Nikolai Lugansky 69 Tanglewood Festival Chorus 70 Betsy Burleigh

Table of Contents | Week 21

7 bso news 17 on display in symphony hall 18 bso music director andris nelsons 20 the boston symphony orchestra 23 when the shadow fell: shostakovich’s re-inventive art by thomas may 32 this week’s program

Notes on the Program

36 The Program in Brief… 37 Giya Kancheli 45 Serge Rachmaninoff 55 Dmitri Shostakovich 63 To Read and Hear More…

Guest Artists

67 Nikolai Lugansky 69 Tanglewood Festival Chorus 70 Betsy Burleigh

72 sponsors and donors 88 future programs 90 symphony hall exit plan 91 symphony hall information

BOSTON SYMPHONY ORCHESTRA Symphony Hall, 301 Massachusetts Avenue Boston, MA 02115-4511 (617)266-1492 bso.org

andris nelsons, ray and maria stata music director bernard haitink, lacroix family fund conductor emeritus seiji ozawa, music director laureate 135th season, 2015–2016

trustees of the boston symphony orchestra, inc.

William F. Achtmeyer, Chair • Paul Buttenwieser, President • George D. Behrakis, Vice-Chair • Cynthia Curme, Vice-Chair • Carmine A. Martignetti, Vice-Chair • Theresa M. Stone, Treasurer

David Altshuler • Ronald G. Casty • Susan Bredhoff Cohen • Richard F. Connolly, Jr. • Alan J. Dworsky • Philip J. Edmundson, ex-officio • William R. Elfers • Thomas E. Faust, Jr. • Michael Gordon • Brent L. Henry • Susan Hockfield • Barbara W. Hostetter • Stephen B. Kay • Edmund Kelly • Martin Levine, ex-officio • Joyce Linde • John M. Loder • Nancy K. Lubin • Joshua A. Lutzker • Robert J. Mayer, M.D. • Susan W. Paine • John Reed • Carol Reich • Arthur I. Segel • Roger T. Servison • Wendy Shattuck • Caroline Taylor • Stephen R. Weber • Roberta S. Weiner • Robert C. Winters • D. Brooks Zug life trustees

Vernon R. Alden • Harlan E. Anderson • J.P. Barger • Gabriella Beranek • Leo L. Beranek • Deborah Davis Berman • Jan Brett • Peter A. Brooke • John F. Cogan, Jr. • Diddy Cullinane • Mrs. Edith L. Dabney • Nelson J. Darling, Jr. • Nina L. Doggett • Nancy J. Fitzpatrick • Charles H. Jenkins, Jr. • Mrs. Béla T. Kalman • George Krupp • Richard P. Morse • David Mugar • Mary S. Newman • Robert P. O’Block • Vincent M. O’Reilly • William J. Poorvu • Peter C. Read • Edward I. Rudman • Richard A. Smith • Ray Stata • John Hoyt Stookey • John L. Thorndike • Stephen R. Weiner • Dr. Nicholas T. Zervas other officers of the corporation

Mark Volpe, Eunice and Julian Cohen Managing Director • Thomas D. May, Chief Financial Officer • Bart Reidy, Clerk of the Board overseers of the boston symphony orchestra, inc. Philip J. Edmundson, Chair

Noubar Afeyan • James E. Aisner • Peter C. Andersen • Bob Atchinson • Lloyd Axelrod, M.D. • Liliana Bachrach • Judith W. Barr • Lucille M. Batal • Linda J.L. Becker • Paul Berz • Mark G. Borden • Partha Bose • William N. Booth • Karen Bressler • Anne F. Brooke • Gregory E. Bulger • Joanne M. Burke • Bonnie Burman, Ph.D. • Richard E. Cavanagh • Yumin Choi • Dr. Lawrence H. Cohn † • Charles L. Cooney • William Curry, M.D. • Gene D. Dahmen • Michelle A. Dipp, M.D., Ph.D. • Dr. Ronald F. Dixon • 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 • Todd R. Golub • Barbara Nan Grossman • Nathan Hayward, III • Rebecca M. Henderson • James M. Herzog, M.D. • Stuart Hirshfield • Albert A. Holman, III • Lawrence S. Horn • Jill Hornor • Valerie Hyman • Everett L. Jassy • Stephen J. Jerome • Darlene Luccio Jordan, Esq. • Paul L. Joskow •

week 21 trustees and overseers 3

photos by Michael J. Lutch

Karen Kaplan • Stephen R. Karp • John L. Klinck, Jr. • Tom Kuo • Jay Marks • Jeffrey E. Marshall • Paul M. Montrone • Sandra O. Moose • Robert J. Morrissey • Cecile Higginson Murphy • Peter Palandjian • Donald R. Peck • Steven R. Perles • Wendy Philbrick • Randy Pierce • Claudio Pincus • Lina S. Plantilla, M.D. • Irving H. Plotkin • Irene Pollin • Jonathan Poorvu • William F. Pounds • Claire Pryor • James M. Rabb, M.D. • Ronald Rettner • Robert L. Reynolds • Robin S. Richman, M.D. • Dr. Carmichael Roberts • Graham Robinson • Patricia Romeo-Gilbert • Michael Rosenblatt, M.D • Susan Rothenberg • Joseph D. Roxe • Malcolm S. Salter • Kurt W. Saraceno • Donald L. Shapiro • Phillip A. Sharp, Ph.D. • Anne-Marie Soullière • 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 • Edward Wacks, Esq. • Sarah E.R. Ward • Dr. Christoph Westphal • June K. Wu, M.D. • Patricia Plum Wylde • Marillyn Zacharis • Dr. Michael Zinner overseers emeriti

Helaine B. Allen • Marjorie Arons-Barron • Diane M. Austin • Sandra Bakalar • James L. Bildner • William T. Burgin • Mrs. Levin H. Campbell • Earle M. Chiles • Carol Feinberg Cohen • Mrs. James C. Collias • Ranny Cooper • Joan P. Curhan • Phyllis Curtin • James C. Curvey • 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 • 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 • 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 • Joseph Patton • John A. Perkins • Ann M. Philbin • May H. Pierce • Dr. John Thomas Potts, Jr. • 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 • Christopher Smallhorn • 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

week 21 trustees and overseers 5

BSO News

Andris Nelsons and BSO Win 2016 Grammy For Best Orchestral Performance for Their Recording of Shostakovich’s Symphony No. 10 Released last summer, the first disc in Andris Nelsons’ continuing Shostakovich series with the BSO on Deutsche Grammophon, “Shostakovich Under Stalin’s Shadow”—the composer’s Symphony No. 10 and the Passacaglia from his opera Lady Macbeth of Mtsensk—was awarded the 2016 Grammy for Best Orchestral Performance at the 58th Annual Grammy Awards on February 15. In accepting the award on behalf of the BSO and the engineering and production team for this project, Maestro Nelsons commented that the award “shines a spotlight on my exceptional Boston Symphony Orchestra musicians, who so powerfully convey both the exquisite music and great depth of emotion stemming from Stalin’s Soviet Union” and “truly provides a new level of inspiration for us as we continue to move for- ward with our Shostakovich project alongside our equally exceptional partner, Deutsche Grammophon.” The next release in the series—to include symphonies 5, 8, and 9, plus selections from Shostakovich’s incidental music to Hamlet, all taken from live performances this season—is scheduled for this coming spring.

BSO 101, the BSO’s Free Adult Education Series at Symphony Hall and Beyond “BSO 101: Are You Listening?” offers the opportunity to enhance your listening abilities and appreciation of music by focusing on upcoming BSO repertoire with BSO Director of Program Publications Marc Mandel and members of the Boston Symphony Orchestra on selected Wednesdays from 5:30-6:45 p.m. in Higginson Hall. The last of this season’s Symphony Hall sessions is scheduled for April 6, when BSO percussionist Kyle Brightwell joins Marc Mandel for a discussion entitled “Masters of Orchestral Color—Debussy, Dutilleux, Ravel.” Also this season, thanks to the generosity of an anonymous donor, BSO 101 sessions are offered in various Boston-area communities on Sunday afternoons from 2-3:30 p.m., the last of these being scheduled for April 10 at the Watertown Arsenal Center for the Arts. All of these sessions include recorded musical examples, and each is self-contained, so no prior musical training, or attendance at any previous session, is required. For further details, please visit bso.org, where BSO 101 can be found under the “Education & Community” tab on the home page.

week 21 bso news 7

Continuing a Collaboration: Free Concerts by BSO Members at Northeastern University’s Fenway Center The Boston Symphony Orchestra and Northeastern University are pleased to continue their collaboration offering free concerts by BSO members at the Fenway Center, at the corner of St. Stephen and Gainsborough streets, at 1:30 p.m. on selected Friday afternoons. The final program of the season, on April 1, includes music of Srnka, Hindemith, and Previn performed by clarinetist Thomas Martin, harpist Jessica Zhou, and a string quartet including Si-Jing Huang, Ronan Lefkowitz, Rebecca Gitter, and Joel Moerschel. Tickets are available at the door and at tickets.neu.edu. For more information, please visit northeastern.edu/camd/music.

Friday Previews at Symphony Hall Friday Previews take place from 12:15-12:45 p.m. in Symphony Hall before all of the BSO’s Friday-afternoon subscription concerts throughout the season. Given by BSO Director of Program Publications Marc Mandel, Assistant Director of Program Publications Robert Kirzinger, and occasional guest speakers, these informative half-hour talks incorporate recorded examples from the music to be performed. This week’s Friday Preview on March 25 is given by Harlow Robinson of Northeastern University. Speakers in the weeks ahead include author-composer Jan Swafford on April 8, and Marc Mandel on April 15 and April 22. individual tickets are on sale for all concerts in the bso’s 2015-2016 season. for specific information on purchasing tickets by phone, online, by mail, or in person at the symphony hall box office, please see page 91 of this program book.

The Carol and Willis Ertman Concert, Thursday, March 24, 2016 together. His appreciation certainly stems from those early years of exposure to music. Will and Carol Ertman have been BSO patrons for over fifty years. Starting with Charles Carol was a music major in college, with a Munch, they have experienced numerous concentration on flute; she played actively conductors over the years. They have also for several years in local amateur orchestras enjoyed annual trips to Tanglewood, with and chamber groups. After many years of chamber concerts in Ozawa Hall, as well as focusing little on her flute while working in many concerts in the Shed. The Ertmans are special education, she has recently resumed contributing members of the Friends of the her playing at the retirement facility where Boston Symphony. she and Will now live. Will is a retired patent attorney, having prac- The Ertmans have four children who have ticed with Fish & Richardson in Boston for actively pursued music, both as amateurs over fifty years. He has an engineering degree and semi-professionals. They also have ten from Tufts and a law degree from Harvard grandchildren, with several serious musicians Law School. Living in Hingham, he was active among them—cello, voice, flutes, low brass, in the political and volunteer life of the town, saxophone, and drums. Will Edmundson, having held numerous elective offices. There their twenty-one-year-old grandson, is cur- are many amateur musicians in his extended rently a jazz percussion major at the Berklee family who enjoyed hours of chamber music College of Music.

week 21 bso news 9 10 The Stephen and Dorothy Weber Force, and they were chairs of Opening Night Concert, Saturday, March 26, 2016 at Tanglewood in 2013. Both Dottie and Steve Saturday evening’s BSO performance is serve on other community boards in Boston supported by a generous gift from Great and the Berkshires. Benefactors Stephen R. and Dr. Dorothy The Boston Symphony Orchestra extends Altman Weber. The Webers have said, “The heartfelt thanks to Steve and Dottie Weber BSO is an important part of our lives, and the for their commitment to continuing the performances in Boston and at Tanglewood Symphony’s rich musical tradition and their are a source of great personal joy. We believe generosity in helping to do so. we have a responsibility to support the orchestra so future generations will continue to experience the extraordinary musical excel- Join Our Community of Music lence from which we have benefited.” Lovers—The Friends of the BSO Steve Weber, a graduate of the University of Attending a BSO concert at Symphony Hall is Pennsylvania and Harvard Business School, a communal experience—thousands of con- retired in 2005 as managing director of certgoers join together to hear 100 musicians SG-Cowen Securities Corp. Dottie Weber collaborate on each memorable performance. taught at Northeastern University and was a Without an orchestra, there is no perform- research psychologist at Boston University ance, and without an audience, it is just a Medical Center. She is an alumna of Tufts rehearsal. Every single person is important to University and Boston University, where she ensuring another great experience at Sym- earned her doctorate in education. phony Hall. There’s another community that helps to make it all possible, one that you Longtime Saturday evening subscribers, the might not notice while enjoying a concert— Webers have been supporters of the Boston the Friends of the BSO. Every $1 the BSO Symphony Orchestra since 1979. They en- receives in ticket sales must be matched with dowed the Stephen and Dorothy Weber an additional $1 of contributed support to Chair, currently held by BSO cellist Mickey cover its annual expenses. Friends of the BSO Katz. Steve and Dottie’s love of Tanglewood help bridge that gap, keeping the music play- led them to support the campaign to build ing to the delight of audiences all year long. Ozawa Hall, to endow two seats in the In addition to joining a community of like- Koussevitzky Music Shed and a fellowship at minded music lovers, becoming a Friend of the Tanglewood Music Center, and to estab- the BSO entitles you to benefits that bring lish the first endowed artist-in-residence you closer to the music you cherish. Friends position at the TMC. During the summer of receive advance ticket ordering privileges, 2013, the BSO dedicated the Weber Gate discounts at the Symphony Shop, and access at Tanglewood as an enduring tribute to the to the BSO’s online newsletter InTune, as Webers’ extraordinary commitment and gen- well as invitations to exclusive donor events, erosity to the BSO and Tanglewood. such as BSO and Pops working rehearsals In addition to their financial support of the and much more. Friends memberships start BSO, Steve and Dottie have also given gener- at just $100. To join our community of ously of their time. Elected a Trustee in 2002, music lovers as a Friend of the BSO, please Steve served as vice-chair of the Board of contact the Friends Office at (617) 638-9276, Trustees from 2010 to 2015. He serves as [email protected], or join online at co-chair of the Beyond Measure Campaign bso.org/contribute. and chair of the Leadership Gifts Committee, and is also a member of the Executive and Overseers Nominating Committees. Dottie BSO Broadcasts on WCRB serves on the Education Committee. Steve BSO concerts are heard on the radio at 99.5 and Dottie are both members of the Annual WCRB. Each Saturday-night concert is broad- Funds Committee and the Tanglewood Task cast live at 8 p.m. with host Ron Della Chiesa,

week 21 bso news 11 and encore broadcasts are aired on Monday communities: Beverly, Canton, Cape Cod, Con- nights at 8 p.m. In addition, interviews with cord, Framingham, the South Shore, Swamp- guest conductors, soloists, and BSO musi- scott, Wellesley, Weston, and Worcester in cians are available online, along with a one- Massachusetts; Nashua, New Hampshire; year archive of concert broadcasts. Listeners and Rhode Island. In addition, we offer bus can also hear the BSO Concert Channel, an service for selected concerts from the online radio station consisting of BSO concert Holyoke/Amherst area. Taking advantage of performances from the previous twelve your area’s bus service not only helps keep months. Visit classicalwcrb.org/bso. Current this convenient service operating, but also and upcoming broadcasts include last week’s provides opportunities to spend time with program of music by Higdon, Williams, and your Symphony friends, meet new people, Saint-Saëns with soloists Gil Shaham and and conserve energy. For further information James David Christie under Stéphane Denève about bus transportation to Friday-afternoon (encore March 28); this week’s program of Boston Symphony concerts, please call the Kancheli, Rachmaninoff, and Shostakovich Subscription Office at (617) 266-7575. led by Andris Nelsons with pianist Nikolai Lugansky and the Tanglewood Festival Chorus (March 26; encore April 4); and next week’s Go Behind the Scenes: program of Beethoven and Mahler led by The Irving W. and Charlotte F. Rabb BSO Conductor Laureate Bernard Haitink Symphony Hall Tours with pianist Murray Perahia (April 1; encore The Irving W. and Charlotte F. Rabb Symphony April 11). Hall Tours—named in honor of the Rabbs’ devotion to Symphony Hall with a gift from Friday-afternoon Bus Service their children James and Melinda Rabb and to Symphony Hall Betty (Rabb) and Jack Schafer—provide a rare opportunity to go behind the scenes at If you’re tired of fighting traffic and searching Symphony Hall. In these free guided tours, for a parking space when you come to Friday- experienced members of the Boston Sym- afternoon Boston Symphony concerts, why phony Association of Volunteers unfold the not consider taking the bus from your com- history and traditions of the Boston Symphony munity directly to Symphony Hall? The Orchestra—discussing its musicians, conduc- Boston Symphony Orchestra is pleased to tors, and supporters—while also offering in- continue offering round-trip bus service on depth information about the Hall itself. Free Friday afternoons at cost from the following walk-up tours are available on most Wednes-

week 21 bso news 13 days at 4 p.m. and two Saturdays each month Quartet No. 1 in C minor. The program also at 2 p.m. during the BSO season. Please visit includes works by Beethoven, Debussy, and bso.org/tours for more information and to Schubert. Admission is free. Visit necmusic.edu register. for further information. BSO violinist Julianne Lee is part of the cham- BSO Members in Concert ber ensemble Mistral, performing its season- ending program entitled “Sense & Sensibility” BSO principal bass Edwin Barker joins the on Saturday, April 9, at 5 p.m. at St. Paul’s Muir String Quartet—BSO violinist Lucia Episcopal Church in Brookline and on Sunday, Lin and BSO principal violist Steven Ansell, April 10, at 5 p.m. at West Parish Church in violinist Peter Zazofsky, and cellist Michael Andover, under artistic director Julie Scolnik. Reynolds—for Dvoˇrák’s Terzetto in C for two The program includes works by Horatio Parker, violins and viola, Martinu’s˚ Three Madrigals Friedrich Kuhlau, and Schumann. Tickets are for violin and viola, and, with Mr. Barker, $30 (discounts for students and seniors). For Dvoˇrák’s String Quintet No. 2 in G, on Mon- further information, visit mistralmusic.org or day, April 4, at 7:30 p.m. in the Nazarian call (978) 747-6222. Center at Rhode Island College, 600 Mt. Pleasant Avenue, Providence. General admission is $35 (discounts for seniors and stu- Those Electronic Devices… dents). For more information, visit ric.edu/pfa As the presence of smartphones, tablets, and or call (401) 456-8144. other electronic devices used for communica- BSO cellist Mickey Katz is soloist in Bloch’s tion, note-taking, and photography continues Schelomo with the Boston Civic Symphony to increase, there have also been increased led by former BSO violinist Max Hobart on expressions of concern from concertgoers Sunday, April 10, at 2 p.m. at New England and musicians who find themselves distracted Conservatory’s Jordan Hall. Also on the pro- not only by the illuminated screens on these gram are works by John Williams, Julia Scott devices, but also by the physical movements Carey, and Brahms. Tickets are $15-40 (dis- that accompany their use. For this reason, counts for students and seniors), available and as a courtesy both to those on stage and at bostoncivicsymphony.org or by calling those around you, we respectfully request (617) 923-6333. that all such electronic devices be completely turned off and kept from view while BSO per- The Boston Cello Quartet, founded in 2010 formances are in progress. In addition, please by BSO cellists Blaise Déjardin, Adam Esben- also keep in mind that taking pictures of the sen, Mihail Jojatu, and Alexandre Lecarme, orchestra—whether photographs or videos— performs as part of the Hammond Real Estate is prohibited during concerts. Thank you very Performing Arts Series on Sunday, April 3, much for your cooperation. at 3 p.m. in Boston’s Old South Church, 645 Boylston Street, and on Sunday, April 10, at 3 p.m., at South Shore Conservatory, One Comings and Goings... Conservatory Drive, Hingham. The program Please note that latecomers will be seated by includes music featured on the BCQ’s just- the patron service staff during the first con- released album “The Latin Project.” Admission venient pause in the program. In addition, to both concerts is free; however, reservations please also note that patrons who leave the are recommended and can be made by call- auditorium during the performance will not ing (781) 861-8100, ext. 1102. be allowed to reenter until the next convenient BSO assistant principal viola Cathy Basrak is pause in the program, so as not to disturb the one of the participants in the “First Monday performers or other audience members while at Jordan Hall” chamber concert on April 4, the music is in progress. We thank you for at 7:30 p.m. in New England Conservatory’s your cooperation in this matter. Jordan Hall, performing in Fauré’s Piano

week 21 bso news 15 on display in symphony hall This season’s BSO Archives exhibit once again displays the wide variety of holdings in the Boston Symphony Archives. Much of this year’s exhibit was inspired by the series of Shostakovich recordings currently being made by Andris Nelsons and the BSO in collaboration with Deutsche Grammophon. highlights of this year’s exhibit include, on the orchestra level of symphony hall: • a display case in the Brooke Corridor documenting the commercial recording history of the BSO • two displays cases in the Brooke Corridor focusing on historic BSO performances of Shostakovich’s music, and spotlighting the visit to America by a delegation of Soviet composers led by Shostakovich in November 1959, including a visit to Symphony Hall • two display cases in the Huntington Avenue corridor focusing on BSO members of Russian and Eastern European descent, and the BSO’s historic 1956 tour to the Soviet Union, the first visit by an American orchestra to Russia exhibits on the first-balcony level of symphony hall include: • a display case in the first-balcony corridor, audience-right, devoted to the appointment of Serge Koussevitzky as conductor of the BSO • a display case, also in the first-balcony corridor, audience-right, spotlighting the Tanglewood Music Center, which was founded by Koussevitzky (as the Berkshire Music Center) in 1940 and celebrated its 75th anniversary this past summer • a display case in the first-balcony corridor, audience-left, marking the 80th birthday this past September of BSO Music Director Laureate Seiji Ozawa • three exhibit cases in the Cabot-Cahners Room highlighting collections of memorabilia—the Paul Cherkassky, Albert Sand, and Josef Zimbler collections— originally belonging to BSO members of Russian or Eastern European origin

TOP OF PAGE, LEFT TO RIGHT: 78rpm label for one of the BSO’s recordings from its very first commercial session in 1917, the Prelude to Act III of Wagner’s “Lohengrin” with Karl Muck conducting November 1959 photo of (from left) Russian-born BSO violinists Vladimir Resnikoff and Victor Manusevitch with Dmitri Shostakovich at Symphony Hall (photo by Ed Fitzgerald) BSO manager Thomas D. Perry’s telegram of June 7, 1956, informing Charles Munch that the BSO has accepted the USSR’s invitation to perform in Leningrad and Moscow

week 21 on display 17 ac Borggreve Marco

Andris Nelsons

In 2015-16, his second season as the Boston Symphony Orchestra’s Ray and Maria Stata Music Director, Andris Nelsons leads the BSO in thirteen wide-ranging programs, three of them being repeated at Carnegie Hall in New York. This past August, Maestro Nelsons’ contract as music director of the Boston Symphony Orchestra was extended through the 2021-22 season. In 2017 he becomes Gewandhauskapellmeister of the Gewandhaus- orchester Leipzig, in which capacity he will also bring the BSO and GWO together for a unique multi-dimensional alliance exploring historic connections between the two. Highlights of this season’s BSO programs include concert performances of Strauss’s Elektra; three weeks marking the 400th anniversary of the death of Shakespeare; new works by Hans Abrahamsen and George Tsontakis; and the continuation of the orchestra’s multi-year Shostakovich recordings project in collaboration with Deutsche Grammophon, “Shostakovich Under Stalin’s Shadow,” to be drawn from live performances at Symphony Hall of Shostakovich’s symphonies 5 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-threaten- ing shadow of Soviet dictator Joseph Stalin. Following last summer’s Tanglewood season, Andris Nelsons and the BSO undertook a twelve-concert, eight-city tour to major European capitals, including Berlin, Cologne, London, Milan, and Paris, as well as the Lucerne, Salzburg, and Grafenegg festivals. An eight-city tour to Germany, Austria, and Luxembourg is scheduled for May 2016.

The fifteenth music director in the history of the Boston Symphony Orchestra, Mr. Nelsons made his BSO debut at Carnegie Hall in March 2011 with 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). His first compact disc with the BSO—live recordings of Wagner’s Tannhäuser Overture and Sibelius’s Symphony No. 2—

18 was released in November 2014 on BSO Classics. Released by Deutsche Grammophon in July 2015, their first Shostakovich disc—the Symphony No. 10 and the Passacaglia from Lady Macbeth of Mtsensk—won the 2016 Grammy Award for Best Orchestral Performance.

From 2008 to 2015, Andris Nelsons was critically acclaimed as music director of the City of Birmingham Symphony Orchestra. In the next few seasons, he continues his collaborations with the Berlin Philharmonic, Vienna Philharmonic, the Royal Concertgebouw Orchestra of Amsterdam, the Bavarian Radio Symphony Orchestra, and the Philharmonia Orchestra. He is a regular guest at the Royal Opera House, Vienna State Opera, and Metropolitan Opera, and in summer 2016 returns to the Bayreuth Festival for a new production of Wagner’s Parsifal.

Born in Riga in 1978 into a family of musicians, Andris Nelsons began his career as a trumpeter in the Latvian National Opera Orchestra before studying conducting. He was principal conductor of the Nordwestdeutsche Philharmonie in Herford, Germany, from 2006 to 2009 and music director of the Latvian National Opera from 2003 to 2007. Mr. Nelsons is the subject of a 2013 DVD from Orfeo, a documentary film entitled “Andris Nelsons: Genius on Fire.” For more information about Andris Nelsons, please visit andrisnelsons.com and bso.org. ac Borggreve Marco

week 21 andris nelsons 19 Boston Symphony Orchestra 2015–2016

andris nelsons bernard haitink seiji ozawa thomas wilkins 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 Xin Ding* Cathy Basrak Blaise Déjardin* Donald C. and Ruth Brooks Assistant Principal Malcolm Lowe Heath chair, endowed Anne Stoneman chair, endowed Oliver Aldort* Concertmaster in perpetuity in perpetuity Charles Munch chair, endowed in perpetuity Glen Cherry* Wesley Collins basses Ronald G. and Ronni J. Casty Lois and Harlan Anderson chair, Edwin Barker Tamara Smirnova chair endowed in perpetuity Principal Associate Concertmaster Harold D. Hodgkinson chair, Helen Horner McIntyre chair, Yuncong Zhang* Robert Barnes endowed in perpetuity endowed in perpetuity Michael Zaretsky Lawrence Wolfe Alexander Velinzon second violins Mark Ludwig* Assistant Principal Associate Concertmaster Haldan Martinson Maria Nistazos Stata chair, Robert L. Beal, Enid L., and Rachel Fagerburg* Principal endowed in perpetuity Bruce A. Beal chair, endowed Carl Schoenhof Family chair, in perpetuity Kazuko Matsusaka* endowed in perpetuity Benjamin Levy Elita Kang Rebecca Gitter* Leith Family chair, endowed Julianne Lee in perpetuity Assistant Concertmaster Assistant Principal Daniel Getz* Edward and Bertha C. Rose chair, Charlotte and Irving W. Rabb Dennis Roy endowed in perpetuity chair, endowed in perpetuity cellos Joseph Hearne Bo Youp Hwang Sheila Fiekowsky John and DorothyWilson chair, Jules Eskin James Orleans* Shirley and J. Richard Fennell Principal endowed in perpetuity Todd Seeber* chair, endowed in perpetuity Philip R. Allen chair, endowed in Lucia Lin Eleanor L. and Levin H. Campbell Nicole Monahan perpetuity Dorothy Q. and David B. Arnold, chair, endowed in perpetuity David H. and Edith C. Howie Martha Babcock Jr., chair, endowed in perpetuity John Stovall* chair, endowed in perpetuity Associate Principal Ikuko Mizuno Ronan Lefkowitz Vernon and Marion Alden chair, Thomas Van Dyck* Ruth and Carl J. Shapiro chair, endowed in perpetuity endowed in perpetuity Vyacheslav Uritsky* Sato Knudsen flutes Jennie Shames* Nancy Bracken* Mischa Nieland chair, endowed Stephanie Morris Marryott and in perpetuity Elizabeth Rowe Franklin J. Marryott chair Aza Raykhtsaum* Principal Mihail Jojatu Walter Piston chair, endowed Valeria Vilker Kuchment* Bonnie Bewick* Sandra and David Bakalar chair in perpetuity Catherine and Paul Buttenwieser James Cooke* chair Owen Young* Clint Foreman Victor Romanul* John F. Cogan, Jr., and Mary L. Myra and Robert Kraft chair, Tatiana Dimitriades* Bessie Pappas chair Cornille chair, endowed endowed in perpetuity Mary B. Saltonstall chair, in perpetuity endowed in perpetuity Catherine French* Elizabeth Ostling § Mickey Katz* Associate Principal Si-Jing Huang* Jason Horowitz* Stephen and DorothyWeber Marian Gray Lewis chair, Kristin and Roger Servison chair Ala Jojatu* chair, endowed in perpetuity endowed in perpetuity Wendy Putnam* Alexandre Lecarme* Robert Bradford Newman chair, Nancy and Richard Lubin chair endowed in perpetuity violas Steven Ansell Adam Esbensen* Principal Richard C. and Ellen E. Paine Charles S. Dana chair, endowed chair, endowed in perpetuity in perpetuity

20 photos by Michael J. Lutch piccolo Suzanne Nelsen Michael Martin harp John D. and Vera M. MacDonald Ford H. Cooper chair, endowed Cynthia Meyers chair in perpetuity Jessica Zhou Evelyn and C. Charles Marran Nicholas and Thalia Zervas chair, endowed in perpetuity Richard Ranti chair, endowed in perpetuity by Associate Principal trombones Sophia and Bernard Gordon Diana Osgood Tottenham/ oboes Hamilton Osgood chair, Toby Oft endowed in perpetuity Principal voice and chorus John Ferrillo J.P. and Mary B. Barger chair, Principal endowed in perpetuity John Oliver Mildred B. Remis chair, contrabassoon Tanglewood Festival Chorus endowed in perpetuity Stephen Lange Founder and Conductor Gregg Henegar Laureate Mark McEwen Helen Rand Thayer chair Alan J. and Suzanne W. Dworsky James and Tina Collias chair bass trombone chair, endowed in perpetuity Keisuke Wakao horns James Markey Assistant Principal John Moors Cabot chair, librarians Farla and Harvey Chet James Sommerville endowed in perpetuity Krentzman chair, endowed Principal D. Wilson Ochoa in perpetuity Helen Sagoff Slosberg/ tuba Principal Edna S. Kalman chair, endowed Lia and William Poorvu chair, in perpetuity Mike Roylance endowed in perpetuity english horn Principal Richard Sebring John Perkel Robert Sheena Associate Principal Margaret and William C. Beranek chair, endowed Margaret Andersen Congleton Rousseau chair, endowed in perpetuity chair, endowed in perpetuity in perpetuity assistant conductors Rachel Childers clarinets John P. II and Nancy S. Eustis timpani Moritz Gnann chair, endowed in perpetuity William R. Hudgins Timothy Genis Ken-David Masur Principal Michael Winter Sylvia ShippenWells chair, Anna E. Finnerty chair, Ann S.M. Banks chair, Elizabeth B. Storer chair, endowed in perpetuity endowed in perpetuity endowed in perpetuity endowed in perpetuity Michael Wayne Jason Snider percussion personnel managers Thomas Martin Jonathan Menkis § J. William Hudgins Associate Principal & Jean-Noël and Mona N. Tariot Peter and Anne Brooke chair, Lynn G. Larsen E-ﬂat clarinet chair endowed in perpetuity Stanton W. and Elisabeth K. Bruce M. Creditor Daniel Bauch Davis chair, endowed Assistant Personnel Manager Assistant Timpanist in perpetuity trumpets Mr. and Mrs. Edward H. Linde Thomas Rolfs chair stage manager bass clarinet Principal Roger Louis Voisin chair, Kyle Brightwell John Demick Craig Nordstrom endowed in perpetuity Peter Andrew Lurie chair, endowed in perpetuity Benjamin Wright bassoons Matthew McKay Thomas Siders Richard Svoboda Associate Principal Principal Kathryn H. and Edward M. * participating in a system Edward A. Taft chair, endowed Lupean chair of rotated seating in perpetuity § on sabbatical leave

week 21 boston symphony orchestra 21

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When the Shadow Fell: Shostakovich’s Re-inventive Art by Thomas May

Writer-lecturer Thomas May places Shostakovich’s Symphony No. 8 and music for “Hamlet”—and his music for stage and screen in general—in the context of his laboring under the shadow of Soviet dictator Joseph Stalin.

On January 28, 1936, Pravda published what arguably ranks as the most notorious music review of the 20th century. “From the first moment, listeners are flabbergasted by the intentionally dissonant, confused stream of sounds.... It is hard to follow this ‘music’; to remember it is impossible.” Thus ran the verdict on Dmitri Shostakovich’s hit opera Lady Macbeth of the Mtsensk District. The official Soviet newspaper’s critique, cast in the form of an anonymous editorial—plausibly dictated by Stalin himself—included the stern admonition: “It is a game of clever ingenuity that may end very badly.”

Stalin’s shadow fell fast over the Soviet Union’s most celebrated composer. In one fell swoop, this denunciation of the twenty-nine-year-old Shostakovich redefined his public standing. (And to hammer home the situation, this was followed soon after by a lesser- known attack on his ballet score The Bright Stream.) The already famous composer had first come to widespread notice a decade before with the success of his First Symphony, written as a graduation exercise from the Conservatory of his native St. Petersburg and soon taken up by the likes of Bruno Walter (who conducted it in Berlin in 1928).

Despite several mixed successes and outright failures—his first full opera, the Gogol- inspired, absurdist farce The Nose (1928), earned nasty reviews from the official proletarian

Dmitri Shostakovich in 1950

week 21 shostakovich’s re-inventive art 23

The “Pravda” article of January 28, 1936, denouncing Shostakovich’s opera “Lady Macbeth of Mtsensk”

critics—Shostakovich had been described by a New York Times correspondent who was allowed to interview him at his home in 1931 as “on the way to becoming a kind of composer-laureate to the Soviet state.” He had risen to the level of a “model young Soviet composer,” as biographer Laurel E. Fay describes it, adding that he was “candid about the influence” on him of major avant-garde figures from the West (for example, Schoenberg, Stravinsky, and Alban Berg). But now, suddenly, his aesthetic outlook was condemned by the all-purpose charge of “formalism”—essentially, art that challenged the comfort zone of the State-approved criteria for “socialist realism.” Shostakovich was “in an untenable position,” Fay observes. “The idealistic vision of a Soviet music informed by cosmopoli- tan sophistication was no longer viable.”

Pravda’s pan had an immediate effect, of course. Lady Macbeth had already been running for two years and was an international smash. It could be seen in multiple productions in Leningrad and Moscow, each distinguished by playing up a different aspect of the opera’s sordid tale of lust, murder, and betrayal (showing sympathy for the degraded heroine on the one hand, accenting its tone of vicious satire on the other). But the productions were swiftly closed and Lady Macbeth was silenced; Shostakovich, at the time the Soviet Union’s most brilliant and innovative composer writing for the theater, never completed another new opera.

In fact, from that point on, Shostakovich would channel his creative drive principally into the symphonies and chamber music for which he remains best-known to the general public. Even seasoned concertgoers accustomed to experiencing this composer year after year in the symphonic and chamber repertory might be surprised by the extent of Shostakovich’s preoccupation with writing for the stage and screen when he launched his

week 21 shostakovich’s re-inventive art 25 career—the great majority of these works having fallen into oblivion, and some in a state requiring painstaking reconstruction.

“By contrast with his music of later years, his output through to the first half of the 1930s was dominated by drama of different kinds,” notes the composer-musicologist Gerard McBurney. Just a few years ago saw the belated premiere of a half-hour fragment McBurney reconstructed from the composer’s papers: the prelude to Shostakovich’s third projected full-length opera, Orango, from around the time of Lady Macbeth. Orango’s story of a human-ape hybrid mixes sci-fi grotesquerie with savage political parody. “It reappears now as a ghost from a lost era,” writes McBurney, “the work of a young composer of the utmost energy and brilliance, not yet cast down by history, ill-health, and politics, and in every new piece that he embarked on striving for brilliance, theatricality, and coruscating satire.”

Shostakovich had collaborated widely with leading artistic figures in other disciplines— many of whom also fell precipitously from grace and became victims of Stalin’s terror— and his omnivorous curiosity had led him to experiment boldly. He mustered a salma- gundi of styles and forms in the 1920s and early 1930s with the carefree attitude that looks ahead to the spirit of free-for-all boundary-crossing seen with so many of today’s emerging composers. Along with the three operas referred to above, Shostakovich had written three full ballets, a half-dozen scores of incidental music for staged productions (including for Hamlet), an unclassifiable music hall entertainment (Hypothetically

26 Murdered), and film scores, beginning with the silent film The New Babylon (1929), about the Paris Commune of 1871. This was the composer’s first of many collaborations with Grigori Kozintsev (1905-1973), who would become a highly influential theater and film director and a friend of Shostakovich. The latter would go on to compose for almost all of his films—including his versions of Hamlet and King Lear. “I could not direct my Shakespearean films without [his music],” Kozintsev later remarked. “In Shostakovich’s music I hear a virulent hatred of cruelty, of the cult of power, of the persecution of truth.”

There’s no question that the impact of the Pravda attack—a major salvo in Stalin’s program of social engineering of artists—reverberated across Shostakovich’s career. It set the pattern to follow, for which the stakes were not mere success but survival: the composer had to learn to navigate the arbitrary whims of Soviet policy without committing artistic suicide. Therein lies the core of the Shostakovich controversy that continues to be heat- edly debated decades after his death and after the collapse of the Soviet Union.

Was Shostakovich a true believer in the Socialist experiment or a servile opportunist who cynically transformed his style to regain approval? Or did he encode a hidden dissident commentary that was partially recognized by those close to him and that is still coming to light? Is the presence of a signature dark irony throughout his music a form of protest that undermines such surface affirmations as the conclusions to the Fifth (1937) and Seventh (1941) symphonies—conclusions so exaggerated that only gullible ears could be persuaded by their yea-saying? “Victory” here, as elsewhere in Shostakovich’s oeuvre, leaves unsettling questions no matter how decisively it is proclaimed.

As Wendy Lesser writes in Music for Silenced Voices, her biography through the lens of the composer’s string quartets, Shostakovich “was often dubious and often divided.” In the context of life in the Soviet Union, above all until Stalin’s death in 1953, “people learned to speak in code, but the codes themselves were ambiguous and incomplete. Nothing that emerged from that world...can be taken at face value.”

The standard narrative has been to view the Pravda attack as a kind of Iron Curtain in Shostakovich’s career dividing the wildly experimental early years from the period in which he took on the solemn mantle of an artist of the people—the artist whose Symphony No. 7 (Leningrad), written when his native Leningrad was under siege by the Nazis, bol- stered Shostakovich’s position as a cherished hero. Yet as with everything related to this composer, things are never so straightforward.

Take the case of the Eighth Symphony (1943), which the composer first officially announced in terms meant to echo the prevailing platitudes of socialist realism. Influenced by the “joyful news” of the Red Army’s recent victories, he wrote, he wanted to look ahead “into the postwar era” and had composed an essentially “optimistic, life-affirming work.” Like its immediate predecessor (and the Fifth, for that matter), it would trace the classic Soviet pattern of the “optimistic tragedy” (an oxymoron coined by Vsevolod Vishnevsky to title his 1932 play about heroic Bolshevik sailors who are martyred).

week 21 shostakovich’s re-inventive art 27

A 1943 image of Joseph Stalin (1878-1953)

Yet in his Eighth Symphony, Shostakovich delineates the “dark and gloomy [that] will rot away and vanish” at great length and in many guises—including in some of his most crushingly nihilistic music—while the sense of ultimate triumph is at best subdued. Fol- lowing the lead of Simon Volkov (author of the highly controversial Testimony), some interpret the Eighth at heart not as a “victory symphony” but as a Requiem both for the immeasurable suffering of the war years and for the victims of Stalin’s purges.

In any case, the challenges to convention posed by the Eighth—the first Shostakovich symphony cast in more than four movements, which are of unusual proportions— sufficed to have the work singled out as Exhibit A when the composer (along with Prokofiev, who had himself earlier attacked the Eighth) was once again denounced in 1948—this time for the sins of “pessimism” and overcomplicated “individualism.”

Shostakovich’s later focus on the more “abstract” genres of the symphony and string quartet instead of the stage may have been partially motivated as a survival strategy, but in fact he never entirely abandoned the theater. Along with an operetta, a thorough revi- sion of Lady Macbeth (renamed Katerina Izmailova), and orchestrations of Mussorgsky’s operas, Shostakovich frequently contemplated potential opera topics, from Tolstoy’s Resurrection to Chekhov’s short story The Black Monk. According to his friend and correspondent Isaak Glikman, the composer asked him write a libretto to “any of Shakespeare’s plays (except Othello).”

Nor did he abandon the practices of his subversive early years. McBurney points out that the habits Shostakovich adopted, during that period, of recycling material from one project for another, and of rapidly tailoring his scores to the specific needs of his collaborators, taught the composer valuable lessons about the flexibility of musical meaning. A notable result was “his cool-headed grasp of the way the same music could bear different mean- ings in different contexts”—a key to the pervasive use of quotations throughout his oeuvre.

week 21 shostakovich’s re-inventive art 29 Similarly, the varieties of humor—through irony, parody, juxtaposition, puns, and the like—that teem in his music for the stage continue to inform the symphonies and string quartets, imbuing them with drama albeit in purely musical terms. “People (and they include many serious musicians) who object to Shostakovich’s ironic sardonic mode often act as if such attitudes are incompatible with deep feelings and tragic awareness, as if one couldn’t be funny and serious at the same time,” writes Lesser. She then suggests taking “a close look at Shakespeare... particularly Hamlet.”

Indeed, Hamlet recurs like a leitmotif across the career of a composer who himself seemed to embody the paradoxical traits of Shakespeare’s tragic hero, not least with his mingled melancholy and antic humor. One critic wrote of the “Hamlet-like musings” of the Fifth Symphony. Shostakovich actually produced his first musical response to the play in 1932, for a highly eccentric stage production at Moscow’s Vakhtangov Theater directed by Nikolai Akimov (1901-68). Known in part for his iconoclastic revisions of the classics, for which the maverick director Vsevolod Meyerhold (another of Shostakovich’s collaborators) had set a notable precedent, Akimov staged a provocatively distorted Hamlet in which the prince is an obese manipulator who covets the throne and conjures a fake ghost, Ophelia does her mad scene as a lush, and Claudius, by contrast, comes off as fairly decent.

Ironically, Shostakovich had just published a manifesto detailing his frustration with the compromises of writing for stage and screen, declaring his intention to take a moratorium

30 from such commissions for five years. However reluctant he may have been to fulfill the Hamlet commission, the vibrant, inventive score he wrote was the highlight of the show, which proved to be a legendary flop, distinctly out of joint with the times.

As Elizabeth Wilson documents, the orchestra’s leader, violinist Yuri Elagin, recalled that the music “was exceptional in its originality and innovation. It was much closer to Shakespeare’s Hamlet than anything else in Akimov’s production” even though the score itself featured “moments of great eccentricity...that were in the style of the production.” McBurney singles out Shostakovich’s Hamlet as “probably his most brilliant and fully achieved instrumental music, funny and touching, sharp-edged and memorable.” Shostakovich himself liked it enough to fashion a thirteen-movement concert suite.

Grigori Kozintsev later enlisted Shostakovich for a stage production of Hamlet (1954) as well as for his extraordinary film version of 1964. So, too, with King Lear, for which the composer wrote both incidental music to a stage production and the score for Kozintsev’s 1971 film. Earlier the pair had undertaken their first attempt together to grapple with King Lear. This was for a staging at the Bolshoi in Leningrad in 1941—a time when Shostakovich was in good graces with the authorities, having garnered the Stalin Prize earlier that year for his Piano Quintet. McBurney suggests that—in contrast to the sardonic stage music for the 1932 Hamlet—the work on King Lear “perhaps reflect[ed] Shostakovich’s recent experience of reorchestrating Musorgsky’s epic opera Boris Godunov.” From the Lear stage music, Shostakovich fashioned a suite comprising instrumental and vocal music.

Laurel Fay notes the significant challenge the great Shakespeare tragedies posed for Shostakovich, who once wrote: “From the poetry and dynamics of these tragedies music is born.... The author of Hamlet and King Lear absolutely does not tolerate banality.” Fay adds that the composer found himself particularly intrigued by the character of the Fool, in whom he may well have seen a reflection. Shostakovich himself observed: “...The Fool illuminates the gigantic figure of Lear.... The Fool’s wit is prickly and sarcastic, his humor magnificently clever and black. The Fool is very complicated, paradoxical, and contradic- tory. Everything he does is unexpected, original, and always wise.” thomas may writes about the arts, lectures about music and theater, and blogs at memeteria.com.

week 21 shostakovich’s re-inventive art 31 andris nelsons, ray and maria stata music director bernard haitink, lacroix family fund conductor emeritus seiji ozawa, music director laureate Boston Symphony Orchestra 135th season, 2015–2016

Thursday, March 24, 8pm | the carol and willis ertman concert Friday, March 25, 1:30pm | the henry lee higginson memorial concert Saturday, March 26, 8pm | the stephen and dorothy weber concert

andris nelsons conducting

kancheli “dixi,” for mixed chorus and orchestra (2009; american premiere) tanglewood festival chorus, betsy burleigh, guest chorus conductor Text and translation begin on page 42.

rachmaninoff rhapsody on a theme of paganini, opus 43 nikolai lugansky, piano

{intermission} hi Lee Chris

32 shostakovich symphony no. 8 in c minor, opus 65 Adagio Allegretto Allegro non troppo— Largo— Allegretto

Please note that these performances of Shostakovich’s Symphony No. 8 are being recorded for future release as part of the ongoing BSO/Deutsche Grammophon collaboration “Shostakovich Under Stalin’s Shadow.” Your cooperation in keeping noise in Symphony Hall at a minimum is sincerely appreciated.

friday afternoon’s performance of shostakovich’s symphony no. 8 is supported by a gift from winifred bush in memory of her husband, walter meiggs bush, jr. saturday evening’s performance of shostakovich’s symphony no. 8 is supported by a gift from lloyd axelrod, m.d. this week’s performances by the tanglewood festival chorus are supported by the alan j. and suzanne w. dworsky fund for voice and chorus. bank of america and emc corporation are proud to sponsor the bso’s 2015-16 season.

The evening concerts will end about 10:20, the afternoon concert about 3:50. Concertmaster Malcolm Lowe performs on a Stradivarius violin, known as the “Lafont,” generously donated to the Boston Symphony Orchestra by the O’Block Family. Steinway & Sons Pianos, selected exclusively for Symphony Hall. The BSO’s Steinway & Sons pianos were purchased through a generous gift from Gabriella and Leo Beranek. Special thanks to The Fairmont Copley Plaza and Fairmont Hotels & Resorts, and Commonwealth Worldwide Chauffeured Transportation. The program books for the Friday series are given in loving memory of Mrs. Hugh Bancroft by her daughters, the late Mrs. A. Werk Cook and the late Mrs. William C. Cox. 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, messaging devices of any kind, anything that emits an audible signal, and anything that glows. Thank you for your cooperation. Please note that the use of audio or video recording devices, or taking pictures of the orchestra—whether photographs or videos—is prohibited during concerts.

week 21 program 33

The Henry Lee Higginson Memorial Concert Friday, March 25, 2016

By action of the BSO’s Board of Trustees, one subscription concert each season is designated “The Henry Lee Higginson Memorial Concert” in honor of the orchestra’s founder and sustainer. Businessman, philanthropist, Civil War veteran, and amateur musician Henry Lee Higginson founded the Boston Sym- phony Orchestra in 1881, thus fulfilling a goal he had formulated prior to the Civil War. Under the direction of Georg Henschel, its first conductor—whom Major Higginson asked to lead the BSO after hearing him conduct at a Har- vard Musical Association concert in March 1881—the BSO gave its inaugural concert on October 22, 1881, in the old Boston Music Hall. From that time until the creation of a Board of Trustees in 1918, Major Higginson sustained the orchestra’s activities virtually single-handedly. In an address to his “noble orchestra” on April 27, 1914, he described his role: “to run the risk of each year’s contracts, and to meet the deficit, which never will fall below $20,000 yearly, and is often more,” in support of the “excellent work by high-grade artists and as good a conductor as exists.” Among his closing comments was the observation that the Boston Symphony Orchestra “gives joy and comfort to many people.” Thanks to Major Higginson’s pioneering vision, and to all who have helped further that vision, it continues to do so today.

week 21 35 The Program in Brief...

The major Georgian composer Giya Kancheli wrote his chorus-and-orchestra work Dixi for the Chorus and Symphony Orchestra of the Bavarian Radio as part of that ensemble’s project to commission six composers for works responding to Beethoven’s symphonies; Dixi, premiered in 2009, was inspired by Beethoven’s Ninth. The text for Dixi (the title can translate to “I have spoken”) is an assemblage of short Latin phrases, many of them familiar from common usage (e.g., “ad infinitum”—“until infinity”). The composer writes, “The reason I selected these Latin phrases was to remind our contemporaries how relevant, still today, are the age-old problems that have always existed. . . . Not even Beethoven succeeded in improving this world by writing his great hymn of joy and unity. And we ordinary mortals only have the right to offer advice and to warn.” The twenty- minute piece proceeds via stark contrasts of dynamics and mood, a characteristic feature of Kancheli’s music.

Sergei Rachmaninoff’s ever-popular Rhapsody on a Theme of Paganini for piano and orchestra is an extended set of twenty-four variations, ranging widely in mood, atmos- phere, and character, on the theme of violin virtuoso Nicolò Paganini’s Twenty-fourth Caprice for solo violin—a theme also employed by a number of other composers, among them Liszt, Brahms, and Lutosławski. Along the way, Rachmaninoff uses, as a subsidiary idea, the Dies irae chant from the Mass for the Dead, thereby suggesting the alleged bargain between Paganini and the devil that supposedly resulted in the violinist’s own phenomenal virtuosity. Rhapsody on a Theme of Paganini was premiered in 1934 by Leopold Stokowski and the Philadelphia Orchestra with the composer—who was also one of the great pianists—as soloist.

Premiered in 1942, Shostakovich’s Symphony No. 7, the so-called Leningrad, with its evo- cation of wartime and a city under siege, made the composer an international sensation, even landing him on the cover of Time magazine. The Eighth Symphony, from 1943, is more decidedly abstract, and though written at a time when the Soviet authorities would have expected something optimistic, it is hardly that: a large-scale, 70-minute work in five movements, it is contemplative and dark in character. The massive opening movement, itself twenty-five minutes long, anticipates much that follows it. The second and third movements are prevailingly militaristic and aggressive; the fourth, a lament, is built on a dirge-like repeating bass line (harking back to the Baroque passacaglia, a form employed notably in the 20th century by Shostakovich and Benjamin Britten) announced initially in unison by the full orchestra. Counterbalancing the first movement, the third, fourth, and fifth are played without pause. The finale begins amiably, but its thematic materials undergo shifts of color, mood, and dynamic into which reminders of war inevitably intrude. The closing pages brighten to something airy and even hopeful, but questions linger, as they do in life—and as they certainly did in Shostakovich’s own. No wonder the Eighth was singled out in the 1948 Communist crackdown on composers for its complexity, gloom, and “subjectivism.” Nowadays, however, we recognize it as one of Shostakovich’s greatest and most compelling achievements in the realm of symphony.

Robert Kirzinger/Marc Mandel

36 Giya Kancheli “Dixi,” for chorus and orchestra

GIYA KANCHELI was born on August 10, 1935, in Tbilisi, the historic and current capital of Georgia, in what was at the time the Transcaucasian Soviet Federative Socialist Republic (SFSR) of the Soviet Union (incorporating Georgia, Armenia, and Azerbaijan). He left Georgia in 1991 for Berlin and since 1995 has lived in Antwerp, Belgium. Kancheli wrote “Dixi” on commission from Bavarian Radio for Mariss Jansons and the Bavarian Radio Symphony Orchestra. The score is dedicated to the Georgian conductor and composer Djansug Kakhidze (1935-2002). Mariss Jansons led the Bavarian Radio Symphony Orchestra and Chorus in the world premiere on October 29, 2009, in Munich. The present performances of “Dixi” are the first in the United States, and “Dixi” is the first work by Giya Kancheli to be played by the Boston Symphony Orchestra.

THE SCORE OF “DIXI” calls for SATB chorus and an orchestra of three flutes (second and third doubling piccolo), alto flute (also doubling piccolo), two oboes, English horn (doubling third oboe), two clarinets, bass clarinet (doubling third clarinet), two bassoons and contrabassoon, four horns, four B-flat trumpets, four trombones, tuba, timpani, percussion (bass drum, snare drum, tam- bourine, cymbals, suspended cymbal, triangle, tam-tam, glockenspiel, tubular bells, xylophone), accordion, harp, harpsichord, piano, strings, and bass guitar. The duration of the piece is about twenty-one minutes.

Giya Kancheli is arguably the most important composer in Georgia’s history. Kancheli is one of several Soviet-born composers a generation or so younger than Shostakovich whose careers began behind the Iron Curtain, but who came to be recognized as artists of the first rank in the West only as the USSR began to come apart in the 1980s. These include also Sofia Gubaidulina, Alfred Schnittke, Valentin Silvestrov, Edison Denisov, Arvo Pärt, and many others. Like many of his colleagues, he was little known in the West before the 1980s, although Yuri Temirkanov led the American premiere of his Fourth Symphony with the Philadelphia Orchestra in 1978. Performances of his work by such international stars as Mstislav Rostropovich, Gidon Kremer, and the Kronos Quartet, and the presence of many recordings on the progressive ECM label, have elevated his inter-

week 21 program notes 37 national reputation significantly in the past couple of decades. Kurt Masur and the New York Philharmonic commissioned his “And Farewell Goes Out Sighing...” for violin, coun- tertenor, and orchestra for the Millennium Messages project, and his work has also been performed by the San Francisco and Chicago symphony orchestras. Last fall his Nu.Mu.Zu. for orchestra was premiered by the Belgian National Orchestra and was given its American premiere by the Seattle Symphony Orchestra.

Kancheli studied piano as a child and began his professional career performing popular music. He originally thought to embark on a career as a jazz musician, but composition studies at the Tbilisi Conservatory changed his path. Kancheli became music director of Tbilisi’s venerable Rustaveli Theatre from 1971 to 1991, and also taught at his alma mater for many years. He was General Secretary of the Georgian Union of Composers, and became a National Artist of the Georgian SSR in 1980. In 1991 he was invited to Berlin for a year-long residency, and in 1995 he became composer-in-residence with the Royal Flemish Philharmonic in Antwerp. The city appealed to him and reminded him also of Tbilisi, and he has lived in Antwerp ever since. Having lived in the West for a quarter- century, he has remarked that he still feels fundamentally Georgian; Russian is his second language, and he maintains close ties with colleagues in that country as well.

Like his close friend Alfred Schnittke, Kancheli made his living as a composer largely through dozens of scores for short and feature-length films from the early 1960s onward; increasingly his recorded concert works have also been used in film soundtracks. Writing music to suit the moods and scenarios of film inevitably influenced his chamber and symphonic works. He has said that composing music has to do with “heritage, with homeland, and with one’s environment.” Tbilisi and its landscape, along with the interac- tion of cultures that has taken place throughout its history, are keys to his work, as are the great Georgian choral and liturgical music traditions. Although he has been active in most genres, symphonic works and concertos represent the biggest part of his output. His First Symphony dates from 1967, and in 1986 the Czech Philharmonic premiered his last work in that genre, the Seventh, subtitle Epilogue. Thereafter his major works have carried aphoristic, allusive titles, often nostalgic, such as “And Farewell Goes Out Sighing...” (quoted from Shakespeare’s Troilus and Cressida); “I left in order not to see”; “Land the Color of Sorrow” (Trauerfarbenes Land), “Childhood Revisited.”

Kancheli has developed a compositional style that often relies on the opposition of big gestures in contrasting dynamics, which is a feature of Dixi. The big elements of his music are often assembled from simple parts and are immediately graspable and identifiable, but their deployment over time, in large-scale forms and undergoing long-drawn-out development, frequently creates a “hypnotic” sense of drama, mystery, and ritual verging on the religious. Dixi was one of six works commissioned for the Bavarian Radio Symphony Orchestra as “reflections” of Beethoven’s symphonies—the other composers were the Austrian Johannes Maria Staud, the German Jörg Widmann, the Japanese-born Misato Mochizuki, the Lithuanian Raminta Šerkšnyté, and the Russian Rodion Shchedrin. Dixi was specifically composed as a response to Beethoven’s Ninth Symphony; hence the presence of the chorus.

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Djansug Kakhidze (1935-2002), the dedicatee of “Dixi,” at left, with composer Kancheli

The text for Dixi—the title can translate to “I have spoken”—is not a through-composed poem but a series of short Latin phrases, many, but not all, familiar from liturgical or aphoristic use, such as “nolens volens” (“for better or worse”) or “ad infinitum.” The composer writes, “The reason I selected these Latin phrases was to remind our contemporaries how relevant, still today, are the age-old problems that have always existed. We are only entitled to remind ourselves that the gap between good and evil unfortunately continues to grow, despite the greatest advances in civilization. Not even Beethoven succeeded in improving this world by writing his great hymn of joy and unity. And we ordinary mortals only have the right to offer advice and to warn.”

Embedded within the Latin is a single name, Kakhidze, referring to the late Georgian conductor and composer who is the dedicatee of the work (see photo above), and who was a champion of Kancheli’s music and Georgian music generally. He was for two decades chief conductor and artistic director of the Tbilisi Opera and Ballet Theatre, where he led the premiere of Kancheli’s opera Music for the living, and he led many of the orchestral works as well. (Kakhidze worked with BSO musicians in the mid-1980s as part of Sarah Caldwell’s U.S.-Soviet exchange concerts “Making Music Together.”) In invoking Kakhidze, Kancheli personalizes the otherwise rather abstract and quixotic assemblage of Latin, and also echoes an early work, his 1999 Styx for viola, chorus, and orchestra, in which the chorus bids farewell to his friends Alfred Schnittke and the Armenian composer Alfred Terterian.

Dixi begins with a massive triple-forte series of orchestral gestures beginning on an F minor chord. Quick scales swoop up and down to the next chords in the series, which breaks off abruptly to reveal the chorus, pianissimo, singing the first words of the text: “Mortuos plango”—“I mourn the dead.” (The little trilled turn figure in the flute recurs as a kind of signpost throughout the piece, a characteristic Kancheli idea.) Then the fff orchestra again. Kancheli uses these startling block-like, tutti, fortissimo outbursts in his music to

week 21 program notes 41 create the sense that the ensuing quiet music is a kind of living silence, to focus the listener’s attention on this new phenomenon. These alternations continue, each episode different and of different scope; each orchestral outburst is briefer, each choral passage longer. In addition to the sheer volume level, the character of the two episode types is very different as well, the accompanied choral music primarily sweet and innocent- sounding, although the voices do reach fff in the phrases “sing to the deaf,” “voice crying in the desert,” and “eat, drink, play.”

The dramatic balance is reset at “Dictum factum—Kakhidze” (“Said and done—Kakhidze”), where the chorus joins the orchestra in its shout, and continues in a crescendo through “credo verum” (“I believe in the truth”). The ensuing passage, marked “Very peaceful,” is a long, rhythmically almost static setting for accompanied chorus of the set of phrases beginning “Ex silentio” (“out of the silence”) and ending with “Charta non erubescit” (“Paper does not blush”). The next orchestral fortissimo precedes “Et alleluia, ab initio ad infinitum astra” (“And alleluia, from the beginning until infinity, the stars shine). At “Ego non” (“Not I”): shouts. Obliquely suggested earlier, the theme from Bach’s A Musical Offering is quoted in oboe following the chorus’s shouts of “Sol! Sol! Sol!” (from the phrase “after the clouds, the sun”); the Bach quote is paired with the flute’s trilled recur- ring phrase. Finally the chorus and orchestra come together tremendously one last time: “Truth conquers all.”

Robert Kirzinger

Composer and annotator robert kirzinger is Assistant Director of Program Publications of the Boston Symphony Orchestra.

Giya Kancheli “Dixi”

Mortuos plango I lament the dead Ad se ipsum To oneself Ars est celare artem True art conceals its art Canimus surdi We sing for deaf people Vox clamantis in deserto A voice crying in the wilderness Durum patientia frango I use patience to break that which is hard Ede, bibe, lude Eat, drink, play Salve, sancta simplicitas Hail, holy simplicity Per aspera Through hardships Qualis rex, talis grex Like master, like servant Stabat mater dolorosa Grieving Mary stood Sine ira et studio Without hate and zealousness Vitam impendere vero To devote one’s life to the truth Ora et labora Pray and work Et alleluia, re vera veritas And Alleluia, truly the truth Et feci And I did it

42 Dictum, factum—Kakhidze Said and done—Kakhidze Lux in tenebris, The light in the darkness lux ex tenebris the light from the darkness Via sacra Sacred road Omnes una manet nox One and the same night awaits everyone Credo verum I believe in the truth Ex silentio From the silence Signum temporis Signs of the time Si etiam omnes sit, ego non Even if all join in, I do not Lege artis In accordance with art Larga manu With a liberal hand Lux veritatis Light of Truth Nil nisi Nothing but Dum est lux As long as there is light Dum est vis, est vox As long as one has strength, one has a voice Ad infinitum For all eternity Charta non erubescit Paper does not blush Et alleluia, ab initio, And Alleluia, from the beginning until infinity, ad infinitum astra the stars shine Dixi I have spoken Varium hic, nubila Here it is variable, sometimes clouds, sol sometimes sun Volens nolens For better or worse Odium, omnia vanitas Hatred reigns, and all is vanity Ego non Not I Dum spero, As long as I hope, nil nisi bene I only want to say good things O, si sic omnia Oh, if only everything were so Memento vivere, Remember that you are alive, et memento mori and remember that you must die Lege artis, Who is it in truth, and according re vera quis? to the rules of art? Post tenebras lux, After the darkness, the light, post nubila sol after the clouds, the sun Post mortem lux After death, light Summa summarum All in all Itur ad astra The way to the stars Super omnia veritas Truth conquers all Trans. David Ingram

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Sergei Rachmaninoff Rhapsody on a Theme of Paganini, Opus 43, for piano and orchestra

SERGEI VASILIEVICH RACHMANINOFF was born in Semyonovo, district of Starorusky, Russia, on April 1, 1873, and died in Beverly Hills, California, on March 28, 1943. He composed his Rhapsody on a Theme of Paganini during the summer of 1934, at his home in Switzerland. The first performance took place on November 7, 1934, in Baltimore, with Rachmaninoff as piano soloist and Leopold Stokowski conducting the Philadelphia Orchestra.

IN ADDITION TO THE SOLO PIANO, the score of Rachmaninoff’s Rhapsody on a Theme of Paganini calls for two flutes and piccolo, two oboes and English horn, two clarinets, two bassoons, four horns, two trumpets, three trombones, tuba, timpani, side drum, triangle, cymbals, bass drum, harp, and strings.

Sergei Rachmaninoff was far from the first composer (others include Chopin, Brahms, and Liszt) to find vicarious creative excitement in the explosive personality of superstar violin virtuoso Nicolò Paganini. One of the most vivid, highly publicized, and widely imi- tated musician-composers of the 19th century, Paganini (1782-1840) dazzled audiences with his superhuman technique and gaudy showmanship, and scandalized them with his voracious appetite for women and gambling. Observers astonished by the unprecedented scale of his talent repeatedly accused Paganini of having supernatural powers gained through a Faustian pact with the devil. Even the German poet Goethe, who knew a thing or two about Faust, found himself at a loss for words when confronted with Paganini: “I lack a base for this column of sunbeams and clouds. I heard something simply meteoric and was unable to understand it.”

Although Paganini’s music is not considered by most critics to possess much substance or gravitas, having been created primarily to showcase his circus-like acrobatics on the strings, its exuberance and charm cannot be denied. Nowhere are these qualities more attractively displayed than in the Twenty-four Caprices for Solo Violin (Ventiquattro Capricci per violino solo), Opus 1. Begun when Paganini was still a teenager, these pieces,

week 21 program notes 45 Program page for the first Boston Symphony performances of Rachmaninoff’s Rhapsody on a Theme of Paganini on December 24 and 25, 1937, with the composer as soloist and Serge Koussevitzky conducting (BSO Archives)

46 each one ornamented with astonishing technical tricks like filigree on a shiny jeweled surface, contain what one writer has described as “a whole school of violin playing.” Brahms called them “a great contribution to musical composition in general and to violin in particular,” and was particularly drawn to the last in the series, No. 24 in A minor, itself a set of eleven variations on a beguiling simple tune.

So taken was Brahms with Paganini’s theme that in 1865 he completed a major work for piano based on it: “Studies for Pianoforte: Variations on a Theme by Paganini, Books 1 and 2.” Franz Liszt, himself a renowned virtuoso and admirer of Paganini’s theatricality, also made an arrangement of Paganini’s Caprice No. 24 in his Six Grandes Etudes de Paganini for solo piano. Rachmaninoff, then, was treading upon well-worn soil when he decided in spring 1934 to produce his own work for piano and orchestra using this same little flexible and malleable tune. Nor was Rachmaninoff the last to draw water from this well. In more recent years, composers as diverse as Lutosławski, John Dankworth, and Andrew Lloyd Webber have created pieces inspired by Paganini’s Caprice No. 24.

In his biography of Rachmaninoff, Barrie Martyn has explained why this theme makes such good material for variations. “It enshrines that most basic of musical ideas, the per- fect cadence, literally in its first half and in a harmonic progression in the second, which itself expresses a musical aphorism; and the melodic line is made distinctive by a repeti- tion of a simple but immediately memorable four-note semi-quaver [sixteenth-note] figure.” The circular theme (in 2/4) divides into two equal parts, the second being an

week 21 program notes 47

An 1819 drawing of Nicolò Paganini by Ingres

elaboration of the first, and returns firmly and effortlessly to the tonic key of A minor. Perhaps even more important for a theme used for variations, it is immediately recogniz- able and distinct, even hummable, so that it retains its lightly muscled contours even through drastic transformations. In his variations for solo piano, Brahms had used the theme much as Paganini did, as a springboard for demanding technical exercises without a clearly defined overall structure. What Rachmaninoff did in his Rhapsody on a Theme of Paganini is quite different, going far beyond the theme to create a large-scale concerto-style work for piano and orchestra with a clear and independent sense of formal design and sonority.

As numerous commentators have suggested, the Rhapsody is less about the theme of Paganini’s Caprice No. 24 than about the myth of Paganini, the quintessential Romantic virtuoso. As a renowned virtuoso himself (this aspect of his career had become especially pronounced in the United States, often to his irritation), Rachmaninoff was clearly drawn to the image of Paganini, particularly the persistent rumors of his demonic character and connections. This explains why, in the Rhapsody, Rachmaninoff chose to juxtapose Paganini’s theme with prominent quotations from the familiar Dies irae theme of the Catholic Requiem Mass. This theme (also used in the Symphonie fantastique of Berlioz, among numerous other works) had traditionally been associated with death and supernatural forces, and also shows up in several other of Rachmaninoff’s later scores (the Piano Concerto No. 4 and Symphonic Dances).

That Rachmaninoff found a strong emotional connection with Paganini seems to be con- firmed by the (in his case) highly unusual speed with which he completed the Rhapsody. It took him only seven weeks, from July 1 to mid-August of 1934. Not long before, he had moved with his family to a villa constructed for him near Lucerne, their first permanent home since leaving Russia soon after the Bolshevik Revolution in 1917. Exile from Russia had already taken a strong emotional toll upon Rachmaninoff. After 1917, he would pro-

week 21 program notes 49

Rachmaninoff’s hands

duce only four orchestral works: the Symphony No. 3, the Piano Concerto No. 4, the Rhapsody on a Theme of Paganini, and the Symphonic Dances. Most of his energy went to making extensive tours as a virtuoso: he played sixty-nine dates in the 1934-35 season alone. Rachmaninoff complained of this punishing schedule in a letter written a few weeks after he finished the Rhapsody on a Theme of Paganini. “Shall I hold out? I begin to evaporate. It’s often more than I can bear just to play. In short—I’ve grown old.” At the time, Rachmaninoff was sixty-one years old, just four years older than Paganini was when he died, burnt out by the frenetic existence of a virtuoso.

By the time he composed the Rhapsody on a Theme of Paganini, Rachmaninoff had already completed four large concertos for piano and orchestra, and was a master of the form. Evidently he was at first unsure what to call the new composition, considering such titles as “Symphonic Variations” and “Fantasia” before settling on “Rhapsody.” The label of “Rhapsody”—which implies no particular form and has been used to describe very different kinds of works—belies the fact that the piece has a highly planned formal structure that corresponds rather closely to that of a traditional sonata or concerto. The twenty- four variations on Paganini’s theme are grouped into three sections. The first ten, in A minor, constitute an opening movement, with the introduction of the Dies irae theme in variation 7. (It reappears in variations 10, 22, and 24.) After the dreamy, transitional variation No. 11, variations 12 to 18 proceed like a slow movement, moving gradually from D minor to D-flat major for the climactic (and longest) variation, No. 18. Here the Paganini theme appears in inverted form, first in a sublimely lyrical twelve-bar passage for the soloist, then joined by the strings—music destined to become some of the most famous Rachmaninoff ever created. Returning to A minor, the final six variations act like a finale, featuring several impressive cadenzas. The last of these thunders downward through a resurgence of the Dies irae theme before halting abruptly at an amusingly understated restatement of the jaunty tail end of Paganini’s theme.

week 21 program notes 51 52 In the Rhapsody, Rachmaninoff overcame the crisis of confidence he had experienced in composing the Concerto No. 4, which he revised several times without ever feeling entirely satisfied. Here, he joined his long-admired gift for soaring, soulful melody with a fresh structural ingenuity. By turns playful, melancholy, military, and dramatic, the twenty-four variations are brilliant not only individually, but as part of a unified artistic whole. Of the New York premiere of the Rhapsody by the New York Philharmonic under Bruno Walter with Rachmaninoff at the keyboard, Robert A. Simon wrote in The New Yorker: “The Rachmaninoff variations, written with all the composer’s skill, turned out to be the most successful novelty that the Philharmonic Symphony has had since Mr. Toscanini overwhelmed the subscribers with Ravel’s Bolero.”

A few years later, Rachmaninoff’s friend, the Russian émigré dancer and choreographer Mikhail Fokine, created a ballet, Paganini, using the music from the Rhapsody and a sce- nario written by Rachmaninoff about Paganini’s rumored dealing with the devil. It was produced in London in 1939 by Colonel de Basil’s Ballets Russes. The dramatic possibili- ties of the Rhapsody also attracted the interest of film people. In the 1953 Hollywood feature The Story of Three Loves, directed by Vincente Minnelli and Gottfried Reinhardt, with a score by Miklós Rózsa, Moira Shearer (of Red Shoes fame) performs a ballet cho- reographed by Frederick Ashton to Rachmaninoff’s music—and then drops dead.

Harlow Robinson harlow robinson is an author, lecturer, and Matthews Distinguished University Professor of History at Northeastern University. The author of “Sergei Prokofiev: A Biography” and “Russians in Hollywood, Hollywood’s Russians,” he is a frequent lecturer and annotator for the Boston Symphony, Lincoln Center, Metropolitan Opera Guild, and Aspen Music Festival.

THEFIRSTBOSTONSYMPHONYORCHESTRAPERFORMANCES of Rachmaninoff’s “Rhapsody on a Theme of Paganini” took place on December 24 and 25, 1937, with the composer as soloist and Serge Koussevitzky conducting. Since then, BSO performances have featured Arthur Rubinstein (with Koussevitzky and later with Erich Leinsdorf), Aldo Ciccolini (with Arthur Fiedler), John Browning (Leinsdorf), Jorge Bolet (William Steinberg, Leinsdorf, and Charles Wilson), Leonard Pennario (Leinsdorf and Wilson), Theodore Lettvin (Steinberg), Ilana Vered (Michael Tilson Thomas), Cecile Ousset (Kurt Masur), John Browning (Carl St. Clair and Yuri Temirkanov), Benjamin Pasternack (Seiji Ozawa), Jean-Yves Thibaudet (Hans Graf), Garrick Ohlsson (Rafael Frühbeck de Burgos), Stephen Hough (Alan Gilbert), Yuja Wang (Rafael Frühbeck de Burgos), Behzod Abduraimov (the most recent subscription performances, with Charles Dutoit in April 2014, and then on tour in Beijing, Shanghai, and Guangzhou, China, that May), and Kirill Gerstein (the most recent Tanglewood performance, with Dutoit on August 23, 2014).

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Dmitri Shostakovich Symphony No. 8 in C minor, Opus 65

DMITRI DMITRIEVICH SHOSTAKOVICH was born in St. Petersburg on September 25, 1906, and died in Moscow on August 9, 1975. He began his Symphony No. 8 on July 2, 1943, completing it on September 9 that same summer and playing it on piano soon afterwards for an invited audience of composers and conductors. The first orchestral performance, for an invited audience of musicians, artists, critics, and journalists, took place on November 3, 1943, at the Moscow Conser- vatory with Evgeny Mravinsky, the symphony’s dedicatee, leading the State Symphony of the USSR; they also gave the first public performance the next night, both occasions being part of a Festival of Soviet Music celebrating the twenty-fifth anniversary of the Soviet Union.

THE SCORE OF SHOSTAKOVICH’S SYMPHONY NO. 8 calls for two flutes and two piccolos (doubling third and fourth flutes), two oboes and English horn, two clarinets, E-flat clarinet, and bass clarinet, two bassoons and contrabassoon, three trumpets, four horns, three trombones, tuba, timpani, xylophone, snare drum, cymbals, bass drum, tam-tam, and strings.

The three symphonies (his symphonies 7, 8, and 9) composed by Dmitri Shostakovich during World War II are surprisingly varied in their emotional and musical character. They also constitute a sort of diary of the composer’s personal and artistic response to one of the darkest moments in modern history, progressing from patriotic out- rage to inexpressible grief to ironic escapism. The first and most massive of the three was the celebrated Symphony No. 7 (Leningrad) begun in the summer of 1941, just as the Nazi army launched its terrifying assault upon the composer’s beloved native city. Completed in December 1941 in evacuation and performed for the first time in Kuibyshev, the Seventh (which weighs in at a hefty 80 minutes) quickly became an international symbol of the heroic defense of Leningrad during the 900- day Nazi blockade. After its highly publicized American premiere on the radio on July 19, 1942, the Seventh (with its raucous Bolero-like first-movement portrayal of triumphant, strutting militarism) rapidly became one of the best-known symphonies composed in the 20th century. Despite subsequent claims that the Seventh’s often

week 21 program notes 55 Program page for the first Boston Symphony performances of Shostakovich’s Symphony No. 8 on April 21 and 22, 1944, with Serge Koussevitzky conducting (BSO Archives)

56 sarcastic fury was directed as much against the horrors of Stalinism as against Nazism, the Leningrad became a shining emblem of Soviet patriotic feeling.

The Seventh’s unprecedented domestic and international success actually came to haunt Shostakovich. When judged against it, his two subsequent wartime symphonies were found emotionally and ideologically wanting by the ever-vigilant Communist Party bureaucrats and official critics. Completed in September 1943, the Eighth was widely criticized after its first public performance in Moscow on November 4 as excessively gloomy and despairing in light of the improving for- tunes of the Red Army at Stalingrad (where the Nazi army had been defeated after a monumental battle in early 1943) and elsewhere. Shostakovich’s close friend Ivan Sollertinsky, a scholar and critic, wrote to his wife: “The symphony made an enor- mous impression, but the music is significantly more difficult and sharp than in the Fifth and Seventh symphonies, and therefore is highly unlikely to become popular. Its success owed more to Shostakovich’s name and popularity rather than to the symphony itself. And the work has gained some vociferous enemies.” Sollertinsky was right. Since most of the important reviews of the Eighth Symphony were criti- cal (especially of the lyrical, unheroic finale), it disappeared from the repertoire for many years; it has only recently been returning to favor both in Russia and abroad.

Musicologists and critics have long considered the Symphony No. 8 one of the most complex, challenging, and ambitious of Shostakovich’s fifteen symphonies. Unlike the Leningrad and several other of the composer’s symphonies, the Eighth lacks a descriptive title or any obvious programmatic intent. Confused and disap- pointed by Shostakovich’s failure to provide a clear extra-musical “purpose” for the new work, and eager to find some justification for its mournful mood, some Soviet cultural apparatchiks attempted to persuade the public that the Eighth was actually intended to honor those who died at the Battle of Stalingrad. Even today, the symphony is occasionally referred to in Russia as the “Stalingrad Symphony,” though there is no evidence that Shostakovich ever approved of such a label. After the premiere, the Eighth also became known as the “Poem of Suffering.” In the words of distinguished Russian musicologist Marina Sabinina, whose book on Shostakovich’s symphonies (unfortunately still unavailable in English) remains one of the best sources, the symphony is “an epic song about war as the cruelest evil that could ever exist.”

And yet in one of the countless interviews he was forever granting, speaking in the bland language of Soviet officialese, Shostakovich claimed that the Eighth Symphony was really about beauty and affirmation, perhaps anticipating the criticism that it was excessively dark and despairing. “If I were to compare this symphony with my previous compositions, then I would say that in form it is closest to the Fifth Symphony and the quintet. And it seems to me that in the Eighth Symphony, cer- tain ideas and thoughts present in my preceding works find further development. I could express the ideological-philosophical concept of my new work very briefly,

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Shostakovich at the piano with Stalin “watching” from the poster above

with just two words: life is beautiful. All that is dark and depressing will disappear, depart, and the beautiful will reign.”

That the project particularly inspired Shostakovich seems to be conﬁrmed by the remarkable speed of composition. Begun in Moscow in early July, the entire opus was completed by early September. It was at the rural retreat belonging to the Union of Composers in Ivanovo that Shostakovich did most of the work, surrounded by other leading Soviet composers, all intent on contributing to the war effort in music, with a few breaks for volleyball.

One of Shostakovich’s longer symphonies, the Eighth runs over an hour. It is also the first of the composer’s symphonies to have more than four movements. By far the longest of the five movements is the opening Adagio, constituting more than one-third of the entire work. In a gesture highly reminiscent of the famous opening bars of his Symphony No. 5 (to which the Symphony No. 8 is often compared), Shostakovich opens the Eighth with a dramatic—almost operatic—signature motive or motto in octaves in the strings, moving upward from the low strings and rising to the second violins. Full of foreboding and grief, this strongly punctuated phrase serves to unify the entire symphony, reappearing portentously in later movements, representing the evil power of militarism, and giving the work a greater structural coherence than the Fifth. To the barely repressed violence of the motto theme the other two themes of the first movement provide a strong contrast. The first— appearing in the first violins—is reflective and introspective; the second, lyrical and

week 21 program notes 59 romantic, is set in 5/4 meter over a steadily beating irregular accompaniment in eighth-notes that Sabinina compares to the “nervous beating of a heart.” Of an intimate, emotional character, both themes are repeatedly interrupted through the development section by the intrusion of the aggressively military epigraph phrase. In an Allegro section, the reﬂective theme is utterly transformed into a horrible vision of mechanized force, a sadistic march leading into a shattering climax for full orchestra. The movement concludes with a coda of quiet resignation and the return of the epigraph, sounded on the trumpet dying away into nothingness. In this Adagio, one the great opening movements of any modern symphony, writes Shostakovich biographer Krzysztof Meyer, “the tragic element rises to an unprecedented level.”

60 The second (Allegretto) and third (Allegro non troppo) movements are both fast and of almost identical length, about six minutes each. They transport us to the world of full-blown self-important militarism, seen through the lens of grotesque caricature, a quality very familiar to us from other works of Shostakovich. The second movement provides music for marching—but a march devoid of humanity or natural physical movement. Of particular interest is a complex, densely polyphonic section of uncertain tonality just before the conclusion, where the music (like the world itself in 1943) seems to lose its center and bearings, only the insistent beat of the march remaining. Constructed over a pounding ostinato in quarter-notes, in the style of a toccata, the third movement is a dance of death, its “theme” a descending octave shriek.

After the false bravado and violence, the fourth movement (movements three, four, and five are played without pause) comes as a requiem for the countless dead, reprising some ideas from the first movement, over a passacaglia bass line heard first in the full orchestra, then repeated eleven times with a kind of hypnotic repeti- tive effect. The concluding Allegretto is less tightly constructed than the preceding movements and fails to offer the optimistic reassurance that resounds, for example, in the finale of the Symphony No. 5—a serious deficiency in the opinion of the Party critics, who were hoping for a bombastic, hopeful ending. Instead, Shostakovich gradually reduces the tension and drama, leading us into a hushed and transcen- dent world, scored sparely for strings and flute, not a public celebration but a private prayer. War is hell, but life is beautiful.

Harlow Robinson

THEFIRSTAMERICANPERFORMANCEOFSHOSTAKOVICH’SSYMPHONY NO. 8 took place on April 2, 1944, with Artur Rodzinski conducting the New York Philharmonic-Symphony Orchestra (the Boston Symphony premiere under Koussevitzky taking place three weeks later).

THEFIRSTBOSTONSYMPHONYPERFORMANCESOFSHOSTAKOVICH’SSYMPHONY NO. 8 were given by Serge Koussevitzky on April 21 and 22, 1944 (three weeks after the American premiere in New York; see above). Koussevitzky repeated the work in Boston a year later, in April 1945, and then played just the Adagio with the orchestra, in memory of Franklin Delano Roosevelt, in Philadelphia and New York during the week following. Until Andris Nelsons’ performances this month, the only BSO performances since Koussevitzky’s were given by Mstislav Rostropovich (February 1977), Bernard Haitink (November 1985), André Previn (February 1997, followed by tour performances in late February/early March in the Canary Islands and Florida), and Paavo Berglund (October 2005).

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To Read and Hear More...

Giya Kancheli’s publisher, Sikorski Music, and its American distributor, Music Sales Classical, maintain web pages for the composer, including a biographical profile, work lists, sound clips, and some scores (sikorski.de or musicsalesclassical.com). Leah Dolidze wrote the article on Kancheli for the online New Grove Dictionary of Music and Musicians (oxfordmusiconline.com). This includes a bibliography and work list but hasn’t been updated since about 2000; nevertheless, the discussion of Kancheli’s music and style is valuable. Kancheli’s Dixi was recorded by its commissioning organization, the Bavarian Radio Symphony Orchestra and Chorus led by its music director Mariss Jansons; it is available as part of a box set of all nine Beethoven symphonies, along with the five other new pieces by five different composers commissioned as part of the orchestra’s “The Symphonies and Reflections” project (BR-Klassik). It is also available on a single BR-Klassik CD paired with Beethoven’s Sixth Symphony, even though Dixi was itself inspired by the Ninth. Kancheli’s music is otherwise well championed by the ECM label, whose most recent release featuring his music is “Chiarascuro,” including the title work and Twilight, performed by Kremerata Baltica with violinists Gidon Kremer and Patricia Kopatchinskaja.

Robert Kirzinger

Geoffrey Norris’s article on Rachmaninoff from The New Grove Dictionary of Music and Musicians (1980) was reprinted in The New Grove Russian Masters 2 with the 1980 Grove articles on Rimsky-Korsakov, Scriabin, Prokofiev, and Shostakovich (Norton paperback). Norris revised his article for the 2001 edition of Grove, the composer’s name now being spelled “Rachmaninoff” rather than “Rakhmaninov.” Norris also wrote Rakhmaninov, an introduction to the composer’s life and works in the Master Musicians series (Littlefield paperback). Also useful are the smaller volumes Rachmaninov Orchestral Music by Patrick Piggott in the series of BBC Music Guides (University of Washington paperback); Sergei Rachmaninov: An Essential Guide to his Life and Works by Julian Haylock in the series “Classic fm Lifelines” (Pavilion paperback), and Rachmaninoff: Composer, Pianist, Conductor by Barrie Martyn (Scolar Press). An older book, Sergei Rachmaninoff: A Lifetime in Music, compiled by Sergei Bertensson and Jay Leyda with assistance from Sophie Satin, Rachmani- noff’s sister-in-law, draws upon the composer’s own letters and interviews (originally New York University Press; reprinted by Indiana University Press). Michael Steinberg’s program note on the Rhapsody on a Theme of Paganini is in his compilation volume The Concerto–A Listener’s Guide (Oxford paperback).

week 21 read and hear more 63 Nikolai Lugansky has recorded Rachmaninoff’s Rhapsody on a Theme of Paganini with Sakari Oramo and the City of Birmingham Symphony Orchestra (Erato). The composer’s own recordings of his piano concertos with the Philadelphia Orchestra under Leopold Stokowski (No. 2 and the Rhapsody on a Theme of Paganini) and Eugene Ormandy (Nos. 1, 3, and No. 4 in its final revised version) were made originally for RCA Victor (various CD transfers). Other recordings of the Paganini Rhapsody feature (listed alphabetically by soloist) Idil Biret with Antoni Wit and the Polish Radio Symphony Orchestra Katowicz (Naxos), Van Cliburn with Kiril Kondrashin and the Moscow Philharmonic (RCA), Leon Fleisher with George Szell and the Cleveland Orchestra (Sony), Stephen Hough with Andrew Litton and the Dallas Symphony (Hyperion), Lang Lang with Valery Gergiev and the St. Petersburg Mariinsky Theatre Orchestra (Deutsche Grammophon), Arthur Rubinstein with Fritz Reiner and the Chicago Symphony (RCA), Jean-Yves Thibaudet with Vladimir Ashkenazy and the Cleveland Orchestra (Decca), and Simon Trpˇceski with Vasily Petrenko and the Royal Liverpool Philharmonic (Avie).

Important books about Shostakovich include Elizabeth Wilson’s Shostakovich: A Life Remembered, now in a second edition published in 2006 (Princeton University paperback); Laurel E. Fay’s Shostakovich: A Life (Oxford paperback); the anthology Shostakovich Reconsidered, written and edited by Allan B. Ho and Dmitry Feofanov (Toccata Press); Shostakovich and Stalin by Solomon Volkov (Random House); Shostakovich and his World, edited by Laurel E. Fay (Princeton University Press), and A Shostakovich Casebook, edited

64 by Malcolm Hamrick Brown (Indiana University Press). Among other things, the last two of these continued to address issues of authenticity surrounding Volkov’s earlier book, Testimony: The Memoirs of Dmitri Shostakovich as (ostensibly) related to and edited by Volkov, published originally in 1979 (currently available as a Faber & Faber paperback). Volkov’s Testimony served as the basis for a 1988 Tony Palmer film starring Ben Kingsley as Shostakovich. English writer Julian Barnes’s new novel, The Noise of Time, uses three crucial moments in Shostakovich’s life to address matters of life, art, society, and political oppression (U.S. edition due from Knopf in May). Symphony for the City of the Dead: Dmitri Shostakovich and the Siege of Leningrad, by M.T. Anderson, is another noteworthy addition to the Shostakovich bibliography (Candlewick Press). David Fanning discusses Shostakovich’s symphonies in the chapter “The Symphony in the Soviet Union (1917-91)” in A Guide to the Symphony, edited by Robert Layton (Oxford paperback). Hugh Ottaway’s Shostakovich Symphonies in the handy series of BBC Music Guides is worth seeking (Uni- versity of Washington paperback). Also useful is Boris Schwarz’s Music and Musical Life in Soviet Russia, Enlarged Edition, 1917-1981 (Indiana University Press). Michael Steinberg’s program note on the Symphony No. 8 is in his compilation volume The Symphony–A Listener’s Guide (Oxford paperback).

Shostakovich’s Symphony No. 8 as recorded live this month by Andris Nelsons and the Boston Symphony Orchestra will be issued this summer—along with the composer’s symphonies 5 and 9, plus excerpts from his incidental music to Hamlet, all in performances recorded this season—as part of the second release in the BSO’s ongoing collaboration with Deutsche Grammophon, “Shostakovich Under Stalin’s Shadow.” Meanwhile, available recordings of the Symphony No. 8 include Valery Gergiev’s with both the Mariinsky Orchestra (Mariinsky) and Kirov Theatre Orchestra (Philips), Bernard Haitink’s with the Concertgebouw Orchestra of Amsterdam (Decca), Mariss Jansons’s with the St. Petersburg Philharmonic (Warner Classics), Evgeny Mravinsky’s with the Leningrad Philharmonic (Musical Concepts; it was Mravinsky who led the premiere of the piece), Vasily Petrenko’s with the Royal Liverpool Philharmonic (Naxos), and that of the composer’s son, Maxim Shostakovich, with the Prague Symphony Orchestra (Supraphon). A 2011 Lucerne Festival performance of the Eighth Symphony with Andris Nelsons conducting the Royal Concertgebouw Orchestra of Amsterdam is available on video (C major DVD and Blu-ray, with music of Wagner and Strauss). Another noteworthy video preserves a concert performance of the Eighth with Evgeny Mravinsky leading the Leningrad Philhar- monic (Parnassus, also including Shostakovich symphonies 5 and 12). An historic 1945 recording with Serge Koussevitzky conducting the Boston Symphony Orchestra in just the opening Adagio of the Symphony No. 8—the only movement they recorded—was first issued on a 1989 BSO “Salute to Symphony” fundraising CD devoted to the conductor (the Shostakovich movement later showing up on a Biddulph CD).

Marc Mandel

week 21 read and hear more 65

Guest Artists

Nikolai Lugansky Pianist Nikolai Lugansky is noted for his performances of works by Mozart and Chopin, as well as Rachmaninoff and Prokofiev. Mr. Lugansky’s current season includes concerts in Russia, Germany, France, Belgium, Portugal, Spain, and Hungary, as well as recitals in Aix-en-Provence, Paris, Sochi, and Moscow. In the United States, he performs with the San Francisco Symphony, National Symphony, and Boston Symphony orchestras, and gives recitals in California and Florida. Highlights of previous seasons include his debuts at the festivals of Aspen and Tanglewood; return engagements with the London Philharmonic, Philharmonia Orchestra, Czech Philharmonic, Budapest Festival Orches- tra, Montreal Symphony, and Orchestre de Paris; and tours with the Orchestre de la Suisse Romande under Charles Dutoit in the United States and with the Oslo Philhar- monic under Vasily Petrenko, the Russian National Orchestra under Mikhail Pletnev, and the St. Petersburg Philharmonic under Yuri Temirkanov. Recital and chamber music performances have taken him to the Alte Oper Frankfurt, London’s Wigmore Hall, the Konzerthaus Berlin, Vienna’s Konzerthaus, the Théâtre des Champs-Elysées in Paris, New York’s 92nd St. Y, the Great Hall of the Moscow Conservatory, and the Great Hall of the St. Petersburg Philhar- monia. His chamber music collaborators include Mischa Maisky, Vadim Repin, and Alexander Kniazev. Nikolai Lugansky regularly appears at such distinguished festivals as the BBC Proms, La Roque d’Anthéron, Verbier, Rheingau, and the Edinburgh International Festival. An award- winning recording artist, he records exclusively for the Naïve-Ambroisie label. His recital CD featuring Rachmaninoff’s piano sonatas won the Diapason d’Or and an ECHO Klassik Award, and his recording of concertos by Grieg and Prokofiev with Kent Nagano and the Deutsches Symphonie-Orchester Berlin was a Gramophone Editor’s Choice. His earlier recordings have also won awards, including a Diapason d’Or, BBC Music Magazine Award, and ECHO Klassik prize. His recording of the two Chopin piano concertos was released in summer 2014. Artistic Director of the Tambov Rachmaninoff Festival, Mr. Lugansky is also a supporter of, and regular performer at, the Rachmaninoff Estate and Museum in Ivanovka. In June 2014, with the Russian National Orchestra and Mikhail Pletnev, he performed the composer’s Piano Concerto No. 3 at the closing concert of the inaugural Ivanovka Rachmaninoff Festival. Nikolai Lugansky studied at Moscow’s Central Music School and the Moscow Conservatory, where his teachers included Tatiana Kestner, Tatiana Nikolayeva, and Sergei Dorensky. In April 2013 he was awarded the honor of People’s Artist of Russia. Mr. Lugansky’s only previous appearances with the Boston Symphony Orchestra were in October 2012, when he made his BSO debut with Rachmaninoff’s Piano Concerto No. 3 under the direction of Charles Dutoit. He made his Tanglewood debut in August 2014, performing that same concerto with Mr. Dutoit and the Tanglewood Music Center Orchestra in that summer’s Leonard Bernstein Memorial Concert.

week 21 guest artists 67 68 Tanglewood Festival Chorus Betsy Burleigh, Guest Chorus Conductor John Oliver, Founder and Conductor Laureate

This season at Symphony Hall, the Tanglewood Festival Chorus joins the Boston Symphony Orchestra for performances under Andris Nelsons of Prokofiev’s Alexander Nevsky cantata, Strauss’s Elektra, Bach’s motet Komm, Jesu, komm! and chorale Es ist genug, Mendelssohn’s Midsummer Night’s Dream music, and the American premiere of Giya Kancheli’s Dixi (also performing the Prokofiev cantata and Elektra at Carnegie Hall in New York), as well as Berlioz’s Resurrexit and Te Deum under Charles Dutoit. Originally formed under the joint sponsorship of Boston University and the Boston Symphony Orchestra, the all-volunteer Tanglewood Festival Chorus was established in 1970 by its founding conductor John Oliver, who stepped down from his leadership position with the TFC this past August. Awarded the Tanglewood Medal by the BSO to honor his forty-five years of service to the ensemble, Mr. Oliver now holds the newly created lifetime title of Founder and Conductor Laureate and will occupy a Master Teacher Chair at the Tanglewood Music Center beginning next summer. Though first established for performances at the BSO’s summer home, the Tanglewood Festival Chorus was soon playing a major role in the BSO’s subscription season as well as BSO concerts at Carnegie Hall. Now numbering more than 300 members, the ensemble performs year-round with the Boston Symphony and Boston Pops. It has performed with Seiji Ozawa and the BSO in Hong Kong and Japan, and with the BSO in Europe under James Levine and Bernard Haitink, also giving a cappella concerts of its own on the two latter occasions. The TFC made its debut in April 1970, in a BSO performance of Beethoven’s Ninth Symphony with Leonard Bernstein conducting. Its first recording with the orchestra, Berlioz’s La Damnation of Faust with Seiji Ozawa, received a Grammy nomination for Best Choral Performance of 1975. The TFC has since made dozens of recordings with the BSO and Boston Pops, with James Levine, Seiji Ozawa, Bernard Haitink, Sir Colin Davis, Leonard Bernstein, Keith Lockhart, and John Williams. In August 2011, with John Oliver conducting and soloist Stephanie Blythe, the TFC gave the world premiere of Alan Smith’s An Unknown Sphere for mezzo-soprano and chorus, commissioned by the BSO for the ensemble’s 40th anniversary. Its most recent recordings on BSO Classics, all drawn from live performances, include a disc of a cappella music led by John Oliver and released to mark the TFC’s 40th anniversary; and, with James Levine conducting, Ravel’s complete Daphnis and Chloé (a Grammy-winner for Best Orchestral Performance of 2009), Brahms’s German Requiem, and William Bolcom’s Eighth Symphony for chorus and

week 21 guest artists 69 orchestra (a BSO 125th Anniversary Commission). Besides their work with the Boston Symphony, members of the Tanglewood Festival Chorus have performed Beethoven’s Ninth Symphony with Zubin Mehta and the Israel Philharmonic; participated in a Saito Kinen Festival production of Britten’s Peter Grimes under Seiji Ozawa in Japan, and sang Verdi’s Requiem with Charles Dutoit to help close a month-long International Choral Festival given in and around Toronto. The ensemble had the honor of singing at Sen. Edward Kennedy’s funeral; has performed with the Boston Pops for the Boston Red Sox and Boston Celtics; and can also be heard on the soundtracks of Clint Eastwood’s Mystic River, John Sayles’s Silver City, and Steven Spielberg’s Saving Private Ryan. TFC members regularly commute from the greater Boston area, western Massachusetts, Connecticut, Rhode Island, New Hampshire, Vermont, and Maine, and TFC alumni frequently return each summer from as far away as Florida and California to sing with the chorus at Tanglewood. Throughout its history, the TFC has established itself as a favorite of conductors, soloists, critics, and audiences alike.

Betsy Burleigh Conductor and educator Betsy Burleigh returns to Boston this week for the American premiere of Kancheli’s Dixi. Her professional career began in Boston, and the city has been a touch- stone between her musical positions throughout the country. Ms. Burleigh currently serves as chair of the Choral Department at Indiana University’s Jacobs School of Music. During her ten years as music director of the Mendelssohn Choir of Pittsburgh, she led that ensemble to national attention, preparing it for all Pittsburgh Symphony choral performances and collaborating with the orchestra’s music director Manfred Honeck on projects including staged performances of Messiah and an acclaimed Mozart Requiem at Carnegie Hall. During her time with the Mendelssohn Choir, she conducted performances of Brahms’s Ein deutsches Requiem, Bach’s B minor Mass, Mozart’s Great C minor Mass, Duruflé’s Requiem, and Rachmaninoff’s All-Night Vigil, and the Library of Congress invited her to bring the group to sing in Washington, D.C. Prior to her appointment with the Mendelssohn Choir, Mr. Burleigh served as the assistant director of choruses for the Cleveland Orchestra, most notably preparing all performances for the Blossom Festival and conducting the chorus in an Emmy-winning performance for the Red Cross Disaster Relief Fund. She also served Cleveland Opera as chorus master for productions of Turandot, Carmen, Eugene Onegin, Sweeney Todd, Faust, Les Contes d’Hoffmann, Madama Butterfly, Iolanthe, and Tosca. In the choral-orchestral repertoire she has worked with such renowned conductors as Rafael Frühbeck de Burgos, Christoph von Dohnányi, Andrew Davis, Leonard Slatkin, Franz Welser-Möst, Jahja Ling, Leonard Slatkin, and Yuri Temirkanov. As a guest conductor, she has led the Pittsburgh Symphony, Rhode Island Philharmonic, and several regional orchestras. When in Boston, Betsy Burleigh was music director of Chorus pro Musica, the Providence Singers, The Master Singers, and the Cambridge Madrigal Singers, and held teaching positions at Tufts University, MIT, the Longy School, and Clark University. During her time with Chorus pro Musica she commissioned Andrew Rindfleisch’s Kaddish Prayer and Abbie Betinis’s Expectans expectavi. At Indiana University, Ms. Burleigh conducts the University Singers and the Oratorio Chorus in addition to teaching master’s and doctoral conducting classes. At IU she most recently conducted Vaughan Williams’s A Sea Symphony and Handel’s Messiah.

70 Tanglewood Festival Chorus Betsy Burleigh, Guest Chorus Conductor John Oliver, Founder and Conductor Laureate (Kancheli Dixi, March 2016) In the following list, § denotes membership of 40 years or more, * denotes membership of 35-39 years, and # denotes membership of 25-34 years. sopranos

Natalie Aldrich • Emily Anderson • Deborah Coyle Barry • Joy Emerson Brewer • Norma Caiazza • Jeni Lynn Cameron (soloist) • Catherine C. Cave • Anna S. Choi • Bridget Dennis • Emilia DiCola • Beth Grzegorzewski • Carrie Louise Hammond • Kathy Ho • Donna Kim • Nancy Kurtz • Jane Labriola • Barbara Abramoff Levy § • Sarah Mayo • Christiana Donal Meeks • Deirdre Michael • Kieran Murray • Ebele Okpokwasili-Johnson • Livia M. Racz • Melanie Salisbury # • Johanna Schlegel • Sarah Telford # • Alison L. Weaver • Sarah Wesley • Lauren Woo mezzo-sopranos

Anete Adams • Virginia Bailey • Lauren A. Boice • Janet L. Buecker • Abbe Dalton Clark • Diane Droste # • Barbara Durham • Barbara Naidich Ehrmann # • Paula Folkman* • Dorrie Freedman § • Irene Gilbride* • Mara Goldberg • Betty Jenkins • Irina Kareva • Susan L. Kendall • Yoo-Kyung Kim • Annie Lee • Gale Tolman Livingston # • Anne Forsyth Martín • Louise-Marie Mennier • Ana Morel • Maya Pardo • Roslyn Pedlar # • Laurie R. Pessah • Lori Salzman • Anne K. Smith • Amy Spound • Laura Webb (soloist) • Karen Thomas Wilcox tenors

Brad W. Amidon # • John C. Barr # • Ryan Casperson • Stephen Chrzan • John Cunningham • Sean Dillon • Tom Dinger • Ron Efromson • Carey D. Erdman • Keith Erskine • James E. Gleason • J. Stephen Groff # • David Halloran # • John W. Hickman # • Timothy O. Jarrett • Thomas Kenney • Lance Levine • Henry Lussier § • Daniel Mahoney • Guy F. Pugh • Lee Ransom • Tom Regan • Brian R. Robinson • David Roth • Arend Sluis • Peter L. Smith • Stephen E. Smith • Martin S. Thomson • Andrew Wang • Hyun Yong Woo basses

Nicholas Altenbernd • Nathan Black • Arthur M. Dunlap • Michel Epsztein • Jim Gordon • Jay S. Gregory # • Mark L. Haberman # • David M. Kilroy • Will Koffel • Bruce Kozuma # • Carl Kraenzel • Timothy Lanagan # • David K. Lones # • Martin F. Mahoney II • Greg Mancusi-Ungaro • Lynd Matt • Eryk P. Nielsen • Richard Oedel • Stephen H. Owades § • Donald R. Peck # • Michael Prichard # • Sebastian Rémi • Peter Rothstein § • Jonathan Saxton • Kenneth D. Silber • Samuel Truesdell • Bradley Turner # • Thomas C. Wang # • Matt Weaver • Lawson L.S. Wong

William Cutter, Rehearsal Conductor Martin Amlin, Rehearsal Pianist Eileen Huang, Rehearsal Pianist Karen Harvey, Rehearsal Pianist Erik Johnson, Chorus Manager Kristie Chan, Chorus and Orchestra Management Assistant

week 21 guest artists 71 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 • Catherine and Paul Buttenwieser • Cynthia and Oliver Curme/The Lost & Foundation, Inc. • Alan J. and Suzanne W. Dworsky • EMC Corporation • Germeshausen Foundation • Sally ‡ and Michael Gordon • Barbara and Amos Hostetter • Ted and Debbie Kelly • NEC Corporation • Megan and Robert O’Block • UBS • Stephen and Dorothy Weber

two and one half million Mary and J.P. Barger • Gabriella and Leo Beranek • Roberta and George ‡ Berry • Peter and Anne Brooke • Eleanor L. and Levin H. Campbell • Chiles Foundation • Mara E. Dole ‡ • Fairmont Copley Plaza and Fairmont Hotels and Resorts • Jane and Jack Fitzpatrick ‡ • Susan Morse Hilles ‡ • Dorothy and Charlie Jenkins • 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 • Kristin and Roger Servison • 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 (3)

72 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 ‡ • 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 ‡ • Delta Air Lines • Bob and Happy Doran • Alan and Lisa Dynner and Akiko ‡ Dynner • Deborah and Philip Edmundson • 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 ‡ • John Hancock Financial • Muriel E. and Richard L. ‡ Kaye • Nancy D. and George H. ‡ Kidder • Kingsbury Road Charitable Foundation • Audrey Noreen Koller ‡ • 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 • The Claudia and Steven Perles Family Foundation • 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 • 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 (7)

‡ Deceased

week 21 the great benefactors 73

Symphony Annual Fund Loyalty Giving

The Symphony Annual Fund provides more than $5 million in essential funding to sustain the Boston Symphony Orchestra’s mission. The BSO gratefully acknowledges the following individuals for their loyalty as Symphony Annual Fund donors. The list below represents more than 500 current Symphony Annual Fund donors who have contributed at the BSO Sonata level or above for the past five years as of February 23, 2016. ‡ This symbol denotes a deceased donor.

Mr. and Mrs. Henry F. Abbott • Amy and David Abrams • Mrs. Herbert Abrams • Alli and Bill Achtmeyer • Noubar and Anna Afeyan • Jim and Virginia Aisner • Constantine Alexander and Linda Reinfeld • Dr. and Mrs. Menelaos Aliapoulios • Joel and Lisa Alvord • David and Holly Ambler • Mrs. Oliver F. Ames • Shirley and Walter ‡ Amory • Mr. B. Scott S. Andersen and Ms. Sandra K. Peters • Lois and Harlan Anderson • Ms. Eleanor Andrews • Dr. Donald A. Antonioli and Mr. Robert Goepfert • Mr. Peter Arden • Dr. Ronald Arky • Dorothy and David ‡ Arnold • Drs. Elissa and Daniel Arons • Marjorie Arons-Barron and James H. Barron • Jean and Joseph Ash • Mr. and Mrs. Laurence Asquith • Diane M. Austin and Aaron J. Nurick • Lloyd Axelrod, M.D. • Mr. Henry W. Bain • Sandy and David Bakalar • Mrs. Hope Lincoln Baker • Dr. Peter A. Banks • Donald P. Barker, M.D. • Ms. Teresa Barlozzari and Mr. Roy B. Welke • Mr. and Mrs. Eugene F. Barnes III • Mr. and Mrs. K.H. Barney • Judith and Harry Barr • Dr. and Mrs. James E. Barrett, Jr. • Mr. and Mrs. John D. Barry • Hanna and James Bartlett • Lucille Batal • Ms. Enid L. Beal • John and Molly Beard • Mr. and Mrs. George D. Behrakis • Mr. Lawrence Bell • Drs. A. Robert and Jean Bellows • Dr. and Mrs. Karl T. Benedict, Jr. • Gabriella and Leo Beranek • Mrs. Betsy Bergen • Deborah Davis Berman and William H. ‡ Berman • Roz and Wally Bernheimer • Leonard and Jane Bernstein • Roberta and George ‡ Berry • Mrs. Philip W. Bianchi • Susan and Walter Birge • Ann Bitetti and Doug Lober • Mrs. Linda Cabot Black • Mr. Peter M. Black • Mrs. Stanton L. Black • Mr. and Mrs. Zenas W. Bliss • Brad and Terrie Bloom • Mrs. Carolyn Boday • Mr. Edward Boesel • Joan and John ‡ Bok • Mark G. and Linda Borden • Partha and Vinita Bose • Mr. and Mrs. ‡ John M. Bradley • Traudy and Stephen Bradley • Mr. and Mrs. Hale Bradt • Catherine Brigham • William David Brohn • Peter and Anne Brooke • Mr. Joseph J. Brooks • Ellen and Ronald Brown • Marilyn Bruneau • Drs. Andrea and Brad Buchbinder • Matthew Budd and Rosalind Gorin • Gregory E. Bulger Foundation/Gregory Bulger and Richard Dix • Mr. and Mrs. William T. Burgin • Joanne and Timothy Burke • Mrs. Winifred B. Bush • Catherine and Paul Buttenwieser • Mrs. Betsy Cabot • Julie and Kevin Callaghan • Eleanor L. and Levin H. Campbell • Mr. Levin H. Campbell, Jr. • Jane Carr and Andy Hertig • Ronald G. and Ronni J. Casty • James Catterton ‡ and Lois Wasoff •

week 21 symphony annual fund loyalty giving 75 The Cavanagh Family • Mrs. Assunta Cha • Katherine Chapman and Thomas Stemberg ‡ • Mr. Theodore Chu • Mr. and Mrs. Dan Ciampa • Mrs. Anne W. Clapp • Mr. Gregory T. Clark • Ronald and Judy Clark • Mr. and Mrs. Frederic M. Clifford • Mr. David R. Coffman • John F. Cogan, Jr. and Mary L. Cornille • Dr. Lawrence H. ‡ and Roberta Cohn • Marjorie B. and Martin Cohn • Mr. Stephen Coit and Ms. Susan Napier • Mrs. I.W. Colburn • Mrs. Charles C. Colby III • Mrs. Abram Collier • Donna and Don Comstock • Mr. John E. Connolly, Jr. • Jill K. Conway • Dr. Mark H. Cooley • Dr. Charles L. Cooney and Ms. Peggy Reiser • Mr. and Mrs. John C. Cox • Ernest Cravalho and Ruth Tuomala • Albert and Hilary Creighton • Robert and Sarah Croce • Dr. and Mrs. Robert Crone • Prudence and William Crozier • Diddy and John Cullinane • Joanna Inches Cunningham • Joan P. and Ronald C. Curhan • Cynthia and Oliver Curme • Sally Currier and Saul Pannell • Mr. Mark Cushing • Eve and Philip D. Cutter • Edith L. and Lewis S. ‡ Dabney • Gene and Lloyd Dahmen • Robert and Sara Danziger • Mr. and Mrs. Allen N. David • Tamara P. and Charles H. Davis II • Drs. Anna L. and Peter B. Davol • Vincent & Hillary De Baun • Mr. and Mrs. Miguel de Bragança • Mr. and Mrs. Robert J. De Valle • Dr. Mark Dershwitz and Dr. Renee Goetzler • Pat and John Deutch • Charles and JoAnne Dickinson • Michelle Dipp • Richard Dixon and Douglas Rendell • Nina L. and Eugene B. Doggett • Phyllis Dohanian • Robert Donaldson and Judith Ober • Happy and Bob Doran • Dr. Reed Drews and Dr. Lisa Iezzoni • Mr. David L. Driscoll • Alan J. and Suzanne W. Dworsky • Alan and Lisa Dynner • Mr. and Mrs. George Howard Edmonds • Deborah and Philip Edmundson • William and Deborah Elfers • Mrs. William V. Ellis • Mrs. Richard S. Emmet • Priscilla Endicott • Ms. Martha A. Erickson • Elizabeth and Frederic Eustis • Pamela Everhart and Karl Coiscou • Ziggy Ezekiel ‡ and Suzanne Courtright Ezekiel • Peter and Ellen Fallon Fund • Thomas and Winifred Faust • Mrs. Samuel B. Feinberg ‡ • Roger and Judith Feingold • Mr. and Mrs. John K. Felter • Shirley and Richard ‡ Fennell • Andrew and Margaret Ferrara • Mr. and Mrs. Stephen D. Fink • Mr. and Mrs. Niles D. Flanders • Mrs. Jeanne M. Forel • Velma Frank • Myrna H. and Eugene M. ‡ Freedman • Mr. Barry L. Friedman • Rick and Lisa Frisbie • Dr. and Mrs. Stuart L. Fuld • Dr. and Mrs. Walter J. Gamble • Beth and John Gamel • Dozier and Sandy Gardner • Mr. Fred Gardner and Ms. Sherley Gardner-Smith • Mr. and Mrs. John L. Gardner • Dr. and Mrs. Levi A. Garraway • Jim and Becky Garrett • Rose and Spyros Gavris • Arthur and Linda Gelb • Joan and Francis Gicca • Nelson S. Gifford • Joy S. Gilbert • Mr. and Mrs. Paul B. Gilbert • Bob and Donna Gittens • Barbara and Robert Glauber • Mrs. Richard R. Glendon • Mrs. Bernice B. Godine • Drs. Alfred L. and Joan H. Goldberg • Carol R. and Avram J. Goldberg • Thelma ‡ and Ray Goldberg • Jordan and Sandy Golding • Mr. David M. Goldman • Roberta Goldman • Adele C. Goldstein • Mr. and Mrs. Mark Goldweitz • Mr. and Mrs. Robert G. Gordon • Jack Gorman • Mr. Frank C. Graves • Mr. and Mrs. Alan Green • Judy Green, PhD and Mr. Daryl Durant • Raymond and Joan Green • Madeline L. Gregory • Marjorie and Nicholas Greville • The Rt. Rev. and Mrs. J. Clark Grew • David and Harriet Griesinger • Mr. and Mrs. Lee Grodzins • The Grossman Family Charitable Foundation • Janice Guilbault • Dr. and Mrs. John G. Gunderson • Mrs. Jean Haffenreffer • Anne Blair Hagan • Janice Harrington and John Matthews • John and Ellen Harris • Mrs. Francis W. Hatch • Daphne and George Hatsopoulos • Deborah Hauser • Mr. and Mrs. Ulf B. Heide • Dr. Edward Heller, Jr. • Mr. Clifton E. Helman • Carol and Robert Henderson •

76 Mr. Gardner C. Hendrie and Ms. Karen J. Johansen • Mr. and Mrs. Brent L. Henry • Mrs. Nancy R. Herndon • Mrs. Patricia A. Herrin • Drs. James and Eleanor Herzog • Mr. and Mrs. Richard D. Hill • Mr. and Mrs. Donald Hillman • Mr. James G. Hinkle and Mr. Roy Hammer • Mary and Harry Hintlian • Patricia and Galen Ho • Dr. Susan Hockfield and Dr. Thomas N. Byrne • Arthur C. and Eloise Hodges • Mr. and Mrs. Peter K. Hoffman • Pat and Paul Hogan • Albert A. Holman III and Susan P. Stickells • Mr. and Mrs. Charles Hood • Miss Isabel B. Hooker • Timothy P. Horne • Ms. Ruth Horowitz and Mr. Robert Schwartz • Barbara and Amos Hostetter • Sally and Fred Houck • Mr. Rogers V. Howard • Mrs. Lorraine K. Howland • Mr. and Mrs. D. Eric Huenneke • Mr. Nubar Hugopian • G. Lee and Diana Y. Humphrey • Mr. and Mrs. Roger Hunt • Joanie V. Ingraham • Anne and Blake Ireland • Cerise Lim Jacobs, for Charles • Mr. and Mrs. Norman A. Jacobs • Mr. and Mrs. Leland H. Jenkins • Mrs. Gwendolyn Jensen • Mr. and Mrs. Pliny Jewell III • Mimi and George Jigarjian • Dr. and Mrs. G. Timothy Johnson • Holly and Bruce Johnstone • Prof. Paul L. Joskow and Dr. Barbara Chasen Joskow • Mr. and Mrs. Alvin Kagan • Barbara and Leo Karas • Ms. Julie Kaufman • Ted and Debbie Kelly • Joan Bennett Kennedy • Paul L. King • Mrs. Thomas P. King • Mary S. Kingsbery • Mr. and Mrs. Gordon F. Kingsley • Dr. Ethan Hillary Kisch and Dr. Helene Kisch-Pniewski • Mr. John L. Klinck, Jr. • Mrs. Rita Knapp • Dr. Nancy Koehn • Susan G. Kohn • The Krapels Family • Barbara N. Kravitz • Lizbeth and George Krupp • Pamela S. Kunkemueller • Mr. and Mrs. ‡ Benjamin H. Lacy • Robert A. and Patricia P. Lawrence • Mr. and Mrs. David S. Lee • Mr. Francis M. Lee • Mr. and Mrs. Henry Lee • Mr. and Mrs. Don LeSieur • Rosemarie and Alexander Levine • Dr. Lynne L. Levitsky and Dr. Sidney Levitsky • David W. Lewis, Jr. • Emily Lewis • Drs. Robert and Judy Lindamood • Joyce Linde • Thomas and Adrienne Linnell • Elizabeth W. and John M. Loder • Mr. Stephen E. Loher • Dr. and Mrs. Frederick H. Lovejoy, Jr. • Anne R. Lovett and Stephen G. Woodsum • Nancy and Richard Lubin • Mr. Anthony S. Lucas • Peter E. and Betsy Ridge Madsen • Mr. Charles S. Maier and Pauline Maier • James A. Manninen ‡ • Nancy Lurie Marks Family Foundation • Mr. and Mrs. John E. Marshall III • Mr. and Mrs. Jeffrey E. Marshall • Carmine A. and Beth V. Martignetti • Dr. and Mrs. Joseph B. Martin • Mr. Lawrence A. Martin, Jr. • Jane and Robert J. Mayer, M.D. • Paul J. and Wladzia McCarthy • Margaret and Brian McMenimen • Mr. and Mrs. John F. McNamara • Kurt and Therese Melden • Ms. Gayle M. Merling and Mr. James D. Shields • Ann Merrifield and Wayne Davis • Mr. and Mrs. Bernard F. Meyer • Henrietta N. Meyer ‡ • Mr. Unique Michaud • Dr. Harold Michtewitz • Mr. Robert E. Middleton • Ms. Sharon A. Miller • Dale and Robert Mnookin • Kyra and Jean Montagu • Mr. and Mrs. Paul M. Montrone • Sandra Moose and Eric Birch • Betty Morningstar and Jeanette Kruger • Mrs. Alice Boardman Morrish • Richard P. and Claire W. Morse Foundation • Robert and Jane Morse • Kristin A. Mortimer • Ms. Judith L. Nathanson and Mr. Neil E. Onerheim • Anne J. Neilson • Jerry and Mary ‡ Nelson • Mrs. Ann Little Newbury • Mary S. Newman • Andrew Nichols and Roslyn Daum • Cornelia G. Nichols • George and Connie Noble • Kathleen and Richard Norman • Mr. and Mrs. Geoffrey Nunes • Jan Nyquist and David Harding • Mrs. Richard P. Nyquist • John David Ober • Megan and Robert O’Block • Mr. and Mrs. Herbert W. Oedel • Mr. and Mrs. Gerald F. O’Neil • Drs. Roslyn W. and Stuart H. Orkin • Dr. and Mrs. E. P. Palmer • Rev. Eleanor J. Panasevich • Jane and Neil Pappalardo •

week 21 symphony annual fund loyalty giving 77 Jon and Deborah Papps • Mr. and Mrs. Michael Payne • Kitty Pechet • Dr. and Mrs. Joseph L. Pennacchio • Mr. Baruch Perlman • Drs. James and Ellen Perrin • Mr. Edward Perry and Ms. Cynthia Wood • Mr. John A. Perry • Slocumb H. and E. Lee Perry • Ann M. Philbin • Mr. and Mrs. Nicholas J. Philopoulos • Polly and Dan ‡ Pierce • Janet and Irv Plotkin • Jonathan and Amy Poorvu • William and Lia Poorvu • Elizabeth F. Potter and Joseph L. Bower • Susanne and John Potts • William and Helen Pounds • Dr. Tina Young Poussaint and Dr. Alvin Poussaint • Mr. Stephen R. Powell • Mr. and Mrs. Fred Pratt • Mr. and Mrs. Robert O. Preyer • Mr. John Provino • Michael C.J. Putnam • James and Melinda Rabb • Dr. Jane M. Rabb • Dr. Herbert Rakatansky and Mrs. Barbara Sokoloff • Helen and Peter Randolph • Peter and Suzanne Read • Rita and Norton Reamer • John S. and Cynthia Reed • Douglas Reeves and Amy Feind Reeves • John Sherburne Reidy • Linda H. Reineman • Ms. Harriet V. Relman • Robert and Ruth Remis • Dr. and Mrs. George B. Reservitz • Sharon and Howard Rich • Kennedy P. and Susan M. Richardson • Dr. Robin S. Richman and Dr. Bruce Auerbach • Louise C. Riemer • Dorothy B. and Owen W. Robbins • Mr. George Roberts • Rev. Raymond A. Robillard • Mr. Daniel L. Romanow and Mr. B. Andrew Zelermyer • Mr. James C. Rosenfeld and Ms. Sharon L. Nolan • Judy and David Rosenthal • Mr. and Mrs. Henry Rosovsky • Sue Rothenberg • Debora and Alan Rottenberg • Lisa and Jonathan Rourke • William and Kathleen Rousseau • Maureen and Joe Roxe/The Roxe Foundation • Arnold Roy • Sean Rush and Carol C. McMullen • Paul and Angela Sapienza • Joanne Zervas Sattley • Norma and Roger A. Saunders • Mr. Ralph L. Sautter • Dr. Charles D. Schaeffer, Jr. •

78 Cynthia and Grant Schaumburg • Carol Scheman and David Korn • Betty and Pieter Schiller • Benjamin Schore • Mr. and Mrs. Marvin G. Schorr • Mr. Rodney D. Schuller • Arthur and Linda Schwartz • Dr. and Mrs. R. Michael Scott • David and Marie Louise Scudder • Robert and Rosmarie Scully • Carol Searle and Andrew Ley • Mrs. Francis P. Sears, Jr. • Mr. Stephen D. Senturia • Ms. Mary Ann Serra • Kristin and Roger Servison • The Shane Foundation • Ms. Ruth Shane • Mr. and Mrs. David L. Shapiro • Eileen Shapiro and Reuben Eaves • Freema Shapiro • Wendy Shattuck and Samuel Plimpton • Mr. Daniel H. Sheingold • Mr. and Mrs. Ross E. Sherbrooke • Betsy and Will Shields • Mr. and Mrs. John Simione • Marshall Sirvetz • Maggie and Jack Skenyon • Gilda Slifka • Ms. Susan Sloan and Mr. Arthur Clarke • Christopher and Cary Smallhorn • Mr. Frank W. Smith • Ms. Nancy F. Smith • Mr. and Mrs. Richard J. Smith • Richard and Susan Smith Family Foundation: Richard and Susan Smith; John and Amy S. Berylson and James Berylson; Jonathan Block and Jennifer Berylson Block; Robert Katz and Elizabeth Berylson Katz; Robert and Dana Smith; Debra S. Knez, Jessica Knez and Andrew Knez • Mr. Edward Sonn • Ms. Eileen M. Sporing • Mr. and Mrs. Joseph D. Spound • George and Lee Sprague • David and Patricia Squire • Mr. and Mrs. Harold Stahler • Sharon Stanfill • Maria and Ray Stata • Nancy and Edward Stavis • Sharon and David Steadman • Mr. Joel A. Stein • Nancy F. Steinmann • Valerie and John Stelling • Mrs. Edward A. Stettner • Fredericka and Howard Stevenson • Galen and Anne Stone • Theresa M. and Charles F. Stone III • John and Katherine Stookey • Dr. John H. Straus and Mrs. Liza Ketchum • Mr. Joseph A. Sullivan, Jr. • Mrs. William H. Sweet • Louise and Joseph Swiniarski • Jeanne and John Talbourdet • Patricia L. Tambone • Mr. Thomas Tarpey • Richard S. Taylor • Mr. and Mrs. Edwin H. Tebbetts • Mr. Wheeler M. Thackston • Mr. and Mrs. Mark D. Thompson • Judith Ogden Thomson • John Lowell Thorndike • Mr. and Mrs. W. Nicholas Thorndike • Mr. and Mrs. Samuel Thorne • Marian and Dick Thornton • Mr. and Mrs. Arnold B. Tofias • Magdalena Tosteson • Diana O. Tottenham • Philip C. Trackman • Stephen, Ronney, Wendy, and Roberta Traynor • Blair Trippe • Marc and Nadia Ullman • Mr. Scott Utzinger • Mr. and Mrs. John H. Valentine • Mr. Jacobus Van Heerden • Mr. and Mrs. Jack H. Vernon • Mr. and Mrs. Robert A. Vieira • Mr. and Mrs. Mark Volpe • Gail and Ernst von Metzsch • Mrs. Audrey F. Wagner • Dr. Arthur C. Waltman and Ms. Carol Watson • Eric and Sarah Ward • Harvey and Joëlle Wartosky • Mrs. Charles H. Watts II • Ms. Jacqueline J. Waxlax • Matthew and Susan Weatherbie • Stephen and Dorothy Weber • Ruth and Harry Wechsler • Mr. and Mrs. Sinclair Weeks, Jr. • Mr. and Mrs. John P. Weitzel • Mrs. Mary M. Wendell • Allen C. West • Drs. Christoph and Sylvia Westphal • Elizabeth and James Westra • Edward T. Whitney, Jr. • Ms. Jane M. Williams • Mrs. Margaret Williams-DeCelles • Sally and Dudley Willis • Albert O. Wilson, Jr. • Elizabeth H. Wilson • Robert and Roberta Winters • Frank Wisneski and Lynn Dale • Ms. Mary F. Wolfson • Chip and Jean Wood • Rosalyn Kempton Wood • Drs. Richard and Judith Wurtman • Dr. Hideo and Dr. Samantha Yamamoto • Dr. and Mrs. Bernard S. Yudowitz • Marillyn Zacharis • Mrs. Thelma Zelen • Dr. and Mrs. Nicholas T. Zervas • Rhonda ‡ and Michael J. Zinner, M.D. • Mrs. Rya W. Zobel • Mr. and Mrs. Peter Zschokke • Brooks and Linda Zug • Anonymous (33)

week 21 symphony annual fund loyalty giving 79

Administration

Mark Volpe, Eunice and Julian Cohen Managing Director, endowed in perpetuity Anthony Fogg, Artistic Administrator and Director of Tanglewood 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 Operating and Communications Ofﬁcer Bart Reidy, Director of Development Ray F. Wellbaum, Orchestra Manager administrative staff/artistic

Bridget P. Carr, Senior Archivist • Kristie Chan, Assistant to the Artistic Administrator • Julie Giattina Moerschel, Executive Assistant to the Managing Director • Vincenzo Natale, Chauffeur/Valet • Sarah Radcliffe-Marrs, Manager of Artists Services • Eric Valliere, Assistant Artistic Administrator administrative staff/production Christopher W. Ruigomez, Director of Concert Operations and Assistant Director of Tanglewood Kristie Chan, Chorus and Orchestra Management Assistant • H.R. Costa, Technical Director • Erik Johnson, Chorus Manager • Tuaha Khan, Stage Technician • Jake Moerschel, Technical Supervisor/Assistant Stage Manager • Leah Monder, Operations Manager • John Morin, Stage Technician • Mark C. Rawson, Stage Technician • Emily W. Siders, Concert Operations Administrator • Nick Squire, Recording Engineer • Andrew Tremblay, Assistant to the Orchestra Personnel Manager/ Audition Coordinator 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 • Karen Guy, Accounts Payable Supervisor • Minnie Kwon, Payroll Associate • Evan Mehler, Budget Manager • Robin Moxley, 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

week 21 administration 81 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 Kyla Ainsworth, Donor Acknowledgment and Research Coordinator • 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 • Diane Cataudella, Associate Director, Donor Relations • Caitlin Charnley, Donor Ticketing Associate • Allison Cooley, Major Gifts Officer • Emily Diaz, Assistant Manager, Gift Processing • Emily Fritz-Endres, Executive Assistant to the Director of Development • Barbara Hanson, Senior Leadership Gifts Officer • James Jackson, Assistant Director, Telephone Outreach • Jennifer Johnston, Graphic Designer/Print Production Manager • Laine Kyllonen, Assistant Manager, Donor Relations • 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 • Johanna Pittman, Grant Writer • Maggie Rascoe, Annual Funds Coordinator • Emily Reynolds, Assistant Director, Development Information Systems • Francis Rogers, Major Gifts Officer • Drew Schweppe, Major Gifts Coordinator • Alexandria Sieja, Assistant Director, 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 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

week 21 administration 83 84 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, Senior Publicist • Alyssa Kim, Senior Publicist • Taryn Lott, Assistant Director of Public Relations 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 Amy Aldrich, Associate Director of Subscriptions and Patron Services • Christopher Barberesi, Assistant Manager, Corporate Partnerships • Gretchen Borzi, Associate Director of Marketing • Lenore Camassar, Associate Manager, SymphonyCharge • Megan Cokely, Group Sales Manager • Susan Coombs, SymphonyCharge Coordinator • Jonathan Doyle, Graphic Designer • Paul Ginocchio, Manager, Symphony Shop and Tanglewood Glass House • Leslie Kwan, Associate Director of Marketing Promotions and Events • George Lovejoy, SymphonyCharge Representative • Mary Ludwig, Manager, Corporate Sponsor Relations • 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 • Meaghan O’Rourke, Internet Marketing and Social Media Manager • 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 • Kevin Toler, Art Director • Himanshu Vakil, Associate Director of Internet and Security Technologies • Claudia Veitch, Director, BSO Business Partners • Thomas Vigna, Group Sales and Marketing Associate • Amanda Warren, Graphic Designer • David Chandler Winn, Tessitura Liaison and Associate Director of Tanglewood Ticketing box ofﬁce Jason Lyon, Symphony Hall Box Office Manager • Nicholas Vincent, Assistant Manager

Jane Esterquest, Box Office Administrator • Arthur Ryan, Box Office Representative 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

week 21 administration 85

Boston Symphony Association of Volunteers executive committee Chair, Martin Levine Vice-Chair, Boston, Gerald L. Dreher Vice-Chair, Tanglewood, Alexandra Warshaw Secretary, Susan Price Co-Chairs, Boston Suzanne Baum • Mary Gregorio • Trish Lavoie Co-Chairs, Tanglewood Judith Benjamin • Bob Braun • David Galpern Liaisons, Tanglewood Glass Houses, Stanley Feld • Ushers, Carolyn Ivory boston project leads 2015-16

Café Flowers, Stephanie Henry and Kevin Montague • Chamber Music Series, Rita Richmond and Christine Watson • Computer and Office Support, Helen Adelman • Flower Decorating, Linda Clarke • Guide’s Guide, Audley H. Fuller and Renee Voltmann • Instrument Playground, Melissa Riesgo • Mailings, George Mellman • Membership Table/Hall Greeters, Sabrina Ellis • Newsletter, Richard Pokorny • Recruitment, Retention, Reward, Rosemary Noren • Symphony Shop, Karen Brown • Tour Guides, Cathy Mazza

week 21 administration 87 Next Program…

Thursday, March 31, 10:30am (Open Rehearsal; Pre-Rehearsal Talk from 9:30-10am in Symphony Hall) Thursday, March 31, 8pm Friday, April 1, 8pm Saturday, April 2, 8pm Tuesday, April 5, 8pm

bernard haitink conducting

beethoven piano concerto no. 4 in g, opus 58 Allegro moderato Andante con moto Rondo: Vivace murray perahia

{intermission}

mahler symphony no. 1 in d Langsam. Schleppend [Slow. Dragging] Kräftig bewegt, doch nicht zu schnell; [With powerful motion, but not too fast] Trio: Recht gemächlich [Pretty easygoing] Feierlich und gemessen, ohne zu schleppen [Solemn and measured, without dragging] Stürmisch bewegt [With tempestuous motion]

BSO Conductor Emeritus Bernard Haitink leads music of Beethoven and Mahler to mark the 45th anniversary of his first appearance with the Boston Symphony Orchestra. To open the program, Maestro Haitink and the great American pianist Murray Perahia collaborate in Beethoven’s Fourth Piano Concerto. Completed in 1806, the concerto begins surprisingly with unaccompanied piano and is cast in Beethoven’s warm, relaxed mode; the middle movement sets up a conflict between the impassioned strings and the contemplative piano. Mahler’s powerful Symphony No. 1, completed in his late twenties, is in a four-movement, mostly traditional form, but already hints at the expan- siveness and innovation of his later symphonies, and draws on melodies that reflect the folk music and natural environment of his native central Europe.

Single tickets for all Boston Symphony concerts throughout the season are available online at bso.org, by calling Symphony Charge at (617) 266-1200 or toll-free at (888) 266-1200, or at the Symphony Hall box office Monday through Friday from 10 a.m. to 6 p.m. (Saturday from 12 noon to 6 p.m.). Please note that there is a $6.50 handling fee for each ticket ordered by phone or online.

88 Coming Concerts… friday previews and rehearsal talks: The BSO offers half-hour talks prior to all of the BSO’s Friday-afternoon subscription concerts and Thursday-morning Open Rehearsals. Free to all ticket holders, the Friday Previews take place from 12:15-12:45 p.m. and the Open Rehearsal Talks from 9:30-10 a.m. in Symphony Hall.

Tuesday ‘C’ March 29, 8-10:20 Thursday ‘A’ April 14, 8-9:40 ANDRISNELSONS, conductor Friday ‘A’ April 15, 1:30-3:10 Saturday ‘A’ April 16, 8-9:40 TANGLEWOOD FESTIVAL CHORUS, BETSYBURLEIGH, guest chorus conductor Tuesday ‘C’ April 17, 8-9:40 ANDRISNELSONS SHOSTAKOVICH Suite from Incidental music , conductor to Hamlet MAHLER Symphony No. 9 KANCHELI Dixi, for chorus and orchestra SHOSTAKOVICH Symphony No. 8 Thursday ‘C’ April 21, 8-9:45 Friday ‘B’ April 22, 1:30-3:15 Thursday, March 31, 10:30am (Open Rehearsal) Saturday ‘B’ April 23, 8-9:45 Thursday ‘C’ March 31, 8-10:05 ANDRISNELSONS, conductor Friday Evening April 1, 8-10:05 KRISTINEOPOLAIS, soprano Saturday ‘B’ April 2, 8-10:05 Tuesday ‘C’ April 5, 8-10:05 DUTILLEUX Métaboles RACHMANINOFF Zdes’ khorosho (How fair BERNARDHAITINK, conductor this place) MURRAY PERAHIA , piano TCHAIKOVSKY Letter Scene from Eugene BEETHOVEN Piano Concerto No. 4 Onegin MAHLER Symphony No. 1 DEBUSSY La Mer RAVEL La Valse

Thursday ‘D’ April 7, 8-10:05 Friday ‘B’ April 8, 1:30-3:35 Sunday, April 24, 3pm Saturday ‘A’ April 9, 8-10:05 Jordan Hall, New England Conservatory Tuesday ‘B’ April 12, 8-10:05 BOSTONSYMPHONYCHAMBERPLAYERS

ANDRISNELSONS, conductor FRANÇAIX Trio for oboe, clarinet, and MALCOLMLOWE, violin bassoon STEVENANSELL, viola HANNAHLASH Three Shades Without Angles, for flute, viola, and harp MOZART Sinfonia concertante for violin and viola, K.364 BEETHOVEN String Trio in D, Op. 9, No. 2 BRUCKNER Symphony No. 3 (1889 version) SPOHR Nonet for flute, oboe, clarinet, bassoon, horn, violin, viola, cello, and double bass

Programs and artists subject to change.

week 21 coming concerts 89 Symphony Hall Exit Plan

90 Symphony Hall Information

For Symphony Hall concert and ticket information, call (617) 266-1492. For Boston Symphony concert program information, call “C-O-N-C-E-R-T” (266-2378). The Boston Symphony Orchestra performs ten months a year, in Symphony Hall and at Tanglewood. For information about any of the orchestra’s activities, please call Symphony Hall, visit bso.org, or write to the Boston Symphony Orchestra, Symphony Hall, 301 Massachusetts Avenue, Boston, MA 02115. The BSO’s web site (bso.org) provides information on all of the orchestra’s activities at Symphony Hall and at Tanglewood, and is updated regularly. In addition, tickets for BSO concerts can be purchased online through a secure credit card transaction. The Eunice S. and Julian Cohen Wing, adjacent to Symphony Hall on Huntington Avenue, may be entered by the Symphony Hall West Entrance on Huntington Avenue. In the event of a building emergency, patrons will be notified by an announcement from the stage. Should the building need to be evacuated, please exit via the nearest door (see map on opposite page), or according to instructions. For Symphony Hall rental information, call (617) 638-9241, or write the Director of Event Administration, Symphony Hall, Boston, MA 02115. The Box Office is open from 10 a.m. until 6 p.m. Monday through Friday (12 noon until 6 p.m. on Saturday), until 8:30 p.m. on concert evenings, and for a half-hour past starting time for other events. In addition, the box office opens at least two hours prior to most Sunday performances. Single tickets for all Boston Symphony subscription concerts are available at the box office. To purchase BSO Tickets: American Express, MasterCard, Visa, Diners Club, Discover, a personal check, and cash are accepted at the box office. To charge tickets instantly on a major credit card, call “SymphonyCharge” at (617) 266-1200, from 10 a.m. until 6 p.m. Monday through Friday (12 noon to 6 p.m. on Saturday). Outside the 617 area code, phone 1-888-266-1200. As noted above, tickets can also be purchased online. There is a handling fee of $6.50 for each ticket ordered by phone or online. Group Sales: Groups may take advantage of advance ticket sales. For BSO concerts at Symphony Hall, groups of twenty-five or more may reserve tickets by telephone and take advantage of ticket discounts and flexible payment options. To place an order, or for more information, call Group Sales at (617) 638-9345 or (800) 933-4255, or e-mail [email protected]. For patrons with disabilities, elevator access to Symphony Hall is available at both the Massachusetts Avenue and Cohen Wing entrances. An access service center, large print programs, and accessible restrooms are available inside the Cohen Wing. For more information, call the Access Services Administrator line at (617) 638-9431 or TDD/TTY (617) 638-9289. In consideration of our patrons and artists, children age four or younger will not be admitted to Boston Symphony Orchestra concerts. Please note that no food or beverage (except water) is permitted in the Symphony Hall auditorium. Patrons who bring bags to Symphony Hall are subject to mandatory inspections before entering the building. Those arriving late or returning to their seats will be seated by the patron service staff only during a convenient pause in the program. Those who need to leave before the end of the concert are asked to do so between program pieces in order not to disturb other patrons.

Each ticket purchased from the Boston Symphony Orchestra constitutes a license from the BSO to the pur- chaser. The purchase price of a ticket is printed on its face. No ticket may be transferred or resold for any price above its face value. By accepting a ticket, you are agreeing to the terms of this license. If these terms are not acceptable, please promptly contact the Box Ofﬁce at (617) 266-1200 or [email protected] in order to arrange for the return of the ticket(s).

week 21 symphony hall information 91 Ticket Resale: If you are unable to attend a Boston Symphony concert for which you hold a subscription ticket, you may make your ticket available for resale by calling (617) 266-1492 during business hours, or (617) 638-9426 up to one hour before the concert. This helps bring needed revenue to the orchestra and makes your seat available to someone who wants to attend the concert. A mailed receipt will acknowledge your tax-deductible contribution. Rush Seats: There are a limited number of Rush Seats available for Boston Symphony subscription concerts on Tuesday and Thursday evenings, and on Friday afternoons. The low price of these seats is assured through the Morse Rush Seat Fund. Rush Tickets are sold at $9 each, one to a customer, at the Symphony Hall box office on Fridays as of 10 a.m. for afternoon concerts, and on Tuesdays and Thursdays as of 5 p.m. for evening concerts. Please note that there are no Rush Tickets available for Friday and Saturday evenings. Please note that smoking is not permitted anywhere in Symphony Hall. Camera and recording equipment may not be brought into Symphony Hall during concerts. Lost and found is located at the security desk at the stage door to Symphony Hall on St. Stephen Street. First aid facilities for both men and women are available. On-call physicians attending concerts should leave their names and seat locations at the Cohen Wing entrance on Huntington Avenue. Parking: The Prudential Center Garage and Copley Place Parking on Huntington Avenue offer discounted parking to any BSO patron with a ticket stub for evening performances. Limited street parking is available. As a special benefit, guaranteed pre-paid parking near Symphony Hall is available to subscribers who attend evening concerts. For more information, call the Subscription Office at (617) 266-7575. Elevators are located outside the O’Block/Kay and Cabot-Cahners rooms on the Massachusetts Avenue side of Symphony Hall, and in the Cohen Wing. Ladies’ rooms are located on both main corridors of the orchestra level, as well as at both ends of the first balcony, audience-left, and in the Cohen Wing. Men’s rooms are located on the orchestra level, audience-right, outside the O’Block/Kay Room near the elevator; on the first-balcony level, also audience-right near the elevator, outside the Cabot-Cahners Room; and in the Cohen Wing. Coatrooms are located on the orchestra and first-balcony levels, audience-left, outside the O’Block/Kay and Cabot-Cahners rooms, and in the Cohen Wing. Please note that the BSO is not responsible for personal apparel or other property of patrons. Lounges and Bar Service: There are two lounges in Symphony Hall. The O’Block/Kay Room on the orchestra level and the Cabot-Cahners Room on the first-balcony level serve drinks starting one hour before each performance. For the Friday-afternoon concerts, both rooms open at noon, with sandwiches available until concert time. Drink coupons may be purchased in advance online or through SymphonyCharge for all performances. Boston Symphony Broadcasts: Saturday-evening concerts of the Boston Symphony Orchestra are broadcast live in the Boston area by 99.5 All-Classical. BSO Friends: The Friends are donors who contribute $100 or more to the Boston Symphony Orchestra Annual Funds. For information, please call the Friends of the BSO Office at (617) 638-9276 or e-mail [email protected]. If you are already a Friend and you have changed your address, please inform us by sending your new and old addresses to Friends of the BSO, Symphony Hall, Boston, MA 02115. Including your patron number will assure a quick and accurate change of address in our files. BSO Business Partners: The BSO Business Partners program makes it possible for businesses to participate in the life of the Boston Symphony Orchestra. Benefits include corporate recognition in the BSO program book, access to the Beranek Room reception lounge, two-for-one ticket pricing, and advance ticket ordering. For further information, please call the BSO Business Partners Office at (617) 638-9275 or e-mail [email protected]. The Symphony Shop is located in the Cohen Wing at the West Entrance on Huntington Avenue and is open Thursday and Saturday from 3 to 6 p.m., and for all Symphony Hall performances through intermission. The Symphony Shop features exclusive BSO merchandise, including calendars, coffee mugs, an expanded line of BSO apparel and recordings, and unique gift items. The Shop also carries children’s books and musical-motif gift items. A selection of Symphony Shop merchandise is also available online at bso.org and, during concert hours, outside the Cabot-Cahners Room. All proceeds benefit the Boston Symphony Orchestra. For further information and telephone orders, please call (617) 638-9383, or purchase online at bso.org.