BOSTON. Symphony. Orchestra. SeiiiOzawa MUSIC DIRECTOR. One Hundred Eleventh Season

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(1)BOSTON. Symphony Orchestra SeiiiOzawa MUSIC DIRECTOR. One Hundred Eleventh Season.

(2) LASSALE THE ART OF SEIKO. THE 429. E.B.. HORN COMPANY. WASHINGTON STREET, BOSTON, MA. ALL MAJOR CREDIT CARDS ACCEPTED MAIL OR PHONE ORDERS (617) 542-3902 OPEN MON. AND THURS.. 'TIL 7.

(3) Seiji. Ozawa, Music Director. One Hundred and Eleventh Season, 1991-92. Trustees of the Boston Symphony Orchestra, Inc. Nelson J. Darling, Jr., Chairman Emeritus J. P. Barger,. George H. Kidder, President. Chairman. Dabney, Vice-Chairman Mrs. John H. Fitzpatrick, Vice-Chairman Mrs. Lewis. S.. David B. Arnold, Peter A. Brooke. Jr.. James F. Cleary John F. Cogan, Jr. Julian Cohen William M. Crozier, Deborah B. Davis Nina L. Doggett. Jr.. Archie C. Epps, Vice-Chairman William J. Poorvu, Vice-Chairman and Treasurer. Dean Freed Avram J. Goldberg Francis W. Hatch. Mrs. August R. Meyer Molly Millman. Julian T. Houston. Peter C. Read. Mrs. Bela T. Kalman Mrs. George I. Kaplan. Richard A. Smith Ray Stata Nicholas T. Zervas. Harvey Chet Krentzman. Mrs. Robert B.. Newman. R. Willis Leith, Jr.. Trustees Emeriti. Vernon R. Alden. Mrs. Harris Fahnestock. Mrs. George R. Rowland. Philip K. Allen. Mrs. John L. Grandin. Mrs. George Lee Sargent Sidney Stoneman. Allen G. Barry. E. Morton Jennings, Jr.. Leo L. Beranek Mrs. John M. Bradley. Albert L. Nickerson. Abram. T. Collier. Thomas D. Perry, Irving W. Rabb. Jr.. John Hoyt Stookey John L. Thorndike. Other Officers of the Corporation John Ex Rodgers, Assistant Treasurer. Michael G. McDonough, Assistant Treasurer. Daniel R. Gustin, Clerk. Administration Kenneth Haas, Managing Director Daniel R. Gustin, Assistant Managing Director and Manager of Tanglewood Michael G. McDonough, Director of Finance and Business Affairs Evans Mirageas, Artistic Administrator Caroline Smedvig, Director of Public Relations and Marketing Josiah Stevenson, Director of Development Ray F. Wellbaum, Orchestra Manager. Robert Bell, Manager of Information Systems Peter N. Cerundolo, Director of Corporate Development. Constance B.F. Cooper, Director of Boston. Symphony Annual Fund Madelyne Cuddeback, Director of Corporate Sponsorships Patricia Forbes Halligan, Director of Personnel Services. Sarah J. Harrington, Budget Manager Margaret Hillyard-Lazenby, Director of Volunteers Russell M. Hodsdon, Manager of Box Office Bernadette M. Horgan, Public Relations. Coordinator Craig R. Kaplan, Controller Nancy A. Kay, Director of Sales. Patricia Krol, Coordinator of Youth Activities. Steven Ledbetter, Musicologist. Richard Ortner, Administrator of Tanglewood Music Center Scott Schillin, Assistant Manager, Pops and Youth Activities Joyce M. Serwitz, Associate Director of Development/Director of Major Gifts Cheryl L. Silvia, Function Manager Michelle Leonard Techier, Media. &. Marketing Manager Susan E. Kinney, Assistant Director of Development. and Production Manager, Boston Symphony Orchestra Robin J. Yorks, Director of Tanglewood Development. Programs copyright ©1992 Boston Symphony Orchestra, Inc Cover by Jaycole Advertising, Inc.. &. Program Annotator Marc Mandel, Publications Coordinator John C. Marksbury, Director of Foundation and Government Support Julie-Anne Miner, Manager of Fund Reporting.

(4) Board of Overseers of the Boston Symphony Orchestra,. Inc.. John F. Cogan, Jr., Chairman Thelma E. Goldberg, Vice-Chairman Mrs. Susan D. Hall, Secretary Mrs. Herbert B. Abelow. Amanda Barbour Amis Harlan Anderson Caroline Dwight Bain Mrs. Leo L. Beranek. Lynda Schubert Bodman Donald C. Bowersock, Jr. William M. Bulger Mrs. Levin H. Campbell Earle M. Chiles Gwendolyn Cochran Hadden William F. Connell Walter J. Connolly, Jr. Jack Connors, Jr.. Mrs. Haskell R. Gordon John P. Hamill. Richard P. Morse. Daphne. David G. Mugar Robert J. Murray David S. Nelson Mrs. Hiroshi H. Nishino Robert P. O'Block Paul C. O'Brien Vincent M. O'Reilly Andrall E. Pearson. P. Hatsopoulos. Bayard Henry Glen H. Hiner Mrs. Marilyn Brachman Hoffman Ronald A. Homer Lola Jaffe. Anna Faith Jones H. Eugene Jones Susan B. Kaplan Mrs.. S.. Charles Kasdon. Richard L. Kaye Mrs. Gordon F. Kingsley. Kluchman. Albert C. Cornelio. Allen Z.. Phyllis Curtin. Koji Kobayashi. JoAnne Dickinson Harry Ellis Dickson Phyllis Dohanian. Mrs. Carl Koch. Hugh Downs Goetz B. Eaton Harriett M. Eckstein. Deborah A. England Edward Eskandarian Peter M. Flanigan Eugene M. Freedman Mrs. James G. Garivaltis Jordan L. Golding. Mark. John A. Perkins Millard H. Pryor, Jr. Robert E. Remis William D. Roddy John Ex Rodgers Roger A. Saunders Raymond H. Schneider Malcolm L. Sherman Mrs. Donald B. Sinclair Mrs.. L. Scott Singleton Ira Stepanian William F. Thompson Jr.. Lyman. Mrs. Harry L. Marks. Nathan R.. James Morton. Keizo Saji. David I. Kosowsky George Krupp John R. Laird Mrs. Hart D. Leavitt Laurence Lesser Stephen R. Levy Frederick H. Lovejoy, Diane H. Lupean Mrs. Charles P.. E.. Miller. Mark. Tishler, Jr.. Roger D. Wellington Robert A. Wells Margaret Williams-DeCelles Mrs. John J. Wilson. R. Goldweitz. Overseers Emeriti Mrs. Weston W. Adams Mrs. Frank G. Allen. Bruce A. Beal Mrs. Richard Bennink Mary Louise Cabot Johns H. Congdon Peter H.B. Frelinghuysen Mrs.. Thomas. J. Galligan. Mrs. Richard D. Hill. Susan M. Hilles Mrs. Louis. I.. Symphony. Leonard Kaplan. Mrs. Peter van. Robert K. Kraft Benjamin H. Lacy Mrs. James F. Lawrence C. Charles Marran Hanae Mori Mrs. Stephen V.C. Morris. Mrs. Jerome Rosenfeld. Mrs. Edward. Stephen Paine, Sr. David R. Pokross Daphne Brooks Prout. Luise Vosgerchian Mrs. Donald B. Wilson. Kane. Hall Operations. Robert L. Gleason, Facilities Manager James E. Whitaker, House Manager Cleveland Morrison, Stage Manager Franklin Smith, Supervisor of House Crew Wilmoth A. Griffiths, Assistant Supervisor of House Crew William D. McDonnell, Chief Steward H.R. Costa, Lighting. S.. Rice. Mrs. William C. Rousseau Mrs. William H. Ryan Francis P. Sears, Jr.. Ralph Z. Sorenson S. Stimpson Mrs. Arthur I. Strang.

(5) Officers of the. Boston Symphony Association of Volunteers. Molly Beals Millman, President Flornie Whitney, Executive Vice-President. Joan Erhard, Secretary Bonnie B. Schalm, Treasurer Betty Sweitzer, Nominating Chairman Vice-Presidents. Helen A. Doyle, Hall Services Goetz B. Eaton, Fundraising Una Fleischmann, Development Paul S. Green, Resources Development Patricia M. Jensen, Membership Kathleen G. Keith, Adult Education. Maureen Hickey, Tanglewood Ileen Cohen, Tanglewood. Ann Macdonald, Youth. Activities. Symphony Shop Tambone, Public Relations. Carol Scheifele-Holmes, Patricia L.. Business and Professional Leadership Association Board of Directors Harvey Chet Krentzman, Chairman. James. George H. Kidder William F. Meagher Robert P. O'Block Vincent M. O'Reilly. J.P. Barger. Leo L. Beranek William F. Connell Nelson J. Darling Thelma Goldberg. F. Cleary,. BPLA. President. William D. Roddy. Malcolm L. Sherman. Ray. Stata. Stephen. J.. Sweeney. Boston Symphony Orchestra concerts are funded in part by the National Endowment for the Arts and the Massachusetts Cultural Council, a state agency.. The Boston Symphony Orchestra and "The Revolution of Expression," 1911-13. "The Revolution of Expression" celebrates years 1911 and 1913.. To mark. achievements around the world between the Boston Symphony Orchestra Archives has lobby. Using photographs, letters, programs,. artistic. this celebration, the. mounted an historical display in the Cohen Wing and other historical documents preserved in the Archives, the exhibit explores the BSO between the years 1911 and 1913 and the orchestra's performances of important works composed during those years. In the photograph above, Pierre Monteux, music director of the BSO from 1919 to 1924, is shown with the score for Igor Stravinsky's Le Sacre du printemps (The Rite of Spring). Monteux conducted the first performance of the ballet production by Diaghilev's Ballet Russe at the Theatre des Champs-Elysees in Paris on May 29, 1913..

(6) EXPLORING THE CULTURAL IMPACT OF THE YEARS 1911, 1912,. Tuesday, April. 7,. 10:30. am. Friday, April 10, 2:00. Open Rehearsal Boston Symphony Orchestra. City of. Ozawa, conductor Gidon Kremer, violin Tanglewood Festival Chorus, John Oliver, conductor Music of Ives, Lourie, and Tchaikovsky. Simon. Seiji. AND 1913. pm. Birmingham. Symphony. Orchestra. conductor. Rattle,. Elise Ross, soprano. Emanuel Ax, piano Music of Schoenberg, Prokofiev, and Debussy (1912) Tickets:. $19.00. -. $49.50. Tickets: $5.00. pm A musical encounter with. Saturday, April 11, 5:30. Tuesday, April 7, 8:00 pm Boston Symphony Orchestra Seiji Ozawa, conductor Gidon Kremer, violin Tanglewood Festival Chorus, John Oliver, conductor. $19.00. -. Tickets: $5.00 (free with a. City of. Thursday, April City of. 8:00. pm. Birmingham. Symphony Simon. 9,. Orchestra. Rattle, conductor. Elise Ross, soprano. Robin Buck, baritone Tanglewood Festival Chorus, John Oliver, conductor Music of Nielsen and Ravel (1911) Tickets:. $19.00. -. $49.50. A discussion including. Orchestra.. 8:00. pm. concert). Saturday, April 11, 8:00. $49.50. of. musical demonstrations. ticket to the. Music of Ives, Lourie, and Tchaikovsky Tickets:. Simon Rattle and the City Birmingham Symphony. Symphony Simon. pm. Birmingham Orchestra. Rattle, conductor. Music of Stravinsky, Debussy, and Elgar (1913) Tickets:. $20.00. to. $52.50. Tickets are available at the. Symphony Hall Box Office, or call SymphonyCharge at (617) 266-1200, 10am - 6pm, Mon. x.-xixwztz.vmx*!'?--'**. -. Sat..

(7) BSO "Salute to. Symphony". work. Highlights. NYNEX Corporation, WCRB, WCVB, and the Boston Symphony Association of Volunteers join forces to celebrate the Boston Symphony and Boston Pops Orchestras during "Salute to Symphony" weekend, April 10-13. WCRB 102.5 FM Classical Radio Boston will begin dedicating on-air time to BSO and Boston Pops performances on April 1. The station will broadcast "Announcers' Choice: Best of the BSO" on Saturday, April 11, at 8 p.m., and will broadcast live from the Symphony Hall Open House the following day. WCRB will also be on hand on Friday, April 10, as "Salute to Symphony" begins in style with a kickoff event at South Station from 11 a.m. to 2 p.m. For the fourth consecutive year, soring the. NYNEX is. spon-. Symphony Hall Open House, a day. community, to take place on Sunday,. April 12, from 11 a.m. to 4 p.m. This year's. instrument demonstrations synthesizers as well as. Bringing the "Salute". will include. music. modern instruments. festivities to. a close. will. from Symphony Hall on Monday, April 13, on WCVB-TV Channel 5 from 7:30 to 9 p.m. Hosted by WCVB's Natalie Jacobson, Chet Curtis, and Frank Avruch, the program will feature the BSO led by Seiji Ozawa and John Williams. Members of the Boston Symphony Association of Volunteers will be answering phones in the Cabot-Cahners Room to accept pledges at (617) 262-8700 or 1-800-325-9400 throughout the weekend. Donors to "Salute to Symphony" 1992 may choose from a number of exclusive be a. live telecast. incentive gifts, including a brass keychain in. the shape of a concert ticket ($15), a child's. bookbag. (also $15), a. BSO mug. ($25), a limited-edition "Salute". or t-shirt. CD. or cas-. and a BSO golf umbrella or Boston Pops beach blanket ($60). In addition, a contribution of $50 or more will make you a Friend of the orchestra, entitling you to a varisette ($40),. Cabot-Cahners. level of. Symphony. Room on the firstOn display. Hall.. through April 6 is an exhibit celebrating "Youth Arts Month." Coordinated by Leslie Ann Miller, a member of the Massachusetts Art Educator Association, the exhibit features more than fifty works by public school students from kindergarten through twelfth grade across the state. This will be followed by an exhibit of works from the Copley Society of Boston, the country's oldest nonprofit art association (April 21 -May 18), and landscapes and seascapes by ten. RE:ART. New England. artists. from. Newton Centre (May 18-June 15). These exhibits are sponsored by the Boston Symphony Association of Volunteers, and a in. portion of each sale benefits the orchestra.. Please contact the Volunteer Office at (617) 638-9390, for further information.. Eleventh Annual "Presidents at Pops" Slated for June 3. BSO. The. of free activities and performances for the entire. in the. balcony. salutes business at the eleventh. annual "Presidents at Pops" on Wednesday, June 3, 1992. Chairman William L. Boyan, President and COO of John Hancock Financial Services, will serve as host to more than one hundred leading businesses gathered at Symphony Hall to raise more than $700,000 for the Boston Symphony Orchestra. A limited number of sponsorship packages are still available for $6,000 and include twenty tickets to the event, complete with cocktails, a picnic supper, and special Boston Pops concert. In addition, the senior executive of each sponsoring company will receive an invitation for two to the exclusive Leadership Dinner on Saturday, September 19, 1992. This unique gathering of CEOs in the greater Boston area offers an elegant evening of entertainment, fine din-. and dancing. Companies may also show by advertising in the "Presidents at Pops" program book, produced exclusively for a distinguished audience of more than 2,400 corporate hosts and their guests. For further information, please call Marie Pettibone in the BSO Corporate Development ing,. their support. Office at (617) 638-9278.. ety of benefits.. Suppers Art Exhibits in the Cabot-Cahners. Room. at. Symphony. Hall. The Boston Symphony Association. of Volun-. For the eighteenth year, a variety of Bostonarea galleries, museums, schools, and non-. teers. profit artists' organizations are exhibiting their. "Supper Talks" combine a buffet supper at. the. is. pleased to continue. BSO's evening. its. sponsorship of. series of pre-concert events..

(8) 'Culture. is. it is. not. just. an ornament;. the expression. of a nations character. *. Because culture touches on the noblest impulses within us. The Boston Company the dignity of every individual.. of. —. many. <». all,. believes our cultural institutions are central to. Which. educational. is. and. why, in addition to our enthusiastic support. social causes in. including the needs of the homeless. —. urge that you, too, lend. it. our community. the people of. continue to contribute to such cultural institutions as. We. *. The Boston Company. The Boston Symphony. Orchestra.. your continuous and generous support.. THE BOSTON COMPANY Boston Safe Deposit and Trust Company. £>. Member FDIC. An. Equal Opportunity Lender.

(9) 6:30 p.m. in the Cohen Wing's Higginson Hall with an informative talk by a BSO player or other distinguished member of the music com-. munity. "Supper Concerts" offer a chamber music performance by members of the Boston. Symphony Orchestra. Room. in the. at 6 p.m., followed. served in Higginson Hall.. Cabot-Cahners. by a buffet supper Doors open for all. Suppers at 5:30 p.m. for a la carte cocktails and conversation. These events are offered on an individual basis, even to those who are not. BSO. attending that evening's ers for. concert. Speak-. upcoming Supper Talks include BSO & Program Annotator Steven 3),. BSO. and. BSO. (Thursday, April 16).. Mark Ludwig Upcoming Supper Conviola. music of Judith Weir and Beethoven (Thursday, April 2, and Saturday, April 4) and music of Brahms (Thursday, April 23, and Tuesday, April 28). The suppers are priced at $22 per person for an individual event, $61 for any three, $82 for any four, or $118 for any six. Advance reservations must be. For reservations the week of the Supper, please call SymphonyCharge at (617) 266-1200. All reservations must be made at. least. mail.. 48 hours prior to the Supper. There. is. a. $.50 handling fee for each ticket ordered by telephone.. For further information, please. call. (617) 266-1492, ext. 516.. BSO Members. in. Concert. The Boston Artists' Ensemble performs Dandy's Trio for clarinet, cello, and piano and Brahms 's Clarinet Trio on Friday, March 27, at 8 p.m. in the Chapel Gallery of the Second Church in Newton. BSO clarinetist Thomas Martin and pianist Randall Hodgkinson join the ensemble's founder, BSO cellist Jonathan Miller, for these concerts. Single tickets are. $12 ($10 students and. seniors).. For more. information, call (617) 527-8662.. New Music, founded by BSO percusFrank Epstein, performs the Boston premieres of Gerald Humel's Wintergeist, John Harbison's The Natural World, and Daniel Lentz's Talk Radio on Monday, March 30, at Collage. sionist. 8:00 p.m. at Boston University's Tsai Per-. formance Center, 685 Commonwealth Avenue, on a program also including Arthur Jarvinen's Goldbeater's Skin and Yehudi Wyner's Passage.. i. trombone,. VOX POSAUNENCHOR. Bands. Thomas. Harvard Unibe guest conductor, and Mr. Yeo. G. Everett, Director of. Tommy. certs will feature. made by. The New England Trombone Choir at New England Conservatory, directed by BSO bass trombone Douglas Yeo, will give its annual spring concert in Jordan Hall at the Conservatory on Monday, March 30, at 8 p.m. The eighteen-member ensemble will present a 400year retrospective of chorales and hymns for. will also. principal. second violin Marylou Speaker Churchill (Tuesday, April 7),. tion call (617) 868-4582.. versity, will. Musicologist. Ledbetter (Friday, April. John Harbison conducts. Single tickets are $10 ($5 students and seniors). For more informa-. at. be soloist with the ensemble in Pederson's Blue Topaz. Also on the. program will be music of Frigyes Hidas, Wagner, and Hindemith, plus an arrangement by BSO principal trombone Ronald Barron of the final movement of Bach's Brandenburg Concerto No. 3. Admission is free. The Richmond Performance Series presents chamber music by New England composers on Sunday, April. 5,. at 3 p.m. at the Berkshire. Museum, 39 South. Street in Pittsfield. Guest. Hawthorne members Ronan Lefkowitz, Si-Jing Huang, Mark Ludwig, and Sato Knudsen — for a program including. pianist Virginia Eskin joins the. String Quartet. — BSO. MacDowell's Virtuoso Etudes for piano, Foote's Romance and Scherzo for cello and piano, Paine 's Larghetto and Humoreske for violin, cello, and piano, and Amy Beach's Piano Quintet in F-sharp minor. Admission is $14 ($12 Berkshire Museum members). For more information, call (617) 437-0204 or (413) 443-7171.. Personal Financial Planning Seminars. On. Tuesday, April 28, at 5:30 p.m., the BosSymphony Orchestra is offering the final complimentary Personal Financial Planning Seminar of the season. Featuring the BSO's gift planning consultant John Brown, the seminar will be held in the Nathan R. Miller Room. ton. of. Symphony. Hall's. Cohen Wing and includes. a complimentary dinner for those attending. Learn how you can bypass capital gains taxes, increase current income, reduce current income. and conserve you love. Advance reservations are necessary. If you are interested in tax, reduce federal estate taxes,. estate assets for those. attending, please call Joyce Serwitz, Associate. Director of Development, at (617) 638-9273..

(10) References furnished on request Armenta Adams American Ballet Theatre. David Korevaar Garah Landes Michael Lankester Elyane Laussade Marian McPartland. Michael Barrett. John Bayless Leonard Bernstein William Bolcom. John Nauman. Jorge Bolet. Seiji. Boston Pops Orchestra Boston Symphony. Luciano Pavarotti Alexander Peskanov. Chamber Players Boston Symphony. Andre Previn. Ozawa. Steve Reich. Santiago Rodriguez George Shearing Bright Sheng. Orchestra. Boston University School of Music Brooklyn Philharmonic Dave Brubeck Aaron Copland. Abbey Simon Stephen Sondheim. John Corigliano. Herbert Stessin. Leonard Shure. Tanglewood Music. Phyllis Curtin. \. Rian de Waal Michael Feinstein Lukas Foss. Center ^Nelita True Craig Urquhart. Philip Glass. Earl Wild. Karl Haas. John Williams. John. F.. Kennedy Center. for Performing Arts. Yehudi Wyner and 200 others. TIT BALDWIN OF !!! in BOSTON 98 Boylston, Boston,. MA 02116, (617) 482-2525.

(11) SEIJI. OZAWA Now. in his nineteenth year as. Symphony. Orchestra, Seiji. music director of the Boston. Ozawa became. the. BSO's. thir-. teenth music director in 1973, after a year as music adviser.. ing the. first visit. His many tours with the orchestra in Europe, the Far East, and throughout the United States have included four visits to Japan, an eight-city North American tour in the spring of 1991, and a seven-city European tour to Greece, Austria, Germany, France, and England following the 1991 Tanglewood season. In March 1979 he and the orchestra made an historic visit to China for coaching, study, and discussion sessions with Chinese musicians, as well as concerts, markto China by an American performing ensemble following the estab-. lishment of diplomatic relations.. Besides his work with the Boston Symphony, Mr.. Ozawa appears. the Berlin Philharmonic, the French National Orchestra, the. regularly with. New Japan. Philhar-. monic, the Orchestre de Paris, the Philharmonia of London, and the Vienna PhilHe has conducted opera at the Paris Opera, La Scala, Salzburg, the. harmonic.. Vienna Staatsoper, and Covent Garden. In addition to his many Boston Symphony recordings, he has recorded with the Berlin Philharmonic, the Chicago Symphony,. London Philharmonic, the Orchestre National, the Orchestre de Paris, the Philharmonia of London, the Saito Kinen Orchestra, the San Francisco Symphony, and the Toronto Symphony, among others. His recordings appear on the Deutsche Grammophon, EMI/Angel, Erato, Hyperion, New World, Philips, RCA, Sony Classical/CBS Masterworks, and Telarc labels. the. Born in 1935 in Shenyang, China, to Japanese parents, Seiji Ozawa studied Western music as a child and later graduated with first prizes in composition and conducting from Tokyo's Toho School of Music, where he was a student of Hideo Saito. In 1959 he won first prize at the International Competition of Orchestra Conductors held in Besancon, France. Charles Munch, then music director of the Boston Symphony and a judge at the competition, invited him to attend the Tanglewood Music Center, where he won the Koussevitzky Prize for outstanding student conductor in 1960. While a student of Herbert von Karajan in West Berlin, Mr. Ozawa came to the attention of Leonard Bernstein, who appointed him assistant conductor of that orchestra for the 1961-62 season. He made his first professional concert appearance in North America in January 1962, with the San Francisco Symphony. He was music director of the Chicago Symphony Orchestra's Ravinia Festival for five summers beginning in 1964, music director of the Toronto Symphony from 1965 to 1969, and music director of the San Francisco Symphony from 1970 to 1976, followed by a year as that orchestra's music adviser. He conducted the Boston Symphony Orchestra for the first time in 1964, at Tanglewood, and made his first Symphony Hall appearance with the orchestra in 1968. In 1970 he became an artistic director of Tanglewood. Mr. Ozawa holds honorary doctor of music degrees from the University of MasNew England Conservatory of Music, and Wheaton College in Norton, Massachusetts. He won an Emmy award for the Boston Symphony Orchestra's "Evening at Symphony" PBS television series. sachusetts, the.

(12) Leo Panasevich Carolyn and George Rowland chair. Alfred Schneider Muriel C. Kasdon and Marjorie C. Paley chair. Raymond Ruth. Sird. and, Carl. Shapiro chair. Ikuko Mizuno. Amnon Levy Second Violins Marylou Speaker Churchill Fahnestock chair. Music Directorship endowed by John Moors Cabot. BOSTON SYMPHONY ORCHESTRA 1991-92 First Violins. and Irving W. Rabb chair. Edgar and Shirley Grossman chair. Joseph McGauley Leonard Moss. * Sheila. Fiekowsky. Ronan Lefkowitz $Nancy Bracken * Jennie Shames *Aza Raykhtsaum. Concertmaster. Munch. Charlotte. Ronald Knudsen. * Harvey Seigel * Jerome Rosen. Malcolm Lowe Charles. Vyacheslav Uritsky. chair. Tamara Smirnova-Sajfar Associate Concertmaster. Helen Horner Mclntyre chair. $Lucia Lin. Max Hobart Assistant Concertmaster. *Valeria Vilker. Robert L. Beal, and Enid L. and Bruce A. Beal chair. * Bonnie. *Tatiana Dimitriades. Laura Park Assistant Concertmaster. *James Cooke. Edward and Bertha. *Si-Jing. C.. Rose chair. Bo Youp Hwang. Huang. Violas. Acting Assistant Concertmaster John and Dorothy Wilson chair,. Burton Fine. fully funded in perpetuity. Charles S. Dana chair ^Patricia McCarty Anne Stoneman chair,. Fredy Ostrovsky Forrest Foster Collier chair. Gottfried Wilfinger Dorothy Q. and David B. Arnold, chair, fully funded in perpetuity. fully funded in perpetuity Jr.,. Ronald Wilkison Lois and Harlan Anderson chair. Robert Barnes * Participating in. a system of rotated seating within each string section %On sabbatical leave. 10. Kuchment. Bewick.

(13) Trombones. Piccolo Geralyn Coticone. Joseph Pietropaolo Michael Zaretsky Marc Jeanneret. Evelyn and. *Mark Ludwig. C. Charles. Ronald Barron Marran chair. Norman. Oboes. *Rachel Fagerburg *Edward Gazouleas. Alfred Genovese Mildred B. Remis chair. *Kazuko Matsusaka. Wayne Rapier Keisuke Wakao English Horn Laurence Thorstenberg. Philip R. Allen chair. Martha Babcock. Beranek chair, fully funded in perpetuity. Vernon and Marian Alden chair. Sato Knudsen S.. Sandra and David Bakalar chair. Ripley. Richard C and Ellen E. Paine fully funded in perpetuity. Newman. chair. Carol Procter Lillian. * Ronald Charles. * Jerome. and Nathan R. Miller chair. Feldman and JoAnne Dickinson chair. Patterson. Clarinets. Chester Schmitz Margaret and William Rousseau chair. C.. Everett Firth. Harold Wright Ann. E-flat clarinet. Bass Clarinet Craig Nordstrom Farla and Harvey Chet. Krentzman chair. Bassoons Richard Svoboda. * Jonathan Miller. Edward A.. *Owen Young. Taft chair. Roland Small Richard Ranti. Basses. Edwin Barker. Percussion Arthur Press Assistant Timpanist Peter Andrew Lurie chair. Thomas Gauger Peter. and Anne Brooke chair. Frank Epstein William Hudgins. Harp Ann Hobson. Pilot. Willona Henderson Sinclair chair. Sarah Schuster Ericsson. Contrabassoon. Harold D. Hodgkinson chair. Lawrence Wolfe Maria Nistazos Stata chair, fully funded in perpetuity. Richard Plaster Helen Rand Thayer chair. Horns. Joseph Hearne Leith Family chair. Charles Kavalovski. Bela Wurtzler John Salkowski *Robert Olson * James Orleans *Todd Seeber. Helen Sagoff Slosberg chair. Richard Sebring. Assistant Conductors Grant Llewellyn. Robert Spano. Margaret Andersen Congleton chair. Daniel Katzen Elizabeth B. Storer chair. Jay Wadenpfuhl Richard Mackey Jonathan Menkis. *John Stovall. Walter Piston chair. Personnel Managers Lynn Larsen. Harry Shapiro. Trumpets. Librarians Marshall Burlingame William Shisler. Charles Schlueter. James Harper. Flutes. Roger Louis Voisin chair. Leone Buyse Acting Principal Flute Marian Gray Lewis chair. Peter. Chapman. Ford H. Cooper chair. Timothy Morrison. Fenwick Smith Myra and Robert Kraft. Sylvia Shippen Wells chair. S.M. Banks chair. Thomas Martin chair,. Luis Leguia Robert Bradford. Bass Trombone Douglas Yeo. Timpani. and Joseph M. Shapiro chair. Joel Moerschel * Robert. Bolter. Tuba. Cellos Jules Eskin. Esther. J. P. and Mary B. Barger chair, fully funded in perpetuity. chair. Thomas. Rolfs. 11. Stage Manager Position endowed by Angelica Lloyd Clagett. Alfred Robison.

(14) GIORGD ARMANI 22 Newbury Street, Boston, (617) 267-3200. 12.

(15) BOSTON SYMPHONY ORCHESTRA Seiji. Ozawa, Music Director. Grant Llewellyn and Robert Spano, Assistant Conductors. One Hundred and Eleventh Season, 1991-92 Thursday, March 26, at 8. March 27, at 2 Saturday, March 28, at 8. Friday,. MAREK JANOWSKI. conducting. SPOHR. Violin Concerto No. 8 in in the. Form. A minor,. Opus. 47,. of a Cantata ("Gesangsszene"). Allegro molto (Recitative). Adagio —Andante Allegro moderato. MALCOLM LOWE STRAUSS. Metamorphosen, Study for twenty-three solo strings. INTERMISSION. HAYDN. Symphony No. 99 Adagio— Vivace. in E-flat. assai. Adagio Menuetto: Allegretto; Trio Finale. Vivace. The evening concerts. will. end about 9:50 and the afternoon concert about 3:50.. RCA, Deutsche Grammophon, EMI/Angel,. New World,. Philips, Telarc,. Sony Classical/CBS Masterworks,. Erato, and Hyperion records. Baldwin piano Please be sure the electronic signal on your watch or pager during the concert.. The program books. Werk Cook and. switched off. memory of Mrs. the late Mrs. William C. Cox.. for the Friday series are given in loving. by her daughters Mrs. A.. is. 13. Hugh Bancroft. Week 20.

(16) (. OPEN HOUSE. f$EJ®s. K. wa#^*£rf&w gosixs. • Musical Performances. •. Symphony Hall Performances on Symphony Hall's Famous Organ. •. Meet Conductors and Musicians. •. Win BSO Tickets at the NYNEX Booth. •. A Live WCRB 1025 FM Broadcast. • Tours of Historic. • Refreshments Available for Purchase. The Symphony Hall Open House is part of the Boston Symphony Orchestra's weekend-long "Salute to Symphony' which will take place April 10-13. Other events include daily broadcasts on WCRB 102.5 FM and a live BSO telecast conducted by Seiji Ozawa and John Williams on WCVB Channel 5, Monday, April 13, from 7:30 to 9 pm. For further information, call (617)638-9390.. &. lifcfe 4z Cumpfom WCRB 102.5 FM RADIO NYNEX • WCVB-TV CHANNEL 5 •. KJ>^ <S. NYNE^v.

(17) Louis Spohr Violin Concerto No. 8 in. A minor,. Gesangsszene. Louis Spohr was born in Brunswick, Germany, on April 5, 1 784, and died in Kassel on October 22, 1859. He composed his A minor violin concerto in Switzerland in May 1816 and appeared as soloist in the first performance, at La Scala in Milan, that. September 28. The work was introduced to the repertory of the Boston Symphony Orchestra on. November. 12, 1881, in the fourth concert of the first. season, with. Leandro Campanari as. soloist. and. Georg Henschel conducting. It was repeated under the baton of Wilhelm Gericke (with soloists Franz Kneisel, Madge Wickham, Lady Halle [Wilma. Maria Neruda], and Fritz Kreisler) and Emil Paur (Carl Halir). Gericke and Kreisler collaborated in most recent performances, in York a few days later. In addition to the two clarinets, one bassoon, two horns, tim-. the orchestra's. February 1902, repeating. the piece in. New. violin soloist, the score calls for one flute,. pani,. and. strings.. but specialists, Louis Spohr is almost forgotten today. Few of his works are heard in live performances, though in recent years more and more of them have appeared in the recording catalogues. Renewed interest in early Romantic music, and the impetus of compact disc technology, have combined so that it is now easily possible to hear nearly a dozen concertos, several symphonies, many chamber compositions (including the Nonet and Octet, which never really lost favor), and even such expen-. To. all. works as an opera (Jessonda) and an oratorio {Die letzten Dinge). At last it is becoming possible, for the first time since his death, to evaluate the significance of Spohr on the basis of actual hearings of his work. sive large-scale. Though. music was never as highly acclaimed (or attacked) as that of his contemporaries Beethoven and Schumann, for example, it had its admirers. Indeed, the A minor violin concerto was an extremely popular piece throughout the nineteenth century. At the Boston Symphony, between 1881 and 1902, the work received seventeen performances; then for ninety years, there were none! (The popularity of Spohr at his. that time, though, explains. how W.. S. Gilbert could. make a. reference to. Bach, interwoven. With Spohr and Beethoven, At classical Monday Pops in. The Mikado and expect his audiences to understand the reference at once.) In his own day, Spohr was. among. the most significant composers in the early. Romantic movement, especially for his innovative violin concertos and his German operas, which, in some respects, anticipated Wagner by as much as twenty years. He was noted as a virtuoso on the violin; he composed some fifteen violin concertos for his own use (as well as double concertos for harp and violin to play with his wife, the harpist Dorette Scheidler). Early in his career he spent two years as director of the orchestra at the Theater an der Wien in Vienna, where he became friendly with Beethoven and composed his most popular chamber works, the Nonet and Octet, as well as his first important opera, Faust. Though Spohr admired much about Beethoven's music, his own was far less overtly dramatic. His early symphonies were surely inspired by Beethoven, but though they were abstract works in a late classical or early romantic style, they avoided the kind of powerful internal contrasts that made Beethoven's symphonies so powerful. Spohr recognized that his own style was more. 15. Week 20.

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(19) contemplative, less aggressive, concerned with shapeliness and grace, though with careful attention to the treatment of the individual instruments.. In 1822 Spohr received a long-sought permanent post, as Kapellmeister in Kassel, and settled there, conducting performances in the opera house and becoming one of the first conductors to adopt the use of the baton for greater precision of beat. He also worked to win social improvements for his musicians (the orchestra of fifty-five players. was a. large one for the day), including salary support for their dependents.. His operas after Faust made increasing use of a kind of leitmotif system that was to be developed in such detail by Wagner, and his greatest success, Jessonda (1823), was the first German opera to be set to music throughout, entirely eliminating spoken dialogue (such as had been used in Mozart's Magic Flute, Beethoven's Fidelio, and Weber's Freischutz).. Spohr was also an enthusiastic composer of oratorios, in response to a growing community choral ensembles that aimed at performing works of some difficulty and on a high moral plane. The exemplar was, of course, Handel's Messiah, though from 1830 on Spohr was also active in the revival of Bach's music, which played such an important role in the Romantic era's increasing sense of musical hisinterest in. tory. Spohr' s. own. now. oratorios, once widely performed,. virtually forgotten, included. ASSACIlMSettfl /W;-,. CftLLege. WE'RE. 0'. &. YOUR MOUTH. A authentic. NY style bagels.. RT. *•. \^J. Crafts, Arts, Art History. Art Education.. International Studios in London, Greece, Italy. and Mexico.. August Studios. fresh-from-the-oven overture:. K. tf. Courses & workshops in Art, Design, Media & Performing. MUSK TO Bruegger's 10 varieties of. °F. for. High School Students. Program of Continuing Education 621 Huntington Avenue, Boston, MA 021 15. l. • ^. Call. 617/232-1555. for. brochure. With Supreme Cheese, for a tasteful duet.. We get rave ^%S'^;AlJ. reviews. -....::. ::.''". daily!. W:^iM:MPP. 279 Mass. Ave., Boston. (Behind Symphony Hall). (617)536-6003 17. t. HtAj.

(20) Without You, This Is The Whole This year, there. is. educational and youth programs, and to attract the world's finest musicians and guest artists.. a $10.4 million difference. between what the BSO will earn — and what we must spend to make our music. Your gift to the Boston Symphony Annual Fund will help us make up that difference. It. will. Make your generous gift to the Annual Fund — and become a Friend of the Boston Symphony Orchestra today. Because without. help us continue to fund outreach,. r. Yes,. I'd like to. become. I. want. a Friend of the. begin at $50.) Enclosed. is. Picture.. you, the picture begins to fade.. ~i. to keep great music alive.. BSO. my check. for the. 1991-92 season. (Friends' benefits payable to the Boston. for $. Symphony Annual Fund.. Name. Tel.. Address. City. State. Zip. Please send your contribution to: Constance B.F. Cooper, Director of Boston. Annual Fund, Boston Symphony Orchestra, Symphony. A. portion of your. gift. may not be. Hall, Boston,. MA. Symphony. 02115.. tax-deductible. For information call (617) 638-9251.. 18. £*"". ^. ^. **". $. KEEP GREAT MUSIC ALIVE.

(21) The Last Judgment (1812), Last Things (1825-26), The Saviour's Final Hours (1834), and The Fall of Babylon (1839-40).. We. have a description in Spohr's own words of the circumstances that brought the into being. Proposing to give concerts in Italy in the fall of 1816, he and his wife spent the late spring and summer in Switzerland. They took two rooms at Thierachern, near Thun.. A minor concerto We. are. ment of. all. longing to setting in this paradise, and looking forward to the enjoy-. rural repose. I think especially to avail myself of. it. to write. some new. with very simple and easy accompaniments, for Italy, as from accounts the orchestras there are worse than those in the provincial towns of. violin compositions, all. France.. By May The. he writes:. balmy air strengthens our bodies, enlivand makes us joyous and happy. In such a disposition of mind one works easily and quickly, and several compositions lie already completed before me,— namely a violin concerto in the shape of a vocal scena and a duet for two violins. daily exercise in the beautiful, pure,. ens our. spirits,. Meeting planners who need help with their budgets should go to business school. At Bentley College's Office of Conferencing and Special Events. we know better than anyone how to work within your (C.A.S.E.),. budget without sacrificing the grade A facilities, services and amenities you need to make your meeting a success. We're conveniently located and can accommodate meetings from 15 to 1200 people. And we offer full-service catering by Marriott, recreational. facilities,. free parking. and satellite video/teleconferencing. So when you're studying locations for your next meeting, call. (617)891-CASE. to. It's. the best. earn extra credit.. Bentley College For meetings of the minds. The Office of Conferencing And Waltham, MA 02254. 19. Special Events.. way.

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(23) With the end of summer Spohr moved on to Milan, where he appeared as soloist a concert at La Scala. The orchestra kept its usual place in the pit of the opera house, while the soloists in the concert (including some singers and Spohr's harpist. in. wife as well as Spohr himself) appeared in the center of the proscenium before the curtain, exactly as if they were great opera singers taking their curtain calls. Again. Spohr describes the evening:. The house although favorable for music requires nonetheless on account of its immense size a very powerful tone and a grand but simple style of play. It is also very. difficult to satisfy. the ear with the tone of a violin in a place where people. are always accustomed to hear voices only. This consideration, and the uncertainty whether (for. whom. my method. of play and. my. compositions would please the Italians. the ascendant Paganini represented violinistic perfection). made me. somewhat nervous .... fortunately in the new concerto I had written in Switzerland, which was in the form of a Vocal Scena (Gesangsszene) I had very happily hit upon the taste of the Italians, and all the cantabile parts in particular were ,. received with great enthusiasm.. which Spohr refers was the standard pattern for music in an Italian opera of the period, one that would be immediately familiar to the audience at La Scala even without the words, costumes, and scenery that would make it overtly theatrical. The grand scena — intended for a singer— began with an orchestral introduction of somewhat stormy character, suggesting strong emotions to come. The singer began with a recitative, often in a moderately fast tempo, which described the dramatic situation and prepared the audience for an emotional musical response. This. The form. came. to. in the cavatina, a sustained, slow cantilena that allowed the singer to display. his or her abilities at the purest bet canto. (In Spohr's scena there is a strong contrast in the middle section of the first aria.). Then something must happen. to. change the. emotional temperature: a message, perhaps, or a firm decision taken. In any case, the singer explains the new situation in further recitative and moves on to the cabaletta, a fast. movement. offering the strongest possible contrast to the cavatina. the singer to display. all. and allowing. the virtuosic technique that he or she possesses.. Spohr's unusual concerto follows this pattern with astonishing exactness, despite is writing a purely instrumental work with no plot to justify the changes of mood and musical character. But in this he seems to have judged his audience superbly well and written an attractive and immediately likable piece that can still hold its own on those infrequent times when it is heard. The smooth and flowing surface of the piece makes it sound "easy" from the composer's point of view — little counterpoint or symphonic development, except in the last movement. But no less a critic than Robert Schumann warned listeners who felt above such songful directness not to believe that such facility could be easily imitated. And many composers who came after — Max Bruch and Camille Saint-Saens, to name two — found Spohr's music to offer a highly congenial approach to the violin concerto.. the fact that he. — Steven. A. Special Offer. The Boston Symphony Orchestra. is. Ledbetter. pleased to announce. a special promotion with Rizzoli Bookstore located in Copley Place, Boston.. Upon. presentation of your. purchase. This offer. is. BSO. ticket stub receive a. valid through. May 21. 3,. 1992.. 10%. discount on any.

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(25) Richard Strauss Metamorphosen, Study. for twenty- three solo strings. Georg Richard Strauss was born in Munich on June 11, 1864, and died in GarmischPartenkirchen, Bavaria, on September 8, 1949. He composed Metamorphosen between March 13 and April 12, 1945. The score is dedicated to Paul Sacher and the. Collegium Musicum Zurich, who gave the first performance on January 25, 1946. Serge Koussevitzky led the only previous Boston. Symphony Orchestra performances — in fact the first performances in the United States — on January 3 and 4, 1947, in Symphony Hall, followed by performances in Brooklyn on January 10 and New York City on the 11th. The score calls for twenty -three solo strings cellos,. and. — ten. violins, five. each of violas and. three double basses.. Richard Strauss was among the most politically naive and disengaged of composers. When World War II began and many artists left Germany, whether out of necessity for self-preservation or in political opposition to the Nazi regime, Strauss remained behind. For this he has been roundly castigated. Yet it is worth noting, in his defense, that he was already seventy years old at the time Hitler took power and over seventyfive when the war broke out. It is easy to see why someone in his position might find it nearly impossible to uproot himself at that stage of his life. He withdrew to his home in Garmisch, amidst the beauties of the Bavarian Alps, and progressively withdrew from the world as the barbarism and horror commenced. Strauss was shocked out of his ostrich-like withdrawal by the bombing, on October. 1943, of his native. 2,. Theater, where. — as. city,. Munich, with the attendant destruction of the National. Strauss recalled in a letter to his publisher Willi Schuh —. Wagner's Tristan and Meistersinger had been premiered, where he himself had first seen Der Freischutz seventy-three years earlier, and where his father had sat for many years as first horn in the orchestra. In an immediate reaction to the shock, he noted down a brief fragment of musical theme labeled u Trauer um Munchen^ ("Mourning over Munich"), but did nothing further with it for the moment.. As all. Allied pressure on the. German. the theaters on September. 1,. forces tightened, Goebbels decreed the closing of. 1944. The center of Strauss's. life's. work was,. for. the time being, gone, and he lamented that he had not died the day after the dress rehearsal of his opera Die Liebe der. Danae. in. Salzburg that August.. Far worse was yet to come, particularly on the night of February 12, 1945, when Dresden, one of Europe's most beautiful cities, was utterly destroyed in an appalling raid that still arouses strong feelings and debate over its destruction of purely nonmilitary targets and its loss of civilian life. For Strauss it was a catastrophe. Dresden had been the site of most of his operatic premieres, the locale of his greatest triumphs. Also destroyed in the bombings was Weimar, the decades-long home of the poet Goethe, who, more than any other literary figure, symbolized a humane German culture that had been destroyed in the previous decade by a madman. A few weeks later Strauss wrote to Joseph Gregor: I too. am. in a. mood. ary, destroyed!. of despair!. The Goethe House, the world's. My beautiful Dresden— Weimar — Munich,. all. greatest sanctu-. gone!. Less than two weeks after penning those words, Strauss began the composition of a for twenty- three solo instruments, incorporating the fragmentary. new work, conceived. 23. Week 20.

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(27) melody he had conceived at the time of the bombing of Munich. The resulting piece, which must have been growing somewhere deep inside for months, poured out of him; he signed the last page barely a month later. This was the most profound of all the remarkable works of Strauss's old age, the period that his biographer Norman Del. Mar. calls the. "Indian. Summer". of his long career;. that had been lost, yet one that, unlike. some. it is. a deeply. felt. threnody for. all. earlier Strauss compositions, never. parades rhetorical elaboration or showy display for. its. own. sake.. Strauss gave his new work the title Metamorphosen ("Metamorphoses"), which would seem to suggest that he was employing the time-honored romantic device of thematic development, as it had been perfected by Liszt and Wagner, to allow a melodic fragment to grow, change shape, become elaborate, and form the basis for still further elaborations. Actually, nothing of the kind occurs in Metamorphosen. The thematic material, however richly it is intertwined in elaborate contrapuntal textures, remains virtually unchanged in character from beginning to end, a rare — indeed, almost unique — occurrence in Strauss's work. The title is actually an homage to Goethe, whose works Strauss had re-read from cover to cover during the preceding year, in an effort to recapture some connection with the German cultural tradition at its best. In addition to his literary work, the polymath Goethe undertook scientific researches and produced a number of substantial studies, including a controversial Theory of Color and a more generally respected study Attempt to Explain the Metamorphosis of Plants, part of a sustained quest for unity and continuity in nature (Darwin recognized Goethe as a forerunner in this). The latter book gave Strauss his title; its poetic sense — implying a kind of organic growth that produces continuity while. FOR THAT VERY SPECIAL MOMENT, A VERY SPECIAL DINING EXPERIENCE. For that special. moment. deserving of a. P^ rM0: :. most extraordinary setting permit us to suggest The Plaza Dining Room. Long recognized as Boston's most elegant and romantic setting for dinner, we proudly introduce an exciting new menu featuring Classic American Cuisine. Add to that Boston's most renowned collection of vintage wines, and you have all the ingredients to make any occasion .. .. .. special.. Qccycmt/ AT THE COPLEY PLAZA HOTEL 138 St. James Avenue, Boston, Reservations, 617-267-5300. 25. MA 02116.

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(29) building a unified whole. — is. appropriate to the score, which otherwise has nothing to. do with botany.. Goethe is not the only giant of an older and more humane German culture to be honored in Metamorphosen. Indeed, the very first theme that Strauss notated is remarkably similar to a passage in the funeral march section of Beethoven's Eroica Symphony, and it became one of the two principal ideas of the new score:. ^^ jjg '. [Beethoven,. Symphony No.. 3,. Eroica, second movement]. [Strauss, Metamorphosen, violas 4. Hawkes Music. and. 5,. measures 9-14. Copyright Boosey. &. Publishers Ltd.]. Strauss insisted that this resemblance was purely accidental, but. it. must have been. something that developed deep within his subconscious, for, on the very last page of Metamorphosen, Strauss suddenly makes the resemblance explicit: the last three cellos and the double basses all play the full Beethoven theme, under which Strauss has written the words "IN MEMORIAM." Part of what makes Metamorphosen so powerful a piece is its rigorous use of classiand its avoidance of any easy sentimentality. The piece simply seems to grow without being poured into any pre-existent form. The opening measures present a richly sombre chorale-like melody— though one that strains its harmonic bearings from the very beginning— in the cellos. Immediately after this, two violas introduce the theme quoted above, a quiet, halting, C minor march idea. These form the material for the introductory section, with richly varied textures and free modulation through many keys. The measured tempo of the opening yields to "more flowing" as a new theme appears in the key of G. From this point on, the work becomes a freely developed musical fantasy that gradually increases in its sense of movement (through the use of smaller and smaller note values) and gradually in its tempo. With seemingly endless variety, Strauss builds his central section into a massive climax culminating in a series of urgent canonic entries of the motto theme, piled up on top of one another to a high point, followed by a sudden descent and a return to the original slow tempo. The final section further develops the dark mood of the two principal themes from the opening, arriving finally at what Del Mar calls "the nadir of hopelessness" and the memorial quotation of Beethoven's funeral march as a last glimpse and symbol of all that has been destroyed. cal contrapuntal technique,. -S.L.. 27. Week 20.

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(35) Joseph Haydn. Symphony No. 99. in E-flat. Franz Joseph Haydn was horn in Rohrau, Lower March 31, 1732, and died in Vienna on. Austria, on. May. 31, 1809.. 793 and. He. completed the. Symphony. No. 99. performance on February 10, 1794, in London. The American premiere took place in a Harvard Musical Association concert under the direction of Carl Zerrahn at the Boston Music Hall on November 17, 1870. The symphony in 1. led the first. entered the repertory of the Boston. Symphony. Orchestra on January 29 and 30, 1886; Wilhelm Gericke conducted. Other conductors. grammed. who. pro-. work here include Serge Koussevitzky, Richard Burgin, Charles Munch, William Steinthe. Eleazar de Carvalho, Colin Davis, who led the most recent subscription performances in October 1968, and Leonard Bernstein, who conducted the most recent Tanglewood performance on July 4, 1975. The score calls for two each of flutes, oboes, clarinets, bassoons, horns, and trumpets, timpani, and the usual strings. berg,. On January 19, 1794, Haydn set out from Vienna on his second and last trip to London. His first trip, under the aegis of the violinist and impresario Johann Salomon, had been so successful, both in the growth of his reputation and in the increase to his pocketbook, that a second long journey— even for a man at what was then the ripe old age of sixty-one — must have seemed desirable. Haydn's patron, Prince Anton Esterhazy, was not enthusiastic about the proposed long absence of his Kapellmeister; he could not understand why a man Haydn's age should not want to sit quietly in Vienna or in one of his country estates, enjoy his fame and newfound financial comfort, and rusticate. But that was not Haydn's way. He thrived on activity; he knew, moreover, that the English public was still favorably disposed and that English publishers were eager to issue his music. In the end he persuaded the Prince to let. him. go.. At the Austrian border a customs official asked him his line of business. Haydn answered with the normal German word for musician, "Tonkiinstler" literally "artist in tones." The officer interpreted the word as "Thonkunstler" "artist in clay," and decided that Haydn was a traveling potter. The composer cheerfully agreed.. Haydn took with him in his bags the recently completed symphony in E-flat, which we know as No. 99. He also took, among other things, a new piano trio, the minuet movements of his symphonies 100 and 101 (he composed the remainder of both works in England), and the six string quartets eventually published as Opera 71 and 74. His arrival in London was reported on February 6, and the first concert of Salomon's new series took place four days later. By now London concertgoers must have become accustomed to reviews that outdid one another in superlatives whenever a new Haydn. symphony appeared: This superb Concert [series] was last night opened for the season, and with such an assemblage of talents as make it a rich treat to the amateur. The incomparable HAYDN, produced an Overture [i.e., a symphony] of which it is impossible to. common. one of the grandest new efforts of art that we ever new in music as they are grand and impressive; it rouses and affects every emotion of the soul. — It was received with rapturous applause. (Morning Chronicle, February 11, 1794) speak in. terms. It. is. witnessed. It abounds with ideas, as. The work was. so well received that. it. was repeated a week. later, to. even greater. acclaim.. 29. Week 20.

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(37) Before he had begun to write the symphony, Haydn surely consulted with the impresario Salomon to assure that his orchestra would have clarinets, which he had never before used in a symphony. This made possible an enrichment of his writing for the woodwinds, possibly influenced in part by his late lamented younger friend. Mozart; in any. cas^e,. the winds are newly evident in. many. places throughout the. symphony.. We. are fortunate in having. some of Haydn's sketches. for the last. movement, for he. rarely saved these preliminary sheets, which give us such insight into his compositional process.. And. it is. not only modern scholars. During the months before Haydn. who have. benefited from these. Vienna, he was giving occasional comyoung man from Bonn. That young man — named Beethoven — actually copied Haydn's sketches himself, as a guide to his own advanced musical education. In fact, given Haydn's preoccupation with the forthcoming journey, it is quite possible that Beethoven learned more from these sketches — a kind of practicum in higher composition — than from the formal instrucsketches.. left. position lessons to a talented but headstrong. tion. Haydn. offered!. The slow introduction that had become a standard opening. for his late symphonies Haydn hints the most distant haron an extraordinary atmosphere as at here takes monic realms in the space of a few bars, only to settle — as we might expect — on the home dominant to begin the Vivace assai. Though this begins quietly, it soon reveals the new brilliance of Haydn's orchestral sound in the long transition that teasingly delays the arrival of the second theme with further dramatic elaborations of the opening material. Once it does arrive, however, the new theme continues to dominate the discourse through the development with sparkling wit.. The Adagio is one of Haydn's greatest slow movements, beginning with a soft melody in a dotted rhythm that recalls the slow introduction of the first movement. The reviewers at the first performances particularly commented on the woodwind solos — there are extended passages with no strings at all. A still greater surprise is the entrance of the full orchestra, including trumpets and timpani, at the arresting move to C major in the middle of the movement. The Menuet is slower and broader than some, in fact almost Landler-like, but filled with wonderfully subtle rhythmic tricks driven by the emphasis, alternatively, on main beats or offbeats.. The Trio. is. colored by a plaintive oboe solo.. Like the other sonata-rondos of Haydn's late symphonies, the composer combines a ready tunefulness with astonishing contrapuntal resources and an unmatched sense of timing that leaves us happy and breathless at the end. The two themes are first cous-. emphasizing strings, the second woodwinds). There is a moment of when the cheerful main theme is stopped at a series of fermatas and even slows briefly to an Adagio, as if all the good humor is about to be dispersed into a poignant lament. But no — the clouds vanish as suddenly as they gathered, and the good humored and brilliant contrapuntal effects race us to the satisfying ins (the first. mock-seriousness. conclusion.. -S.L.. 31. Week 20.

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(39) More. .. .. .. own autobiography. with interesting information not only about his own experiences, but about the musical life of his time, and his friendship with a wide range of musicians, of whom Beethoven is prominent. He himself only took the story as far as 1838, and the rest was written by his wife; moreover the only translation of the complete German edition is a very poor, anonymous rendering from about 1875. However the best parts deal with Spohr's early years as a traveling virtuoso, and the bulk of that material has been elegantly translated by Henry Pleasants in The MusiSpohr's. is filled. Spohr (University of Oklahoma Press). There is a new German which contains material excluded from older versions, but it has not yet been translated. We are fortunate, therefore, to have in English a fine biography with a discussion of the music: Clive Brown's Louis Spohr: A Critical Biography (Cambridge University Press), which will not be surpassed for some time to come. Sergiu Luca's performance of the A minor concerto is graceful and elegant, with appropriate backing from David Zinman and cal Journeys of Louis. edition of the complete Lebenserinnerungen, or Memoirs,. Dinner and symphony. In concert. Our symphony menu The. And. is. the perfect prelude to the performance.. fixed-price, three-course dinners are prepared. accompanied by to. free parking.. symphony with time. and served with. So you can enjoy your. style.. dinner, then stroll. to spare. For reservations, call 424-7000.. PJSfe ROMENADE At The Colonnade Hotel On Huntington Avenue. across from the Prudential Center. 33.

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(41) the Rochester Philharmonic (Nonesuch, cassette only, coupled with Beethoven's. and orchestra and the fragmentary Concerto in C, WoO 5). Jascha Heifetz's recording of the concerto with Izler Solomon and the RCA Symphony Orchestra has been reissued on compact disc (RCA Gold Seal, with the Double Quartet No. 1 and Beethoven's Opus 8 string trio).. Romances. for violin. The big biography of Richard Strauss is Norman Del Mar's, which gives equal space to the composer's life and music (three volumes, Cornell University Press; available in paperback). Michael Kennedy's account of the composer's life and works for the Master Musicians series is excellent (Littlefield paperback), and the symposium Richard Strauss: The Man and his Music, edited by Alan Walker, is worth looking into (Barnes and Noble). Kennedy also provided the Strauss article in The New Grove, available in paperback in The Modern Masters I (Norton). Herbert von Karajan's second recording with the Berlin Philharmonic of Metamorphosen is lyrically played and cleanly recorded (DG, coupled with Death and Transfiguration); there is an earlier, analogue recording by the same forces reissued on a midline CD (DG Galleria, with the Oboe Concerto and, in a beautifully sung performance by Gundula Janowitz, the Four Last Songs). Other recommended recordings include those of Herbert Blomstedt with the Dresden Staatskapelle (Denon, with Death and Transfiguration and Till Eulenspiegel) Andre Previn with the Vienna Philharmonic (Philips, coupled with the Sonatina No. 1 for winds), and Esa-Pekka Salonen with the New Stockholm Chamber Orchestra (CBS, with the Oboe Concerto and the String Sextet introduction to ,. Capriccio).. Jens Peter Larsen's excellent Haydn. article in. The New Grove (with. work-list. and. bibliography by Georg Feder) has been reprinted separately (Norton, available in. Haydn in the Master Musicians series (Littlefield a first-rate short introduction. The longest study (hardly an introducH.C. Robbins Landon's mammoth, five-volume Haydn: Chronology and Works. paperback). Rosemary Hughes's. paperback) tion!) is. (Indiana);. is. it. will. be forever an indispensable reference work, though. its. sheer bulk and. make it much more technically detailed, Howard Serwer, and James Webster. the author's tendency to include just about everything higgledy-piggledy. rather hard to digest. Highly recommended, though. Haydn. is. by Jens Peter Larsen, (Norton); it contains the scholarly papers and panel discussions held at an international festival-conference devoted to Haydn, at which most of the burning issues of Haydn research were at least aired if not entirely resolved. No consideration of Studies, edited. Haydn. should omit Charles Rosen's brilliant study The Classical Style (Viking; also a Norton paperback). Antal Dorati was the first conductor to record all of Haydn's symphonies in what was, for its time, an epoch-making series, with the Philharmonia Hungarica; these recordings, out of print in their LP versions, have been reissued on CD. Though they have been in some ways superseded by later versions, the set still occasionally offers the only reading of a given symphony (London). For a recording of just No. 99, the best choices are Adam Fischer with the Austro-Hungarian Haydn Orchestra (Nimbus CD, with the London Symphony, No. 104) and Nikolaus Harnoncourt with the Concertgebouw Orchestra (Teldec, coupled with No. 98).. -S.L.. 35. Week 20.

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(43) Marek Janowski The West German conductor Marek Janowski studied in Italy and Germany. Music director at both the Freiburg and Dortmund operas from 1973 to 1979, he has been a regular guest conductor at the leading opera houses in Paris,. Cologne, and Munich since 1979.. West. Berlin,. Hamburg,. He. has also conducted at Chicago Lyric Opera, the San Francisco Opera, and the Metropolitan Opera, at the Teatro Colon in Buenos Aires, at the Dresden Opera, and at the Orange Festival. In May 1991 he returned to the Vienna State Opera to conduct Salome. In the concert hall, Mr. Janowski has worked with the Berlin Philharmonic, Munich Philharmonic, Bayerischer Rundfunk, Dresden Staatskapelle, Boston Symphony, Chicago Symphony, London Symphony, the Philharmonia, the BBC Symphony Orchestra, other orchesSymphony in Tokyo. tras throughout Europe, and on several occasions with the From 1986 to 1990 he was music director of the Gurzenich Orchestra in Cologne. He has also been closely associated with the Royal Liverpool Philharmonic, of which he was artistic advisor from 1983 to 1986. In 1984 he was appointed music director of the Orchestre Philharmonique de Radio France. A noted recording artist, Mr. Janowski is highly acclaimed for the Ariola-Eurodisc release of Wagner's Ring with the Dresden Staatskapelle. Other discs include Weber's Euryanthe and Die schweigsame Fran for EMI, and Penderecki's The Devils of Loudun for Philips. He has recently recorded Bruckner's Fourth and Sixth symphonies for Virgin Classics with the Orchestre Philharmonique de Radio France. Mr. Janowski's current schedule includes productions of the Ring and Elektra in Munich, concert performances of the Ring in Paris, and concerts with the Boston Symphony, Chicago Symphony, Los Angeles Philharmonic, Philadelphia Orchestra, Pittsburgh Symphony, Leipzig Gewandhaus, and Tonhalle of Zurich. Mr. Janowski made his Boston Symphony debut in February 1989 and has since conducted the orchestra regularly at Symphony Hall and Tanglewood.. NHK. Serving Greater Boston Residential Properties tm,~. Sales and Rentals. Condominiums. 37.

(44) The. FINE ARTS RESTAURANT. is. the. perfect place for a pre-concert lunch or dinner.. Regional and ethnic cuisine, prepared with the freshest ingredients, to is. complement. is. artistically. art exhibits.. not required to dine. in. presented. (Museum admission. the restaurant.). Lunch:. Tuesday through Sunday,. Dinner:. Wednesday through. 1 1. :30. am - 2:30 pm - 8:30 pm. Friday, 5:30. Call direct: (617). 266-3663 or (617) 267-9300 x474. MUSEUM OF. FINE ARTS,. 465 Huntington Ave., Boston. BOSTON. MA 02115. FINE ARTS RESTAURANT. oo. or. W\o. Stay Overnight At The Ritz^Carlton And wake Up In Europe. Wake up to the cultural and culinary delights of one of the great capitals of Europe with a Cultural Evening at The Ritz-Carlton. It includes a deluxe room for two with a welcoming gift, dinner or brunch, an intimate wine tasting, a private kitchen tour with a renowned European guest chef, and use of the Le Pli Health Spa. All for a modest $250 per night based on double occupancy. Call 617-536-5700 for reservations and a complimentary Festival Magazine.. THE RITZ-CARLTON Boston. The 5th. International Cultural Festival January 6 - March 15, 1992. m OO O. The. Barcelona • Athens • Paris • Dublin • Dusseldorf • Rome Amsterdam • Madeira • Lausanne-Ouchy • Oslo. Ritz-Carlton, 15 Arlington Street, Boston,. MA 021. 17.. 38. For reservations,. call. o. oo. 617-536-5700 or 800-241-3333.

(45) Malcolm Lowe his appointment in 1984, Malcolm Lowe became the tenth concertmaster of the Boston Symphony Orchestra, and only its third concertmaster since 1920. As the orchestra's principal violin-. With. he also performs with the Boston Symphony Chamber Players. Mr. Lowe is equally at home as an orchestral player, chamber ist,. musician, solo recitalist, and teacher.. ances as soloist with the Boston. He makes. Hall and at Tanglewood, and he has returned native. Canada. frequent appear-. Symphony Orchestra. many. at. Symphony. times to his. for guest appearances as a soloist with orchestras. including those of Toronto, Montreal, and the National Arts Centre. Lowe gives solo recitals, chamber music performances, and master classes United States and Canada. He is a faculty member at the Tanglewood Music Center, the New England Conservatory of Music, and Boston University. Prior to his appointment in Boston, he was concertmaster of the Orchestre Symphonique de Quebec. Mr. Lowe has been the recipient of many awards, including art grants from the Canada Council. In 1979 he was one of the top laureate winners in the Montreal International Violin Competition. Born to musical parents — his father a violinist, his mother a vocalist — in Hamiota, Manitoba, where he was raised on a farm, Malcolm Lowe moved with his family to Regina, Saskatchewan, when he was nine. There he studied at the Regina Conservatory of Music with Howard Leyton-Brown, former concertmaster of the London Philharmonic. Mr. Lowe studied with Ivan Galamian at the Meadowmount School of Music and at the Curtis Institute of Music. He also studied violin with Sally Thomas and Jaime Laredo and was greatly influenced by Josef Gingold, Felix Galimir, Alexander Schneider, and Jascha Brodsky. of Ottawa. Mr.. in the. Our Long Term Care Is As Good As Gold. There's tremendous peace of mind in excellence. That's why our 1991 Hillhaven Gold Award is so meaningful to our residents. and. their families.. The Hillhaven family includes more than 350 nursing centers and retirement communities nationwide. Only those achieving flawless compliance on hundreds of federal standards, from resident rights to quality of life, earn the Gold Award. Others claim excellence. This. honor proves. it.. We're pleased to receive The Hillhaven Gold Award. It reflects our commitment to providing long term care of exceptional quality for our residents — long term care that's as good as gold.. presentation. *>. Manor NURSING. Home 39. 10 Bellamy Street. Brighton,. MA. (617) 782-8113. 02135.

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