Boston Symphony Orchestra Summer 2015

summer 2015

boston symphony orchestra andris nelsons music director

Andris Nelsons, Ray and Maria Stata Music Director Bernard Haitink, LaCroix Family Fund Conductor Emeritus, Endowed in Perpetuity Seiji Ozawa, Music Director Laureate

134th season, 2014–2015

Trustees of the Boston Symphony Orchestra, Inc.

William F. Achtmeyer, Chair • Paul Buttenwieser, President • Carmine A. Martignetti, Vice-Chair • Arthur I. Segel, Vice-Chair • Stephen R. Weber, Vice-Chair • Theresa M. Stone, Treasurer

David Altshuler • George D. Behrakis • Ronald G. Casty • Susan Bredhoff Cohen, ex-officio • Richard F. Connolly, Jr. • Diddy Cullinane • Cynthia Curme • Alan J. Dworsky • William R. Elfers • Thomas E. Faust, Jr. • Michael Gordon • Brent L. Henry • Susan Hockfield • Barbara W. Hostetter • Charles W. Jack, ex-officio • Stephen B. Kay • Edmund Kelly • Joyce Linde • John M. Loder • Nancy K. Lubin • Joshua A. Lutzker • Robert J. Mayer, M.D. • Robert P. O’Block • Susan W. Paine • Peter Palandjian, ex-officio • John Reed • Carol Reich • Roger T. Servison • Wendy Shattuck • Caroline Taylor • Roberta S. Weiner • Robert C. Winters

Life Trustees

Vernon R. Alden • Harlan E. Anderson • David B. Arnold, Jr. • J.P. Barger • Gabriella Beranek • Leo L. Beranek • Deborah Davis Berman • Jan Brett • Peter A. Brooke • John F. Cogan, Jr. • Mrs. Edith L. Dabney • Nelson J. Darling, Jr. • Nina L. Doggett • Nancy J. Fitzpatrick • Thelma E. Goldberg† • Charles H. Jenkins, Jr. • Mrs. Béla T. Kalman • George Krupp • Mrs. Henrietta N. Meyer† • Richard P. Morse • David Mugar • Mary S. Newman • Vincent M. O’Reilly • William J. Poorvu • Peter C. Read • Edward I. Rudman • Richard A. Smith • Ray Stata • Thomas G. Stemberg • John Hoyt Stookey • Wilmer J. Thomas, Jr.† • John L. Thorndike • Stephen R. Weiner • Dr. Nicholas T. Zervas

Other Officers of the Corporation

Mark Volpe, Managing Director • Thomas D. May, Chief Financial Officer • Bart Reidy, Clerk of the Board

Board of Overseers of the Boston Symphony Orchestra, Inc.

Susan Bredhoff Cohen, Co-Chair • Peter Palandjian, Co-Chair

Noubar Afeyan • James E. Aisner • Peter C. Andersen • Lloyd Axelrod, M.D. • Liliana Bachrach • Judith W. Barr • Lucille M. Batal • Linda J.L. Becker • Paul Berz • James L. Bildner • Mark G. Borden • Partha Bose • Karen Bressler • Anne F. Brooke • Gregory E. Bulger • Joanne M. Burke • Richard E. Cavanagh • Yumin Choi • Dr. Lawrence H. Cohn • Charles L. Cooney • William Curry, M.D. • James C. Curvey • Gene D. Dahmen • Michelle A. Dipp, M.D., Ph.D. • Dr. Ronald F. Dixon • Ronald M. Druker • Philip J. Edmundson • Ursula Ehret-Dichter • Sarah E. Eustis • Joseph F. Fallon • Beth Fentin • Peter Fiedler • Steven S. Fischman • John F. Fish • Sanford Fisher • Jennifer Mugar Flaherty • Alexandra J. Fuchs • Robert Gallery • Levi A. Garraway • Zoher Ghogawala, M.D. • Cora H. Ginsberg • Robert R. Glauber • Stuart Hirshfield • Lawrence S. Horn • Jill Hornor • Valerie Hyman • Everett L. Jassy • Stephen J. Jerome • Darlene Luccio Jordan, Esq. • Paul L. Joskow • Karen Kaplan • Stephen R. Karp • John L. Klinck, Jr. • Jay Marks • Jeffrey E. Marshall • Paul M. Montrone • Sandra O. Moose • Robert J. Morrissey • Cecile Higginson Murphy • Joseph Patton • Donald R. Peck • Steven R. Perles • Ann M. Philbin • Wendy Philbrick • Randy Pierce • Claudio Pincus • Lina S. Plantilla, M.D. • Irene Pollin • Jonathan Poorvu • Dr. John Thomas Potts, Jr. • William F. Pounds • Claire Pryor •

Programs copyright ©2015 Boston Symphony Orchestra, Inc. Cover photo by Marco Borggreve James M. Rabb, M.D. • Ronald Rettner • Robert L. Reynolds • Robin S. Richman, M.D. • Dr. Carmichael Roberts • Graham Robinson • Patricia Romeo-Gilbert • Susan Rothenberg • Joseph D. Roxe • Malcolm S. Salter • Kurt W. Saraceno • Donald L. Shapiro • Phillip A. Sharp, Ph.D. • Christopher Smallhorn • Michael B. Sporn, M.D. • Nicole Stata • Margery Steinberg • Patricia L. Tambone • Jean Tempel • Douglas Thomas • Mark D. Thompson • Albert Togut • Joseph M. Tucci • Sandra A. Urie • Robert A. Vogt • Dr. Christoph Westphal • June K. Wu, M.D. • Patricia Plum Wylde • Marillyn Zacharis • Dr. Michael Zinner • D. Brooks Zug

Overseers Emeriti

Helaine B. Allen • Marjorie Arons-Barron • Diane M. Austin • Caroline Dwight Bain† • Sandra Bakalar • William T. Burgin • Mrs. Levin H. Campbell • Earle M. Chiles • Carol Feinberg Cohen • Mrs. James C. Collias • Ranny Cooper • Joan P. Curhan • Phyllis Curtin • Tamara P. Davis • Mrs. Miguel de Bragança • Paul F. Deninger • JoAnne Walton Dickinson • Phyllis Dohanian • Alan Dynner • Harriett Eckstein • George Elvin • Pamela D. Everhart • Judy Moss Feingold • Richard Fennell† • Myrna H. Freedman • Mrs. James Garivaltis • Dr. Arthur Gelb • Robert P. Gittens • Jordan Golding • Mark R. Goldweitz • Michael Halperson • John Hamill • Deborah M. Hauser • Carol Henderson • Mrs. Richard D. Hill • Roger Hunt • Lola Jaffe • Martin S. Kaplan • Mrs. Gordon F. Kingsley • Robert I. Kleinberg • David I. Kosowsky • Robert K. Kraft • Farla H. Krentzman† • Peter E. Lacaillade • Benjamin H. Lacy • Mrs. William D. Larkin • Robert J. Lepofsky • Edwin N. London • Frederick H. Lovejoy, Jr. • Diane H. Lupean • Mrs. Harry L. Marks • Joseph B. Martin, M.D. • Joseph C. McNay • Dr. Martin C. Mihm, Jr. • Robert Mnookin • John A. Perkins • May H. Pierce • Dr. Tina Young Poussaint • Daphne Brooks Prout • Robert E. Remis • John Ex Rodgers • Alan W. Rottenberg • Kenan Sahin • Roger A. Saunders • Lynda Anne Schubert • L. Scott Singleton • Gilda Slifka • Samuel Thorne • Diana Osgood Tottenham • Paul M. Verrochi • David C. Weinstein • James Westra • Mrs. Joan D. Wheeler • Margaret Williams-DeCelles • Richard Wurtman, M.D.

† Deceased

Established 1974 Berkshire Record Outlet

Thank you all for your past patronage. After forty-one consecutive summers, our retail store has closed.

Please visit our website: www.berkshirerecordoutlet.com Tanglewood The Tanglewood Festival

On August 13, 15, and 16, 1936, the Boston Symphony Orchestra gave its first concerts in the Berkshire Hills of western Massachusetts; music director Serge Koussevitzky conducted. But those outdoor concerts, attended by a total of 15,000 people, did not take place at Tanglewood: the orchestra performed nearby under a large tent at Holmwood, a former Vanderbilt estate that later became The Center at Foxhollow. In fact, the first Berkshire Symphonic Festival had taken place two summers earlier, at Interlaken, when, organized by a group of music-loving Berkshire summer residents, three outdoor concerts were given by members of the New York Philharmonic, under the direction of composer/conductor Henry Hadley. But after a second concert series in 1935, plans for 1936 proved difficult, for reasons including Hadley’s health and aspects of the musical programming; so the organizing committee instead approached Koussevitzky and the BSO’s Trustees, whose enthusiastic response led to the BSO’s first concerts in the Berkshires. In the winter of 1936, following the BSO’s concerts that summer, Mrs. Gorham Brooks and Miss Mary Aspinwall Tappan offered Tanglewood, the Tappan family estate, with its buildings and 210 acres of lawns and meadows, as a gift to Koussevitzky and the orchestra. The offer was gratefully accepted, a two-weekend festival was planned for 1937, and on August 5 that year, the festival’s largest crowd to date assembled under a tent for the first Tanglewood concert, an all-Beethoven program. At the all-Wagner concert that opened the 1937 festival’s second weekend, rain and thunder twice interrupted the Rienzi Overture and necessitated the omission altogether of the Siegfried Idyll, music too gentle to be heard through the downpour. At the intermission, Miss Gertrude Robinson Smith, one of the festival’s founders, made an appeal to raise funds for the building of a permanent structure. The appeal was broadened by means of a printed circular handed out at the two remaining concerts, and within a short time enough money was raised to begin active planning for a “music pavilion.” Eliel Saarinen, the eminent architect selected by Koussevitzky, proposed an elaborate design that went far beyond the festival’s immediate needs, and also well beyond the $100,000 budget. When his second, simplified plans were again deemed too expensive,

A banner advertising the 1939 Berkshire Symphonic Festival (BSO Archives)

he finally wrote that if the Trustees insisted on remaining within their budget, they would have “just a shed...which any builder could accomplish without the aid of an architect.” The Trustees then asked Stockbridge engineer Joseph Franz to simplify Saarinen’s plans further, and the “Shed” he erected—which remains, with modifications, to this day—was inaugurated on August 4, 1938, with the first concert of that year’s festival. It has resounded to the music of the Boston Symphony Orchestra every summer since, except for the war years 1942-45, and has become almost a place of pilgrimage to millions of concertgoers. In 1959, as the result of a collaboration between the acoustical consultant Bolt Beranek and Newman and architect Eero Saarinen and Associates, the installation of the then-unique Edmund Hawes Talbot Orchestra Canopy, along with other improve- After the storm of August 12, 1937, which precipitated a fundraising drive ments, produced the Shed’s present for the construction of the Tanglewood Shed (BSO Archives) world-famous acoustics. In 1988, on the occasion of its fiftieth anniversary, the Shed was rededicated as “The Serge Kous- sevitzky Music Shed,” recognizing the far-reaching vision of the BSO’s legendary music director. In 1940, the Berkshire Music Center (now the Tanglewood Music Center) began its operations. By 1941 the Theatre-Concert Hall, the Chamber Music Hall, and several small studios were finished, and the festival had so expanded its activities and reputation for excellence that it drew nearly 100,000 visitors. With the Boston Symphony Orchestra’s acqui- sition in 1986 of the Highwood estate adjacent to Tanglewood, the stage was set for the expansion of Tanglewood’s public grounds by some 40%. A master plan developed by the Cambridge firm of Carr, Lynch, Hack and Sandell to unite the Tanglewood and Highwood properties confirmed the feasibility of using the newly acquired property as the site for a new concert hall to replace the outmoded Theatre- Concert Hall (which, with some modifications, has remained in use since 1941), and for improved Tanglewood Music Center facilities. Designed by the architectural firm William Rawn Associates of Boston, in collaboration with acoustician R. Lawrence Kirkegaard & Associates of Downer’s Grove, Illinois, Seiji Ozawa Hall—the first new concert facility built at Tanglewood in more than a half-century— The tent at Holmwood, where the BSO played was inaugurated on July 7, 1994, providing a its first Berkshire Symphonic Festival concerts in modern venue throughout the summer for 1936 (BSO Archives) TMC concerts, and for the varied recital and chamber music concerts offered by the Boston Symphony Orchestra and its guests. Ozawa Hall with its attendant buildings also serves as the focal point of the Tanglewood Music Center’s Leonard Bernstein

Campus. Also each summer, the Boston University Tanglewood Institute sponsors a variety of programs offering individual and ensemble instruction to talented younger students, mostly of high school age. Today, Tanglewood annually draws more than 300,000 visitors. Besides the concerts of the Boston Symphony Orchestra, there is a full schedule of chamber music and recital programs featuring prestigious guest artists in Ozawa Hall, Prelude Concerts, Saturday- morning Open Rehearsals, the annual Festival of Contemporary Music, and almost daily concerts by the gifted young musicians of the Tanglewood Music Center. The Boston Pops Orchestra appears annually, and the calendar also features concerts by a variety of jazz and other non-classical artists. The season offers not only a vast quantity of music, but also a vast range of musical forms and styles, all of it presented with a continuing regard for artistic excellence that maintains Tanglewood’s status as one of the world’s most significant music festivals.

The Tanglewood Music Center Since its start as the Berkshire Music Center in 1940, the Tanglewood Music Center, which celebrates its 75th anniversary this summer, has become one of the world’s most influential centers for advanced musical study. Serge Koussevitzky, the BSO’s music director from 1924 to 1949, founded the Center with the intention of creating a first-class music academy where, with the resources of a great symphony orchestra at their disposal, young instrumentalists, vocalists, conductors, and composers would sharpen their skills under the tutelage of Boston Symphony musicians and other specially invited artists. The Music Center opened formally on July 8, 1940, with speeches and music. “If ever there was a time to speak of music, it is now in the New World,” said Koussevitzky, alluding to the war then raging in Europe. “So long as art and culture exist there is hope for humanity.” Randall Thompson’s Then BSO music director Seiji Ozawa, with bass drum, lead- Alleluia for unaccompanied chorus, ing a group of Music Center percussionists during a rehearsal specially written for the ceremony, for Tanglewood on Parade in 1976 (BSO Archives/photo by Heinz Weissenstein, Whitestone Photo) arrived less than an hour before the event began; but it made such an impression that it continues to be performed at each summer’s opening ceremonies. The TMC was Koussevitzky’s pride and joy for the rest of his life. He assembled an extraordinary faculty in composition, operatic and choral activities, and instrumental performance; he himself taught the most gifted conductors. Koussevitzky continued to develop the Tanglewood Music Center until 1950, a year after his retirement as BSO music director. Charles Munch, his successor, ran the Tanglewood Music Center from 1951 through 1962, working with Leonard Bernstein and Aaron Copland to shape the school’s programs. In 1963, new BSO music director Erich Leinsdorf took over the school’s reins, returning to Koussevitzky’s hands-on leadership approach while restoring a renewed emphasis on contemporary music. In 1970, three years before his appointment as BSO music director, Seiji Ozawa became head of the BSO’s programs at Tanglewood, with Gunther Schuller leading the TMC and Leonard Bernstein as general advisor. Leon Fleisher was the TMC’s artistic director from 1985 to 1997. In 1994, with the opening of Seiji Ozawa Hall, the TMC cen- tralized its activities on the Leonard Bernstein Campus, which also includes the Aaron Copland Library, chamber music studios, administrative offices, and the Leonard Bernstein Performers Pavilion adjacent to Ozawa Hall. Ellen Highstein became Direc- tor of the Tanglewood Music Center in 1997. The 150 young performers and composers in the TMC’s Fellowship Program— advanced musicians who generally have completed all or most of their formal training— participate in an intensive program encompassing chamber and orchestral music, opera, and art song, with a strong emphasis on music of the 20th and 21st centuries. All participants receive full fellowships that underwrite tuition, room, and board. It would be impossible to list all of the distinguished musicians who have studied at the Tanglewood Music Center. According to recent estimates, 20% of the members of American symphony orchestras, and 30% of all first-chair players, studied at the TMC. Prominent alumni of the Tanglewood Music Center include Claudio Abbado, Luciano Berio, Leonard Bernstein, Stephanie Blythe, William Bolcom, Phyllis Curtin, David Del Tredici, Christoph von Dohnányi, Jacob Druckman, Lukas Foss, Michael Gandolfi, Osvaldo Golijov, John Harbison, Gilbert Kalish, Oliver Knussen, Lorin Maazel, Wynton Marsalis, Zubin Mehta, Sherrill Milnes, Seiji Ozawa, Leontyne Price, Ned Rorem, Cheryl Studer, Sanford Sylvan, Michael Tilson Thomas, Dawn Upshaw, Shirley Verrett, and David Zinman. Today, alumni of the Tanglewood Music Center play a vital role in the musical life of the nation. Tanglewood and the Tanglewood Music Center, projects with which Serge Koussevitzky was involved until his death, have become a fitting shrine to his memory, a living embodiment of the vital, humanistic tradition that was his legacy. At the same time, the Tanglewood Music Center maintains its commitment to the future. Koussevit- zky conceived of the TMC as a laboratory in which the future of the musical arts would be discovered and explored, and the institution remains one of the world’s most important training grounds for the composers, conductors, instrumentalists, and vocalists of tomorrow.

Tanglewood Visitor Center The Tanglewood Visitor Center is located on the first floor of the Manor House at the rear of the lawn across from the Koussevitzky Music Shed. The Visitor Center provides information on all aspects of Tanglewood, as well as information about other Berkshire attractions. The Visitor Center also includes an historical exhibit on Tanglewood and the Tangle- wood Music Center, as well as the early history of the estate. You are cordially invited to visit the Tanglewood Visitor Center on the first floor of the Manor House, open this summer from June 28 through August 31. Hours are from 10 a.m. to 5 p.m. Monday through Thursday; from 10 a.m. through intermission of the evening concert on Friday; from 9 a.m. through intermission of the evening concert on Saturday; and from noon until 5 p.m. on Sunday. There is no admission charge. This Summer’s Special Archival Exhibit at the Tanglewood Visitor Center

Berkshire Music Center class photo, 1940 (BSO Archives) “Alleluia”—Celebrating the 75th Anniversary of the Tanglewood Music Center This summer marks the 75th anniversary of the Tanglewood Music Center, the BSO’s summer training institute for young musicians that was founded—as the Berkshire Music Center—by Serge Koussevitzky in 1940. To mark the occasion, the BSO Archives has mounted a special exhibit in the Tanglewood Visitor Center. Drawing on the Archives’ extensive collection of photographs, documents, and other memorabilia, the exhibit celebrates more than seven decades of teaching and learning at the Music Center that have influenced generations of instrumentalists, conductors, vocalists, and composers who have studied with BSO musicians and conductors, as well as a vast Instrumental Fellows give a spontaneous number of distin- lunchtime concert on the Tanglewood grounds guished composers and in 1949 (Howard S. Babbitt, Jr./BSO Archives) other visiting artists on the TMC faculty.

BSO Music Director and TMC founder Serge First page of the manuscript score of Randall Koussevitzky flanked by two of his conducting Thompson’s “Alleluia,” which was composed students—Leonard Bernstein (left) and Eleazar for the Opening Exercises of the Berkshire de Carvalho—who later became members of Music Center’s inaugural session in 1940 the faculty (Heinz Weissenstein, Whitestone (BSO Archives) Photo/BSO Archives)

The Tanglewood Music Center 75th Anniversary Archival Exhibits are made possible by a generous gift from the Claudia and Steven Perles Family Foundation.

Serge Koussevitzky rehearsing with the Berkshire Music Center Orchestra in the Tanglewood Shed, 1942 (BSO Archives) In Consideration of Our Performing Artists and Patrons

Please note: We promote a healthy lifestyle. Tanglewood restricts smoking to designated areas only. Smoking materials include cigarettes, cigars, pipes, e-cigarettes, and other smoking products. Maps identifying designated smoking areas are available at the main gate and Visitors Center. Latecomers will be seated at the first convenient pause in the program. If you must leave early, kindly do so between works or at intermission. Except for water, please do not bring food or beverages into the Koussevitzky Music Shed, Theatre, or Ozawa Hall. Please note that the use of audio or video recording equipment during concerts and rehearsals is prohibited, and that video cameras may not be carried into the Music Shed or Ozawa Hall during concerts or rehearsals. Cameras are welcome, but please do not take pictures during the performance as the noise and flash are dis- turbing to the performers and to other listeners. For the safety of your fellow patrons, please note that cooking, open flames, sports activities, bikes, scooters, and skateboards are prohibited from the Tanglewood grounds. Small, open-sided tents and umbrellas are permitted in designated areas of the lawn provided that they are well secured but do not penetrate grounds infrastructure or unreasonably obstruct the view of other patrons. No area of the lawn may be staked or cordoned off for any reason. Please refrain from dumping melted candle wax on the lawn; aluminum tins are available at any entrance for that purpose. Please also note that ball playing is not permitted on the Shed lawn when the grounds are open for a Shed concert and that during Shed concerts, children may play ball only behind the Visitor Center or near Ozawa Hall. Shirts must be worn on the Tanglewood grounds, and both shirts and shoes must be worn inside concert halls. In consideration of the performers and those around you, please be sure that your cellular phones, pagers, watch alarms, and tablets are switched off during concerts, as well as all texting and other electronic devices. The following are also not permitted at Tanglewood: solicitation or distribution of material; unauthorized ticket resales; animals other than approved service animals; motorized vehicles other than transport devices for use by mobility-impaired individuals. For the safety and security of our patrons, all bags, purses, backpacks, and other containers are subject to search. Thank you for your cooperation.

Tanglewood Information

PROGRAM INFORMATION for Tanglewood events is available at the Main Gate, Bernstein Gate, Highwood Gate, and Lion Gate, or by calling (413) 637-5180. For weekly pre-recorded program information, please call the Tanglewood Concert Line at (413) 637-1666. BOX OFFICE HOURS are from 10 a.m. until 6 p.m. Monday through Friday (extended through intermission on concert evenings); Saturday from 9 a.m. through intermission of the evening concert; and Sunday from 10 a.m. through intermission of the afternoon concert. Payment may be made by cash, personal check, or major credit card. Tickets may also be purchased at the Symphony Hall box office in Boston, Monday through Friday from 10 a.m. to 5 p.m. To charge tickets by phone using a major credit card, please call SYMPHONYCHARGE at 1-888-266-1200, or in Boston at (617) 266-1200. Tickets can also be ordered online at tanglewood.org. Please note that there is a service charge for all tickets purchased by phone or on the web. TANGLEWOOD’s WEB SITE at tanglewood.org provides information on all Boston Symphony Orchestra activities at Symphony Hall and at Tanglewood, and is updated regularly. FOR PATRONS WITH DISABILITIES, parking facilities are located at the Main Gate and at Ozawa Hall. Wheelchair service is available at the Main Gate and at the reserved-parking lots. Accessible rest- rooms, pay phones, and water fountains are located throughout the Tanglewood grounds. Assistive listening devices are available in both the Koussevitzky Music Shed and Seiji Ozawa Hall; please speak to an usher. For more information, call VOICE (413) 637-5165. To purchase tickets, call VOICE 1-888-266-1200 or TDD/TTY (617) 638-9289. For information about disability services, please call (617) 638-9431, e-mail [email protected], or visit tanglewood.org/access. FOOD AND BEVERAGES are available at the Tanglewood Café, the Tanglewood Grille, Highwood Manor House, and at other locations as noted on the map. The Tanglewood Café is open Monday through Friday from noon to 2:30 p.m.; on Saturdays from 9 a.m. to 2:30 p.m.; and at concert times from 5:30 p.m. through intermission on Fridays and Saturdays, and from noon through intermission on Sundays. The Tanglewood Grille is open on Friday and Saturday evenings through intermission, as well as on Saturdays from 9 a.m. to 2:30 p.m., and from noon through intermission on Sundays. Highwood Manor House is open Friday, Saturday, and Sunday, July 13 through August 23, prior to each BSO concert in the Shed. Call (413)637-4486 for reservations. Visitors are invited to picnic before concerts. Meals-To-Go may be ordered online in advance at tanglewood.org/dining or by phone at (413) 637-5152. LAWN TICKETS: Undated lawn tickets for both regular Tanglewood concerts and specially priced events may be purchased in advance at the Tanglewood box office. Regular lawn tickets for the Music Shed and Ozawa Hall are not valid for specially priced events. Lawn Pass Books, available at the Main Gate box office, offer eleven tickets for the price of ten. LAWN TICKETS FOR ALL BSO AND POPS CONCERTS IN THE SHED MAY BE UPGRADED AT THE BOX OFFICE, subject to availability, for the difference in the price paid for the original lawn ticket and the price of the seat inside the Shed. FREE LAWN TICKETS FOR YOUNG PEOPLE: On the day of the concert, children age seventeen and younger will be given special lawn tickets to attend Tanglewood concerts FREE OF CHARGE. Up to four free children’s lawn tickets are offered per parent or guardian for each concert, but please note that children under five must be seated on the rear half of the lawn. Please note, too, that children under five are not permitted in the Koussevitzky Music Shed or in Seiji Ozawa Hall during concerts or Open Rehearsals, and that this policy does not apply to organized children’s groups (15 or more), which should contact Group Sales at Symphony Hall in Boston, (617) 638-9345, for special rates. KIDS’ CORNER, where children accompanied by adults may take part in musical and arts and crafts activities supervised by BSO staff, is available during the Saturday-morning Open Rehearsals, and also beginning at 12 noon before Sunday-afternoon concerts. Further information about Kids’ Corner is available at the Visitor Center. SATURDAY-MORNING REHEARSALS of the Boston Symphony Orchestra are open to the public, with reserved-seat Shed tickets available at the Tanglewood box office for $32 (front and boxes) and $22 (rear); lawn tickets are $13. A half-hour pre-rehearsal talk is offered free of charge to all ticket holders, beginning at 9:30 a.m. in the Shed. FOR THE SAFETY AND CONVENIENCE OF OUR PATRONS, PEDESTRIAN WALKWAYS are located in the area of the Main Gate and many of the parking areas. LOST AND FOUND is in the Visitor Center in the Tanglewood Manor House. Visitors who find stray property may hand it to any Tanglewood official. FIRST AID STATIONS are located near the Main Gate and the Bernstein Campus Gate. PHYSICIANS EXPECTING CALLS are asked to leave their names and seat numbers with the guide at the Main Gate (Bernstein Gate for Ozawa Hall events). THE TANGLEWOOD TENT near the Koussevitzky Music Shed offers bar service and picnic space to Tent Members on concert days. Tent Membership is a benefit available to donors through the Tanglewood Friends Office. THE GLASS HOUSE GIFT SHOPS adjacent to the Main Gate and the Highwood Gate sell adult and children’s leisure clothing, accessories, posters, stationery, and gifts. Please note that the Glass House is open during performances. Proceeds help sustain the Boston Symphony concerts at Tanglewood as well as the Tanglewood Music Center.

Severe Weather Action Plan

LIGHTNING AND SEVERE WEATHER ARE NOT FULLY PREDICTABLE. Patrons, visitors, and staff are responsible for observing weather conditions, heeding storm warnings, and taking refuge. Storm shelters are identified on campus maps posted at main gates, in the Tanglewood program book, and on building signage. Please take note of the designated storm shelter nearest you and await notification of safe conditions. Please note that tent structures are not lightning-protected shelters in severe storm conditions. Readmission passes will be provided if you choose to take refuge in your vehicle during the storm.

PLEASE NOTE THAT A PERFORMANCE MAY BE DELAYED OR SUSPENDED during storm conditions and will be resumed when it is safe to do so.

Boston Symphony Orchestra Tanglewood 2015

ANDRISNELSONS BERNARDHAITINK SEIJI OZAWA THOMASWILKINS Ray and Maria Stata LaCroix Family Fund Music Director Laureate Germeshausen Youth and Music Director Conductor Emeritus Family Concerts Conductor endowed in perpetuity endowed in perpetuity endowed in perpetuity

First Violins Jason Horowitz* Violas Mickey Katz* Ronald G. and Ronni J. Stephen and Dorothy Weber Malcolm Lowe Casty chair Steven Ansell chair, endowed in perpetuity Concertmaster Principal Charles Munch chair, Ala Jojatu* Charles S. Dana chair, Alexandre Lecarme* endowed in perpetuity endowed in perpetuity Nancy and Richard Lubin chair Tamara Smirnova Second Violins Cathy Basrak Associate Concertmaster Assistant Principal Adam Esbensen* Helen Horner McIntyre Haldan Martinson Anne Stoneman chair, Richard C. and Ellen E. chair, endowed in perpetuity Principal endowed in perpetuity Paine chair, endowed Carl Schoenhof Family in perpetuity Alexander Velinzon chair, endowed in perpetuity Wesley Collins Assistant Concertmaster Lois and Harlan Anderson Blaise Déjardin* Robert L. Beal, Enid L., Julianne Lee chair, endowed in perpetuity and Bruce A. Beal chair, Assistant Principal endowed in perpetuity Charlotte and Irving W. Robert Barnes Basses Rabb chair, endowed Elita Kang in perpetuity Michael Zaretsky Edwin Barker Principal Assistant Concertmaster Mark Ludwig* Edward and Bertha C. Rose Sheila Fiekowsky Harold D. Hodgkinson chair, endowed in perpetuity Shirley and J. Richard Rachel Fagerburg* chair, endowed in perpetuity Fennell chair, endowed Bo Youp Hwang in perpetuity Kazuko Matsusaka* Lawrence Wolfe Assistant Principal John and Dorothy Wilson Rebecca Gitter* chair, endowed in perpetuity Nicole Monahan Maria Nistazos Stata chair, David H. and Edith C. Daniel Getz* endowed in perpetuity Lucia Lin Howie chair, endowed Dorothy Q. and David B. in perpetuity Benjamin Levy Arnold, Jr., chair, endowed Cellos Leith Family chair, endowed in perpetuity Ronan Lefkowitz in perpetuity Vyacheslav Uritsky* Jules Eskin Dennis Roy Ikuko Mizuno Principal Ruth and Carl J. Shapiro Jennie Shames* Philip R. Allen chair, Joseph Hearne chair, endowed in perpetuity endowed in perpetuity Valeria Vilker James Orleans* Nancy Bracken* Kuchment* Martha Babcock Stephanie Morris Marryott Associate Principal Todd Seeber* and Franklin J. Marryott Tatiana Dimitriades* Vernon and Marion Alden Eleanor L. and Levin H. chair chair, endowed in perpetuity Campbell chair, endowed Si-Jing Huang* in perpetuity Aza Raykhtsaum* Victor Romanul* Sato Knudsen Catherine and Paul John Stovall* Bessie Pappas chair Mischa Nieland chair, Buttenwieser chair endowed in perpetuity Thomas Van Dyck* Wendy Putnam* Bonnie Bewick* Robert Bradford Newman Mihail Jojatu Mary B. Saltonstall chair, chair, endowed in perpetuity Sandra and David Bakalar endowed in perpetuity chair Xin Ding* James Cooke* Owen Young* Kristin and Roger Servison Glen Cherry* John F. Cogan, Jr., and chair Yuncong Zhang* Mary L. Cornille chair, Catherine French* endowed in perpetuity Donald C. and Ruth Brooks Heath chair, endowed in perpetuity Flutes Bass Clarinet Thomas Siders Voice and Chorus Assistant Principal Elizabeth Rowe Craig Nordstrom Kathryn H. and Edward John Oliver Principal M. Lupean chair Tanglewood Festival Walter Piston chair, Chorus Conductor endowed in perpetuity Bassoons Michael Martin Alan J. and Suzanne W. Richard Svoboda Ford H. Cooper chair, Dworsky chair, endowed Clint Foreman endowed in perpetuity in perpetuity Myra and Robert Kraft Principal chair, endowed in perpetuity Edward A. Taft chair, endowed in perpetuity Trombones Librarians Elizabeth Ostling Associate Principal Suzanne Nelsen Toby Oft D. Wilson Ochoa Marian Gray Lewis chair, John D. and Vera M. Principal Principal endowed in perpetuity MacDonald chair J.P. and Mary B. Barger Lia and William Poorvu Richard Ranti chair, endowed in perpetuity chair, endowed in perpetuity Piccolo Associate Principal Stephen Lange John Perkel Diana Osgood Tottenham/ Cynthia Meyers Hamilton Osgood chair, Evelyn and C. Charles endowed in perpetuity Bass Trombone Associate Marran chair, endowed Conductor in perpetuity James Markey Contrabassoon John Moors Cabot chair, Marcelo Lehninger endowed in perpetuity Anna E. Finnerty chair, Oboes Gregg Henegar endowed in perpetuity Helen Rand Thayer chair John Ferrillo Tuba Principal Assistant Mildred B. Remis chair, Horns Mike Roylance Conductor endowed in perpetuity Principal James Sommerville Margaret and William C. Ken-David Masur Mark McEwen Principal Rousseau chair, endowed James and Tina Collias Helen Sagoff Slosberg/ in perpetuity chair Edna S. Kalman chair, Personnel endowed in perpetuity Managers Keisuke Wakao Timpani Assistant Principal Richard Sebring Lynn G. Larsen Farla and Harvey Chet Associate Principal Timothy Genis Krentzman chair, endowed Margaret Andersen Sylvia Shippen Wells chair, Bruce M. Creditor in perpetuity Congleton chair, endowed endowed in perpetuity Assistant Personnel in perpetuity Manager English Horn Rachel Childers Percussion John P. II and Nancy S. Stage Manager Robert Sheena Eustis chair, endowed J. William Hudgins Beranek chair, endowed in perpetuity Peter and Anne Brooke John Demick in perpetuity chair, endowed in perpetuity Michael Winter Elizabeth B. Storer chair, Daniel Bauch Clarinets endowed in perpetuity Assistant Timpanist Mr. and Mrs. Edward H. Jason Snider Linde chair William R. Hudgins * participating in a system Principal Jonathan Menkis of rotated seating Ann S.M. Banks chair, Kyle Brightwell Jean-Noël and Mona N. endowed in perpetuity Peter Andrew Lurie chair, ° on leave Tariot chair endowed in perpetuity § substituting Michael Wayne Matthew McKay Thomas Martin Trumpets Associate Principal & E-flat clarinet Thomas Rolfs Harp Principal Stanton W. and Elisabeth Jessica Zhou K. Davis chair, endowed Roger Louis Voisin chair, ° endowed in perpetuity Nicholas and Thalia Zervas in perpetuity chair, endowed in perpetuity Benjamin Wright by Sophia and Bernard Gordon Allegra Lilly §

Andris Nelsons

In the 2014-15 season, his first as the BSO’s Ray and Maria Stata Music Director, Andris Nelsons led the Boston Symphony Orchestra in ten programs at Symphony Hall in Boston, repeating three of them at Carnegie Hall in New York this past April. Mr. Nelsons made his Boston Symphony debut at Carnegie Hall in March 2011, conducting Mahler’s Symphony No. 9; he made his Tanglewood debut in July 2012, leading both the BSO and the Tanglewood Music Center Orchestra as part of Tanglewood’s 75th Anniversary Gala (a concert available on DVD and Blu-ray, and telecast nationwide on PBS). He is the fifteenth music director in the history of the Boston Symphony Orchestra. Maestro Nelsons’ September 2014 inaugural concert as BSO music director was recently televised by PBS in its “Great Performances” series. His first compact disc with the BSO (also available as a download)—live recordings of Wagner’s Tannhäuser Overture and Sibelius’s Symphony No. 2, from concert performances at Symphony Hall in the fall of 2014—was released earlier this season on BSO Classics. Also this season, he and the BSO, in collaboration with Deutsche Grammophon, have initiated a multi-year recording project entitled “Shostakovich Under Stalin’s Shadow,” to be drawn from live performances at Symphony Hall of Shostakovich’s symphonies 5 (photo by Marco Borggreve) through 10, the Passacaglia from his opera Lady Macbeth of Mtsensk, and selections from Shostakovich’s incidental music to Hamlet and King Lear, all composed during the period the composer labored under the life-threatening shadow of Soviet dictator Joseph Stalin. Also on the schedule for Maestro Nelsons and the orchestra are two upcoming European tours: an eight-city tour late this summer, following the BSO’s 2015 Tanglewood season, to major European capitals, including Berlin, Cologne, London, Milan, and Paris, as well as the Lucerne, Salzburg, and Grafenegg festivals; and, in May 2016, following the orchestra’s 2015-16 Symphony Hall season, a tour to eight cities in Germany, Austria, and Luxembourg. Previously, Andris Nelsons has been critically acclaimed as music director of the City of Birmingham Symphony Orchestra since assuming that post in 2008; he remained at the helm of that orchestra until this summer. Over the next few seasons he will continue collaborations with the Berlin Philharmonic, Vienna Philharmonic, the Royal Concertgebouw Orchestra of Amster- dam, the Gewandhaus Orchestra of Leipzig, the Bavarian Radio Sym- phony Orchestra, and the Philhar- monia Orchestra. He is a regular guest at the Royal Opera House, the Vienna State Opera, and New York’s Metropolitan Opera. In summer 2014 he returned to the Bayreuth Festival to conduct Lohengrin, a production by Hans Neuenfels that Mr. Nelsons premiered at Bayreuth in 2010. Born in Riga in 1978 into a family of musicians, Andris Nelsons began his Andris Nelsons conducting the BSO at Tanglewood, July 2012 (photo by Hilary Scott) career as a trumpeter in the Latvian National Opera Orchestra before studying conducting. He was principal conductor of Nordwestdeutsche Philharmonie in Herford, Germany, from 2006 to 2009 and music director of Latvian National Opera from 2003 to 2007. Mr. Nelsons is the subject of a recent DVD from Orfeo, a documentary film entitled “Andris Nelsons: Genius on Fire.” A Brief History of the Boston Symphony Orchestra

Now in its 134th season, the Boston Symphony Orchestra gave its inaugural concert in 1881, realizing the dream of its founder, the Civil War veteran/businessman/philan- thropist Henry Lee Higginson, who envisioned a great and permanent orchestra in his hometown of Boston. Today the BSO reaches millions of listeners, not only through its concert performances in Boston and at Tanglewood, but also via the internet, radio, television, educational programs, recordings, and tours. It commissions works from today’s most important composers; its summer season at Tanglewood is among the world’s most esteemed music festivals; it helps develop future audiences through BSO Youth Concerts and educational outreach programs involving the entire Boston community; and, during the Tanglewood season, it operates the Tanglewood Music Center, one of the world’s most important training grounds for young professional-caliber musicians. The Boston Symphony Chamber Players, made up of BSO principals, are known worldwide, and the Boston Pops Orchestra sets an international stan- dard for performances of lighter music. Launched in 1996, the BSO’s website, bso.org, is the largest and most- visited orchestral website in the United States, receiving approximately Major Henry Lee Higginson, 7 million visitors annually on its full site as well as its smart phone-/ founder of the Boston mobile device-friendly web format. The BSO is also on Facebook and Symphony Orchestra Twitter, and video content from the BSO is available on YouTube. An (BSO Archives) expansion of the BSO’s educational activities has also played a key role in strengthening the orchestra’s commitment to, and presence within, its surround- ing communities. Through its Education and Community Engagement programs, the BSO provides individuals of all backgrounds the opportunity to develop and build relationships with the BSO and orchestral music. In addition, the BSO offers a variety of free educational programs at Symphony Hall and Tanglewood, as well as special initiatives aimed at attracting young audience members. The Boston Symphony Orchestra gave its inaugural concert on October 22, 1881, under Georg Henschel, who remained as conductor until 1884. For nearly twenty years, BSO concerts were held in the old Boston Music Hall; Symphony Hall, one of the world’s most revered concert halls, opened on October 15, 1900. Henschel was succeeded by the German-born and -trained conductors Wilhelm Gericke, Arthur Nikisch, Emil Paur, and Max Fiedler, culminating in the appointment of the legendary

The first photograph, actually an 1882 collage, of the Boston Symphony Orchestra under Georg Henschel (BSO Archives) Karl Muck, who served two tenures, 1906-08 and 1912-18. In 1915 the orchestra made its first transcontinental trip, playing thirteen concerts at the Panama-Pacific Inter- national Exposition in San Francisco. Henri Rabaud, engaged as conductor in 1918, was succeeded a year later by Pierre Monteux. These appointments marked the beginning of a French tradition maintained, even during the Russian-born Serge Koussevitzky’s tenure (1924-49), with the employment of many French-trained musicians. It was in 1936 that Koussevitzky led the orchestra’s first concerts in the Berkshires; he and the players took up annual summer residence at Tanglewood a year later. Kousse- vitzky passionately shared Major Higginson’s dream of “a good honest school for musicians,” and in 1940 that dream was realized with the founding of the Berkshire Music Center (now called the Tangle- wood Music Center). Koussevitzky was succeeded in 1949 by Charles Munch, who continued supporting contemporary composers, introduced much French music to the repertoire, and led the BSO on its first international tours. In 1956, the BSO, under the direction of Charles Munch, was the first American orchestra to tour the Soviet Union. Erich Leinsdorf began his term as music director in 1962, to be followed in 1969 TMC faculty members Aaron Copland and Leonard Bernstein by William Steinberg. Seiji seated with Serge Koussevitzky during a Berkshire Music Center Ozawa became the BSO’s class photo shoot in the 1940s (Ruth Orkin/BSO Archives) thirteenth music director in 1973. His historic twenty-nine-year tenure extended until 2002, when he was named Music Director Laureate. In 1979, the BSO, under the direction of Seiji Ozawa, was the first American orchestra to tour mainland China after the normalization of relations. Bernard Haitink, named principal guest conductor in 1995 and Conductor Emeritus in 2004, has led the BSO in Boston, New York, at Tanglewood, and on tour in Europe, as well as recording with the orchestra. Previous principal guest conductors of the orchestra included Michael Tilson Thomas, from 1972 to 1974, and the late Sir Colin Davis, from 1972 to 1984. The first American-born conductor to hold the position, James Levine was the BSO’s music director from 2004 to 2011. Levine led the orchestra in wide-ranging programs that included works newly commissioned for the orchestra’s 125th anniversary, particularly from significant American composers; issued a number of live concert performances on the orchestra’s own label, BSO Classics; taught at the Tanglewood Music Center; and in 2007 led the BSO in an acclaimed tour of European music festivals. In May 2013, a new chapter in the history of the Boston Symphony Orchestra was initiated when the internationally acclaimed young Latvian conductor Andris Nelsons was announced as the BSO’s fifteenth music director, a position he assumed in September 2015, following a year as music director designate. Today, the Boston Symphony Orchestra continues to fulfill and expand upon the vision of its founder Henry Lee Higginson, not only through its concert performances, educational offerings, and internet presence, but also through its expanding use of virtual and electronic media in a manner reflecting the BSO’s continuing awareness of today’s modern, ever-changing, 21st-century world.

Table of Contents

Friday, July 31, 6pm (Prelude Concert) 2 MEMBERS OF THE BOSTON SYMPHONY ORCHESTRA Music of Gabrieli, Berger, Frescobaldi, Bach, and Stravinsky

Friday, July 31, 8:30pm 7 BOSTON SYMPHONY ORCHESTRA KEN-DAVID MASUR conducting; GARRICK OHLSSON, piano Music of Weber, Schubert, and Beethoven

Saturday, August 1, 8:30pm 17 BOSTON SYMPHONY ORCHESTRA ANDRIS NELSONS conducting; JEAN-YVES THIBAUDET, piano; RENAUD CAPUÇON, violin; GAUTIER CAPUÇON, cello Music of Beethoven and Shostakovich

Sunday, August 2, 2:30pm 24 BOSTON SYMPHONY ORCHESTRA ANDRIS NELSONS conducting; HÅKAN HARDENBERGER, trumpet; YO-YO MA, cello; STEVEN ANSELL, viola Music of Haydn, Dean, and Strauss

“This Week at Tanglewood” Again this summer, patrons are invited to join us in the Koussevitzky Music Shed on Friday evenings from 7:15-7:45pm for “This Week at Tanglewood” hosted by Martin Bookspan, a series of informal, behind-the-scenes discussions of upcoming Tanglewood events, with special guest artists and BSO and Tanglewood personnel. This week’s guests, on Friday, July 31, are conductor Ken-David Masur and pianist Jean-Yves Thibaudet.

Saturday-Morning Open Rehearsal Speakers July 18; August 8, 15—Marc Mandel, BSO Director of Program Publications July 11, 25; August 1—Robert Kirzinger, BSO Assistant Director of Program Publications

Koussevitzky Shed lawn video projections provided by Myriad Productions, Saratoga Springs, NY

This season’s program books for the Koussevitzky Music Shed are underwritten by a generous gift from Bob and Jane Mayer.

TANGLEWOODWEEK 5 TABLEOFCONTENTS 1 2015 Tanglewood Prelude Concert Friday, July 31, 6pm THE ARLENE AND JEROME LEVINE CONCERT

MEMBERS OF THE BOSTON SYMPHONY ORCHESTRA CLINT FOREMAN, flute ROBERT SHEENA, oboe MICHAEL WAYNE, clarinet RICHARD SVOBODA and RICHARD RANTI, bassoons BENJAMIN WRIGHT and THOMAS SIDERS, trumpets TOBY OFT and STEVEN LANGE, trombones

GABRIELI Canzona per sonare No. 1, “La spiritata” (arr. Robert King) Canzona per sonare No. 4 Canzona per sonare No. 2 (Nos. 2 and 4 from “Canzoni per sonare con ogni sorte di stromenti,” Venice, 1608) Messrs. SIDERS, WRIGHT, OFT, and LANGE

BERGER Woodwind Quartet in C Allegro moderato Andante. Very calmly Allegro vivace e leggermente Messrs. FOREMAN, SHEENA, WAYNE, and RANTI

FRESCOBALDI Canzon prima (arr. Leonard Cecil) Canzon seconda, from “Libro primo canzoni da sonare,” 1634 (arr. Glenn P. Smith) BACH Fugue in G minor, BWV 885, from “The Well-tempered Clavier,” Book II (arr. Jay Lichtmann) Messrs. SIDERS, WRIGHT, OFT, and LANGE

STRAVINSKY Octet for Wind Instruments Sinfonia (Lento—Allegro moderato) Tema con variazioni (Andantino) Finale (Tempo giusto) Messrs. FOREMAN, WAYNE, SVOBODA, RANTI, WRIGHT, SIDERS, OFT, and LANGE

Steinway & Sons is the exclusive provider of pianos for Tanglewood. Special thanks to Commonwealth Worldwide Chauffeured Transportation. In consideration of the performers and those around you, please turn off all electronic equipment during the concert, including tablets, cellular phones, pagers, watch alarms, and messaging devices of any kind. Note that the use of audio or video recording during performances in the Koussevitzky Music Shed and Seiji Ozawa Hall is prohibited. Please also note that taking pictures—whether photographs or videos—is prohibited during performances. We appreciate your cooperation.

2 NOTES ON THE PROGRAM

Brass music is people’s music. The instruments are durable, resonant over long dis- tances, and relatively portable. Bugle calls, hunting horns, royal fanfares, metal flashing in the sun—the sound of horns strikes a stirring chord in our sonic senses. Though not frequently used in chamber music in the Classical and Romantic peri- ods, brass instruments were among the most popular for small ensembles in the Renaissance. The canzonas by Girolamo Frescobaldi (1583-1643) and Giovanni Gabrieli (1557-1612) would have been played on instruments such as the cornetto (an instrument with a trumpet mouthpiece and finger holes like those of a recorder) and the early trombone called the sackbut. At first, canzonas were based on polyphon- ic vocal pieces, frequently written for organ, and heard in churches as interludes in the service. However, the canzona da sonare, or canzona for instrumental ensemble, had a life very much of its own. As the canzona’s repetition of a single musical idea developed into the Baroque art of the fugue, the fugues of Johann Sebastian Bach (1685-1750) have proven equally at home in arrangements for brass ensemble. Arthur Berger (1912-2003) was an American composer, critic, and teacher. A student of Walter Piston, Nadia Boulanger, and Darius Milhaud, he taught music at schools including Juilliard, Brandeis, and the New England Conservatory. He also contributed music reviews to the New York Herald Tribune alongside Virgil Thomson. In 1962, he helped found Perspectives on New Music, a scholarly journal about contemporary composition and theory. He was a member of Aaron Copland’s Young Composers Group, a scholar with special interest in researching and promoting American music, and a two-time faculty composer at the Tanglewood Music Center. In his music, Berger embraced both Stravinsky’s neoclassicism and Second Viennese School-style serialism, and was disdainful about popularity. “There are other audiences, not at all negligible, besides the big ones,” he wrote in an article for the Boston Review. This early wind quartet, dedicated to Aaron Copland, falls comfortably into Berger’s neoclassical box. In three miniature movements, the piece is a joyous exploration of wind textures. The first is written in a jaunty, bright language, with verdant harmonies and a melodic figure reminiscent of the Baroque at its center. The second is a journey down a slow river, with a softly glowing cantabile oboe line and mellow interjections from the other voices, ending with a short lullaby. The finale’s climactic deluge of scales perhaps owes something to the “ribbons of scales” in Stravinsky’s Octet for Winds, also on this program. The Octet for Wind Instruments by Igor Stravinsky (1882-1971) marks the end of the composer’s period of riot-sparking neo-primitivism and the beginning of a new era in his musical life. No one could mistake the sound world of a “neoclassical” piece for that of something by Mozart or Haydn. The intention with which these pieces are written, however, more closely resembles the reach toward compact beauty of the Classical period than it does the unrestrained emotional tides, Sturm und

PRELUDE CONCERT SEATING Please note that seating for the Friday-evening Prelude Concerts in Seiji Ozawa Hall is unreserved and available on a ﬁrst-come, ﬁrst-served basis when the grounds open at 5:30pm. Patrons are welcome to hold one extra seat in addition to their own. Also please note, however, that unoccupied seats may not be held later than five minutes before concert time (5:55pm), as a courtesy to those patrons who are still seeking seats.

TANGLEWOODWEEK 5 PRELUDEPROGRAMNOTES 3 Drang, and restless expressiveness and yearning that characterizes Romanticism. Having previously drawn influence from Russian folklore (Petrushka, The Rite of Spring) and American jazz (Ragtime, Piano Rag), Stravinsky began to explore the art music of the distant past. Oddly enough, the inspiration for the Octet for Winds came from a very Romantic place. “The Octet began with a dream, in which I saw myself in a small room sur- rounded by a small group of instrumentalists playing some attractive music....I awoke from this little concert in a state of great delight and anticipation and the next morning began to compose,” Stravinsky wrote. At this point, Stravinsky’s most renowned works were on a much grander scale of instrumentation, so the choice to use only eight instruments—and winds, at that, which were considered much less versatile and expressive—baffled the public upon the premiere, which was conducted by Stravinsky himself. Aaron Copland, who was present for the premiere, later wrote: Now suddenly, without any seeming explanation, [Stravinsky was] making an about-face and presenting a piece to the public that bore no conceivable resemblance to the individual style with which he had hitherto been identified. Everyone was asking why Stravinsky should have exchanged his Russian heritage for what looked very much like a mess of eighteenth-century mannerisms. The whole thing seemed like a bad joke that left an unpleasant after-effect and gained Stravinsky the unanimous disapproval of the press. No one could possibly have foreseen, first, that Stravinsky was to persist in this new manner of his or, second, that the octet was destined to influence composers all over the world in bringing the latent objectivity of modern music to full consciousness. Stravinsky defined his compositional priority as “order and discipline in the purely sonorous scheme to which I always give precedence over elements of an emotional

4 character.” Each instrument in the Octet has a unique character, color, and role to play. The movement titles are taken from traditional classical forms: Theme with Variations, and Sinfonia, a small orchestral piece used as a prelude to an opera, can- tata, or oratorio. The opening Sinfonia is modeled on sonata form, which shaped many Classical period works. However, unlike those older works, the tonal center is wild and unstable, and the main theme of the movement is fragmented as it develops. It begins with a serene, fresh woodwind introduction before a whooping fanfare launches an episode of micro-fugues. The bassoons play a popcorn staccato in snug harmony while the trumpet, then the flute and clarinet, add a graceful overlay, variegating the main theme. An almost clownish polka rhythm takes us back to a trumpet call of the familiar fanfare, and trombones and bassoons in lockstep march the movement to a bright finish. The brief, pianissimo initial statement of the Theme with Variations is shared by the flute, clarinet, and B-flat trumpet over the rest of the ensemble’s terse chords. Without warning, the upper voices erupt into a frenzy of chromatic flight, and the trombones blare fragments of the 13th-century Dies irae, an ominous motif that has been quoted by composers from Haydn to Brahms to Crumb. Unlike many other usages of the Dies irae, however, there is no larger significance in this quotation; any ascription of greater meaning or emotional depths to this unsentimental work would, according to the composer, be inaccurate: “This sort of music has no other aim than to be sufficient in itself. In general, I consider that music is only able to solve musical problems, and nothing else, neither the literary nor the picturesque, can be of any interest in music.” Stravinsky called the whirlwind first variation the “ribbon of scales”; the notes fly like streamers in the wind. The speed at which the bassoons repeatedly trade off scale fragments requires especially pinprick precision. The organized chaos of that variation assembles into a blunt-edged march, followed by the return of the “ribbon of scales.” The next two variations are a wayward waltz with a trombone and bassoon oom-pah, and then a light-footed dance with clarinet and flute accents that show Stravinsky’s interest in early jazz. The ribbon comes back once more before the downcast final variation. A flute solo bridges this movement and the finale; a bassoon keeps a driving pulse, suggesting a Russian circle dance, as each instrument enters the mix, but they don’t stay there for long. An assortment of energetic duets and trios—clarinet and bassoons, two trumpets, flute/clarinet/bassoon—carry the music forward. The listener’s expectation of a triumphant finale is eschewed for a winking, syncopated coda.

ZOË MADONNA Recipient of the Arno and Maria Maris Student Memorial Fellowship this summer, Zoë Madonna is the Tanglewood Music Center’s 2015 Publications Fellow. She is a graduate of Oberlin College and was awarded the 2014 Rubin Prize for Music Criticism.

TANGLEWOODWEEK 5 PRELUDEPROGRAMNOTES 5 The Cynthia and Oliver Curme Concert Friday, July 31, 2015 The performance on Friday evening is supported by a generous gift from Great Benefactors Cynthia and Oliver Curme. Cindy and Ollie are true champions of the Boston Symphony Orchestra both in Boston and the Berkshires. They are longtime concertgoers who have been a part of the BSO family for thirty years. Both Cindy and Ollie are passionate advocates for music and arts education, and they are musicians themselves. Cindy, who is a classically trained pianist, worked at the Symphony as part of the administration from 1984 to 1995, and later served as a volunteer. Cindy was elected to the BSO Board of Overseers in 2003 and the Board of Trustees in 2005. She was recently elected a Vice-Chair of the Board of Trustees, with a term commencing on September 1, 2015. Cindy is extremely active in her role as a Trustee, serving on numerous board committees, including the Executive Committee, Education Committee, Leadership Gifts Committee, Overseers Nominat- ing Committee, and Tanglewood Annual Fund Task Force. In addition, she serves as Chair of the Tanglewood Strategic Planning Committee and Co-Chair of the Beyond Measure Campaign. She has also served on many Opening Night gala committees at Tanglewood and Symphony, including the Tanglewood Gala. Cindy and Ollie were co-chairs for the 2010 Opening Night at Tanglewood and 2005 Opening Night at Symphony. Ollie serves on the BSO’s Technology and Media Committee. In addition to her involvement at the BSO, Cindy has been involved with several arts organizations, including serving as a trustee of the Boston Conservatory and the Terezín Music Foundation, and as an overseer of From the Top. Ollie, who most recently served as a senior advisor at Battery Ventures, studied several instruments as a child, continuing into adulthood. Together they share their commitment to music with their three sons, all of whom studied music. The Curmes are early supporters of the Tanglewood Forever Fund, and were leading supporters of the Artistic Initiative and the Immediate Impact Fund. Longtime donors to the BSO Annual Funds, Cindy and Ollie are members of the Koussevitzky Society at the Virtuoso level, the Higginson Society at the Encore level, and the Fiedler Society at the Conductor level. They are full Fellowship sponsors through their support of the Tanglewood Music Center. BSO Archives

6 2015 Tanglewood Boston Symphony Orchestra 134th season, 2014–2015

Friday, July 31, 8:30pm THE CYNTHIA AND OLIVER CURME CONCERT “UnderScore Friday” concert, including introductory comments from the stage by BSO violinist Julianne Lee.

KEN-DAVID MASUR conducting

WEBER Overture to the opera “Der Freischütz”

SCHUBERT Symphony No. 4 in C minor, D.417, “Tragic” Adagio molto—Allegro vivace Andante Menuetto: Allegro vivace Allegro

{Intermission}

BEETHOVEN Piano Concerto No. 5 in E-flat, Opus 73, “Emperor” Allegro Adagio un poco mosso Rondo: Allegro ma non troppo GARRICK OHLSSON

Steinway & Sons is the exclusive provider of pianos for Tanglewood. Special thanks to Commonwealth Worldwide Chauffeured Transportation. Broadcasts of the Boston Symphony Orchestra are heard on 99.5 WCRB. In consideration of the performers and those around you, please turn off all electronic equipment during the concert, including tablets, cellular phones, pagers, watch alarms, and messaging devices of any kind. Note that the use of audio or video recording during performances in the Koussevitzky Music Shed and Seiji Ozawa Hall is prohibited. Please also note that taking pictures—whether photographs or videos—is prohibited during performances. We appreciate your cooperation.

TANGLEWOODWEEK 5 FRIDAYPROGRAM 7 NOTES ON THE PROGRAM

Carl Maria von Weber (1786-1826) Overture to “Der Freischütz” First performance of the opera: June 18, 1821, Schauspielhaus, Berlin. First BSO performance of the overture: October 28, 1882, Georg Henschel cond. First Tanglewood performance of the overture: August 6, 1965, Jean Martinon cond. Most recent Tanglewood performance of the overture: August 20, 1995, Dennis Russell Davies cond. Der Freischütz is one of those operas (Così fan tutte is another) whose title simply can- not be translated into a simple English word or phrase without losing much of the point—for which reason it is almost invariably referred to only in the original German. One occasionally encounters “The Freeshooter,” but that merely conjures up images of the American wild west while completely losing the essential point, that the marksman in question is shooting with bullets that have been diabolically “blessed” by a satanic ﬁgure to guarantee that they will hit their mark (in return, of course, for the usual recompense in the form of the marksman’s soul). Though rarely heard elsewhere, Der Freischütz remains a repertory staple in the German-speaking countries, where it generated—almost instantly—a type of musical “forest romanticism” that re-echoed through the 19th century. With this one work, Weber became established as the creator of German romantic opera. The plot was drawn from a short story called “Der Freischütz” that appeared in August Apel and Friedrich Laun’s Gespensterbuch (Book of Ghosts). The composer recognized its operatic possibilities the minute he heard about the story, as early as 1810, but nothing really substantive came of his enthusiasm until he dis- cussed the project with the poet Friedrich Kind in Dresden in 1815. Kind produced the libretto that Weber eventually set, though the title began as Der Probeschuss (The Trial Shot) and then was changed to Die Jägersbraut (The Hunter’s Bride) before settling down to the title of the original short story. The premiere was an unparalleled triumph; through Der Freischütz, Weber managed to bring Romanticism into the theater, a goal long sought without success by his predecessors among the non-musical dramatists Tieck, Brentano, Schlegel, Arnim, and Werner. The work was hailed at once as a national monument and quickly found performance all over Europe. The overture was a great success from the very beginning—it even had to be repeated on opening night before the audience would allow the performance to continue. And it marks an important change in the way composers approached the operatic overture in that it was conceived as a resumé of the entire drama, containing within itself the principal dramatic conﬂicts—carefully selected as to choice of themes and key—and working out the story in a purely musical way before the curtain rose. This procedure became the common practice of many composers, especially in Germany, to such an extent that we now consider it to be the basic function of an operatic overture. Americans rarely get the opportunity to see Weber’s epoch-making opera on the stage, but the dramatic heart of the score is made available, once and for all, in the carefully planned foreshadowing of this brilliant curtain-raiser.

STEVEN LEDBETTER Steven Ledbetter was program annotator of the Boston Symphony Orchestra from 1979 to 1998.

8 Franz Schubert (1797-1828) Symphony No. 4 in C minor, D.417, “Tragic” First performance: 1816, Vienna (some time after the work’s completion in late April that year), with Otto Hatwig conducting an amateur orchestra that had developed from the Schubert family string quartet. First documented performance: November 19, 1849, Leipzig, August Ferdinand Riccius cond. First BSO performance: March 15, 1884, Georg Henschel cond. First Tanglewood performance: July 29, 1951, Charles Munch cond. Most recent Tanglewood performance: July 13, 2008, Julian Kuerti cond. After the Unfinished and the Great C major, the Fourth and Fifth of Schubert’s symphonies are the ones most often played, but even then not all that often. Schubert’s first three youthful and energetic symphonies—the First composed while he was a student, the Second and Third during his years of schoolmastering—are infrequently heard, while the appealingly inventive Sixth remains pretty much a rarity on concert programs. Schubert’s Fourth Symphony, the Tragic, was completed in April 1816, the same month that he unsuccessfully applied for the post of music master at a training school in Laibach (Ljubljana). As a child, his strongest and most natural inclinations had always been toward music. He’d had his first real piano lessons from his eldest brother Ignaz, and his father taught him violin. In the family string quartet, the violinists were Ignaz and another brother, Ferdinand; Franz was violist, and their father played cello. Like his brothers, Schubert was sent to Michael Holzer, organist at the Liechtental parish church, for lessons in voice, organ, and counter- point. Holzer recognized the boy’s abilities and later recalled that “if I wished to instruct him in anything fresh, he already knew it. Consequently I gave him no actual training but merely talked to him, and watched with silent astonishment.” When Schubert was eleven he was accepted as a chorister in the Imperial court chapel and took up residence at the Stadtkonvikt, a communal boarding school that also housed the Choir School. There he sang and studied under the direction of Hofka- pellmeister Antonio Salieri (best-known today, courtesy playwright Peter Schaffer, for his alleged rivalry with Mozart and for the unfounded story that his poisoning of Mozart caused the latter’s early death). There, too, he played in the school orchestra as first violinist and was occasionally trusted to lead rehearsals. The repertory regularly included symphonies of Haydn and Mozart, Beethoven’s First and Second symphonies, overtures, and other works. It was this orchestra that played Schubert’s First Symphony, which he completed in October 1813. 1813 was also Schubert’s last year at the Stadtkonvikt. His voice had broken the previous summer, ending his time as a chorister, and he left there that November, turning down a fellowship, perhaps over a disciplinary matter. Now he was at a crossroads. In accordance with his schoolmaster father’s expectations, he entered a teacher’s training school and, after a year there, began assisting his father. He did this for two years, and the hours spent in front of the classroom were not happy. But during this time Schubert managed to produce his Second and Third symphonies, as well as piano and chamber music, several operas, his first Mass, in F major, which he successfully conducted himself at the 100th-anniversary celebrations for the Liechtental church, and, in 1815, about 145 songs, including Erlkönig. (The song Gretchen am Spinnrade, which supposedly elicited from Salieri the comment that Schubert was a genius who could do anything, was written on October 19 the year before, when he was seventeen.) Despite this, the break from schoolmastering came only several years later, after attachments with friends like Josef von Spaun, eight years Schubert’s senior, who had helped organize the Stadtkonvikt orchestra, and who provided the needy

TANGLEWOODWEEK 5 FRIDAYPROGRAMNOTES 9 Schubert with much-appreciated music paper during his time there, and Franz von Schober, a law student who came to Vienna having heard some of Schubert’s songs and urged him to abandon teaching for a musical career, finally won out over the young composer’s uncertainties. In the slow introduction to his first three symphonies, Schubert had already demon- strated the ear for orchestral color that is immediately apparent in the opening measures of the Tragic Symphony, where a unison C for full orchestra gives way to a somber passage for strings, with emotional heightening provided by the addition of woodwinds. This is Schubert’s first symphony in the minor mode—a hint, perhaps, as to the origin of its subtitle—and it may be viewed as something of a study in mood and color, as well as exemplifying a new approach on the composer’s part to symphonic weight, a concern to be taken up again with considerably broadened perspective (along with woodwind colorations perhaps suggestive of a Rossini craze then sweep- ing Vienna) in his Sixth Symphony of 1817-18. (The intervening Fifth Symphony, Schubert’s only symphony besides the B minor Unfinished to lack a slow introduction, and also his most lightly scored, is marked primarily by lightness, grace, and economy of means.)

10 The dark chromaticism, sighing woodwinds, portentous drumstrokes, and dramatic breadth of the Fourth Symphony’s introduction give way to an Allegro that is driving and grim in its first theme, clearly suggesting Haydnesque Sturm und Drang. The second theme is more lyric, but melancholy despite its major-mode leanings. The joyful exuberance with which the exposition closes comes as something of a surprise and serves to anticipate the C major close of the movement as a whole. The first statement of the Andante’s main theme, in A-flat major (reflecting Schu- bert’s inclination for key areas a third or sixth away from home base, A-flat being the sixth degree, or submediant, of the symphony’s home C minor scale), is made poignant by the presence of the solo oboe. The contrasting material of this movement, first forceful and then wistful, is presented against a background of restlessly pulsating strings. The third movement contrasts a jagged, downward-thrusting, minor-mode minuet against a major-mode Trio of rising lines and a more legato, folklike character. In his finale Schubert is successfully able to combine drama, grace, pathos, melancholy, good humor (in the rollicking second theme), and even grandeur (in the fanfare-like material that closes both exposition and recapitulation) with the relax- ation over long musical stretches—again through use of third- and sixth-related key areas—that represents a hallmark of Schubert’s style in so many of his works. The symphony ends in unbridled, if chromatically colored, C major, on a threefold repetition of the same unison note with which it began.

MARC MANDEL Marc Mandel is Director of Program Publications of the Boston Symphony Orchestra.

Ludwig van Beethoven (1770-1827) Piano Concerto No. 5 in E-flat, Opus 73, “Emperor” First performance: November 28, 1811, Leipzig Gewandhaus Orchestra, Johann Philipp Christian Schulz cond., Friedrich Schneider, soloist. First BSO performance: January 28, 1882, Georg Henschel cond., Carl Baermann, soloist. First Tanglewood performance: August 2, 1947, Serge Koussevitzky cond., Jacob Lateiner, soloist. Most recent Tanglewood performance: August 15, 2014, Stéphane Denève cond., Emanuel Ax, soloist. “Nothing but drums, cannons, human misery of every sort!”: thus Beethoven wrote his publisher on July 26, 1809. The Fifth Piano Concerto is a magniﬁcent afﬁrma- tion asserted in terrible times. In 1809 Austria was at war with France for the fourth time in eighteen years. Throughout this crescendo of public wretchedness, Beethoven had been working with phenomenal intensity. Even so, one can understand that he was seriously tempted late in 1808 to accept the offer of a post as court composer to Jerome Bonaparte, puppet King of Westphalia. That gave the Viennese another cause for alarm, and three wealthy patrons banded together to guarantee him an income for life provided that he stay in Vienna or some other city within the Austrian Empire. Beethoven entered into this unprecedented agreement on March 1, 1809, and must have regretted it often during the subsequent months. On April 9 Austria once again declared war on France, this time with Britain and Spain as allies. One month later Napoleon’s army was in the suburbs of Vienna. The Empress left the capital with most of her family and household, and the French artillery began its terrifying assault. On the worst night of all, that of May 11, Beethoven made his way through the broken glass, collapsed masonry, fires, and

TANGLEWOODWEEK 5 FRIDAYPROGRAMNOTES 11 12 din to find refuge in the cellar of the house of his brother Caspar. There he covered his head with pillows, hoping thus to protect the remaining shreds of his hearing. Toward the end of the summer Beethoven regained his power to concentrate, and by year’s end he had completed several remarkable works, including the E-flat piano concerto. But Beethoven never again composed as prolifically as he had between 1802 and 1808. His biographer Maynard Solomon calls this period the composer’s “heroic decade.” The Sinfonia eroica in E-flat (1803-04) most forcefully defined the new manner. The Fifth Piano Concerto marks both its summit and its termination. In English-speaking countries, this concerto is called the “Emperor”—to Beethoven’s “profound if posthumous disgust,” as Donald Francis Tovey put it. The origins of the name are obscure, although there is a story, unauthenticated and unlikely, that at the first Vienna performance a French officer exclaimed at some point, “C’est l’Empereur!” Starting to sketch the Fifth Concerto, Beethoven turned his mind to the question of how one might begin in an original and striking manner. He introduces the piano sooner than an audience 200 years ago expected to hear it—not, however, with a lyric (or, indeed, any sort of) thematic statement, but in a series of cadenza-like flourishes. The opening E-flat chord, besides being magnificently imposing, is also instantly recognizable; it consists only of E-flats and G’s, and not until the piano comes in do we hear the B-flats that complete the triad. The piano responds to each of the three chords with fountains and cascades of arpeggios, trills, and scales. Each of the three “fountains” brings in new pianistic possibilities, and the entire first movement—the longest Beethoven ever wrote—is continually and prodigiously inventive in this department. Beethoven makes clear that the slow moment should not drag, qualifying Adagio with un poco mosso (“moving a bit”) and giving ¢ as the time signature (meaning that there should be two principal pulses in each measure). The chief music here is a chorale introduced by muted strings, to which the piano’s first response is an aria, pianissimo, espressivo, and mostly in triplets. Beethoven gives us two variations on the chorale, the first given to the piano, the second to the orchestra with the piano accompanying (but the accompaniment contains the melody, rhythmically “off” by a fraction and thus an instance of rhythmic dissonance). The music subsides into stillness. Then Beethoven makes one of his characteristically drastic shifts, simply dropping the pitch by a semitone from B-natural to B-flat (bassoons, horns, pizzicato strings, all pianissimo). This puts us right on the doorstep of E-flat major, the concerto’s home key. Remaining in the tempo of the slow movement and still pianissimo, Beethoven projects the outlines of a new theme, made, like all the others in this concerto, of the simplest imaginable stuff. Suddenly this new idea bursts forth in its proper tempo, that of a robust German dance, and fortissimo: the finale has begun. The dance theme is elaborated by excit- ing syncopation. Just before the end, the timpani attain unexpected prominence in a passage of equally unexpected quiet. But this descent into adagio and pianissimo is undone in a coda as lively as it is brief.

MICHAEL STEINBERG Michael Steinberg was program annotator of the Boston Symphony Orchestra from 1976 to 1979, and after that of the San Francisco Symphony and New York Philharmonic. Oxford University Press has published three compilation volumes of his program notes, devoted to symphonies, concertos, and the great works for chorus and orchestra.

TANGLEWOODWEEK 5 FRIDAYPROGRAMNOTES 13 Guest Artists Ken-David Masur Ken-David Masur began his appointment as assistant conductor of the Boston Symphony Orchestra in September 2014, having made his BSO debut at Tanglewood in July 2012 with an all-Mozart program shared with Kurt Masur. This past season at Sym- phony Hall he twice conducted the orchestra at short notice, substituting for Tughan Sokhiev in January (making his BSO subscription series debut on that occasion) and for Vladimir Jurowski in February. This summer at Tanglewood, in addition to tonight’s concert with the Boston Symphony Orchestra, Mr. Masur leads the Tanglewood Music Center Orchestra, Dawn Upshaw, and Vocal Fellows of the TMC in excerpts from Mozart’s Idomeneo as part of the TMC’s 75th- anniversary concert celebrating the history of opera at the Tanglewood Music Center. This past season, Mr. Masur also led performances with the San Diego, Munich, Nuremburg, and Omaha symphonies and returned to the National Philharmonic of Russia, where he is a regularly featured guest, for two sets of concerts. In addition he continued as associate conductor of the San Diego Symphony and as principal guest conductor of the Munich Symphony. Recent engagements also include appearances with the Dresden, Israel, and Japan philharmonics, Orchestre National de Toulouse, and the Hiroshima and Memphis symphonies. Mr. Masur has previously held appointments as assistant conductor of the Orchestre National de France in Paris from 2004 to 2006 and as resident conductor of the San Antonio Symphony in 2007. In 2010 he conducted the London Symphony Orchestra as one of three finalists in the prestigious Donatella Flick Conducting Competition in London; in 2011 he was the recipient of the Seiji Ozawa Conducting Fellowship at Tanglewood, where he returned by invitation as a Conducting Fellow in 2012. Ken-David Masur received his B.A. from

14 Columbia University in New York City. From 1999 to 2002 he served as the first music director of the Bach Society Orchestra and Chorus there, also touring Germany and releasing a critically acclaimed album of symphonies and cantatas by W.F. Bach, C.P.E. Bach, and J.S. Bach. He received further training in music at the Leipzig Conservatory, the Detmold Academy, the Manhattan School of Music, and the Hanns Eisler Conserva- tory in Berlin, where he was a five-year master student of bass-baritone Thomas Quasthoff. Mr. Masur studied conducting primarily with his father Kurt Masur. Together with his wife, pianist Melinda Lee Masur, Ken-David Masur serves as artistic director of the Chelsea Music Festival (chelseamusicfestival.org), an acclaimed annual multi-media/ multi-sensorial summer music festival in New York City. Mr. Masur received a Grammy nomination from the Latin Recording Academy in the category Best Classical Album of the Year for his work as a producer of the album “Salon Buenos Aires.”

Garrick Ohlsson Since his triumph as winner of the 1970 Chopin International Piano Competition, pianist Garrick Ohlsson has established himself worldwide for both his interpretive and technical skills. Though long regarded as one of the world’s leading exponents of the music of Frédéric Chopin, he commands an enormous repertoire, which ranges over the entire piano literature. A student of the late Claudio Arrau, Mr. Ohlsson is particularly noted for his masterly performances of the works of Mozart, Beethoven, and Schubert, as well as the Romantic repertoire. To date he has at his command more than eighty concertos, ranging from Haydn and Mozart to works of the 21st century, many commissioned for him. Mr. Ohlsson can be heard on the Arabesque, RCA Victor Red Seal, Angel, BMG, Delos, Hänssler, Nonesuch, Telarc, and Virgin Classics labels. His ten-disc set of the complete Beethoven sonatas (Bridge Records) has garnered critical acclaim, as well as a Grammy award for volume three. A native of White Plains, New York, Garrick Ohlsson began his piano studies at the age of eight, at the Westchester Conservatory of Music; at thirteen he entered the Juilliard School in New York City. Although he won first prizes at the 1966 Busoni Competition in Italy and the 1968 Montréal Piano Competition, it was his 1970 triumph at the International Chopin Competition in Warsaw, where he won the Gold Medal (he remains the single American to have done so), that brought him worldwide recognition as one of the finest pianists of his generation. Mr. Ohlsson was awarded the Avery Fisher Prize in 1994 and received the 1998 University Musical Society Distinguished Artist Award in Ann Arbor, Michigan. He is also the 2014 recipient of the Jean Gimbel Lane Prize in Piano Performance from Northwestern University’s Bienen School of Music. He makes his home in San Francisco. Garrick Ohlsson made his Boston Symphony Orchestra debut at Tanglewood in August 1971 and his BSO subscription series debut in January 1981. He has since been a frequent guest with the orchestra, most recently for subscription performances of Lutosławski’s Concerto for Piano and Orchestra in January 2014 at Symphony Hall and for a Tanglewood performance of Brahms’s Piano Concerto No. 2 in July 2014. Stu Rosner

TANGLEWOODWEEK 5 GUESTARTISTS 15 The Stephen and Dorothy Weber Concert Saturday, August 1, 2015 The performance on Saturday evening is supported by a generous gift from Great Benefactors Stephen R. and Dr. Dorothy Altman Weber, who say “The BSO is an important part of our lives, and the performances at Tanglewood and in Boston are a source of great personal joy. We believe that we have a responsibility to support the orchestra so future generations will experience the extraordinary musical excellence from which we have benefited.” Steve Weber, an alumnus of the University of Pennsylvania and Harvard Business School, retired in 2005 as Managing Director of SG-Cowen Securities Corp. Dottie Weber taught at Northeastern University and was a research psychologist at Boston University Medical Center. She is an alumna of Tufts University and Boston University, where she earned her doctorate in education. Tanglewood led them to support the campaign to build Ozawa Hall, to endow two seats in the Koussevitzky Music Shed and a fellowship at the Tanglewood Music Center, and to establish the first endowed artist-in-residence position at the TMC. They have also endowed the Stephen and Dorothy Weber Chair, currently held by BSO cellist Mickey Katz. During the 2013 season, the BSO dedicated the Weber Gate at Tanglewood as an enduring tribute to the Webers’ extraordinary commitment and generosity to the BSO and Tanglewood. In addition to their financial support of the BSO, Steve and Dottie have also given generously of their time. Steve, elected a Trustee in 2002 and Vice-Chair in 2010, serves as Co-Chair of the Beyond Measure Campaign and Chair of the Leadership Gifts Committee. He is also a member of the Executive and Overseers Nominating committees. Dottie serves on the Education Committee. Steve and Dottie are both members of the Annual Funds Committee and the Tanglewood Task Force, and they were Chairs of 2013 Opening Night at Tanglewood. The Boston Symphony Orchestra extends heartfelt thanks to Steve and Dottie Weber for their generosity and commitment to continuing Tanglewood’s rich musical tradition. Stu Rosner

16 2015 Tanglewood Boston Symphony Orchestra 134th season, 2014–2015

Saturday, August 1, 8:30pm THE STEPHEN AND DOROTHY WEBER CONCERT

ANDRIS NELSONS conducting

BEETHOVEN Concerto in C for piano, violin, and cello, Opus 56 Allegro Largo Rondo alla Polacca JEAN-YVES THIBAUDET, piano RENAUD CAPUÇON, violin GAUTIER CAPUÇON, cello

{Intermission}

SHOSTAKOVICH Symphony No. 10 in E minor, Opus 93 Moderato Allegro Allegretto Andante—Allegro

TANGLEWOODWEEK 5 SATURDAYPROGRAM 17 NOTES ON THE PROGRAM

Ludwig van Beethoven (1770-1827) Concerto in C for piano, violin, and cello, Opus 56 First performance: Possibly in 1804 by the orchestra of Archduke Rudolph, the solo parts having been intended (according to Beethoven’s amanuensis Anton Schindler) for the Archduke (piano), violinist Ferdinand August Seidler, and cellist Anton Kraft. First public performance: April 1808, Leipzig. First BSO performance: January 21, 1882, with Georg Henschel (cond. and pianist), Terese Liebe (violin), and Theodore Liebe (cello). First Tanglewood performance: July 25, 1965, Seiji Ozawa cond.; Eugene Istomin (piano), Isaac Stern (violin), Leonard Rose (piano). Most recent Tanglewood performance : July 11, 2008, Bernard Haitink, cond.; Jonathan Biss (piano), Julia Fischer (violin), Daniel Müller-Schott (cello). Beethoven composed his Triple Concerto, Opus 56, for his pupil and patron, the Archduke Rudolph of Austria, who was a pianist and amateur composer. The concerto was intended for performance by the Archduke himself, along with his court violinist and cellist, for which reason Beethoven made the piano part much easier than those of the two string soloists. He sketched the first movement early in 1803, about the same time he was composing the Eroica Symphony (which was largely finished by November), and continued working on it the following year, while also planning and writing two of his most famous piano sonatas—the Waldstein and the Appassionata—and the first of the Razumovsky quartets. Thus the Triple Concerto falls squarely into the period of Beethoven’s most prolific, and popular, work. The choice of three soloists for his C major concerto was an unusual one. Not that there weren’t concertos with more than one soloist before; the Baroque era is full of them, and even the symphonie concertante of the classical era has many examples. But the particular combination of piano, violin, and cello seems never to have been tried before. The choice of solo instruments may have been dictated by his dedicatee, the young Archduke Rudolph, who wanted it for performance by his private orchestra. He was one of the Emperor’s sons, was no mean pianist himself (he was a pupil of Beethoven’s), and remained for years one of the composer’s most steadfast supporters. The Archduke himself was to play the piano in the performance, and the violin and cello parts were written for the principal players in the orchestra, a violinist named Seidler and the cellist Anton Kraft, who was one of the leading virtuosos of the day. Beethoven apparently admired Kraft especially, because the cello part is notably more difficult than either of the other two solo parts and remains, indeed, one of the hardest works in the cello repertory. It is not entirely clear when Beethoven finished the concerto. He interrupted work on it in January 1804 to begin the composition of the opera Leonore (which ultimate- ly became Fidelio). In the spring of 1804 he spent some time getting the score of the Eroica into its final state for performance. And he seems to have been shifting back and forth between several works in progress at this time, so it may have been a year or more before he actually completed the piece, probably at the urgent request of the Archduke. The Archduke presumably kept the manuscript (now lost) of the finished work and took part in private performances. The parts were published in 1807—oddly enough with a dedication to Prince Lobkowitz rather than the Archduke—and the work was publicly performed in Vienna’s Augarten in May 1808. Like many of the post-Eroica works, the Triple Concerto is expansive, making a virtue out of length. In this particular case the length is generated in part by the presence of three soloists, each of whom requires a separate statement of the material in the exposition. This format, in turn, means that the concerto as a whole tends more

18 toward lyric elaboration than to dramatic transformation of the material. The first movement is far more leisurely and less heaven-storming than Beethoven’s other compositions of the same time, reveling instead in the genial interplay of sonorities, and grows out of the very opening hushed gesture of the orchestral cellos. (It is interesting to note that while Beethoven often liked to start his symphonies with a loud chord, he tended in most cases to begin concertos softly, even mysteriously.) To follow the unusually long first movement Beethoven employed the same procedure he had already tried in the Waldstein Sonata of having a short set of variations that links directly to the final Rondo alla Polacca, which uses the polonaise rhythm that even then, long before Chopin, was popular all over Europe for festive music of a particularly ceremonial type in triple meter. The Triple Concerto has long been the stepchild of Beethoven’s concerto compositions, the work least often played and most severely criticized. To be sure, the presence of three soloists sometimes leads to more repetition than we expect from Beethoven, but at the same time the sheer breadth of the work and the intrinsic beauty of many of the ideas mark it as a fascinating step in Beethoven’s progression. And beyond the Triple Concerto, we can already sense the two broadly lyrical concertos—the Violin Concerto and the Fourth Piano Concerto—that could not have been written without this preliminary.

STEVEN LEDBETTER Steven Ledbetter was program annotator of the Boston Symphony Orchestra from 1979 to 1998.

Dmitri Shostakovich (1906-1979) Symphony No. 10 in E minor, Opus 93 First performance: December 17, 1953, Leningrad Philharmonic, Yevgeny Mravinsky cond. First BSO performance: October 19, 1962, Erich Leinsdorf cond. First Tanglewood performance: August 10, 1984, Seiji Ozawa cond. Most recent Tanglewood performance: August 13, 2005, Sir Andrew Davis cond. The premiere in January 1934 in Leningrad of Shostakovich’s opera Lady Macbeth of Mtsensk was an immense success from the very beginning, with performances, either staged or in concert, soon extending as far afield as the United States, Europe, and South America. (The first performances outside Russia were in Cleveland, in January and February 1935.) But then, following a 1936 Bolshoi performance attended by Stalin, who walked out before the final act, the composer and his opera were publicly condemned in the newspaper Pravda—a denuncia- tion that carried the weight of official censure—in response to its advanced, often dissonant musical language, and for its violent, sexually charged story of a young woman who kills her father-in-law, her husband, a rival for her lover’s affections, and herself. After the scandal over Lady Macbeth of Mtsensk, Shostakovich retreated into a more accessible and conservative musical style. The wartime Seventh Sym- phony (Leningrad), with its heroic forces and a mocking portrayal of what seemed to be Nazi militarism, earned strong official approval. But his Eighth Symphony (1943) was criticized as excessively gloomy in light of the improving fortunes of the Red Army. The brief and unexpectedly frothy Ninth Symphony (1945) encountered even more intense opposition. Exhausted by his struggle with Party censors, Shostakovich turned away from his favorite genre of the symphony for eight years—the longest such hiatus in his entire career.

TANGLEWOODWEEK 5 SATURDAYPROGRAMNOTES 19 At the same time, he was writing a very different kind of music. In the late 1940s he produced the poignant and politically dissident song cycle From Jewish Folk Poetry, as well as the Fourth and Fifth string quartets and Violin Concerto No. 1. Realizing that the intimate, tragic style of these works would displease the authorities, he wait- ed to share them with the public until a more propitious moment. That moment finally came on March 5, 1953, when Stalin died, after twenty-five years as Soviet dictator. For Shostakovich and for many other creative artists in various fields, Stalin’s death was a long-awaited turning point and the beginning of a new era of greater personal, political, and artistic freedom. In July 1953, only five months after the “Great Leader” was laid to rest, Shostakovich began writing the first movement of his Symphony No. 10, one of the first major works of art created in the post-Stalinist USSR. The official reaction would help gauge how far cultural lib- eralization had gone. “I would say only one thing: in this composition I wanted to express human emotions and passions,” the composer observed. And most Soviet critics did in fact find the Symphony No. 10 an intensely personal and “subjective” work, especially in the context of the enforced communal spirit of Socialist Realism. The symphony's “individualism” stemmed from several sources. One was the absence of a dedication or a programmatic title, such as those given to the Seventh (Leningrad), Second (To October) or Third (The First of May). Another was its prevail- ing mood of melancholy and introspection, with much less of the optimistically triumphant bombast found in some of the earlier symphonies. Finally, there was the extensive use of the composer’s musical “signature” D-S-C-H (the notes D, E-flat, C, and B-natural in German notation, to represent D. Schostakowitsch, from the German transliteration of his name), especially in the third and fourth movements, a gesture that seemed to affirm Shostakovich’s personal identity and lonely artistic struggle, as well as the supreme value of the individual even in a society (allegedly)

based on Communist ideals. Both the third and fourth movements conclude with obsessive repetitions of the D-S-C-H motif. In the third movement, the flute and piccolo tentatively sound this refrain over an extended pedal-point chord in the strings, while in the final measures of the finale the timpani bang it out triumphantly with the full orchestra blaring, as if announcing: “I’m still here! I’m still here!” Shostakovich had already employed this motto in his First Violin Concerto and would insert it into many works in the coming years, perhaps most notably in his Eighth String Quartet (1960). His increasing interest in chamber music also makes itself felt in the Tenth Symphony, with its many passages (particularly in the first movement) scored for small groups of instruments, giving the work an intimate and reflective—almost spiritual—personality. The sarcastic, grotesque humor so familiar in other works by Shostakovich plays a much smaller role. The harmonic and rhythmic style (2/4 and 3/4 predominate) is relatively simple and straightforward. Slow tempi predominate, even in the first movement. The savage second-movement Allegro—which may or may not have been intended as a musical portrait of Stalin— is tiny in comparison to the enormous first-movement Moderato, whose three skill- fully interwoven themes are among the composer's most memorable, infused with grief and mourning that never tips over into hysteria. Especially when compared to those employed in the Fourth and Seventh symphonies, the orchestral forces are rather modest. In the USSR, the Tenth immediately became one of Shostakovich’s most often performed and exhaustively analyzed symphonies, and a symbol of the personal and cultural awakening that followed Stalin’s death. It was also warmly received in the West. After its American premiere by the New York Philharmonic on October 14, 1954, New York Times critic Olin Downes called it “powerful, outspoken and at times grossly impolite.” The work’s introduction to Western audiences led to a renewed interest in the music of Shostakovich, whose international stature continued to grow during the “thaw” of the late 1950s and early 1960s.

HARLOW ROBINSON Harlow Robinson is an author, lecturer, and Matthews Distinguished University Professor of History at Northeastern University whose books include Sergei Prokofiev: A Biography and Russians in Hollywood, Hollywood’s Russians.

Guest Artists Jean-Yves Thibaudet Jean-Yves Thibaudet has performed around the world for more than thirty years and recorded more than fifty albums. His 2014-15 season encompasses orchestral appearances, chamber music, and recitals, displaying a repertoire including familiar pieces, unfamiliar works by well-known composers, and new compositions. He also follows his passion for education and fostering the next generation of performers by becoming the first-ever resident artist at the Colburn School of Los Angeles this year and for the next two. A distinguished recording artist, Mr. Thibaudet has been nominated for two Grammy awards and won the Schallplat- tenpreis, the Diapason d’Or, Choc du Monde de la Musique, a Gramophone Award, two Echo awards, and the Edison Prize. Known for his style and elegance on and off the traditional concert stage, he has had an impact on the world of fash- ion, film, and philanthropy. His concert wardrobe is by celebrated London

TANGLEWOODWEEK 5 GUESTARTISTS 21 designer Vivienne Westwood. In 2004 he served as president of the prestigious Hospices de Beaune, an annual charity auction in Burgundy, France. He had an onscreen cameo in the Bruce Beresford feature film on Alma Mahler, Bride of the Wind, and his playing is showcased throughout the soundtrack. He was the soloist on Dario Marianelli’s Oscar- and Golden Globe-award winning score for the film Atonement and Oscar- nominated score for Pride and Prejudice; he recorded the soundtrack of the 2012 film Extremely Loud & Incredibly Close, composed by Alexandre Desplat; and he was featured in the 2000 PBS/Smithsonian special Piano Grand!, a piano performance program hosted by Billy Joel paying tribute to the 300th anniversary of the piano. Jean-Yves Thibaudet was born in Lyon, France, where he began his piano studies at five and made his first public appearance at seven. At twelve, he entered the Paris Conservatory to study with Aldo Ciccolini and Lucette Descaves, a friend and collaborator of Ravel. He won the Premier Prix du Conservatoire at fifteen and, three years later, the Young Concert Artists Auditions in New York City. In 2001 the Republic of France awarded him the prestigious Chevalier dans l’Ordre des Arts et des Lettres. In 2002 he was awarded the Premio Pegasus from the Spoleto Festival in Italy for his artistic achievements and his longstanding involvement with the festival. In 2007 he received the Victoire d’Honneur, a lifetime career achievement award and the highest honor given by France’s Victoires de la Musique. The Hollywood Bowl honored him for his musical achievements by inducting him into its Hall of Fame in 2010. Previously a Chevalier of the Ordre des Arts et des Lettres, Mr. Thibaudet was promoted to the title of Officier by the French Minister of Culture in 2012. Jean-Yves Thibaudet made his BSO debut at Tanglewood in 1992 and has since performed on numerous occasions with the orchestra at Tanglewood, in Boston, and at Carnegie Hall, most recently this past April in Boston as soloist in one of his signature pieces, Ravel’s Piano Concerto in G.

Renaud Capuçon Violinist Renaud Capuçon has performed and collaborated with some of the world’s most distinguished orchestras and conductors. He is the musical director of the Easter Festival in Aix-en-Provence, which he founded in 2013, and in recent seasons he has performed with the Boston Symphony Orchestra, Chicago Symphony Orchestra, and Los Angeles Philharmonic, among others. He recently gave the world premiere of Pascla Dusapin’s Violin Concerto with the WDR Köln, and performed cycles of chamber music by Brahms and Fauré in five concerts at Vienna’s Musikverein. Equally at ease on the orchestral stage as with a trio, Mr. Capuçon performs chamber music with some of today’s most illustrious classical music artists, including Martha Argerich, Hélène Grimaud, Yefim Bronfman, Jean-Yves Thibaudet, and many more. His extensive discography includes numerous recorded projects for EMI/Virgin Classics, among them Mendelssohn and Haydn trios and Beethoven’s Triple Concerto with Martha Argerich, music of Berlioz, Saint-Saëns, Milhaud, and Ravel with Daniel Harding and the Deutsche Kammerphil- harmonie, chamber music of Ravel with Gautier Capuçon and Frank Braley, and Dutilleux’s Violin Concerto with the Radio France Philharmonic under Myung-Whun Chung. Born in Chambéry, France, in 1976, Renaud Capuçon studied at the Conserva- toire National Supérieur de Musique de Paris with Gérard Poulet and Veda Reynolds, and later with Thomas Brandis in Berlin and Isaac Stern. Invited by Claudio Abbado in 1998 to be concertmaster of the Gustav Mahler Youth Orchestra, he continued his musical education with Pierre Boulez, Seiji Ozawa, Daniel Barenboim, and Franz Welser-Möst. In 2000 he was nominated in the categories of “Rising Star” and “New Talent of the Year” by the French Victoires de la Musique, which in 2005 named Mr. Capuçon Instrumental Soloist of the Year. In 2006 he was awarded the Prix Georges

22 Enesco by the Société des Auteurs, Compositeurs et Éditeurs de Musique, and in June 2011 he was appointed Chevalier dans l’Ordre National du Mérite by the French government. Renaud Capuçon has appeared with the BSO on two previous occasions: as soloist in Mendelssohn’s Violin Concerto for his BSO debut at Tanglewood in July 2004, and as soloist in Sibelius’s Violin Concerto for his BSO subscription series debut in February 2013.

Gautier Capuçon Born in Chambéry, France, in 1981, cellist Gautier Capuçon studied at the Conservatoire National Supérieur in Paris with Philippe Muller and Annie Cochet-Zakine, and later with Heinrich Schiff in Vienna. The winner of first prizes in numerous international competitions, including the International André Navarra Prize, he was named 2001 “New Talent of the Year” by Victoires de la Musique (the French equivalent of a Grammy). He received a Borletti-Buitoni Trust Award in 2004, since which time he has garnered several Echo Klassik awards. In recent seasons he has performed with such orchestras as the Berlin Philharmonic, Chamber Orchestra of Europe, Concertgebouw Orchestra, Staatskapelle Dresden, Mariinsky Orchestra, the Tonhalle in Zurich, Munich Philharmonic, NHK Symphony, Sydney Symphony, Seoul Philharmonic, Boston Symphony, Chicago Symphony, and New York Philharmonic, as well as with all of the major orchestras in France. As a recital and chamber musician, Mr. Capuçon appears in Europe’s major halls and festivals, and annually at the Verbier Festival and at Project Martha Argerich, Lugano, performing with such leading artists as Barenboim, Bashmet, Batiashvili, Caussé, Katia and Marielle Labèque, Kavakos, Kirchschlager, Pletnev, Pressler, Thibaudet, his brother Renaud Capuçon, and the Artemis and Ebène string quartets. The current season brings his debut recital at the Barbican Centre with Nicholas Angelich, a return to Wigmore Hall with Frank Braley, and recitals in Paris and Tokyo with Yuja Wang. Gautier Capuçon records exclusively for Erato (Warner Classics). His recordings include the Dvoˇrák concerto with the Frankfurt Radio Symphony and Paavo Järvi, Tchaikovsky’s Rococo Variations and Prokofiev’s Symphony-Concerto for cello and orchestra with the Mariinsky Orchestra and Gergiev, the Brahms Double Concerto with his brother Renaud, and the Haydn cello concertos. He has recorded chamber music with Martha Argerich, Frank Braley, Nicholas Angelich, Renaud Capuçon, and others, and cello sonatas of Rachmaninoff and Prokofiev with Gabriela Montero. Gautier Capuçon plays a 1701 Matteo Goffriller. He is an Ambassador for Zegna & Music project, which was founded in 1997 as a philanthropic activity to promote music and its values. In October 2014 he launched the Classe d’Excellence de Violoncelle at the Fondation Louis Vuitton in Paris, through which selected students will come to Paris to work with him on a monthly basis in the foundation’s new auditorium designed by Frank Gehry. Making his Tanglewood debut this evening, Gautier Capuçon made his BSO debut as soloist in Dutilleux’s cello concerto Tout un monde lointain... in February 2012, subsequently returning for subscription performances in October/November 2013 of Penderecki’s Concerto Grosso No. 1 for three cellos and orchestra (with cellists Daniel Müller-Schott and Arto Noras) and most recently this past January for Strauss’s Don Quixote.

TANGLEWOODWEEK 5 GUESTARTISTS 23 2015 Tanglewood Boston Symphony Orchestra 134th season, 2014–2015

Sunday, August 2, 2:30pm SPONSORED BY CANYON RANCH

ANDRIS NELSONS conducting

HAYDN Symphony No. 90 in C Adagio—Allegro assai Andante Menuet; Trio Finale: Allegro assai

DEAN “Dramatis personae,” Music for Trumpet and Orchestra I. Fall of a Superhero II. Soliloquy III. The Accidental Revolutionary HÅKAN HARDENBERGER

{Intermission}

STRAUSS “Don Quixote,” Fantastic Variations on a theme of knightly character, Opus 35 (performed to mark the 400th anniversary of the publication of Cervantes’ Don Quixote, part II) Introduction— Theme and variations— Finale YO-YO MA, cello STEVEN ANSELL, viola

This summer, Yo-Yo Ma is one of the Boston Symphony Orchestra’s inaugural Koussevitzky Artists, acknowledging his commitment to teaching and performing at Tanglewood and his decades-long association with the BSO.

24 NOTES ON THE PROGRAM

Joseph Haydn (1732-1809) Symphony No. 90 in C First performance: Composed in 1788, but precise date of first performance unknown; there were almost certainly three “premieres”—in Paris and Bavaria (for the work’s two, independent commissioners; see below), and by Haydn’s own orchestra at Eszterháza. First BSO performance: April 21, 1899, Wilhelm Gericke cond. Only previous Tanglewood performance: August 4, 1995, Hugh Wolff cond. As Joseph Haydn forged his 104 symphonies, sixty-eight string quartets, and mountains of other pieces, his reputation naturally evolved over the years. He himself evolved from a freelancer, to a longtime director of a palace musical establishment, to a freelancer again (with a pension from his prince). His early symphonies were small, light pieces that did not pose too much challenge to the chatting and card playing that went on during household musicales. His later symphonies were written on a grand scale, listened to raptly and applauded wildly by audiences in Paris and London, both of which cities, unlike Vienna, had a tradition of public concerts, and large and enthusiastic audiences to fill the halls. The symphony No. 90 in C major, from 1788, stands on the verge of the climactic dozen “London symphonies” (nos. 93-104) Haydn wrote for his two sojourns in that city. They follow the nearly as significant “Paris symphonies” (nos. 82-87) of 1785-86. Haydn’s symphonies 90-92 were commissioned, like the six previous Paris symphonies, by the Comte d’Ogny, and are in effect an addendum to the Paris set. But Haydn was a canny businessman and had developed a procedure of selling the same pieces to publishers in different regions (all of it above-board). He decided to use these symphonies to fulfill two requests at once, the other from a Bavarian prince. Haydn managed to keep both music-loving noblemen in the dark about whom the symphonies were actually written for. Symphony No. 90 begins with an Adagio introduction, a stern unison followed by quiet gestures. The opening ta-dum turns out to be a throat-clearing for a lively and good-humored outing. On the first page he sets up some ideas that will characterize the whole. After the opening unison comes a quiet string descent doubled, strikingly, by bassoons. Soloistic winds and bassoons, the latter often freed from their usual chore of doubling the bass, will be a steady feature of the symphony, likewise the strings’ repeated-note figure heard on the first page. The main theme of the ensu- ing Allegro assai simply speeds up the introduction material. The second theme and the first half of the development section have extended and delightful flute and oboe solos. For a second movement Haydn gives us a double-variation Andante alternating F major and F minor. The first theme is an elegant little dance tune in violins, with gently ironic bassoon joining in underneath. The contrasting second theme in minor has a kind of operatic conspiratorial air. The variations mainly decorate the respec- tive melodies (there are more extended wind solos). The final return of the F major theme banishes what few clouds have appeared. The minuet has a pompous tone, or maybe faux-pompous, with some mellow wind episodes and a lovely oboe solo as Trio. The finale is a nimble, bustling Allegro assai in sonata form. Its racing figures are effervescent in the strings and nearly virtuosic in the winds. It spins out as if discov- ering constantly new angles on its own delight. Well before the end comes an echt - Haydn joke: with a grand final cadence in C major, the symphony apparently and

TANGLEWOODWEEK 5 SUNDAYPROGRAMNOTES 25 precipitously ends. Just as we’re about to start applauding, the strings sneak back in pianissimo in the startling key of D-flat major. By the time the music makes its way back to C major and actually and grandly concludes, we’re a little afraid to applaud— which is, of course, the intention. In this symphony that can be numbered among his splendid but neglected ones, Haydn as always plays his audience with the same mastery as he plays his orchestra.

JAN SWAFFORD Jan Swafford is a prizewinning composer and writer whose books include biographies of Johannes Brahms and Charles Ives, The Vintage Guide to Classical Music, and, published last summer, Beethoven: Anguish and Triumph. He is currently working on a biography of Mozart.

Brett Dean (b.1961) “Dramatis personae,” Music for Trumpet and Orchestra First performance: Composed for trumpet soloist Håkan Hardenberger on commission from the Grafenegg Festival, Danish Broadcasting Corporation, City of Birmingham Symphony Orchestra, and Leipzig Gewandhausorchester; completed in 2013; world premiere on August 31, 2013, at the Grafenegg Festival in Austria, John Storgårds cond., Tonkünstler-Orchester Niederösterreich. Only previous BSO performances (also the American premiere): November 13, 14, 15, and 18, 2014, Andris Nelsons cond., Håkan Hardenberger, soloist, Nelsons having previously conducted Hardenberger in the UK premiere with the City of Birmingham Symphony Orchestra on May 29, 2014, and the German premiere with the Gewandhausorchester on July 3, 2014. This is the first Tanglewood performance, to be followed later this summer by BSO tour performances with Nelsons and Hardenberger in London on August 22, Lucerne on August 30, and Cologne on September 4. Brett Dean won the prestigious Grawemeyer Award in 2009 for his violin concerto The Lost Art of Letter Writing, which was given its American premiere in November 2007 by Frank Peter Zimmermann with the Boston Symphony Orchestra conducted by Markus Stenz. The remarkable trajectory of Dean’s career as a composer speaks to the communicative success of his work for both audiences and performers. He has enjoyed an increasingly high profile for about twenty years now, as well as maintaining his performance career as a violist and chamber musician. He has any number of advanced, modern compositional tools at his disposal for creating atmosphere and mood (some of his sound effects, such as those at the start of Dramatis personae, are genuinely cinematic), but, by and large, the rhetorical flow and scope of his music hark back to the late Romantic era. If we didn’t have movement titles for Dramatis personae, we would have no problem viewing this concerto in traditional terms—three movements, fast-slow-fast, like any number of Mozart and Beethoven concertos. The first movement, “Death of a Superhero,” starts out with the energy and spark of a scherzo, the orchestra building an intricate, intense edifice before the entrance of the soloist, whose quick and quirky melody returns insistently to a high B and a three-note rhythmic figure. The trumpet’s sonic power allows the orchestra, with reservations, to maintain a very active and constantly changing texture. A central passage in the movement introduces mystery, a legato solo melody over muted strings. A long crescendo brings back music similar to the beginning; the soloist’s increasing use of flutter-tongue and downward glissandos indicates decreasing vitality and eventual exhaustion.

26 “Soliloquy” picks up on these downward-tending gestures, transferring them to falling chromatic and microtonal scales in lugubrious winds. The bent pitches of the soloist’s legato melody help lend it a sense of instability and inward contemplation. The dramatic temperature rises as the soloist’s thoughts grow more fraught, but after an aggressive outburst comes a mysterious, still passage. The orchestra is almost pure, dark atmosphere. “The Accidental Revolutionary” was inspired by Charlie Chaplin’s Modern Times, in which a charmingly distracted factory worker endures and miraculously overcomes a series of mishaps within industrialized urban society. The soloist’s use of various mutes has less the effect of comedy than of donning a mask, putting on a new personality. There is no explicit narrative, for the most part, but the intrusion of a march near the end of the piece, emerging half-heard within a turbulent, chaotic orchestral texture, adds a strangely incongruous sense of “reality” to the story and leads to a thrilling, if chaotic, ending.

ROBERT KIRZINGER Composer-annotator Robert Kirzinger is Assistant Director of Program Publications of the Boston Symphony Orchestra.

The following was printed in the program for the UK premiere of “Dramatis personae” given by the City of Birmingham Symphony Orchestra in July 2014. When the Grafenegg Festival commissioned Brett Dean to write his trumpet concerto Dramatis personae, it gave him the chance to fulfill his artistic fantasies on a number of levels. “The trumpet has something to say, it’s a herald,” says the composer. “It’s an instrument with so many facets,” he continues. “For that reason I let the trumpet, which I hear and see as the protagonist of a story, progress through different stages.” The concerto Dramatis personae describes the journey of an heroic character, a “superhero.” Influenced by the colorful world of action films and comics, yet rooted in the true feelings of classical heroism, Brett Dean created three tableaux in which the trumpet—the hero—makes its way through the world. A particular motivation for Brett Dean was also the anticipation of working with Håkan Hardenberger, whose virtuosity and commitment to new music was valued very highly by the composer. In the first movement, “Fall of a Superhero,” we meet the trumpet as the embodiment of good, whilst the orchestra plays the role of the eternal opponent. The individual, who braces himself unsuccessfully against a mass (the orchestra), shapes the program of the opening movement. The middle movement, “Soliloquy,” sees the actor/player “alone” on stage to speak out loud to himself, a device famously used in Shakespearean drama. As the player pauses, so develops the unspoken theme of reflecting on one’s own self. In the concerto’s final movement, “The Accidental Revolutionary,” Brett Dean focuses on the chance, perhaps even undesired comical aspect of heroism. This was influenced by a scene from the film Modern Times directed by and starring Charlie Chaplin, in which the protagonist unintentionally becomes the leader of a group of workers on strike. Brett Dean wanted to translate into music the interplay of impulse and response. Dramatis personae ends with a theatrical entry by the trumpet which symbolically leaves its place and joins its own kind in the trumpet section. Mobilization is complete and the journey on a new course begins.

TANGLEWOODWEEK 5 SUNDAYPROGRAMNOTES 27 Richard Strauss (1864-1949) “Don Quixote,” Fantastic Variations on a theme of knightly character, Opus 35 First performance: March 8, 1898, Gürzenische Städtische Orchester of Cologne, Franz Wüllner cond. First BSO performance: February 12, 1904, Wilhelm Gericke cond.; Rudolf Krasselt, cello. First Tanglewood performance: August 3, 1940, Serge Koussevit- zky cond.; Gregor Piatigorsky, cello; Jean LeFranc, viola. Most recent Tanglewood performance: July 25, 2010, Hans Graf cond.; Lynn Harrell, cello; Steven Ansell, viola. The virtuoso score of Don Quixote is tremendously theatrical and filled with cacopho- nous moments that depict the “madness” of the protagonist and the futility of the Don’s ill-conceived adventures. Strauss referred to the work as a “battle of one theme against nullity” and admitted that his musical structure had taken “variation form ad absurdum and showered tragicomic frivolity upon it.” He completed the score in 1897 in Munich, and it was premiered in Cologne on March 8, 1898, to angry critical reception. But Strauss had already endured acid commentary about Don Juan and Death and Transfiguration from Viennese critical patriarch Eduard Hanslick, and he seemed good- naturedly stoic about this new onslaught. In fact, Strauss enjoyed immensely the oddities of his own composition, and wrote to his mother after a Ham- burg performance of April 5, 1900, about the “brilliant” horn players who used empty beer bottles as mutes, noting with special relish the good time he had personally had at that performance. Still, he was keenly aware of the difficulty of these very same passages, remarking to his father after a December 5, 1898, performance in Berlin how unusual the horns, trumpets, trombones, and tubas had found their muted passages. Don Quixote opens with the flutes and the oboes in a kind of fanfare, somewhat askew for not having been “properly” annunciated by the brass. Still, the “knightly” character of the main theme is clear in the distinctive triplet that immediately leaps upward, followed by the second theme in the violins and violas. Muted trumpets sneer at such pomposity, and brass and cymbals lead to the introduction of the solo cello. The ten musical variations on these themes follow Cervantes, even though Strauss reordered the episodes from the novel. But the work is also and perhaps primarily a character study, for which a precise program is unnecessary. Neverthe- less, it is frankly pictorial and gestural. Especially noteworthy moments include the episode of the sheep (Variation II), whose bleating is mimicked by flutter-tonguing winds and brass; the liturgical chant of the muted brass (Variation IV), illustrating Quixote’s encounter with a group of penitents whose image of the Virgin he mis- takes for a damsel in distress; and the flight through the air (Variation VII) marked by the wind machine and harp glissandi. The solo cello part is profoundly and delib- erately difficult, meant to serve a multi-dimensional character whose chasing of windmills is itself both futile and difficult. And while performance of Don Quixote has become a badge of honor for the modern cellist, a proof of technical virtue, it demonstrates far more the performer’s ability to communicate the pathos of Don Quixote and his tragic, yet bittersweet demise.

HELEN M. GREENWALD Musicologist Helen M. Greenwald, who has taught at the New England Conservatory since 1991, writes and lectures internationally on a wide range of musical subjects. She is the editor of The Oxford Handbook of Opera, published in October 2014 by Oxford University Press.

28 RICHARD STRAUSS’S “DON QUIXOTE”: The Variations The Introduction depicts a certain elderly gentleman of La Mancha reading romances, tales of knightly derring-do in the service of beautiful, pure, and helpless ladies. Harmonic sideslips hint that our hero’s hold on reality is tenuous at best. After the solo oboe introduces us to the feminine ideal of our knight-to-be, his imagination carries him farther from the world of reality. Something snaps; he has gone mad. Here Strauss brings in the solo cello to present the actual Theme (Moderato), the first part of which is labeled “The Knight of the Doleful Countenance”; a counter- subject is labeled “Sancho Panza,” the loquacious manservant. Variation I (Comodo) recounts the familiar episode of the “giants” that are in fact windmills. The huge vanes revolve imperturbably. The Don races at them headlong and is tumbled to the ground. Variation II (Warlike) is the Don’s attack on the stronger of two armies about to do battle. They are, however, really a flock of sheep, whose bleating fills the orchestra. Variation III (Moderato) represents the endless debates between the Don and Sancho. Then, in a radiant pendant to their conversation, the knight tells of his visions and dreams, in a passage filled with warmth and tender lyricism. Variation IV (Somewhat broader) has Don Quixote attacking a procession of penitents carrying a sacred image of the Madonna, whom he takes to be a kidnapped maiden. Quixote is soon sprawled on the ground, and can rise only with difficulty. Variation V (Very slowly) deals with the Don’s state of mind; a few fragments of one of his themes (on the solo cello) intertwine with that of his beloved Dulcinea. In Variation VI (Fast), Sancho, under orders to bring Dulcinea to receive the knight’s homage, claims that three girls riding on donkeys are the Lady Dulcinea and two attendants. Strauss’s jaunty tune in the oboes conjures up the hearty country wench reeking of garlic. When the Don attempts to address her in his most courtly manner, the girls

TANGLEWOODWEEK 5 SUNDAYPROGRAMNOTES 29 Walter H. Scott

30 ride away as fast as they can, leaving him in utter confusion. Variation VII (A little calmer than the preceding) is a virtuoso exercise in orchestration. Don Quixote and Sancho, blindfolded and seated on a wooden horse, are told they will ﬂy through the air to a lady in great distress. But the horse never leaves the ground, as indicated by the earthbound, pedal-point D in the bass instruments of the orchestra. Variation VIII (Comodo) depicts a journey by boat that almost ends in tragedy but closes with a quiet prayer of thanks for removal from danger. Variation IX (Fast and stormy) has the Don chasing off two Benedictine monks whom he takes to be magicians. In Variation X (Much broader), a gentleman from Don Quixote’s own village, concerned about the old man’s condition, defeats him in battle, exacting from him a promise to refrain from knight-errantry for a year. Don Quixote makes his slow journey home. Now the clouds in his mind begin to clear away. A radiant A major chord—dominant of the home key of D—leads directly to the Finale (Very calm), a warm new version of Don Quixote’s basic theme (solo cello), which leads gradually to the onset of death pangs. The cello recalls the principal ideas associated with the Don. Following his death, the orchestra adds its quiet requiescat.

STEVEN LEDBETTER Steven Ledbetter was program annotator of the Boston Symphony Orchestra from 1979 to 1998.

Guest Artists Håkan Hardenberger Håkan Hardenberger is esteemed for his performances of the classical repertory and as a pioneer of significant and virtuosic new trumpet works. Mr. Hardenberger performs with the world’s leading orchestras, collaborating regularly with such conductors as Pierre Boulez, Alan Gilbert, Daniel Harding, Paavo Järvi, Ingo Metzmacher, Andris Nelsons, and David Zinman. Works written for and championed by him include compositions by Sir Harrison Birtwistle, Brett Dean, Hans Werner Henze, Rolf Martinsson, Olga Neuwirth, Arvo Pärt, Mark-Anthony Turnage, and Rolf Wallin, as well as HK Gruber’s concerto Aerial, which this year reached the mile- stone of its seventieth performance by Hardenberger, with the Berlin Philhar- monic. Today’s return BSO engagement at Tanglewood, performing Brett Dean’s trumpet concerto Dramatis Personae, is followed by tour concerts with the BSO and Andris Nelson at the BBC Proms, Lucerne Festival, and Philharmonie Cologne, the latter concert marking the opening of Hardenberger’s residency at the Philharmonie in 2015-16. Also next season, he tours with the Swedish Chamber Orchestra performing Steven Mackey’s companion piece to Bach’s Brandenburg Concerto No. 2, and with the Mahler Chamber Orchestra playing Turnage’s second trumpet concerto, Håkan. He opens the “The Trumpet Shall Sound,” a highly antici- pated trumpet celebration with London’s Philharmonia Orchestra, to include performances of the Zimmermann and Martinsson concertos, a brass and late-night chamber program, and a public master class at the Royal College of Music. Further highlights include the world premieres of Thierry Pecou’s trumpet concerto with the Orchestre Philharmonique de Radio France under Mikko Franck, and Betsy Jolas’s double concerto with pianist Roger Muraro and the Orchestre Philharmonique de Monte Carlo under Kazuki Yamada; the opening concert of Malmo’s new concert hall, and perform-

TANGLEWOODWEEK 5 GUESTARTISTS 31 ances with the Dresdner Staatskapelle, the BBC Scottish and Gothenburg symphonies, Bergen Philharmonic, Tonkünstler Orchestra, Orquesta Sinfonica Galicia, Toronto Symphony, New Japan Philharmonic, Hong Kong Sinfonietta, and Taipei Symphony. Conducting has become an integral part of his music-making; he has conducted such orchestras as the BBC Philharmonic, St. Paul Chamber Orchestra, Swedish Chamber Orchestra, Dresden Philharmonic, RTÉ National Symphony Dublin, Real Filharmonia Galicia, and Malmo Symphony. In recital he has duo-collaborations with pianist Roland Pöntinen and with percussionist Colin Currie. His extensive discography on the Philips, EMI, Deutsche Grammphon, BIS, and Ondine labels includes his latest recording with the Bergen Philharmonic and John Storgårds of Rolf Wallin’s concerto Fisher King. Previous discs feature new arrangements of popular film and pop melodies with the Academy of St Martin in the Fields (BIS), a Gruber and Schwertsik disc with the Swedish Chamber Orchestra (also BIS), and his trumpet concerto CD with the Gothenburg Symphony (Deutsche Grammophon). Born in Malmö, Sweden, Håkan Hardenberger began studying the trumpet at age eight with Bo Nilsson in Malmö and continued his studies at the Paris Conservatoire with Pierre Thibaud and in Los Angeles with Thomas Stevens. He is a professor at the Malmö Conservatoire. Mr. Hardenberger made his BSO debut in January 2012 playing the American premiere of Mark-Anthony Turnage’s trumpet concerto From the Wreckage, subsequently returning for his Tanglewood debut last summer with a performance of Rolf Martinsson’s trumpet concerto Bridge, and for subscription performances of Brett Dean’s Dramatis personae this past November.

Yo-Yo Ma Yo-Yo Ma’s multi-faceted career is testament to his continual search for new ways to communicate with audiences, and to his personal desire for artistic growth and renewal. Whether performing new or familiar works from the cello repertoire, coming together with colleagues for chamber music, or exploring cultures and musical forms outside the Western classical tradition, he strives to find connections that stimulate the imagination. Mr. Ma maintains a balance between his engagements as soloist with orchestras worldwide and his recital and chamber music activities. Throughout his career, he has expanded the cello repertoire, performing lesser- known music of the twentieth century and premieres of new works by a diverse group of composers. His wide-ranging discography of over ninety albums includes more than seventeen Grammy award-winners. One of Mr. Ma’s goals is the exploration of music as a means of communication and as a vehicle for the migration of ideas across a range of cultures throughout the world. To that end, he has taken time to immerse himself in subjects as diverse as native Chinese music with its distinctive instruments and the music of the Kalahari bush people in Africa. Expanding upon this interest, in 1998, Mr. Ma established Silkroad, a nonprofit organization that seeks to create meaningful change at the intersections of the arts, education, and business. Under his artistic direction, Silkroad presents performances by the acclaimed Silk Road Ensemble and develops new music, cultural partnerships, education programs, and cross-disciplinary collaborations. More than eighty new musical and multimedia works have been commissioned for the Silk Road Ensemble from composers and arrangers around the world. Silkroad’s ongoing affiliation with Harvard University has made it possible to broaden and enhance educational programming. As the Chicago Symphony Orchestra’s Judson and Joyce Green Creative Consultant, Mr. Ma helps provide collaborative musical leadership and guidance on innovative program development for the Negaunee Music Institute of the Chicago Symphony Orchestra, and for Chicago Symphony artistic initiatives. His work focuses on the transformative power music can have in individuals’ lives, and on increasing the number and variety of

32 opportunities audiences have to experience music in their communities. Mr. Ma was born in Paris to Chinese parents who later moved the family to New York. He began to study cello at age four, attended the Juilliard School, and in 1976 graduated from Harvard University. His numerous awards include the Avery Fisher Prize, the Glenn Gould Prize, the National Medal of the Arts, the Dan David Prize, the Son- ning Prize, the World Economic Forum’s Crystal Award, the Presidential Medal of Freedom, the Polar Music Prize, and the Vilcek Prize in Contemporary Music. Yo-Yo Ma serves as a UN Messenger of Peace and as a member of the President’s Committee on the Arts & the Humanities. He has performed for eight American presidents, most recently at the invitation of President Obama on the occasion of the 56th Inaugural Ceremony. For more information, visit www.yo-yoma.com, www.silkroadproject.org, and www.opus3artists.com. This summer (along with Emanuel Ax) he is one of Tanglewood’s two inaugural Koussevitzky Artists, named for the legendary founder of the BSO’s summer music festival, and reflecting the BSO’s deep appreciation for his commitment to teaching and performing at Tanglewood, as well as his more than three decades’ involvement with the BSO. Also this summer at Tanglewood he collabo- rates with Leonidas Kavakos and Emanuel Ax performing Brahms’s three piano trios in Ozawa Hall on Thursday night, August 6; performs the complete Beethoven cello sonatas with Mr. Ax on Sunday night, August 8; and participates in an Ozawa Hall concert entitled “A Distant Mirror” on Thursday night, August 13. Since his BSO debut in February 1983, Yo-Yo Ma has appeared many times with the orchestra in Boston, at Tanglewood, and on tour.

Steven Ansell Steven Ansell joined the Boston Symphony Orchestra as principal viola in September 1996, occupying the Charles S. Dana chair, having previously appeared with the BSO in Symphony Hall as guest principal viola. A native of Seattle, he also remains a member of the acclaimed Muir String Quartet, which he co-founded in 1979, and with which he has toured extensively throughout the world. A graduate of the Curtis Institute of Music, where he studied with Michael Tree and Karen Tuttle, Mr. Ansell was named professor of viola at the University of Houston at twenty-one and became assistant principal viola of the Pittsburgh Symphony Orchestra under André Previn at twenty-three. As a recording artist he has received two Grand Prix du Disque awards and a Gramophone magazine award for Best Chamber Music Recording of the Year. He has appeared on PBS’s “In Performance at the White House,” has participated in the Tanglewood, Marlboro, Schleswig-Holstein, Newport, Blossom, Spoleto, and Snowbird music festivals, and premiered Ezra Laderman’s Concerto for Viola and Orchestra with the Berkshire Symphony Orchestra. Mr. Ansell teaches at the Boston University College of Fine Arts. As principal viola of the Boston Symphony Orchestra, he is also a member of the Boston Symphony Chamber Players. His solo appearances with the Boston Symphony Orchestra have included performances of Mozart’s Sinfonia concertante for violin and viola, Bruch’s Concerto for Viola, Clarinet, and Orchestra, Berlioz’s Harold in Italy, and Strauss’s Don Quixote (on six previous occasions with the orchestra, first in April 1997 in Boston and New York under Seiji Ozawa, and most recently in January 2015 with Andris Nelsons conducting).

TANGLEWOODWEEK 5 GUESTARTISTS 33 Maestro Circle

Annual gifts to the Boston Symphony Orchestra provide essential funding to the support of ongoing operations and to sustain our mission of extraordinary music-making. The BSO is grateful for the philanthropic leadership of our Maestro Circle members whose current contributions to the Orchestra’s Symphony, Pops and Tanglewood annual funds, gala events, and special projects have totaled $100,000 or more. ‡ This symbol denotes a deceased donor.

Alli and Bill Achtmeyer • Mr. and Mrs. George D. Behrakis • Roberta and George ‡ Berry • Peter and Anne Brooke • Catherine and Paul Buttenwieser • Cynthia and Oliver Curme • Michael L. Gordon • The Nancy Foss Heath and Richard B. Heath Educational, Cultural and Environmental Foundation • Dorothy and Charlie Jenkins • Stephen B. Kay and Lisbeth L. Tarlow • Ted and Debbie Kelly • Lizbeth and George Krupp • Joyce Linde • Carmine A. and Beth V. Martignetti • Richard P. and Claire W. Morse Foundation • National Endowment for the Arts • Megan and Robert O’Block • The Claudia and Steven Perles Family Foundation • Mrs. Irene Pollin • Carol and Joe Reich • Sue Rothenberg • Wendy Shattuck and Samuel Plimpton • Miriam Shaw Fund • Caroline and James Taylor • Stephen and Dorothy Weber • Roberta and Stephen R. Weiner

Society Giving at Tanglewood

The following list recognizes gifts of $3,000 or more made since September 1, 2014 to the Tanglewood Annual Fund. The Boston Symphony Orchestra is grateful to the following individuals and foundations for their annual support as Bernstein or Koussevitzky Society members during the 2014-2015 season. For further information on becoming a Society member, please contact Leslie Antoniel, Leadership Gifts Officer, at 617-638-9259.

Susan B. Cohen, Co-chair, Tanglewood Annual Fund Ranny Cooper, Co-chair, Tanglewood Annual Fund

Koussevitzky Society Founders $100,000+ Michael L. Gordon • Dorothy and Charlie Jenkins • Mrs. Irene Pollin • Carol and Joe Reich • Caroline and James Taylor Virtuoso $50,000 to $99,999

Linda J.L. Becker • Cynthia and Oliver Curme • Sanford and Isanne Fisher • Joyce Linde • Sue Rothenberg • Stephen and Dorothy Weber Encore $25,000 to $49,999

Alli and Bill Achtmeyer • Mr. and Mrs. George D. Behrakis • Jan Brett and Joseph Hearne • Gregory E. Bulger Foundation/Gregory Bulger and Richard Dix • Ginger and George Elvin • Scott and Ellen Hand • Drs. James and Eleanor Herzog • Elizabeth W. and John M. Loder • Jane and Robert J. Mayer, M.D. • The Claudia and Steven Perles Family Foundation • Claudio and Penny Pincus • Eduardo Plantilla, M.D. and Lina Plantilla, M.D. • Ronald and Karen Rettner • Carol and Irv Smokler • Linda and Edward Wacks • June Wu Benefactor $20,000 to $24,999

Roberta and George ‡ Berry • Sydelle and Lee Blatt • BSO Members’ Association • Joseph and Phyllis Cohen • The Frelinghuysen Foundation • Cora and Ted Ginsberg • Ronnie and Jonathan Halpern • Larry and Jackie Horn • Valerie and Allen Hyman •

34 Leslie and Stephen Jerome • The Edward Handelman Fund • Jay and Shirley Marks • Mrs. Millard H. Pryor, Jr. • Suzanne and Burton Rubin • Carole and Edward I. Rudman • Arlene and Donald Shapiro • Hannah and Walter Shmerler • The Ushers and Programmers Fund • Marillyn Zacharis Patron $10,000 to $19,999

Mr. Gerald Appelstein • Norm Atkin MD and Joan Schwartzman • Liliana and Hillel Bachrach • Joan and Richard Barovick • Robert and Elana Baum • Phyllis and Paul Berz • Beatrice Bloch and Alan Sagner • Marlene and Dr. Stuart H. ‡ Brager • Bonnie and Terry Burman • Catherine and Paul Buttenwieser • Susan and Joel Cartun • Ronald G. and Ronni J. Casty • The Cavanagh Family • John F. Cogan, Jr. and Mary L. Cornille • James and Tina Collias • Dr. Charles L. Cooney and Ms. Peggy Reiser • Ranny Cooper and David Smith • Dr. T. Donald and Janet Eisenstein • Beth and Richard Fentin • Nancy J. Fitzpatrick and Lincoln Russell • Myra and Raymond ‡ Friedman • Lonnie and Jeffrey Garber • Dr Lynne B Harrison • Ms. Jeanne M. Hayden and Mr. Andrew Szajlai • Nathan and Marilyn Hayward • Susie and Stuart Hirshfield • Carol and George Jacobstein • Margery and Everett Jassy • Prof. Paul L. Joskow and Dr. Barbara Chasen Joskow • Kahn Family Foundation • The Kandell Fund, in memory of Florence and Leonard S. Kandell • Brian A. Kane • Stephen B. Kay and Lisbeth L. Tarlow • Robert and Luise ‡ Kleinberg • Lizbeth and George Krupp • Mr. and Mrs. Henry A. Leander • Elaine and Ed London • Rebecca and Nathan Milikowsky • Robert E. and Eleanor K. Mumford • Jerry and Mary ‡ Nelson • Polly and Dan ‡ Pierce • John S. and Cynthia Reed • Lucinda and Brian Ross • Mr. and Mrs. Kenan E. Sahin • Gloria Schusterman • Daniel and Lynne Ann Shapiro • JoAnne and Joel Shapiro • Honorable George and Charlotte Shultz • Dr. and Mrs. Harvey B. Simon • Norma and Jerry Strassler • Jerry and Nancy Straus • Ted and Jean Weiller • Mr. Jan Winkler and Ms. Hermine Drezner • Robert and Roberta Winters • Anonymous Prelude $7,500 to $9,999

Gideon Argov and Alexandra Fuchs • Hildi and Walter Black • Brad and Terrie Bloom • Jane Braus • Judith and Stewart Colton • Robert and Stephanie Gittleman • Martha and Todd Golub • Mr. and Mrs. Martin G. Isserlis • Norma and Sol D. Kugler • Arlene and Jerome Levine • Mr. and Mrs. Arthur S. Loring • Judy and Richard J. Miller • Kate and Hans Morris • Elaine and Simon Parisier • Mary Ann and Bruno A. Quinson • Elaine and Bernard Roberts • Maureen and Joe Roxe/The Roxe Foundation • Sue Z. Rudd • Dr. Beth Sackler and Mr. Jeffrey Cohen • Malcolm and BJ Salter • Marcia and Albert Schmier • Anne and Ernest ‡ Schnesel • Lynn and Ken Stark • Roz and Charles Stuzin • Lois and David Swawite • Aso O. Tavitian • Karen and Jerry Waxberg • Gail and Barry Weiss • Anonymous (2) Member $5,000 to $7,499

Mrs. Estanne Abraham-Fawer and Mr. Martin Fawer • Mark and Stephanie Abrams • Deborah and Charles Adelman • Mr. Michael P. Albert • Mr. and Mrs. Ira Anderson • Lois and Harlan Anderson • Arthur Appelstein and Lorraine Becker • Stephen Barrow and Janis Manley • Timi and Gordon Bates • Dr. Mark Belsky and Ms. Nancy Kaplan Belsky • Jerome and Henrietta Berko • Carole and Richard Berkowitz • Linda and Tom Bielecki • Drs. Judith and Martin Bloomfield • Betsy and Nathaniel Bohrer • Mark G. and Linda Borden • Carol and Bob Braun • Judy and Simeon Brinberg • Mr. and Mrs. Jon E. Budish • Mr. and Mrs. Scott Butler • David and Maria Carls • Mr. Jim Chervenak • Carol and Randy Collord • Jill K. Conway • Ann Denburg Cummis • Richard H. Danzig • Dr. and Mrs. Harold Deutsch • Chester and Joy Douglass • Alan and Lisa Dynner • Mrs. Harriett M. Eckstein • Ursula Ehret-Dichter • Mr. and Mrs. Saul Eisenberg • Eitan and Malka Evan • Marie V. Feder • Gigi Douglas and David Fehr • Eunice and Carl Feinberg • Nancy Edman Feldman and Mike Chefetz • Deborah Fenster-Seliga and Edward Seliga • Bud and Ellie Frank • Rabbi Daniel Freelander and Rabbi Elyse Frishman • Adaline H. Frelinghuysen • Fried Family Foundation, Janet and Michael Fried • Carolyn and Roger Friedlander • Mr. and Mrs. Kenneth G. Friedman • Audrey and Ralph Friedner • Thomas M. Fynan and William F. Loutrel • Mr. and Mrs. Robert L. Gable • Lynne Galler and Hezzy Dattner • Leslie and Joanna Garfield • Drs. Anne and Michael Gershon •

TANGLEWOODWEEK 5 SOCIETYGIVINGATTANGLEWOOD 35 Dr. Donald and Phoebe Giddon • David H. Glaser and Deborah F. Stone • Stuart Glazer and Barry Marcus • The Goldman Family Trust • Sondra and Sy Goldman • Joe and Perry Goldsmith • Judi Goldsmith • Ms. Susan P. Goodfellow • Mr. and Mrs. Robert A. Goodman • Gorbach Family Foundation • Corinne and Jerry Gorelick • Jud and Roz Gostin • Susan and Richard Grausman • Mr. Harold Grinspoon and Ms. Diane Troderman • Carol B. Grossman • Mr. David W. Haas • Ms. Bobbie Hallig • Joseph K. and Mary Jane Handler • Dena and Felda Hardymon • Dr. and Mrs. Leon Harris • William Harris and Jeananne Hauswald • Ricki Tigert Helfer and Michael S. Helfer • Ann L. Henegan • Enid and Charles ‡ Hoffman • Richard Holland • Nancy and Walter Howell • Stephen and Michele Jackman • Liz and Alan Jaffe • Lola Jaffe • Marcia E. Johnson • Ms. Lauren Joy • Adrienne and Alan Kane • Martin and Wendy Kaplan • Rita J. and Stanley H. Kaplan Family Foundation, Inc./Susan B. Kaplan and Nancy and Mark Belsky • Mr. Chaim Katzman • Monsignor Leo Kelty • Mr. and Mrs. Carleton F. Kilmer • Dr. Samuel Kopel and Sari Scheer • J. Kenneth and Cathy Kruvant • Marilyn E. Larkin • Shirley and Bill Lehman • Helaine and Marvin Lender • Cynthia and Robert J. Lepofsky • Marje Lieberman and Sam Seager • Geri and Roy Liemer • Ian and Christa Lindsay • Jane and Roger Loeb • Phyllis and Walter F. Loeb • Diane H. Lupean • Mrs. Paula M. Lustbader • Diane and Darryl Mallah • Carmine A. and Beth V. Martignetti • Suzanne and Mort Marvin • Janet McKinley • The Messinger Family • Wilma and Norman Michaels • Joan G. Monts • Mr. and Mrs. Michael Monts • Mr. and Mrs. Raymond F. Murphy, Jr. • The Netter Foundation • Mr. Richard Novik and Ms. Eugenia Zukerman • John and Mary Ellen O’Connor • Mr. and Mrs. Gerard O’Halloran • Karen and Chet Opalka • Rabbi Rex Perlmeter and Rabbi Rachel Hertzman • Wendy Philbrick • Jonathan and Amy Poorvu • Ted Popoff and Dorothy Silverstein • Ellen and Mickey Rabina • Mr. and Mrs. Albert P. Richman • Dr. Robin S. Richman and Dr. Bruce Auerbach • Barbara and Michael Rosenbaum • Edie and Stan Ross • Milton B. Rubin • Joan and Michael Salke • Elisabeth Sapery and Rosita Sarnoff • Dr. and Mrs. James Satovsky • Mr. Gary S. Schieneman and Ms. Susan B. Fisher • Dr. Raymond Schneider • Pearl Schottenfeld • Dan Schrager and Ellen Gaies • Mr. Daniel Schulman and Ms. Jennie Kassanoff • Carol and Marvin Schwartzbard • Mr. Marvin Seline • Carol and Richard Seltzer • Evelyn and Ronald Shapiro • Lois and Leonard Sharzer • The Shields Family • Susan and Judd Shoval • The Silman Family • Marion A. Simon • Scott and Robert Singleton • Robert and Caryl Siskin • Arthur and Mary Ann Siskind • Mr. Peter Spiegelman and Ms. Alice Wang • Lauren Spitz • Lynn ‡ and Lewis Stein • Margery and Lewis Steinberg • Noreene Storrie and Wesley McCain • Ms. Pat Strawgate • Mr. and Mrs. Patrick J. Sullivan • Mr. Eric Swanson and Ms. Carol Bekar • Dorothy and Gerry Swimmer • Ingrid and Richard Taylor • Jean C. Tempel • Mr. ‡ and Mrs. Wilmer J. Thomas, Jr. • Dr. Adrian Tiemann • Jerry and Roger Tilles • Jacqueline and Albert Togut • Bob Tokarczyk • Barbara and Gene Trainor • Stanley and Marilyn Tulgan • Myra and Michael Tweedy • The Ushers and Programmers Fund • Antoine and Emily van Agtmael • Mr. and Mrs. Alex Vance • Loet and Edith Velmans • Mrs. Charles H. Watts II • Carol Andrea Whitcomb • Carole White • Elisabeth and Robert Wilmers • The Wittels Family • Sally and Steve Wittenberg • Erika and Eugene Zazofsky and Dr. Stephen Kurland • Carol and Robert Zimmerman • Richard M. Ziter, M.D. • Mr. Lyonel E. Zunz ‡ • Anonymous (3) Bernstein Society $3,000 to $4,999

Dr. and Mrs. Bert Ballin • Dr. and Mrs. Benjamin R. Barber • Ms. Shirley B. Barnes • Mr. Michael Beck and Mr. Beau Buffier • Cindy and David Berger • Helene Berger • Louis and Bonnie Biskup • Gail and Stanley Bleifer • Birgit and Charles Blyth • Jim and Linda Brandi • William E. Briggs • William E. Briggs and Donald Usher • Sandra L. Brown • Rhea and Allan Bufferd • Mrs. Laura S. Butterfield • Antonia Chayes • Mr. and Mrs. Bertram Chinn • Lewis F. Clark, Jr. • Herbert B. and Jayne Cohan • Linda Benedict Colvin, in loving memory of her parents, Phyllis and Paul Benedict • Mr. and Mrs. Herbert J. Coyne • Brenda and Jerome Deener • In memory of D.M. Delinferni • Mr. Clark Downs • Terry and Mel Drucker • The Dulye Family • Mr. and Mrs. Leonard Edelson • Mr. and Mrs. Eric Egan • Miss Diana Engelhorn • Dr. and Mrs. Gerald D. Falk • Mr. Earl N. Feldman and Mrs. Sarah Scott • Dr. and Mrs. Steve Finn •

36 Betty and Jack Fontaine • Herb and Barbara Franklin • Mr. and Mrs. Michael Friedman • Mr. David Friedson and Ms. Susan Kaplan • Drs. Ellen Gendler and James Salik in memory of Dr. Paul Gendler • Mr. and Mrs. James W. Giddens • Mr. and Mrs. David L. Glodt • Rita Sue and Alan J. Gold • Mr. and Mrs. Andrew Goldfarb • Mr. Malcolm Griggs • Michael and Muriel Grunstein • Mr. and Mrs. Robert Haber • Mrs. Deborah F. Harris • Mr. Gardner C. Hendrie and Ms. Karen J. Johansen • Mr. and Mrs. Adam Hersch • Denise Gelfand and Peter Dubin • Miriam and Gene Josephs • Deko and Harold Klebanoff • Margaret and Joseph Koerner • Dr. and Mrs. Stephen Kulvin • Mr. and Mrs. Arthur J. Levey • Ira Levy, Lana Masor and Juliette Freedman • Anthony and Alice Limina • Thomas and Adrienne Linnell • Dr. and Mrs. Benjamin Liptzin • Dr. and Mrs. Richard E. Litt • Dr. Nancy Long and Mr. Marc Waldor • Susan and Arthur Luger • Mr. and Mrs. Evan Mallah • Mr. and Mrs. Frank Martucci • Dr. and Mrs. Malcolm Mazow • Mr. Terence McInerney • Soo Sung and Robert Merli • Mr. and Mrs. Michael A. Miller • Mrs. Suzanne Nash • Linda and Stuart Nelson • Rosalie and I. MacArthur Nickles • Mike, Lonna and Callie Offner • Mr. Sumit Rajpal and Ms. Deepali A. Desai • Robert and Ruth Remis • Mr. and Mrs. Thomas A. Renyi • Fred and Judy Robins • Mr. and Mrs. Richard S. Rocap • Barbara Rubin • Larry and Pat Rutkowski • Ms. Susan Schaeffer • Dr. and Mrs. David Schottenfeld • Jane and Marty Schwartz • Mr. and Mrs. John Schwebel • Betsey and Mark Selkowitz • Natalie and Howard Shawn • Jackie Sheinberg and Jay Morganstern • Ms. Lori Signer • Linda and Marc Silver, in loving memory of Marion and Sidney Silver • Florence and Warren Sinsheimer • Maggie and Jack Skenyon • Elaine Sollar and Edwin R. Eisen • Mr. and Mrs. Edward Streim • Flora and George Suter • John Lowell Thorndike • Diana O. Tottenham • Mr. and Mrs. Jonathan Turell • Mr. and Mrs. Howard J. Tytel • William Wallace • Ron and Vicki Weiner • Betty and Ed Weisberger • Dr. and Mrs. Jerry Weiss • Ms. Nancy Whitson-Rubin • Pamela Wickham • Mr. and Mrs. Allan Yarkin • Mr. and Mrs. Michael Zaccaro • Anonymous (4)

TANGLEWOODWEEK 5 SOCIETYGIVINGATTANGLEWOOD 37 The Walter Piston Society

The Walter Piston Society was established in 1987 and named for the Pulitzer Prize-winning composer and noted musician who endowed the BSO’s Principal Flute Chair with a bequest. The Society recognizes and honors those who have established one or more “planned” gifts for the future benefit of the Boston Symphony Orchestra, Boston Pops, or Tanglewood. Such gifts include bequest intentions (through one’s will, personal trust, IRA, or insurance policy), charitable trusts, and gift annuities. If you would like information about how to include the BSO in your gift plans, or if you find that your name is not included with other Walter Piston Society members and should be, please contact Jill Ng, Director of Planned Giving and Senior Major Gift Officer, at (617) 638-9274 or [email protected]. ‡ This symbol denotes a deceased donor.

Everett L. Jassy, Co-chair, Planned Giving Committee Richard P. Morse, Co-chair, Planned Giving Committee Peter C. Read, Co-chair, Planned Giving Committee

Mark and Stephanie Abrams • Sonia S. Abrams • Vernon R. Alden • John F. Allen • Rosamond Warren Allen • Lois and Harlan Anderson • Mr. Matthew Anderson • Mariann Berg (Hundahl) Appley • Dorothy and David Arnold • Dr. David M. Aronson • Miss Eleanor Babikian • Henry W. D. Bain • Mr. and Mrs. ‡ Sherwood E. Bain • Dr. and Mrs. Richard F. Balsam • Dr. and Mrs. James E. Barrett • Stephen Barrow and Janis Manley • Rose Basile • John and Molly Beard • Robert Michael Beech • Alan and Judith Benjamin • Gabriella and Leo Beranek • Deborah Davis Berman • George and Joan Berman • Leonard and Jane Bernstein • Roberta and George ‡ Berry • Mr. Roger Berube • Mrs. Ben Beyea • Mr. Peter M. Black • Mrs. Stanton L. Black • Mr. Carl G. Bottcher • Mrs. John M. Bradley • Carol and Bob Braun • Karen M. Braun • Jan Brett and Joseph Hearne • William E. Briggs • Peter and Anne Brooke • Phyllis Brooks • Mrs. E. B. Brown • Ms. Lorian R. Brown • Dulce W. Bryan • Bonnie and Terry Burman • Mr. Richard-Scott S. Burow • Margaret A. Bush • Mrs. Winifred B. Bush • Catherine and Paul Buttenwieser • Mrs. Mary L. Cabot • Crystal Cousins Campbell • Eleanor L. and Levin H. Campbell • Mr. and Mrs. Steven Castraberti • Ms. Deborah P. Clark • Kathleen G. and Gregory S. Clear • John F. Cogan, Jr. and Mary L. Cornille • Ms. Carolyn A. Cohen • Saul and Mimi Cohen • Mrs. Aaron H. Cole • Dr. and Mrs. James C. Collias • Mrs. Abram T. Collier • Mr. and Mrs. Marvin A. Collier • Mrs. Carol P. Côme • Dr. William G. and Patricia M. Conroy • Dr. Michael T. Corgan and Sallie Riggs Corgan • Ann Denburg Cummis • Joan P. and Ronald C. Curhan • Mrs. Edith L. Dabney • Gene and Lloyd Dahmen • Eda Daniel • Peggy Daniel • Eugene M. Darling, Jr. • Mr. Nelson J. Darling, Jr. • Maude Sergeant Davis • Tamara P. and Charles H. Davis II • Mr. Henry B. Dewey • Richard Dixon and Douglas Rendell • Dr. Ruth Dlugi-Zamenhof and Dr. Robert Zamenhof • Mr. and Mrs. David Doane • Nina L. and Eugene B. Doggett • Mr. Norman Dorian • Henry P. Dunbar • The Rev. and Mrs. J. Bruce Duncan • Alan R. Dynner • Mrs. Harriett M. Eckstein • Ms. Marie J. Eger and Ms. Mary Jane Osborne • Ursula Ehret-Dichter • Miss Mary C. Eliot ‡ • Mrs. Richard S. Emmet • Lillian K. Etmekjian • David H. Evans • Marilyn Evans • Mrs. Samuel B. Feinberg • Roger and Judith Feingold • Mr. Gaffney J. Feskoe • Elio Ruth Fine • C. Peter and Beverly A. Fischer • Doucet and Stephen Fischer • Mr. Stuart M. Fischman • David D. Foster • Elaine Foster • Mr. Matthew Fox and Ms. Linda Levant Fox • Dr. Joyce B. Friedman • Mr. Gabor Garai and Ms. Susan Pravda • Mrs. James G. Garivaltis • Prof. Joseph Gifford • Mrs. Henry C. Gill, Jr. • Annette and Leonard Gilman • Cora and Ted Ginsberg • Barry Glasser and Candace Baker • Mrs. Joseph Glasser • Susan Godoy • Thelma ‡ and Ray Goldberg • Mr. Mark R. Goldweitz • Midge Golin • Hon. José A. Gonzalez, Jr. and Mary Copeland Gonzalez • Jane W. and John B. Goodwin • Mrs. Clark H. Gowen • Madeline L. Gregory • Mrs. Norman Gritz • Edmund A. Grossman • Hope and Warren Hagler • Mr. and Mrs. Roger H. Hallowell, Jr. • Mr. Michael A. Halperson • Dr. Firmon E. Hardenbergh • Anne and Neil Harper • Ms. Judith Harris • Mr. Warren Hassmer • Mrs. Francis W. Hatch • Ira Haupt, II • Deborah Hauser • Mr. Harold A. Hawkes • Dorothy A. Heath • Julie and Bayard Henry • Ann S. Higgins • Mr. James G. Hinkle, Jr. • Joan and Peter Hoffman • Ms. Emily C. Hood • Silka Hook • Larry and Jackie Horn • Wayne and Laurell Huber • Mr. and Mrs. F. Donald Hudson •

38 Holcombe Hughes, Sr. • Mr. and Mrs. Roger Hunt • Mrs. Joseph Hyman • Valerie and Allen Hyman • Janet S. Isenberg • Charles and Carolyn Jack • Emilie K. Jacobs ‡ • Margery and Everett Jassy • Mrs. David Jeffries • Carolyn J. Jenkins • Lloyd W. Johnson and Joel H. Laski • Ms. Elizabeth W. Jones • Mrs. H.E. Jones • Ron and Joyce Jones • Mrs. Béla T. Kalman • Dr. Alice S. Kandell • David L. Kaufman • Stephen B. Kay and Lisbeth L. Tarlow • Mrs. Richard L. Kaye • Ms. Nancy Keil • Dr. Eileen Kennedy • Robert W. Kent • Athena and Richard Kimball • Mary S. Kingsbery • Mr. Robert Kirzinger • Ms. Marsha A. Klein • Mason J. O. Klinck • Kathleen Knudsen • Joan H. Kopperl • Mr. Robert K. Kraft • Farla Krentzman ‡ • George F. Krim ‡ • Mr. and Mrs. Rudolf M. Kroc • Mr. Richard I. Land • Mr. and Mrs. Robert A. Lawrence • Dr. Robert Lee • Mrs. Shirley Lefenfeld • Don and Virginia LeSieur • Mrs. Vincent J. Lesunaitis • Toby Levine • Jeffrey and Della Levy • Dr. Audrey Lewis ‡ • Marjorie Lieberman • Mrs. George R. Lloyd • John M. Loder • Diane H. Lupean • Adam M. Lutynski and Joyce M. Bowden • John C. MacRae • Mr. and Mrs. Donald Malpass, Jr. • Matthew B. and Catherine C. Mandel • Mrs. Irma Fisher Mann • Mr. Russell E. Marchand ‡ • Jay Marks • Mrs. Nancy Lurie Marks • Mr. and Mrs. Jeffrey E. Marshall • Jane and Robert J. Mayer, M.D. • Ellen W. Mayo • Mrs. Barbara McCullough • Mrs. Richard M. McGrane • Mrs. David McKearnan • Mrs. Willard W. McLeod, Jr. • Mr. and Mrs. Russell P. Mead • Mr. Heinrich A. Medicus • Joel Robert Melamed MD • Henrietta N. Meyer ‡ • Edie Michelson-Milender and Sumner Milender • Richard Mickey and Nancy Salz • Dr. Martin C. Mihm, Jr. • Richard S. Milstein, Esq. • Dale and Robert Mnookin • Patricia A. Monk • Mrs. John Hamilton Morrish • Richard P. and Claire W. Morse • Mr. Jame Edward Mulcahy ‡ • John Munier and Dorothy Fitch • Cecile Higginson Murphy • Mrs. Robert M. Mustard • Katharine S. Nash • Chloe Nassau • Robert Neff • Anne J. Neilson • Ms. Dianna Nelson • Mary S. Newman • Michael L. Nieland, M.D. • Mr. Richard C. Norris • Mr. and Mrs. Arthur E. Norton • Fritz and Luciana Noymer • Helene and Martin Oppenheimer • Annette and Vincent O’Reilly • Mrs. Stephen D. Paine • Mrs. Marion S. Palm • Catherine L. Pappas • Mary B. Parent • Janet Fitch Parker • Joyce and Bruce Pastor • Nancy and Robert Payne • Mr. and Mrs. John B. Pepper • Mr. John A. Perkins • Polly Perry • Mrs. Roger A. Perry, Jr. • Margaret D. Philbrick • Wendy Philbrick • Rev. Louis W. Pitt, Jr. • Mrs. Rita Pollet • William and Lia Poorvu • M. Joan Potter • William and Helen Pounds • Mrs. Murray Preisler • Mr. Peter J. Previte • Dr. Robert O. Preyer • Carol Procter • Mrs. Daphne Brooks Prout • Mrs. Millard H. Pryor, Jr. • Dr. Herbert Rakatansky and Mrs. Barbara Sokoloff • Mark Reach and Laurel Bifano • Mr. John B. Read, Jr. • Peter and Suzanne Read • Kenneth Sawyer Recu • Emily M. Reeves • John Sherburne Reidy • Robert and Ruth Remis • Ms. Carol Ann Rennie • Marcia and Norman Resnick • Dr. Paul A. Richer • Barbara Rimbach • Wendy H. Robbins • Elizabeth P. Roberts • Mr. David Rockefeller, Jr. • Dr. J. Myron Rosen • Mr. James L. Roth • Pauline A. Rowe • Wallace and Carol Rowe • Arnold Roy • Joan and Michael Salke • John A., Helen M., and John W. Salkowski • Mr. Robert M. Sanders • Mr. Stephen Santis • The Sattley Family • Leonard Saxe and Marion Gardner-Saxe • Ms. Carol Scheifele-Holmes and Mr. Ben L. Holmes • Constance Lee Scheurer • Liolia J. Schipper • Dr. Raymond Schneider • Dr. and Mrs. Leslie R. Schroeder • Gloria Schusterman • Mrs. Aire-Maija Schwann • Mr. and Mrs. George G. Schwenk • Alice M. Seelinger • Mrs. George James Seibert • Kristin and Roger Servison • Joyce and Bert Serwitz • Carl H. and Claudia K. Shuster • Mrs. Jane Silverman • Scott and Robert Singleton • Barbara F. Sittinger • Dr. and Mrs. Jan P. Skalicky • Natalie K. Slater • Drs. Norman Solomon and Merwin Geffen • Harold Sparr and Suzanne Abramsky • Maria and Ray Stata • Mr. and Mrs. Joseph Stavenhagen • Mr. and Mrs. Nick Stcavish • Thomas G. Stemberg • Susan Stempleski • Marylen R. Sternweiler • Mr. and Mrs. Josiah Stevenson IV • Miss Ruth Elsa Stickney • Anne B. and Galen L. Stone • Lillian C. Stone • Theresa M. and Charles F. Stone III • Peter and Joanna Strauss • Mr. and Mrs. Jonathon D. Sutton • Mona N. Tariot • Mr. Thomas Teal • John Lowell Thorndike • Mr. and Mrs. Samuel Thorne • Mrs. Carlos H. Tosi • Diana O. Tottenham • Robert and Theresa Vieira • Daniel Vincent and Stephen Borboroglu • Mr. and Mrs. Mark Volpe • Eileen and Michael Walker • Carol A. Walker • Lyle Warner ‡ • Harvey and Joëlle Wartosky • Stephen and Dorothy Weber • Allen C. West • Ron and Sandy Weston • Carol Andrea Whitcomb • Mrs. Constance V. R. White • Edward T. Whitney, Jr. • Dr. Michael Wiedman • Mr. and Mrs. Richard E. Willett • Mr. Jeffery D. Williams • Samantha and John Williams • Mrs. Margaret Williams-DeCelles • Mrs. Leslie J. Wilson • Jeanne H. Wolf • Chip and Jean Wood • David A. Wood • Donald G. and Jane C. Workman • Robert W. and Sheri Olans Wright • Drs. Richard and Judith Wurtman • Patricia Plum Wylde • Mr. David Yalen • Isa Kaftal Zimmerman and George O. Zimmerman • Richard M. Ziter, M.D. • Anonymous (68)

TANGLEWOODWEEK 5 THEWALTERPISTONSOCIETY 39 Tanglewood Major Corporate Sponsors 2015 Season

Tanglewood major corporate sponsorships reflect the increasing importance of alliance between business and the arts. We are honored to be associated with the following organizations and gratefully acknowledge their partnerships. For information regarding BSO, Boston Pops, and/or Tanglewood sponsorship opportunities, contact Alyson Bristol, Director of Corporate Partnerships, at (617) 638-9279 or at [email protected].

Visit Sarasota County is proud to be returning for a second season as sponsor of the Boston Pops at Tanglewood. As in the Berkshires, the arts just come naturally in Sarasota County, Where Artistic Expression and Inspiration Meet! Is it the crystal blue waters or the warm, balmy air that artists and performers find so inspirational? Who knows for sure. But you will find it every night and day in our performance halls, theatres, opera house, museums and galleries. Discover it yourself in Sarasota County. You’ll see why we’re known as Florida’s Cultural Coast®. Learn more at VisitSarasotaArts.org.

Dawson Rutter Commonwealth Worldwide Chauffeured Transportation is President and CEO proud to be the Official Chauffeured Transportation of the Boston Symphony Orchestra and Boston Pops. The BSO has delighted and enriched the Boston community for over a century and we are excited to be a part of such a rich heritage. We look forward to celebrating our relationship with the BSO, Boston Pops, and Tanglewood for many years to come.

August at Tanglewood

Saturday, August 1, 10:30am Thursday, August 6, 8pm Open Rehearsal (Pre-Rehearsal Talk, 9:30am) EMANUEL AX, piano BSO program of Sunday, August 2 LEONIDAS KAVAKOS, violin YO-YO MA, cello Saturday, August 1, 8:30pm All-Brahms program BSO—ANDRIS NELSONS, conductor JEAN-YVES THIBAUDET, piano Friday, August 7, 6pm (Prelude Concert) RENAUD CAPUÇON, violin MEMBERS OF THE BSO GAUTIER CAPUÇON, cello All-Dvoˇrák program

BEETHOVEN Triple Concerto for piano, Friday, August 7, 8:30pm violin, and cello SHOSTAKOVICH Symphony No. 10 The Serge and Olga Koussevitzky Memorial Concert Sunday, August 2, 2:30pm BSO—CHARLES DUTOIT, conductor BSO—ANDRIS NELSONS, conductor LEONIDAS KAVAKOS, violin HÅKAN HARDENBERGER, trumpet RAVEL Mother Goose Suite YO-YO MA, cello SIBELIUS Violin Concerto STEVEN ANSELL, viola STRAVINSKY Petrushka (1911 version) HAYDN Symphony No. 90 Saturday, August 8, 10:30am DEAN Dramatis personae, Music for Trumpet and Orchestra Open Rehearsal (Pre-Rehearsal Talk, 9:30am) STRAUSS Don Quixote BSO program of Sunday, August 9

Sunday, August 2, 8pm Saturday, August 8, 8:30pm TMC ORCHESTRA—KEN-DAVID MASUR TMC 75th Anniversary Gala and TMC CONDUCTING FELLOWS, The Leonard Bernstein Memorial Concert conductors TMC ORCHESTRA—ANDRIS NELSONS, DAWN UPSHAW, soprano conductor TMC VOCAL FELLOWS ERIN WALL, CHRISTINE GOERKE, ERIN A TMC 75 Opera Celebration: excerpts from MORLEY, LIOBA BRAUN, JANE HENSCHEL, Mozart’s Idomeneo, Golijov’s Ainadamar, and KLAUS FLORIAN VOGT, MATTHIAS Britten’s Albert Herring GOERNE, and AIN ANGER, vocal soloists TANGLEWOOD FESTIVAL CHORUS Tuesday, August 4, 8:30pm (Gala Concert) BOSTON UNIVERSITY TANGLEWOOD Tanglewood on Parade INSTITUTE CHORUS (Grounds open at 2pm for music and AMERICAN BOYCHOIR activities throughout the afternoon) MAHLER Symphony No. 8 BSO, BOSTON POPS ORCHESTRA, and TMC ORCHESTRA Sunday, August 9, 2:30pm STÉPHANE DENÈVE, KEITH LOCKHART, BSO—CHARLES DUTOIT, conductor ANDRIS NELSONS, and JOHN WILLIAMS, JOSHUA BELL, violin conductors Music of Berlioz, Shostakovich, Ravel, MUSSORGSKY Night on Bald Mountain Williams, Kabalevsky, and Tchaikovsky, plus GLAZUNOV Violin Concerto an anniversary tribute to Frank Sinatra BERLIOZ Symphonie fantastique Fireworks to follow the concert Sunday, August 9, 8pm Wednesday, August 5, 8pm YO-YO MA, cello MATTHIAS GOERNE, baritone EMANUEL AX, piano MARKUS HINTERHÄUSER, piano Beethoven’s complete sonatas for cello Schubert’s Winterreise and piano Wednesday, August 12, 8pm CHRISTIAN TETZLAFF, violin Solo violin music of Ysaÿe, Bach, Kurtág, and Bartók

Thursday, August 13, 8pm Sunday, August 16, 2:30pm YO-YO MA, cello BSO (Beethoven) and TMCO (Copland)— with MIKE BLOCK, MONIKA LESKOVAR, ASHER FISCH, conductor and GIOVANNI SOLLIMA, cellos JULIANNA DI GIACOMO, RENÉE TATUM, BOSTON CELLO QUARTET PAUL GROVES, and JOHN RELYEA, vocal “A Distant Mirror” (inspired by Barbara’s soloists Tuchman’s book): a program exploring the TANGLEWOOD FESTIVAL CHORUS musical worlds and contemporary resonances COPLAND Symphonic Ode of the late 16th and early 17th centuries, BEETHOVEN Symphony No.9 and of the period’s most celebrated literary figures, Shakespeare and Cervantes Friday, August 21, 8:30pm Friday, August 14, 6pm (Prelude Concert) BOSTON POPS ESPLANADE ORCHESTRA TANGLEWOOD FESTIVAL CHORUS KEITH LOCKHART, conductor JOHN OLIVER, conductor CIRQUE DE LA SYMPHONIE Music of Bach, Barber, Brahms, and Copland A magical fusion of circus and classical music, featuring aerial flyers, acrobats, contortionists, Friday, August 14, 8:30pm dancers, jugglers, balancers, and strongmen along with the Boston Pops BSO—ANDRIS NELSONS, conductor CHRISTIAN TETZLAFF, violin Saturday, August 22, 8:30pm MENDELSSOHN Violin Concerto John Williams’ Film Night MAHLER Symphony No. 6 BOSTON POPS ESPLANADE ORCHESTRA JOHN WILLIAMS and DAVID NEWMAN, Saturday, August 15, 10:30am conductors Open Rehearsal (Pre-Rehearsal Talk, 9:30am) BSO program of Sunday, August 16 Sunday, August 23, 4pm JOHN PIZZARELLI & JESSICA MOLASKEY Saturday, August 15, 8:30pm “Radio Deluxe Live” BSO—ANDRIS NELSONS, conductor KRISTINE OPOLAIS, soprano Thursday, August 27, 7pm BARBER Second Essay for Orchestra EDDIE IZZARD BOITO “L’altra note infondo al mare” from Friday, August 28, 7pm Mefistofele PUCCINI Intermezzo from Manon Lescaut THE PIANO GUYS VERDI Willow Song and “Ave Maria” from Saturday, August 29, 7pm Otello STRAUSS Ein Heldenleben IDINA MENZEL Friday, September 4, 7pm HARRY CONNICK, JR.

Saturday, September 5, 8:30pm BOSTON POPS ESPLANADE ORCHESTRA THOMAS WILKINS, conductor KRISTIN CHENOWETH, special guest

Programs and artists subject to change. 2015 Tanglewood Music Center Schedule Unless otherwise noted, all events take place in Florence Gould Auditorium of Seiji Ozawa Hall. * Tickets available through Tanglewood box office or SymphonyCharge Admission free, but restricted to that evening’s concert ticket holders ♦ Includes music commissioned for TMC75

Saturday, June 20, 8pm * Sunday, July 12, 10am BOSTON POPS ESPLANADE ORCHESTRA Chamber Music ♦ KEITH LOCKHART, conductor Sunday, July 12, 8pm KATE BALDWIN and JASON DANIELEY, Vocal Concert special guests TMC VOCAL FELLOWS Monday, July 13, 6pm “Simply Sondheim” Prelude Concert Thursday, June 25 and Monday, July 13, 8pm Friday, June 26, 8pm * The Daniel Freed and Shirlee Cohen Freed MARK MORRIS DANCE GROUP Memorial Concert TMC FELLOWS TMC ORCHESTRA—LUDOVIC MORLOT and MARK MORRIS, conductor and choreographer TMC CONDUCTING FELLOWS, conductors JAMES SOMMERVILLE, horn Sunday, June 28, 10am Music of WAGNER, HINDEMITH, GOLIJOV Chamber Music for Winds, Brass, and (TMC75 world premiere), and DEBUSSY Percussion ♦ Saturday, July 18, 6pm Monday, June 29, 1pm, 4pm, and 8pm Prelude Concert STRING QUARTET MARATHON One ticket provides admission to all three concerts. Sunday, July 19, 10am Chamber Music ♦ Sunday, July 5, 10am Chamber Music ♦ Monday, July 27, 8pm * The Margaret Lee Crofts Concert Sunday, July 5, 8pm * TMC ORCHESTRA—MICHAEL TILSON The Phyllis and Lee Coffey Memorial Concert THOMAS and TMC CONDUCTING TMC ORCHESTRA—STEFAN ASBURY and FELLOWS, conductors TMC CONDUCTING FELLOWS, conductors BUTI YOUNG ARTISTS CHORUS Music of BRITTEN, BRAHMS, WILLIAMS WILLIAM HUDGINS, clarinet (TMC75 world premiere), and SIBELIUS Music of COPLAND, FOSS, BERNSTEIN, Tuesday, July 7, 8pm and IVES Vocal Concert: Songs of the WWI Era Saturday, August 1, 6pm Saturday, July 11, 6pm Prelude Concert Prelude Concert Sunday, August 2, 10am Chamber Music ♦

TMC Orchestra Concerts in Ozawa Hall (July 5, 13, 27; August 2), $55, $45, and $35 (lawn admission $12). TMC Recitals, Chamber Music, String Quartet Marathon: $12. Festival of Contemporary Music Concerts (excluding 7/27 TMCO concert), $12. BUTI Young Artists Orchestra Concerts, $11. BUTI Young Artists Wind Ensemble and Chorus Concerts, Free. TMC Chamber and BUTI Orchestra Concerts are cash/check only. GENERAL PUBLIC and TANGLEWOOD DONORS up to $100: TMC Orchestra, TMC Recital, and BUTI concert tickets are available in advance online, by phone, or in person at the box office. On the day of the concert, tickets to TMC and BUTI recitals in Ozawa Hall may be purchased up to one hour before concert start time with cash only, and only at the Ozawa Hall Bernstein Gate. TMC Orchestra concerts (excluding 7/20) may be purchased on the day of the concert at the Ozawa Hall box office. Please note: availability for seats inside Ozawa Hall is limited and concerts may sell out. FRIENDS OF TANGLEWOOD at the $100 level receive one free admission and Friends at the $200 level or higher receive two free admissions to all TMC Fellow recital, chamber, and Festival of Contemporary Music performances (excluding TMC Orchestra concerts) by presenting their membership cards at the Bernstein Gate one hour before concert time. Additional and non-member tickets for chamber music or Festival of Contemporary Music concerts are $12. FOR INFORMATION ON BECOMING A FRIEND OF TANGLEWOOD, please call (617) 638-9267 or visit tanglewood.org/contribute. Sunday, August 2, 8pm Monday, July 20—Monday, July 27 A TMC75 Opera Celebration FESTIVAL OF CONTEMPORARY MUSIC TMC ORCHESTRA—KEN-DAVID MASUR and John Harbison, Michael Gandolfi, and TMC CONDUCTING FELLOWS, conductors Oliver Knussen, Festival Curators DAWN UPSHAW, soprano The 2015 Festival of Contemporary Music TMC VOCAL FELLOWS focuses on TMC faculty and alumni com- Excerpts from Mozart’s Idomeneo, Golijov’s posers, and includes fifteen works, twelve Ainadamar, and Britten’s Albert Herring of them world premieres, commissioned for the TMC’s 75th anniversary. The July 27 Tuesday, August 4 * TMCO concert has been programmed by TANGLEWOOD ON PARADE TMC alumnus Michael Tilson Thomas; the 2:30pm: TMC Cello Ensemble July 23 concert honors composer and former 3:30pm: TMC Piano Concert TMC director Gunther Schuller. Complete 4pm: BUTI Young Artists Orchestra and program details are available at the Tangle- Chorus (Shed) wood Main Gate, at bso.org, and in the TMC program book. 5pm: TMC Vocal Concert 8pm: TMC Brass Fanfares (Shed) ♦ Monday, July 20, 8pm 8:30pm: Gala Concert (Shed) TMC ORCHESTRA—STEFAN ASBURY TMCO, BSO, and BOSTON POPS ORCHESTRA and TMC CONDUCTING FELLOWS, STÉPHANE DENÈVE, KEITH LOCKHART, conductors; EMANUEL AX, piano; ANDRIS NELSONS, and JOHN WILLIAMS, SAMANTHA BENNETT, violin; THE conductors NEW FROMM PLAYERS Music of SHOSTAKOVICH, RAVEL Thursday, July 23, 8pm WILLIAMS, and TCHAIKOVSKY OLIVER KNUSSEN and JONATHAN Fireworks to follow the concert BERMAN, conductors; PETER SERKIN, Saturday, August 8, 6pm piano; NICHOLAS PHAN, tenor; THE Prelude Concert NEW FROMM PLAYERS; TMC FELLOWS Saturday, August 8, 8:30pm (Shed) * Friday, July 24, 2:30pm TMC 75th Anniversary Gala The Fromm Concert at Tanglewood The Leonard Bernstein Memorial Concert JOHN HARBISON, conductor TMC ORCHESTRA—ANDRIS NELSONS, URSULA OPPENS, piano; WENDY conductor PUTNAM, violin; MICKEY KATZ, cello; ERIN WALL, CHRISTINE GOERKE, TMC FELLOWS ERIN MORLEY, LIOBA BRAUN, Saturday, July 25, 2:30pm JANE HENSCHEL, KLAUS FLORIAN VOGT, DAWN UPSHAW, soprano; ROBERT MATTHIAS GOERNE, and AIN ANGER, SHEENA, English horn; GEORGE NIXON, vocal soloists marimba; THE NEW FROMM PLAYERS; TANGLEWOOD FESTIVAL CHORUS TMC FELLOWS BUTI CHORUS AMERICAN BOYCHOIR Saturday, July 25, 6pm (Prelude Concert) MAHLER Symphony No. 8 LUCY SHELTON, soprano; THE NEW FROMM PLAYERS; TMC FELLOWS Sunday, August 9, 10am Chamber Music Sunday July 26, 10am STEFAN ASBURY, conductor Tuesday, August 11, 8pm STEPHEN DRURY, piano; THE NEW ♦ Vocal Concert FROMM PLAYERS; TMC FELLOWS Saturday, August 15, 6pm Monday, July 27, 8pm * ♦ Prelude Concert TMC ORCHESTRA—MICHAEL TILSON Sunday, August 16, 10am THOMAS and TMC CONDUCTING Chamber Music ♦ FELLOWS conducting; BUTI CHORUS; WILLIAM HUDGINS, clarinet; BONNIE Sunday, August 16, 2:30pm (Shed) * BEWICK, violin BSO (Beethoven) and TMCO (Copland)— ASHER FISCH, conductor The Festival of Contemporary Music has been JULIANNA DI GIACOMO, RENÉE TATUM, endowed in perpetuity by the generosity of Dr. PAUL GROVES, and JOHN RELYEA, vocal Raymond H. and Mrs. Hannah H. Schneider, soloists with additional support from the Aaron Copland TANGLEWOOD FESTIVAL CHORUS Fund for Music, the Amphion Foundation, the COPLAND Symphonic Ode Fromm Music Foundation, the National Endowment BEETHOVEN Symphony No. 9 for the Arts, the Ernest von Siemens Music Foundation, and the Helen F. Whitaker Fund.

Boston University Tanglewood Institute (BUTI) The Boston University Tanglewood Institute (BUTI) is recognized internationally as one of the premier summer training programs for advanced high-school age musicians and is the only program of its kind associated with one of the world’s great orchestras. Founded in 1966, BUTI is a result of the collaborative vision of Erich Leinsdorf, then music director of the Boston Symphony Orchestra, who invited the College of Fine Arts at Boston University to create a summer training program for high school musicians as a counterpart to the BSO’s Tanglewood Music Center. Today, nearly 50 years later, BUTI continues to build upon its legacy of excellence, offering a transformative experience to more than 350 budding instrumentalists, composers, and singers who reside at its 64-acre campus in Lenox, Massachusetts. Its intensive programs, distinguished faculty, and the opportunities afforded through its unique affiliation with the BSO and TMC have com- bined to give BUTI a celebrated and distinctive reputation among summer music programs of its kind. BUTI’s season includes six performances at Seiji Ozawa Hall and more than fifty concerts and recitals in and around Lenox. BUTI alumni contribute to today’s musical world as prominent performers and conductors, composers and educators, and administrators and board members. Currently, sixteen members of the BSO are BUTI alumni. The program demonstrates great commitment to students from around the country and world, nearly half of whom are supported by the BUTI Scholarship Fund, made possible by contributions from individuals, foundations, and corporations. If you would like further information about BUTI, please stop by our office on the Leonard Bernstein Campus on the Tanglewood grounds, or call (413) 637-1430 or (617) 353-3386.

2015 BUTI Concert Schedule (All events in Seiji Ozawa Hall unless otherwise noted)

ORCHESTRA PROGRAMS: Saturday, July 18, 2:30pm, Ankush Kumar Bahl conducts Beethoven’s Egmont Overture, Copland’s Appalachian Spring, and Elgar’s Enigma Variations. Saturday, August 1, 2:30pm, Paul Haas conducts Bernstein’s Candide Overture and Chichester Psalms (joined by the Young Artists Chorus) and Bartók’s Concerto for Orches- tra. Saturday, August 15, 2:30pm, Paul Haas conducts Tchaikovsky’s Romeo and Juliet Fantasy-Overture and Prokofiev’s Symphony No. 5.

WIND ENSEMBLE PROGRAMS: Sunday, July 19, 2:30pm, David J. Martins conducts Shostakovich, Pann, George, Mackey, Hindemith/Wilson, Iannaccone, and Husa. Sunday, August 2, 2:30pm, H. Robert Reynolds conducts Strauss, Lauridsen/Reynolds, Salfelder, Grantham, Williams/Lavender, Ticheli (featuring Jennifer Bill, saxophone), and Daugherty.

VOCAL PROGRAMS: Tuesday, August 4, 4pm (Tanglewood on Parade), Ann Howard Jones conducts choral works by Biebl, Dove, Mendelssohn, Mozart, Poulenc, Rautavaara, Rossini, and Sullivan at the Koussevitzky Music Shed.

HONORS CONCERT: Saturday, August 8, 2:30pm, a special concert featuring solo and chamber music performances by select BUTI students.

Young Artists Orchestra concert tickets may be purchased for $12 each at the door of Seiji Ozawa Hall on the Tanglewood main grounds directly prior to the concert event or online at bso.org. Young Artists Wind Ensemble concerts and the Honors Concert are not tick- eted and are open to the public. For a full listing of events, visit bu.edu/tanglewood.

Administration

Mark Volpe, Eunice and Julian Cohen Managing Director, endowed in perpetuity Anthony Fogg, Artistic Administrator Marion Gardner-Saxe, Director of Human Resources Ellen Highstein, Edward H. Linde Tanglewood Music Center Director, endowed by Alan S. Bressler and Edward I. Rudman Bernadette M. Horgan, Director of Public Relations Thomas D. May, Chief Financial Ofﬁcer Kim Noltemy, Chief Marketing and Communications Ofﬁcer Bart Reidy, Director of Development Ray F. Wellbaum, Orchestra Manager

Administrative Staff/Artistic

Bridget P. Carr, Senior Archivist • Julie Giattina Moerschel, Executive Assistant to the Managing Director • Vincenzo Natale, Chauffeur/Valet • Claudia Robaina, Manager of Artists Services • Andrew Tremblay, Tanglewood Artist Liaison

Administrative Staff/Production Christopher W. Ruigomez, Director of Concert Operations Jennifer Chen, Audition Coordinator/Assistant to the Orchestra Personnel Manager • H.R. Costa, Technical Director • Erik Johnson, Chorus Manager • Jake Moerschel, Technical Supervisor/Assistant Stage Manager • Leah Monder, Operations Manager • John Morin, Stage Technician • Sarah Radcliffe-Marrs, Concert Operations Administrator • Mark C. Rawson, Stage Technician • Nick Squire, Recording Engineer • Joanne Trebelhorn, Tanglewood Operations Manager

Boston Pops Dennis Alves, Director of Artistic Planning Wei Jing Saw, Assistant Manager of Artistic Administration • Amanda Severin, Manager of Artistic Planning and Services

Business Office

Sarah J. Harrington, Director of Planning and Budgeting • Mia Schultz, Director of Investment Operations and Compliance • Natasa Vucetic, Controller Sophia Bennett, Staff Accountant • Angelina Collins, Accounting Manager • Thomas Engeln, Budget Assistant • Karen Guy, Accounts Payable Supervisor • Minnie Kwon, Payroll Associate • Evan Mehler, Budget Manager • John O’Callaghan, Payroll Supervisor • Nia Patterson, Senior Accounts Payable Assistant • Mario Rossi, Staff Accountant • Lucy Song, Accounts Payable Assistant • Teresa Wang, Staff Accountant • Maggie Zhong, Senior Endowment Accountant

Development

Susan Grosel, Director of Annual Funds and Donor Relations • Nina Jung, Director of Board, Donor, and Volunteer Engagement • Ryan Losey, Director of Foundation and Government Relations • John C. MacRae, Director of Principal and Major Gifts • Jill Ng, Director of Planned Giving and Senior Major Gifts Officer • Richard Subrizio, Director of Development Communications • Mary E. Thomson, Director of Corporate Initiatives • Jennifer Roosa Williams, Director of Development Research and Information Systems Leslie Antoniel, Leadership Gifts Officer • Erin Asbury, Manager of Volunteer Services • Stephanie Baker, Assistant Director, Campaign Planning and Administration • Nadine Biss, Assistant Manager, Development Communications • Maria Capello, Grant Writer • Diane Cataudella, Associate Director, Donor Relations • Caitlin Charnley, Donor Ticketing Associate • Allison Cooley, Major Gifts Officer • Catherine Cushing, Assistant Manager, Donor Relations • Emily Diaz, Assistant Manager, Gift Processing • Emily Fritz-Endres, Executive Assistant to the Director of Development • Christine Glowacki, Assistant Manager, Friends Program • Barbara Hanson, Senior Leadership Gifts Officer • James Jackson, Assistant Director, Telephone Outreach • Jennifer Johnston, Graphic Designer/Print Production Manager • Katherine Laveway, Major Gifts Coordinator • Andrew Leeson, Manager, Direct Fundraising and Friends Program • Anne McGuire, Assistant Manager, Corporate Initiatives and Research • Suzanne Page, Major Gifts Officer • Mark Paskind, Assistant Manager of Planned Giving • Kathleen Pendleton, Assistant Manager, Development Events and Volunteer Services • Maggie Rascoe, Annual Funds Coordinator • Carly Reed, Donor Acknowledgment and Research Coordinator • Emily Reeves, Assistant Director, Development Information Systems • Francis Rogers, Major Gifts Officer • Drew Schweppe, Major Gifts Coordinator • Alexandria Sieja, Manager, Development Events • Yong-Hee Silver, Senior Major Gifts Officer • Szeman Tse, Assistant Director, Development Research

Education and Community Engagement Jessica Schmidt, Helaine B. Allen Director of Education and Community Engagement Claire Carr, Senior Manager of Education and Community Engagement • Emilio Gonzalez, Manager of Education and Community Engagement • Elizabeth Mullins, Assistant Manager of Education and Community Engagement • Darlene White, Manager of Berkshire Education and Community Engagement

Facilities Robert Barnes, Director of Facilities SYMPHONY HALL OPERATIONS Peter J. Rossi, Symphony Hall Facilities Manager • Tyrone Tyrell, Security and Environmental Services Manager Charles F. Cassell, Jr., Facilities Compliance and Training Coordinator • Alana Forbes, Facilities Coordinator • Shawn Wilder, Mailroom Clerk MAINTENANCE SERVICES Jim Boudreau, Lead Electrician • Thomas Davenport, Carpenter • Michael Frazier, Carpenter • Steven Harper, HVAC Technician • Sandra Lemerise, Painter • Adam Twiss, Electrician ENVIRONMENTAL SERVICES Landel Milton, Lead Custodian • Rudolph Lewis, Assistant Lead Custodian • Desmond Boland, Custodian • Julien Buckmire, Custodian/Set-up Coordinator • Claudia Ramirez Calmo, Custodian • Errol Smart, Custodian • Gaho Boniface Wahi, Custodian TANGLEWOOD OPERATIONS Robert Lahart, Director of Tanglewood Facilities Bruce Peeples, Grounds Supervisor • Peter Socha, Buildings Supervisor • Fallyn Girard, Tanglewood Facilities Coordinator • Stephen Curley, Crew • Richard Drumm, Mechanic • Maurice Garofoli, Electrician • Bruce Huber, Assistant Carpenter/Roofer

Human Resources

Heather Mullin, Human Resources Manager • Susan Olson, Human Resources Recruiter • Kathleen Sambuco, Associate Director of Human Resources

Promotional stamps issued by the Berkshire Symphonic Festival Committee to publicize the Boston Symphony Orchestra’s first Berkshire Festival concerts in August 1936, the year before the BSO took up annual summer residence at Tanglewood (BSO Archives) Information Technology Timothy James, Director of Information Technology Andrew Cordero, IT Asset Manager • Ana Costagliola, Database Business Analyst • Isa Cuba, Infrastructure Engineer • Stella Easland, Telephone Systems Coordinator • Michael Finlan, Telephone Systems Manager • Karol Krajewski, Infrastructure Systems Manager • Brian Van Sickle, User Support Specialist • Richard Yung, IT Services Manager

Public Relations

Samuel Brewer, Public Relations Associate • Taryn Lott, Senior Public Relations Associate • David McCadden, Senior Publicist

Publications Marc Mandel, Director of Program Publications Robert Kirzinger, Assistant Director of Program Publications—Editorial • Eleanor Hayes McGourty, Assistant Director of Program Publications—Production and Advertising

Sales, Subscription, and Marketing

Helen N.H. Brady, Director of Group Sales • Alyson Bristol, Director of Corporate Partnerships • Sid Guidicianne, Front of House Manager • Roberta Kennedy, Buyer for Symphony Hall and Tanglewood • Sarah L. Manoog, Director of Marketing • Michael Miller, Director of Ticketing Gretchen Borzi, Associate Director of Marketing • Lenore Camassar, Associate Manager, Symphony- Charge • Megan Cokely, Group Sales Manager • Susan Coombs, SymphonyCharge Coordinator • Jonathan Doyle, Graphic Designer • Paul Ginocchio, Manager, Symphony Shop and Tanglewood Glass House • Randie Harmon, Senior Manager, Customer Service and Special Projects • George Lovejoy, SymphonyCharge Representative • Jason Lyon, Symphony Hall Box Office Manager • Ronnie McKinley, Ticket Exchange Coordinator • Michelle Meacham, Subscriptions Representative • Michael Moore, Associate Director of Internet Marketing and Digital Analytics • Laurence E. Oberwager, Director of Tanglewood Business Partners • Greg Ragnio, Subscriptions Representative • Doreen Reis, Advertising Manager • Laura Schneider, Internet Marketing Manager and Front End Lead • Robert Sistare, Senior Subscriptions Representative • Richard Sizensky, Access Coordinator • Megan E. Sullivan, Associate Subscriptions Manager • Kevin Toler, Art Director • Himanshu Vakil, Associate Director of Internet and Security Technologies • Thomas Vigna, Group Sales and Marketing Associate • Amanda Warren, Graphic Designer • Stacy Whalen-Kelley, Senior Manager, Corporate Sponsor Relations

Box Office David Chandler Winn, Tanglewood Box Office Manager/Tessitura Liaison • Nicholas Vincent, Assistant Manager Box Office Representatives Jane Esterquest • Arthur Ryan Event Services James Gribaudo, Function Manager • Kyle Ronayne, Director of Event Administration • Luciano Silva, Manager of Venue Rentals and Event Administration

Tanglewood Music Center

Karen Leopardi, Associate Director for Faculty and Guest Artists • Michael Nock, Associate Director for Student Affairs • Bridget Sawyer-Revels, Office Coordinator • Gary Wallen, Associate Director for Production and Scheduling

Tanglewood Summer Management Staff

Stephen Curley, Parking Coordinator • Eileen Doot, Business Office Manager • David Harding, TMC Concerts Front of House Manager • Christopher Holmes, Public Safety Supervisor • Amanda Canale, Visitor Center Manager • Tammy Lynch, Tanglewood Front of House Manager • Peggy and John Roethel, Seranak Managers

Boston Symphony Association of Volunteers

Executive Committee Chair Charles W. Jack Vice-Chair, Boston Gerald L. Dreher Vice-Chair, Tanglewood, and Chair-Elect Martin Levine Secretary Susan Price

Co-Chairs, Boston Suzanne Baum • Leah Lee • Natalie Slater

Co-Chairs, Tanglewood Judith Benjamin • Roberta Cohn • David Galpern

Liaisons, Tanglewood Glass Houses, Stanley Feld • Ushers, Judy Slotnick Tanglewood Project Leads 2015 Brochure Distribution, Robert Gittleman and Gladys Jacobson • Exhibit Docents, Shelly Holtzberg and Maureen O’Hanlon Krentsa • Friends Office, Alan and Toby Morganstein and Gayle Moskowitz • Guide’s Guide, Audley H. Fuller and Renee Voltmann • Newsletter, Nancy Finn • Off-Season Educational Resources, Susan Geller and Alba Passerini • Recruit, Retain, Reward, Alexandra Warshaw • Seranak Flowers, Diane Saunders • Talks and Walks, Elliot Slotnick and Maryellen Tremblay • Tanglewood Family Fun Fest, William Ballen and Margery Steinberg • Tanglewood for Kids, JJ Jones and Marsha Wagner • This Week at Tanglewood, Gabriel Kosakoff • TMC Lunch Program, Gerald and Joanne Dreher and David and Janet Rothstein • Tour Guides, Howard Arkans and Mort and Sandra Josel • Young Ambassadors, William Ballen and Carole Siegel FAVORITERESTAURANTSOFTHEBERKSHIRES

If you would like to be part of this restaurant page, please call 781-642-0400. FAVORITERESTAURANTSOFTHEBERKSHIRES Stu Rosner Tanglewood Business Partners The BSO gratefully acknowledges the following for their generous contributions of $750 or more for the 2015 season. An eighth note denotes support of $1,500-$2,999, and those names that are capitalized denote support of $3,000 or more. For more information on how to become a Tanglewood Business Partner, please contact Laurence Oberwager, Director of Tanglewood Business Partners, at 413-637-5174, or [email protected].

Nancy J. Fitzpatrick, Co-chair, Tanglewood Business Partners Committee Mary Jane White, Co-chair, Tanglewood Business Partners Committee Accounting/Tax Services Mark Friedman, CPA • JOSEPH E. GREEN, CPA • Warren H. Hagler Associates • Michael G. Kurcias, CPA • Stephen S. Kurcias, CPA • Alan S. Levine, CPA • Sheer & Company, in memory of Alfred Schnieder Advertising/Marketing/Consulting Barry L. Beyer • Ed Bride Associates • The Cohen Group • LA Communications • Pilson Communications, Inc. • RL Associates Architecture/Design/Engineering Easton + Combs Architects • edm - architecture | engineering | management • Foresight Land Services, Inc. • Greylock Design Associates • Hill-Engineers, Architects, Planners, Inc. • Barbara Rood Interiors Art/Crafts/Antiques Elise Abrams Antiques • An American Craftsman • Asiabarong Gallery • Joanie Ciolfi Paintings • Colorful Stitches • HISTORY OF TOYS GALLERY • Hoadley Gallery • Schantz Galleries Contemporary Glass • Stanmeyer Gallery & Shaker Dam Coffee House Automotive Autobahn Service • Balise Lexus • BIENER AUDI • Haddad Dealerships (Toyota, Suburu, Hyundai, Nissan) Aviation Lyon Aviation, Inc. Banking Adams Community Bank • BERKSHIRE BANK • Greylock Federal Credit Union • Lee Bank • The Lenox National Bank • MOUNTAINONE FINANCIAL • NBT Bank of Lenox • Pittsfield Cooperative Bank • Salisbury Bank and Trust Company • TD Bank Building Supplies/Hardware/Home/Lawn & Garden Equipment, Supplies E. Caligari & Son • Carr Hardware and Supply Co., Inc. • Dettinger Lumber Co., Inc. • DRESSER-HULL COMPANY • Ed Herrington, Inc. Building/Contracting ALLEGRONE COMPANIES • Great River Construction Co. Inc. • Luczynski Brothers Building • J.H. MAXYMILLIAN, INC. • DAVID J. TIERNEY, JR., INC. • PETER D. WHITEHEAD BUILDER, LLC Catering International Polo Club Catering LLC • SAVORY HARVEST CATERING Education American Institute for Economic Research • Belvoir Terrace, Visual and Performing Arts and Sports Summer Camp • Berkshire Country Day School • Massachusetts College of Liberal Arts • Marty Rudolph’s Math Tutoring Service • Thinking in Music, Inc. Energy Lipton Energy • VIKING FUEL OIL CO. INC. Financial Services American Investment Services • Frank Battista, CFP® • BERKSHIRE BANK • BERKSHIRE MONEY MANAGEMENT • Berkshire Wealth Advisors of Raymond James • BLUE SPARK CAPITAL ADVISORS • SUSAN AND RAYMOND HELD • HIGH PEAKS VENTURE CAPITAL LIMITED • Integrated Wealth Management • Kaplan Associates • Keator Group, LLC • Nest Egg Guru & Financial Planning Hawaii • TD Wealth • UBS Food/Beverage Wholesale Barrington Coffee Roasting Co. • Crescent Creamery • KOPPERS CHOCOLATE Insurance BERKSHIRE INSURANCE GROUP • BERKSHIRE LIFE INSURANCE COMPANY OF AMERICA, A GUARDIAN COMPANY • SA Genatt LLC Insurance • Jacqueline A. Metsma • Stockbridge Risk Management • Toole Insurance Agency, Inc. Legal Cianflone & Cianflone P.C. • COHEN KINNE VALICENTI & COOK LLP • Michael J. Considine, Attorney at Law • GOGEL AND GOGEL • Hellman Shearn & Arienti LLP • Hochfelder & Associates, P.C. • Lazan Glover & Puciloski, LLP • LINDA LEFFERT, J.D. RET. • Norman Mednick, Esq. • The Law Office of Zick Rubin • Lester M. Shulklapper, Esq. • Susan M. Smith, Esq. • Bernard Turiel, Esq. Lodging 1850 Windflower Inn • APPLE TREE INN • Applegate Inn • Berkshire Days Inn • Berkshire Fairfield Inn & Suites • Berkshire Legacy • Birchwood Inn • BLANTYRE • The Briarcliff Motel • Brook Farm Inn • CANYON RANCH IN LENOX • Chesapeake Inn of Lenox • The Cornell Inn • CRANWELL SPA AND GOLF RESORT • Crowne Plaza Hotel – Berkshires • Devonfield Inn • An English Hideaway Inn • THE GARDEN GABLES INN • Gateways Inn • Hampton Inn & Suites • Hampton Terrace Bed & Breakfast Inn • Hilton Garden Inn • Hotel on North • Inn at Green River • The Inn at Stockbridge • Kemble Inn • THE PORCHES INN AT MASS MoCA • THE RED LION INN • The Rookwood Inn • Seven Hills Inn • Stonover Farm Bed & Breakfast • WHEATLEIGH HOTEL & RESTAURANT • Whistler’s Inn Manufacturing/Consumer Products BELL CONTAINER CORP. • BROADWAY LANDMARK CORPORATION • General Dynamics • Ted and Barbara Ginsburg • IREDALE MINERAL COSMETICS, LTD. • New Yorker Electronics • Onyx Specialty Papers, Inc. • RTR Technologies, Inc. • Volkert Precision Technologies, Inc. • Anonymous Medical 510 Medical Walk-In • J. Mark Albertson, D.M.D., PA • Berkshire Health Systems, Inc. • Stanley E. Bogaty, M.D. • County Ambulance Service • Lewis R. Dan, M.D. • Eye Associates of Bucks County • Dr. Steven and Nancy Gallant • Fred Hochberg, M.D. • William E. Knight, M.D. • Carol R. Kolton, MSW • Dr. Joseph Markoff • JJ Nacht D.M.D. • Nielsen Healthcare Group, Inc. • Northeast Urogynecology • Optical Care Associates • Putnoi Eyecare • Dr. Robert and Esther Rosenthal • Royal Health Care Services • Chelly Sterman Associates • Suburban Internal Medicine • Dr. Natalya Yantovsky DMD, Dentist Moving/Storage Quality Moving & Storage • SECURITY SELF STORAGE Non-Profit Berkshire Children and Families, Inc. • THE HIGH MEADOW FOUNDATION • Kimball Farms Lifecare Retirement Community Nursery/Tree Service/Florist Crocus Hale Flowers • Garden Blossoms Florist • Peerless Since 1945, Inc. • Ward’s Nursery & Garden Center Printing/Publishing BERKSHIRE EAGLE • QUALPRINT • SOL SCHWARTZ PRODUCTIONS, LLC Real Estate 67 Church Street, LLC • Ashmere Realty, Inc. • BARRINGTON ASSOCIATES REALTY TRUST • Benchmark Real Estate • Brause Realty, Inc. • Cohen + White Associates • Steve Erenburg, Cohen + White Associates • Robert Gal L.L.C. • Barbara K. Greenfeld • Hill Realty, Inc. • Hurwit Investments, Ltd. • LD Builders • MacCaro Real Estate • McLean & McLean Realtors, Inc. • Overlee Property Holdings LLC • Patten Family Foundation • Pennington Management Company • Real Estate Equities Group, LLC • Roberts & Associates Realty, Inc. • Scarafoni Associates • Anita Schilling, Sotheby’s International Realty • Stone House Properties LLC • Michael Sucoff Real Estate • Lance Vermeulen Real Estate, Inc. • Julie Weiss, Cohen + White Associates • Tucker Welch Properties • Wheeler & Taylor Real Estate Resort /Spa CANYON RANCH IN LENOX • CRANWELL SPA AND GOLF RESORT • Elm Court Estate Restaurant Alta Restaurant & Wine Bar • Baba Louie’s Pizza Company • Bagel + Brew • Bistro Zinc • Bizen Gourmet Japanese Restaurant and Sushi Bar • Brava • Café Lucia • Chez Nous • Church Street Café • Cork ’N Hearth • CRANWELL SPA AND GOLF RESORT • Electra’s Café • Firefly New American Bistro & Catering Co. • Flavours of Malaysia • Frankie’s Ristorante • Haven Café & Bakery • John Andrews • Mazzeo’s Ristorante • No. Six Depot Roastery and Café • Panda House Restaurant • Pleasant and Main Café & General Store • Rouge Restaurant • Table Six Restaurant Retail: Clothing Arcadian Shop • Bare Necessities.com • Ben’s • CASABLANCA • Castle & Main • Church Street Trading Co. And Hillary Rush berkshires • GB9 • The Gifted Child • GLAD RAGS • J.McLaughlin • Purple Plume • Shooz • Swtrz • twiGs Retail: Food Berkshire Mountain Bakery, Inc. • BIG Y SUPERMARKETS, INC. • Chocolate Springs Café • Guido’s Fresh Marketplace • The Meat Market & Fire Roasted Catering • Oliva! Gourmet Olive Oils & Vinegars of the Berkshires • The Scoop/Blondie’s Homemade • SoCo Creamery • STOP & SHOP SUPERMARKETS Retail: Home/Electronics COUNTRY CURTAINS • Local • MacKimmie Co. • Paul Rich & Sons Home Furnishings + Design • Second Home • Tune Street • Willowbrook Home Retail: Jewelry Laurie Donovan Designs • Jewelz Fine Jewelry • McTeigue & McClelland Retail: Wine/Liquor GOSHEN WINE & SPIRITS, INC. • Nejaime’s Wine Cellars • Queensboro Wine & Spirits • Spirited Salon Peter Alvarez Salon • SEVEN salon.spa • Shear Design Security Alarms of Berkshire County • Global Security, LLC Services Edward Acker, Photographer • Aladco Linen Services • Braman Termite & Pest Elimination • Classical Tents & Party Goods • Mahaiwe Tent, Inc. • Shire Cleaning and Janitorial Specialty Contracting R.J. Aloisi Electrical Contracting Inc. • Pignatelli Electric • Michael Renzi Painting Co. LLC Transportation/Travel ABBOTT’S LIMOUSINE & LIVERY SERVICE, INC. • All Points Driving Service • Tobi’s Limousine Service, Inc. • Traveling Professor Video/Special Effects/Fireworks Atlas PyroVision • MYRIAD PRODUCTIONS Yoga/Wellness/Health BERKSHIRE TRAINING STATION • Dharma Coach • EASTOVER ESTATE AND RETREAT • KRIPALU CENTER FOR YOGA & HEALTH The Great Benefactors

In the building of his new symphony for Boston, the BSO’s founder and first benefactor, Henry Lee Higginson, knew that ticket revenues could never fully cover the costs of running a great orchestra. From 1881 to 1918 Higginson covered the orchestra’s annual deficits with personal contributions that exceeded $1 million. The Boston Symphony Orchestra now honors each of the following generous donors whose cumulative giving to the BSO is $1 million or more with the designation of Great Benefactor. For more information, please contact Bart Reidy, Director of Development, at 617-638-9469 or [email protected].

Ten Million and above

Julian Cohen ‡ • Fidelity Investments • Linde Family Foundation • Maria and Ray Stata • Anonymous

Seven and One Half Million

Mr. and Mrs. George D. Behrakis • John F. Cogan, Jr. and Mary L. Cornille

Five Million

Alli and Bill Achtmeyer • Bank of America and Bank of America Charitable Foundation • Catherine and Paul Buttenwieser • Cynthia and Oliver Curme/The Lost & Foundation, Inc. • EMC Corporation • Germeshausen Foundation • Sally ‡ and Michael Gordon • Ted and Debbie Kelly • NEC Corporation • Megan and Robert O’Block • UBS • Stephen and Dorothy Weber • Anonymous

Two and One Half Million

Mary and J.P. Barger • Gabriella and Leo Beranek • Peter and Anne Brooke • Eleanor L. and Levin H. Campbell • Chiles Foundation • Mara E. Dole ‡ • Alan J. and Suzanne W. Dworsky • The Fairmont Copley Plaza Hotel and Fairmont Hotels & Resorts • Jane and Jack Fitzpatrick ‡ • Susan Morse Hilles ‡ • Stephen B. Kay and Lisbeth L. Tarlow/The Aquidneck Foundation • The Kresge Foundation • Lizbeth and George Krupp • Liberty Mutual Foundation, Inc. • Massachusetts Cultural Council • Kate and Al ‡ Merck • Cecile Higginson Murphy • National Endowment for the Arts • William and Lia Poorvu • John S. and Cynthia Reed • Carol and Joe Reich • Miriam Shaw Fund • State Street Corporation and State Street Foundation • Thomas G. Stemberg • Miriam and Sidney Stoneman ‡ • Elizabeth B. Storer ‡ • Caroline and James Taylor • Samantha and John Williams • Anonymous (2)

One Million

Helaine B. Allen • American Airlines • Lois and Harlan Anderson • Mariann Berg (Hundahl) Appley • Arbella Insurance Foundation and Arbella Insurance Group • Dorothy and David B. Arnold, Jr. • AT&T • William I. Bernell ‡ • Roberta and George ‡ Berry • BNY Mellon • The Boston Foundation • Lorraine D. and Alan S. ‡ Bressler • Jan Brett and Joseph Hearne • Gregory E. Bulger Foundation/Gregory Bulger and Richard Dix • Ronald G. and Ronni J. Casty • Commonwealth Worldwide Chauffeured Transportation • Mr. and Mrs. William H. Congleton ‡ • William F. Connell ‡ and Family • Country Curtains • Diddy and John Cullinane • Edith L. and Lewis S. ‡ Dabney • Elisabeth K. and Stanton W. Davis ‡ • Mary Deland R. de Beaumont ‡ • Bob and Happy Doran • Alan and Lisa Dynner and Akiko Dynner ‡ • William and Deborah Elfers • Elizabeth B. Ely ‡ • Nancy S. and John P. Eustis II ‡ • Shirley and Richard ‡ Fennell • Anna E. Finnerty ‡ • Fromm Music Foundation • The Ann and Gordon Getty Foundation • Marie L. Gillet ‡ • Sophia and Bernard Gordon • Mrs. Donald C. Heath ‡ • Francis Lee Higginson ‡ • Major Henry Lee Higginson ‡ • Edith C. Howie ‡ • Dorothy and Charlie Jenkins • John Hancock Financial Services • Muriel E. and Richard L. ‡ Kaye • Nancy D. and George H. ‡ Kidder • Kingsbury Road Charitable Foundation • Farla and Harvey Chet Krentzman ‡ • Barbara and Bill Leith ‡ • Nancy and Richard Lubin • Vera M. and John D. MacDonald ‡ • Nancy Lurie Marks Family Foundation • Carmine A. and Beth V. Martignetti • Commonwealth of Massachusetts • The McGrath Family • The Andrew W. Mellon Foundation • Henrietta N. Meyer ‡ • Mr. and Mrs. Nathan R. Miller ‡ • Mr. and Mrs. Paul M. Montrone • Richard P. and Claire W. Morse Foundation • William Inglis Morse Trust • Mary S. Newman • Mrs. Mischa Nieland ‡ and Dr. Michael L. Nieland • Mr. ‡ and Mrs. Norio Ohga • P&G Gillette • Polly and Dan ‡ Pierce • Mary G. and Dwight P. Robinson, Jr. ‡ • Susan and Dan ‡ Rothenberg • Carole and Edward I. Rudman • Richard Saltonstall Charitable Foundation • Wilhemina C. (Hannaford) Sandwen ‡ • Hannah H. ‡ and Dr. Raymond Schneider • Carl Schoenhof Family • Kristin and Roger Servison • Ruth ‡ and Carl J. Shapiro • Marian Skinner ‡ • Richard and Susan Smith Family Foundation/Richard A. and Susan F. Smith • Sony Corporation of America • Dr. Nathan B. and Anne P. Talbot ‡ • Diana O. Tottenham • The Wallace Foundation • Edwin S. Webster Foundation • Roberta and Stephen R. Weiner • The Helen F. Whitaker Fund • Helen and Josef Zimbler ‡ • Brooks and Linda Zug • Anonymous (8) ‡ Deceased Tanglewood Emergency Exits

Koussevitzky Music Shed

Seiji Ozawa Hall