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''-rO. l^?V*
BOSTONSYMPHONYORCHESTRA
SEIJI OZAWAWustc
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986-87 »
i15l«65B£NE01CTINE S A MPBOOF IMPORTED FROM FRANCE JULIUS WILE SONS* CO LAKE SUCCESS HI
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TO SEND A GIFT OF B&B LIQUEUR ANYWHERE IN THE U S CALL 1-800-238-4373 VOID WHERE PROHIBITED
Seiji Ozawa, Music Director
Carl St. Clair and Pascal Verrot,
Assistant Conductors
One Hundred and Sixth Season, 1986-87
Trustees of the 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
Aspen Music Festival
Burt Bacharach
Leonard Bernstein
Bolcom and Morris
Jorge Bolet
Boston Pops Orchestra
Boston Symphony Orchestra
Brevard Music Center
Dave Brubeck
David Buechner
Chicago Symphony Orchestra
Cincinnati May Festival
Cincinnati Symphony Orchestra
Aaron Copland
Denver Symphony Orchestra
Eastern Music Festival
Michael Feinstein
Ferrante and Teicher
Natalie Hinderas
Dick HymanInterlochen Arts Academy and
National Music CampBilly Joel
Liberace
Marian McPartland
Zubin Mehta
Metropolitan Opera
Mitchell-Ruff DuoSeiji OzawaLuciano Pavarotti
Philadelphia Orchestra
Andre Previn
Ravinia Festival
Santiago Rodriguez
George Shearing
Abbey SimonGeorg Solti
Tanglewood Music Center
Michael Tilson ThomasBeveridge Webster
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John Williams
Wolf Trap Foundation for
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M Baldwin
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-
COPLEY CONCERTO
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Shopping at Neiman-Marcusand 100 trend-setting
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Dining at 9 unique
restaurants, with even moreatthe WestinandMarriott hotels.
Third MovementAllegro Vivace
Entertainment at a 9-screen
cinema. Copley Place has
music and dancing, too.
COPLEYPIACE,
in Boston's Back Bay
®1260211
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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16
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.
Lobster pie, crisp native duck-
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pudding, grasshopper pie. Ourhearty Yankee fare and libations
taste as good as they sound.
At The Publick House, traditions of cooking and hospitality go back
about as far as symphonic ones. Why, we were feeding hungry travellers
before Beethoven had his first birthday!
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
breaking bread with us.
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PublickInnkeeper
ouse
On the Common-Sturbridge, MA (617) 3^17-3313. Exit 9 Mass.Tpke. or Exit 3 for 1-84.
27
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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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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
Silhouette by Otto B'dhler of Bruckner at
the organ
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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48
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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into a ^
star'-studded
occasion*
Join us for dinner by starlight
before or after the symphony.
Come to The Bay TowerRoom tonight. And makeit an occasion.
Monday through Saturday
from 4:30 PM.Reduced-rate parking in the building.
Reservations suggested. 723'1666.
33rd floor atop 60 State Street,
at Faneuil Hall, Boston.
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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
FRAN
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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
3
January
4 Nov, 15 Jan
9 0ct, 14Feb, 26Mar30 October
4 Nov, 15 Jan
30 October
14 February
1
5
January
9 October
9 October
8 Jan, 13 Jan
26 March14 February
9 October
30 October
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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