Boston Symphony Orchestra concert programs, Season
Transcription
Boston Symphony Orchestra concert programs, Season
twenty 98th SEASON /- * f BOSTON SYMPHONY ORCHESTRA SEIJI OZAWA Music Director I k x tT~- ^ fflm \~kjt EXPERIENCE THE 19™CENTURY One of the gifts of the 19th century (along with Tchaikovsky, Tolstoi, others) was the ritual of the "family silver." It was in those elegant times when bringing was at out the "family silver" came to mean a profound or joyous occasion hand, one that called for something beyond the ordinary. A few of the more hallowed rituals that evolved over the generations are shown below. Next time you take out the Smirnoff Silver (it traces directly back to the original formula) observe the jewel-like flash of icy-cold Silver pouring into your glass. Smooth, with a unique 90.4 proof. Prepare to taste history. THE ONE CONCESSION TO MODERNITY FOR THE ^SILVER DRINKER: YOUR FREEZER TAKES THE PLACE OF THE NORTHERN WINTER FOR CHILLING • AND BOTTLE """ FREEZING SILVER PLUS A THIRD OF A TURN ON THE PEPPER MILL AND YOU SHOULD BE ABLE TO COUNT THE GRAINS 3& THOROUGHLY BLOT ONE BLACK OLIVE. CHILL. CHILL EVEN FURTHER WJTH ONE OUNCE OF ICY SILVER ANDICE^- mm * If this wasn't a black white ad) & we could show you what Faille's Interior Designers can do with color. We have assembled a talented group of men and women to work with you on your decorating and redecorating plans. One room or many, traditional or modern, they will share their creative ideas with you. There is no added charge for this designer service. For information, please Mrs. Scully at 426-1500, extension 156. call PAINE FURNITURE BSO CHAMBER MUSIC PRELUDES made possible by PERNOD n N€UJ S€RI€S OF PR€-SVMPHONV CHflMB€R MUSIC RND DINNCRS RVRILRBL6 TO BSO SUBSCRIB€RS 6 PM Concerts (Followed by Dinners at 7 pm) FEBRUARY 1, 3 Schubert String Trio #2 Hindemith String Trio #2 FEBRUARY 22, 24 Beethoven Serenade, op. 25 Mozart Flute Quartet in C MARCH Prokofiev Sonata for 1, 3 Two Violins Prokofiev Flute Sonata APRIL 12, 14 Brahms APRIL 21 Mozart 6 Major Duo Dvorak Terzetto Sextet, op. 18 FOR TICKET INFORMATION PLEASE CALL THE SUBSCRIPTION OFFICE AT 266-1492 Ozawa, Music Seiji Director Colin Davis, Principal Guest Conductor Joseph Silverstein, Assistant Conductor Ninety-Eighth Season 1978-1979 The Trustees of the Boston Symphony Orchestra Talcott M. Banks, Chairman Nelson John Mrs. Harris Fahnestock, Vice-President Abram T. R. Alden Allen G. Barry Leo L. Beranek Richard P. Chapman George H.A. Clowes, Jr. President Jr., L. Thorndike, Vice-President Collier, Treasurer C Epps III Morton Jennings, Jr. Edward M. Kennedy George H. Kidder Roderick M. MacDougall Edward G. Murray Archie E. Mrs. John M. Bradley Darling, Sidney Stoneman, Vice-President Philip K. Allen, Vice-President Vernon J. Inc. Thomas D. Perry, Irving Jr. W. Rabb Paul C. Reardon David Rockefeller, Jr. Mrs. George Lee Sargent John Hoyt Stookey Albert L. Nickerson Trustees Emeriti Harold D. Hodgkinson John T. Noonan Mrs. James H. Perkins Symphony Orchestra Administration of the Boston Thomas W. Morris General Manager Gideon Toeplitz Assistant Daniel R. Gustin Assistant Manager Manager Peter Gelb Joseph M. Hobbs Walter D.Hill Director of Promotion Director of Development Director of Business Affairs Candice Elizabeth Dunton Miller L. Assistant Director Director of Sales Richard C White Assistant to the of Development Manager Dorothy M. Sullivan Anita R. Kurland Charles Rawson Manager of Box Office Controller Administrator of Youth Activities Niklaus Wyss Operations Manager, James Advisor for Kiley Tanglewood the Music Director F. Katherine Whitty Coordinator of Boston Council Donald W. MacKenzie Richard Ortner Operations Manager, Symphony Hall Assistant Administrator, Berkshire Music Center Michael Steinberg Director of Publications Programs copyright © 1978 Boston 3 Symphony Orchestra, Inc. The Board of Overseers of the Boston Leo L. Symphony Orchestra Inc. Beranek Chairman Norman L. Cahners Mrs. Weston Vice Chairman Charles Adams Adams Jordan Mrs. Frank G. Allen Mrs. John Hazen Ayer Mrs. David W. Bernstein Mrs. Gerhard Bleicken Mary Louise Cabot Robert J. S. Hunt Mrs. Louise Kane I. F. Daly Mrs. Warren B. Manhard Mrs. Thomas J. Mrs. Galligan, Thomas Gardiner Mrs. Jerome Rosenfeld Mrs. George Rowland Mrs. William Ryan Francis P. Sears, Peter II Colman M. Mockler, Jr. Mrs. Elting Jr. Rosenberry Jr. Gene Shalit Mrs. John Fitzpatrick Fuller L. Rice Benjamin Lacy Lawrence P. Mrs. Samuel S. William A. Selke F. Carlton Harry Remis Mrs. Peter van Robert Kraft Mrs. James Fromm W. Newell William Poorvu Corning Kenly Mrs. C. Russell Eddy Paul Morse David Pokross Humphrey, Jr. Mrs. Jim Lee Strang Stephen Paine John Kittredge Cushman Michael Grandin Amory Houghton, Jr. Mrs. Contas P. L. P. Dr. Barbara Leonard Kaplan III Johns H. Congdon Arthur Golding Howard E. Hansen Richard Mrs. Kelton Burbank Levin H. Campbell, Richard Mrs. Richard D. Hill David Bird Mrs. L. I. Secretary Mrs. Robert Gibb F. John Q. Mrs. Arthur P. Figgins Vice Chairman E. Morison Mrs. Stephen V. C. Morris J. Samuel Sprague L. Slosberg Edward S. Stimpson Mrs. D. Thomas Trigg Mrs. Donald B. Wilson Roger Woodworth The best of the bunch. Union Warren Savings Bank Grotrian Schiedmayer August-Forster The World's finest. ^Ftbm Qerhiany Come and discover what European masters have known the incomparable excellence of sound for over a century and craftsmanship of Grotrian, Schiedmayer and AugustForster pianos. Our spacious showroom is in nearby Woburn and abounds with the world's most prestigious instruments, including pre-owned Steinways. With special prearrangement, concert grands are available for short-term performances at schools, churches and concert halls. Our complete services include sales, service, rebuilding, tuning . and in-home . . repairs. East Coast Piano 21 & Organ Wheeling Avenue, Woburn, Mass. 935-3870 BSO CBS Reports on China A special, hour-long CBS Reports on the Boston Symphony's visit to the People's Republic of China will be aired on CBS-TV/Channel 7, Friday evening, 27 April p.m. and and other aspects of the trip. CBS correspondent Ed Bradley and two camera crews were among the press party that accompanied the Orchestra. at 10 Bell will include film footage of concerts, coaching sessions, classes, System Offers Matching Grant to BSO The Bell System has earmarked $150,000 for the Boston Symphony in the form of a matching grant against Tanglewood contributions. The Bell System, in association with New England Telephone, is a major corporate contributor to the BSO at Tanglewood as part of the "Bell System American Orchestras on Tour" program, a plan of financial support for continuing national tours by seven major American orchestras from now through 1982. Additional future funding from the Bell System will assist the Orchestra in its out-of-town tours during the subscription season as well as at Tanglewood. The Musical Marathon— Over the Top! The 1979 BSO/WCRB Musical Marathon exceeded its goal of $175,000 by $29,000, bringing in a whopping total of $204,000 by the time the telephones died down at around one in the morning on Monday, 26 March. This brings the collective total for the past nine Musical Marathons to over one million dollars, and congratulations and thanks are in order for everyone whose help contributed to the success of this important and crucial undertaking. This Coach® Belt is made of real glove tanned cowhide and comes in men's and women's sizes. Friends' Page Friends' Weekend at Tanglewood By popular request, the Council is again offering a Friends' Weekend at Tanglewood. Departing Friday, 20 July at 12:30 by chartered Greyhound motor coach, the Friends will be staying at the Red Lion Inn in Stockbridge, one of New England's most distinguished and popular hostelries, and returning home on Sunday afternoon, 22 July. Some of the exciting features of the weekend are: the best tickets for the Friday and Saturday concerts; admission to the Saturday morning rehearsal; a reception for the artists in the Tent after a concert; dinners at a private home and at Seranak, former residence of Serge Koussevitzky; luncheon and tour of the Shaker Village in Hancock, Massachusetts. The cost of this weekend, including transportation, lodging, tickets, and the aforementioned events, is $215 double occupancy, including a contribution of $50 to the Boston Symphony Orchestra, $265 single occupancy, again including the $50 contribution. Because of the popularity of this trip, please make your reservations as soon as possible by calling the Friends' Office at 266-1348. There are only a limited ber of rooms available to us; therefore the group will be If honored in order of receipt. you are not a Friend, you tion Only Friends may become one by sending a contribution is num- limited to 42. Reservations are eligible to subscribe to this. at the make your reservaSymphony Hall, Boston, time you to the Friends' Office, Massachusetts 02115. Friends' Annual Meeting Don't miss the Annual Meeting of the Friends on Wednesday, 9 May, promptly at 11:15 a.m. at Symphony Hall. The traditional Pops rehearsal will be followed by cocktails and lunch. This is the occasion which Friends look forward to each year. If you are not a Friend and would like to attend, please drop by or call the Friends' Office to enroll. Council Volunteers Those unfamiliar voices you hear on the Symphony telephone when calling in belong to our own Council volunteers! Mrs. Sherman Thayer and Mrs. Richard Schanzle organized this project last fall in collaboration with the management and staff to provide better service to the ticket resales or special ticket requests public. 8 Guide to Music Festivals Tanglewood's Berkshire Music Festival and the Boston Pops season are featured in Carol Price Rabin's A Guide to Music Festivals in America, recently published by the Berkshire Traveller Press of Stockbridge, Massachusetts. BSO Concertmaster Joseph Silverstein wrote the foreword for the book, which covers classical, operatic, jazz, pop, country, and folk music festivals throughout the United States. BSO Members Live on WGBH-89.7-FM BSO members continue Saturday mornings on The Orchestra segment of WGBH-FM's Morning Pro Musica, hosted by Robert J. Lurtsema. Principal bassoon Sherman Walt will be featured on 21 April, principal trombone Ronald Barron on 28 April, and, together on 5 May, BSO Director of Promotion Peter Gelb and BSO Director of Publications Michael Steinberg. This series of interviews is made possible by grants from BASF Systems and Pastene Wine and Live inteviews with Food. A Avoid a. . 0ans experience. With a tax-deferred IRA or Keogh account that will help you live tomorrow, the way you do today. We're one of the few banks that will invest your funds in term certificates with interest guaranteed until your anticipated retirement. And we can provide you a personalized projection, based on your estimated contribution, that will tell you how much to expect when you retire. With IRA or Keogh, you'll pay no Federal income tax on money contributed until you retire. And all taxes are deferred on interest earned until received as retirement income. So you're self-employed, in a profession, or a salary earner not covered by either pension plans, remember that IRA or Keogh can take a few more financial worries out of rates if your plans Call 482-7530 for tomorrow. by any of our offices. IRA Take one before retiring. or stop Suffolk Franklin or Keogh. W^ Savings Bank. Maybe we can help. A Mutual Savings Bank Member FDIC'DIFM : - . twi Seiji Ozawa In the fall of 1973, Seiji Ozawa became the thirteenth Music Director of the Boston Symphony Orchestra since the Orchestra's founding in 1881. Born in Shenyang, China in 1935 to Japanese parents, Mr. Ozawa studied both Western and Oriental music as a child and later graduated from Tokyo's Toho School of Music with first prizes in composition and conducting. In the fall of 1959 he won first prize at the International Competition of Orchestra Conductors, Besancon, France. Charles Munch, then Music Director of the Boston Symphony and a judge at the competition, invited him to Tanglewood for the summer following, and he there won the Berkshire Music Center's highest honor, the Koussevitzky Prize for outstanding student conductor. While working with Herbert von Karajan in West Berlin, Mr. Ozawa came to the attention of Leonard Bernstein, whom he accompanied on the New York Philharmonic's spring 1961 Japan tour, and he was made an Assistant Conductor of that orchestra for the 1961-62 season. His first professional concert appearance in North America came in January 1962 with the San Francisco Symphony Orchestra. He was Music Director of the Chicago Symphony's Ravinia Festival for five summers beginning in 1963, and Music Director for four seasons of the Toronto Symphony Orchestra, a post he relinquished at the end of the 1968-69 season in favor of guest conducting numerous American and European orchestras. Seiji Ozawa first conducted the Boston Symphony in Symphony Hall in January of 1968; he had previously appeared with the Orchestra at Tanglewood, where he was made an Artistic Director in 1970. In December of that year he began his inaugural season as Conductor and Music Director of the San Francisco Symphony Orchestra. The Music Directorship of the Boston Symphony followed in 1973, and Mr. Ozawa resigned his San Francisco position in the spring of 1976, remaining Honorary Conductor there for the 1976-77 season. As Music Director of the Boston Symphony Orchestra, Mr. Ozawa has strengthened the Orchestra's reputation internationally as well as at home. In February/ March 1976, he conducted concerts in Amsterdam, Brussels, Vienna, Munich, Berlin, London, and Paris on the Orchestra's European tour. In March 1978 he brought the Orchestra to Japan, leading thirteen concerts in nine cities, an occasion hailed by critics as a triumphal return by Mr. Ozawa to his homeland. Then, at the invitation of the People's Republic of China, he spent a week working with the Peking Central Philharmonic Orchestra, and became the first foreigner in many years to lead concerts in China. Mr. Ozawa pursues an active international career and appears regularly with the orchestras of Berlin, Paris, and Japan. Since he first conducted opera at Salzburg in 1969, he has led numerous large-scale operatic and choral works. He has won an Emmy Award for outstanding achievement in music direction for the BSO's Evening at Symphony television series, and his recording of Berlioz's Romeo et Juliette has won a G rand Prix du Disque. Seiji Ozawa's recordings with the Boston Symphony on Deutsche Grammophon include works of Bartok, Berlioz, Brahms, Ives, Mahler, and Ravel, with works of Berg, Stravinsky, Takemitsu, and a complete Tchaikovsky Swan Lake forthcoming. For New World records, Mr. Ozawa and the Orchestra have recorded works of Charles Tomlinson Griffes and Roger Sessions's When Lilacs Last in the Dooryard Bloom'd. 10 Bass Clarinet Craig Nordstrom Violas Burton Fine Charles S. Dana chair Eugene Lehner Robert Barnes Jerome Lipson Bernard Kadinoff Vincent Mauricci Earl ^^^ * * Hedberg Joseph Pietropaolo Michael Zaretsky Marc Jeanneret Betty Benthin Bassoons Sherman Walt Edward A. Taft chair Roland Small Matthew Ruggiero Contrabassoon Richard Plaster Horns Charles Kavalovski Helen Sagoff Slosherg chair Cellos Jules Eskin BOSTON SYMPHONY ORCHESTRA Charles Yancich Philip R. Allen chair Martin Hoherman 1978/79 Vernon and Marion Alden chair Mischa Nieland Jerome Patterson First Violins f Joseph Silverstein Concertmaster Charles Munch * chair h Robert Ripley Luis Leguia Carol Procter Max Hobart Ronald Feldman Joel Moerschel Jonathan Miller Martha Babcock Cecylia Arzewski Basses Roger Shermont Edwin Barker Emanuel Borok h Assistant Concertmaster h Helen Horner Mclntyre chair h Max Winder Harry Dickson Gottfried Wilfinger Fredy Ostrovsky Leo Panasevich Sheldon Rotenberg Harold D. Hodgkinson chair Will Rhein Joseph Hearne Bela Wurtzler * Raymond Sird * Ikuko Mizuno Amnon Levy Flutes Bo Youp Hwang Doriot * * * Gerald Gelbloom Leslie Anthony Dwyer Fenwick Smith Paul Fried Laszlo * * * * * * * * * * * Nagy Piccolo Lois Schaefer Evelyn and C. Charles Marran chair Oboes Mildred Remis chair Wayne Harvey Seigel Jerome Rosen Sheila Fiekowsky English Horn Laurence Thorstenberg Participating in a system of rotated seating within each string section. Armando Ghitalla Roger Louis Voisin chair Andre Come Rolf Smedvig Trombones Ronald Barron Gordon Hallberg Tuba Chester Schmitz Timpani Everett Firth Sylvia Shippen Wells chair Percussion Charles Smith Arthur Press Thomas Gauger Frank Epstein Harps Ann Hobson Personnel Managers William Moyer Harry Shapiro Ralph Gomberg Michael Vitale Darlene Gray Ronald Wilkison Gerald Elias Ronan Lefkowitz Emanuel Boder Joseph McGauley Trumpets Bernard Zighera Fahnestock chair Vyacheslav Uritsky Michel Sasson Ronald Knudsen Leonard Moss Pottle Assistant Timpani Walter Piston chair Second Violins Marylou Speaker Richard Mackey Ralph Norman Bolter Martin John Salkowski John Barwicki Robert Olson Lawrence Wolfe Alfred Schneider David Ohanian B. Rapier Alfred Genovese Clarinets Harold Wright AnnS. M. Banks chair Pasquale Cardillo Peter E Hadcock flat clarinet 11 Librarians Victor Alpert William Shisler James Harper Stage Manager Alfred Robison BOSTON SYMPHONY ORCHESTRA 1b, Seiji Ozawa, Music Director BOSTON Colin Davis, Principal Guest Conductor Joseph Silverstein, Assistant Conductor Ninety-Eighth Season Thursday, 19 April at 11 COLIN DAVIS conducting TCHAIKOVSKY Romeo and /w//ef, Overture- Fantasy after Shakespeare WALTON Symphony No. 1 Allegro assai Presto, con malizia Andante con malinconia Maestoso— Brioso ed ardentemente Vivacissimo— Maestoso This concert will end about 12:10 Deutsche Grammophon, Philips, RCA, and New World records Baldwin piano 12 BOSTON SYMPHONY ORCHESTRA Seiji Ozawa, Music Director BOSTON Colin Davis, Principal Guest Conductor SYMPHONY Joseph Silverstein, Assistant Conductor ORCHESTRA SEIJI Ninety-Eighth Season OZAWA Musk Thursday, 19 April Direilor at 8 Friday, 20 April at 2 Saturday, 21 April at 8 Tuesday, 24 April at 8 COLIN DAVIS conducting SIBELIUS Karelia Suite, Opus 11 Intermezzo Ballade Alia marcia En Saga, symphonic poem, Opus 9 SIBELIUS INTERMISSION WALTON Symphony No. 1 Allegro assai con malizia Andante con malinconia Maestoso— Br ioso ed ardentemente Vivacissimo— Maestoso Presto, Thursday's, Saturday's, and Tuesday's concerts will end about 9:50 and Friday's about 3:50. Deutsche Grammophon, Philips, RCA, and New World records Baldwin piano The program books in loving for the Friday series are given memory of Mrs. Hugh Bancroft by her daughters Jessie Bancroft Cox and Jane Bancroft Cook. 13 SPEND YOUR SATURDAY MORNINGS WITH THE ORCHESTRA ON 'GBH RADIO Join Morning Pro Musica host insights in to the Orchestra's Robert J. Lurtsema management, production and for a fas- cinating series exploring the inner workings of a phony music. modern symThis week's guest: orchestra. Sherman Walt, bassoon Each week, special guests from the Boston Symphony Orchestra will he on hand to share their BOSTON SYMPHONY ORCHESTRA SEIJI OZAWA Music Director iiT , \» THE ORCHESTRA Morning Pro Musica Saturday 7:00-12:00 noon 'GBH RADIO a BASF THE ORCHESTRA is made 89.7 FM M Pastime Pastene Wine possible hy grants from & food, i BASF, Magnetic Tape Division and Pastene Wine and 14 FtxxJ. Pyotr Ilyich Tchaikovsky Romeo and Juliet, Overture-Fantasy after Shakespeare Pyotr Ilyich Tchaikovsky was born at Votkinsk, district of Vyatka, on 25 April May (new style) (old style) 17 died in St. Petersburg on 6/18 1840 and May He completed Romeo and Juliet 1893. in 1869. Nikolay Rubinstein conducted the performance at a concert of the Russian Musical Society in Moscow on 4/16 first March 1870. The first performance by the Boston Symphony was given on 7 Febru- ary 1890, Arthur Nikisch conducting. Subsequent performances were led by Emil Paur, Wilhelm Gericke, Karl Muck, Max Fiedler, Pierre Monteux, Richard Burgin, Serge Koussevitzky, Albert Stoessel, Leonard Bernstein, Charles Munch, Igor Markevitch, recently in Boston, Claudio Abbado, in February of 1971. Seiji Tanglewood The score in August calls for that same Ozawa and most led the work at year. two flutes, piccolo, two oboes, English horn, two clarinets, two bas- soons, four horns, two trumpets, three trombones, tuba, timpani, bass drum, cymbals, harp, and strings. In a dear distant day before campuses became politicized and student protest endemic, when "town-and-gown" implied peaceful coexistence with only occasional high jinks, many a plangent collegiate voice was raised in close harmony to these lines in the Glee Club Songby Fred Newton Scott (1860-1931): I am the hero of this little tale; I am that sadly susceptible male. I'm Romeo, Romeo. . . . With or without apologies for the inelegance of this lyric, Tchaikovsky's Romeo and Juliet would be less comprehensible in any other perspective. Not, of course that Pyotr Ilyich actually encountered the Scott doggerel. Even granted that such dubious verse could have been written by a child, presumably it was not yet perpetrated and in any case it was not yet published when Tchaikovsky composed his "overture-fantasy" in the autumn of 1869. The point is rather how very similarly Tchaikovsky identified with Shakespeare's hapless swain. That inference maybe argued— as on all the supinto question. Beyond any reason- history always is— but porting evidence its validity cannot be called Tchaikovsky in his thirtieth year could have said of himself, like " Romeo in the Glee Club Song, "Scarce did a lover e'er do as I did. To be sure, the primary extramusical connotations of Romeo and Juliet are an irrevocable part of every listener's identification with the Shakespearean prototype (and its by-products down to West Side Story). But the background of Tchaikovsky's score does include something extra: the only woman who ever able doubt . precipitated him into a catharsis of heterosexual love. 15 . Perhaps significantly, she was not Russian but French. Her name was Desiree She was a soprano, and from all reports an extremely gifted one. The dependable Hermann Laroche reflected the consensus when he wrote of her: "It is not too much to say that in the entire realm of music, through the entire gamut of lyric emotion, there was no idea or form of which this admirable artist was unable to give a poetic account." Tchaikovsky had been enchanted by Artot's Artot. Desdemona (with company) at the Bolshoy. Shortly thereafter, thanks initially to prodding from Anton Rubinstein, he overcame his shyness long enough to pay her a call. They hit if off from the first, and from then forward he was seeing her daily. Less than four months after that Otello, the die seemed to be cast: on New Year's Day, 1869, Tchaikovsky informed his father that "if nothing prevents it, our wedding will take place this summer." The "if" was, however, no small consideration. In the same letter he confessed misgivings over Mile. Artot's plan to continue her career, marriage or not: "On the one hand I love her, heart and soul, feel that I cannot exist without her any longer; on the other hand, cool common sense tells me to weigh more carefully the misfortunes with which my friends threaten me They insist that if I marry a famous singer I shall play the pitiful role of 'his wife's husband'; that I shall live at her expense and follow her about Europe; and finally that I shall lose all chances for work, so that when my first love has cooled I shall have nothing but disillusionment and depression. The risk of such a catastrophe might be avoided if she would agree to abandon the we have agreed that I am to visit her this summer at stage and live in Russia . . a touring Italian . . . . her country place (outside Paris), when our IOISfe ROMENADE In The Colonnade Hotel. 120 Huntington Avenue. 7 AM to (Saturday Midnight. 'til 1:00 AM Live background music nightk In-hotel parking available Telephone: 261-2800 16 fate will be decided." Their fate would be decided well before that, as it turned out— and unfor- tunately not by Tchaikovsky. In detailing this affair most of the biographers are "explain" what at a loss to they apparently perceive as behavior unbecoming to a homosexual. The exception as usual is Herbert Weinstock, who resolves the dilemma in a sentence: it may be assumed that Pyotr was with the dazzling artist Desiree Artot rather than with the woman herself." Be that as it may, the truth is that we will never know how the romance might have developed because Tchaikovsky's intentions were thwarted by a Spanish baritone in Warsaw (whither the peregrinating opera troupe had proceeded from Moscow). Early in February the composer was devastated by the news that Artot had become the bride of one Mariano Padilla y Ramos. So that was that. But even by the following December, while he was finishing Romeo and Juliet, Tchaikovsky by no means had recovered from his rejection. Artot that month returned to the Bolshoy to sing Marguerite in Faust. The forlorn composer did not fail to attend. We are told that "he sat rigid in his seat throughout the performance, opera glasses to his eyes, tears running down his cheeks." Diagnosis from a distance is a perilous business, even when it can be done in the safety of ex post facto hindsight. Still, it seems not unreasonable to conjecture that Artot's spurning him for another man merely confirmed, in the composer's heart of hearts, a conviction of masculine inadequacy that already had troubled Tchaikovsky and now would possess him. A competent psychoanalyst could have been very helpful just then— but therapy also might have prevented the composer from sublimating his mortification in such eloquent expressions as Romeo and Juliet. Ilyich in love, he observes, "but eff^&b/es/mfr • MERCEDES-BENZ • BMW • ROLLS ROYCE • PRESTIGE USED CARS (Imported & Domestic) • CONVENIENT INTOWN LOCATION • SALES — SERVICE — PARTS Foreign Motors 1095 Commonwealth Ave. ROLLS Boston 787-3000 ROYCE 17 Investments that ring less of Gotterdammerung and more of Das Rheingold. Fidelity Management & Research Co. Investment Advisor to the Fidelity Group of Funds 82 Devonshire Street, Boston, Massachusetts 02 109, Tel. 726-0650 of Greek Mythology, wrought in 18kt ruby eye and dia- SHREVE, artistically yellow gold, features a fiery monds pave-set in platinum. You'll find Pegasus on the cover of our new all-color 1978-79 Year- CRUMPS LOW CO. book. $9500. Catalogue $2. 330 BOYLSTON ANTIQUES • CHINA • ST., JEWELERS SINCE 1800 BOSTON, MASS. 02116 CRYSTAL • (617) SILVER 18 267-9100 • AND THE MALL AT CHESTNUT GIFTS • HILL STATIONERY Listeners disinclined to Freudian notions may take refuge in the view perhaps by Alfred Frankenstein: "Tchaikovsky's father died peacefully of natural causes and still his son was able to write a Hamlet; there is a difference between a symphonic poem and a diary, and the events of the day may sometimes be conditioned by the writing of the music rather than the other way around." Whatever the true clinical picture, Tchaikovsky would not again give his love to a woman. (Eight years later he did, in fact marry one; but this union was to collapse without consummation after forty-eight ghastly hours that drove the composer to an almost-successful attempt at suicide.) And it remains an open question to what extent Romeo and Juliet represents a return on Tchaikovsky's enormous emotional investment in Desiree Artot. That there is nevertheless some meaningful correlation would seem to be quite beyond argument. In all objectivity it needs to be mentioned that the specific impetus for this music came from Mily Balakirev, who had himself composed an overture to King Lear and who had then decided that the Shakespeare of Romeo and Juliet would be particularly amenable to Tchaikovskian sensibilities. Balakirev was right, though not necessarily for the reasons he had in mind. Pyotr Ilyich accepted the suggestion with alacrity— and to implement it he even put aside several projects then in progress, which may or may not be a commentary on the unrequited affaire de coeur with Desiree Artot. It should be noted also that the premiere of Tchaikovsky's Romeo and Juliet— at Moscow, Nicholas Rubinstein conducting, on 16 March 1870 — was not at all successful. The ever self-critical composer devoted much of that summer and fall to overhauling the score. The final version, thanks again to the elder Rubinstein, was brought out the following May by the prestigious German house of Bote und Bock. Even as revised, however, the work made its way slowly. (Balakirev, who had made a damned nuisance of himself during the period of composition, never could bring himself to express unqualified approval of what had been done with "his" idea.) But happily the composer lived to see this "overture- fantasy" securely ensconced in the international repertoire. Although Romeo and Juliet as published is in pure sonata form, it does not invite formal analysis because so many of its programmatic implications are unmistakable. The quasi-ecclesiastical harmonies in the introductory pages patently depict the sympathetic ministrations of Friar Laurence. Furtive pizzicati and ominous timpani rolls clearly foretell the conflict to come. Soon we hear masses of tone rushing from opposite sides of the orchestra, as if to summon the forces of the feuding Montagues and Capulets. The ensuing love scene is unfolded with a pair of poignant melodies: one for each of the young lovers, as it were. These themes are interwoven with affecting melancholy, but the gently trembling ardor inevitably gives way to the animosity of the hostile households. Tensions mount. The strife assumes terrible proportions. At the height of this unreasonableness we are thematically reminded of the star-crossed couple, and this time the full passions of the orchestra are unleashed. After an overwhelming climax the cacophony abates, and the low strings testify that Romeo and Juliet are dead. There is a metamorphosis of the first love theme into a tender song of mourning. And then, as with the immortal play to which it alludes, the Tchaikovskian drama is done. —James Lyons best stated late James Lyons, editor of The American Record Guide, won the Deems Taylor Award of American Society of Composers, Authors, and Publishers for his Boston Symphony program notes. The the 19 Accompanist Leonard Bernstein • to Arthur Fiedler Ozawa Andre Previn Gunther Schuller • YehudiWyner Gilbert Kalish • Seiji • 20 Jean Sibelius Opus Opus 9 Karelia Suite, En Saga, 11 Jean (Johan Julius Christian) Sibelius was born at Tavastehus (Hameenlinna), Finland, on 8 December 1865 and died at Jarvenpad on 20 September 1957. In 1893, in response to a request from the Viipuri Student Corporation of the University of Helsingfors (Helsinki), he wrote music for a series of tableaux on the history of Karelia, conducting the performance at the University on 13 first November of that The Karelia Suite year. The consists of three of those movements. Opus Symphony Overture, published separately as 10, was played by the Boston under Max Fiedler 1911 and later in under Karl Muck. The Alia marcia has been played at Boston Pops concerts on several occasions, and Colin Davis conducted it at Boston Symphony concerts in April 1977, but these performances are the first by the Orchestra of the entire suite. Sibelius wrote the symphonic poem En Saga in the summer and fall ducted the first performance at Helsingfors on 16 February 1893. invited Sibelius to conductEn Saga November 1902. Theodore Chicago on 29 April 1904. When Thomas gave the first Max Fiedler conducted new and con- Ferruccio Busoni in Berlin in the fall of 1902, the composer occasion for thoroughly revising the score, introducing the 2 of 1892 made it an edition in Helsingfors on American performance the first Boston at a concert in Symphony perfor- mances on 4 and 5 March 1910, with later performances being led by Eugene Goossens and Tauno Hannikainen. The present performances are the Orchestra's first since Hannikainen's in February 1940. The Karelia Suite clarinets, is scored for two flutes and piccolo, two oboes and English horn, two two bassoons, four horns, three trumpets, three trombones, tuba, timpani, drum, bass drum, cymbals, and strings. TheEn Saga orchestra omits pic- triangle, snare colo, English horn, timpani, and snare Among Finnish intellectuals drum from that ensemble. not specifically engaged in politics, nationalism in the later years of the nineteenth century expressed itself particularly in two forms: reading and discussing the Kalevala, a synthetic folk epic assembled and published earlier in the century by Elias Lonnrot, and taking a new interest in the history of Karelia. Now the Karelian Autonomous Soviet Socialist Republic, swampy, densely wooded land directly east of Finland, extending over to the White Sea and north to the Gulf of Kandalaksha. It was a strong, independent state until the seventeenth century, when the Swedes annexed it. In 1721 it was ceded to Russia, which was also to happen to Finland proper in 1809. The performance in April 1892 of Kullervo, a large symphonic poem for soloists, chorus, and orchestra, based on the Kalevala, had quite suddenly made the twenty-six-year-old Sibelius something of a national and cultural hero, and that made him a natural choice to compose the music for the University's Karelia pageant. The occasion was more political than musical, and Sibelius wrote to his brother that little could be heard of his score since everyone was either applaudKarelia is the 21 When John Hancock sponsors the Boston Symphony on WCRB,you won't wind up humming the commercials. WCRB proud to announce that The John Hancock Mutual Life Insurance is Company will sponsor this season's Boston Symphony Orchestra. The concerts will be broadcast on Saturday evenings over radio. With no commercial live WCRB-FM interruptions. Instead, Hancock is devoting all their commercial time to programs in the public Like provocative discussions with Sarah Caldwell, Vernon Alden and many interest. others. We know how special these live per- formances of the Boston Symphony are you. And we hope that to listening to people like these will make these evenings even more werbtmios.s special. The 22 Classical Music Station ing or shouting. According to a newspaper account, the final scene land, a virgin who holds in one arm showed "Fin- the shield with the lion, while the other is draped about a young Karelian woman who stands close to her as if inviting protection," and it all ended with a brilliant setting of the national anthem, in whose singing the public joined. The Intermezzo with which the Suite begins is a march of the sort in which the music seems to begin at a distance, come closer, and then recede once more. (The same thematic material is found in the Overture to the Karelia pageant.) The Ballade, marked Tempo di menuetto, is the music to the fourth tableau, in which Karl Knuttson, a fifteenth-century King of Sweden and Finland, is seen at Viipuri castle listening to the song of a minstrel. The Alia marcia, originally called March on an old motif, is an engagingly tuneful swashbuckler. That anyone would guess its composer seems wildly unlikely. En Saga, for Sibelius, came closer in atmosphere to the Icelandic Eddas than to the Kalevala. Not surprisingly, the composer over the years had to field many an inquiry as to whether in writing En Saga, which simply means A Saga,, he had had any particular saga in mind. His most illuminating comment on the subject was made in 1940, he told his secretary that "En Saga [was] the expression of a had undergone a number of painful experiences at the time, and mind. I no other work have state of in when find all I revealed myself so completely. It is for this reason that I explanations in terms of literature quite alien." Just what had so pained Sibelius in 1892 is not altogether clear. The main events of that year were the immensely successful premiere of Kullervo and, two months later, his marriage to Aino Jarnefelt. The marriage would, over the long run, prove harder on the stoic, occasionally depressive, and beguilingly pretty wife than on her boozy and wandering husband. For the young man, whose handsome appearance had not yet made the decisive shift from the human to the sculptural-monumental, the problem of the moment was figuring out how to make a steady living. (He reckoned that while he required 3,000 marks as a bachelor, he and the highly organized Aino together could make it on 2,500!) The two leading senior figures in Finnish musical life, Martin Wegelius, who had founded the Helsingfors Music Institute in 1882, and Robert Kajanus, who had started the first professional symphony orchestra in the country the same year and a conservatory soon after, both gave him work in their schools. Sibelius took i Smtnwufo 4507?° 4)e$igtwCan<Cj\(U& fy dnrnitofccactuaCuz*-' 23 K TAYL®R Americas best loved premium Champagne. The Taylor Wine Company, fine Inc., champagnes, ports, Hammondsport, N.Y. 14840 Producers wines and vermouths. - of sherries, dinner n r?sBE8S$l§8lr pupils in theory and violin, a bit reluctantly, for he was, by his own estimate, a poor teacher and surely an unsystematic one. But still, it beat going back to play in an orchestra, of which he had had his fill as a student in Vienna. Kajanus, who became the first important Sibelius conductor and left some revealing recordings, also asked his young friend to write something for his Philharmonic, and En Saga was the quick, electrifying response to that request. We need to remember, though, that the concentrated symphonic poem we know today is the revised score of 1902, the work, therefore, of the Sibelius who had meanwhile added the Kalevala Legends (The Swan of Tuonela is the most famous of these) and the first two symphonies to his catalogue. A semi-slow introduction proposes a series of contrasting ideas from which the dramatic, forward-thrusting allegro is generated. That kind of driving is something we do not often and it is in fact the more characteristically Sibelian halts were eliminated in the revision. En Saga moves with a fiercely obsessive energy, and only near the end is there a moment for reflection. The last page, with its subtly accented string chords under the fifty-four-measure clarinet solo, is from a bleak dream that grows more grey and more distant withassociate with Sibelius, and tempo changes out ever losing its that sense of menace. —Michael Steinberg The dealership as respected as the it BMW automobiles represents. MaseratT^^ifWffes Benz Leasing Arrangements Available Hutu Engineering. 436 Marrett Road (Rte^-A) Lexington, Mass. 862-6700 25 RTE 128 Live Music lb Go. The unique combination of direct and reflected sound is what gives a live performance its depth, richness and excitement. Instead of bringing an orchestra into your living room, bring home a pair of Bose Direct/Reflecting®speakers. Photo Courtesy of the Civic Symphony Orchestra 26 of Boston William Walton Symphony No. 1 William Turner Walton, knighted by King George VI in 1951, was born at Oldham, Lancashire, England, on 29 March 1902 and now lives on Ischia in Bay of Naples. He began his Symphony No. 1 in 1932 and completed the finale in the summer of 1935. The first the three movements were introduced by the London Symphony Orchestra on 3 December 1934, and the premiere of the complete work took place at a concert by the B.B.C. Symphony Orchestra on 6 November 1935. The Chicago Symphony gave the American premiere on 23 January 1936. All these performances were conducted by Sir Hamilton Harty. The only previous performances here were given by the Boston Symphony under Charles Munch on 3 and 4 February 1950. The score calls for two flutes (one doubling piccolo), two oboes, two clarinets, two bassoons, four horns, three trumpets, three trombones, tuba, timpani (two players), tarn bals, snare drum, and strings. The dedication is to the Baroness Imma tarn, cym- Doernberg. William Walton was thirty, a young man, when he took on his first symphony. Already, he was an experienced and immensely successful composer as well as obviously a brilliant one. toire, put his A string quartet, which has not survived in the reper- name on the map internationally when it was selected as one of works to be played at the first festival of the International Society for Contemporary Music at Salzburg in 1923. Still more significant, and certainly a more personal statement, was the first public hearing by an audience in part delighted and in part scandalized of Facade, the recitation to dazzlingly apt chamber- musical accompaniment of Edith Sitwell's crackling and nostalgic three English poems. There followed the vigorous Portsmouth Point Overture (1925) after a print by the early nineteenth-century caricaturist, Thomas Rowlandson*; a Sinfonia concertante for orchestra with piano (1927); the Viola Concerto (1929), the finest example of the genre; and the gaudy oratorio Belshazzar's Feast (1931), for which Osbert Sitwell had drawn a libretto from Psalms and the Book of Daniel. And by time Walton completed the Symphony, he had taken his first plunge into the activity that would eventually bring him his widest audience, namely the writing of film scores. (Walton's first film was Escape Me Never, an Elisabeth Bergner weepie, the most famous of his later ones being Major Barbara and Laurence Olivier's Shakespeare films, the apparently lost As You Like It (1936, also with Bergner), Henry V, Hamlet, and Richard III.) The Symphony thus represents the culmination of Walton's conquest of maturity. Colin Davis's contention that Walton is, like Britten and Humperdinck, a one- work composer is something to be argued with, but one can make a strong *In 1921, Walton wrote but subsequently destroyed a Pedagogic Overture Doctor Syntax, named for a character who appears in many of Rowlandson's drawings. 27 case for saying that the Symphony No. a level of ambition, concentration, 1 is at and sheer human urgency and strength that Walton would not reach again. Cer- tain later compositions of masterful facture, like the Violin Concerto he wrote for Jascha Heifetz in 1939 or his not devoid of either Chaucer opera, charm or sentiment, but Troilus and Cressida (1951), are their sugar content is high for many a digestive system. Walton's father was a teacher of singing, and it was from him that the boy received his first musical instruction. At ten, he entered Christ Church Cathedral School at Oxford and was sufficiently precocious to matriculate as an undergraduate at sixteen. He flunked out, or, as the English so much more nicely say, was sent down, but not before he had read many scores and had formed some crucial friendships, particularly among literary colleagues like Ronald Firbank and the three Sitwells. As a musician, he was essentially self-taught, though once in a while he went for advice to Busoni, to Ernest Ansermet, and, specifically on matters to do with conducting, to Eugene Goossens. And, as Walton's biographer, Frank Howes puts it, "the Oxford connexion years later by the conferment of an honorary D. MUS. was in 1942 ratified many and an honorary Studentship (fellowship) of Christ Church." The work of Jean Sibelius represented the ideal of contemporary symphonic writing to English musicians and to the English musical public in the early 1930s, the point being made with particular force in a widely read book, Music Ho!: A Study of Music in Decline, by another member of the Sitwell circle and a close friend of Walton's, the composer and conductor Constant Lambert. Walton's early music is in every way far from Sibelius: indeed, as David Cox aptly puts BARNES&NOBLE The Classical Record Center , More music for your money. 395 Washington Street (across from Filene's) Hours: Mon., Wed., Fri. 9:30-7, Tues., Thurs., Sat. 9:30-6 Master Charge, 28 VISA it, "William Walton began like a seventh member of Les Six. The style was marked continental, pointed with wit and satire, bursting with exuberance. Nothing folky." But the Andante of the Sinfonia concertante introduces a new tone of voice, a new color of sentiment, and what is begun there is pursued and splendidly fulfilled in the Viola Concerto. Buoyed, no doubt, by the success of Belshazzar's Feast at the 1931 Leeds Festival, Walton, at the time of beginning his Symphony No. 1, was absolutely ready to commit himself to an uncompromisingly grand and serious statement. One of our most knowledgeable subscribers challenged me to write a program note on Walton's Symphony without mentioning the name of Jean Sibelius, but it is not to be done. The Finnish master's concept of symphony is too insistently present, as are some of the techniques by means of which he realizes his ideas. And, of course, a Sibelius- Walton program was not put together by pulling names out of a hat. For all that, Walton's Symphony is a free, strong, individual statement, as far beyond mere imitation as, say, the First Brahms. Not many would wish to call Walton one of the great twentieth-century composers, but the claim that his First Symphony is one of the few great twentieth-century symphonies is not excessive. Walton begins this way: there is a soft timpani roll on B flat, to which, even more quietly, the four horns, entering one at a time, add more B flats, an F, and a G. Meanwhile, also in ghostly triple piano, the second violins begin an insistent rhythmic drumming, also on B flat and F. An oboe melody in uncannily slow motion unfolds across this, its initial D flat identifying the key as B flat minor. Now this melody and what proceeds from it is a wide-ranging affair; nonethe- _3^f /Uous JUAJJul XAajJjJ £l*U/ &MAs<>hAA/vi< A&idiA that AaauL fain-crf I 29 r^77 NEWBURY STREET BOSTON/7 less, the harmony persists stubbornly with its B flat. And when the B flat at last it is to a G pedal of twelve measures, whose purpose is to prepare the appearance of another of these firm harmonic anchors, this time C. I have described this in some detail because no one feature of Walton's symphony is more characteristic than these massive pedals. Walton got them from Sibelius, but he extends them so remarkably that they come to remind us of music he is unlikely to have known in 1932, the organa of the twelfth-century masters of music at Notre Dame in Paris, compositions whose magnifying-glass basses move rarely, but never without some sense of cataclysm. Walton's huge pedalpoints achieve two things: they convey by their very physicality the sense of largeness for which he strives and they provide a strong anchor in the face of some intensely dissonant buffetings. In fact, they themselves are responsible for some of the dissonance, and one characteristic that comes across at once powerfully and engagingly is the joy of dissonance as a stimulant not yet exhausted. The ideas with which this allegro is built are tightly related to one another. The whole movement, with its expansive development and drastically compressed recapitulation, suggests the effect of a single intense, enraged climax. gives way, tempo mark tells us, malice. Rhythmic patterns shift between the mercurial and the obsessive. We notice, as well, Walton's pleasure in orchestral virtuosity: he demands from players and conductor the utmost in concentration and skill. The melancholy Andante is full of virtuoso orchestral writing in another, nonIn the scherzo, more rage and, as the How do you follow a great With performance? a late supper and a generous nightcap at a most congenial rendezvous: The Cafe at Boston friend with a new look are now served . . . and until half-past See you this The Ritz. It's delicious suppers midnight. evening? The Ritz-Carlton Hotel V 30 an old aggressive sense. The feeling at the beginning, for example, that the pedal sharp is both absolutely still and vibrantly alive is achieved by the most fastidious and subtle distribution of colors and accents across horns and C much divided strings, all muted. In this inconclusive, quietly pained music we hear further manifestations of Walton's preference for growth and variation as against literal restatements. Up to that point, work Walton had gone quickly, though the Andante had cost him more time than the first two movements together. The problem of the finale seemed for a while to stymie him as in one way or another it had so many composers from Schubert on. The planned premiere had to be postponed and, rather than announce a second postponement, Walton allowed Sir Hamilton for performance of the first three movements only. But having heard 1934, Walton, revitalized and encouraged, resumed work. He conceived for his finale a strong design in which a majestic music stands at the beginning and end, with three kinds of quicker, more nervously excitable writing accounting for most of the span: first, a fiery, ardent music in Walton's violent Belshazzar manner; then a fugue on a leaping, long, ten-measure subject; and after that, something scherzando in quicker, shorter measures. The two timpanists enter with a view to breaking it up. They succeed, and their summons opens the way to the triumphal peroration. Harty to give a those in November —Michael Steinberg 31 «J» warn However detailed their knowledge of family affairs, relatives often lack the professional experience required of a trustee. At New England Merchants Bank, we have both the personal resourcefulness and the professional standing to make the sensitive and timely decisions required of a trustee. And our record as managers of nearly $2 billion in personal assets speaks for itself. 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A lot of sneering goes on in The Music of Tchaikovsky, a symposium edited by Gerald Abraham, but several chapters, including Edward Lockspeiser's biographical sketch, are useful (Norton, available in paperback). Colin Davis and the Boston Symphony will be recording Romeo and Juliet shortly after this concert performance. Among the many recordings available now, the ones of exceptional interest are those by Claudio Abbado and the Boston Symphony (Deutsche Grammophon, with Scriabin's Poem of Ecstasy), Sir Adrian Boult's with the London Philharmonic (Quintessence, with excerpts from Berlioz's Romeo and Juliet, or, less attractively coupled, on Odyssey with Tchaikovsky's Marche slave and 1812), Andre Previn's with the London Symphony (Angel, also with Tchaikovsky's two military blockbusters), Arturo Toscanini's with the NBC Symphony (RCA, with music by Glinka, Liadov, Sibelius, and Smetana— monaural only). Robert Layton's Sibelius in the Master Musicians series is a satisfactory basic life-and- works (Dent paperback), and Layton is also the translator of Erik Tawaststerna's more ambitious biography— excellent on the life, a bit commonplace on the music— whose first volume, all that is so far available, goes through 1905 (University of California). There are excellent recordings of the Karelia Suite by Sir John Barbirolli (Angel, with various short pieces by Sibelius) and by Sir Alexander Gibson (London, with the Symphony No. 5). No one, however, equals Sir Thomas Beecham's swagger in the Alia marcia (Odyssey— the record is called Beecham Favorites). For En Saga, both Paavo Berglund and the Bournemouth Symphony (Angel, with Symphony No. 5) and Eugene Ormandy and the Philadelphia Orchestra (with Finlandia, Valse triste, and The Swan of Tuonela) do well; however, you will probably want to wait for the appearance of the recording Colin Davis will be making with the Boston Symphony for Philips Tchaikovsky by John ners). Tchaikovsky: is The Early Years by David after these concerts. The basic Walton book but available in the fourth libraries. volume Unfortunately by Frank Howes (Oxford, not in print in this country, A vivid and engaging portrait of Walton emerges from is of Sir Osbert Sitwell's biography, Laughter in the Next Room). RCA has let Andre Previn's very good recording of the Symphony go out of print, but there may be some copies left in stores (the catalog numLSC-2927). Other recordings of interest in this context are those of the Sinfonia concertante with pianist Peter Katin and the composer conducting (Musical Heritage, with other works by Walton), the Viola Concerto with violist Paul Doktor and with Edward Downes conducting (Odyssey, with Hindemith's No. 1 ber is and preferable to the Menuhin- Walton recording on Angel), and Belshazzar's Feast, for which I would suggest the recording by Andre Previn with baritone John Shirley-Quirk (Angel). -M.S. Schwanendreher, 33 . u, offices room with service! . Pant, pant, pant... , Rumble, rumble, rumble Statler you always end up racing to get to Symphony Hall on time only to have your stomach rumble during the pianissimo If Office Building Adjoining the Boston passages, pull into the PARK PLAZA HOTEL 20 Providence Street, Boston 02116 Managing Agent Suite 728 (617) 426-0720 . . MidTown Leave your car in our lot. (Our dinner patrons get free parking for Symphony concerts.) Then enjoy a great meal in our Colony Room. Followed by a leisurely one minute walk Hotel saunders & associates to first. Symphony Hall. That way, you'll be a lot more relaxed for the performance. And a lot quieter. Bostons most convenient Hotel. 220 Huntington Avenue, Boston, Mass. 021 1 5. Telephone: (617)262-1000. Residential Real Estate service scaled to your personal needs Beautiful classic women's clothes are a tradition at The Talbots. Come see for yourself. And be sure to ask for our free catalog. % t/s Or call cA 749-7830 or write The Talbots, Dept. KA, Hingham, 02043 and well send you one. (617) MA Call for an appointment TaJbS* (617) 369-3600 369-7775 Hingham, Acton, Duxbury, Lenox, Osterville, So. ^ */ Hamilton, Massachusetts 34 Mrs vVinthrop H. Lee, Realtor 842 Monument Street Concord, Massachusetts 01742 Colin Davis Colin Davis, Principal Guest Conductor of the Boston Symphony, is Music Director of the Royal Opera, Covent Garden, and Principal Guest Conductor of the London Symphony Orchestra as well. He has been deco- rated by the governments of England, Italy. His European engagements include regular concerts with the Berlin Philharmonic, the Amsterdam Concertgebouw, and the Orchestre de Paris. Since his American debut in 1959 with the Minneapolis Symphony, Mr. Davis has conducted the orchestras of New York, Philadelphia, Los Angeles, and France, and Boston. He made his debut at the Metropolitan Opera in 1967 with a new production of Peter Grimes and returned there for Pelleas et Melisande and Wozzeck. He has conducted the Boston Symphony Orchestra annually since 1967 and became the BSO's Principal Guest Conductor in 1972. From 1959 to 1965, Mr. Davis was Music Director of Sadler's Wells (now English National) Opera, where he conducted over 20 operas. He made his Covent Garden debut with the Royal Ballet in 1960, and his operatic debut there came in 1965. He was Principal Conductor of the BBC Symphony Orchestra until 1971, at which time he became Music Director of the Royal Opera. New productions he has led at Covent Garden include Mozart's Le nozze di Figaro, Don Giovanni, La clemenza di Tito, and Idomeneo, Tippett's Midsummer Marriage, The Knot Garden, and The Ice Break, Wagner's R ing cycle, Berlioz's Les Troy ens, and Britten's Peter Grimes. The first British conductor ever to appear at Bayreuth, Mr. Davis opened the 1977 Festival there with Wagner's Tannhauser, a production recently filmed by Unitel. Among Mr. Davis's many recordings on the Philips label are Mozart's Le nozze di Figaro, Don Giovanni, and Cos) fan tutte, symphonic and operatic works by Sir Michael Tippett, a near complete Berlioz cycle for which he has received the Grosse Deutschen Shallplattenpreis, and, with the Boston Symphony, the complete symphonies of Sibelius, for which he was awarded the Sibelius Medal by the Helsinki Sibelius Society. Recent recordings include Berlioz's Beatrice and Beethoven's Missa Solemnis; Verdi's Un Entfuhrung aus dem Serail are forthcoming. 35 hallo in maschera et Benedict and Mozart's Die BOSTON SYMPHONY ORCHESTRA Seiji Ozawa, Music Director Colin Davis, Principal Guest Conductor Joseph Silverstein, Assistant Conductor Ninety-Eighth Season PRE-SYMPHONY CHAMBER CONCERTS Thursday, 19 April at 6 Saturday, 21 April at 6 EMANUEL BOROK, violin VYACHESLAV URITSKY, violin MICHAEL ZARETSKY, viola MOZART Duo in G for violin and viola, K.423 Allegro Adagio Rondeau (Allegro) EMANUEL BOROK MICHAEL ZARETSKY DVORAK Opus 74 Allegro ma non troppo Terzetto in C, Introduzione: Larghetto Scherzo: Vivace— Poco meno mosso— Vivace Tema con variazioni EMANUEL BOROK VYACHESLAV URITSKY MICHAEL ZARETSKY 36 Wolfgang Amade Mozart Duo in G for violin and viola, K.423 and richer than most non-string players combination of violin and viola has not been suspect, though this particular much favored by composers. Mozart's two duos, written in the summer or early fall of 1783, are the summit of the genre. It seems that Mozart wrote them as a kindness to Joseph Haydn's younger brother Michael, who had been part of the musical establishment of the archiepiscopal court and cathedral at Salzburg since 1762. Haydn was an alcoholic, often in difficulties with deadlines. Two of his students report that he found himself kept by illness from finishing a set of six duos commissioned by Archbishop Colloredo of Salzburg, that the Archbishop ordered Haydn's salary stopped until the music was delivered, that Mozart, upon hearing the story "without saying a word to his poor friend went home and two days later brought him the duets fully written out in fair copy. Except for Michael Haydn's name on the title page, nothing more was needed for them to be turned over to the Archbishop." (Mozart's so-called Symphony No. 37 is a symphony by Michael Haydn to which Mozart added a slow introduction for the same concert for which he wrote the Linz Symphony in November 1783.) The six duos, at any rate, were published by Johann Trag— whose name means "slothful"— in 1788, Haydn's name in the first advertisements getting mixed up with that of a contemporary composer and arranger called Heidenreich. Mozart wrote his two duos in the middle of his work on the demanding string quartets that he dedicated to Joseph Haydn. He was, in sum, at the top of his chambermusical form, and both pieces are abundantly inventive and richly worked. The string duet literature is larger INTRODUCING THE ULTIMATE BMW DEALERSHIP Representing the "Ultimate Driving Machine" implies to us a to being the "Ultimate BMW Dealership." commitment To that end, at Foreign Engine Company, we never forget that we need you; you don't need us. 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(Presumably the uncommon title stems from the composer's desire to distinguish between this combination and the more common string trio group of violin, viola, and cello.) Dvorak wrote the piece in January 1887, which places it about half way between the Seventh and Eighth symphonies, and just before what has become his most popular piece of chamber music, the Piano As a young man, Dvorak had made his living as a string Quintet. I from his father's yj combination of butcher shop and pub to the pit of the Prague Opera House, and now, forty-six and famous, he wanted to write something for himself to play on the viola with two violinist friends, Josef Kruis, a chemistry student, and Jan Pelikan, a professional in the orchestra of the National Theater. (The first violin part turned out too hard for Kruis, and Dvorak wrote a set of Bagatelles to fulfill the original intention.) The Terzetto is, in any event, a beautifully made piece, intimate, full of invention, and with no intimations of music-minus-one. The furiant-and- waltz scherzo is especially endearing, and the ten variations that make up the finale— unexpectedly in C minor until almost the end— are inventive and colorful, including even a sweetly I player, progressing pathetic operatic recitative. -M.S. PERRY, DEAN, STAHL & ROGERS, INC., ARCHITECTS ARCHITECTURE & PLANNING, SPACE PLANNING & DESIGN. PRESERVATION. 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He joined the Orchestra of the Bolshoy Theater in 1969 and two years later won the competition for assistant concertmaster of the Moscow Philharmonic. At the same time, he became a member of the Moscow Philharmonic String Quartet. He emigrated in 1973 Israel, where he accepted to a position as concertmaster of the Israel Cham- ber Orchestra, and in April 1974 he successfully auditioned for the assistant concermaster position of the Boston Symphony. Kachelofen Ceramic Tile Stoves When The superbly designed Kachelofen Ceramic Tile Stove offers a practical and beautiful solution to the rising cost of fuel. Fired by wood or coal, this classic European stove can heat a whole house or a single room. And your evening's at steak... at just a fraction of the cost of heating with a conventional heating system fueled by oil, gas or electricity. ""Brick "Yard Brick, tile, ceramic products and gift items. 128 Middlesex A ven ue Somerville, Ma. 02145 Tel. (617) 666-3090 OffRt. 1-93. Open 8:30-4:30 Monday-Saturday a division of Spaulding Brick 41 Co A new lease Set your sights on the good life high enough and you can't miss the Top* Top-floor dining, top-flight food. If that's what come to expect, come up the Top you've Before, there was really no alternative to owning a Porsche to an Audi. Either you owned that engineering excellence, all that beautiful design, and all that incredible performance. Or you didn't. Now there is an alternative. You can lease the cars you always wanted to own. or of the all Huh. MAY WE YOU TO VISIT RIETZL PORSCHE + AUDI Stouffer's Top of the Hub Prudential Center INVITE • 59 536-1775 POND NORWELL (617)871-0777 STREET, 479-4500 It's Your Wedding and at Cooler's we offer you the largest selection of China, Crystal and Gifts in the Boston area. Contact our Bridal Consultant. 'Blue Fluted" by Royal 34 Newbury Street, BOSTON • 536-3826 Concord • Ipswich • Wellesley (Marco Polo) Copenhagen 42 Vyacheslav Uritsky Violinist Vyacheslav Uritsky was born in Kherson, U.S.S.R., was brought up in Odessa, began his musical training there with Olga Goldbown, and studied at Odessa State Conservatory with Leonid Lambersky. After graduating from the Conservatory, he was for fifteen years a member of the Moscow Philharmonic's first violin section. He emigrated with his wife and daughter to Rome and then, in 1974, to the United States, and he joined the Boston Symphony's second violin section in 1975. ><Mtm at the Parker House Luncheon, Dinner Sunday Brunch Complimentary Valet Dinner Tremont and School Streets / Boston 43 / Parking. Reservations: 227-8600 "Public events are not enough to help, us describe the world we live in. The Monitor also looks for the revealing non-event.'' Melvin Maddocks Columnist-at-large The Christian Science Monitor Like his columns, Melvin Maddocks is hard to categorize. The Monitor knew him first as a copyboy who wrote editorials, then as a literature-loving sportswriter, and later as a television columnist turned music, theater, and film critic. Following this, he served seven years as book editor. Today he gives a twice-weekly incisive, witty reading on the signs of the times. You can get the Maddocks view on the latest trends and newest waves by subscribing now. Use your VISA or Master Charge card and call collect, 617-262-2300. Outside Massachusetts, toll-free, 1-800-225-7090. Or use the coupon. call News. The way you need it. THE CHRISTIAN SCIENCE MONITOR Box 125, Astor Station, Boston, MA, U.S.A. 02123 Please start the Monitor coming in the mail every Monday through Friday: 3 months $13 6 months $26 9 months $39 1 year $49 (a $3 savings) Check/money order enclosed Bill Name me (please print) Apt. Street City later ZIP State T4Y 44 *v Michael Zaretsky A violist with the Boston Symphony since 1973, Russian-born Michael Zaretsky began his musical studies as a violinist at the Central Music School in Moscow. He graduated as a from the Moscow State Conservatory and became a member of the Moscow Philharmonic String Quartet and the Moscow Broadcastviolist ing Orchestra. In 1972 he emigrated to Israel, where he became principal Jerusalem Broadcasting Orchestra. Leonard Bernstein recommended him for fellowship study at violist of the Tanglewood's Berkshire Music Center, and, while there, Mr. Zaretsky successfully auditioned for the BSO. PURCELL FESTIVAL Music for the Court April 22 at 8. Sanders Theatre. Cambridge including Come, Ye Sons of Art Sunday Music for the Church April 29 at 8. Emmanuel Church, Boston including the Scena: In Guilty Night Sunday Music for the Theatre Sunday May 6 at 8. Jordan Hall, Boston King Arthur (complete music with narration) Tickets: $6.50, $5, $4, $3 per concert from The Cecilia Society, 1773 Beacon St., Brookline 02146 or telephone 232-4540 ARTS/Boston Vouchers welcome. Funded in part MC and Visa accepted. by the Mass. Council on the Arts and Humanities THE CECILIA SOCIETY DONALD TEETERS, SAMUEL WSEN One Boston Place certified Music Director publ ic accountant Boston, Mass. 02108 617 367-2110 Since 1831 From that first . . . S. S. Pierce moment when you taste any one of our full line of liquors, premium California or imported wines, you'll know what we mean It by our guarantee of quality and value. has been a family tradition for generations. So, when you're shopping at your local package store or dining at your favorite restaurant, ask for S. S. Pierce. 46 . COMING CONCERTS Malcolm Frager, World-renowned Pianist performs Wednesday, 25 April Michel Sasson, Music Thursday 'C Series Friday, 27 April -2-3:15 Director Saturday, 28 April at 8:00 All YASUKO HAYASHI, soprano PATRICIA PAYNE, mezzo-soprano NEIL ROSENSHEIN, tenor ROBERT LLOYD, baritone TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, $3.50 conductor A taste of SYMPHONY SEASON WITH A FLOURISH! pm Saturday April 28: 10 am 6 pm Sunday April 29: 10 am 5 pm Friday April 27: 12 noon - 3 Boston chic. - - Horticultural Hall, 9 in D minor, Choral (t)i[Ghid FINISH THE Symphony No. Beethoven Newton Music School 1-4 P.M. April 29th - 8-9:15 COLIN DAVIS conducting Tel 965-2555 All Seats Reserved - P.M. High Jr. - 8-9:15 Thursday, 26 April NEWTON SYMPHONY ORCHESTRA Master Class - 7:30 Michael Steinberg will discuss the program at 6:45 in the Cabot-Cahners Room. with the Meadowbrook . Open Rehearsal Mozart and Schumann Concertos Sunday, April 29th . Any day 300 Mass. Ave. of the week, a quiet elegance prevails in Doubles, Boston's sleek- Admission $1.50 est, Sponsored by the Massachusetts Orchid Society most sophisticated r DERTADS posh hideaway. Intimate, relaxed — approximately 40 people served nightly. Return to high style; enjoy is a ^ new you can enjoy the entertainment here,] in in Upstairs Pub. It'shappeningatthe (§/ Dertads Sheraton-Boston Hotel Open 6:00 p.m. to 11:00 p.m. Closed Mondays in the Sheraton-Commander Hotel KV ^ 16 Garden Street, Harvard Square Cambridge, Mass. (617)354-1234 Turning Point or Shelley's a restaurant destined to be one of the finest in the country. yourself cocktail lounge. At night Jf 47 48 After the isymphony... i 6 Rg& Coins... the investrnent virtuoso. How many investments have averaged than 20% compound return and a rate over the past 20 years? brilliant 29% over the past 5 years' How many perform well in bull and bear markets? a better . f . . Today's financial experts are recom- mending . . . continue the evening in the old world tradition. Tecce's Restaurant, famous for Italian cuisine for over 30 years, now offers "Tecce's Cafe". An Salem authentic representation of historic Street in the North End, complete with gas lights, cobblestone street, and outdoor tables. This unique dining experience features late-nite Italian pastries, after dinner liqueurs and espresso's. AMEX., portfolios that include investment-quality rare coins —one of the safest high performers. Rare coins are easily placed in Keoghs and IRAs, and find ready liquidity in an eager world market. MC, We're recognized numismatic leaders, with impeccable credentials in the rare coin field. Our experts will be glad to discuss diversifying your portfolio with -for rare coins. Call or visit us today a virtuoso investment performance. VISA, DC. Reservations 742-6210 (Eight or more & functions) Parking Available Handicap Facilities — . Cafe Mon.-Sat. Lunch 11 to 3:00 p.m. Sun. 11 to 1 a.m. . Ask for our free brochure, Rare Coins: the Outstanding Investment. Restaurant Mon.-Sat. Dinner 4:30 to 11:30 p.m. Sun. 12 to 9:00 p.m. Bar Mon.-Sat. 11 to 1 a.m. (Attitude Adjustment Hours 4 Sun. 12 to 1 to 6:00 p.m.) a.m. NEW) ENGLAND RARE COIN GALLERIES Dept. G-51, 89 Devonshire ...before V ^-y anything Toll- free St., (617) 49 Boston, Mass. 02109 outside Mass. 1-800-225-6794 227-8800 . PLINY JEWELL ASSOCIATES LANDSCAPE ARCHITECTS / CONTRACTORS J AND DEVELOPMENT CONSTRUCTION AND PLANTING SITE DESIGN ASSOCIATES STONE WALLS TERRACES FOUNTAINS GARDEN POOLS WALKS GRADING TREES & SHRUBS LAWNS FLOWER BEDS FINE PRUNING BOX 513 CONCORD MASS.01742 1-6T7- 369-^959 mmmmmmmmssm Jtiow gou cm\ enjoy I Qkqaixt -^ ' =; LAieu/bu/uj St/iect ( Jackets req./Valet Parking P~~ All Credit Cards Accepted cf'af 262 48I0 Open daily 12 Fn & Sat N Mid til 1 AM music for frugal musings open up worlds of color and sound at practical prices with records from the Harvard Coop, New England's largest record center, rock, folk, classical and more . for less. HARVARD SQUARE CAMBRIDGE 50 ^ c Qeseftuations suggested... caW oua JUaU*e \ >t at 269 ^ At^o^hm, Q . < C_ c^>< . SYMPHONY HALL AMENITIES . . SYMPHONY HALL, AND ALL CONCERT AND TICKET INFORMATION (617)-266-1492 THE BSO IN GENERAL: The Boston Symphony performs twelve months a year, Tanglewood. For information about any of the Orchesin Symphony Hall and tra's activities, please call Symphony Hall, or write the Boston Symphony Orchestra, Symphony Hall, Boston, Massachusetts 02115. at THE BOX OFFICE Tickets for all the concerts Symphony is until 6 p.m. Monday through Saturday. Symphony concerts go on sale twenty-eight days prior to open from 10 a.m. Boston and phone reservations will be accepted. For outside events at weeks before the Hall, tickets will be available three phone orders concert. No will be accepted for these events. FIRST AID FACILITIES for both men and women are available in the Ladies' Lounge on the first floor next to the main entrance of the Hall. On-call physicians attending concerts should leave their names and seat locations at the switchboard. WHEELCHAIR ACCOMMODATIONS ing in advance. in Symphony Hall may be made by call- House personnel stationed at the Massachusetts Avenue entrance to the Hall will assist patrons in wheelchairs into the building and to their seats. LADIES' way at ROOMS are located on the first floor, first violin side, next to the stair- the back of the Hall, and on the second floor on the Massachusetts Ave- nue side near the elevator. MEN'S ROOMS are located on the first floor on the Massachusetts Avenue side by the elevator, and on the second floor next to the coatroom in the corridor on the first violin side. LOUNGES AND BAR SERVICE: There are two lounges in Symphony Hall. The Hatch Room on the first floor, and the Cabot-Cahners Room on the second, serve drinks from one hour before each performance and are open for a reasonable amount of time after the concert. For the Friday afternoon concerts, both rooms will be open at 12:15, with sandwiches available until concert time. CAMERA AND RECORDING EQUIPMENT may not be brought into Symphony Hall during the concerts. LOST AND FOUND is located at the switchboard near the main entrance. AN ELEVATOR can be found outside the Hatch Room on the Massachusetts Avenue side of the first floor. COATROOMS are located on both the first and second floors in the corridor on the first violin side, next to the Huntington Avenue stairways. TICKET RESALE: If for some reason you are unable to attend a Boston Symphony concert for which you hold a ticket, you may make your ticket availby calling the switchboard. This helps bring needed revenue to the Orchestra, and makes your seat available to someone who wants to attend the concert. You will receive a tax deductible receipt as acknowledgement for your able for resale contribution. LATECOMERS are asked to remain in the corridors until they can be seated by ushers during the first convenient pause in the program. Those 51 who wish to leave before the end of the concert are requested to do so between program pieces in order not to disturb other patrons. RUSH SEATS: There are a limited number of Rush Tickets available for the Friday afternoon and Saturday evening Boston Symphony concerts (subscription con- The Rush Tickets are sold at $3.00 each (one to a customer) in the Huntington Avenue Lobby on Fridays beginning at 10 am and on Saturdays beginning at 6 pm. certs only). BOSTON SYMPHONY BROADCASTS: Concerts of the Boston Symphony are heard in many parts of the United States and Canada by delayed broadcast. In WGBH-FM (Boston 89.7), WMEH-FM (Bangor 90.9), WHEA-FM (Portland 90.1), WAMC-FM (Albany 90.3), and WFCR-FM (Amherst 88.5). Saturday evening concerts are also broadcast live by WGBH-FM, WMEH-FM, WCRB (Boston 102.5 FM), and WFCR-FM. Most of the Tuesday evening concerts are broadcast live by WGBH-FM, WAMCaddition, Friday afternoon concerts are broadcast live by FM, and WFCR-FM. If Boston Symphony concerts are not heard regularly in your home area, and you would like them to be, please call WCRB Productions (617)-893-7080. WCRB will be glad to work with you to try to get the Boston Symphony on the air in your area. BSO FRIENDS: The Friends are supporters of the BSO, active in all of at its endeavors. Friends receive the monthly BSO news publication and priority ticket information. For information about the Friends of the Boston Symphony, please call the Friends' Office Monday through Friday between nine and five. If you are already a Friend and would like to change your address, please send your new address with the label from your BSO newsletter to the Development Office, Boston Symphony Orchestra, Symphony Hall, Boston, Massachusetts 02115. ing the mailing label will assure a quick and accurate change Includ- of address in our files. We'd like to give handicapped kids a free education. iiA Yes, free. The Cotting School for Handicapped Children offers a 12-year academic program for physically and medically handicapped children with mentally normal capabilities. Included in school services are both vocational and college preparatory training, transportation j (in Boston), medical and dental care, speech and physical therapy, social development, noon meal, testing, recreation and summer camping. Without any cost whatsoever to parents. we have openings for handicapped children. Please pass Right now, the word. Call or write William J. Carmichael, Superintendent, The Cotting School for Handicapped Children, 241 St. Botolph St., Boston, Mass. 02115, 536-9632. (Formerly Industrial School for Crippled Children.) The Cotting School is for Handicapped Children a private, nonprofit, nonsectarian, tuition-free institution supported primarily by private legacies, 52 bequests and contributions. Nursing and Retirement for those Homes who appreciate the difference . . Four superb nursing and retirement homes where we cater to the individual personalities and preferences of our guests in a truly elegant fashion. Each home meet nursing care needs, yet feels is professionally staffed to and functions like a fine hotel Oakwood — 60 1 Summer Street — rates from $60.00 per day Manchester, Mass. Cape Cod — Lewis Point Road— rates from $50.00 Bourne, Mass. Elmhurst— 743 Main Street-rates from $50.00 Melrose, Mass. Norwood — 767 Washington Street— rates from $50.00 Norwood, Mass. Please feel free to visit or call for further information. 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