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A few of the more hallowed rituals that evolved over the genera-

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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

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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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BostonSymphonyonWCRB,you won'twinduphumming the

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WCRB is proud to announce that

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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

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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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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

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Brookline High School and Harvard

College, and he studied violin with

Max Rostal, Joseph Silverstein, and

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certmaster and frequent soloist with

the Greater Boston Youth Symphony,

and was concertmaster under Leopold

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he won first prize as the most promis-

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that orchestra at the age of sixteen

and won the National Federation of

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same year.

Ms. Fiekowsky attended the Curtis

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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,

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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

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Wellesley College and Brandeis Uni-

versity, and he currently teaches at

Boston University, the New England

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Joel Moerschel

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Martha Babcock

Before joining the Boston Symphonyin September of 1973, cellist Martha

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Montreal Symphony. Born in

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studied at Boston University's School

for the Arts. Her teachers have

included Aldo Parisot and George

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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.

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Sunday, April 29th at 8:00 P.M.

Meadowbrook Jr. High

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Master Class - All Newton Music School

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PURCELL FESTIVALMusic for the CourtSunday April 22 at 8. Sanders Theatre, Cambridge

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Music for the ChurchSunday April 29 at 8. Emmanuel Church, Boston

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King Arthur (complete music with narration)

Tickets: $6.50, $5, $4, $3 per concert from

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...before V ^—y anything

COMING CONCERTS . .

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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

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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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