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98th SEASON
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BOSTONSYMPHONYORCHESTRA
SEIJI OZAW
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Music Director
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EXPERIENCE THE19thCENTURY
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BSO CHAMBER MUSIC PRELUDES
made possible by
PERNODJ
n N€LU S€RI€S OF PR€-SVMPHONVCHRMBCR MUSIC AND DINN€RSRVflllflBl€ TO BSO SUBSCRIB€RS
6 PM Concerts(Followed by Dinners at 7 pm)
FEBRUARY 1,3 Schubert String Trio #2Hindemith String Trio #2
FEBRUARY 22, 24 Beethoven Serenade, op. 25Mozart Flute Quartet in C
MARCH 1,3
APRIL 12, 14
APRIL 21
Prokotiev Sonata for Two Violins
Prokofiev Flute Sonata
Brahms Sextet, op. 18
Mozart G Major Duo
Dvorak Terzetto
FOR TICKET INFORMATION PLEASE CALLTHE SUBSCRIPTION OFFICE AT 266-1492
Seiji Ozawa, Music Director
Colin Davis, Principal Guest Conductor
Joseph Silverstein, Assistant Conductor
Ninety-Eighth Season 1978-1979
The Trustees of the Boston Symphony Orchestra Inc.
Talcott M. Banks, Chairman Nelson J. Darling, Jr., President
Philip K. Allen, Vice-President Sidney Stoneman, Vice-President
Mrs. Harris Fahnestock, Vice-President John L. Thorndike, Vice-President
Abram T. Collier, Treasurer
Vernon R. AldenAllen G. Barry
Leo L. Beranek
Mrs. John M. Bradley
Richard P. ChapmanGeorge H.A. Clowes, Jr.
Archie C. Epps III
E. Morton Jennings, Jr.
Edward M. KennedyGeorge H. Kidder
Roderick M. MacDougallEdward G. MurrayAlbert L. Nickerson
Thomas D. Perry, Jr.
Irving W. RabbPaul C. Reardon
David Rockefeller, Jr.
Mrs. George Lee Sargent
John Hoyt Stookey
Harold D. Hodgkinson
Trustees Emeriti
John T. Noonan
Administration of the Boston Symphony Orchestra
Thomas W. MorrisGeneral Manager
Mrs. James H. Perkins
Gideon Toeplitz
Assistant Manager
Peter GelbDirector of Promotion
Elizabeth DuntonDirector of Sales
Charles RawsonManager of Box Office
Niklaus WyssAdvisor for the
Music Director
Joseph M. HobbsDirector of Development
Candice L. Miller
Assistant Director
of Development
Dorothy M. SullivanController
James F. KileyOperations Manager,
Tanglezvood
Donald W. MacKenzieOperations Manager,
Symphony Hall
Michael SteinbergDirector of Publications
Daniel R. GustinAssistant Manager
Walter D.HillDirector of Business Affairs
Richard C.WhiteAssistant to the
Manager
Anita R. KurlandAdministrator of
Youth Activities
Katherine WhittyCoordinator of
Boston Council
Richard OrtnerA ss is tan t Admin is tra to r,
Berkshire Music Center
Programs copyright © 1978 Boston Symphony Orchestra, Inc.
The Board of Overseers of the Boston Symphony Orchestra Inc.
Mrs. Norman L. Cahners
Vice Chairman
Charles F. Adams
John Q. Adams
Mrs. Frank G. Allen
Hazen Ayer
David W. Bernstein
David Bird
Gerhard Bleicken
Mrs. Kelton Burbank
Mrs. Mary Louise Cabot
Levin H. Campbell, III
Johns H. Congdon
Arthur P. Contas
Robert Cushman
Michael J. Daly
Mrs. C. Russell Eddy
Mrs. John Fitzpatrick
Paul Fromm
Carlton P. Fuller
Mrs. Thomas J. Galligan, Jr.
Mrs. Thomas Gardiner
Leo L. Beranek
Chairman
Weston P. Figgins
Vice Chairman
Mrs. Robert Gibb
Jordan L. Golding
Mrs. John L. Grandin
Mrs. Howard E. Hansen
Mrs. Richard D. Hill
Mrs. Amory Houghton, Jr.
Richard S. Humphrey, Jr.
Mrs. Jim Lee Hunt
Mrs. Louise I. Kane
Leonard Kaplan
Mrs. F. Corning Kenly
John Kittredge
Robert Kraft
Benjamin Lacy
Mrs. James F. Lawrence
Mrs. Warren B. Manhard II
Colman M. Mockler, Jr.
Mrs. Elting E. Morison
Mrs. Stephen V. C. Morris
Mrs. Arthur I. Strang
Secretary
Richard P. Morse
Dr. Barbara W. Newell
Stephen Paine
David Pokross
William Poorvu
Harry Remis
Mrs. Peter van S. Rice
Mrs. Samuel L. Rosenberry
Mrs. Jerome Rosenfeld
Mrs. George Rowland
Mrs. William Ryan
Francis P. Sears, Jr.
William A. Selke
Gene Shalit
Peter J. Sprague
Samuel L. Slosberg
Mrs. Edward S. Stimpson
D. Thomas Trigg
Mrs. Donald B. Wilson
Roger Woodworth
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BSOCBS 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
at 10 p.m. and will include film footage of concerts, coaching sessions, classes,
and other aspects of the trip. CBS correspondent Ed Bradley and two camera
crews were among the press party that accompanied the Orchestra.
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 congratula-
tions and thanks are in order for everyone whose help contributed to the success
of this important and crucial undertaking.
BSO Members Live on WGBH-89.7-FM
Live inteviews with BSO members continue Saturday mornings on The Orchestra
segment of WGBH-FM's Morning Pro Musica, hosted by Robert J. Lurtsema.
Coming up are principal clarinet Harold Wright on 14 April, principal bassoon
Sherman Walt on 21 April, and principal trombone Ronald Barron on 28 April.
This series of interviews is made possible by grants from BASF Systems and
Pastene Wine and Food.
Newsletter
The next issue of BSO, the Boston Symphony's monthly newsletter, will be a
combined April/May issue which includes news of the Orchestra's trip to China
and results of the 1979 Musical Marathon. This issue will be mailed out in late
April.
Chamber Concerts
Reminder to Saturday 'Odd' Chamber Series subscribers — your series' next
Pernod-sponsored Pre-Symphony Chamber Concert in the Cabot-Cahners
Room is at 6 p.m. on Saturday, 21 April. The program consists of Mozart's Gmajor Duo for violin and viola and the Dvorak C major Terzetto for two violins
and viola.
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SeijiOzawa
In the fall of 1973, Seiji Ozawa becamethe thirteenth Music Director of the Bos-ton Symphony Orchestra since the
Orchestra's founding in 1881.
Born in Shenyang, China in 1935 to
Japanese parents, Mr. Ozawa studiedboth Western and Oriental music as a
child and later graduated from Tokyo'sToho School of Music with first prizes in
composition and conducting. In the fall
of 1959 he won first prize at the Inter-
national Competition of OrchestraConductors, Besancon, France.
Charles Munch, then Music Director of
the Boston Symphony and a judge at the
competition, invited him to Tanglewoodfor the summer following, and he there
won the Berkshire Music Center's high-
est 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 Philhar-
monic'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 NorthAmerica came in January 1962 with the San Francisco Symphony Orchestra. Hewas Music Director of the Chicago Symphony's Ravinia Festival for five summersbeginning in 1963, and Music Director for four seasons of the Toronto SymphonyOrchestra, 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 Januaryof 1968; he had previously appeared with the Orchestra at Tanglewood, where hewas 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 SymphonyOrchestra. The Music Directorship of the Boston Symphony followed in 1973, andMr. Ozawa resigned his San Francisco position in the spring of 1976, remainingHonorary Conductor there for the 1976-77 season.
As Music Director of the Boston Symphony Orchestra, Mr. Ozawa has strength-
ened 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 hebrought 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 Pe-
king 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 anEmmy 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 wona Grand Prix du Disque. Seiji Ozawa's recordings with the Boston Symphony onDeutsche Grammophon include works of Bartok, Berlioz, Brahms, Ives, Mahler,
and Ravel, with works of Berg, Stravinsky, Takemitsu, and a complete TchaikovskySwan 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.
8
GF^
BOSTON SYMPHONYORCHESTRA
1978/79
First Violins
Joseph SilversteinConccrtmaster
Charles Munch chair
Emanuel BorokAssistant Conccrtmaster
Helen Horner Mclntyre chair
Max Hobart
Cecylia ArzewskiRoger ShermontMax WinderHarry DicksonGottfried Wilfinger
Fredy Ostrovsky
Leo Panasevich
Sheldon Rotenberg
Alfred Schneider* Gerald Gelbloom* Raymond Sird* Ikuko Mizuno* Amnon Levy* Bo Youp Hwang
Second Violins
Marylou SpeakerFahnestock chair
Vyacheslav Uritsky
Michel Sasson
Ronald KnudsenLeonard MossLaszlo Nagy
* Michael Vitale* Darlene Gray* Ronald Wilkison* Harvey Seigel* Jerome Rosen* Sheila Fiekowsky* Gerald Elias
* Ronan Lefkowitz* Emanuel Boder* Joseph McGauley* Participating in a system of rotated seating
within each string section.
Violas
Burton FineCharles S. Dana chair
Eugene LehnerRobert Barnes
Jerome Lipson
Bernard Kadinoff
Vincent Mauricci
Earl Hedberg
Joseph Pietropaolo
Michael Zaretsky* Marc Jeanneret* Betty Benthin
Cellos
Jules EskinPhilip R. Allen chair
Martin HohermanVernon and Marion Alden chair
Mischa Nieland
Jerome Patterson* Robert Ripley
Luis Leguia* Carol Procter* Ronald Feldman* Joel Moerschel* Jonathan Miller* Martha Babcock
Basses
Edwin BarkerHarold D. Hodgkinson chair
WillRheinJoseph HearneBela Wurtzler
Leslie Martin
John Salkowski
John Barwicki* Robert Olson* Lawrence Wolfe
Flutes
Doriot Anthony DwyerWalter Piston chair
Fenwick SmithPaul Fried
Piccolo
Lois SchaeferLvclyn and C. Charles Marian chaw
OboesRalph GombergMildred B. Remis chair
Wayne Rapier
Alfred Genovese
English HornLaurence Thorstenberg
Clarinets
Harold WrightAnn S. M. Banks chair
Pasquale Cardillo
Peter HadcockE flat clarinet
Bass Clarinet
Craig Nordstrom
Bassoons
Sherman WaltEdioard A. Taft chair
Roland Small
Matthew Ruggiero
ContrabassoonRichard Plaster
HornsCharles KavalovskiHelen Sagoff Slosberg chair
Charles Yancich
David OhanianRichard MackeyRalph Pottle
TrumpetsArmando GhitallaRoger Louis Voisin chair
Andre ComeRolf Smedvig
TrombonesRonald Barron
Norman Bolter
Gordon Hallberg
TubaChester Schmitz
TimpaniEverett FirthSylvia Shippen Wells chair
Percussion
Charles SmithArthur PressAssistant Timpani
Thomas GaugerFrank Epstein
HarpsBernard Zighera
Ann Hobson
Personnel ManagersWilliam MoyerHarry Shapiro
Librarians
Victor Alpert
William Shisler
James Harper
Stage ManagerAlfred Robison
Accompanist to
Leonard Bernstein • Arthur Fiedler
Gilbert Kalish • Seiji Ozawa • Andre Previn
Gunther Schuller • YehudiWyner
10
BOSTON SYMPHONY ORCHESTRA
Seiji Ozawa, Music Director
Colin Davis, Principal Guest Conductor
Joseph Silverstein, Assistant Conductor
Ninety-Eighth Season
Thursday, 12 April at 8
Friday, 13 April at 2
Saturday, 14 April at 8
Monday, 16 April at 8 (Veterans War Memorial
Auditorium, Providence, Rhode Island)
Tuesday, 17 April at 8
COLIN DAVIS conducting
TIPPETT Symphony No. 4
INTERMISSION
BRAHMS Violin Concerto in D, Opus 77
Allegro non troppo
Adagio
Allegro giocoso, ma non troppo vivace
GIDON KREMER
Thursday's, Saturday's, Monday's, and Tuesday's concerts will end about 9:45 and Friday's
about 3:45.
Deutsche Grammophon, Philips, RCA, and New World records
Baldwin piano
The program books for the Friday series are given
in loving memory of Mrs. Hugh Bancroft by her daughters
Jessie Bancroft Cox and Jane Bancroft Cook.
11
SPEND YOURSATURDAY MORNINGS
WITHTHE ORCHESTRAON 'GBH RADIO
Join Morning Pro Musica host
Robert J. Lurtsema for a fas-
cinating series exploring the
inner workings of a modern sym-
phony orchestra.
Each week, special guests from
the Boston Symphony Orchestra
will he on hand to share their
insights in to the Orchestra's
management, production and
music.
This week's guest:
Harold Wright, clarinet
Sst-
BOSTONSYMPHONYORCHESTRA
SEIJI OZAWAMusic Director
g=*^
THE ORCHESTRAMorning Pro Musica
Saturday 7:0042:00 noon
'GBH RADIO 89.7 FMa BASF
ts
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P&stenePasierw Wirw 4 Food. Somerville, MA 02113
THE ORCHESTRA is made possible by grants from BASF, Magnetic Tape Division and Pastene Wine and Food.
12
Michael Tippett
Symphony No. 4
Michael Kemp Tippett, knighted by
Queen Elizabeth in 1966, was born in
London on 2 January 1905 and now lives
in Wiltshire, England. The Fourth
Symphony was the first of his major
works to receive its world premiere out-
side England: written between March
1976 and April 1977 on a commission
from the Chicago Symphony Orchestra, it
had its first performance in Chicago
under the direction of Sir Georg Solti on 6
October 1977. Subsequently, the Chicago
Symphony played the work in Salzburg
and Montreux, and gave the British pre-
miere at the Henry Wood Promenade
Concerts on 4 September 1978. The
symphony is scored for two flutes (doub-
ling piccolos), two oboes, English horn, two clarinets in B flat (second doubling clarinet
in E flat), bass clarinet, two bassoons and contrabassoon, six horns, three trumpets, two
tenor trombones and bass trombone, two tubas, timpani, xylophone, marimba, glocken-
spiel, vibraphone, side drum, tenor drum, bass drum, tom-tom, suspended cymbal,
clashed cymbal, maracas, claves, wood block, triangle, wind machine, harp, piano, and
strings. These are the first performances in Boston.
Right from the start, Tippett's Fourth Symphony has been hailed as one of his
most important compositions, a work of consolidation and of innovation, and in
the wake of the Chicago premiere it has been taken into the repertoire of a num-ber of orchestras, ranging from the Scottish National Orchestra to the Adelaide
Symphony. The most immediate and obvious difference one notices between
Tippett's Fourth Symphony and his three earlier symphonies is that this one is
in a single movement: his first two symphonies are in the usual four, and the
third is in two large movements, but the fourth combines the utmost compres-
sion of design with, as we shall see, considerable scope for new material and
development. In fact, the symphony is the first of a sequence of works all of
which the composer has planned in a single-movement format: the Fourth String
Quartet which Tippett completed in October 1978 (due to receive its premiere in
the Bath Festival in May) and the Triple Concerto for violin, viola and cello are
both in one movement. It is worth viewing the work, thus, in the context of his
growth as a symphonic composer.
Tippett's four symphonies span the years of his maturity as a composer. The
first two (dating from 1944-45 and 1955-56, respectively) relate closely to classical
precedent. Here, Tippett was preoccupied with renewing the forms and textures
of seventeenth- and eighteenth-century music in his own individual idiom. Heregarded these symphonies as "abstract" music— at the opposite pole from the
"dramatic" music of his oratorio, A Child of Our Time, and his operas. Tippett's
Third Symphony (1970-72) daringly constructs a bridge from the abstract music
of its first part to the dramatic music of its second (a series of blues, sung by a
soprano, with orchestral "breaks" and summing-up). Here, Tippett quite
13
explicitly emulates Beethoven's procedure in the Ninth Symphony. Indeed,
Beethoven's violent musical gesture at the start of the Ninth Symphony'sfinale— leading eventually to the choral setting of the Ode to Joy— is reproduced
by Tippett and modified to his own purposes.
Symphony No. 4 has an altogether different pedigree. It does, in fact, essay a
further recipe for balancing the abstract and dramatic elements in his music, and
relates more to the tradition represented by the symphonic poems of Liszt,
Strauss and Elgar. Tippett observes that in the best of these, the "programmatic"
element is ultimately only an alibi, enabling the composer to produce a concen-
trated outpouring of music within a continuous, often lengthy and elaborate
design.
After pondering the various methods of articulating such large musical struc-
tures, Tippett eventually conceived of a piece lasting around thirty minutes, in
which the process of articulation was twofold. On the one hand, there was the
larger process that resulted in four main sections—corresponding roughly to
opening exposition, slow movement, scherzo, and final recapitulation. Then,
there was a subsidiary process, interpolating episodes of development and
thematic juxtaposition: this owes something to the seventeenth-century fantasia,
as exemplified by Gibbons and Purcell. The symphony falls, ultimately, into
seven sections; these are dovetailed together to produce a continuous unfolding
of musical ideas and argument. Thus, Tippett reconciles the mosaic patterns of
his more recent works (since the opera King Priam, of 1962) with traditional
modes of symphonic argument.
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Tippett indicates another link with the symphonic poem tradition when he
describes the work as a ''birth-to-death" piece (cf. Strauss's Ein Heldenleben). Healso refers to an early experience of some relevance to the symphony. Back in the
1920s, he was taken by friends to the Pitt-Rivers anthropological museum in
Dorset in the west of England. Here he saw an early film of a fetus growing
inside the womb of a rabbit, with the process speeded up so that, at a particular
stage, the initial single-cell form shook like a jelly and became two, then again
later it became four. This birth-image remained in his mind. It underlies somemotifs in this new symphony, and it bears especially upon the opening and the
central climax (in section four). The prominence given to a wind machine in the
score also relates to this overall theme, with "gentle breathing" sounds indicated
at the start, a more prominent contribution at the climax, and the whole workdying away finally with this instrument sounding on its own.
Incidentally, Tippett has, since the premiere of the symphony, recommendedthat the standard wind machine used by orchestras not be used here, as it is not
sufficiently refined to create the effect of "breathing." He has suggested two alter-
native methods of obtaining this effect: either human breathing, amplified by a
directional microphone, or the use of a VCS3 synthesizer, specifically programmed.*
Thematically, the symphony relies on sharply characterized contrasts between
the contributions of the instrumental families. After the introduction, three mainmusical ideas are stated, respectively, by brass, strings, and woodwind: in the
*In the present performances by the Boston Symphony Orchestra, an ARP2600 synthesizer
is being used to achieve the composer's intended effect.
15
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score, these are marked, in turn, "power," "vigour," and "lyric grace." This
exposition culminates in an outburst, dominated by the brass and leading to a
passage of great poetry, scored for the six horns, subsequently embellished by
woodwind, piano, solo viola, harp, and contrabass, and ending on a timpani roll.
This is worth noting, for in the development section that follows—comprised of
four easily identifiable stages— Tippett comes back to this outburst, presenting it
a tone higher, and it is also a landmark later in the piece. The music then leads
without pause into the slow movement. Here, we glean four different angles
upon related musical material.
Another development section is interpolated, a fugal treatment of a craggy
string theme, bringing the symphony to its emotional apex, a climax of great
violence from whose tensions we are released into the scherzo. Tippett's writing
here is concise and even cryptic, but it allows of great virtuosity in performance,
especially in a trio section for six horns. After the return of the main scherzo
material, the fantasia element takes over again. Tippett actually takes thirty-six
bars of a Gibbons three-part fantasia and paraphrases it: he keeps to three parts
throughout, but elaborates and enriches the lines. This pendant to the scherzo
reaches again the musical outburst that closed the exposition, with the poetic
gesture for six horns further transposed up a tone. Now Tippett begins to "collect
up" his motifs in a manner that recalls the closing pages of his Second Piano
Sonata. This brings us to the last section, where the opening exposition is
recapitulated but modified, to feature some final spacious contrasts between the
instrumental groups and to produce an ultimate dying-away to nothing.
—©Meirion Bowen 1978
Meirion Bowen is author and editor of two forthcoming books on Michael Tippett andwrites regularly on music for The Guardian in London.
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"Public events are notenough to help us describethe world we live in. TheMonitor also looks for the
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WhenJohn Hancocksponsors the
BostonSymphonyonWCRB,you won'twinduphumming the
commercials.
WCRB is proud to announce that
The John Hancock Mutual Life Insurance
Company will sponsor this season's Boston
Symphony Orchestra. The concerts will be
broadcast live on Saturday evenings over
WCRB-FM radio. With no commercialinterruptions.
Instead, Hancock is devoting all their
commercial time to programs in the public
interest. Like provocative discussions with
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Johannes BrahmsViolin Concerto in D, Opus 77
Johannes Brahms was born in Hamburg
on 7 May 1833 and died in Vienna on 3
April 1897. He wrote the Violin Concerto
in the summer and early fall of 1878, but
the published score incorporates a few
revisions made after the premiere, which
was given by Joseph Joachim in Leipzig
on 1 January 1879, the composer con-
ducting the Gewandhaus Orchestra. The
first American performances of the
work appear to have been the Boston
Symphony's on 6 and 7 December 1889,
when it was played by Franz Kneisel, the
Orchestra's concertmaster, with Arthur
Nikisch conducting. Kneisel played it in
subsequent seasons with Emil Paur and
Wilhelm Gericke. The Boston
Symphony's soloists in the Brahms Concerto since then have been Adolph Brodsky
(Nikisch), Maud MacCarthy (Gericke), Fritz Kreisler (Gericke, Max Fiedler, Karl
Muck), Hugo Heermann (Gericke), Carl Wendling (Muck), Mischa Elman and Felix
Berber (Fiedler), Anton Witek (Fiedler, Muck), Carl Flesch (Muck), Albert Stoessel
(Pierre Monteux), Richard Burgin (Monteux, Serge Koussevitzky), Vladimir Resnikoff
and Georges Enesco (Monteux), Jacques Thibaud (Michael Press), Albert Spalding
(Burgin); Jascha Heifetz, Nathan Milstein, Adolf Busch, Bronislav Huberman, Paul
Makovsky (Koussevitzky); Joseph Szigeti (Koussevitzky, Charles Munch), Efrem Zim-
balist (Koussevitzky), Ginette Neveu (Burgin); Yehudi Menuhin, Patricia Travers,
Arthur Grumiaux (Munch); Isaac Stern (Munch, Monteux), Leonid Kogan (Monteux);
Christian Ferras, Jacob Krachmalnick, Roger Shermont (Munch); Zino Francescatti
(Burgin, Erich Leinsdorf, William Steinberg), Shmuel Ashkenasi and Joseph Silverstein
(Leinsdorf), David Oistrakh (Steinberg), and Miriam Fried (Silverstein, Klaus Tenn-
stedt). The most recent performances were given by Miriam Fried with Klaus Tennstedt
conducting in December 1974.
The orchestra consists of two flutes, two oboes, two clarinets, two bassoons, four horns,
two trumpets, timpani, and strings. Gidon Kremer plays the cadenza by Fritz Kreisler.
Faint phonograph recordings exist of Joseph Joachim playing Brahms
Hungarian Dances, some unaccompanied Bach, and a Romance of his own:
through the scratch and the distance, one can hear that even in his seventies the
bow-arm was firm and the left hand sure. And though the records also convey a
sense of the vitality of his playing, they are, in the end, too slight and too faint to
tell us anything we want to know about the violinist whose debut at eight was
hailed as the coming of "a second Vieuxtemps, Paganini, Ole Bull" or the musi-
cian whose name became, across the more than sixty years of his career, a
byword for nobility and probity in art. Joachim the violinist is remembered not
only as a superb and commanding soloist but also as the leader of the most
highly esteemed string quartet of his day. He was as well an accomplished com-poser and an excellent conductor. His became a dominant voice in German musi-
cal anti-Wagnerian conservatism, but in his teens he had been Franz Liszt's con-
certmaster at Weimar and played in the first performance of Lohengrin. His pas-
21
sionate identification with the musical past was productive: that Beethoven's
Violin Concerto, which he played for the first time in London just before his
thirteenth birthday in 1844, took its place in normal concert repertoire waslargely due to Joachim's persistence and indeed to the persuasiveness of his
interpretation, and he was the first to play Bach's solo sonatas and partitas with-
out the additional accompaniments that even musicians as good as Schumannand Mendelssohn had thought necessary. The range of his experience was pro-
digious. As a boy in Hungary he knew Count Franz von Brunswick, to whomBeethoven had dedicated the Appassionata; Joseph Mayseder, second violinist of
the Schuppanzigh Quartet, which had studied the string quartets of Haydn,
Beethoven, and Schubert with their respective composers; and Franz Clement,
who had been the first violinist to tackle Beethoven's Concerto, which was in fact
written for him. And he lived long enough to be an indelible influence on Donald
Francis Tovey, the English musician whose analytical and critical writings
changed the course and the nature of words about music in English-speaking
lands.
Europe's courts, universities, and learned academies vied to honor Joachim,
but what speaks to us more eloquently than the doctorates and the Pour le merites
is an accounting of what composers dedicated to him (and sometimes wrote for
him to play), a list that includes the second version of Schumann's SymphonyNo. 4 in D minor, Liszt's Hungarian Rhapsody No. 2, Dvorak's Violin Concerto,
and, by Brahms, the Piano Sonata in C, Opus 1, the scherzo of a Violin Sonata
composed jointly with Schumann and Albert Dietrich, and the Violin Concerto.
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Brahms and Joachim met in 1853 and they gave many concerts together, with
Brahms at the piano or on the conductor's podium. Joachim was the elder by two
years and, as a very young man, the more confident and the more technically
accomplished composer of the two. Brahms quickly acquired the habit of submit-
ting work in progress to Joachim for stern, specific, and carefully heeded criti-
cism. In the 1880s the friendship was ruptured when Brahms too plainly took
Amalie Joachim's side in the differences that brought the Joachim's marriage to
an end in 1884. The Double Concerto for violin and cello was tendered and
accepted as a peace offering in 1887 (Joachim and Robert Hausmann, cellist in the
Joachim Quartet, were the first soloists). Their correspondence was resumed,
almost as copiously as before, but intimacy was lost for good, and the prose is
prickly with diplomatic formalities and flourishes.
The first mention of a concerto in the Brahms-Joachim correspondence occurs
on 21 August 1878. Brahms was spending the summer at Portschach on Lake
Worth in southern Austria, where a year previously he had begun his Second
Symphony.* It was a region, he once said, where melodies were so abundant that
one had to be careful not to step on them. Brahms returned to Portschach for one
^Fifty-seven years later, Alban Berg was delighted and proud to be writing his Violin Con-
certo on the opposite shore of the same lake.
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more summer, that of 1879, when the soil yielded the loveliest and most original
of his sonatas for violin and piano, the G major, Opus 78. The tone of Brahms's
letter is a characteristic mixture of the blunt and the oblique:
"Dear friend,
I'd be glad to know how long you're staying [at Aigen] and would like to send
you a number of violin passages. I hardly need specify the request that goes
with them, and the only question is whether you're not too absorbed in
Mozart and perhaps Joachim himself to find an hour or so for them."
The next day he wrote again:
"Now that I've written it out, I don't really know what you're supposed to do
just with the violin part by itself.
"Of course I wanted to ask you to make corrections and wanted you to have
no possibility in any direction to make excuses— neither respect for music too
good for criticism, nor the pretext that the score wasn't worth the trouble.
"Now I'm content if you just say a word and perhaps write in a few: difficult,
uncomfortable, impossible, etc.
"The whole business is in four movements. I've written down the beginning
of the last one so that you can forbid the clumsy figurations at once."
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Joachim replied from Salzburg two days later:
"Dear Johannes! It is a great and genuine pleasure for me that you are writing
a violin concerto (in four movements yet). I immediately looked through what
you sent, and you'll find a note or a comment about alterations here and
there. Of course without the score one can't really enjoy any of it. Most of it is
manageable, some of it even violinistic in quite an original sort of way—whether one can play it with any comfort in a hot hall is something I wouldn't
want to affirm before I've had a chance to go all the way through it con-
tinuously. Isn't it possible we might meet for a couple of days?"
In a letter that began, "Well now, dear friend, that doesn't all sound so hope-
less," Brahms agreed to a meeting, which took place at Portschach the following
week. The correspondence continued, and plans were made for a tryout with the
orchestra of the Conservatory in Berlin, for Joachim to compose a cadenza, and
for the premiere either with the Vienna Philharmonic or at the Leipzig
Gewandhaus. Meanwhile, writing from Breslau on 23 October, Brahms reported
that he had "after all stumbled over the Adagio and Scherzo." In November he
had more to say about this: "The middle movements have fallen by the wayside.
Of course they were the two best.* Meanwhile I am writing a feeble Adagio."
'The scherzo became the second movement of the Piano Concerto No. 2 in B flat (1881).
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Joachim proposed a program to begin with Beethoven's Concerto and closing
with the Brahms, with songs, two movements from Bach's C major unaccom-
panied Sonata, and an overture of his own in between. Brahms demurred:
"Beethoven shouldn't come before mine— of course only because both are in Dmajor. Perhaps the other way around—but it's a lot of D major—and not muchelse on the program." On New Year's Day, Joachim and Brahms introduced the
work in that same hall in Leipzig where, just four weeks short of twenty years
back, Brahms's First Piano Concerto had met with catastrophic, brutal rejection.
Brahms had not written a concerto since, and curiosity was keen, the more so
because there were so few significant violin concertos: received opinion had it
that there were in fact just two, Beethoven's and the Mendelssohn. The first
movement rather puzzled the audience, the Adagio was greeted with some
warmth, and the finale elicited real enthusiasm. About Joachim's playing there
was no disagreement, and his cadenza, which has virtually become part of the
concerto, was universally admired. Indeed, after the Vienna premiere two weeks
later, Brahms reported to his friend Elisabet von Herzogenberg that Joachim had
played the cadenza "so magnificently that people clapped right into my coda."
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On 6 March, Joachim reported from London that he had dared play the con-
certo from memory for the first time, and he continued to champion it wherever
he could. None of the early performances was so moving an occasion for Joachim
and Brahms as the concert in celebration of the unveiling of the Schumannmonument in Bonn on 2 May 1880: Brahms's concerto was the only work chosen
that was not by Schumann. Meanwhile, composer and violinist continued to
exchange questions, answers, and opinions about the concerto well into the sum-
mer of 1879, Brahms urging Joachim to propose ossias (easier alternatives),
Joachim responding with suggestions for where and how the orchestral scoring
might usefully be thinned out, with changes of violinistic figuration, and even
with a considerable compositional emendation in the finale. Except for the last,
Brahms accepted most of Joachim's proposals before he turned the material over
to his publisher. In spite of Brahms's secure prestige by this point in his career, in
spite of Joachim's ardent and effective sponsorship, the concerto did not easily
make its way. It was thought a typical example of Brahmsian severity of manner;
Hans von Billow's quip about the difference between Max Bruch who had writ-
ten a concerto for the violin and Brahms who had written one against the violin
was widely repeated; and as late as 1905, Brahms's devoted biographer, Florence
May, was obliged to admit that "it would be too much to assert that it has as yet
entirely conquered the heart of the great public." Kreisler, who took it into his
repertory about 1900, had as much as anyone to do with changing that, andBrahms would be surprised to know that his concerto has surpassed Beethoven's
in popularity (and that Mendelssohn's elegant essay is no longer thought of as
being in that league at all).
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To us it seems odd to think of playing the Beethoven and Brahms concertos on
the same program as Joachim proposed. But then, the likeness that makes the
idea an uncomfortable one for us was probably the very factor that made it
attractive to Joachim, who was not, after all, presenting two established master-
pieces but, rather, one classic, and a new and demanding work by a forty-five-
year-old composer with a reputation for being "difficult." But Beethoven is pres-
ent, in the choice of key, in the unhurried gait (though the tradition that turns
Beethoven's and Brahms's "allegro, but not too much so" into an endlessly
stretched out, energyless Andante does neither work any good), in the propor-
tions of the three movements, in the fondness for filigree in the high register, in
having the soloist enter in an accompanied cadenza, in leading the main cadenza
not to a vigorous tutti but to a last unexpected and hushed reprise of a lyric
theme (the second theme in Beethoven, the first in Brahms).
Brahms begins with a statement that is formal, almost neutral, and unhar-
monized except for the last two notes. But the sound itself is subtle— low strings
and bassoons, to which two horns are added, and then, with basses, two more.
And the resumption, quietly and on a remote harmony, is altogether personal.*
So striking a harmonic departure so early will take some justifying, and thus the
surprising C major chord under the oboe's melody serves as signal that this
movement aims to cover much space, that it must needs be expansive. A momentlater, at the top of the brief crescendo, the rhythm broadens— that is, the beats are
still grouped by threes, but it is three half-notes rather than three quarters, and
this too establishes early a sense of immense breadth. On every level the music is
*And, one might add, Beethovenian— inspired by the orchestra's first mysterious entrance
in the Fourth Piano Concerto.
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rich in rhythmic surprise and subtlety: the aggressive theme for strings alone
insists that the accents belong on the second beat, another idea dissolves order
(and imposes a new order of its own) by moving in groups of five notes, the
three-four/three-two ambiguity returns again and again. The musing and serene
outcome of the cadenza is not so much a matter of the pianissimo and dolce and
tranquillo that Brahms writes into the score as of the trance-like slow motion of
the harmonies. (Things have changed in the last hundred years. The danger nowis not that the audience will applaud as it did at the Vienna premiere, but that it
will cough.)
When the great Pablo de Sarasate was asked whether he intended to learn the
new Brahms Concerto he replied, "I don't deny that it is very good music, but do
you think I could fall so low as to stand, violin in hand, and listen to the oboe
play the only proper tune in the whole work?" What the oboe plays at the begin-
ning of the Adagio is indeed one of the most wonderful melodies ever to come to
Brahms. It is part of a long passage for winds alone, subtly voiced and anything
other than a mere accompanied solo for the oboe, and a magical preparation for
the return of the violin.* As the critic Jean-Jacques Normand charmingly puts it,
"Le hautbois propose, et le violon dispose." It is strange that Sarasate should not
have relished the opportunity to turn the oboe's chastely beautiful melody into
ecstatic, super-violinistic rhapsodies. A new and agitated music intervenes. Thenthe first ideas return, enriched, and with the wind sonorities and the high-flying
violin beautifully combined. For the finale, Brahms returns to his old love of gypsy
music, fascinatingly and inventively deployed, and the turn, just before the end,
to a variant in six-eight (heard, but not so notated) is a real Brahms signature.
—Michael Steinberg
*A characteristic detail: the oboe melody is preceded by two bars of an F major chord for
bassoons and horns. The entrance of the solo violin, which plays a variant of the oboe tune,
is preceded by the same two measures, but given to the orchestral strings as they make their
first appearance under the dissolving and receding wind-band music.
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Photo Courtesy of the Civic Symphony Orchestra of Boston
32
MORE. . .
The basic book on Michael Tippett is his own collection of essays, Moving Into
Aquarius (enlarged paperback edition, Paladin Books), and Michael Tippett: a Sym-
posium on his 60th Birthday, edited by Ian Kemp, contains some penetrating essays
on his music to that date (Faber). The last two items are not in print in this coun-
try but can be found in libraries. There is, so far, no recording of the Fourth
Symphony. Tippett's three earlier symphonies are all available in excellent
recordings by Colin Davis (Philips for Nos. 1 and 3, Argo for No. 2). Other
recordings recommended for further exploration are of Tippett's first opera Mid-
summer Marriage (Philips), the oratorio A Child of Our Time (Philips), and the
Variations on a Theme by Corelli (Argo).
The Life of Johannes Brahmsby Florence May, a two-volume biography first pub-
lished in 1905 by an Englishwoman who knew Brahms and had studied piano
with him, is still available, excellent, and expensive (Scholarly). The most useful
recent life-and-works on a smaller scale is Karl Geiringer's (Oxford). Donald
Tovey has a fine analysis of the Violin Concerto in Vol. 3 of Essays in Musical
Analysis (Oxford, available in paperback), and the reader with some technical
knowledge of music will find Arnold Schoenberg's essay Brahms the Progressive
stimulating and provocative (in Style and Idea, St. Martin's).
Joseph Joachim's playing of Bach and Brahms may be heard on Pearl GEM-101
.
If I could have just one recording of the Brahms Violin Concerto, I would not
hesitate a second before choosing, for its incomparable blend of poetry and fire,
Joseph Szigeti's 1928 performance with Hamilton Harty and the Halle Orchestra
(Columbia, in the six-record album The Art of Joseph Szigeti). Gidon Kremer has
recorded the work with Herbert von Karajan and the Berlin Philharmonic
(Angel). There are remarkable recordings by Yehudi Menuhin with WilhelmFurtwangler and the Lucerne Festival Orchestra (Seraphim, monaural only),
David Oistrakh with George Szell and the Cleveland Orchestra, and, perhaps
even more expressive, his version with Otto Klemperer (both Angel), NathanMilstein with Eugen Jochum and the Berlin Philharmonic (Deutsche Gram-mophon), and Itzhak Perlman with Carlo Maria Giulini and the Chicago
Symphony (Angel).
The two best recordings of the B flat major Sextet, Opus 18, are available only
in large albums. Homage to Pablo Casals is a mixed bag, but the 1952 performance
of the sextet by Isaac Stern, Alexander Schneider, Milton Katims, Milton
Thomas, Casals, and Madeline Foley is unsurpassed (Columbia, five records,
monaural only). The Bartok Quartet with Gyorgy Konrad and Ede Banda give an
intelligent and dynamic performance (Hungaroton, five records, with the other
sextet, both viola quintets, and all three string quartets). The two more economi-
cally and conveniently available singles by the Amadeus Quartet with Cecil
Aronowitz and William Pleeth (Deutsche Grammophon) and by YehudiMenuhin, Robert Masters, Aronowitz, Ernst Wallfisch, Maurice Gendron, andDerek Simpson are not bad, but both seem a bit heavy and prosaic by comparison
with the Casals and Bartok versions.
-M.S.
33
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Colin Davis
Colin Davis, Principal Guest Conduc-
tor of the Boston Symphony, is Music
Director of the Royal Opera, Covent
Garden, and Principal Guest Con-
ductor of the London SymphonyOrchestra as well. He has been deco-
rated by the governments of England,
France, and Italy. His European
engagements include regular concerts
with the Berlin Philharmonic, the
Amsterdam Concertgebouw, and the
Orchestre de Paris. Since his Ameri-
can debut in 1959 with the Min-
neapolis Symphony, Mr. Davis has
conducted the orchestras of NewYork, Philadelphia, Los Angeles, 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 produc-
tions 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 Troyens, 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 et Benedict
and Beethoven's Missa Solemnis; Verdi's Un ballo in maschera and Mozart's Die
Entfiihrung aus dem Serail are forthcoming.
35
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36
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Gidon Kremer
The young Soviet virtuoso Gidon
Kremer was born in 1947 to a highly
musical family in Riga, Latvia and
began studying the violin at the age of
four with his father and grandfather.
He entered the Riga School of Music
at seven and at the age of sixteen wonthe First Prize of the Latvian Repub-
lic. During his eight years of appren-
ticeship to David Oistrakh at the
Moscow Conservatory, Kremer was a
prizewinner at the Queen Elisabeth
Competition in Brussels, and he wonfirst prize in the Fourth International
Tchaikovsky Competition in 1970.
Gidon Kremer's international
career as a recitalist and soloist with
orchestra has been highlighted by appearances in Vienna, at the Bach Festival in
Ansbach, in East and West Berlin, throughout the Soviet Union, in Munich, and
at the Salzburg Mozart Festival. He has performed with such orchestras as the
Berlin Philharmonic, the Berlin Symphony, the Leningrad Symphony, the
Moscow Radio Symphony, the London Symphony, and the Amsterdam Philhar-
monic. In 1977, Mr. Kremer embarked on his first United States tour, which
included his New York debut at Avery Fisher Hall and four concerts with the
Los Angeles Philharmonic. He is scheduled to return to the United States in the
autumn of 1978 with the Israel Philharmonic conducted by Leonard Bernstein in
Washington, D.C.
Mr. Kremer plays a violin made by the Italian master Giovanni Battista
Guadagnini and which he inherited from his grandfather. He has recorded the
Brahms Violin Concerto for Angel records with Herbert von Karajan and the
Berlin Philharmonic.
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37
BOSTON SYMPHONY ORCHESTRA
Seiji Ozawa, Music Director
Colin Davis, Principal Guest Conductor
Joseph Silverstein, Assistant Conductor
Ninety-Eighth Season
PRE-SYMPHONY CHAMBER CONCERTS
Thursday, 12 April at 6
Saturday, 14 April at 6
RONAN LEFKOWITZ, violin
SHEILA FIEKOWSKY, violin
BERNARD KADINOFF, viola
EUGENE LEHNER, viola
JOEL MOERSCHEL, cello
MARTHA BABCOCK, cello
BRAHMS Sextet in B flat for two violins, two violas,
and two cellos, Opus 18
Allegro ma non troppo
Andante ma moderato
Scherzo: Allegro molto
Rondo: Poco allegretto e grazioso
mode possible by
PERNOD
38
KUW ISO3UK
Johannes BrahmsSextet in B flat for two violins, two violas, and two cellos, Opus 18
Hamburg, where he had been born in 1833, was still headquarters for Brahms at
the end of the 1850s, but he was also spending three months of each year con-
ducting a women's, no, surely a ladies' chorus at Detmold, capital of the prin-
cipality of Lippe. In that sleepy little court town—even now its population is not
quite 20,000—Brahms composed his two orchestral serenades as well as pieces
for his own choir, and he also began or wrote preliminary versions of some of his
early chamber music. Among these are both string sextets (the other is in G major
and was completed 1865 and published as Opus 36), the F minor Piano Quintet,
and the Piano Quartet in G minor. He finished the B flat Sextet in 1860, the year
he decided not to continue his arrangement with the Detmold court, and it was
introduced at Hanover by an ensemble led by Joseph Joachim, for whom Brahms
would eighteen years later write the great Violin Concerto on tonight's
Symphony program.
Brahms liked music to sound good and thick. (My own composition teacher,
Bohuslav Martinu, believed this to be an early manifestation of the liver disorder
that was eventually to kill Brahms in 1897.) And for a weighty impasto of middle
and lower middle register sound you can hardly do better than adding an extra
viola and an extra cello to the standard string quartet. Brahms was a careful and
pragmatic professional, and this sextet sounds lucid and clean as well as rich— in
a word, wonderful. Much later, in the 1880s, Brahms wrote two beautiful quin-
tets for strings, but he did not, after 1865, return to this particular form of
sonorous self-indulgence.
Joachim's devoted services to Brahms included the dispensing of encourage-
ment and also compositional advice— never unasked— to his slightly younger
friend. The opening of the sextet as we now know it is, so to speak, his. Brahmsoriginally began with what is now the eleventh measure, and Joachim pointed
out that the turn to D flat major came disconcertingly soon. Brahms responded
by adding a repetition, as it were, of the first phrase before the beginning, which
serves to solidify our sense of the home key. Variations were always a particular
strength with Brahms, and the set on a gypsy theme that serves as second move-
ment is one of his most splendid. The squareness of the theme and its elabora-
tions makes an effective contrast with the rhythmic subtleties and irregularities
of the first movement. Again, the sound is wonderful, and witty too, when, in
the first variation, Brahms uses his sextuple resources to produce an imitation of
a Bach unaccompanied cello piece. After the expansiveness of the first two move-ments, Brahms gives us a surprisingly short scherzo, returning to the metrical
sophistications of the first movement. The Schubertian finale presents both the
most "naive" music and the most contrapuntal: it is here that it is most neces-
sary—for reasons other than sheer gorgeousness— that Opus 18 be a sextet.
— Michael Steinberg
39
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Ronan Lefkowitz
Born in Oxford, England, Ronan
Lefkowitz joined the second violin
section of the Boston SymphonyOrchestra in 1976. He is a graduate of
Brookline High School and Harvard
College, and he studied violin with
Max Rostal, Joseph Silverstein, and
Szymon Goldberg. He has been con-
certmaster and frequent soloist with
the Greater Boston Youth Symphony,
and was concertmaster under Leopold
Stokowski of the International Youth
Symphony Orchestra at St. Moritz,
Switzerland in August 1969, for which
he won first prize as the most promis-
ing young violinist at the International
Festival of Youth Orchestras. A 1972
winner of the Gingold-Silverstein Violin Prize at Tanglewood's Berkshire Music
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vard Chamber Players, and at the Marlboro Music Festival, and he has made
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Sheila Fiekowsky
Sheila Fiekowsky was born in
Detroit Michigan and joined the
second violin section of the Boston
Symphony Orchestra in 1975. She
began her study of the violin at age
nine with Emily Austin of the Detroit
Symphony. She was a soloist with
that orchestra at the age of sixteen
and won the National Federation of
Music Clubs Biennial Award that
same year.
Ms. Fiekowsky attended the Curtis
Institute of Music in Philadelphia
and studied there with Ivan Gala-
mian. She has also studied with BSOconcertmaster Joseph Silverstein, and
she holds a Master of Music degree
from Yale University. Before joining the Boston Symphony, Ms. Fiekowsky wasa member of the Andreas Quartet at Yale's Summer Music Festival in Norfolk,
Connecticut.
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Vardi, and Nicholas Moldavan.
Before joining the Boston Symphonyin 1951, he was a member of the NBCSymphony Orchestra under Arturo
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Born in Hungary, violist Eugene
Lehner has been with the Boston
Symphony Orchestra since 1939. Hestudied at the Royal Conservatory of
Budapest where his teachers in-
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he has been a member of the Kolisch,
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Lehner has been on the faculties of
Wellesley College and Brandeis Uni-
versity, and he currently teaches at
Boston University, the New England
Conservatory of Music, and the Berk-
shire Music Center at Tanglewood.
How do you follow a great performance?
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Joel Moerschel
Cellist Joel Moerschel was born in
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member of the Boston SymphonyOrchestra in September of 1970. Hereceived his education at Chicago
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School of Music, and before coming
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music at Wellesley.
Martha Babcock
Before joining the Boston Symphonyin September of 1973, cellist Martha
Babcock was a member of the
Montreal Symphony. Born in
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a B.A. from Radcliffe College and
studied at Boston University's School
for the Arts. Her teachers have
included Aldo Parisot and George
Neikrug, and she is a member of the
Fine Arts Trio of New England.
49
FINISH THE SYMPHONY SEASONWITH A FLOURISH!
Friday April 27: 12 noon - 3 pmSaturday April 28: 10 am - 6 pmSunday April 29: 10 am - 5 pmHorticultural Hall, 300 Mass. Ave.
Admission $1.50Sponsored by the Massachusetts Orchid Society
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NEWTON SYMPHONY ORCHESTRA
Michel Sasson, Music Director
Sunday, April 29th at 8:00 P.M.
Meadowbrook Jr. High
All Seats Reserved Tel. 965-2555
Master Class - All Newton Music School
April 29th 1-4 P.M. $3.50
PURCELL FESTIVALMusic for the CourtSunday April 22 at 8. Sanders Theatre, Cambridge
including Come, Ye Sons of Art
Music for the ChurchSunday April 29 at 8. Emmanuel Church, Boston
including the Scena: In Guilty Night
Music for the TheatreSunday May 6 at 8. Jordan Hall, Boston
King Arthur (complete music with narration)
Tickets: $6.50, $5, $4, $3 per concert from
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COMING CONCERTS . .
.
Thursday, 19 April - 11-12:05
Thursday 'AM' Series
COLIN DAVIS conducting
Tchaikovsky Romeo and Juliet
Walton Symphony No. 1
Thursday, 19 April - 8-9:45
Thursday 'A' Series
Friday, 20 April - 2-3:45
Saturday, 21 April - 8-9:45
Tuesday, 24 April - 8-9:45
Tuesday 'C Series
COLIN DAVIS conducting
Sibelius Karelia Suite, Op. 11
Sibelius En Saga
Walton Symphony No. 1
Wednesday, 25 April - 7:30
Open Rehearsal
Michael Steinberg will discuss the pro-
gram at 6:45 in the Cabot-Cahners Room.
Thursday, 26 April - 8-9:15
Thursday 'C Series
Friday, 27 April -2-3:15
Saturday, 28 April - 8-9:15
COLIN DAVIS conducting
Beethoven Symphony No. 9 in
D minor, Choral
YASUKO HAYASHI, soprano
PATRICIA PAYNE, mezzo-soprano
NEIL ROSENSHEIN, tenor
ROBERT LLOYD, baritone
TANGLEWOOD FESTIVALCHORUS, JOHN OLIVER,
conductor
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