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BOSTONSYMPHONYORCHESTRA

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Seiji Ozawa, Music Director

Carl St. Clair and Pascal Verrot,

Assistant Conductors

One Hundred and Sixth Season, 1986-87

Trustees of the Boston Symphony Orchestra, Inc.

-Lfeoi. Beranek, Honorary Chairman George H. Kidder, President

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

Mrs. John M. Bradley. Vice-Chairman William J. Poorni. Vlce-Chmmian and Trea^irer

Mrs. George L. Sargent. Vice-Chairman

Vernon R. AldenDavid B. Arnold, Jr.

Mrs. Norman L. Cahners

George H.A. Clowes. Jr.

William M. Crozier. Jr.

Mrs. Lewis S. DabneyMrs. Michael H. Da^•is

Philip K. Allen

Allen G. Barrv"

Richard P. ChapmanAbram T. Collier

Mrs. Harris Fahnestock

Archie C. EppsMrs. John H. Fitzpatrick

A\Tam J. Goldberg

Mrs. John L. Grandin

FrancisW Hatch, Jr.

Har\'ey Chet Krentzman

Trustees Emeriti

E. Morton Jennings. Jr.

Edward M. KennedyAlbert L. Niekerson

John T. Noonan

Roderick M. MacDougall

Mrs. August R. MeyerE. James MortonDaA-id G. Mugar

Mrs. George R. RowlandRichard A. Smith

John Ho\1; Stookev

Thomas D. Perr;*-. Jr.

Irving W. RabbPaul C. ReardonSidney StonemanJohn L. Thomdike

Other Officers of the Corporation

John Ex Rodgers. Assistant Treasurer Jay B. Wailes. Assistant Treasurer

Daniel R. Gustin. Clerk

Administration of the Boston Symphony Orchestra, Inc.

Kenneth Haas, Managing Director

Daniel R. Gustin. Assistant Managing Director

Anne H. Parsons, Orchestra Manager

Costa Pilavachi, Ariistic Adm in istrator

Caroline Smedvig, Director of Promotion

Josiah Stevenson, Director of Development

Robert Bell, Data Processing ManagerHelen P. Bridge, Director of Volunteers

MadehTie Codola Cuddeback, Director

of Corporate Development

Vera Gold, Assistant Director of

Promotion

Patricia Halligan. Personnel Administrator

Nancy A. Kay, Director of Sales

John M. Keenum, Director of

Foundation Suppoti

Anita R. Kuvland. Administrator of

Youth Activities

Steven Ledbetter, Musicologist d:

ProgramAn notator

Marc Mandel, Publications Coordinator

Richard Ortner. Administrator of

Tangleivood Music Center

Nancy E. Phillips. Media andProduction Manager,

Boston Symphony Orchestra

Charles Rawson. Manager of Box Office

Joyce M. Serwitz, Assistant Director

of Development

Susan E. Tomlin, Director ofAnnual Giving

Programs copyright ^1987 Boston Sjinphony Orchestra, Inc.

Cover photo by Christian Steiner/Design by Wondriska Associates Inc.

Board of Overseers of the Boston Symphony Orchestra, Inc.

Avram J. GoldbergChairman

Mrs. Carl KochVice-Chairman

John Q. AdamsMrs. Weston W. Adams

Martin Allen

Mrs. David Bakalar

Bruce A. Real

Mrs. Richard Bennink

Peter A. Brooke

William M. Bulger

Mary Louise Cabot

Mrs. C. Thomas Clagett, Jr.

James F. Cleary

John F. Cogan, Jr.

Julian CohenWilliam H. Congleton

Walter J. Connolly, Jr.

Mrs. A. Werk CookAlbert C. Cornelio

Phyllis Curtin

A.V. d'Arbelofe

Mrs. Michael H. Davis

Mrs. Eugene B. Doggett

Ms. Phyllis Dohanian

Harriett Eckstein

Mrs. Alexander Ellis

Edward Eskandarian

Katherine Fanning

John A. Fibiger

Kenneth G. Fisher

Peter M. Flanigan

Ray StataVice-Chairman

Gerhard M. Freche

Dean Freed

Mrs. Thomas J. Galligan

Mrs. Thomas Gardiner

Mrs. James G. Garivaltis

Mrs. Ray A. Goldberg

Jordan L. Golding

Haskell R. GordonMrs. R.Douglas Hall HI

Joseph M. HensonArnold Hiatt

Mrs. Richard D. Hill

Glen H. Hiner

Mrs. Marilyn B. HoffmanRonald A. HomerH. Eugene Jones

Howard KaufmanRichard L. KayeRobert D. KingRobert K. Kraft

John P. LaWareMrs. Hart D. Leavitt

Laurence Lesser

R. Willis Leith, Jr.

Frederick H. Lovejoy, Jr.

Mrs. Charles P. LymanMrs. Harry L. MarksC. Charles Marran

Mrs. Gordon F. KingsleySecretary

Richard P. MorseMrs. Thomas S. Morse

Mrs. Robert B. NewmanMrs. Hiroshi Nishino

Vincent M. O'Reilly

Stephen Paine, Sr.

John A. Perkins

Daphne Brooks Prout

Robert E. RemisMrs. Peter van S. Rice

David Rockefeller, Jr.

John Ex Rodgers

Mrs. Jerome Rosenfeld

Mrs. William C. Rousseau

Mrs. William H. RyanMrs. Raymond H. Schneider

Gene Shalit

Mark L. Selkowitz

Malcolm L. ShermanW Davies Sohier, Jr.

Ralph Z. Sorenson

William F. ThompsonMark Tishler, Jr.

Mrs. An WangRoger D. Wellington

Mrs. Thomas H.P Whitney

Mrs. Donald B. Wilson

Brunetta WolfmanNicholas T. Zervas

f

I

Mrs. Frank G. Allen

Hazen H. AyerPaul Fromm

Overseers Emeriti

Mrs. Louis L KaneLeonard KaplanBenjamin H. Lacy

Mrs. Stephen V.C. Morris

David R. Pokross

Mrs. Richard H. Thompson

Symphony Hall Operations

Cheryl Silvia, Function ManagerJames E. Whitaker, House Manager

Earl G. Buker, Chief Engineer

Cleveland Morrison, Stage ManagerFranklin Smith, Supervisor of House Crew

WilmothA. Griffiths, Assistant Supervisor of House CrewWilliam D. McDonnell, Chief Steward

Officers of the Boston Symphony Association of Volunteers

Mrs. Michael H. DavisPreside ni

Mrs. R. Douglas Hall IIIExecutive Vice-President

Mr. Goetz EatonTreasurer

Mrs. Harry F. Sweitzer, Jr.

Secretary

Mrs. Seabury T. Short, Jr.

Nominating Chairman

Vice-Presidents

Mrs. Eugene B. Doggett, Developmeni Services Mrs. James T. Jensen, Hall Services

Ms. Phyllis Dohanian, Membership

Mrs. Eugene Leibowitz, Tanglewood

Mrs. Robert L. Singleton, Tanglewood

Mrs. Ray A. Goldberg, Fundraising Projects

Mrs. Bela T. Kalman. Youth Activities

and Adult Education

Mrs. Hart D. Leavitt, Regions

Ms. Ellen M. Massey, Public Relations

Mrs. Thomas M. Berger

Mrs. John T. Boatwright

Mrs. Charles A. Hubbard

Chairmen of Regions

Ms. Pi-udenee A. LawMrs. Alfred F. Parisi

Mrs. Thomas Walker

Mrs. F. T. WhitneyMrs. Thomas H.P. WhitneyMrs. Richard W. Young

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Referencesfurnished onrequest

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Leonard Bernstein

Bolcom and Morris

Jorge Bolet

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Brevard Music Center

Dave Brubeck

David Buechner

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I

BSO"Opening Night at Pops" 1987

Conductor John Williams launches the 102nd

season of the Boston Pops when he leads the

orchestra in a gala opening-night concert on

Tuesday, 5 May at 8 p.m. The evening will

begin at 6:30 p.m. with a gourmet box dinner,

and the concert will feature special guest art-

ist Tony Bennett. Sponsored by D\^lateeh,

'Opening Xight 1987" is a project of the

Boston S\nnphony Association of Volunteers;

Barbara Steiner is chairman of this year's

Opening Xight Committee. Remaining tickets

are priced from $25 to $60 with dinner andwine included. For more information, contact

the Volunteer Office at 266-1492. ext. 178.

Friends Weekend at Tanglewood

Friends of the BSO have the opportunity to

travel to Tanglewood by chartered bus for

three days of spectacular music the weekendof Friday. July 2-4 through Sunday. July 26.

Performances include Neville Marriner con-

ducting the Academy of St. Martin-in-the-

Fields and Charles Dutoit conducting the

Boston S^^nphony Orchestra in music of

Roussel, Schubert. Wagner, and Stravinsky,

with solo appearances by violinist Midori in

the Paganini Violin Concerto No. 1, and BSOprincipals Malcolm Lowe and Jules Eskin in

the Brahms Double Concerto. The Friends

will stay at the Red Lion Inn. with transporta-

tion provided by Greyhound Bus. Dinner Fri-

day night will be at the Red Lion Inn, lunch on

Saturday at beautiful Seranak. and dinner

Saturday night at the Tanglewood Tent Club.

Sunday luncheon at Blant\Te will precede the

2:30 p.m. concert. Anticipated arrival time

back in Boston on Sunday. July 26 is 8:00 p.m.

The weekend is open to Friends of the BSOwho have donated a minimum of $40; space is

limited to 45 people on a first-come, first-

ser\'ed basis. The cost of the weekend—$400

per person, double occupancy ($515 per per-

son for single occupancy)—includes a $50

tax-deductible contribution to the BSO and

covers transportation, lodging, meals (exclud-

ing breakfasts), and concert tickets. For fur-

ther information please call the Volunteer

Office at Symphony Hall 266-1492, ext. 177.

Art Exhibits in the Cabot-Cahners Room

The Boston S^inphony Orchestra is pleased

that, for the thirteenth season, various

Boston-area galleries, museums, schools, andnon-profit artists" organizations have exhib-

ited their work in the Cabot-Cahners Room on

the first-balcony level of Symphony Hall. Ondisplay through 4 ]\Iay is an exhibit of textile

art from Decor International of Boston, fea-

turing a variety of tapestries, wall hangings,

and New England hand-hooked rugs. On dis-

play from 4 May through 1 June will be works

from the Arnold Arboretum, to be followed

through 12 July by works from the Gallery on

the Green.

BSO Members in Concert

BSO violinist Amnon Le\y is soloist in the

Barber Violin Concerto with the Boston Bar

Association Orchestra, F. John Adams, con-

ductor, on Friday, 24 April at 7:30 p.m. at

Faneuil Hall, on a concert celebrating the

bicentennial of the Constitution of the United

States. Also on the program are Copland's

Lincoln Portrait narrated by Arthur Miller,

music of Charles Ives, and selections from

Bernstein's West Side Story with the Boston

Bar Association Chorus. Tickets are $10

($5 for students and senior citizens).

Ronald Feldman leads the final concerts of

the Mystic Valley Orchestra's tenth-anniver-

sarv season on Sunday, 26 April at 5 p.m. at

Dwight Auditorium, 100 State Street, Fra-

mingham State College, and on Sunday, 3 Mayat 8 p.m. in Paine Hall. Har\'ard University,

Cambridge. The program includes Debussy's

Prelude to "TJie Afternoon of a Faun,"

Beethoven's S^Tuphony No. 8, and the NewEngland premiere of Robert K^t'sA Signal in

the Land, to texts of Nikki Giovanni and Martin

Luther King, Jr. Tickets are $6 ($4 students,

seniors, and special needs); for further infor-

mation, call 924-4939 after 12 noon.

BSO principal trumpet Charles Schlueter is

soloist in concertos by Hummel and Vivaldi

with the Longwood SjTtiphony Orchestra,

Aaron Dov Kula, music director, on Saturday.

2 May at 8 p.m. at Jordan Hall, on a programalso including music of Schubert andStravinsky. Tickets at $8 and $6 are available

at the Jordan Hall box office; for further infor-

mation, call 327-2217.

The Civic S\Tnphony Orchestra of Boston.

Max Hobart, Music Director, closes its

1986-87 season on Sunday, 3 May at 3 p.m. at

Jordan Hall with a concert featuring duo-

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Entertainment at a 9-screen

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pianists Anthony and Joseph Paratore in

Poulenc's Concerto for Two Pianos. The pro-

gram also includes Debussy's Prelude to ''The

Afternoon of a Faun " and Bruckner's S^^n-

phony No. 4, Romantic. Tickets are $10 and

$7, with discounts for students and senior

citizens. For further information, call 437-

0231.

BSO members Mark Ludwig, viola, Sato

Knudsen, cello, and Wajne Rapier, oboe, par-

ticipate in an afternoon of vocal and instru-

mental works by Vivaldi, Purcell, Bach, andHandel on the Richmond Performance Series

at Richmond Congregational Church in Rich-

mond, Massachusetts, on Sunday, 3 May at

3 p.m. No admission charge; donations

accepted at the door. For further information,

call (413) 698-3220.

The Melisande Trio—violist Burton Fine,

flutist Fenwick Smith, and Susan Miron,

harp—perform music of Ravel, Debussy,

Nielsen, Devienne, and Jolivet on Sunday,

3 May at 7:30 p.m. at St. Michael's Church in

Marblehead. For further information, call

876-2422.

Ronald Knudsen conducts the closing con-

cert of the Newton S^Tnphony Orchestra's

twenty-first season on Sunday, 3 May at 8 p.m.

at Aquinas Junior College, Newton Corner.

Pianist David Deveau is featured in Richard

Strauss's Burleske and the Franck S\Tnphonic

Variations; the program also includes

Debussy's La Mer. Single tickets are $10; for

further information, call 965-2555.

Harry Ellis Dickson conducts the Boston

Classical Orchestra on Wednesday, 6 May and

Friday 8 May at 8 p.m. in Faneuil" Hall. The

program includes Haydn's Symphony No. 94,

Surprise, Mozart's Musical Joke, and Haydn's

S\inphony No. 45, Farewell. Tickets are $12

and $18 ($8 students and senior citizens); for

further information, call 426-2387.

BSO principal bass Edwin Barker is soloist

in Gunther Schuller's Concerto for Double

Bass with the Pro Arte Chamber Orchestra

under the couiposer's direction on Sunday. 30

May at 8 p.m. at Sanders Theatre in Cam-bridge. The program also includes music of

Haydn. Stravinsky, and Ravel. Tickets are

priced from $8 to $15.

With Thanks

We wish to give special thanks to the National

Endowment for the Arts and the Massachu-

setts Council on the Arts and Humanities for

their continued support of the Boston S^ttl-

phony Orchestra.

James Stagliano

7 January 1912-11 April 1987

Born in Italy, James Stagliano was principal

horn of the Boston Symphony Orchestra for

twenty-five years, from 1946 to 1971. andappeared with the orchestra in solo music of

Mozart, Strauss, Britten, and Schuller. At age

six, Mr. Stagliano went to Detroit, where he

studied with his uncle, who was principal horn

of the Detroit Symphony and later of the NBCS\Tnphony under Toscanini. At sixteen, JamesStagliano himself joined the Detroit S\Tn-

phony, moving to the St. Louis S\Tnphony in

1934 and then to the Chicago S^Tnphony. Hewas principal horn in the Los Angeles Philhar-

monic from 1936 to 1944 and then spent a year

with the Cleveland Orchestra under Erich

Leinsdorf before joining the BSO. Mr.

Stagliano was founder in 1951 of Boston

Records, formed originally to record chambermusic performed by BSO members. In 1958,

with Linda Cabot Black and Sarah Caldwell,

he was co-founder of the Opera Company of

Boston. His contributions to the BSO and to

the musical life of Boston ensure his place in

the memory of this city's musical community,

which includes a number of his close friends in

the BSO today.

Elizabeth Dunton1 January 1911-13 April 1987

Elizabeth Dunton. Director of Sales for the

Boston S\inphony Orchestra from October

1975 until her retirement following the

orchestra's 1982-83 subscription season, died

last week in Atlanta, Georgia, where she had

been living since her retirement. A devoted

and much-loved member of the BSO staff,

Liz gave her personal attention to countless

S\Tnphony subscribers and handled advance

bookings for Pops groups for nearly nine

years. Her forty-five years in business had also

included ten years in audience development

for Boston Ballet. At the time of her retire-

ment, Ms. Dunton described her work with the

BSO's audience as '"a great privilege and a

great pleasure," and she regarded her years at

S\Tnphony Hall as the happiest of her career.

She will be much missed.

Seiji Ozawa

Seiji Ozawa became music director of the

Boston Symphony Orchestra in the fall of

1973. Now in his fourteenth year as music

director, he is the thirteenth conductor to

hold that position since the orchestra's found-

ing in 1881. Bom in 1935 in Shenyang, China,

to Japanese parents, ]VIr. Ozawa studied both

Western and Oriental music as a child, later

graduating from Tok\'o's Toho School of

Music with first prizes in composition and

conducting. In 1959 he won first prize at the

International Competition of Orchestra Con-

ductors held in Besangon, France, and was

imited to Tanglewood by Charles Munch,

then music director of the Boston Symphonyand a judge at the competition. In 1960 he

won the Tanglewood Music Center's highest

honor, the Kousse\atzky Prize for outstand-

ing student conductor.

While working with Herbert von Karajan

in West Berlin, Mr. Ozawa came to the

attention of Leonard Bernstein. He accom-

panied Bernstein on the New York Philhar-

monic's 1961 tour of Japan and was madean assistant conductor of that orchestra for

the 1961-62 season. In January 1962 he

made his first professional concert

appearance in North America, with the SanFrancisco S>Tnphony. Mr. Ozawa was music

director of the Ravinia Festival for five

summers beginning in 1964, music director

of the Toronto S>Tnphony Orchestra from

1965 to 1969, and music director of the San

Francisco Symphony from 1970 to 1976,

followed by a year as that orchestra's musicadviser.

Seiji Ozawa made his first SymphonyHall appearance with the Boston Sym-phony Orchestra in January 1968; he hadpreviously appeared with the orchestra for

four summers at Tanglewood, where he

became an artistic adviser in 1970. For the

1972-73 season he was the orchestra's

music adviser. Since becoming music

director of the Boston Symphony Orchestra

in 1973, Mr. Ozawa has strengthened the

orchestra's reputation internationally as

well as at home, leading concerts in

Europe, Japan, and throughout the United

States. In March 1979 he and the orchestra

traveled to China for a significant musical

and cultural exchange entailing coaching,

study, and discussion sessions with Chinese

musicians, as well as concert performances.

That same year, the orchestra made its first

tour devoted exclusively to appearances at

the major European music festivals. In

1981, Ozawa and the orchestra celebrated

the Boston Symphony's centennial with a

fourteen-city American tour and an interna-

tional tour to Japan. France, Germany.

Austria, and England. They returned to

Europe for an eleven-concert tour in the fall

of 1984. and to Japan for a three-week tour

in February 1986. the orchestra's third visit

to that country under Ozawa's direction.

Mr. Ozawa has also reaffirmed the orches-

tra's commitment to new music with the

recent program of twelve centennial com-

missions, and with a new program, begin-

ning this year, to include such composers as

Peter Lieberson and Hans Werner Henze.

Mr. Ozawa pursues an active interna-

tional career, appearing regularly ^vith the

Berlin Philharmonic, the Orchestre de

Paris, the French National Radio Orches-

tra, the Vienna Philharmonic, the Philhar-

monia of London, and the New Japan Phil-

harmonic. His operatic credits include

Salzburg, London's Royal Opera at Covent

Garden. La Scala in Milan, and the Paris

Opera, where he conducted the world

premiere of Olivier Messiaen's opera

St. Fr-ancis ofAssisi in November 1983.

8

Mr. Ozawa led the American premiere of

excerpts from that work in Boston andNew York in April 1986.

Seiji Ozawa has recorded with the Boston

S^^nphony Orchestra for Philips, Telarc,

CBS, Deutsche Grammophon, Angel "EMI,

New World, H\-perion. Erato, and RCArecords. His award-^Wmiing recordings

include Berlioz's Romeo et Juliette on DG,Mahler's S^Tiiphony No. 8. the Symphony of a

Tlwusand. and Schoenberg's Gurrelicdcr,

both on Philips, and, also on DG, the Bergand Stra\'insk\' \iolin concertos viith Itzhak

Perlman, with whom he has also recorded the

\-iolin concertos of Earl Kim and Robert

Starer for Angel EMI. With Mstislav

RostropoAich, he has recorded the Eh'ofak

Cello Concerto and Tchaikovsk>-'s Variations

on a Rococo Theme, newly available on a

single disc from Erato. Other recent record-

higs, on CBS, include music of Berlioz and

Debussy with mezzo-soprano Frederica von

Stade, the Mendelssohn Violin Concerto \^'ith

Isaac Stem, and Strauss's Don Quixote and

the Schoenberg/Monn Cello Concerto \\-ith

Yo-Yo Ma. He has also recorded the complete

cycle of Beethoven piano concertos and the

Choral Fantasy with Rudolf Serkin for

Telarc, orchestral works by Strauss,

Stravinsky-, and Hoist, and BSO centemiial

connnissions by Roger Sessions, Andrzej

Panufnik, Peter Lieberson, John Harbison,

and Oily Wilson.

Mr Ozawa holds honorary doctor of

music degrees from the University of Mas-

sachusetts, ih^ New England Conservatory

of Music, and Wheaton College in Norton,

Massachusetts. He has won an Emmy for

the Boston Symphony Orchestra's "Eve-

ning at Sjinphony'" PBS television series.

"There's no passion in the human soul.

But finds its food in music."George Lillo

Join us before or after the Symphony at the Bristol Lounge,overlooking the Pubhc Garden at Four Seasons Hotel.

Also serving lunch, dinner and afternoon tea. Theencore is over, but the music plays on.

For Four Seasons Place

Condominium Sales Information,

please call 617-338-4444.

FourSeasons HotelBOSTON

200 Boylston Street

Boston, Massachusetts 02116

(617) 338-4400

Music Directorship endowed byJohn Moors Cabot

BOSTON SYMPHONYORCHESTRA

1986-87

First Violins

Malcolm LoweConcertmaster

Charles Munch chair

Tamara Smirnova-SajfarAssociate Concertmaster

Helen Homer Mclntyre chair

Max HobartAssistant ConcertmasterRobert L. Beal, andEnid L. and Bruce A. Beal chair

Cecylia ArzewskiAssistant ConcertmasterEdward and Bertha C. Rose chair

Bo Youp HwangJohn and Dorothy Wilson chair,

fully funded in perpetuity

Max WinderHarry DicksonForrest Foster Collier chair

Gottfried Wilfinger

* Participating in a system of rotated

seating within each string section.

t On sabbatical leave.

Fredy OstrovskyDorothy Q. and David B. Arnold, Jr.,

chair, fully funded in perpetuity

Leo PanasevichCarolyn and George Rowland chair

Sheldon RotenbergMuriel C. Kasdon andMarjorie C. Paley chair

Alfred SchneiderRaymond SirdIkuko MizunoAmnon Levy

Second Violins

Marylou Speaker ChurchillFahnestock chair

Vyacheslav UritskyCharlotte and Irving W. Rabb chair

Ronald KnudsenEdgar and Shirley Grossman chair

Joseph McGauleyLeonard Moss*Michael Vitale

fHarvey Seigel

*Jerome Rosen* Sheila FiekowskyGerald Elias

Ronan Lefkowitz*Nancy Bracken*Jennie Shames*Aza Raykhtsaum*Lucia Lin*Valeria Vilker Kuchment*Bonnie Bewick

Violas

Burton FineCharles S. Dana chair

Patricia McCartyAnne Stoneman chair,

fully funded in perpetuity

Ronald Wilkison

10

Robert BarnesJerome LipsonBernard Kadinoff

Joseph Pietropaolo

Michael ZaretskyMarc JeanneretBetty Benthin*Mark Ludwig*Roberto Diaz

Cellos

Jules EskinPhilip R. Allen chair

fMartha BabcockVernon and Marion Alden chair

Mischa NielandEsther S. and Joseph M. Shapiro chair

Joel MoerschelSandra and David Bakalar chair

*Robert Ripley

Luis LeguiaRobert Bradford Newman chair

Carol ProcterRonald Feldman*Jerome Patterson*Jonathan Miller

*Sato Knudsen

BassesEdwin BarkerHarold D. Hodgkinson chair

Lawrence WolfeMaria Nistazos Statu chair,

fully funded in perpetuity

Joseph HearneBela WurtzlerLeslie MartinJohn SalkowskiJohn Barwicki*Robert Olson*James Orleans

Flutes

Doriot Anthony DwyerWalter Piston chair

Fenwick SmithMyra and Robert Kraft chair

Leone Buyse

blm**^^M .J«£^*^ =iF ^^^V ^'*^<^H^ "^4* ^*"*'f* .«*# '* <m ^L h'f j»^'- ^•K J^feL B

Piccolo TrumpetsLois Schaefer Charles SchlueterEvelyn and C. Charles Marran chair Roger Louis Voisin chair

Andre ComeFord H. Cooper chair

Oboes Charles DavalRalph Gomberg Peter ChapmanMildred B. Remis chair

Wayne Rapier TrombonesAlfred Genovese Ronald Barron

English HornLaurence ThorstenbergPhyllis Knight Beranek chair,

fully funded in perpetuity

Clarinets

Harold WrightAnn S.M. Banks chair

Thomas MartinPeter HadcockE-flat Clarinet

Bass Clarinet

Craig NordstromFarla and Harvey Chet

Krentzman chair

BassoonsSherman WaltEdward A. Taft chair

Roland SmallMatthew Ruggiero

ContrabassoonRichard Plaster

HornsCharles KavalovskiHelen Sagoff Slosberg chair

Richard SebringMargaret Andersen Congleton chair

Daniel KatzenJay WadenpfuhlRichard MackeyJonathan Menkis

J.P. and Mary B. Barger chair,

fully funded in perpetuity

Norman Bolter

Bass TromboneDouglas Yeo

TubaChester SchmitzMargaret and William C.

Rousseau chair

TimpaniEverett FirthSylvia Shippen Wells chair

PercussionCharles SmithPeter and Anne Brooke chair

Arthur PressAssistant Timpanist

Thomas GangerFrank Epstein

HarpAnn Hobson PilotWillona Henderson Sinclair chair

Personnel ManagersWilliam MoyerHarry Shapiro

LibrariansMarshall BurlingameWilliam Shisler

James Harper

Stage ManagerPosition endowed byAngelica Lloyd Clagett

Alfred Robison

11

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12

A Brief History of the Boston Symphony Orchestra

Now in its one-hundred-and-sixth season,

the Boston S\Tnphony Orchestra continues

to uphold the vision of its founder HenryLee Higginson and to broaden the interna-

tional reputation it has established in

recent decades. Under the leadership of

Music Director Seiji Ozawa, the orchestra

has performed throughout the United

States, as well as in Europe, Japan, andChina, and it reaches audiences numberingin the millions through its performances on

radio, television, and recordings. It plays

an active role in commissioning new works

from today's most important composers,

and its summer season at Tanglewood is

regarded as one of the most important

music festivals in the world. The orches-

tra's virtuosity is reflected in the concert

and recording activities of the Boston S>Tn-

phony Chamber Players—the world's only

permanent chamber ensemble made up of a

major s\Tnphony orchestra's principal play-

ers—and the activities of the Boston Popshave established an international standard

for the performance of lighter kinds of

music. In addition, during its summer sea-

son at Tanglewood, the BSO sponsors one

of the world's most important training

grounds for young musicians, the Tangle-

wood Music Center, which celebrates its

fiftieth anniversary in 1990.

For many years, philanthropist. Civil

War veteran, and amateur musician HenryLee Higginson dreamed of founding a great

and permanent orchestra in his home town

of Boston. His vision approached reality in

the spring of 1881, and on 22 October that

year the Boston S^Tiiphony Orchestra's

inaugural concert took place under the

direction of conductor Georg Henschel. Fornearly twenty years s\Tnphony concerts

were held in the Old Boston Music Hall;

Symphony Hall, the orchestra's present

home, and one of the world's most highly

regarded concert halls, was opened in 1900.

Henschel was succeeded by a series of

German-born and -trained conductors

—

Wilhelm Gericke, Arthur Xikisch, Emil

Paur, and Max Fiedler—culminating in the

appointment of the legendary Karl Muck,who sensed two tenures as music director,

1906-08 and 1912-18. Meanwhile, in July

1885, the musicians of the Boston S\Tn-

phony had given their first "Promenade"concert, offering both music and refresh-

ments, and fulfilling Major Higginson's

wish to give "concerts of a lighter kind of

music." These concerts, soon to be given in

the springtime and renamed first "Popu-

lar" and then "Pops," fast became a

tradition.

During the orchestra's first decades,

there were striking moves toward expan-

sion. In 1915, the orchestra made its first

transcontinental trip, playing thirteen con-

certs at the Panama-Pacific Exposition in

San Francisco. Recording, begun with RCAin the pioneering days of 1917, continued

with increasing frequency, as did radio

broadcasts of concerts. The character of the

The first photograph, actually a collage, of the Boston Symphony Orchestra under Georg

Henschel, taken 1882

13

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Boston S^Tnphony was greatly changed in

1918. when Henri Rabaud was engaged as

conductor; he was succeeded the following

season by Pierre Monteux. These appoint-

ments marked the beginning of a French-

oriented tradition which would be main-

tained, even during the Russian-born Serge

Koussevitzky's time, with the emplo^^nent

of many French-trained musicians.

The Koussevitzky era began in 1924. His

extraordinary musicianship and electric

personality proved so enduring that he

ser\'ed an unprecedented term of twenty-

five ye ars^.

In 1936. Koussevitzky led the orchestra's

first concerts in the Berkshires, and a year

later he and the players took up annual

summer residence at Tanglewood.

Koussevitzky passionately shared Major

Higginson's dream of "a good honest

school for musicians."" and in 1940 that

dream was realized with the founding at

Tanglewood of the Berkshire Music Center

(now called the Tanglewood Music Center).

Expansion continued in other areas as

well. In 1929 the free Esplanade concerts

on the Charles River in Boston were inau-

gurated by Arthur Fiedler, who had been a

member of the orchestra since 1915 and

who in 1930 became the eighteenth conduc-

tor of the Boston Pops, a post he would

hold for half a century, to be succeeded by

John Williams in 1980. The Boston Pops

celebrated its hundredth birthday in 1985

under Mr. Williams's baton.

Charles Munch followed Koussevitzky as

music director in 1949. Munch continued

Koussevitzky's practice of supporting con-

temporary composers and introduced muchmusic from the French repertory' to this

country. During his tenure, the orchestra

toured abroad for the first time, and its

continuing series of Youth Concerts was ini-

tiated. Erich Leinsdorf began his seven-

year term as music director in 1962.

Leinsdorf presented numerous premieres,

restored many forgotten and neglected

works to the repertory, and, like his two

predecessors, made many recordings for

RCA; in addition, many concerts were tele-

vised under his direction. Leinsdorf was

also an energetic director of the Tangle-

wood Music Center, and under his lead-

ership a full-tuition fellowship program wasestablished. Also during these years, in

1964. the Boston Symphony Chamber Play-

ers were founded.

William Steinberg succeeded Leinsdorf

in 1969. He conducted several Americanand world premieres, made recordings for

Deutsche Grammophon and RCA,appeared regularly on television, led the

1971 European tour, and directed concerts

on the east coast, in the south, and in the

mid-west.

Seiji Ozawa. an artistic director of the

Tanglewood Festival since 1970. becamethe orchestra"^ thirteenth music director in

the fall of 1973, following a year as music

adviser. Now in his fourteenth year as

music director, Mr. Ozawa has continued to

solidify the orchestra"s reputation at homeand abroad, and his program of centennial

commissions—from Sandor Balassa,

Leonard Bernstein. John Corigliano, Peter

^Maxwell Davies, John Harbison, LeonKirchner, Peter Lieberson, DonaldMartino, Andrzej Panufnik. RogerSessions, Sir Michael Tippett, and Oily

Wilson—on the occasion of the orchestra's

hundredth birthday significantly reaffirmed

the orchestra's commitment to new music.

Under his direction, the orchestra has also

expanded its recording activities to include

releases on the Philips, Telarc, CBS. Angel

EMI. H\-perion, New World, and Erato

labels.

From its earliest days, the Boston S\Tn-

phony Orchestra has stood for imagination,

enterprise, and the highest attainable stan-

dards. Today, the Boston S^inphony

Orchestra, Inc., presents more than 250

concerts amiually. Attended by a live audi-

ence of nearly 1.5 million, the orchestra's

performances are heard by a vast national

and international audience. Its annual bud-

get has grown from Higginson's projected

$115,000 to more than $20 million, and its

preeminent position in the world of music is

due not only to the support of its audiences

but also to grants from the federal and

state governments, and to the generosity of

many foundations, businesses, and individ-

uals. It is an ensemble that has richly

fulfilled Higginson's vision of a great andpermanent orchestra in Boston.

15

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FAREWELL AND THANKS

Cecylia Arzewski Johti Barwicki Harry Ellis Dickson

Lea\ang the Boston Symphony this year are six distinguished members whose

cumulative ser\'ice to the orchestra totals 218 years. Bass player John Barwicki

joined the orchestra in 1937 and retires after 50 years of membership. Harry Ellis

Dickson—first violinist, Assistant and then Associate Conductor of the Boston

Pops, and founder of the BSO's current series of Youth Concerts, which he initiated

in 1959—retires from his position as a BSO violinist after 49 years, while remaining

Associate Conductor Laureate of the Pops and Conductor Laureate of Youth Con-

certs. Ralph Gomberg has been principal oboe of the orchestra since he joined in

1950; he retires after 37 years of ser\4ce. Bass player Leslie Martin joined the

orchestra in 1957 and retires after 30 years of sendee. AVilliam Moyer, a BSOtrombonist from 1952 to 1966 and its Personnel Manager since that year, has been a

member of the BSO family for 35 years. Cecylia Arzewski, a first \iolinist since she

joined the orchestra in 1970 and now an assistant concertmaster, leaves after 17

years to become associate concertmaster of the Cleveland Orchestra under its Music

Director Christoph von Dohnanyi this September. Our sincerest thanks for their

contributions to the BSO and to Boston's musical community, and our very best

wishes to them all.

Ralph Gomberg Leslie Martin Willia)n Moyer

17

DeutscheGrammophonwelcomes KryslianZimerman to theUSA

for hi$1982 tour

Krystian Zimerman's repertoire on Deutsche Grammophon Compact Discs includes:

Brahms: Piano Concerto No. 1 • 413 472-2 GH (Bernstein, Vienna Philharmonic)

Brahms: Piano Concerto No. 2 • 415 359-2 GH (Bernstein, Vienna Philharmonic)

Chopin: Piano Concertos Nos. 1 & 2 • 415 970-2 GH (Giulini, Los Angeles Philharmonic)

Grieg & Schumann: Piano Concertos • 410 021-2 GH (Karajan, Berlin Philharmonic)

Most selections also available on LP and cassette

© 1987 DG/PolyGram Records, Inc.

BOSTON SYMPHONY ORCHESTRA

Seiji Ozawa, Music Director

Carl St. Clair and Pascal Verrot,

Assistant Conductors

One Hundred and Sixth Season, 1986-87

Thursday, 23 April at 8

SEIJI OZAWA conducting

LISZT Piano Concerto No. 2 in A

KRYSTIAN ZIMERMAN

INTERMISSION

BRUCKNER Symphony No. 2 in C minor

ModerateAndanteMassig schnell

Finale. Mehr schnell

This concert will end about 9:55.

Philips, Telarc, CBS, Deutsche Grammophon, Angel/EMI, New World, Hyperion,

Erato, and RCA records

Baldwin piano

Krystian Zimerman plays the Steinway piano.

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

during the concert.

19 Week 23

BOSTON SYMPHONY ORCHESTRA

Seiji Ozawa, Music Director

Carl St. Clair and Pascal Verrot,

Assistant Conductors

One Hundred and Sixth Season, 1986-87

Friday, 24 April at 2

SEIJI OZAWA conducting

LISZT Totentanz, Paraphase on Dies irae,

for piano and orchestra

KRYSTIAN ZIMERMAN

INTERMISSION

BRUCKNER Symphony No. 2 in C minor

Moderate

AndanteMassig schnell

Finale. Mehr schnell

This concert will end about 3:50.

Philips, Telarc, CBS, Deutsche Grammophon, Angel/EMI, New World, Hyperion,

Erato, and RCA records

Baldwin piano

Krystian Zimerman plays the Steinway piano.

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

during the concert.

The program books for the Friday series are given in loving memory of Mrs. Hugh Bancroft

by her daughters Mrs. A. Werk Cook and the late Mrs. William C. Cox.

20 Week 23

BOSTON SYMPHONY ORCHESTRA

Seiji Ozawa, Music Director

Carl St. Clair and Pascal Verrot,

Assistant Conductors

One Hundred and Sixth Season, 1986-87

Saturday, 25 April at 8

SEIJI OZAWA conducting

LISZT Piano Concerto No. 1 in E-flat

Allegro maestoso—Quasi adagio-

Allegretto vivace

—

Allegro marziale animato. Presto

KRYSTIAN ZIMERMAN

INTERMISSION

BRUCKNER Symphony No. 2 in C minor

ModeratoAndanteMassig schnell

Finale. Mehr schnell

This concert will end about 9:55.

Philips, Telarc, CBS, Deutsche Grammophon, Angel/EMI, New World, Hyperion,

Erato, and RCA records

Baldwin piano

Krj'stian Zimerman plays the Steinway piano.

Please be sure the electronic signal on your watch or pager is switched oflF

during the concert.

21 Week 23

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22

Franz Liszt

Piano Concerto No. 1 in E-flat

Piano Concerto No. 2 in ATofentanz, Paraphrase on Dies irae, for piano and orchestra

Franz (Ferenc in Hungarian) Liszt was

horn in Raiding, near Sopron, Hungary,

on 22 October 1811 and died in Bayreuth,

Germany, on SlJuly 1886. Sketches for

the First Concerto go back to 1830,

though he evidently completed drafts of

both concertos at roughly the same time in

1839. He seems to have worked on it fur-

ther during the 1840s, making more revi-

sions in 1853 and 1856. The score is

dedicated to Henry Litolff. Liszt himself

was the soloist in the first performance,

which took place under the direction of

Hector Berlioz at Weimar on 17 February

1855. Theodore Thomas's Symphony gave

the first American performance in NewYork on 2 December 1865, with Sebastian

Bach Mills as the soloist. Alide Topp was

the first pianist to perform the work in Boston, in a Handel and Haydn Society Festival

on 12 May 1868, under the direction of Carl Zerrahn. Adele Margulies was soloist for the

first Boston Symphony Orchestra performances, Wilhelm Gericke conducting, in October

1885. Since then it has been performed under conductors Arthur Nikisch, Emit Paur,

Karl Muck, Carl Wendling, Max Fiedler, Henri Rabaud, Pierre Monteux, Serge

Koussevitzky, Richard Burgin, Eleazar de Carvalho, Charles Munch, Jean Morel, Erich

Leinsdorf, William Steinberg, Joseph Silverstein, and Seiji Ozawa, by soloists Julia Rive-

King, Adele Aus der Ohe, Franz Rummel, Eugen d Albert, Bernhard Starenhagen, Ernst

von Dohnanyi, Mark Hambourg, George W. Proctor, Rafael Joseffy, Vladimir de

Pachmann, Ernest Schelling, Rudolph Ganz, Olga Samaroff, Moritz Rosenthal,

Germaine Schnitzer, Elizabeth K. Howland, George C. Vieh, Josef Hofmann, Ferruccio

Busoni, Max Pauer, Edward Morris, Winifred Christie, Rosita Renard, Sergei

Rachmaninoff, Chiy Maier, Ignaz Friedman, Raymond Havens, Alexander Borovsky,

Eunice Norton, George Siebling, Jose Iturbi, Gladys Heathcock, Jesus Maria Sanroma,

Robert Casadesus, Nicole Henriot, Leonard Pennario, Jorge Bolet, Byron Jan is. Van

Cliburn, Jeanne-Marie Darre, Andre Watts, and Liu Shi-kun, who gave the most recent

subscription performance, with Ozawa, in March 1979. Emanuel Ax played the most

recent Tanglewood performance, with Leinsdorf, in July 1982. In addition to the solo

pianist, the score calls for two flutes and piccolo, two each of oboes, clarinets, bassoons,

horns, and trumpets, three trombones, triayigle, cymbals, timpani, and strings.

The Second Concerto was apparently finished by October 1849, but Liszt continued to

make small changes thereafter. The first performance took place at the Weimar Court

Theater on 7 January 1857, with Liszt conducting and his pupil Hans von Bronsari as the

piano soloist. Theodore Thomas led the first American performance at the Boston Music

Hall on 5 October 1870 with Anna Mehlig as soloist. Georg Henschel conducted the first

Boston Symphony performances with pianist Carl Baermann in February 1884, and it

has since been performed at BSO concerts by Rafael Joseffy, Arthur Friedheim, Richard

Burtneister, and Ferruccio Busoni (Arthur Nikisch conducting); Joseffy with Emil Paur

conducting; Baermann, Leopold Godowsky, Joseffy, and Waldemar Lutschg (Wilhelm

Gericke conducting); Rudolf Ganz, Heinrich Gebhard, and Ernest Schelling (Karl Muckconducting); Ossip Gabrilowitsch, Yolanda Mer'6, Ganz, and Gebhard (Max Fiedler

23 Week 23

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24

conducting); Erwin Nyiregyhazi, Marjorie Church, and Mitja Nikisch (Pierre Monteux

conducting); Nadia Reisenberg and Mero with Serge Koussevitzky, Byron Janis with

Charles Munch, Van Cliburn with Erich Leinsdorf, Andre Watts with Seiji Ozawa, and

Russell Sherman with Sergiu Comissiona. Andre Watts gave the most recent subscription

performances in January 1986 with Kurt Masur conducting. Erich Leinsdorf led the most

recent Tanglewood performance, in July 1982, with pianist Emanuel Ax. In addition to

the solo pianist, the score calls for three flutes (one doubling piccolo), two oboes, two

clarinets, two bassoons, two horns, two trumpets, three trombones, tuba, timpani, cymbals,

and strings.

Composition of "Totentanz'* occupied Liszt on and off from plans in 1838 to a first

stage of creation in 1849 and revisions in 1853 and 1859. Ferruccio Busoni edited andpublished the 1849 version in 1919; Liszt published his definitive version in 1865, the year

of the first performance, which took place in The Hague on 15 April; the soloist was Hansvon Bulow, to whom the score is dedicated, and the conductor was J.J.H. Verhidst. The first

Boston Symphony Orchestra performances took place in Cambridge and Boston in

January 1902, with Harold Bauer as the soloist and Wilhelm Gericke conducting.

Further performances were given by Ferruccio Busoni as soloist with Gericke and then

with Max Fiedler, Alexander Siloti with Pierre Monteux, Ernst Levy with Richard

Burgin (the most recent subscription performances, in February 1942!), and Jeanne-

Marie Darre with Erich Leinsdorf. Andre Watts was the soloist at the most recent

performance, at Tanglewood, in August 1973; Seiji Ozawa conducted. In addition to the

piano solo, the score calls for two flutes and piccolo, two oboes, two clarinets, two bassoons,

two horns, two trumpets, three trombones and tuba, timpani, cymbals, triangle, tam-tam,

and strings.

For all his spectacular self-assurance at the piano, Liszt was astonishingly insecure

as a composer. He would rework old compositions repeatedly, fussing with this detail

or that, never quite sure if he had yet got it right. And, worse, he often took advice

from random acquaintances, offered gratuitously, and then reworked pieces again.

Almost everv" one of his major compositions went through stages of creation, and a

number of works actually exist in two different "finished" forms. All of his large works

for piano and orchestra—the First and Second concertos and the variations entitled

Totentanz—^went through many stages of development.

During the early phase of his career, when he was knowTi primarily as a touring

piano virtuoso of extraordinary^ attainments, Liszt sketched both of his piano concer-

tos—almost simultaneously—in 1839 (and in the case of the E-flat concerto, he drew

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26

on a thematic sketch that went back to 1830, when he was himself only nineteen years

old). Totentanz was inspired by a painting Liszt saw in 1838, though it did not take

formal shape until later. At first the concertos were conceived as show^Dieces for his

own talents. If he had finished and performed them then, they would no doubt be muchdifferent than they finally turned out. As it was, the pressure of touring caused him to

put them aside for a decade until he had settled in Weimar and given up the vagabond

life of the international concert star to devote himself to composition and conducting.

Although he had written a great deal of music already (mostly brilliant display pieces

for piano solo), he worked hard to improve his skills, especially in orchestration.

Liszt was surely not lacking totally in experience at orchestration, since he had

already finished a score for the 1839 version of the A major concerto. But by 1849 he

had to some extent put himself in the hands of Joachim Raff, who worked with him on

his orchestration and even scored a few of the symphonic poems in preliminary

versions that were later modified by Liszt himself.* It is hard to tell exactly how muchinfluence Raff had on these scores, partly because most of the manuscripts are in the

Liszt Museum in Weimar (East Germany), and only recently have scholars begun to

undertake systematic study there. The sources for both the piano concertos are

exceedingly complicated—it could well take a book-length study to disentangle the

manuscripts, with their different versions and handwritings, and determine who wasresponsible for writing what (and even then we can never know the amount of oral

instruction that Liszt gave to his amanuenses).

"Raff was an extremely fluent and prolific composer eleven years Liszt's junior; in 1875—the year

before Brahms's First S^nnphony—he was widely regarded as the greatest living Germans\Tnphonist. His compositions, running to some 200-plus opus numbers, are largely forgotten

today, although his Third Symphony, entitled In the Forest, and Fifth S\Tnphony, Lenore, have

been recorded, along w^th a \irtuosic but unbelievably bland piano concerto.

Music to your mouth.

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At The Publick House, traditions of cooking and hospitality go back

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We invite you to partake of dinner en route to Tanglewood, or supper

on your way home. We're located only a few minutes (and two centuries)

from the Massachusetts Turnpike and 1-84. So break your journey by

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ouse

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Even after Liszt '"finished"* the concertos in 1849, he clearly was in no rush to

present them to the public. Perhaps he still entertained lingering doubts about their

effectiveness. In any case, he made adjustments to the scores during the ensuing

years. Liszt wrote to Hans von Biilow on 12 May 1853, "I have just finished reworking

my two concertos and the Totentanz in order to have them copied definitively."

The E-flat concerto underwent still another (quite minor) round of retouching after

the first performances. A comparison of the various versions reveals that, in general,

Liszt simplified the work for the performer—hard as that may be to believe when we

hear its final shape. In his days as a traveling virtuoso, he was willing to risk all in

compositions that approached the limits of human speed and endurance. Later on, he

found ways of making the \'irtuosity less an end in itself and more a ser\'ant of poetic

expression, which is not to sav that any of this music is ever easyl

The Piano Concerto No. 1 in E-flat has garnered a remarkable number of unplea-

sant re^'iews over the years. The consen'ative critic Eduard Hanslick wrote scathingly

dubbing Liszt's work the "Triangle Concerto" because the composer was so bold as to

give that instrument a prominent role in the scherzo section. This was surely grasping

at straws: Beethoven, after all, used the triangle for the '"Turkish music" in the finale

of the Ninth S^Ttiphony, and Mozart before him had employed similar effects. Liszt's

sin, e\'idently, was to use the triangle for a purely musical effect, not to suggest

musical exoticism. As if to forestall criticism for this boldness, Liszt added to his

score the cautionary note, ""The triangle is here not to be beaten clumsily, but in a

delicately rhythmical manner \Wth resonant precision"—good advice for any percus-

sion instrument!

Portrait by M. Stein of Liszt at fifty-two

29 Week 23

Liszt was not deterred from inventing new percussion effects by the attacks of such

as Hanslick; rather, lie vowed to "continue to make use of them, and I think I shall yet

win for them some effects that are little known."

More daring and difficult for most audiences was that he cast his work in a large

span that seemed to destroy the traditional fast-slow-fast relationship of movementswithin a concerto. Actually the "traditional" movements have been subsumed into the

overall span of the entire work, which is unified by the transformation of themes into a

well-organized whole, reworking the assertive opening figure in many ways and

translating the poetic Adagio theme into the marchlike finale. No less a musician than

Bela Bartok hailed the E-flat concerto as "the first perfect realization of cyclic sonata

form."

The strain on audience expectations seems to have been intense until listeners grew

accustomed to the work. In Boston the redoubtable Dwight's Journal of Music declared

(in 1868) "anything more awful, whimsical, outre, and forced than this composition is

unknown; anything more incoherent, uninspiring, frosty to the finer instincts we have

hardly known under the name of music." Yet by the 1890s the Boston Symphony wasregularly programming the work as a featured attraction when it toured, suggesting

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that audiences had long since come round and accepted the \dews of an English critic

in 1903 that the E-flat concerto was "quite the most brilliant and entertaining of

concertos." The same writer added, "No person genuinely fond of music was ever

known to approach it with an unprejudiced mind and not like it."

Even more than the First Concerto, the Piano Concerto No. 2 in A is sui generis.

Though it is by no means lacking in opportunities for virtuoso display, it gives the

impression of being quieter, more poetic, more introspective than the First Concerto,

partly because of the ravishingly beautiful opening for wood\\dnds, in which the sweet

song of the clarinet turns out to generate many of the musical ideas that follow.

Among the diverse musical ideas to come, we shall hear a good bit of a march theme in

a sharply marked rhythm and also of a galloping figure first heard in an orchestral

tutti. These last two ideas generally return together, mth the galloping figure serving

as a bass to the march.

The fusion of the usual three movements of a concerto into a single long movementthat could be construed as a kind of sonata form: this is Liszt's response to the

nineteenth-century composer's search for organic relationships throughout a composi-

tion, as demonstrated in his transformations of thematic ideas—and not only the

themes mentioned above, but all of the others in the piece as well. His reworking of the

material produces melodies of strikingly diverse psychological tone. The range of

moods is breathtaking, extending even to the one moment in the piece that might be

considered banal, when the march-like "recapitulation" in the home key ofA major

converts the atmospheric opening theme into a brass-band display. But except for that

one passage (which not everyone considers a lapse), Liszt's refinement of expressive

harmony and poetic orchestration puts the Second Concerto high on the honor role of

his finest compositions.

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Considering how unsure of himself he was. the orchestration throughout is masterly.

His sense of appropriateness never fails. Xo musical idea could seem less suited to the

piano than the languishing, dreamy, sustained opening theme; Liszt ob\'iously recog-

nized this fact, because he never once gives that material to the piano in its original

form. Instead the soloist weaves gentle arabesques around sustained chords in the

wood\\'inds alternating with strings (shortly after the opening) or else converts it into

something altogether more assertive.

Though there are brilliant passages galore throughout this concerto, Liszt is admi-

rably restrained in his virtuoso display. Almost without exception the sparkling,

cadenza-like passages are built on still new developments of the basic thematic

material—especially on some of the characteristic little turns in the opening theme

quoted above. Thus, rather than intruding, as \irtuosic elements so often do in

romantic piano compositions, they contribute further to the unity of this remarkable

score.

"Totentanz" germinated in 1838, during Liszt's years of travel and ^•irtuoso show-

manship. While in Italy with his mistress, the Countess Mane d'Agoult, he \dsited

Pisa and there saw the famous medieval painting of "The Triumph of Death" by

Orcagna. The work made a tremendous impression on him; it portrays the female

figure of Death flying towards her\ictims carrying a sc\"the. Some souls are ascending

to heaven, but many are dragged down to the flames of hell. Liszt decided to compose

a work in his o%^ti medium on the subject of death, choosing the plainsong melody Dies

irae, which is sung as part of the Requiem Mass. The Dies irae text is a horrific

description of the terrors confronting mankind at the Last Judgment. As a counter-

part to the visual imager^' of Orcagna, it offered to the composer a tune of striking

profile that would have an immediate, dramatic effect.

Several years earlier Liszt had made a piano arrangement of Berlioz's Symphonie

fantastique, which quotes the Dies irae melody both dramatically and satirically.

Berlioz may thus be at least as responsible as Orcagna for suggesting the form of

Liszt's response, a set of variations on the plainsong melody. Totentanz has been

described sometimes as Liszt's "third piano concerto." Certainly it belongs \\*ith the

two concertos in both brilliance and musical substance, yet it has never become so

well-kno^^^l. Perhaps its relative brevity prevents it from being programmed more

often. Nonetheless it remains one of Liszt's strongest works, both for the clarity of its

structure (one of his few examples of variation form) and the poetic imagination he

brings to the elaboration of the Dies irae, the various countermelodies, and the variety

in the scoring. The work begins \Wth a darkly colored "dance of death," with dimin-

ished harmonies underMng the first phrase of the plainsong melody sounded forth

hea\aly in the bass instruments, like the most sombre of funeral processions. Anelectrifying splash of piano cadenza announces that this work will be a sho\^'piece of

wtuosity despite its serious framework. Soon the full theme has been stated and weare off on a series of character variations in different tempi and moods, with striking

touches of orchestration, fugal sections, and pianistic fireworks. Though some of

Totentanz shows Liszt in his most diabolist mood, there are romantic touches as well.

and the canny range of moods contributes to making this brief, concerto-like piece one

of its creator's most dramatic works.

—Steven Ledbetter

33 Week 23

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34

Anton BrucknerSymphony No. 2 in C minor

Anton Bruckner was bom in Ansfelden,

nearLinz, Upper Austria, on 4 September

1842 and died in Vienna on 11 October

1896. He composed the Second Symphonyin 1871 and 1872, and the work was first

performed on 26 October 1873, with

Bruckner himself conducting the Vienna

Philharmonic. He made revisions in 1876

and 1877. The score published in 1892 had

alterations far beyond Bruckner's ownand is now regarded as inauthentic; the

present performances will use the 1877

version in the edition of Leopold Nowak.

The Second is the only Bruckner sym-

phony to lack a dedication (the circum-

stances that led to this fact are described

below). The only previous performances by

the Boston Symphony Orchestra were con-

ducted by Carlo Maria Giulini in March and April 1974. The score calls for two each of

flutes, oboes, clarinets, and bassoons, four horns, two trumpets, three trombones, timpani,

and strings.

The premieres of Bruckner's first two numbered symphonies present a startling

study in contrasts. Symphony No. 1 in C minor was composed in Linz where the

composer, then in his thirties and early forties, spent twelve years as the cathedral

organist and where he also wrote his three mature Masses. The symphony wascompleted in 1866 and shown in Munich to the leading conductor and Wagnerdisciple, Hans von Biilow, who reacted with a mixture of astonished admiration and

alarm. Bruckner could not pluck up the courage to show it to Wagner himself, but

two years later he was rash enough to attempt a performance under his owndirection. The event is thus described by his biographer, Erwin Doernberg:

The first performance took place in Linz in sadly unfavorable conditions.

An inadequate orchestra was assembled, consisting of the theater orchestra,

members of two regimental bands stationed in the town, and dilettantes;

there were twelve violins, three violas, three violoncelli, and three double

basses. Quite apart from this, neither the musicians nor the provincial

audience could be expected to grasp the complexity of the vast and original

work. In fact there was but a scanty audience, because on the day preceding

the performance the bridge across the Danube had collapsed, and the people

of Linz were much too thrilled by the disaster to be interested in a matinee

concert. Bruckner's laconic comment was: "It cost me a lost of money to

cover the deficit."

The same year, 1868, Bruckner moved permanently to Vienna, where he had been

trying to secure an economic foothold during most of his tenure at Linz. He became

a lecturer at the Vienna Conser\'atory—a decisive step, for he was thereafter to

spend most of his life teaching, and composing symphonies. His earlier renown as an

organ virtuoso took him, however, to Paris in 1869 and London in 1871, where he

reported excitedly, "Everywhere my name appears in letters bigger than myself!"

These were Bruckner's first and last trips abroad.

While in London he began composing his Symphony No. 2, again in C minor, and

it was finished in Vienna the following year. It was submitted to the Vienna Philhar-

35 Week 23

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36

monic and rehearsed under Otto Dessoff, who proclaimed it to be nonsense. After

some fruitless discussion about cuts, the score was returned as "unplayable." It

must have been a bitter joke to Bruckner that his Great Mass in F minor had been

similarly refused a hearing in Vienna on the ground of being "unsingable."" Once

again he was thrown back on his own resources: but this time, instead of using a

scratch orchestra, he contrived to retain the Philharmonic itself. Doernberg

describes the altered scene as follows:

Bruckner, however, did not give in. With the help of a substantial subvention

from Prince Johann Liechtenstein, he engaged the orchestra at his ownexpense. When beginning the first rehearsal he made the announcement:

"Well, gentlemen, we can rehearse as long as we like. I have got someone to

pay for it." Most of the musicians were uncooperative, obstinate, and sar-

castic during the first rehearsals under Bruckner's direction, but among the

friendly members of the orchestra was a young violinist whose immediate

admiration for Bruckner was to be of decisive importance later—Artur

Xikisch.* The performance took place on October 26, 1873. Apart from

conducting the symphony, Bruckner played Bach's Toccata and Fugue in

D minor and a free organ improvisation. It was a tremendous success in the

concert hall, and the s\Tnphony was reasonably well reviewed by the news-

paper critics. The orchestra had warmed up to the difficult work and per-

formed the "unplayable" s\Tnphony with so much enthusiasm that the

following day Bruckner wrote them an exuberant letter.

One of the critics, Ludwig Speidel of the Fremdenblatt, had indeed written.

"There is introduced in this s\Tnphony a composer whose very shoelaces his numer-

ous enemies are not fit to tie." In his letter, Bruckner asked permission to dedicate

his s\Tnphony to the Philharmonic, sa\ing that "your acceptance would give megreat joy." Originally, the biography relates,

Bruckner had wished to dedicate the work to the Abbe Liszt, but the

*Nikiseh was to become conductor of the Boston S\Tnphony Orchestra, which he led during the

years 1889-93. Oddly enough, despite his enthusiasm for Bruckner, he did not see fit to

conduct any of his music during his time in Boston. Wilhelm Gericke had conducted the

Seventh S\TTiphony in 1887, but no other work of Bruckner's was heard in a BSO concert

before 1899, during Gericke's second term as conductor. [—S.L.I

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relation between the two composers never developed. Quite apart from the

difference in their musical outlook, Liszt found Bruckner's personality

positively annoying. On one occasion he told a friend that nothing made him

more irritable than to hear himself addressed as "Your Grace, most rever-

end Herr Canonicus." The Philharmonic orchestra failed to reply to his offer

of dedication, and later, in 1884, Bnickner reverted to his original idea of

inscribing the work to Liszt. The latter's reply was cool and formal. Soon

afterwards, Liszt lost the score when leaving Vienna in haste. It found its

way back to Bruckner, who was offended; Liszt, it seems, never noticed the

loss.

As a result, No. 2 became the only Bruckner symphony bearing no dedication.

The near-acceptance of the symphony on its first presentation did not, of course,

end Bruckner's orchestra difficulties in Vienna. The long-delayed, self-conducted

1877 premiere of his monumental Third Symphony, previously dedicated to Wagner,

was a disaster in its own right, and it was not until No. 4 was introduced by HansRichter, in February 1881, that the musical capitals of Europe began to take

Bruckner seriously. By that time the composer was fifty-six.

The "alarming" First Symphony, from Bruckner's Linz period, had differed from

his still earlier symphonic attempts by its boldness, even wildness, of expression. It

was a true "storm and stress" work, which he later dubbed "the impudent urchin"

{""das kecke BeserV). The other C minor work, No. 2, was almost its complement:

more sober, more lyrical, more restrained in expression. Meanwhile two other

symphonic endeavors of that time were suppressed altogether by the composer

himself with the comment: "They are no good; I dare not w^ite down a respectable

theme." Attempting to write "more simply," as his friends urged him, he still could

not bring himself to cut back on the rich proliferation of thematic material which was

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to be his personal trait in symphonic music. So he hit on the device of clarifying his

expanded sonata constructions by sharp separation of their thematic groups. Thus

he anticipated one increasingly important and significant feature of his mature

style, so that the Second has much more of the characteristic look and sound of a

Bruckner symphony than the First.

In his original score for this work, he also used such an inordinate number of

general pauses, in order to mark off the sections, that a member of the Vienna

Philharmonic itself dubbed it the "Rest Symphony." The expression, ErwinDoernberg writes, "soon found its way into the vocabulary of Bruckner's adver-

saries, even when the work had been revised and most of the pauses had disappeared

from the score." His frequent, often very pregnant, use of the general pause

thereafter has sometimes been likened to an organist pausing to change his registra-

tion, or to permit the echoes to die away in a large cathedral before resuming. ToBruckner himself it was perfectly natural, like taking a deep breath, and in discus-

sion he once exclaimed waggishly: "What's all the fuss about? Beethoven has a pause

right at the beginning of his Fifth Symphony."

After the premiere of Symphony No. 2, Bruckner was persuaded by his friend

Johann Herbeck and others to make a few cuts and changes in the score. Heconducted the second version on 20 February 1876, at his own expense. He then

made some further changes in 1877 and again in 1879. The work was not played by

the Vienna Philharmonic under Richter himself until November 1894. The critical

edition of the score prepared by Robert Haas is based on Bruckner's full-length

1872 version, and that by Leopold Nowak on his 1877 version. The first edition of

1892 is considered completely unauthentic, since it contains the usual quota of

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39 Week 23

alterations beyond any of Bruckner's own. The present performances are from the

Nowak edition.

I. Moderato, C minor, 4/4 time. Many of the basic cfiaracteristics of a typical

Bruckner first movement are already discernible in this one. For the first time, the

music begins with a soft tremolo in the upper strings, which serves as an atmos-

pheric background to the opening theme. The theme itself begins, in this case, with a

soulful dialogue between cellos and horns. Already there are, as always, two well-

defined groups of themes plus a closing group just as important as the first two. Thesecond group (remarkably short in this movement) begins with a bucolic singing

theme with a familiarly Upper Austrian folk-flavor, while the sturdier final group

typically conceals a chorale-like strain. The very last idea, or codetta, which is

introduced in the exposition (and again in the recapitulation), is a two-bar figure

beginning with a melodic turn, which is delicately bandied about from the oboe to the

other woodwinds. It shows a surprising resemblance to the closing music of the

Christmas-party scene (No. 6) in Tchaikovsky's Nutcracker, composed twenty years

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The first part of the development section has just that mysterious sense of depth

and space, of fantasy and wonder, which is also a Bruckner hallmark. And the

beginning of the coda eerily evokes the corresponding point in Beethoven's Ninth

Symphony. Doernberg comments on this: "Bruckner was long haunted by the

Beethoven coda. In the S\Tnphony 'No. 0' [key of D minor] he adopted it literally

(and here it did not link up with his own themes), while in the Third S\Tnphony,

which is again in the same key as Beethoven's Ninth, Bruckner restricted himself to

using Beethoven's descending notes. Here, in the Second S\Tnphony, the similarity

is veiled to a considerable extent by the difference of key and the speedier tempo,

though it was certainly not Bruckner's intention to conceal it." So smitten is

Bruckner with this coda-opening that in the original 1872 version he begins it

twice—after thirty-two bars, that is, the music dies out and begins again. In the

1877 version, it begins only once.

II.-Andante, A-flat major, 4/4 time. In the Haas edition this movement bears the

title "Adagio," while the Nowak edition shows the title "Andante''; in both editions,

however, the initial tempo indication is ""Feierlich, etwds bewegf (''Solemn, some-

what agitated"). The form of the movement is a simple alternation of two subjects,

with more elaborate embroidery and more d\Tiamic intensity in each of three succes-

sive appearances of the first subject. The second subject is of a type peculiar to

Bruckner, and especially familiar from the Fourth and Fifth s\Tnphonies. Here a

harmonized chorale-like theme is plucked by the strings, while the horn plays a solo

melody over it, coming in only at the second bar of each four-bar phrase. The first

elaboration of this subject, following immediately on its initial statement, is omitted

in the 1877 version. Just before the coda there is "a sudden hush, and a passage that

anticipates amazingly the Adagio of Bruckner's Ninth S\Tnphony" (Doernberg). The

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coda itself begins with a literal quotation from his Great Mass in P minor. It is

played by the strings, the first violins raising to a higher octave the melody sung by

the bass soloist to the words ''Benedictus qui venit in nomine Domini.'' This segues

into the opening bars of this movement's main theme. The haunting figure heard in

the closing page is played by the horn in the 1872 version, and by the clarinet in the

1877 version.

III. Scherzo, C minor, 3/4. This is headed "Schnell" ("Fast") in the earlier

version, and ""Mdssig schneW ("Moderately fast") in the later one. Also the repeat

signs in the main scherzo and the middle (Trio) section are omitted in the 1877

version, though of course the scherzo proper is still repeated verbatim following the

Trio, after Bruckner's custom; a special coda, in this case, follows the complete

return. The main section, writes Deryck Cooke, "is of the stamping peasant-dance

type characteristic of Bruckner's first three symphonies (after which he conceived a

completely new type for each work)." This one begins with a bold flourish, and is also

noteworthy for its boisterous chromatic scales which almost anticipate Mahler. Thefirst four notes are identical in rhythm and melody to the famous Prelude from

Bach's Violin Partita in E major. The Trio section (same tempo, C major) begins with

another soft violin tremolo like the first movement's, introducing a viola theme in the

style of an Austrian Landler, with an Alpine yodel built into it. The special coda is

apt to startle the semi-aficionado by starting off with a timpani barrage, on one note,

in the same rhythm as that unforgettable one in the scherzo of Bruckner's Ninth. It

just happens to be the rhythm of our main theme here, which has already been given

the one-note treatment by the unison trumpets—not quite the same thing.

42

IV Finale, C minor, 2/2. Instead of a simple rondo for a finale, we have another

big sonata form with rondo elements added. Here Bruckner incorporates, for the

first time, the unifying cyclic principle featured in all his later symphonies. But

there is no dramatic piling-up of the earlier movements' themes in the coda, nor is

there any rhetorical parading and dismissal of them one by one in an introduction.

Instead there are the subtlest reminders of their basic elements, infused into the

basic elements of this movement. The first running string figure, for example, neatly

conceals the first four notes of the first movement, albeit without their distinctive

rhythm that will come in the development section. The main fortissimo theme,

toward which the running strings build up for thirty-two bars, begins with a triplet

snap which is simply a more peremptory form of the flourish which launched the

scherzo. Later this fast triplet acquires some small portion of the motor energy in

the one which propels the finale of Schubert's great C major symphony.

The key-relationship with the second subject—again a bucolic Austrian one—is a

shocker. Our third group builds up to a triple-/or^e and breaks off sharply, and the

suddenly hushed codetta that follows brings another poignant quotation from the

F minor Mass—this time taken from the final page of the Kyrie eleison. A later

repetition of this quote, shortly before the coda, is omitted in the 1877 version. The

coda itself is again a double statement, but this time it is the first statement that is

the longer of the two: sixty-six bars ending with a gradually slowing-down alterna-

tion of the symphony's first four melodic bars with the finale's bucolic theme. This

first statement is deleted in toto in the later version of the score. The coda remains in

the minor until just twenty-three bars from the end, when the triplet snap leads off

the C major tutti with an exhilarating sense of exact timing and finality.

—Jack Diether

Jack Diether, who died earlier this year, was the author of many articles on the lives andworks of Bruckner and Mahler. In 1969 he became the editor of Chord and Discord, the

journal of the Bruckner Society of America. His program note on the Bruckner Secondappeared in the BSO's program book in 1974 for the orchestra's only previous perform-

ances of this symphony.

43 Week 23

More . . .

Liszt still suffers from the lack of a fully reliable biography, one tiiat can tread the

minefield of "reminiscences" and "authorized biographies," most of them with someaxe to grind. An excellent short biography by the American author and composer

Everett Helm is available only in German in the paperback monograph series

published by Rowohlt. Ernest Newman's The Man Liszt (Taplinger) is fundamentally

unsympathetic to Liszt, though written by a knowledgeable critic who is one of the

foremost biographers of Wagner. Sacheverell Sitwell's large and elegantly written

Liszt is conveniently available as a Dover paperback, but it is mostly based on

second-hand sources. Eleanor PerenW's Liszt (Atlantic-Little, Brov^-n) made some-

thing of a splash a few years ago; it is certainly entertaining in a gossipy way. but

there are serious questions about its accuracy. Fortunately Alan Walker's multi-

volume Franz Liszt holds real promise to be an accurate, balanced, and carefully

researched biography. So far only the first volume, Franz Liszt: The Virtuoso Years

(1811-1847), has appeared (Knopf), and it only just reaches the period of the first

versions of the concertos. Ronald Taylor offers an attractive biography of more

manageable length for the non-specialist, though with little to say about the music,

in Franz Liszt: The Man and the Musician (L'niverse). We are better off. in some

respects, with musical discussion. Alan Walker is the editor of a useful symposium,

Franz Liszt: The Man and his Music (Taplinger). with some ver\' informative articles,

including one on the orchestral music by British composer Humphrey Searle and

one on the works for piano and orchestra by Robert Collet. Searle is the author of the

best book emphasizing Liszts work, The Music of Liszt (Dover paperback), and of the

Liszt article in The New Grove, which has just been published separately (along with

the articles on Chopin and Schumann) in The New Grove Early Romantic Masters 1

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44

(Norton, available in paperback). Krystian Zimerman is recording both piano con-

certos and Totentanz with Seiji Ozawa and the Boston S^Tnphony for Deutsche

Grammophon this month. Meanwhile, recommended recordings of the two Liszt

concertos (coupled together) include Alfred Brendel with Bernard Haitink and the

London Philharmonic (Philips, also including the Totentanz), Claudio Arrau with Sir

Colin Davis and the London S^inphony Orchestra (Philips), Sviatoslav Richter with

Kiril Kondrashin and the London S\Tnphony Orchestra (Philips), Lazar Bermanwith Carlo Maria Giulini and the Vienna S^Tiiphony (DG), and Tamas Vasary with

Felix Prohaska and the Bamberg S^Tuphony (DG). An important historical record-

ing of the Second Concerto by Emil Sauer, a pupil of Liszt's, with Felix ^\eingartner

conducting the orchestra of the Paris Conservatoire Concerts is also still available

(Turnabout monaural). A particularly fiery version of Totentanz, available on com-

pact disc, is by Jorge Bolet, with Ivan Fischer conducting the London S\Tnphony

Orchestra (London, coupled with the Hungarian Fantasy and Malediction)

.

Hans-Hubert Schonzeler's Bruckner is a brief, nicely illustrated life-and-works

(Calder). The most penetrating musical discussion of the s^NTnphonics is to be found

in Robert Simpson's The Essence of Bruckner (Chilton). Philip Barford's Bruckner

Symphonies in the BBC Music Guides gives a sympathetic introduction to these

works (U. of Washington paperback). Dika Newlin's Bruckner, Mahler, Schoenberg is

an interesting study that links the three composers as part of the great Viennese

musical tradition (Norton). Though not dealing with every movement of each s\Tn-

phony, Deryck Cooke's chapter on Bruckner in the first volume of the symposiumThe Symphony, edited by Robert Simpson, is s\Tnpathetic and enlightening (Pelican

paperback). The complex series of scores, versions, and editions of Bruckner's

music, brought on largely by the well-intentioned but misguided efforts of his

disciples to spread performances of his work, have caused headaches for everyone

performing, studying, or writing about this music. Deryck Cooke brought some

order out of this chaos in a series of articles originally published in the Musical

Times and later republished in this country by The Musical Newsletter as "'The

Bruckner Problem Simplified" (available from The Musical Newsletter, 654 Madison

Avenue, Suite 1703, New York, N.Y. 10021). Bruckner's Second has not yet been

issued on compact disc, but there are two fine recordings on LP. Bernard Haitink

conducts the Concertgebouw Orchestra in the fuller Haas version in a refreshingly

unmannered and straightforward way that allows the piece to make its own points

(Philips). Herbert von Karajan's reading with the Berlin Philharmonic is paced with

greater variety, though it uses the briefer Nowak version with some of the cuts

opened a la Haas.

—S.L.

45 Week 23

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46

Krystian Zimerman

Since winning first prize in the 1975 Chopin

International Competition at Warsaw,

Krystian Zimerman has emerged as one of

the outstanding pianists of his generation,

concertizing extensively throughout eastern

and western Europe and Japan, appearing in

recital in the major music capitals, and regu-

larly performing with prestigious orchestras

under the world's most eminent conductors.

An exclusive Deutsche Grammophon artist

since 1980, Mr. Zimerman has made eleven

acclaimed recordings, highlighted by solo

works and concertos of Brahms and Chopin.

He is especially regarded for his interpreta-

tions of the Romantic repertoire, and also

performs the works of Mozart and such

twentieth-century composers as Webem and

Szymanowski. During the 1986-87 season,

Mr. Zimerman has undertaken the most

extensive United States tours of his career,

with recitals in Boston, New York, and

Washington, among other cities, and orches-

tral appearances with the Boston Symphonyunder Seiji Ozawa, the Cleveland Orchestra

under Christoph von Dohnanyi, the NewYork Philharmonic under Stanislaw

Skrowaczewski, and the St. Louis Sym-phony under Raymond Leppard. His

European engagements include perform-

ances with the Amsterdam Concertgebouw

under Vladimir Ashkenazy, the Berlin Phil-

harmonic under Seiji Ozawa, the LondonSymphony under Gary Bertini, the Bavarian

Symphony of Munich under Esa-Pekka

Salonen, and I'Orchestre de la Suisse

Romande. He also gives recitals in Madrid,

Paris, Warsaw, Zurich, Vienna, Frankfurt,

Berlin, London, Munich, and Amsterdam.

Born in Zabrze, Poland, in 1956, Mr.

Zimerman started playing piano when he

was five, beginning formal studies two years

later with Andrezei Jasinski, who later

became his teacher at the Katowice Conser-

vatory. His early public appearances and

successful participation in several eastern

European piano competitions were followed

by his first-prize victory in the Chopin Com-petition when he was nineteen. The youngest

of all 118 entrants, he also won a special

Gold Medal for his performances of

Chopin's mazurkas and polonaises. Follow-

ing his Warsaw success, Mr. Zimermanaccepted only a limited number of engage-

ments in order to develop and expand his

repertoire. In 1976 he performed concerts in

Belgium, Germany, Holland, Scandinavia,

and Czechoslovakia. Two years later he

made his first tour of Japan, then appeared

with the New York Philharmonic under

Zubin Mehta and the Los Angeles Philhar-

monic under Carlo Maria Giulini and

Michael Tilson Thomas. He also gave reci-

tals at Carnegie Hall and the Hollywood

Bowl. He has by now performed with

Europe's major orchestras, with such con-

ductors as Claudio Abbado, Leonard

Bernstein, Sir Colin Davis, Bernard

Haitink, and Herbert von Karajan. His

Deutsche Grammophon recordings include

the Brahms, Chopin, Schumann, and Grieg

concertos, and solo albums of Brahms,

Chopin, and Mozart. This month he records

the two Liszt concertos and Totentanz with

Seiji Ozawa and the Boston SymphonyOrchestra. Mr. Zimerman previously

appeared with the Boston SymphonyOrchestra and Seiji Ozawa in March 1985,

when he performed the Beethoven Fourth

Piano Concerto.

47

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1986-87 SEASON SUMMARY

WORKS PERFORMED DURING THE BOSTON SYMPHONYORCHESTRA'S 1986-87 SUBSCRIPTION SEASON

Week

BEETHOVENPiano Concerto No. 3 in C minor, Opus 37 2

MITSUKO UCHIDA, piano

Symphony No. 1 in C, Opus 21 15

Symphony No. 6 in F, Opus 68, Pastoral 12

S\Tnphony No. 7 in A, Opus 92 11

Symphony No. 8 in F, Opus 93 6

BERGFive Orchestral Songs to Picture-postcard Texts 13

of Peter Altenberg, Opus 4

ROBERTA ALEXANDER, soprano

Wozzeck, Opera in three acts (fifteen scenes), Opus 7, 22

after Georg Biichner

BENJAMIN LUXON, baritone C^Yozzeckj; HILDEGARD BEHRENS,soprano (Marie); JACQUE TRUSSEL, tenor (Drum Major); JONGARRISON, tenor (Andres); RAGNAR ULFUNG, tenor (Captain);

SIEGFRIED \T)GEL, bass (Doctor); MARGARET YAUGER, mezzo-

soprano (Margret); RICHARD KENNEDY, tenor (An Idiot); BRIANMATTHEWS, bass (1st Apprentice); JAMES MADDALENA, baritone

(2nd Apprentice); TIMOTHY LARSON, boy soprano (Marie's Child)

ROCKLAND OSGOOD, tenor (A Soldier); TANGLEWOOD FESTIVALCHORUS, JOHN OLIVER, conductor; YOUTH PRO MUSICA,ROBERTA HUMEZ, director

BERLIOZOverture to Benvenuto Cellini 14

BRAHMS-SCHOENBERGPiano Quartet in G minor. Opus 25 14

BOCCHERINIConcerto No. 2 in D for cello and string orchestra, G.479 17

MSTISLAVROSTROPOVICH, cello

BRITTENWar Requiem, Opus 66, for soprano, tenor, and baritone 4

solos, mixed chorus, boys' choir, full orchestra, and

chamber orchestra (AVords from the Missa pro defunctis and

the poems of Wilfred Owen)ALISON HARGAN, soprano; DAVID RENDALL, tenor; HAKANHAGEGARD, baritone; TANGLEWOOD FESTRAL CHORUS,JOHN OLIVER, conductor; BOSTON BOY CHOIR, THEODOREMARIER, director

BRUCKNERSymphony No. 2 in C minor 23

COLGRASSChaconne, for viola and orchestra (United States premiere) 21

RIVKA GOLANI, viola

DEBUSSYLa Mer, Three symphonic sketches 5, Tues 'B'/'C

DVORAKCello Concerto in B minor, Opus 104 17

MSTISLAVROSTROPOVICH, cello

49

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Excerpts from the Slavonic Dances, 0pp. 46 and 72 21

Symphony No. 9 in E minor, Opus 95, From the New World 12

FAUREDolly, Six pieces for piano. Opus 56, arranged 6

for orchestra by Henri RabaudMasques ei Bergamasques, Suite for orchestra. Opus 112 6

Pavane, Opus 50 6

Pelleas et Melisande, Suite from the incidental music

to Maeterlinck's tragedy. Opus 80 6

LORRAINE HUNT, soprano

HANDELMusic for the Royal Fireworks 21

HAYDNS^Tnphony No. 70 in D 19

S\Tnphony No. 88 in G 16

Symphony No. 92 in G, Oxford 20

Symphony No. 100 in G, Military 7

HINDEMITHNobilissinia Visione, Concert suite from the ballet St. Francis 9

HUMMELIntroduction, Theme, and Variations in F for 6

oboe and orchestra. Opus 102

RALPH GOMBERG, oboe

LIEBERSONDraZa (world premiere; commissioned by the 2

Boston Symphony Orchestra)

LISZTPiano Concerto No. 1 in E-flat 23

KRYSTIAN ZIMERMAN, piano

Piano Concerto No. 2 in A 23

KRYSTIAN ZIMERMAN, piano

Totentanz, for piano and orchestra 23

KRYSTIAN ZIMERMAN, piano

LUTOSEAWSKIConcerto for Cello and Orchestra 17

MSTISLAV ROSTROPOA^ICH, cello

MAHLERSymphony No. 2 in C minor Opening Night, 1,10

EDITH WIENS, soprano; ^lAUREEN FORRESTER, contralto;

TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor

Symphony No. 5 7

MENDELSSOHNSinfonia No. I in C for strings 15

Symphony No. 4 in A, Opus 90, Italian 9

MOZARTAria, "Ruhe sanft, mein holdes Leben," from Zaide, K.344 13

ROBERTA ALEXANDER, soprano

Overture to Don Giovanni, K.527 11

Piano Concerto No. 9 in E-flat, K.271 11

EMANUEL AX, piano

Piano Concerto No. 25 in C, K.503 15

RADU LUPU, piano

51

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S^Tnphony Xo. 31 in D, K.297(300a), Paris 13

S^-mphony Xo. 34 in C, K.338 8

PROKOFIEVExcerpts from the ballet Romeo and Juliet 3

S^Ttiphony-Concerto for cello and orchestra. Opus 125 17

MSflSLAV ROSTROPOVICH, cello

RACHMAXIXOFFSjinphony Xo. 2 in E minor. Opus 27 "19RAVELPiano Concerto in D for the left hand 3

LEOX FLEISHER. piano

La Valse. Choreographic poem 2

Valses nobles et sentimeutales 2

REGKRVariations and Fugiie on a Merry Theme by Johann 8

Adam Hiller, Opus 100

SCHAFERKo Wo Kiku {Listen to the License) 9

(United States premiere)

SCHOEXBERGChamber S\Tnphony X'^o. 2, Opus 38 5, Tues "B'/'C

Five Orchestral Pieces. Opus 16"

18

SCHUBERTSj-mphony Xo. 3 in D, D.200 20

SCHUMAXXCello Concerto in A minor, Opus 129 5, Tues 'B'/'C

JULES ESKIX, cello

O^'erture from the incidental music to B\Ton's Manfred, 5, Tues 'B'/'C

Opus 38

SHOSTAKOVICHS>Tnphony X'o. 13. Opus 113, for bass solo, male chorus, and 16

s\^nphony orchestra, with words by Yevgeny Yevtushenko" SERGEI LEIFERKUS, baritone: MEX OF THE TAXGLEWOODFESTRAL CHORUS. JOHX OLIVER, conductor

SIBELIUSS;y'inphony Xo. 6, Opus 104 14

Violin Concerto in D minor, Opus 47 18

KYXXG WHA CHUXG. violin

STRAUSSDon Quixote, Fantastic variations on a theme of knightly 17

character, Opus 35

MSTISLAV ROSTROPOVICH. cello

Ein Heldenlehen {A Heroic Life), Tone poem, Opus 40 13

STRAVIXSKYPetrushka, Burlesque in four scenes (1947 version) 18

Suite from the ballet Pulcinella 20

THOMSOXFive Songs from AVilliam Blake 8

JOHX CHEEK, bass-baritone

VIVALDIConcerto in G for cello, string orchestra, and continuo. RV 413 17

MSTISLAV ROSTROPOVICH, cello

53

WITHOUTYOURHELPYOUCOULD BEHEARING LESSFROMTHEBSO

r

To keep the Boston Symphony a \'ibrant musical force, it needs

vigorous support. Ticket sales, recordings and broadcast revenues

generate only half the income we need. So, if you want to hear

more from us, then we need to hear from you.

Yes, I want to keep great music alive and become a Friend for the 1986-87

season. (Friends' benefits begin at $40.) Enclosed is my check for

S to the Boston Symphony Annual Fund. _ •-

'^-^Pl^^-

Name Tel

Address

^^i^City State Zip . i;iJ=UTldl^Please make check pavable to "Boston Symphony Annual Fund" and send to: ''•^'^^^^^^^^^C^

Sue Tomlin, Director of Annual Giving, Boston Svmphonv Orchestra, .; >^ '''*- j

Svmphonv Hall, Boston, MA 02115. (617) 266-1492'.KEEP GREAT MUSIC ALI\E.

54

Pension Fund Concert9 December 1986

SEIJI OZAWA, conductor

DANIEL BARENBOIM, piano

BRAHMSPiano Concerto Xo. 1 in D minor. Opus 15

Piano Concerto No. 2 in B-flat, Opus 83

Special Non-Subscription Concert8 April 1987

JOHN OLIVER, conductor

TANGLEWOOD FESTIVAL CHORUSMEMBERS OF THE BOSTON SYMPHONY ORCHESTRA

MARTINOThe White Island, for mixed chorus and chamber orchestra (world

premiere; commissioned by the Boston Symphony Orchestra for

its centennial)

BRUCKNERMass No. 3 in F minor for soloists, chorus, and orchestra

ROBERTA ALEXANDER, soprano; KATHERINE CIESINSKI. mezzo-

soprano; JOHN ALER, tenor; JOHN CHEEK, bass-baritone;

TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor

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CONDUCTORS OF THE BOSTON SYMPHONY ORCHESTRADURING THE 1986-87 SUBSCRIPTION SEASON

SEIJI OZAWA, Music Director

DENNIS RUSSELL DAVIESANDREW DAVISKlIRTMASURSIMON RATTLEKLAUS TENNSTEDTMICHAEL TILSON THOMASPASCAL VERROT, BSO Assistant Conductor

Week

Opening Night, 11,2 3,4,

6,7,9,10,17, 22, 23

8

20,21

15,16

18,19

11,12

13,145

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56

SOLOISTS WITH THE BOSTON SYMPHONY ORCHESTRADURING THE 1986-87 SUBSCRIPTION SEASON

Week

ALEXANDER, ROBERTA, soprano 13

AX, EMANUEL, piano 11

BEHRENS, HILDEGARD, soprano 22

CHEEK, JOHN, bass-baritone 8

CHUNG, KYUNG WHA, violin 18

ESKIN, JULES, cello 5

FINE, BURTON, viola 17

FLEISHER, LEON, piano 3

FORRESTER, MAUREEN, contralto Opening Night/1/10

GARRISON, JON, tenor 22

GOLANI, RIVKA, viola 21

GOMBERG, RALPH, oboe 6

HAGEGARD, HAKAN, baritone 4

HARGAN, ALISON, soprano 4

HUNT, LORRAINE, soprano 6

KENNEDY, RICHARD, tenor 22

LARSON, TIMOTHY, boy soprano 22

LEIFERKUS, SERGEI, baritone 16

LUPU, RADU, piano 15

LUXON, BENJAMIN, baritone 22

MADDALENA, JAMES, baritone 22

MATTHEWS, BRIAN, bass 22

OSGOOD, ROCKLAND, tenor ^ 22

RENDALL, DAVID, tenor 4

ROSTROPOVICH, MSTISLAY cello 17

TRUSSEL, JACQUE, tenor 22

UCHIDA, MITSUKO, piano 2

ULFUNG, RAGNAR, tenor 22

VOGEL, SIEGFRIED, bass 22

WIENS, EDITH, soprano Opening Night/1/10

YAUGER, MARGARET, mezzo-soprano 22

ZIMERMAN, KRYSTIAN, piano 23

BOSTON BOY CHOIR, 4

THEODORE MARIER, director

TANGLEWOOD FESTIVAL CHORUS, Opening Night/1/10, 4,

JOHN OLIVER, conductor 16,22YOUTH PRO MUSICA, 22

ROBERTA HUMEZ, director

57

WORKS PERFORMED AT SYMPHONY HALL SUPPER CONCERTSDURING THE 1986-87 SUBSCRIPTION SEASON

Week of

BEETHOVENDuo in E-flat for viola and cello, WoO 32 9 October

Septet in E-flat for clarinet, horn, bassoon, violin, 9 October

viola, cello, and double bass, Opus 20

Trio in G for violin, viola, and cello. Opus 9, No. 1 13 January

DEBUSSYSonata for flute, viola, and harp 30 October

DVORAKTrio in F minor for piano, violin, and cello. Opus 65 15 January

FAUREQuartet No. 1 in C minor for piano and strings, Opus 15 4 November

HAYDNTrio in F for piano, flute, and cello, Hob. XV:17 26 March

MENDELSSOHNString Quintet No. 1 in A, Opus 18 14 February

MOZARTDivertimento in E-flat for violin, viola, and cello, K.563 8 January

Quartet in C for flute, violin, viola, and cello, K,285b 13 January

Quartet in F for oboe and strings, K.370(368b) 14 February

SCHUBERTNotturno in E-flat for piano, violin, and cello, D.897 15 January

Trio No. 2 in E-flat for piano, violin, and cello, D. 929 26 March

SCHUMANNTrio No. 1 in D minor for piano, violin, 30 October

and cello, Opus 63

Quartet in E-flat for piano and strings. Opus 47 4 November

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SMETANAString Quartet No. 1 in E minor, From My Life

STRAVINSKYThree Pieces for String Quartet

WEBERNMovement for string trio (Ruhig fliessend)

14 March

14 March

8 January

SUPPER CONCERT PERFORMERS DURING THE1986-87 SUBSCRIPTION SEASON

AMLIN, MARTIN, piano

BARNES, ROBERT, viola

BENTHIN, BETTY, piano

BUYSE, LEONE, flute

DIAZ, ROBERTO, viola

ELIAS, GERALD, violin

FELDMAN, RONALD, cello

HADCOCK, PETER, clarinet

HWANG, BO YOUP, violin

KADINOFF, BERNARD, viola

KNUDSEN, SATO, cello

LEFKOWITZ, RONAN, violin

LEGUIA, LUIS, cello

LEVY, AMNON, violin

LIN, LUCIA, violin

LUDWIG, MARK, viola

McCARTY, PATRICIA, viola

MILLER, JONATHAN, cello

MOERSCHEL, JOEL, cello

OSTROVSKY, FREDY, violin

PASTERNACK, BENJAMIN, piano

PILOT, ANN HOBSON, harp

RAPIER, WAYNE, oboe

ROSEN, JEROME, violin

RUGGIERO, MATTHEW, bassoon

SEBRING, RICHARD, horn

SHAMES, JENNIE, violin

SMITH, FENWICK, flute

URITSKY, VYACHESLAy violin

WOLFE, LAWRENCE, double bass

ZARETSKY, MICHAEL, viola

Week of

26 March8 Jan, 17 Feb30 October

30 Oct, 13 Jan

4 November26 March8 January

9 October

14 Feb, 14 Mar9 Oct, 14 Feb13 Jan, 14 Mar14 March30 October

9 October

4 November14 March1

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4 Nov, 15 Jan

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59

the 6th Annual

PRESIDENTS

The BSO Salutes Business

June 3, 1987

As the leader of your company, you can give your management

team, your customers or clients, your vendors or possibly your other

business friends a very special summer treat - and at the same time

show your support of the Boston Symphony Orchestra.

Presidents at Pops 1987 is available to 108 businesses and professional

organizations on a first-come, first-served basis. For $5,000 your

company will receive 20 tickets to this event which includes pre-concert

cocktails and hors d'oeuvres, a gourmet picnic supper and a special

Boston Pops concert, conducted by Erich Kunzel, designed to delight

the corporate guests on this evening. The President or CEO of each

sponsor company is also invited to attend a very special black-tie

dinner/dance in May on the floor of Symphony Hall

- a unique and elegant experience.

If you would like more information about Presidents at Pops June 3, 1987

Call Ira Stepanian, President, Bank of Boston (434-2200)

Ray Stata, President, Analog Devices (329-4700)

Harvey Chet Krentzman, President,

Advanced Management Associates (332-3141)

Patrick J. Purcell, President, The Boston Herald (426-3000)

Madelyne Cuddeback, BSO Corporate Development (266-1492, xl38)

60

The Boston Symphony Orchestra wishes to acknowledge particularly the following

group of corporations and professional organizations for their outstanding and

exemplary response in support of the orchestra's needs during the past or current

fiscal year.

1986-87 Business Honor RoU (S10,000+ )

ADD Inc Architects General Electric Company L\T:in

Philip M. Briggs Frank E. Pickering

AT&T General Electric Plastics Business GroupRobert C. Babbitt Glen H. Hiner

Advanced Management Associates, Inc. The Gillette CompanyHar\-ey diet Krentzman Colman ^I. ^loekler, Jr

American Express Company HBil Creamer Inc.

James D. Robinson III Edward Eskandarian

AnaTog De\-ices. Inc. IB]\I Corporation

Ray Stata Paul J. Palmer

Bank of Boston John Hancook Mutual Life Insurance

William L. Bro'v^ii Company

Bank of New EnglandE. James Morton

Peter H. McCormick Stanley H. Kaplan Educational Center

BayBanks, Inc.Susan B. Kaplan

William M. Crozier. Jr.Liberty Mutual Insurance CompaniesMeh'in B. Bradshaw

Boston Edison CompanyStephen J. Sweeney

]\IcKinsey & Company, Inc.

Robert P. O'BlockBoston Financial & Equity Corporation

Sonny MonossonMoet-HemiessyF.S. Corporation

Ambassador Evan G. GalbraithThe Boston Globe Affihated Publications

Morse Shoe, Inc.William 0. Taylor

Manuel RosenbergBoston Park Plaza Hotel & Towers Neiman-MarcusRoger A. Saunders WiUiam D. Roddy

Boston Safe Deposit & Trust Company New England Telephone CompanyJames X. von Germeten Gerhard M. Freche

Bozell, Jacobs, Kenyon & Eckhardt, Inc. The New EnglandThomas Mahoney Edward E. Phillips

Cahners Publishing Company PaineWebber, Inc.In memorv of Norman L. Cahners James F. Clearj^

Carter Hawley Hale Stores, Inc. Raj1;heon CompanyPhilip M. Hawley Thomas L. Phillips

Coopers & Lybrand The Red Lion InnVincent M.b'Reilly John H. Fitzpatrick

Countrv Curtains Shawmut Bank of BostonJane P. Fitzpatrick William F Craig

Creative Gourmets, Ltd. Signal Technolog}^ Corporation

Stephen E. Elmont William E.Cook

Daniels Printing Company State Street Bank & Trust CompanyLee S. Daniels William S. Edgerly

Digital Equipment Corporation Terad\Tie, Inc.

Kenneth H. Olsen Alexander V. d'Arbeloff

D\Tiateeh Corporation WCRB Charles River Broadcasting, Inc.

J.P Barger Richard L. Kaye

E.F. Hutton & Compam-, Inc. Wang Laboratories, Inc.

S. Paul Crabtree An Wang

Fidelity Investments WCVB-T\' 5

Samuel W. Bodman S. James Coppersmith

GTE Electrical Products Za^Te Corporation

Dean T. Langford Maurice Segall

General Cinema Corporation

Richard A. Smith

61

Boston's classic 4-star restaurant at the

Copley Plaza Hotel. Valet parking. 267-5300.

f-Ci^^p.JLTElegant suppers 5:30-12:00, Mon.-Thurs.;

5:30-8:00, Fri.andSat.

Dave McKenna, resident pianist . At the

Copley Plaza Hotel. Valet parking. 26"-5300.

Artisan jewelry

LA DIFFEREMCETHE ECLECTIC BOUTIQUE

NEWBURY STREETCOMES TO NEWTON!

A combination shop/gallery featuring

museum-quality one-of-a-kind merchandise,

from paper mache to diamond rings.

' Designer clothing (including hand-knit

sweaters, the best in woolens, year-round

cruise-wear)

Original sculpture Hand blown glassware

Specializing in imports from Italy, Turkey, Israel, Greece, Mexico,

Germany, Scotland, Bali, England, Costa Rica, and Swaziland.

612 Washington St., Newton (near Mass Pike exit 17. across from Purity Supreme) 964-5669

62

lax-rree income rrom Nuveen.That's music to our ears."

W A(

X,

./

• • •#

For more complete information on Nuveen Tax-Exempt Unit Trusts, including chdfges

and expenses, call your broker or adviser for a prospectus. Read it carefully before you

invest or send money Or call 800-221-4276. (In New York State, call 212-208-2350.)

MUVEEHI T^x-Exempt Unit TVustsJohn Nuveen & Co Incorporated

Investment Bankers

f i

Carleton-Willard Village Is

an exceptional continuing

care retirement community.Gracious independent living

accommodations and fully

licensed, long-term health

care facilities exist in a

traditional New Englandenvironment.

CARLEION'WILLARD VILLAGE100 Old Billerica Rd.

Bedford, MA 01730

(617) 275-8700

Owned and operated by Carleton-Willard

Homes, Inc., a non-profit corporation

The Boston Symphony Orchestra gratefully acknowledges the following corporations and

professional organizations for their generous and valuable support totaling $1,000 + during

the past fiscal year. Names which are both capitalized and underscored in the Business

Leaders listing comprise the Business Honor Roll denoting support of $10,000+ .

Capitalization denotes support totaling $5,000-$9,999, and an asterisk indicates support

totaling $2,500-$4,999.

Business Leaders ($1,000+)

iccountants

.\KTHUR ANDERSEN & COMPANYWilliam F. Meagher

ARTHUR YOUNG & COMPANYThomas P. McDermott

300PERS & LYBRANDVincent M. O'Reilly

I!harles E. DiPesa & CompanyWilliam F. DiPesa

ERNST & WHINNEYJames G. Maguire

KMG Main HurdmanWilliam A. Larrenaga

PEAT, MARWICK,MITCHELL & COMPANYRobert D. Happ

Theodore S. Samet & CompanyTheodore S. Samet

rOUCHE ROSS & COMPANYJames T. McBride

Advertising/Public Relations

Arnold & Company, Inc.

Gerald Broderiek

BMC STRATEGIES, INC.Bruce M. McCarthy

30ZELL, JACOBS, KENYON &JICKHARDT, INC.Thomas Mahoney

Harold Cabot & Company, Inc.

William H. Monaghan

JBM/CREAMER, INC.Edward Eskandarian

>larke & Company, Inc.

Terence M. Clarke

"HE COMMUNIQUE GROUP, INC.James H. Kurland

IILL AND KNOWLTON, INC.Peter A. Farwell

iill, Holliday, Connors,

^osmopulos. Inc.

Jack Connors, Jr.

foung & RubicamMark Stroock

Aerospace

*Northrop Corporation

Thomas V Jones

PNEUMO CORPORATIONNorman J. Ryker

Architecture/Design

ADD INC ARCHITECTSPhilip M. Briggs

LEA GROUPEugene R. Eisenberg

Banking

BANK OF BOSTONWilliam L. Brown

BANK OF NEW ENGLANDPeter H. McCormick

BAYBANKS, INC.

William M. Crozier, Jr.

BOSTON SAFE DEPOSIT& TRUST COMPANYJames N. von Germeten

Cambridge Trust CompanyLewis H. Clark

Chase Manhattan Corporation

Robert M. Jorgensen

CITICORP/CITIBANKWalter E. Mercer

*Eastern Corporate Federal Credit

Union

Jane M. Sansone

First Mutual of Boston

Keith G. Willoughby

*Framingham Trust CompanyWilliam A. Anastos

NeWorld BankJames M. Oates

*Patriot Bancorporation

Thomas R. Heaslip

*Provident Financial Services, Inc.

Robert W. Brady

*Rockland Trust CompanyJohn F. Spence, Jr.

SHAWMUT BANK OF BOSTONWilliam F. Craig

STATE STREET BANK & TRUSTCOMPANYWilliam S. Edgerly

UST CORPORATIONJames V Sidell

Building/Contracting

*A.J. Lane & Company, Inc..

Andrew J. Lane

Chain Construction Corporation

Howard Mintz

Lee Kennedy Co., Inc.

Lee M. Kennedy

National Lumber CompanyLouis L. Kaitz

*Perini Corporation

David B. Perini

*JF. White Contracting

Thomas J White

Displays/Flowers

*Giltspur Exhibits/Boston

Thomas E. Knott, Jr.

*Harbor Greenery

Diane Valle

Education

BENTLEY COLLEGEGregory H. Adamian

STANLEY H. KAPLANEDUCATIONAL CENTERSusan B. Kaplan

Electrical/HVAC

*p.h. mechanical corporation

Paul A. Hayes

R&D ELECTRICAL COMPANY, INC.Richard D. Pedone

Electronics

Alden Electronics, Inc.

John M. Alden

63

1987-88 BSO Schedule

Add your name to our mailing list.

Receive a 1987-88 BSO concert schedule

and order form, and enter a

drawing to win a free

Friday Evening

Subscription Series

for two!

Coupon will be entered in a drawing for a free pair of tickets

to the 1987-88 Friday Evening Subscription Series. Drawing

will be held on September 1, 1987. Only one entry per family

permitted. Employees ofthe Boston Symphony Orchestra, Inc.

are not eligible. Winner wiU be notified by mail in early

September. Please return coupon to:

1987-88 BSO Schedule

c/o Development Office

Symphony HaU

Boston, MA 02115

YES, please send me your 1987-88 BSO schedule and

enter my name in the drawing to win a Friday Evening

Subscription Series.

Name

Address

City State

Are you currendy a BSO subscriber?

Which series do you attend?

Zip

^Analytical Systems Engineering

Corporation

Michael B. Rukin

EPSCO Inc.

Wayne P. Coffin

The Mitre Corporation

Robert R. Everett

PARLEX CORPORATIONHerbert W. Pollack

SIGNAL TECHNOLOGYCORPORATIONWilliam E.Cook

Energy

CABOT CORPORATIONFOUNDATION, INC.

Ruth C. Seheer

YANKEE COMPANIES, INC.

Paul J. Montle

Engineering

Goldberg-Zoino & Associates, Inc.

Donald T. Goldberg

Stone & Webster Engineering

Corporation

William F. Allen, Jr.

Entertainment/Media

GENERAL CINEMACORPORATIONRichard A. Smith

^lational Amusements, Inc.

Sumner M. Redstone

^^illiams/Gerard Productions, Inc.

\ William J. Walsh

Finance/Venture Capital

^.MERICAN EXPRESS COMPANYJames D. Robinson III

i/arson Limited

Herbert Carver

ARRELL, HEALER & COMPANYRichard Farrell

' 'HE FIRST BOSTON' 'ORPORATIONMark S. Ferber

LAMBRECHT & QUIST VENTUREARTNERSRobert M. Morrill

I aufman & CompanySumner Kaufman

[AASSOCIATES;

Peter A. Brooke

racy Financial, Inc.

i

Robert E. Tracy

Food Service/Industry

*Boston Showcase CompanyJason Starr

CREATIVE GOURMETS, LTD.Stephen E. Elmont

daka Food Service Management, Inc.

Terry Vince

Dunkin' Donuts, Inc.

Robert M. Rosenberg

*Federal Distillers, Inc.

Alfr^^d J. BalemaGarelick Farms, Inc.

Peter M. Bemon

HITCHCOCK CHAIR COMPANYThomas H. Glennon

The Jofran GroupRobert D. Roy

Graphic Design

Clark/Linsky Design, Inc.

Robert H. Linsky

Fader, Jones & Zarkades Design

Associates

Roger Jones

*Gill Fishman and Associates

Gill Fishman

JOHNSON O'HARE COMPANY, INCfWeymouth Design, Inc.

Harry O'Hare

MOET-HENNESSYU.S. CORPORATIONAmbassador Evan G. Galbraith

NATIONAL DISTILLERS ANDCHEMICAL CORPORATIONJohn Hoyt Stookey

Michael E. Weymouth

High Technology

Allied Corporation

Edward L. Hennessy, Jr.

ANALOG DEVICES, INC.

Ray Stata

O'Donnell-Usen Fisheries Corporation a pqllq COMPUTER INCThomas A. Vanderslice

Arnold S. Wolf

*Roberts and Associates

Richard J. Kunzig

Ruby WinesTheodore Rubin

*Silenus Wines, Inc.

James B. Hangstefer

The Taylor Wine Company, Inc.

Michael J. Doyle

Shaws Supermarkets, Inc.

Stanton W. Davis

United Liquors, Ltd.

Michael Tye

Footwear

*Jones & Vining, Inc.

Sven A. Vaule, Jr.

MERCURY INTERNATIONALTRADING CORPORATIONIrving A. Wiseman

MORSE SHOE, INC.

Manuel Rosenberg

The Rockport Corporation

Bruce Katz

STRIDE RITE CORPORATIONArnold S. Hiatt

Furnishings/Housewares

COUNTRY CURTAINSJane P. Fitzpatrick

*Aritech Corporation

James A. Synk

AT&TRobert C. Babbitt

AUGAT, INC.

Roger D. Wellington

Automatic Data Processing

Josh S. Weston

BBF Corporation

Boruch B. Frusztajer

BOLT BERANEK ANDNEWMAN INC.

Stephen R. Levy

BOSTON FINANCIAL & EQUITYCORPORATIONSonny Monosson

*Compugraphic Corporation

Carl E. Dantas

Computer Corporation of America

John Donnelly, Jr.

COMPUTER PARTNERSPaul J. Crowley

Costar Corporation

Otto Momingstar

DIGITAL EQUIPMENTCORPORATIONKenneth H. Olsen

DYNATECH CORPORATIONJ. P. Barger

65

NATHANIEL PULSIFER & ASSOCIATES

Family Ttustee and inuestment Aduisor

27 North Main Street

Ipswich MA 01938617-356-3530

BALLYOF SWITZERLAND

Casual Cruisewear

for a life of leisure.

The Catalina' bagand open toe pumpin calf.

Copley Place 437-1910welcome the American Express Card.

The difference between dressed, and well dressed.

EG&G, Inc.

Dean W. Freed

Encore Computer Corporation

Kenneth G. Fisher

General Eastern Instruments

Corporation

Pieter R. Wiederhold

GenRad Foundation

Linda B. Smoker

HELIX TECHNOLOGYCORPORATIONFrank Gabron

THE HENLEY GROUPPaul M. Montrone

Hewlett-Packard Company

Alexander R. Rankin

HONEY\VELLWarren G. Sprague

Hycor, Inc.

Joseph Hyman

IBM CORPORATIONPaul J. Palmer

nstron Corporation

Harold Hindman

' onics, Inc.

Arthur L. Goldstein

^ 1/A-COM, Inc.

Vessarios G. Chigas

lasscomp

August P. Klein

lassachusetts High Technology

' ouncil, Inc.

Howard P. Foley

: ATEC CORPORATIONTed Valpey, Jr.

: ILLIPORE CORPORATIONfohn A. Gilrnartin

1 le Norton Company)onald R. Melville

I -ion Research Incorporated

.lexander Jenkins III

^ laroid Corporation

M. Booth

' ilME COMPUTER, INC.• )e M. Henson

• IINTED CIRCUIT' 'RPORATION1 ?ter Sarmanian

YTHEON COMPANY1 lomas L. Phillips

( Tech, Inc.

I istus Lowe, Jr.

1 ELLAR COMPUTER' William Poduska

*TASCArthur Gelb

*Tech/Ops, Inc.

Mar\'in G. Schorr

TERADYNE, INC.

Alexander V d'Arbeloff

*Thermo Electron Corporation

George N. Hatsopoulos

^\ANG LABORATORIES, INC.

An Wang

*XRE Corporation

John K. Grady

Hotels/Restaurants

BOSTON PARK PLAZA HOTEL& TOWERSRoger A. Saunders

*The Hampshire HouseThomas A. Kershaw

HOWARD JOHNSON COMPANYG. Michael Hostage

Meridien Hotel

Bernard Lambert

Mildred's Chowder HouseJames E. Mulcahy

THE RED LION INNJohn H. Fitzpatrick

*Sonesta International Hotels

Corporation

Paul Sonnabend

THE WESTIN HOTELBodo Lemke

Insurance

*A.I.M. Insurance Agency, Inc.

James A. Radley

*Allied Adjustment Ser\dce

Charles A. Hubbard

Arkwright Boston Insurance

Frederick J. Bumpus

CAMERON & COLBY CO., INC.Graves D. Hewitt

*Consolidated Group, Inc.

Woolsey S. Conover

FRANK B. HALL & COMPANY OFMASSACHUSETTSColby Hewitt, Jr.

Robert D. Gordon Adjusters, Inc.

Robert D. Gordon

JOHN HANCOCK MUTUAL LIFEINSURANCE COMPANYE. James Morton

Fred S. James & Company of NewEngland, Inc.

P. Joseph McCarthy

*Johnson & Higgins

Robert A. Cameron

Kendall Insurance, Inc.

Kennett ''Skip'" Kendall, Jr.

LIBERTl^ MUTUAL INSURANCECOMPANIESMelvin B. Bradshaw

THE NEW ENGLANDEdward E. Phillips

Sullivan Risk Management Group

John Herbert Sullivan

*Charles H. Watkins & Company, Inc.

Richard P. Nyquist

Investments

Amoskeag CompanyJoseph B. Ely II

BEAR STEARNS & COMPANYKeith H. Kretschmer

E.F. HUTTON & COMPANY, INC.

S. Paul Crabtree

Endowment Management & Research

Corporation

Stephen D. Cutler

FIDELITY INVESTMENTSSamuel W. Bodman

*Fidelity Service CompanyRobert W. Blucke

Goldman, Sachs & CompanyStephen B. Kay

KENSINGTON INVESTMENTCOMPANYAlan E. Lewis

KIDDER, PEABODY &COMPANY, INC.

John G. Higgins

*Loomis Sayles & CompanyRobert L. Kemp

MORGAN STANLEY & COMPANTJack Wadsworth

Moseley, Hallgarten, Estabrook &Weeden, Inc.

Fred S. Moseley

PAINEWEBBER, INC.

James F. Clear>'

*The Putnam ManagementCompany, Inc.

Lawrence J. Lasser

SALOMON INC.

Joseph P. Lombard

SMITH BARNEY, HARRIS UPHAM& COMPANYRobert H. Hotz

* State Street Development CompanyJohn R.Gallagher III

I67

A Private Psychiatric JCAH Accredited Facility

For The Treatment Of Personality Problems,

Psychoses, Alcohol and Drug Addiction

Set among 86 acres of peaceful meadows and wooded hills, Baldpate

presents a relaxing, vacation-like atmosphere to the problem-beset

patient. Its main quarters are located in an attractive building, originally a

famous New England Inn. Its hospitable charm still permeates the cheery

rooms and provides friendly warmth in a homelike environment.

Twenty-four hour admission service

Baldpate Road Georgetown, MA 01833 (617) 352-2131

• }}

—Esquire Magazine

Boston's Finest

New Restaurant

in The Charles Hotel

One Bennett Bat Eliot Street, Cambridge

Reservations 864-1200

SENIOR CARE SPECIAUSTSLong Term Care Placement Agency

617-899-6656"Quick DecisionsAre UnsafeDeciskms"

• An available bed doesn't mean an appropriate

and scife environment.

• S.C.S. finds and recommends suitable nursing

home accommodations after researching and

assessing facilities.

• A monthly report as to the resident's progress

and well-being is also available.

• S.C.S. is totally independent and unencum-

bered by any association with hospitals, nurs-

ing homes, or health care providers.

Free Consultations Available.

dib, nurb-

4^

Investment Real Estate ManagennentBrokerage and Consulting Services

Since 1898

Donald L. Saunders.

President & Chief Executive Officer

SAUNDERS & ASSOCIATES20 Park Plaza • Boston • MA • 021 16

(617)426-4000Exclusive Agent for the Statler Office Building

68

UCKER, ANTHONY &

:. L. DAY, INC.

Gerald Segel

/ainwright Capital

John M. Plukas

rOODSTOCK CORPORATIONFrank B. Condon

, egal

] ingham, Dana & Gould

Everett H. Parker

] ickerman Law Offices

Lola Diekerman

] ish & Richardson

fohn N. Williams

I adsby & Hannahfeffrey P. Somers

( OLDSTEIN & MANELLOilichard J. Snyder

I ale & Dorr

' !*aul Brountas

! intz, Levin, Cohn, Ferris, Glovsky

i id Popeo, PC.

^rancis X. Meaney

[ issenbaum Law Offices

jerald L. Nissenbaum

I VLMER & DODGElobert E. Sullivan

I iabody & Arnold

'aulR. Devin

I i&hody & Brown/laurice Zilber

lerbume, Powers & Needham)aniel Needham, Jr.

V eiss, Angoff, Coltin, Koski &'v olf, EC.

hidley A. Weiss

inagement/Financial/Consulting

WANCED MANAGEMENTJSOCIATES, INC.[arvey Chet Krentzman

iiry Axelrod Consultants, Inc.

lany Axelrod

ITHUR D. LITTLE, INC.ohn F. Magee

lin & Company(WilliamW Bain, Jr.

IE BOSTON CONSULTINGlOUPJthur P. Contas

Jason M. Cortell & Associates, Inc.

Jason M. Cortell

The Forum Corporation

John W. Humphrey

*General Electric Consulting Services

Corporation

James J. O'Brien, Jr.

KAZMAIER ASSOCIATES, INC.Richard W. Kazmaier, Jr.

Irma S. Mann, Strategic Marketing

Irma S. Mann

McKINSEY& COMPANY, INC.Robert P O'Block

William M. Mercer-Meidinger, Inc.

Chester D. Clark

Mitchell & CompanyCarol B. Coles

*Rath & Strong, Inc.

Arnold 0. Putnam

The Wyatt CompanyMichael H. Davis

Manufacturer's Representatives

Barton Brass Associates

Barton Brass

Paul K. O'Rourke, Inc.

Paul K. O'Rourke

Manufacturing/Industry

Acushnet CompanyJohn T. Ludes

Alles Corporation

Stephen S. Berman

Ausimont

Leonard Rosenblatt

*Avondale Industries, Inc.

William F. Connell

*Barry Wright Corporation

Ralph Z. Sorenson

The Biltrite Corporation

Stanley J. Bernstein

*C.R. Bard, Inc.

Robert H. McCaffrey

William Carter CompanyManson H. Carter

Checon Corporation

Donald E. Conaway, Jr.

*Chelsea Industries, Inc.

Ronald G. Casty

Dennison Manufacturing CompanyNelson G. Gifford

ERVING PAPER MILLSCharles B. Housen

*FLEXcon Company, Inc.

Mark R. lingerer

The Foxboro CompanyEarle W Pitt

GENERAL ELECTRIC PLASTICSBUSINESS GROUPGlen H. Hiner

GENERAL ELECTRIC COMPANY/LYNNFrank E. Pickering

GENERAL LATEX & CHEMICALCORPORATIONRobert ¥7. MacPherson

THE GILLETTE COMPANYColman M. Mockler, Jr.

GTE ELECTRICAL PRODUCTSDean T. Langford

*Harvard Folding Box Company, Inc.

Melvin A. Ross

Hollingsworth & Vose CompanyGordonW Moran

The Horn Corporation

Robert H. Lang, Jr.

The Kendall CompanyJ. Dale Sherratt

The Kenett Corporation

Julius Kendall

LEACH & GARNER COMPANYPhilip F. Leach

NEW ENGLAND BUSINESSSERVICE, INC.

Richard H. Rhoads

*New England Door Corporation

Robert C. Frank

PLYMOUTH RUBBERCOMPANY, INC.

Maurice J. Hamilburg

Princess House, Inc.

Robert Haig

RAND-WHITNEY CORPORATIONRobert K. Kraft

S.A.Y. Industries, Inc.

Romilly H. Humphries

Scully Signal CompanyRobert Scully

*Soundesign Corporation

Robert H. Winer

*Sprague Electric CompanyJohn L. Sprague

Superior Pet Products, Inc.

Richard J. Phelps

69

c\'*-VE»/.

HOMEHEALTUo?™?,p?o n-1 ^ 'I

SERVICES

When it comes to effective,

affordable healtfi care,

thiere's no place like home.

That's why Family Service of Greater Boston offers

a complete range of home health services for those

who prefer to be cared for in the comfort

and privacy of their own homes.

Family Sepv'ice of Greater Boston

34 '/_' Beacon Street Boston, MA 02108

523-6400 X. 578

Beautiful Booksand Classic RecordingsCopley Place 437-0700

An Authentic Grillwith

Aged Steaks Plump Poultry

Fresh Fish Native Shellfish

grilled on

Woods & Charcoalsof

Mesquite

Sassafras

Apple

Hickory

In Boston's

BackBay Hilton

Just steps away betweenThe Christian Science

Complex and Prudential Centerwith ample indoor parking.

Dial-(617) BOODLES.

t

70

*Termiflex Corporation

William E. Fletcher

The HMK Group of Companies

Steven E. Karol

TRINA, INC.

Thomas L. Easton

H.K. Webster Company, Inc.

Dean K. Webster

Webster Spring Company, Inc.

A.M. Levine

Wire Belt Company of America

F. Wade Greer, Jr.

Media

THE BOSTON GLOBE/AFFILIATED PUBLICATIONSWilliam 0. Taylor

*The Boston Herald

Patrick J. Purcell

WBZ-TV 4

John J. Spinola

WCRB/CHARLES RIVERBROADCASTING, INC.

Richard L. Kaye

WCVB-TV 5

S. James Coppersmith

WNEV-TV 7

Se\TTiour L. Yanoff

Personnel

Emerson Personnel, Inc.

Rhoda Warren

TAD Technical Services Corporation

DavidJ. McGrath, Jr.

Printing

W.E. Andrews CompanyMartin E. Burkhardt

*Bowne of Boston, Inc.

Donald J. Cannava

*Bradford & Bigelow, Inc.

John D. Galligan

CHADIS PRINTING CO., INC.John Chadis

Courier Corporation

Alden French, Jr.

Customforms, Inc.

David A. Granoff

DANIELS PRINTING COMPANYLee S. Daniels

*Espo Litho CompanyDavid Fromer

*Grafacon, Inc.

H. Wayman Rogers, Jr.

Hub Mail

W^ally Bernheimer

*Itek Graphix Corporation

Patrick Forster

LABEL ART, INC.

J. William Flynn

Massachusetts Envelope CompanySteven Grossman

MERCHANTS PRESSDoug Clott

Rand Typography, Inc.

Mildred Nahabedian

Sir Speedy/Congress Street

Ray Cadogan

Publishing

Addison Wesley Publishing

Company, Inc.

Donald R. Hammonds

CAHNERS PUBLISHINGCOMPANYIn memory of Norman L. Cahners

HOUGHTON MIFFLIN COMPANYHarold T. Miller

Time Magazine

Jeanne Kerr

Yankee Publishing Incorporated

Rob Trovpbridge

Real Estate/Development

Amaprop Developments, Inc.

Gregory Rudolph

The Beacon Companies

Edwin N. Sidman

*Boston Financial Technology

Group, Inc.

Fred N. Pratt, Jr.

*Combined Properties Inc.

Stanton L. Black

*John M. Corcoran & CompanyJohn M. Corcoran

*Coreoran, Mullins, Jennison, Inc.

Joseph E. Corcoran

*The Flatley CompanyThomas J. Flatley

Hilon Development Corporation

Haim S. Eliachar

Historic Mill Properties, Inc.

Bert Paley

The Leggat McCall Companies

J Brad Griffith

*McGregor Associates

Kathleen McGregor

Northland Investment Corporation

Robert A. Danziger

Benjamin Sehore CompanyBenjamin Sehore

Stanmar, Inc.

Stanley W Snider

Urban Investment & Development

Corporation

R.K. Umscheid

Retail

J. Baker, Inc.

Sherman N. Baker

CARTER HAWLEY HALESTORES, INC.

Philip M. Hawley

Child World, Inc.

Dennis H. Barron

Design Pak Incorporated

Paul G. Grady

FILENE'SMichael J. Babcock

Herman, Inc.

Bernard A. Herman

*Hills Department Stores

Stephen A. Goldberger

The E.B. Horn CompanyHarry Finn

*Jordan Marsh CompanyElliot Stone

Karten's Jewelers

Joel Karten

London Harness CompanyMurray J. Swindell

NEIMAN-MARCUSWilliam D. Roddy

*Purity Supreme, Inc.

Frank P. Giacomazzi

*Saks Fifth Avenue

Ronald Hoffman

Table Toppers Inc.

Constance Isenberg

THE STOP & SHOPCOMPANIES, INC.

Avram J. Goldberg

ZAYRE CORPORATIONMaurice Segall

Science/Medical

Cambridge BioScience

Gerald F. Buck

CHARLES RIVERLABORATORIES, INC.

Henry L. Foster

71

(aSA f^MSRO

Mexican Cuisine

".. . ihe best Mexican

food [his side of Taxco . . .

the cuisine at Casa Romerois as sophisticated as

the decor ..."Gourmet

Magazine

Open Dailiifrom 6:00 P.M.

for i;our pre-concert

dining convenience

Closed Sunda\;s

Reservations: 536-4341

30 Gloucester St. , Back Bay, Boston

Successful business trips

are music to my ears.

Garber Travel has been orchestrating

travel plans for some of the

finest companies in

New England andwe've nevermissed a beat.

Call me at 734-2100.I know we can workin perfect harmony.

(Oi—* /C*-^l^_

Main Office:

1406 Beacon St.,

Brookline.

BOSTON ^v^

SYMPHONYORCHESTRA

, \^ SEIJI OZAWA

For rates andinformation on

advertising in the

Boston Symphony, ^X?'-'

Boston Pops,

and

Tanglewood program books

please contact:

STEVE GANAK AD REPS

(617)-542-6913

'^

Classic clothes for womenand men and traditional gifts

for all occasions.

Beverly, Cohasset, Concord, Marblehead, Osterville, Wellesley, Westwood

922-2040

72

*Compu-Chem Laboratories, Inc.

Claude L. Buller

D.AJHOX CORPORATIONDa^•idI. Kosowsk>-

HEALTH PROGRAJMSINTERNATIONAL, INC.

Dr. Donald B. Giddon

*J. A. Webster. Inc.

John A. Webster, Jr.

Sen'ices

.AmericanCIeaning Company, Inc.

J Joseph A. Sullivan. Jr.

*Asquith Corporation

[ Laurence L. Asquith

i*Bon Ton Rug Cleansers. Inc.

J Armen Dohanian

;*Victor Grillo & Associates

\ Victor N. Grillo

Prudential Center Garage

Frank Neweomb

Softiva re/Info nyiation Se rv ices

CULLINET SOFTWARE. INC.

John J. Cullinane

EPSILON DATAilANAGEMENT INC.

Thomas 0. Jones

Interactive Data Corporation

John Rutherfurd

International Data GroupPatrick J. McGovem

Phoenix Technologies Ltd.

Neil J. Cohin

*Software International Corporation

Frank GrjTvalski

Travel/Tra nspa rtation

Federal Express Corporation

FrederickW Smith

Gans Tire Company, Inc.

David Gans

HERITAGE TRA^'EL. INC.

Donald R. Sohn

*Lily Truck Leasing Corporation

John A. Simourian

New England Lincoln-Mercurv"

Dealers Association

J.RL\iich

THE TRANS-LEASE GROUPJohn J. McCarthy, Jr.

Travel Consultants International

Phoebe L. Giddon

rtilities

BOSTON EDISON COMPANYStephen J. Sweeney

EASTERN GAS i: FUELASSOCIATESWilliam J. Pru^Ti

New England Electric System

Paul J. Sullivan

NEW ENGLAND TELEPHONECOMPANYGerhard M. Freche

73

Inside Stories

MusicAmerica host Ron Delia Chiesa takes you "Inside the BSO" —

a series of special intermission features with members of the Boston

Symphony Orchestra and the people behind the scenes at Symphony Hall.

Inside the BSO

Fridays at 2pm

Saturdays at 8pm

WGBH897FM

74

Symphony Hall Information . . .

FOR SY^yiPHOXY HALL CONCERT ANDTICKET INFOR^LYTION, caU (617)

266-1492. For Boston S\TQphony concert

program information, caU "C-0-N-C-E-R-T."

THE BOSTON SY:\IPHONY performs ten

months a year, in SjTQphony Hall and at

Tanglewood. For information about any of

the orchestra's acti\'ities, please call S^Tn-

phony Hall, or write the Boston S\Tnphony

Orchestra, Symphony Hall, Boston, MA02115.

THE EUNICE S. AND JULIAN COHENANNEX, adjacent to S\T2iphony Hall on

Huntington Avenue, may be entered by the

Symphony Hall AYest Entrance on Hunt-

ington Avenue.

FOR sy:\iphony hall rentalINF0R:MATI0N, eall (617) 266-1492, or

write the Function Manager, SymphonyHall, Boston, MA 02115.

THE BOX OFFICE is open from 10 a.m.

until 6 p.m. Monday through Saturday; on

concert 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. whenthere is a concert that afternoon or evening.

Single tickets for all Boston Symphonysubscription concerts become available at

the box office once a series has begun. Foroutside events at S^Taphony Hall, tickets

will be available three weeks before the con-

cert. No phone orders will be accepted for

these events.

THE SY:MPH0N^ shop is located in the

Huntington Avenue stairwell near the

Cohen Annex and is open from one hour

before each concert through intermission.

The shop carries all-new BSO and musical-

motif merchandise and gift items such as

calendars, appointment books, drinking

glasses, holiday ornaments, children's

books, and BSO and Pops recordings. All

proceeds benefit the Boston S\TnphonyOrchestra. For merchandise information,

please call 267-2692.

TICKET RESALE: If for some reason youare unable to attend a Boston Symphonyconcert for which vou hold a ticket, vou mav

make your ticket available for resale by call-

ing the switchboard. 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 numberof Rush Tickets available for the Friday-

afternoon and Saturday-evening BostonSymphony concerts (subscription concerts

only). The continued low price of the Satur-

day tickets is assured through the gener-

osity of two anomTiious donors. The RushTickets are sold at $5.50 each, one to a

customer, at the S^Tuphony Hall WestEntrance on Fridays beginning 9 a.m. andSaturdays beginning 5 p.m.

LATECOMERS will be seated by the

ushers during the first convenient pause in

the program. 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.

SMOKING IS NOT PERMITTED in anypart of the S^Ttiphony Hall auditorium or in

the surrounding corridors. It is permitted

only in the Cabot-Cahners and Hatchrooms, and in the main lobby on Massachu-

setts Avenue.

A Vast Selection of

Arts, Scholarly &Literary TitlesAlmost all discounted

20% all the time$12.99 per disc on London.Deutsche Grammaphon,&Philips Compact discs.

Mail—Phone—Special orders welcome

230 Elm St., Davis Sq.Somerville 02144N. on Mass. past

Boston Book ..^ Pofter Sq. Right onlucecd Maf«houB« Day St. 3 blocks to Elm.

Davis stop on Red Line O 623-7766

75

CAMERA AND RECORDING EQUIP-MENT may not be brought into SymphonyHall during concerts.

FIRST AID FACILITIES for both menand women are available in the CohenAnnex near the Symphony Hall WestEntrance on Huntington Avenue. On-call

physicians attending concerts should leave

their names and seat locations at the

switchboard near the Massachusetts Ave-

nue entrance.

WHEELCHAIR ACCESS to SymphonyHall is available at the West Entrance to

the Cohen Annex.

AN ELEVATOR is located outside the

Hatch and Cabot-Cahners rooms on the

Massachusetts Avenue side of the building.

LADIES' ROOMS are located on the

orchestra level, audience-left, at the stage

end of the hall, and on the first-balcony

level, audience-right, outside the Cabot-

Cahners Room near the elevator.

MEN'S ROOMS are located on the orches-

tra level, audience-right, outside the HatchRoom near the elevator, and on the first-

balcony level, audience-left, outside the

Cabot-Cahners Room near the coatroom.

COATROOMS are located on the orchestra

and first-balcony levels, audience-left, out-

side the Hatch and Cabot-Cahners rooms.

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-after-

noon concerts, both rooms open at 12:15,

with sandwiches available until concert

time.

BOSTON SYMPHONY BROADCASTS:Concerts of the Boston Symphony Orches-

tra are heard by delayed broadcast in manyparts of the United States and Canada, as

well as internationally, through the BostonSymphony Transcription Trust. In addi-

tion, P^riday-afternoon concerts are broad-

cast live by WGBH-FM (Boston 89.7);

Saturday-evening concerts are broadcast

live by both WGBH-FM and WCRB-FM(Boston 102.5). Live broadcasts may also be

heard on several other public radio stations

throughout New England and New York. If

Boston Symphony concerts are not heard

regularly in your home area and you wouldlike them to be, please call WCRB Produc-

tions at (617) 893-7080. WCRB will be glad

to work with you and try to get the BSO onthe air in your area.

BSO FRIENDS: The Friends are annual

donors to the Boston Symphony Orchestra.

Friends receive BSO, the orchestra's news-

letter, as well as priority ticket information

and other benefits depending on their level

of giving. For information, please call the

Development Office at Symphony Hall

weekdays between 9 and 5. If you are

already a Friend and you have changed

your address, please send your new address

with your newsletter label to the Develop-

ment Office, Symphony Hall, Boston, MA02115. Including the mailing label will

assure a quick and accurate change of

address in our files.

BUSINESS FOR BSO: The BSO's Busi-

ness & Professional Leadership programmakes it possible for businesses to partici-

pate in the life of the Boston SymphonyOrchestra through a variety of original and

exciting programs, among them "Presi-

dents at Pops," "A Company Christmas at

Pops," and special-event underwriting.

Benefits include corporate recognition in

the BSO program book, access to the

Higginson Room reception lounge, and

priority ticket ser\'ice7 For further informa-

tion, please call the BSO Corporate

Development Office at (617) 266-1492.

76

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