Chairman and Treasurer

David B. Arnold, Jr.

Peter A. Brooke

James F. Cleary

John F. Cogan, Jr.

Julian Cohen

William M. Crozier, Jr.

Deborah B. Davis

Nina L. Doggett

Trustees Emeriti

Vernon R. Alden

Philip K. Allen

Allen G. Barry

Leo L. Beranek

Mrs. John M. Bradley

Abram T. Collier

Dean Freed

Avram J. Goldberg

Francis W. Hatch

Julian T. Houston

Mrs. Bela T. KalmanMrs. George I. Kaplan

Harvey Chet Krentzman

R. Willis Leith, Jr.

Mrs. Harris Fahnestock

Mrs. John L. Grandin

E. Morton Jennings, Jr.

Albert L. Nickerson

Thomas D. Perry, Jr.

Irving W. Rabb

Mrs. August R. Meyer

Molly Millman

Mrs. Robert B. NewmanPeter C. ReadRichard A. Smith

Ray Stata

Nicholas T. Zervas

Mrs. George R. Rowland

Mrs. George Lee Sargent

Sidney Stoneman

John Hoyt Stookey

John L. Thorndike

Michael G. McDonough, Assistant Treasurer

Other Officers of the Corporation

John Ex Rodgers, Assistant Treasurer

Daniel R. Gustin, Clerk

Administration

Kenneth Haas, Managing Director

Daniel R. Gustin, Assistant Managing Director and Manager of Tanglewood

Michael G. McDonough, Director of Finance and Business Affairs

Evans Mirageas, Artistic Administrator

Caroline Smedvig, Director of Public Relations and Marketing

Josiah Stevenson, Director of Development

Ray F. Wellbaum, Orchestra Manager

Robert Bell, Manager of Information Systems

Peter N. Cerundolo, Director of

Corporate Development

Constance B.F. Cooper, Director of Boston

Symphony Annual FundMadelyne Cuddeback, Director of

Corporate Sponsorships

Patricia Forbes Halligan, Director of

Personnel Services

Sarah J. Harrington, Budget ManagerMargaret Hillyard-Lazenby,

Director of Volunteers

Russell M. Hodsdon, Manager of Box Office

Bernadette M. Horgan, Public Relations

Coordinator

Craig R. Kaplan, Controller

Nancy A. Kay, Director of Sales &Marketing Manager

Susan E. Kinney, Assistant Director of

Development

Programs copyright ©1992 Boston Symphony Orchestra, Inc

Cover by Jaycole Advertising, Inc.

Patricia Krol, Coordinator of Youth Activities

Steven Ledbetter, Musicologist &Program Annotator

Marc Mandel, Publications Coordinator

John C. Marksbury, Director of

Foundation and Government Support

Julie-Anne Miner, Manager ofFund Reporting

Richard Ortner, Administrator of

Tanglewood Music Center

Scott Schillin, Assistant Manager,

Pops and Youth Activities

Joyce M. Serwitz, Associate Director of

Development/Director of Major Gifts

Cheryl L. Silvia, Function ManagerMichelle Leonard Techier, Media and Production

Manager, Boston Symphony Orchestra

Robin J. Yorks, Director of Tanglewood

Development

Board of Overseers of the Boston Symphony Orchestra, Inc.

John F. Cogan, Jr., Chairman

Thelma E. Goldberg, Vice-Chairman

Mrs. Susan D. Hall, Secretary

Mrs. Herbert B. Abelow

Amanda Barbour AmisHarlan Anderson

Caroline Dwight Bain

Mrs. Leo L. Beranek

Lynda Schubert BodmanDonald C. Bowersock, Jr.

William M. Bulger

Mrs. Levin H. Campbell

Earle M. Chiles

Gwendolyn Cochran HaddenWilliam F. Connell

Walter J. Connolly, Jr.

Jack Connors, Jr.

Albert C. Cornelio

Phyllis Curtin

JoAnne Dickinson

Harry Ellis Dickson

Phyllis Dohanian

Hugh DownsGoetz B. Eaton

Harriett M. Eckstein

Deborah A. England

Edward Eskandarian

Peter M. Flanigan

Eugene M. FreedmanMrs. James G. Garivaltis

Jordan L. Golding

Mark R. Goldweitz

Mrs. Haskell R. Gordon

John P. Hamill

Daphne P. Hatsopoulos

Bayard HenryGlen H. Hiner

Mrs. Marilyn Brachman Hoffman

Ronald A. HomerLola Jaffe

Anna Faith Jones

H. Eugene Jones

Susan B. Kaplan

Mrs. S. Charles Kasdon

Richard L. KayeMrs. Gordon F. Kingsley

Allen Z. KluchmanKoji Kobayashi

Mrs. Carl KochDavid I. Kosowsky

George KruppJohn R. Laird

Mrs. Hart D. Leavitt

Laurence Lesser

Stephen R. Levy

Frederick H. Lovejoy, Jr.

Diane H. LupeanMrs. Charles P. LymanMrs. Harry L. Marks

Nathan R. Miller

Richard P. Morse

E. James Morton

David G. MugarRobert J. MurrayDavid S. Nelson

Mrs. Hiroshi H. Nishino

Robert P. O'Block

Paul C. O'Brien

Vincent M. O'Reilly

Andrall E. Pearson

John A. Perkins

Millard H. Pryor, Jr.

Robert E. Remis

William D. RoddyJohn Ex Rodgers

Keizo Saji

Roger A. Saunders

Mrs. Raymond H. Schneider

Malcolm L. ShermanMrs. Donald B. Sinclair

L. Scott Singleton

Ira Stepanian

William F. ThompsonMark Tishler, Jr.

Roger D. Wellington

Robert A. Wells

Margaret Williams-DeCelles

Mrs. John J. Wilson

Overseers Emeriti

Mrs. Weston W. AdamsMrs. Frank G. Allen

Bruce A. Beal

Mrs. Richard Bennink

Mary Louise Cabot

Johns H. Congdon

Peter H.B. Frelinghuysen

Mrs. Thomas J. Galligan

Mrs. Richard D. Hill

Susan M. Hilles

Mrs. Louis I. Kane

Leonard Kaplan

Robert K. Kraft

Benjamin H. Lacy

Mrs. James F. Lawrence

C. Charles Marran

Hanae Mori

Mrs. Stephen V.C. Morris

Stephen Paine, Sr.

David R. Pokross

Daphne Brooks Prout

Mrs. Peter van S. Rice

Mrs. Jerome Rosenfeld

Mrs. William C. Rousseau

Mrs. William H. RyanFrancis P. Sears, Jr.

Ralph Z. Sorenson

Mrs. Edward S. Stimpson

Mrs. Arthur I. Strang

Luise Vosgerchian

Mrs. Donald B. Wilson

Symphony Hall Operations

Robert L. Gleason, Facilities Manager

James E. Whitaker, House Manager

Cleveland Morrison, Stage Manager

Franklin Smith, Supervisor of House Crew

Wilmoth A. Griffiths, Assistant Supervisor of House Crew

William D. McDonnell, Chief Steward

H.R. Costa, Lighting

Officers of the Boston Symphony Association of Volunteers

Molly Beals Millman, President

Flornie Whitney, Executive Vice-President

Joan Erhard, Secretary

Bonnie B. Schalm, Treasurer

Betty Sweitzer, Nominating Chairman

Vice-Presidents

Helen A. Doyle, Hall Services

Goetz B. Eaton, Fundraising

Una Fleischmann, Development

Paul S. Green, Resources Development

Patricia M. Jensen, Membership

Kathleen G. Keith, Adult Education

Maureen Hickey, Tanglewood

Ileen Cohen, Tanglewood

Ann Macdonald, Youth Activities

Carol Scheifele-Holmes, Symphony Shop

Patricia L. Tambone, Public Relations

Business and Professional Leadership Association

Board of Directors

Harvey Chet Krentzman, Chairman James F. Cleary, BPLA President

J.P. Barger

Leo L. Beranek

William F. Connell

Nelson J. Darling

Thelma Goldberg

George H. Kidder

William F. Meagher

Robert P. O'Block

Vincent M. O'Reilly

William D. RoddyMalcolm L. Sherman

Ray Stata

Stephen J. Sweeney

Boston Symphony Orchestra concerts are funded in part by the National

Endowment for the Arts and the Massachusetts Cultural Council, a state agency.

The Boston Symphony Orchestra and

"The Revolution of Expression," 1911-13

"The Revolution of Expression" celebrates artistic achievements around the world between the

years 1911 and 1913. To mark this celebration, the Boston Symphony Orchestra Archives has

mounted an historical display in the Cohen Wing lobby. Using photographs, letters, programs,

and other historical documents preserved in the Archives, the exhibit explores the BSO between

the years 1911 and 1913 and the orchestra's performances of important works composed during

those years. In the photograph above, Pierre Monteux, music director of the BSO from 1919 to

1924, is shown with the score for Igor Stravinsky's Le Sacre du printemps (The Rite of Spring).

Monteux conducted the first performance of the ballet production by Diaghilev's Ballet Russe at

the Theatre des Champs-Elysees in Paris on May 29, 1913.

Tuesday, April 7, 10:30 amOpen Rehearsal

Boston Symphony Orchestra

Seiji Ozawa, conductor

Gidon Kremer, violin

Tanglewood Festival Chorus,

John Oliver, conductor

Music of Ives, Lourie,

and Tchaikovsky

Tickets: $5.00

Tuesday, April 7, 8:00 pmBoston Symphony Orchestra

Seiji Ozawa, conductor

Gidon Kremer, violin

Tanglewood Festival Chorus,

John Oliver, conductor

Music of Ives, Lourie,

and Tchaikovsky

Tickets: $19.00 - $49.50

Thursday, April 9, 8:00 pmCity of BirminghamSymphony Orchestra

Simon Rattle, conductor

Elise Ross, soprano

Robin Buck, baritone

Tanglewood Festival Chorus,

John Oliver, conductor

Music of Nielsen and Ravel (1911)

Tickets: $19.00 - $49.50

EXPLORING THECULTURAL IMPACTOF THE YEARS1911, 1912, AND 1913

Friday, April 10, 2:00 pmCity of BirminghamSymphony Orchestra

Simon Rattle, conductor

Elise Ross, soprano

Emanuel Ax, piano

Music of Schoenberg, Prokofiev,

and Debussy (1912)

Tickets: $19.00 - $49.50

Saturday, April 11, 5:30 pmA musical encounter with

Simon Rattle and the City of

Birmingham SymphonyOrchestra. A discussion including

musical demonstrations.

Tickets: $5.00 (free with a

ticket to the 8:00 pm concert)

Saturday, April 11, 8:00 pmCity of BirminghamSymphony Orchestra

Simon Rattle, conductor

Music of Stravinsky, Debussy,

and Elgar (1913)

Tickets: $20.00 to $52.50

Tickets are available at the

Symphony Hall Box Office, or call

SymphonyCharge at (617) 266-1200,

10am - 6pm, Mon. - Sat.

x.-xixwztz.vmx*!'?--'**

BSO"Salute to Symphony" Highlights

NYNEX Corporation, WCRB, WCVB, and the

Boston Symphony Association of Volunteers

join forces to celebrate the Boston Symphony

and Boston Pops Orchestras during "Salute to

Symphony" weekend, April 10-13. WCRB102.5 FM Classical Radio Boston will begin

dedicating on-air time to BSO and Boston

Pops performances on April 1. The station will

broadcast "Announcers' Choice: Best of the

BSO" on Saturday, April 11, at 8 p.m., and

will broadcast live from the Symphony Hall

Open House the following day. WCRB will also

be on hand on Friday, April 10, as "Salute to

Symphony" begins in style with a kickoff event

at South Station from 11 a.m. to 2 p.m. For

the fourth consecutive year, NYNEX is spon-

soring the Symphony Hall Open House, a day

of free activities and performances for the

entire community, to take place on Sunday,

April 12, from 11 a.m. to 4 p.m. This year's

instrument demonstrations will include music

synthesizers as well as modern instruments.

Bringing the "Salute" festivities to a close will

be a live telecast from Symphony Hall on

Monday, April 13, on WCVB-TV Channel 5

from 7:30 to 9 p.m. Hosted by WCVB'sNatalie Jacobson, Chet Curtis, and FrankAvruch, the program will feature the BSOled by Seiji Ozawa and John Williams. Mem-bers of the Boston Symphony Association of

Volunteers will be answering phones in the

Cabot-Cahners Room to accept pledges at

(617) 262-8700 or 1-800-325-9400 throughout

the weekend. Donors to "Salute to Symphony"

1992 may choose from a number of exclusive

incentive gifts, including a brass keychain in

the shape of a concert ticket ($15), a child's

bookbag (also $15), a BSO mug or t-shirt

($25), a limited-edition "Salute" CD or cas-

sette ($40), and a BSO golf umbrella or

Boston Pops beach blanket ($60). In addition,

a contribution of $50 or more will make you a

Friend of the orchestra, entitling you to a vari-

ety of benefits.

Art Exhibits in the Cabot-Cahners Room

For the eighteenth year, a variety of Boston-

area galleries, museums, schools, and non-

profit artists' organizations are exhibiting their

work in the Cabot-Cahners Room on the first-

balcony level of Symphony Hall. On display

through April 6 is an exhibit celebrating

"Youth Arts Month." Coordinated by Leslie

Ann Miller, a member of the Massachusetts

Art Educator Association, the exhibit features

more than fifty works by public school students

from kindergarten through twelfth grade

across the state. This will be followed by an

exhibit of works from the Copley Society of

Boston, the country's oldest nonprofit art asso-

ciation (April 21-May 18), and landscapes and

seascapes by ten New England artists from

RE:ART in Newton Centre (May 18-June 15).

These exhibits are sponsored by the Boston

Symphony Association of Volunteers, and a

portion of each sale benefits the orchestra.

Please contact the Volunteer Office at (617)

638-9390, for further information.

Eleventh Annual"Presidents at Pops" Slated for June 3

The BSO salutes business at the eleventh

annual "Presidents at Pops" on Wednesday,

June 3, 1992. Chairman William L. Boyan,

President and COO of John Hancock Finan-

cial Services, will serve as host to more than

one hundred leading businesses gathered at

Symphony Hall to raise more than $700,000

for the Boston Symphony Orchestra. A limited

number of sponsorship packages are still avail-

able for $6,000 and include twenty tickets to

the event, complete with cocktails, a picnic

supper, and special Boston Pops concert. In

addition, the senior executive of each sponsor-

ing company will receive an invitation for two

to the exclusive Leadership Dinner on Satur-

day, September 19, 1992. This unique gather-

ing of CEOs in the greater Boston area offers

an elegant evening of entertainment, fine din-

ing, and dancing. Companies may also show

their support by advertising in the "Presidents

at Pops" program book, produced exclusively

for a distinguished audience of more than

2,400 corporate hosts and their guests. Forfurther information, please call Marie

Pettibone in the BSO Corporate Development

Office at (617) 638-9278.

Suppers at Symphony Hall

The Boston Symphony Association of Volun-

teers is pleased to continue its sponsorship of

the BSO's evening series of pre-concert events.

"Supper Talks" combine a buffet supper at

'Culture is not just an ornament;

it is the expression

of a nations character * * <»

Because culture touches on the noblest impulses within us all,

The Boston Company believes our cultural institutions are central to

the dignity of every individual. Which is why, in addition to our enthusiastic support

of many educational and social causes in our community

— including the needs of the homeless — the people of The Boston Company

continue to contribute to such cultural institutions as The Boston Symphony Orchestra.

We urge that you, too, lend it your continuous and generous support.

THE BOSTON COMPANYBoston Safe Deposit and Trust Company

Member FDIC£>An Equal Opportunity Lender

6:30 p.m. in the Cohen Wing's Higginson Hall

with an informative talk by a BSO player or

other distinguished member of the music com-

munity. "Supper Concerts" offer a chamber

music performance by members of the Boston

Symphony Orchestra in the Cabot-Cahners

Room at 6 p.m., followed by a buffet supper

served in Higginson Hall. Doors open for all

Suppers at 5:30 p.m. for a la carte cocktails

and conversation. These events are offered on

an individual basis, even to those who are not

attending that evening's BSO concert. Speak-

ers for upcoming Supper Talks include BSOMusicologist & Program Annotator Steven

Ledbetter (Friday, April 3), BSO principal

second violin Marylou Speaker Churchill (Tues-

day, April 7), and BSO viola Mark Ludwig(Thursday, April 16). Upcoming Supper Con-

certs will feature music of Judith Weir and

Beethoven (Thursday, April 2, and Saturday,

April 4) and music of Brahms (Thursday,

April 23, and Tuesday, April 28). The suppers

are priced at $22 per person for an individual

event, $61 for any three, $82 for any four, or

$118 for any six. Advance reservations must be

made by mail. For reservations the week of the

Supper, please call SymphonyCharge at (617)

266-1200. All reservations must be made at

least 48 hours prior to the Supper. There is a

$.50 handling fee for each ticket ordered bytelephone. For further information, please call

(617) 266-1492, ext. 516.

BSO Members in Concert

The Boston Artists' Ensemble performs

Dandy's Trio for clarinet, cello, and piano andBrahms 's Clarinet Trio on Friday, March 27,

at 8 p.m. in the Chapel Gallery of the Second

Church in Newton. BSO clarinetist ThomasMartin and pianist Randall Hodgkinson join

the ensemble's founder, BSO cellist Jonathan

Miller, for these concerts. Single tickets are

$12 ($10 students and seniors). For moreinformation, call (617) 527-8662.

Collage New Music, founded by BSO percus-

sionist Frank Epstein, performs the Boston

premieres of Gerald Humel's Wintergeist, JohnHarbison's The Natural World, and Daniel

Lentz's Talk Radio on Monday, March 30, at

8:00 p.m. at Boston University's Tsai Per-

formance Center, 685 Commonwealth Avenue,

on a program also including Arthur Jarvinen's

Goldbeater's Skin and Yehudi Wyner's Passage.

John Harbison conducts. Single tickets are $10

($5 students and seniors). For more informa-

tion call (617) 868-4582.

The New England Trombone Choir at NewEngland Conservatory, directed by BSO bass

trombone Douglas Yeo, will give its annual

spring concert in Jordan Hall at the Conserva-

tory on Monday, March 30, at 8 p.m. Theeighteen-member ensemble will present a 400-

year retrospective of chorales and hymns for

trombone, VOX POSAUNENCHOR. ThomasG. Everett, Director of Bands at Harvard Uni-

versity, will be guest conductor, and Mr. Yeo

will also be soloist with the ensemble in

Tommy Pederson's Blue Topaz. Also on the

program will be music of Frigyes Hidas, Wag-ner, and Hindemith, plus an arrangement by

BSO principal trombone Ronald Barron of the

final movement of Bach's Brandenburg Con-

certo No. 3. Admission is free.

The Richmond Performance Series presents

chamber music by New England composers on

Sunday, April 5, at 3 p.m. at the Berkshire

Museum, 39 South Street in Pittsfield. Guest

pianist Virginia Eskin joins the Hawthorne

String Quartet—BSO members RonanLefkowitz, Si-Jing Huang, Mark Ludwig, and

Sato Knudsen— for a program including

MacDowell's Virtuoso Etudes for piano,

Foote's Romance and Scherzo for cello and

piano, Paine 's Larghetto and Humoreske for

violin, cello, and piano, and Amy Beach's

Piano Quintet in F-sharp minor. Admission is

$14 ($12 Berkshire Museum members). For

more information, call (617) 437-0204 or

(413) 443-7171.

Personal Financial Planning Seminars

On Tuesday, April 28, at 5:30 p.m., the Bos-

ton Symphony Orchestra is offering the final

complimentary Personal Financial Planning

Seminar of the season. Featuring the BSO'sgift planning consultant John Brown, the semi-

nar will be held in the Nathan R. Miller Roomof Symphony Hall's Cohen Wing and includes

a complimentary dinner for those attending.

Learn how you can bypass capital gains taxes,

increase current income, reduce current income

tax, reduce federal estate taxes, and conserve

estate assets for those you love. Advance reser-

vations are necessary. If you are interested in

attending, please call Joyce Serwitz, Associate

Director of Development, at (617) 638-9273.

i

References furnishedon request

Armenta Adams David KorevaarAmerican Ballet Theatre Garah Landes

Michael Barrett Michael Lankester

John Bayless Elyane LaussadeLeonard Bernstein Marian McPartland

William Bolcom John NaumanJorge Bolet Seiji OzawaBoston Pops Orchestra Luciano Pavarotti

Boston Symphony Alexander PeskanovChamber Players Andre Previn

Boston Symphony Steve Reich

Orchestra Santiago Rodriguez

Boston University School George Shearing

of Music Bright Sheng

Brooklyn Philharmonic Leonard ShureDave Brubeck Abbey SimonAaron Copland Stephen Sondheim

John Corigliano Herbert Stessin

Phyllis Curtin \ Tanglewood MusicRian de Waal Center

Michael Feinstein ^Nelita True

Lukas Foss Craig Urquhart

Philip Glass Earl WildKarl Haas John Williams

John F. Kennedy Center Yehudi Wynerfor Performing Arts and 200 others

TIT BALDWIN

!!!OF

in BOSTON98 Boylston, Boston, MA 02116, (617) 482-2525

SEIJI OZAWANow in his nineteenth year as music director of the Boston

Symphony Orchestra, Seiji Ozawa became the BSO's thir-

teenth music director in 1973, after a year as music adviser.

His many tours with the orchestra in Europe, the Far East,

and throughout the United States have included four visits

to Japan, an eight-city North American tour in the spring of

1991, and a seven-city European tour to Greece, Austria,

Germany, France, and England following the 1991 Tangle-

wood season. In March 1979 he and the orchestra made an

historic visit to China for coaching, study, and discussion

sessions with Chinese musicians, as well as concerts, mark-

ing the first visit to China by an American performing ensemble following the estab-

lishment of diplomatic relations.

Besides his work with the Boston Symphony, Mr. Ozawa appears regularly with

the Berlin Philharmonic, the French National Orchestra, the New Japan Philhar-

monic, the Orchestre de Paris, the Philharmonia of London, and the Vienna Phil-

harmonic. He has conducted opera at the Paris Opera, La Scala, Salzburg, the

Vienna Staatsoper, and Covent Garden. In addition to his many Boston Symphonyrecordings, he has recorded with the Berlin Philharmonic, the Chicago Symphony,

the London Philharmonic, the Orchestre National, the Orchestre de Paris, the

Philharmonia of London, the Saito Kinen Orchestra, the San Francisco Sym-

phony, and the Toronto Symphony, among others. His recordings appear on the

Deutsche Grammophon, EMI/Angel, Erato, Hyperion, New World, Philips, RCA,Sony Classical/CBS Masterworks, and Telarc labels.

Born in 1935 in Shenyang, China, to Japanese parents, Seiji Ozawa studied

Western music as a child and later graduated with first prizes in composition and

conducting from Tokyo's Toho School of Music, where he was a student of Hideo

Saito. In 1959 he won first prize at the International Competition of Orchestra

Conductors held in Besancon, France. Charles Munch, then music director of the

Boston Symphony and a judge at the competition, invited him to attend the Tan-

glewood Music Center, where he won the Koussevitzky Prize for outstanding stu-

dent conductor in 1960. While a student of Herbert von Karajan in West Berlin,

Mr. Ozawa came to the attention of Leonard Bernstein, who appointed him assis-

tant conductor of that orchestra for the 1961-62 season. He made his first profes-

sional concert appearance in North America in January 1962, with the San Fran-

cisco Symphony. He was music director of the Chicago Symphony Orchestra's

Ravinia Festival for five summers beginning in 1964, music director of the Tor-

onto Symphony from 1965 to 1969, and music director of the San Francisco Sym-phony from 1970 to 1976, followed by a year as that orchestra's music adviser.

He conducted the Boston Symphony Orchestra for the first time in 1964, at Tan-

glewood, and made his first Symphony Hall appearance with the orchestra in

1968. In 1970 he became an artistic director of Tanglewood.

Mr. Ozawa holds honorary doctor of music degrees from the University of Mas-sachusetts, the New England Conservatory of Music, and Wheaton College in

Norton, Massachusetts. He won an Emmy award for the Boston SymphonyOrchestra's "Evening at Symphony" PBS television series.

Music Directorship endowed byJohn Moors Cabot

BOSTON SYMPHONYORCHESTRA

1991-92

First Violins

Malcolm LoweConcertmaster

Charles Munch chair

Tamara Smirnova-SajfarAssociate Concertmaster

Helen Horner Mclntyre chair

Max HobartAssistant Concertmaster

Robert L. Beal, andEnid L. and Bruce A. Beal chair

Laura ParkAssistant Concertmaster

Edward and Bertha C. Rose chair

Bo Youp HwangActing Assistant Concertmaster

John and Dorothy Wilson chair,

fully funded in perpetuity

Fredy OstrovskyForrest Foster Collier chair

Gottfried WilfingerDorothy Q. and David B. Arnold, Jr.,

chair, fully funded in perpetuity

*Participating in a system of rotated

seating within each string section

%On sabbatical leave

Leo PanasevichCarolyn and George Rowland chair

Alfred SchneiderMuriel C. Kasdon andMarjorie C. Paley chair

Raymond SirdRuth and, Carl Shapiro chair

Ikuko MizunoAmnon Levy

Second Violins

Marylou Speaker ChurchillFahnestock chair

Vyacheslav UritskyCharlotte and Irving W. Rabb chair

Ronald KnudsenEdgar and Shirley Grossman chair

Joseph McGauleyLeonard Moss

*Harvey Seigel*Jerome Rosen* Sheila FiekowskyRonan Lefkowitz

$Nancy Bracken*Jennie Shames*Aza Raykhtsaum$Lucia Lin*Valeria Vilker Kuchment*Bonnie Bewick*Tatiana Dimitriades

*James Cooke*Si-Jing Huang

Violas

Burton FineCharles S. Dana chair

^Patricia McCartyAnne Stoneman chair,

fully funded in perpetuity

Ronald WilkisonLois and Harlan Anderson chair

Robert Barnes

10

Joseph Pietropaolo

Michael Zaretsky

Marc Jeanneret

*Mark Ludwig*Rachel Fagerburg*Edward Gazouleas

*Kazuko Matsusaka

Cellos

Jules EskinPhilip R. Allen chair

Martha BabcockVernon and Marian Alden chair

Sato KnudsenEsther S. and Joseph M. Shapiro chair

Joel MoerschelSandra and David Bakalar chair

*Robert RipleyRichard C and Ellen E. Paine chair,

fully funded in perpetuity

Luis LeguiaRobert Bradford Newman chair

Carol ProcterLillian and Nathan R. Miller chair

*Ronald FeldmanCharles and JoAnne Dickinson chair

*Jerome Patterson*Jonathan Miller

*Owen Young

BassesEdwin BarkerHarold D. Hodgkinson chair

Lawrence WolfeMaria Nistazos Stata chair,

fully funded in perpetuity

Joseph HearneLeith Family chair

Bela WurtzlerJohn Salkowski

*Robert Olson*James Orleans

*Todd Seeber

*John Stovall

Flutes

Walter Piston chair

Leone BuyseActing Principal Flute

Marian Gray Lewis chair

Fenwick SmithMyra and Robert Kraft chair

PiccoloGeralyn CoticoneEvelyn and C. Charles Marran chair

OboesAlfred Genovese

Mildred B. Remis chair

Wayne Rapier

Keisuke Wakao

English HornLaurence ThorstenbergBeranek chair,

fully funded in perpetuity

Clarinets

Harold WrightAnn S.M. Banks chair

Thomas MartinE-flat clarinet

Bass Clarinet

Craig NordstromFarla and Harvey Chet

Krentzman chair

BassoonsRichard SvobodaEdward A. Taft chair

Roland Small

Richard Ranti

ContrabassoonRichard PlasterHelen Rand Thayer chair

HornsCharles KavalovskiHelen Sagoff Slosberg chair

Richard SebringMargaret Andersen Congleton chair

Daniel KatzenElizabeth B. Storer chair

Jay WadenpfuhlRichard MackeyJonathan Menkis

TrumpetsCharles SchlueterRoger Louis Voisin chair

Peter ChapmanFord H. Cooper chair

Timothy MorrisonThomas Rolfs

TrombonesRonald Barron

J.P. and Mary B. Barger chair,

fully funded in perpetuity

Norman Bolter

Bass TromboneDouglas Yeo

TubaChester Schmitz

Margaret and William C.

Rousseau chair

TimpaniEverett Firth

Sylvia Shippen Wells chair

PercussionArthur Press

Assistant TimpanistPeter Andrew Lurie chair

Thomas GaugerPeter and Anne Brooke chair

Frank Epstein

William Hudgins

HarpAnn Hobson Pilot

Willona Henderson Sinclair chair

Sarah Schuster Ericsson

Assistant ConductorsGrant Llewellyn

Robert Spano

Personnel ManagersLynn LarsenHarry Shapiro

Librarians

Marshall BurlingameWilliam Shisler

James Harper

Stage ManagerPosition endowed byAngelica Lloyd Clagett

Alfred Robison

11

GIORGD ARMANI22 Newbury Street, Boston, (617) 267-3200

12

BOSTON SYMPHONY ORCHESTRA

Seiji Ozawa, Music Director

Grant Llewellyn and Robert Spano,

Assistant Conductors

One Hundred and Eleventh Season, 1991-92

Thursday, March 26, at 8

Friday, March 27, at 2

Saturday, March 28, at 8

MAREK JANOWSKI conducting

SPOHR Violin Concerto No. 8 in A minor, Opus 47,

in the Form of a Cantata ("Gesangsszene")

Allegro molto (Recitative)

Adagio —AndanteAllegro moderato

MALCOLM LOWE

STRAUSS Metamorphosen, Study for twenty-three solo strings

INTERMISSION

HAYDN Symphony No. 99 in E-flat

Adagio— Vivace assai

Adagio

Menuetto: Allegretto; Trio

Finale. Vivace

The evening concerts will end about 9:50 and the afternoon concert about 3:50.

RCA, Deutsche Grammophon, Philips, Telarc, Sony Classical/CBS Masterworks,

EMI/Angel, New World, Erato, and Hyperion 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 Bancroftby her daughters Mrs. A. Werk Cook and the late Mrs. William C. Cox.

13 Week 20

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• Musical Performances

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• Meet Conductors and Musicians

• Win BSO Tickets at the NYNEX Booth

• A Live WCRB 1025 FM Broadcast

• Refreshments Available for Purchase

The Symphony Hall Open House is part of the Boston SymphonyOrchestra's weekend-long "Salute to Symphony' which will take

place April 10-13. Other events include daily broadcasts on

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Louis SpohrViolin Concerto No. 8 in A minor, Gesangsszene

Louis Spohr was born in Brunswick, Germany, on

April 5, 1 784, and died in Kassel on October 22,

1859. He composed his A minor violin concerto in

Switzerland in May 1816 and appeared as soloist

in the first performance, at La Scala in Milan, that

September 28. The work was introduced to the rep-

ertory of the Boston Symphony Orchestra on

November 12, 1881, in the fourth concert of the first

season, with Leandro Campanari as soloist and

Georg Henschel conducting. It was repeated under

the baton of Wilhelm Gericke (with soloists Franz

Kneisel, Madge Wickham, Lady Halle [Wilma

Maria Neruda], and Fritz Kreisler) and Emil Paur

(Carl Halir). Gericke and Kreisler collaborated in

the orchestra's most recent performances, in

February 1902, repeating the piece in New York a few days later. In addition to the

violin soloist, the score calls for one flute, two clarinets, one bassoon, two horns, tim-

pani, and strings.

To all but specialists, Louis Spohr is almost forgotten today. Few of his works are

heard in live performances, though in recent years more and more of them have

appeared in the recording catalogues. Renewed interest in early Romantic music, and

the impetus of compact disc technology, have combined so that it is now easily possi-

ble to hear nearly a dozen concertos, several symphonies, many chamber compositions

(including the Nonet and Octet, which never really lost favor), and even such expen-

sive large-scale works as an opera (Jessonda) and an oratorio {Die letzten Dinge). At

last it is becoming possible, for the first time since his death, to evaluate the signifi-

cance of Spohr on the basis of actual hearings of his work.

Though his music was never as highly acclaimed (or attacked) as that of his con-

temporaries Beethoven and Schumann, for example, it had its admirers. Indeed, the Aminor violin concerto was an extremely popular piece throughout the nineteenth cen-

tury. At the Boston Symphony, between 1881 and 1902, the work received seventeen

performances; then for ninety years, there were none! (The popularity of Spohr at

that time, though, explains how W. S. Gilbert could make a reference to

Bach, interwoven

With Spohr and Beethoven,

At classical Monday Pops

in The Mikado and expect his audiences to understand the reference at once.)

In his own day, Spohr was among the most significant composers in the early

Romantic movement, especially for his innovative violin concertos and his Germanoperas, which, in some respects, anticipated Wagner by as much as twenty years. Hewas noted as a virtuoso on the violin; he composed some fifteen violin concertos for

his own use (as well as double concertos for harp and violin to play with his wife, the

harpist Dorette Scheidler). Early in his career he spent two years as director of the

orchestra at the Theater an der Wien in Vienna, where he became friendly with

Beethoven and composed his most popular chamber works, the Nonet and Octet, as

well as his first important opera, Faust. Though Spohr admired much about Beetho-

ven's music, his own was far less overtly dramatic. His early symphonies were surely

inspired by Beethoven, but though they were abstract works in a late classical or

early romantic style, they avoided the kind of powerful internal contrasts that madeBeethoven's symphonies so powerful. Spohr recognized that his own style was more

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contemplative, less aggressive, concerned with shapeliness and grace, though with

careful attention to the treatment of the individual instruments.

In 1822 Spohr received a long-sought permanent post, as Kapellmeister in Kassel,

and settled there, conducting performances in the opera house and becoming one of

the first conductors to adopt the use of the baton for greater precision of beat. Healso worked to win social improvements for his musicians (the orchestra of fifty-five

players was a large one for the day), including salary support for their dependents.

His operas after Faust made increasing use of a kind of leitmotif system that was to

be developed in such detail by Wagner, and his greatest success, Jessonda (1823), wasthe first German opera to be set to music throughout, entirely eliminating spoken dia-

logue (such as had been used in Mozart's Magic Flute, Beethoven's Fidelio, and

Weber's Freischutz).

Spohr was also an enthusiastic composer of oratorios, in response to a growing

interest in community choral ensembles that aimed at performing works of some diffi-

culty and on a high moral plane. The exemplar was, of course, Handel's Messiah,

though from 1830 on Spohr was also active in the revival of Bach's music, which

played such an important role in the Romantic era's increasing sense of musical his-

tory. Spohr' s own oratorios, once widely performed, now virtually forgotten, included

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WithoutYou,This IsTheWhole Picture.

This year, there is a $10.4 million difference

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Your gift to the Boston Symphony AnnualFund will help us make up that difference.

It will help us continue to fund outreach,

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Make your generous gift to the AnnualFund— and become a Friend of the BostonSymphony Orchestra today. Because without

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rYes, I want to keep great music alive.

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The Last Judgment (1812), Last Things (1825-26), The Saviour's Final Hours (1834),

and The Fall of Babylon (1839-40).

We have a description in Spohr's own words of the circumstances that brought the

A minor concerto into being. Proposing to give concerts in Italy in the fall of 1816, he

and his wife spent the late spring and summer in Switzerland. They took two rooms

at Thierachern, near Thun.

We are all longing to setting in this paradise, and looking forward to the enjoy-

ment of rural repose. I think especially to avail myself of it to write some newviolin compositions, with very simple and easy accompaniments, for Italy, as from

all accounts the orchestras there are worse than those in the provincial towns of

France.

By May he writes:

The daily exercise in the beautiful, pure, balmy air strengthens our bodies, enliv-

ens our spirits, and makes us joyous and happy. In such a disposition of mindone works easily and quickly, and several compositions lie already completed

before me,— namely a violin concerto in the shape of a vocal scena and a duet for

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With the end of summer Spohr moved on to Milan, where he appeared as soloist in

a concert at La Scala. The orchestra kept its usual place in the pit of the opera

house, while the soloists in the concert (including some singers and Spohr's harpist

wife as well as Spohr himself) appeared in the center of the proscenium before the

curtain, exactly as if they were great opera singers taking their curtain calls. Again

Spohr describes the evening:

The house although favorable for music requires nonetheless on account of its

immense size a very powerful tone and a grand but simple style of play. It is also

very difficult to satisfy the ear with the tone of a violin in a place where people

are always accustomed to hear voices only. This consideration, and the uncer-

tainty whether my method of play and my compositions would please the Italians

(for whom the ascendant Paganini represented violinistic perfection) made mesomewhat nervous .... fortunately in the new concerto I had written in Switzer-

land, which was in the form of a Vocal Scena (Gesangsszene) , I had very happily

hit upon the taste of the Italians, and all the cantabile parts in particular were

received with great enthusiasm.

The form to which Spohr refers was the standard pattern for music in an Italian

opera of the period, one that would be immediately familiar to the audience at LaScala even without the words, costumes, and scenery that would make it overtly the-

atrical. The grand scena — intended for a singer—began with an orchestral introduc-

tion of somewhat stormy character, suggesting strong emotions to come. The singer

began with a recitative, often in a moderately fast tempo, which described the dra-

matic situation and prepared the audience for an emotional musical response. This

came in the cavatina, a sustained, slow cantilena that allowed the singer to display

his or her abilities at the purest bet canto. (In Spohr's scena there is a strong contrast

in the middle section of the first aria.) Then something must happen to change the

emotional temperature: a message, perhaps, or a firm decision taken. In any case, the

singer explains the new situation in further recitative and moves on to the cabaletta, a

fast movement offering the strongest possible contrast to the cavatina and allowing

the singer to display all the virtuosic technique that he or she possesses.

Spohr's unusual concerto follows this pattern with astonishing exactness, despite

the fact that he is writing a purely instrumental work with no plot to justify the

changes of mood and musical character. But in this he seems to have judged his audi-

ence superbly well and written an attractive and immediately likable piece that can

still hold its own on those infrequent times when it is heard. The smooth and flowing

surface of the piece makes it sound "easy" from the composer's point of view— little

counterpoint or symphonic development, except in the last movement. But no less a

critic than Robert Schumann warned listeners who felt above such songful directness

not to believe that such facility could be easily imitated. And many composers whocame after— Max Bruch and Camille Saint-Saens, to name two— found Spohr's music

to offer a highly congenial approach to the violin concerto.

— Steven Ledbetter

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Richard Strauss

Metamorphosen, Study for twenty-three solo strings

Georg Richard Strauss was born in Munich on

June 11, 1864, and died in Garmisch-

Partenkirchen, Bavaria, on September 8, 1949. Hecomposed Metamorphosen between March 13 and

April 12, 1945. The score is dedicated to Paul

Sacher and the. Collegium Musicum Zurich, who

gave the first performance on January 25, 1946.

Serge Koussevitzky led the only previous Boston

Symphony Orchestra performances— in fact the first

performances in the United States— on January 3

and 4, 1947, in Symphony Hall, followed by perform-

ances in Brooklyn on January 10 and New York

City on the 11th. The score calls for twenty-three

solo strings— ten violins, five each of violas and

cellos, and three double basses.

Richard Strauss was among the most politically naive and disengaged of composers.

When World War II began and many artists left Germany, whether out of necessity

for self-preservation or in political opposition to the Nazi regime, Strauss remained

behind. For this he has been roundly castigated. Yet it is worth noting, in his defense,

that he was already seventy years old at the time Hitler took power and over seventy-

five when the war broke out. It is easy to see why someone in his position might find

it nearly impossible to uproot himself at that stage of his life. He withdrew to his

home in Garmisch, amidst the beauties of the Bavarian Alps, and progressively with-

drew from the world as the barbarism and horror commenced.

Strauss was shocked out of his ostrich-like withdrawal by the bombing, on October

2, 1943, of his native city, Munich, with the attendant destruction of the National

Theater, where— as Strauss recalled in a letter to his publisher Willi Schuh—Wagner's Tristan and Meistersinger had been premiered, where he himself had first

seen Der Freischutz seventy-three years earlier, and where his father had sat for manyyears as first horn in the orchestra. In an immediate reaction to the shock, he noted

down a brief fragment of musical theme labeleduTrauer um Munchen^ ("Mourning

over Munich"), but did nothing further with it for the moment.

As Allied pressure on the German forces tightened, Goebbels decreed the closing of

all the theaters on September 1, 1944. The center of Strauss's life's work was, for

the time being, gone, and he lamented that he had not died the day after the dress

rehearsal of his opera Die Liebe der Danae in Salzburg that August.

Far worse was yet to come, particularly on the night of February 12, 1945, whenDresden, one of Europe's most beautiful cities, was utterly destroyed in an appalling

raid that still arouses strong feelings and debate over its destruction of purely non-

military targets and its loss of civilian life. For Strauss it was a catastrophe. Dresden

had been the site of most of his operatic premieres, the locale of his greatest tri-

umphs. Also destroyed in the bombings was Weimar, the decades-long home of the

poet Goethe, who, more than any other literary figure, symbolized a humane Germanculture that had been destroyed in the previous decade by a madman. A few weeks

later Strauss wrote to Joseph Gregor:

I too am in a mood of despair! The Goethe House, the world's greatest sanctu-

ary, destroyed! My beautiful Dresden—Weimar— Munich, all gone!

Less than two weeks after penning those words, Strauss began the composition of a

new work, conceived for twenty-three solo instruments, incorporating the fragmentary

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melody he had conceived at the time of the bombing of Munich. The resulting piece,

which must have been growing somewhere deep inside for months, poured out of him;

he signed the last page barely a month later. This was the most profound of all the

remarkable works of Strauss's old age, the period that his biographer Norman Del

Mar calls the "Indian Summer" of his long career; it is a deeply felt threnody for all

that had been lost, yet one that, unlike some earlier Strauss compositions, never

parades rhetorical elaboration or showy display for its own sake.

Strauss gave his new work the title Metamorphosen ("Metamorphoses"), which

would seem to suggest that he was employing the time-honored romantic device of

thematic development, as it had been perfected by Liszt and Wagner, to allow a

melodic fragment to grow, change shape, become elaborate, and form the basis for

still further elaborations. Actually, nothing of the kind occurs in Metamorphosen. The

thematic material, however richly it is intertwined in elaborate contrapuntal textures,

remains virtually unchanged in character from beginning to end, a rare — indeed,

almost unique — occurrence in Strauss's work. The title is actually an homage to

Goethe, whose works Strauss had re-read from cover to cover during the preceding

year, in an effort to recapture some connection with the German cultural tradition at

its best. In addition to his literary work, the polymath Goethe undertook scientific

researches and produced a number of substantial studies, including a controversial

Theory of Color and a more generally respected study Attempt to Explain the Meta-

morphosis of Plants, part of a sustained quest for unity and continuity in nature (Dar-

win recognized Goethe as a forerunner in this). The latter book gave Strauss his title;

its poetic sense— implying a kind of organic growth that produces continuity while

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building a unified whole— is appropriate to the score, which otherwise has nothing to

do with botany.

Goethe is not the only giant of an older and more humane German culture to be

honored in Metamorphosen. Indeed, the very first theme that Strauss notated is

remarkably similar to a passage in the funeral march section of Beethoven's Eroica

Symphony, and it became one of the two principal ideas of the new score:

^^ ' jjg[Beethoven, Symphony No. 3, Eroica, second movement]

[Strauss, Metamorphosen, violas 4 and 5, measures 9-14. Copyright Boosey &Hawkes Music Publishers Ltd.]

Strauss insisted that this resemblance was purely accidental, but it must have been

something that developed deep within his subconscious, for, on the very last page of

Metamorphosen, Strauss suddenly makes the resemblance explicit: the last three cellos

and the double basses all play the full Beethoven theme, under which Strauss has

written the words "IN MEMORIAM."

Part of what makes Metamorphosen so powerful a piece is its rigorous use of classi-

cal contrapuntal technique, and its avoidance of any easy sentimentality. The piece

simply seems to grow without being poured into any pre-existent form. The opening

measures present a richly sombre chorale-like melody— though one that strains its

harmonic bearings from the very beginning— in the cellos. Immediately after this, two

violas introduce the theme quoted above, a quiet, halting, C minor march idea. These

form the material for the introductory section, with richly varied textures and free

modulation through many keys. The measured tempo of the opening yields to "more

flowing" as a new theme appears in the key of G. From this point on, the workbecomes a freely developed musical fantasy that gradually increases in its sense of

movement (through the use of smaller and smaller note values) and gradually in its

tempo. With seemingly endless variety, Strauss builds his central section into a mas-

sive climax culminating in a series of urgent canonic entries of the motto theme, piled

up on top of one another to a high point, followed by a sudden descent and a return

to the original slow tempo. The final section further develops the dark mood of the

two principal themes from the opening, arriving finally at what Del Mar calls "the

nadir of hopelessness" and the memorial quotation of Beethoven's funeral march as a

last glimpse and symbol of all that has been destroyed.

-S.L.

27 Week 20

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Joseph HaydnSymphony No. 99 in E-flat

Franz Joseph Haydn was horn in Rohrau, Lower

Austria, on March 31, 1732, and died in Vienna on

May 31, 1809. He completed the Symphony No. 99

in 1 793 and led the first performance on February

10, 1794, in London. The American premiere took

place in a Harvard Musical Association concert

under the direction of Carl Zerrahn at the Boston

Music Hall on November 17, 1870. The symphony

entered the repertory of the Boston SymphonyOrchestra on January 29 and 30, 1886; Wilhelm

Gericke conducted. Other conductors who pro-

grammed the work here include Serge Koussevitzky,

Richard Burgin, Charles Munch, William Stein-

berg, Eleazar de Carvalho, Colin Davis, who led the

most recent subscription performances in October

1968, and Leonard Bernstein, who conducted the most recent Tanglewood performance

on July 4, 1975. The score calls for two each offlutes, oboes, clarinets, bassoons, horns,

and trumpets, timpani, and the usual strings.

On January 19, 1794, Haydn set out from Vienna on his second and last trip to

London. His first trip, under the aegis of the violinist and impresario Johann

Salomon, had been so successful, both in the growth of his reputation and in the

increase to his pocketbook, that a second long journey— even for a man at what was

then the ripe old age of sixty-one— must have seemed desirable. Haydn's patron,

Prince Anton Esterhazy, was not enthusiastic about the proposed long absence of his

Kapellmeister; he could not understand why a man Haydn's age should not want to

sit quietly in Vienna or in one of his country estates, enjoy his fame and newfound

financial comfort, and rusticate. But that was not Haydn's way. He thrived on activ-

ity; he knew, moreover, that the English public was still favorably disposed and that

English publishers were eager to issue his music. In the end he persuaded the Prince

to let him go.

At the Austrian border a customs official asked him his line of business. Haydnanswered with the normal German word for musician, "Tonkiinstler" literally "artist

in tones." The officer interpreted the word as "Thonkunstler" "artist in clay," and

decided that Haydn was a traveling potter. The composer cheerfully agreed.

Haydn took with him in his bags the recently completed symphony in E-flat, which

we know as No. 99. He also took, among other things, a new piano trio, the minuet

movements of his symphonies 100 and 101 (he composed the remainder of both works

in England), and the six string quartets eventually published as Opera 71 and 74. His

arrival in London was reported on February 6, and the first concert of Salomon's newseries took place four days later. By now London concertgoers must have become

accustomed to reviews that outdid one another in superlatives whenever a new Haydnsymphony appeared:

This superb Concert [series] was last night opened for the season, and with such

an assemblage of talents as make it a rich treat to the amateur. The incompara-

ble HAYDN, produced an Overture [i.e., a symphony] of which it is impossible to

speak in common terms. It is one of the grandest new efforts of art that we ever

witnessed. It abounds with ideas, as new in music as they are grand and impres-

sive; it rouses and affects every emotion of the soul. — It was received with rap-

turous applause. (Morning Chronicle, February 11, 1794)

The work was so well received that it was repeated a week later, to even greater

acclaim.

29 Week 20

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Before he had begun to write the symphony, Haydn surely consulted with the

impresario Salomon to assure that his orchestra would have clarinets, which he had

never before used in a symphony. This made possible an enrichment of his writing for

the woodwinds, possibly influenced in part by his late lamented younger friend

Mozart; in any cas^e, the winds are newly evident in many places throughout the

symphony.

We are fortunate in having some of Haydn's sketches for the last movement, for he

rarely saved these preliminary sheets, which give us such insight into his composi-

tional process. And it is not only modern scholars who have benefited from these

sketches. During the months before Haydn left Vienna, he was giving occasional com-

position lessons to a talented but headstrong young man from Bonn. That young

man— named Beethoven— actually copied Haydn's sketches himself, as a guide to his

own advanced musical education. In fact, given Haydn's preoccupation with the forth-

coming journey, it is quite possible that Beethoven learned more from these

sketches — a kind of practicum in higher composition— than from the formal instruc-

tion Haydn offered!

The slow introduction that had become a standard opening for his late symphonies

here takes on an extraordinary atmosphere as Haydn hints at the most distant har-

monic realms in the space of a few bars, only to settle— as we might expect— on the

home dominant to begin the Vivace assai. Though this begins quietly, it soon reveals

the new brilliance of Haydn's orchestral sound in the long transition that teasingly

delays the arrival of the second theme with further dramatic elaborations of the open-

ing material. Once it does arrive, however, the new theme continues to dominate the

discourse through the development with sparkling wit.

The Adagio is one of Haydn's greatest slow movements, beginning with a soft mel-

ody in a dotted rhythm that recalls the slow introduction of the first movement. Thereviewers at the first performances particularly commented on the woodwind solos—there are extended passages with no strings at all. A still greater surprise is the

entrance of the full orchestra, including trumpets and timpani, at the arresting moveto C major in the middle of the movement.

The Menuet is slower and broader than some, in fact almost Landler-like, but filled

with wonderfully subtle rhythmic tricks driven by the emphasis, alternatively, on main

beats or offbeats. The Trio is colored by a plaintive oboe solo.

Like the other sonata-rondos of Haydn's late symphonies, the composer combines a

ready tunefulness with astonishing contrapuntal resources and an unmatched sense of

timing that leaves us happy and breathless at the end. The two themes are first cous-

ins (the first emphasizing strings, the second woodwinds). There is a moment of

mock-seriousness when the cheerful main theme is stopped at a series of fermatas

and even slows briefly to an Adagio, as if all the good humor is about to be dispersed

into a poignant lament. But no— the clouds vanish as suddenly as they gathered, andthe good humored and brilliant contrapuntal effects race us to the satisfying

conclusion.

-S.L.

31 Week 20

OFFICERS

H. GILMAN NICHOLSPresident

JOHN L. THORNDIKEJOHN W. COBBDANIEL A. PHILLIPS

JOHN M. MEYERROBERT N. KARELITZ

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JOHN F. WINCHESTERDOUGLAS R. SMITH-PETERSEN

EDWARD P. THOMPSONRICHARD W. STOKES

GEORGE BLAGDENLAURA N. RIGSBY

SUSAN R. GUNDERSONCHARLES R. EDDY, JR.

FREDERJC C.R. STEWARDWILLIAM J. O'KEEFE

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FIDUCIARYBOSION IRUS1HS

Fiduciary Trust Company

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Telephone (617) 482-5270

32

More . . .

Spohr's own autobiography is filled with interesting information not only about his

own experiences, but about the musical life of his time, and his friendship with a wide

range of musicians, of whom Beethoven is prominent. He himself only took the story

as far as 1838, and the rest was written by his wife; moreover the only translation of

the complete German edition is a very poor, anonymous rendering from about 1875.

However the best parts deal with Spohr's early years as a traveling virtuoso, and the

bulk of that material has been elegantly translated by Henry Pleasants in The Musi-

cal Journeys of Louis Spohr (University of Oklahoma Press). There is a new Germanedition of the complete Lebenserinnerungen, or Memoirs, which contains material

excluded from older versions, but it has not yet been translated. We are fortunate,

therefore, to have in English a fine biography with a discussion of the music: Clive

Brown's Louis Spohr: A Critical Biography (Cambridge University Press), which will

not be surpassed for some time to come. Sergiu Luca's performance of the A minor

concerto is graceful and elegant, with appropriate backing from David Zinman and

Dinner and symphony.

In concert.

Our symphony menu is the perfect prelude to the performance.

The fixed-price, three-course dinners are prepared and served with style.

And accompanied by free parking. So you can enjoy your dinner, then stroll

to symphony with time to spare. For reservations, call 424-7000.

PJSfeROMENADEAt The Colonnade Hotel

On Huntington Avenue across from the Prudential Center

33

GUILD, MONRAD & OATES, INC.

Family Investment Advisers

50 Congress Street

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Telephone: (617) 523-1320

For Those Who WantSpecialized Individual Attention and Care

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Henry R. Guild, Jr. Ernest E. Monrad William A. Oates, Jr. Robert B. Minturn, Jr.

Tower Records has

the largest selection of

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34

the Rochester Philharmonic (Nonesuch, cassette only, coupled with Beethoven's

Romances for violin and orchestra and the fragmentary Concerto in C, WoO 5). Jas-

cha Heifetz's recording of the concerto with Izler Solomon and the RCA SymphonyOrchestra has been reissued on compact disc (RCA Gold Seal, with the Double Quar-

tet No. 1 and Beethoven's Opus 8 string trio).

The big biography of Richard Strauss is Norman Del Mar's, which gives equal

space to the composer's life and music (three volumes, Cornell University Press; avail-

able in paperback). Michael Kennedy's account of the composer's life and works for

the Master Musicians series is excellent (Littlefield paperback), and the symposium

Richard Strauss: The Man and his Music, edited by Alan Walker, is worth looking into

(Barnes and Noble). Kennedy also provided the Strauss article in The New Grove,

available in paperback in The Modern Masters I (Norton). Herbert von Karajan's sec-

ond recording with the Berlin Philharmonic of Metamorphosen is lyrically played and

cleanly recorded (DG, coupled with Death and Transfiguration); there is an earlier,

analogue recording by the same forces reissued on a midline CD (DG Galleria, with

the Oboe Concerto and, in a beautifully sung performance by Gundula Janowitz, the

Four Last Songs). Other recommended recordings include those of Herbert Blomstedt

with the Dresden Staatskapelle (Denon, with Death and Transfiguration and Till

Eulenspiegel) , Andre Previn with the Vienna Philharmonic (Philips, coupled with the

Sonatina No. 1 for winds), and Esa-Pekka Salonen with the New Stockholm ChamberOrchestra (CBS, with the Oboe Concerto and the String Sextet introduction to

Capriccio).

Jens Peter Larsen's excellent Haydn article in The New Grove (with work-list andbibliography by Georg Feder) has been reprinted separately (Norton, available in

paperback). Rosemary Hughes's Haydn in the Master Musicians series (Littlefield

paperback) is a first-rate short introduction. The longest study (hardly an introduc-

tion!) is H.C. Robbins Landon's mammoth, five-volume Haydn: Chronology and Works

(Indiana); it will be forever an indispensable reference work, though its sheer bulk andthe author's tendency to include just about everything higgledy-piggledy make it

rather hard to digest. Highly recommended, though much more technically detailed, is

Haydn Studies, edited by Jens Peter Larsen, Howard Serwer, and James Webster(Norton); it contains the scholarly papers and panel discussions held at an interna-

tional festival-conference devoted to Haydn, at which most of the burning issues of

Haydn research were at least aired if not entirely resolved. No consideration of

Haydn should omit Charles Rosen's brilliant study The Classical Style (Viking; also a

Norton paperback). Antal Dorati was the first conductor to record all of Haydn'ssymphonies in what was, for its time, an epoch-making series, with the Philharmonia

Hungarica; these recordings, out of print in their LP versions, have been reissued onCD. Though they have been in some ways superseded by later versions, the set still

occasionally offers the only reading of a given symphony (London). For a recording of

just No. 99, the best choices are Adam Fischer with the Austro-Hungarian HaydnOrchestra (Nimbus CD, with the London Symphony, No. 104) and Nikolaus Harnon-court with the Concertgebouw Orchestra (Teldec, coupled with No. 98).

-S.L.

35 Week 20

IMAGINE...

*+ funding a significant gift to the

Boston Symphony Orchestra

** realizing a substantial income for life

** receiving cash back through an

immediate income tax deduction

Sound interesting?

For information about the Boston Symphony Orchestra's

charitable gift plans, contact Joyce Serwitz, Director

of Major Gifts, at (617) 638^9273.

36

Marek Janowski

The West German conductor Marek Janowski studied in Italy and

Germany. Music director at both the Freiburg and Dortmundoperas from 1973 to 1979, he has been a regular guest conductor

at the leading opera houses in Paris, West Berlin, Hamburg,

Cologne, and Munich since 1979. He has also conducted at Chicago

Lyric Opera, the San Francisco Opera, and the Metropolitan

Opera, at the Teatro Colon in Buenos Aires, at the Dresden Opera,

and at the Orange Festival. In May 1991 he returned to the

Vienna State Opera to conduct Salome. In the concert hall, Mr.

Janowski has worked with the Berlin Philharmonic, Munich Phil-

harmonic, Bayerischer Rundfunk, Dresden Staatskapelle, Boston Symphony, Chicago Sym-

phony, London Symphony, the Philharmonia, the BBC Symphony Orchestra, other orches-

tras throughout Europe, and on several occasions with the NHK Symphony in Tokyo.

From 1986 to 1990 he was music director of the Gurzenich Orchestra in Cologne. He has

also been closely associated with the Royal Liverpool Philharmonic, of which he was artis-

tic advisor from 1983 to 1986. In 1984 he was appointed music director of the Orchestre

Philharmonique de Radio France. A noted recording artist, Mr. Janowski is highly

acclaimed for the Ariola-Eurodisc release of Wagner's Ring with the Dresden

Staatskapelle. Other discs include Weber's Euryanthe and Die schweigsame Fran for EMI,and Penderecki's The Devils of Loudun for Philips. He has recently recorded Bruckner's

Fourth and Sixth symphonies for Virgin Classics with the Orchestre Philharmonique de

Radio France. Mr. Janowski's current schedule includes productions of the Ring and Elek-

tra in Munich, concert performances of the Ring in Paris, and concerts with the Boston

Symphony, Chicago Symphony, Los Angeles Philharmonic, Philadelphia Orchestra, Pitts-

burgh Symphony, Leipzig Gewandhaus, and Tonhalle of Zurich. Mr. Janowski made his

Boston Symphony debut in February 1989 and has since conducted the orchestra regularly

at Symphony Hall and Tanglewood.

Serving Greater Boston

Residential Properties

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37

The FINE ARTS RESTAURANT is the

perfect place for a pre-concert lunch or dinner.

Regional and ethnic cuisine, prepared with the

freshest ingredients, is artistically presented

to complement art exhibits. (Museum admission

is not required to dine in the restaurant.)

Lunch: Tuesday through Sunday, 1 1 :30 am - 2:30 pmDinner: Wednesday through Friday, 5:30 - 8:30 pmCall direct: (617) 266-3663 or (617) 267-9300 x474

MUSEUM OF FINE ARTS, BOSTON465 Huntington Ave., Boston MA 02115

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Stay Overnight At The Ritz^CarltonAnd wake Up In Europe.

Wake up to the cultural and culinary delights of one of the great capitals of

Europe with a Cultural Evening at The Ritz-Carlton. It includes a deluxe roomfor two with a welcoming gift, dinner or brunch, an intimate wine tasting,

a private kitchen tour with a renowned European guest chef,

and use of the Le Pli Health Spa.

All for a modest $250 per night based on double occupancy.

Call 617-536-5700 for reservations and a complimentary Festival Magazine.

OOOm

THE RITZ-CARLTONBoston

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The Ritz-Carlton, 15 Arlington Street, Boston, MA 021 17. For reservations, call 617-536-5700 or 800-241-3333

38

Malcolm LoweWith his appointment in 1984, Malcolm Lowe became the tenth

concertmaster of the Boston Symphony Orchestra, and only its

third concertmaster since 1920. As the orchestra's principal violin-

ist, he also performs with the Boston Symphony Chamber Players.

Mr. Lowe is equally at home as an orchestral player, chamber

musician, solo recitalist, and teacher. He makes frequent appear-

ances as soloist with the Boston Symphony Orchestra at SymphonyHall and at Tanglewood, and he has returned many times to his

native Canada for guest appearances as a soloist with orchestras

including those of Toronto, Montreal, and the National Arts Centre

of Ottawa. Mr. Lowe gives solo recitals, chamber music performances, and master classes

in the United States and Canada. He is a faculty member at the Tanglewood Music Cen-

ter, the New England Conservatory of Music, and Boston University. Prior to his appoint-

ment in Boston, he was concertmaster of the Orchestre Symphonique de Quebec. Mr. Lowehas been the recipient of many awards, including art grants from the Canada Council. In

1979 he was one of the top laureate winners in the Montreal International Violin Competi-

tion. Born to musical parents— his father a violinist, his mother a vocalist— in Hamiota,

Manitoba, where he was raised on a farm, Malcolm Lowe moved with his family to Regina,

Saskatchewan, when he was nine. There he studied at the Regina Conservatory of Music

with Howard Leyton-Brown, former concertmaster of the London Philharmonic. Mr. Lowestudied with Ivan Galamian at the Meadowmount School of Music and at the Curtis Insti-

tute of Music. He also studied violin with Sally Thomas and Jaime Laredo and was greatly

influenced by Josef Gingold, Felix Galimir, Alexander Schneider, and Jascha Brodsky.

Our Long Term Care Is

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presentationManorNURSINGHome

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39

BSO Corporate Sponsorships$25,000 and above

The Boston Symphony Orchestra wishes to acknowledge this distinguished group

of corporations for their outstanding and exemplary support of the Orchestra

during the 1991 fiscal year.

Digital Equipment CorporationBoston Pops Orchestra Public Television Broadcasts

NECBoston Symphony Orchestra North American Tour

Boston Symphony Orchestra European Tour

MCIBoston Pops Esplanade Orchestra Summer Tour

Northwest Airlines

Holiday Pops Series

NYNEX Corporation

WCVB-TV, Channel 5 Boston and WCRB 102.5 FMSalute to Symphony

The Boston CompanyOpening Night At Symphony

LexusOpening Night at Pops

Tanglewood Opening Night

TDK Electronics CorporationTanglewood Tickets for Children

Country Curtains and The Red Lion InnBSO Single Concert Sponsor

For information on these and other corporate funding opportunities, contact

Madelyne Cuddeback, BSO Director of Corporate Sponsorships, Symphony Hall,

Boston, MA 02115, (617) 638-9254.

40

BUSINESS

1991-92 Business Honor Roll

$10,000 and above

Advanced Management Associates

Harvey Chet Krentzman

Analog Devices, Inc.

Ray Stata

Arnold Fortuna Lane

Ed Eskandarian

Arthur Andersen & Co.

William F. Meagher

AT&T

Bank of Boston

Ira Stepanian

Barter Connections

Kenneth C. Barron

BayBanks, Inc.

William M. Crozier, Jr.

Bingham, Dana & Gould

Joseph Hunt

Bolt Beranek & NewmanStephen R. Levy

The Boston CompanyJohn Laird

Boston Edison CompanyBernard W. Reznicek

The Boston Globe

William O. Taylor

Boston Herald

Patrick J. Purcell

Cahners Publishing CompanyRobert L. Krakoff

Connell Limited Partnership

William F. Connell

Coopers & Lybrand

William K. O'Brien

Country Curtains

Jane P. Fitzpatrick

Deloitte & Touche

James T. McBride

Digital Equipment Corporation

Kenneth G. Olsen

Dynatech Corporation

J.P. Barger

Eastern Enterprises

J. Atwood Ives

EG&G, Inc.

John M. Kucharski

Ernst & YoungThomas P. McDermott

Filene's

Joseph M. Melvin

First Winthrop Corporation

Arthur J. Halleran, Jr.

Four Seasons Hotel

Robin A. Brown

General Cinema Corporation

Richard A. Smith

General Electric Plastics

Glen H. Hiner

The Gillette CompanyAlfred M. Zeien, Jr.

Grafacon, Inc.

H. Wayman Rogers, Jr.

Greater Boston Hotel Association

Francois-L. Nivaud

GTE Corporation

James L. Johnson

Hill, Holliday, Connors, Cosmopulos, Inc.

Jack Connors, Jr.

The Henley Group

Paul M. Montrone

Hewlett Packard CompanyBen L. Holmes

Houghton Mifflin CompanyNader F. Darehshori

IBM Corporation

Paul J. Palmer

John Hancock Mutual Life Insurance CompanyE. James Morton

Lawner Reingold Britton & Partners

Michael H. Reingold

41

1991-92 Business Honor Roll (continued)

Lexus

J. Davis Illingworth

Liberty Mutual Insurance GroupGary L. Countryman

Loomis-Sayles & Company, Inc.

Charles J. Finlayson

Lotus Development Corporation

Jim P. Manzi

MCIJonathan Crane

McKinsey & CompanyRobert P. O'Block

Millipore Corporation

John A. Gilmartin

NEC Corporation

Tadahiro Sekimoto

The New England

Edward E. Phillips

New England Telephone CompanyPaul C. O'Brien

Northern Telecom, Inc.

Brian Davis

Northwest Airlines

Terry M. Leo

Nynex Corporation

William C. Ferguson

PaineWebber, Inc.

James F. Cleary

People Magazine

Peter S. Krieger

KPMG Peat Marwick

Robert D. Happ

Raytheon CompanyDennis Picard

The Red Lion Inn

John H. Fitzpatrick

Shawmut Bank, N.A.

John P. Hamill

State Street Bank & Trust CompanyWilliam S. Edgerly

The Stop & Shop Foundation

Avram Goldberg

TDK Electronics Corporation

Takashi Tsujii

Thomas H. Lee CompanyThomas H. Lee

WCRB-102.5 FMRichard L. Kaye

WCVB-TV, Channel 5 Boston

S. James Coppersmith

<jaJbach* V CLASSICAL MUSIC

104.9 FM

Celebrating a Quarter-Century of

Classical Music on 104.9 FM.

1 (800) 370-104.9 (In Mass.)

1 (508) 927-104.9

42

BUSINESS AND PROFESSIONAL LEADERSHIP ASSOCIATIONThe Boston Symphony Orchestra gratefully acknowledges these Business Leaders for their

generous and valuable support of $1,500 or more during the past fiscal year. Names which

are capitalized denote Business Honor Roll leadership support of $10,000 or more. A treble

clef ($) denotes support of $5,000-$9,999. An eighth-note symbol (JO indicates support of

$2,500-$4,999.

Accountants

ARTHUR ANDERSEN & CO.

"William F. Meagher

J Charles E. DiPesa & CompanyWilliam F. DiPesa

COOPERS & LYBRANDWilliam K. O'Brien

DELOITTE & TOUCHEJames T. McBride

ERNST & YOUNGThomas P. McDermott

KPMG PEAT MARWICKRobert D. Happ

^Theodore S. Samet & CompanyTheodore S. Samet

Tofias, Fleishman,

Shapiro & Co., P.C.

Allan Tofias

Advertising/Public Relations

ARNOLD FORTUNA LANEEdward Eskandarian

|Cabot Communications

William I. Monaghan

Clark/Linsky Design

Robert H. Linsky

HILL, HOLLIDAY, CONNORS,COSMOPULOS, INC.

Jack Connors, Jr.

Ingalls, Quinn & Johnson

Bink Garrison

LAWNER REINGOLDBRITTON & PARTNERSMichael H. Reingold

Orsatti & Parrish

Louis F. Orsatti

Aerospace

|Northrop Corporation

Kent Kresa

Alarm Systems

American Alarm & Communications

Richard Sampson

Antiques/Art Galleries

•^Galerie Mourlot

Sarah Hackett and Eric Mourlot

Automotive

J*J.N. Phillips Glass

Company, Inc.

Alan L. Rosenfield

LEXUSJ. Davis Illingworth

Banking

BANK OF BOSTONIra Stepanian

BAYBANKS, INC.

William M. Crozier, Jr.

Boston Bancorp

Richard Laine

THE BOSTON COMPANYJohn Laird

Chase Manhattan Corporation

Brooks Sullivan

J Eastern Corporate Federal

Credit Union

Jane M. Sansone

SHAWMUT BANK, N.A.

John P. Hamill

South Boston Savings BankRichard Laine

STATE STREET BANK &TRUST COMPANYWilliam S. Edgerly

$USTrust

James V. Sidell

Wainwright Bank & Trust CompanyJohn M. Plukas

Building/Contracting

|Harvey Industries, Inc.

Frederick Bigony

Lee Kennedy Co., Inc.

Lee M. Kennedy

New England Insulation

Theodore H. Brodie

i'Perini Corporation

David B. Perini

JWalsh Brothers

James Walsh II

Consulting: Management/Financial

Advanced Management Associates

Harvey Chet Krentzman

•^Andersen Consulting Co.

William D. Green

§Arthur D. Little, Inc.

John F. Magee

$The Boston Consulting Group

Jonathan L. Isaacs

43

CSC Index, Inc.

David G. Robinson

Cordel Associates, Inc.

James B. Hangstefer

J Corporate Decisions

David J. Morrison

$Fairfield Financial Holdings

John F. Farrell, Jr.

The Forum Corporation

John W. Humphrey

•^General Electric Consulting

James J. Harrigan

Jlrma Mann Strategic Marketing

Irma Mann Stearns

J. Peter Lyons Companies

J. Peter Lyons

|Lochridge & Company, Inc.

Richard K. Lochridge

MCKINSEY & COMPANYRobert P. O'Block

J Prudential Capital Corporation

Allen Weaver

|Prudential Securities

Robert Whelan

|Rath & Strong

Dan Ciampa

THOMAS H. LEE COMPANYThomas H. Lee

J The Wyatt CompanyPaul R. Daoust

Yankelovich Clancy Shulman

Kevin Clancy

Consumer Goods/Food Service

BARTER CONNECTIONSKenneth C. Barron

|Boston Showcase CompanyJason E. Starr

Cordel Associates, Inc.

James B. Hangstefer

| Creative Gourmets, Ltd.

Stephen E. Elmont

Fairwinds Gourmet Coffee CompanyMichael J. Sullivan

|Johnson O'Hare Co., Inc.

Harry "Chip" O'Hare, Jr.

|0'Donnell-Usen Fisheries Corp.

Arnold S. Wolf

Seasoned to Taste

Tom Brooks

^NORTH AMERICAN

MANAGEMENT CORPORATION

DAVID B. STONE • HANS H. ESTIN • JACOB F. BROWN II

JOHN H. GRUMMON • EARL E. WATSON III • JOHN M. REYNOLDS

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for Individuals and Families

TEN POST OFFICE SQUARE, SUITE 300

BOSTON, MASSACHUSETTS 02109 • 617-695-2100

Mother needed more care than we could provide at home.

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life are preserved? We feel fortunate to have found a warm environment

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Acknowledged leaders in caring for those you love.

OAKWOODManchester, MA(508) 526-4653

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ELMHURSTMelrose, MA

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NORWOODNorwood, MA

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44

Welch's

Everett N. Baldwin

Education

|Bentley College

Gregory Adamian

Electrical/Electronics

^Analytical Systems

Engineering Corporation

Michael B. Rukin

Guzovsky Electrical Corporation

Edward Guzovsky

Mass. Electric Construction

CompanyBUI Breen

/p.h mechanical Corp.

Paul Hayes

^R & D Electrical Company, Inc.

Richard D. Pedone

Energy/Utilities

BOSTON EDISON COMPANYBernard W. Reznicek

J1 Cabot Corporation

Samuel W. Bodman

HEC, Inc.

David S. Dayton

J1 Mobil Oil

Richard J. Lawlor

New England Electric System

Joan T. Bok

Engineering

^GZA GeoEnvironmental

Technologies, Inc.

Donald T. Goldberg

Stone & Webster Engineering

Corporation

Philip Garfinkle

Entertainment/Media

THE BOSTON GLOBEWilliam 0. Taylor

BOSTON HERALDPatrick J. Purcell

Continental Cablevision

Amos Hostetter, Jr.

GENERAL CINEMACORPORATIONRichard A Smith

Loews Theatres

A Alan Friedberg

PEOPLE MAGAZINEPeter S. Krieger

WCRB-102.5 PMRichard L. Kaye

WCVB-TV, CHANNEL $Spaulding Investment

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John GoldsmithToxikon Corporation

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Finance/Investments

3i CorporationHigh Technology

Geoffrey N. Taylor ANALOG DEVICES, INC.|Advent International Ray Stata

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Company, Inc. Otto Morningstar

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|Farrell, Healer & Company, Inc. Paul J. Crowley

Richard A. Farrell, Jr. Data General Corporation

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Group Davox CorporationJohn J. Cook, Jr. Daniel Hosage

^The First Boston Corporation DIGITAL EQUIPMENTMalcom MacColl CORPORATION

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First Security Services Kenneth G. Olsen

Robert L. Johnson DYNATECH CORPORATION«^GE Capital Corporate Finance J.P. Barger

Group EG&G, INC.Richard A. Goglia John M. Kucharski

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$ Kidder, Peabody & Company THE HENLEY GROUPJohn G. Higgins Paul M. Montrone

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LOOMIS-SAYLES & IBM CORPORATIONCOMPANY, INC. Paul J. Palmer

Charles J. Finlayson Instron Corporation

PAINEWEBBER, INC. Harold Hindman

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J*The Putnam Joseph A. Saponaro

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Lawrence J. Lasser Arthur L. Goldstein

45

Dinner at 6.

Symphony at 8.

Parking at $5.

SymphonyExpressat $0.

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Robert W. Norton

LOTUS DEVELOPMENTCORPORATIONJim P. Manzi

(M/A-Com, Inc.

Thomas A. Vanderslice

Microcom, Inc.

James Dow

MILLIPORE CORPORATIONJohn A. Gilmartin

J1The Mitre Corporation

Barry M. Horowitz

NEC CORPORATIONTadahiro Sekimoto

* Orion Research, Inc.

Chane Graziano III

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Herbert W. Pollack

^Polaroid Corporation

I. MacAllister Booth

(Prime Computer, Inc.

John Shields

(Printed Circuit Corporation

Peter Sarmanian

RAYTHEON COMPANYDennis Picard

(Signal Technology Corporation

Dale J. Peterson

SofTech, Inc.

Justus Lowe, Jr.

|Stratus Computer

William E. Foster

^TASCArthur Gelb

TDK ELECTRONICSCORPORATIONTakashi Tsujii

Termiflex Corporation

William E. Fletcher

(Thermo Electron Corporation

George N. Hatsopoulos

(Whistler Corp.

Charles A. Stott

Hotels/Restaurants

•^Back Bay Hilton

James A. Daley

•^Boston Harbor Hotel

James M. Carmody

•f1

Boston Marriott Copley Place

Jurgen Giesbert

Christo's Restaurant

Christopher Tsaganis

FOUR SEASONS HOTELRobin A. Brown

GREATER BOSTON Sun Life Assurance CompanyHOTEL ASSOCIATION of CanadaFrancois-L. Nivaud David Horn

IITT Sheraton Corporation

John W. Herold Legal

THE RED LION INN BINGHAM, DANA & GOULDJohn H. Fitzpatrick Joseph Hunt

J1 The Ritz-Carlton Hotel ^Choate, Hall & StewartThomas Egan Robert Gargill

•^Sheraton Boston Hotel and Towers Curhan, Kunian, Goshko,Stephen Foster Burwick & Savran

•^Sonesta International Hotels Stephen T. Kunian

Corporation Dickerman Law Offices

Paul Sonnabend Lola Dickerman

IThe Westin Hotel, Copley Place (Goldstein & ManelloDavid King Richard J. Snyder

(Goodwin, Procter & HoarInsurance Robert B. Fraser

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Terry E. Cook John J. Madden

J Arkwright Hubbard & Ferris

Enzo Rebula Charles A. Hubbard II

(Berkshire Partners fJoyce & Joyce

Carl Ferenbach Thomas J. Joyce

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Lawrence S. Doyle Glovsky & Popeo, P.C.

^Chubb Group of Insurance Cos.Kenneth J. Novack

John Gillespie Nissenbaum Law Offices

Gerald L. Nissenbaum(Frank B. Hall & Co.

of Massachusetts, Inc. ^Nutter, McClennen & Fish

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JOHN HANCOCK MUTUAL (Palmer & Dodge

LIFE INSURANCE COMPANY Robert E. Sullivan

E. James Morton Raekemann, Sawyer & Brewster

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Massachusetts, Inc. Sarrouf, Tarricone & FlemmingRobert A. Cameron Camille F. Sarrouf

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Wood, Clarkin & SawyerLexington Insurance Company William C. SawyerKevin H. Kelley

LIBERTY MUTUAL Manufacturer's Representatives

INSURANCE GROUP•^Ben Mac EnterprisesGary L. CountrymanThomas McAuliffe

THE NEW ENGLANDEdward E. Phillips Kitchen & Kutchin, Inc.

Melvin Kutchin(Safety Insurance Company

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(Sedgwick James of NewEngland, Inc. •^Alles Corporation

P. Joseph McCarthy Stephen S. Berman

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47

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48

Autoroll Machine Corporation

William M. Karlyn

JAvedis Zildjian CompanyArmand Zildjian

The Biltrite Corporation

Stanley J. Bernstein

i1 Boston Acoustics, Inc.

Frank Reed

Century Manufacturing Co., Inc.

Joseph W. Tiberio

$C.R. Bard, Inc.

Robert H. McCaffrey

•^Chelsea Industries, Inc.

Ronald G. Casty

CONNELL LIMITEDPARTNERSHIPWilliam F. Connell

^Converse, Inc.

Gilbert Ford

Dean K. Webster Family

Foundation

Dean K. Webster

|FLEXcon Company, Inc.

Mark R. Ungerer

|GTE Corporation

James L. Johnson

|GTE Electrical Products

Dean T. Langford

GENERAL ELECTRICPLASTICSGlen H. Hiner

$General Latex and

Chemical Corp.

Robert W. MacPherson

THE GILLETTE COMPANYAlfred M. Zeien, Jr.

|Harvard Folding BoxCompany, Inc.

Melvin A. Ross

•^HMK Enterprises

Steven Karol

J1

Jones & Vining, Inc.

Sven A. Vaule, Jr.

$Leach & Garner CompanyEdwin F Leach II

Legget & Piatt, Inc.

Alexander M. Levine

$New England Business

Service, Inc.

Richard H. Rhoads

J1

Parks Corporation

Lee Davidson

^Rand-Whitney Corporation

Robert Kraft

^Reebok International Ltd.

Paul Fireman

i'The Rockport Corporation

Anthony Tiberii

$,The Stride Rite Corporation

Arnold S. Hiatt

•^Superior Brands, Inc.

Richard J. Phelps

Textron Charitable Trust

B.F. Dolan

J>The Tonon Group

Robert Tonon

•^Watts Industries, Inc.

Timothy P. Home

Wire Belt Company of America

F. Wade Greer

Printing/Publishing

^Addison-Wesley Publishing Co., Inc.

Warren R. Stone

CAHNERS PUBLISHINGCOMPANYRobert L. Krakoff

i1

Daniels Printing

Lee S. Daniels

GRAFACON, INC.

H. Wayman Rogers, Jr.

HOUGHTON MIFFLINCOMPANYNader F. Darehshori

Little, Brown & CompanyWilliam R. Hall

Monadnock Paper Mills, Inc.

Bill Steel

Real Estate/Development

§Boston Capital Partners

Christopher W. Collins

Herbert F. Collins

Richard J. DeAgazio

John P. Manning

«^The Chiofaro CompanyDonald Chiofaro

Combined Properties, Inc.

Stanton L. Black

Corcoran-Jennison Companies

Joseph E. Corcoran

FIRST WINTHROPCORPORATIONArthur J. Halleran, Jr.

«^The Flatley CompanyThomas J. Flatley

Heafitz Development CompanyLewis Heafitz

Horizon Commercial

ManagementJoan Eliachar

•^John M. Corcoran & CompanyJohn M. Corcoran

Keller Co., Inc.

Joseph P. Keller

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Jonathan S. Sherwin

Nordblom CompanyRoger P. Nordblom

•^Windsor Building Associates

Mona F. Freedman

Retail

|Arley Merchandise Corporation

David I. Riemer

^Carillon Importers, Ltd.

Ernest Capria

COUNTRY CURTAINSJane P. Fitzpatrick

FILENE'SJoseph M. Melvin

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Jeff Byron

J. Baker, Inc.

Sherman N. Baker

•^Jofran, Inc.

Robert D. Roy

•^Jordan Marsh CompanyHarold S. Frank

Koko Boodakian & Sons, Inc.

Harry and Michael Boodakian

•^Lancome Paris

Steve Morse

$Neiman Marcus

William D. Roddy

Prize Possessions

Virginia N. Durfee

Purity Supreme, Inc.

Frank P. Giacomazzi

^Saks Fifth Avenue

Alison Strieder Mayher

THE STOP AND SHOPFOUNDATIONAvram Goldberg

^Tiffany & Co.

Anthony Ostrom

Science/Medic al

Baldpate Hospital

Lucille M. Batal

Blake & Blake Genealogists

Richard A. Blake, Jr.

|Charles River Laboratories, Inc.

Henry L. Foster

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49

GROGAN & COMPANYfine Art Auctioneers ana Appraisers

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50

i'HCA Portsmouth Regional Hospital

William J. Schuler

|JA. Webster, Inc.

John A. Webster

I Lifeline

Arthur Phipps

Wild Acre Inns, Inc.

Bernard S. Yudowitz

Services

Asquith Corporation

Lawrence L. Asquith

EASTERN ENTERPRISESJ. Atwood Ives

^Phoenix Technologies Foundation

Neil Colvin

Shaughnessy & Ahern Co.

John J. Shaughnessy

|TAD Technical Services Corporation

David J. McGrath, Jr.

Travel/Transportation

NORTHWEST AIRLINESTerry M. Leo

Patterson, Wylde & Co., Inc.

Norman Tasgal

Telecommunications

J1AT&TDonald Bonoff

Timothy Murray

J1AT&T Network Systems

John F. McKinnon

Robert Sanferrare

^Cellular OneCharles Hoffman

MCIJonathan Crane

NEW ENGL4ND TELEPHONECOMPANYPaul C. O'Brien

NORTHERN TELECOM, INC.

Brian Davis

NYNEX CORPORATIONWilliam C. Ferguson

We salute the Boston Symphony Orchestra

on their 111th season

WELCH & FORBES

JOHN K. SPRING RICHARD OLNEY III

KENNETH S. SAFE, JR. ARTHUR C. HODGES

JOHN LOWELL M. LYNN BRENNAN

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Creative financial planning and investment advice since 1838

45 School Street, Boston, MA 02108 Tel. (617) 523-1635

51

NEXT PROGRAM . . .

Thursday, April 2, at 8

Friday, April 3, at 8

Saturday, April 4, at 8

GRANT LLEWELLYN conducting

WEIR

BEETHOVEN

WALTON

Music, Untangled

(commissioned by the Boston Symphony Orchestra

to celebrate the fiftieth anniversary of the

Tanglewood Music Center in 1990)

Piano Concerto No. 3 in C minor, Opus 37

Allegro con brio

Largo

Rondo: Allegro

BERNARD D'ASCOLI

INTERMISSION

Symphony No. 1

Allegro assai

Presto, con milizia

Andante con malinconia

Maestoso — Brioso ed ardentemente

Vivacissimo— Maestoso

Single tickets for all Boston Symphony Orchestra concerts throughout the season

are available at the Symphony Hall box office, or by calling "Symphony-Charge" at

(617) 266-1200, Monday through Saturday from 10 a.m. until 6 p.m., to charge

tickets instantly on a major credit card, or to make a reservation and then send

payment by check. Please note that there is a $2.00 handling fee for each ticket

ordered by phone.

52

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TEL 617-862-0900 / FAX 617-862-6645

| l|P§f|i|s| I Specializing in interior window

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Conrad, Athey, Shoji, Bamboo,Sunscreen wood Venetians, Match-stick, Skylight and Greenhousetreatments, motorization and, of

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MAJOR CREDIT CARDS ACCEPTEDNATIONWIDE 1-800-336-4646

COMING CONCERTS . . .

Thursday 'C -April 2, 8-9:55

Friday Evening— April 3, 8-9:55

Saturday A' -April 4, 8-9:55

GRANT LLEWELLYN conducting

BERNARD D'ASCOLI, piano

WEIR Music, Untangled

(composed for the 50th anniversary of the

Tanglewood Music Center in 1990)

BEETHOVEN Piano Concerto No. 3

WALTON Symphony No. 1

Tuesday 'C- April 7, 8-10

SEIJI OZAWA conducting

GIDON KREMER, violin

TANGLEWOOD FESTD7AL CHORUS,JOHN OLIVER, conductor

IVES Symphony No. 4

LOURIE Fragments from the opera

The Blackamoor of Peter

the Great, for violin and

orchestra

TCHAIKOVSKY Violin Concerto

Thursday 'A -April 9, 8-9:55

CITY OF BIRMINGHAM SYMPHONYORCHESTRA

SIMON RATTLE, conductor

ELISE ROSS, soprano

ROBIN BUCK, baritone

TANGLEWOOD FESTIVAL CHORUS,JOHN OLIVER, conductor

NIELSEN Symphony No. 3,

Sinfonia espansiva

RAVEL Daphnis and Chloe

(complete)

Friday 'B' -April 10, 2-4:05

CITY OF BIRMINGHAM SYMPHONYORCHESTRA

BIRMINGHAM CONTEMPORARY MUSICGROUP

SIMON RATTLE, conductor

ELISE ROSS, soprano

EMANUEL AX, piano

SCHOENBERG Pierrot Lunaire

PROKOFIEV Piano Concerto No. 1

DEBUSSY Images

Programs and artists subject to change.

53

.

Aworldof

mBHmdioBQST0H89.7fm

54

SYMPHONY HALL INFORMATION . . .

FOR SYMPHONY HALL CONCERT AND TICKET INFORMATION, call (617)

266-1492. For Boston Symphony concert program information, call "C-O-N-C-E-R-T"

(266-2378).

THE BOSTON SYMPHONY performs ten months a year, in Symphony Hall and at Tan-

glewood. For information about any of the orchestra's activities, please call Symphony

Hall, or write the Boston Symphony Orchestra, Symphony Hall, Boston, MA 02115.

THE EUNICE S. AND JULIAN COHEN WING, adjacent to Symphony Hall on

Huntington Avenue, may be entered by the Symphony Hall West Entrance on Huntington

Avenue.

FOR SYMPHONY HALL RENTAL INFORMATION, call (617) 638-9240, or write the

Function Manager, Symphony Hall, Boston, MA 02115.

THE BOX OFFICE is open from 10 a.m. until 6 p.m. Monday through Saturday; on con-

cert evenings it remains open through intermission for BSO events or just past starting-

time for other events. In addition, the box office opens Sunday at 1 p.m. when there is a

concert that afternoon or evening. Single tickets for all Boston Symphony subscription con-

certs are available at the box office. For outside events at Symphony Hall, tickets are

available three weeks before the concert. No phone orders will be accepted for these events.

TO PURCHASE BSO TICKETS: American Express, MasterCard, Visa, a personal check,

and cash are accepted at the box office. To charge tickets instantly on a major credit card,

or to make a reservation and then send payment by check, call "Symphony-Charge" at

(617) 266-1200, Monday through Saturday from 10 a.m. until 6 p.m. There is a handling

fee of $2.00 for each ticket ordered by phone.

GROUP SALES: Groups may take advantage of advance ticket sales. For BSO concerts

at Symphony Hall, groups of twenty-five or more may reserve tickets by telephone and

take advantage of ticket discounts and flexible payment options. To place an order, or for

more information, call Group Sales at (617) 638-9345.

LATECOMERS will be seated by the ushers during the first convenient pause in the pro-

gram. Those who wish to leave before the end of the concert are asked to do so between

program pieces in order not to disturb other patrons.

IN CONSIDERATION of our patrons and artists, children under four will not be admit-

ted to Boston Symphony Orchestra concerts.

TICKET RESALE: If for some reason you are unable to attend a Boston Symphony con-

cert for which you hold a subscription ticket, you may make your ticket available for resale

by calling (617) 266-1492. This helps bring needed revenue to the orchestra and makesyour seat available to someone who wants to attend the concert. A mailed receipt will

acknowledge your tax-deductible contribution.

RUSH SEATS: There are a limited number of Rush Seats available for the Friday-

afternoon, and Tuesday-, Thursday-, and Saturday-evening Boston Symphony subscription

concerts. The low price of these seats is assured through the Morse Rush Seat Fund. Thetickets for Rush Seats are sold at $6.00 each, one to a customer, on Fridays as of 9 a.m.

and Tuesdays, Thursdays, and Saturdays as of 5 p.m.

SMOKING IS NOT PERMITTED in any part of the Symphony Hall auditorium or in the

surrounding corridors; it is permitted only in the Hatch Room and in the main lobby onMassachusetts Avenue. Please note that smoking is no longer permitted in the Cabot-

Cahners Room.

CAMERA AND RECORDING EQUIPMENT may not be brought into Symphony Hall

during concerts.

WHEELCHAIR ACCESS to Symphony Hall is available via the Cohen Wing, at the WestEntrance. Wheelchair-accessible restrooms are located in the main corridor of the WestEntrance, and in the first-balcony passage between Symphony Hall and the Cohen Wing.

55

FIRST AID FACILITIES for both men and women are available. On-call physicians

attending concerts should leave their names and seat locations at the switchboard near the

Massachusetts Avenue entrance.

PARKING: The Prudential Center Garage offers a discount to any BSO patron with a

ticket stub for that evening's performance, courtesy of R.M. Bradley & Co., Inc., and ThePrudential Property Company, Inc. There are also two paid parking garages on Westland

Avenue near Symphony Hall. Limited street parking is available. As a special benefit, guar-

anteed pre-paid parking near Symphony Hall is available to subscribers who attend evening

concerts on Tuesday, Thursday, Friday, or Saturday. For more information, call the Sub-

scription Office at (617) 266-7575.

ELEVATORS are located outside the Hatch and Cabot-Cahners rooms on the Massachu-

setts Avenue side of Symphony Hall, and in the Cohen Wing.

LADIES' ROOMS are located on the orchestra level, audience-left, at the stage end of the

hall, on both sides of the first balcony, and in the Cohen Wing.

MEN'S ROOMS are located on the orchestra level, audience-right, outside the HatchRoom near the elevator, on the first-balcony level, audience-left, outside the Cabot-Cahners

Room near the coatroom, and in the Cohen Wing.

COATROOMS are located on the orchestra and first-balcony levels, audience-left, outside

the Hatch and Cabot-Cahners rooms, and in the Cohen Wing. The BSO is not responsible

for personal apparel or other property of patrons.

LOUNGES AND BAR SERVICE: There are two lounges in Symphony Hall. The Hatch

Room on the orchestra level and the Cabot-Cahners Room on the first-balcony level serve

drinks starting one hour before each performance. For the Friday-afternoon concerts, both

rooms open at 12:15, with sandwiches available until concert time.

BOSTON SYMPHONY BROADCASTS: Friday-afternoon concerts of the Boston Sym-phony Orchestra are broadcast live by WGBH-FM (Boston 89.7) and by WAMC-FM(Albany 90.3, serving the Tanglewood area); Saturday-evening concerts are broadcast live

by WCRB-FM (Boston 102.5). In addition, concerts of the Boston Symphony Orchestra

are heard by delayed broadcast in many parts of the United States and Canada, as well as

internationally, through the Boston Symphony Transcription Trust.

BSO FRIENDS: The Friends are annual donors to the Boston Symphony Orchestra.

Friends receive BSO, the orchestra's newsletter, as well as priority ticket information and

other benefits depending on their level of giving. For information, please call the Develop-

ment Office at Symphony Hall weekdays between 9 and 5, (617) 638-9251. If you are

already a Friend and you have changed your address, please send your new address with

your newsletter label to the Development Office, Symphony Hall, Boston, MA 02115.

Including the mailing label will assure a quick and accurate change of address in our files.

BUSINESS FOR BSO: The BSO's Business & Professional Leadership program makes it

possible for businesses to participate in the life of the Boston Symphony Orchestra

through a variety of original and exciting programs, among them "Presidents at Pops," "ACompany Christmas at Pops," and special-event underwriting. Benefits include corporate

recognition in the BSO program book, access to the Beranek Room reception lounge, and

priority ticket service. For further information, please call the BSO Corporate Develop-

ment Office at (617) 638-9270.

THE SYMPHONY SHOP is located in the Cohen Wing at the West Entrance on Hun-

tington Avenue and is open Wednesday, Thursday, and Friday from 11 a.m. until 4 p.m.,

Saturday from 12 p.m. until 6 p.m., and from one hour before each concert through inter-

mission. The Symphony Shop features exclusive BSO merchandise, including The Sym-

phony Lap Robe, calendars, coffee mugs, posters, and an expanded line of BSO apparel

and recordings. The Shop also carries children's books and musical-motif gift items. Aselection of Symphony Shop merchandise is also available during concert hours outside the

Cabot-Cahners Room. All proceeds benefit the Boston Symphony Orchestra. For further

information and telephone orders, please call (617) 638-9383.

56

A TRADITIONOF FINANCIALCOUNSELOLDERTHAN THE U.S. DOLLAR.

State Street has been providing quality financial service since 1792.

That's two years longer than the dollar has been the official currency of

the United States.

During that time, we have managed the assets of some ofNewEngland's wealthiest families. And provided investment advice and

performance tailored to each client's individual goals and needs.

Today our Personal Trust Division can extend that service to you.

We've been helping people manage their money for almost 200 years.

And you can only stay in business that long by offering advice of the

highest quality.

Let us help you get the highest performance from your assets. To enjoy

today and to pass on to future generations.

Formore information contact Peter Talbot at 617-654-3227.

State Street. Known for quality?

^StateStreetState Street Bank and Trust Company, wholly-owned subsidiary of State Street Boston Corporation,

225 Franklin Street, Boston, MA 02101 . Offices in Boston, New York, Los Angeles, London, Munich, Brussels,

Tokyo, Sydney, Hong Kong. Member FDIC. Copyright State Street Boston Corporation, 1989.

mm

[^BKbBh I ^T5 w,th basil le^^5 lvd.S w^Mlft i5555551 ^^^- :

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