2017–18 Season Week 23 Britten Chopin Mendel Ohn Ss

2017–18 season andris nelsons music director

week 23 britten chopin mendel ss ohn

Season Sponsors seiji ozawa music director laureate bernard haitink conductor emeritus supporting sponsorlead sponsor supporting sponsorlead thomas adès artistic partner Better Health, Brighter Future

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Takeda is proud to support the Boston Symphony Orchestra Table of Contents | Week 23

7 bso news 1 5 on display in symphony hall 18 bso music director andris nelsons 2 0 the boston symphony orchestra 2 4 this week’s program

Notes on the Program

26 The Program in Brief… 27 Benjamin Britten 35 Fryderyk Chopin 41 Felix Mendelssohn-Bartholdy 49 To Read and Hear More…

Guest Artists

53 Tugan Sokhiev 55 Jan Lisiecki

60 sponsors and donors 80 future programs 82 symphony hall exit plan 8 3 symphony hall information

the friday preview on april 20 is given by bso director of program publications marc mandel.

BOSTON SYMPHONY ORCHESTRA Symphony Hall, 301 Massachusetts Avenue Boston, MA 02115-4511 (617) 266-1492 bso.org Egon Schiele Nude Self-Portrait (detail), 1910. Watercolor and black chalk on wrapping paper. The Albertina Museum, Vienna.

Rarely seen drawings from the Albertina Museum in Vienna

On view through May 28

Gustav Klimt Lady with Plumed Hat (detail), 1908. Presented with support from the Cordover Exhibition Fund, the Alexander M. Levine and Dr. Rosemarie D. Bria-Levine Exhibition Fund, the MFA Associates/MFA Senior Ink, graphite, colored pencil, and watercolor on Associates Exhibition Endowment Fund, the Museum Council Special Exhibition Asian paper. The Albertina Museum, Vienna. Fund, John H. Deknatel and Carol M. Taylor, and Stanley and Mary Ann Snider. andris nelsons, ray and maria stata music director bernard haitink, lacroix family fund conductor emeritus seiji ozawa, music director laureate thomas adès, deborah and philip edmundson artistic partner thomas wilkins, germeshausen youth and family concerts conductor 137th season, 2017–2018 trustees of the boston symphony orchestra, inc.

Susan W. Paine, Chair • Susan Bredhoff Cohen, Co-President • Robert J. Mayer, M.D., Co-President • George D. Behrakis, Vice-Chair • Cynthia Curme, Vice-Chair • John M. Loder, Vice-Chair • Theresa M. Stone, Treasurer

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Mark Volpe, Eunice and Julian Cohen Managing Director • Evelyn Barnes, Chief Financial Officer • Bart Reidy, Clerk of the Board overseers of the boston symphony orchestra, inc.

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week 23 trustees and overseers 3 ARRIVE RESTED AND READY. Enjoy flat-bed seats in Delta One® on most flights to Los Angeles and San Francisco. Proud to be the Official Airline of the Boston Symphony Orchestra. photos by Michael Blanchard and Winslow Townson

Albert A. Holman, III • Lawrence S. Horn • Jill Hornor • Valerie Hyman • George Jacobstein • Stephen J. Jerome • Darlene Luccio Jordan, Esq. • Mark Jung • Karen Kaplan • Steve Kidder • John L. Klinck, Jr. • Sandra O. Moose • Kristin A. Mortimer • Cecile Higginson Murphy • John F. O’Leary • Peter Palandjian • Donald R. Peck • Wendy Philbrick • Randy Pierce • Lina S. Plantilla, M.D. • Irving H. Plotkin • Jim Pollin • William F. Pounds • Esther A. 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. • Sean C. Rush • Malcolm S. Salter • Dan Schrager • Donald L. Shapiro • Phillip A. Sharp, Ph.D. • Carol S. Smokler • Anne-Marie Soullière • Michael B. Sporn, M.D. • Nicole Stata • Margery Steinberg, Ph.D. • Katherine Chapman Stemberg • Jean Tempel • Douglas Dockery Thomas • Mark D. Thompson • Albert Togut • Blair Trippe • Sandra A. Urie • Edward Wacks, Esq. • Linda S. Waintrup • Vita L. Weir • Dr. Christoph Westphal • June K. Wu, M.D. • Patricia Plum Wylde • Marillyn Zacharis overseers emeriti

Helaine B. Allen • Marjorie Arons-Barron • Diane M. Austin • Sandra Bakalar • Lucille M. Batal • James L. Bildner • William T. Burgin • Hon. Levin H. Campbell • Carol Feinberg Cohen • Mrs. James C. Collias • Charles L. Cooney • Ranny Cooper • Joan P. Curhan • James C. Curvey • Tamara P. Davis • Mrs. Miguel de Bragança • Paul F. Deninger • JoAnne Walton Dickinson • Phyllis Dohanian • Alan Dynner • Harriett Eckstein • Ursula Ehret-Dichter • George Elvin • Pamela D. Everhart • Judy Moss Feingold • Steven S. Fischman • John F. Fish • 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 • Everett L. Jassy • Paul L. Joskow • Martin S. Kaplan • Stephen R. Karp • 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 • Frederick H. Lovejoy, Jr. • Diane H. Lupean • Mrs. Harry L. Marks • Jay Marks • Joseph B. Martin, M.D. • Joseph C. McNay • Dr. Martin C. Mihm, Jr. • Robert Mnookin • Paul M. Montrone • Robert J. Morrissey • Joseph Patton • John A. Perkins • Ann M. Philbin • May H. Pierce • Claudio Pincus • Irene Pollin • Dr. John Thomas Potts, Jr. • Dr. Tina Young Poussaint • Claire Pryor • Robert E. Remis • John Ex Rodgers • Susan Rothenberg • Alan W. Rottenberg • Joseph D. Roxe • Kenan Sahin • Roger A. Saunders • Lynda Anne Schubert • L. Scott Singleton • Gilda Slifka • Christopher Smallhorn • Patricia L. Tambone • Samuel Thorne • Diana Osgood Tottenham • Joseph M. Tucci • David C. Weinstein • James Westra • Mrs. Joan D. Wheeler • Margaret Williams-DeCelles • Richard Wurtman, M.D.

week 23 trustees and overseers 5 WEALTH IS MORE THAN ACCUMULATING ASSETS.

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Boston Symphony Chamber Players at Jordan Hall at the New England Conservatory This Sunday afternoon, April 22, at 3 p.m. The Boston Symphony Chamber Players, joined by pianist David Deveau, perform the final concert of their four-concert Jordan Hall series on Sunday, April 22, at 3 p.m. The program includes three of Bruch’s Eight Pieces for clarinet, viola, and piano, Opus 83; Boulanger’s Nocturne and Cortège for cello and piano; Stacy Garrop’s Bohemian Café for flute, oboe, clarinet, horn, bassoon, and double bass; and Mozart’s String Quintet in C, K.515. Single tickets at $38, $29, and $22 are available at the Symphony Hall box office, at bso.org, or by calling SymphonyCharge at (617) 266-1200. Please note that on the day of the concert, tickets may only be purchased at Jordan Hall.

Announcing the BSO’s 2018-19 Subscription Season For his fifth season as music director of the Boston Symphony Orchestra, Andris Nelsons will lead fourteen of the year’s twenty-six subscription programs, ranging from orchestral works by Haydn, Beethoven, Tchaikovsky, Stravinsky, and Copland to compelling concerto collaborations with acclaimed soloists, as well as world and American premieres of pieces newly commissioned by the BSO. Continuing his multi-season explorations of concert and operatic works in particular areas of interest, Maestro Nelsons’ program- ming includes Shostakovich’s first and last symphonies, 1 and 15, as part of the BSO’s ongoing Shostakovich cycle for Deutsche Grammophon; Bruckner’s Symphony No. 9; an all-Strauss program featuring Renée Fleming in the heartfelt final scene of the opera Capriccio; and concert performances of Puccini’s moving one-act opera Suor Angelica with Kristine Opolais and Violeta Urmana. Maestro Nelsons’ concerto collaborations include Rachmaninoff’s Piano Concerto No. 3 with Daniil Trifonov, Schumann’s Piano Concerto with Yuja Wang, Szymanowski’s Violin Concerto No. 1 with Lisa Batiashvili, HK Gruber’s Aerial for trumpet and orchestra with Håkan Hardenberger, and the world premiere with violinist Baiba Skride of Sebastian Currier’s Aether, co-commissioned by the BSO and the Gewandhaus Orchestra of Leipzig. Additional commissions to be led by Andris Nelsons include the American premieres of Latvian composer Andris Dzenītis’ Mīra and English composer Mark-Anthony Turnage’s Remembering: In Memoriam Evan Scofield. Also new to the BSO are Latvian composer Maija Einfelde’s Lux aeterna for unaccompanied chorus, Lili Boulanger’s D’un Soir triste, and Olly Wilson’s Lumina. The works by Dzenītis and Einfelde are performed to mark the 100th anniversary of Latvian independence. Turnage’s Remembering is part of an English-themed program also including Haydn’s Symphony No. 93, the first of his dozen London symphonies, and Elgar’s Enigma Variations. Major choral works to be led by Maestro Nelsons include

week 23 bso news 7

Mahler’s Symphony No. 2, Resurrection, with soloists Erin Morley and Bernarda Fink; Dvoˇrák’s Stabat Mater, with Kristine Opolais, Violeta Urmana, Dmytro Popov, and Ain Anger; and, for the BSO’s second “Leipzig Week in Boston,” J.S. Bach’s complete Christmas Oratorio, with renowned Bach singers Carolyn Sampson, Christine Rice, Sebastian Kohlhepp, and Andrè Schuen. Also in 2018-19, the BSO marks the 80th birthday of Boston-based composer John Harbison with performances of his Remembering Gatsby led by BSO Associate Conductor Ken-David Masur, Harbison’s Symphony No. 2 under Sir Andrew Davis, and a celebratory program performed by the Boston Symphony Chamber Players. BSO Artistic Partner Thomas Adès leads the world premiere of his own BSO-commissioned Piano Concerto with soloist Kirill Gerstein. BSO Youth and Family Concerts Conductor Thomas Wilkins, in his subscription series debut, leads music by African-American composers Adolphus Hailstork, Florence Price, and Duke Ellington, plus Puerto Rican-born composer Roberto Sierra’s Concerto for Saxophones and Orchestra with soloist James Carter. In his first BSO appearances since his 2006 Tanglewood debut, the dynamic Venezuelan conductor Gustavo Dudamel leads two subscription programs—the first pairing Schumann’sSpring Symphony with Stravin- sky’s Rite of Spring, the second featuring the BSO debut of Caracas-born Argentine pianist Sergio Tiempo in Ginastera’s Piano Concerto No. 1, bookended by music of two Venezuelan composers: Paul Desenne’s El Caimán and Antonio Estévez’s Cantata Criolla. The season also brings the return to Symphony Hall of South Korean conductor Shi-Yeon Sung, who was a BSO assistant conductor from 2007 to 2010; the subscription series debut of Finnish conductor John Storgårds; and the BSO debut of English conductor Andrew Manze. Guest conductors and soloists also include Argentinian pianist Ingrid Fliter in her subscription series debut; the BSO debuts of Italian pianist Alessio Bax and Swiss pianist Francesco Piemontesi; and return appearances by conductors Herbert Blomstedt and Juanjo Mena, pianist Martin Helmchen, violinist Julian Rachlin, and cellist Truls Mørk. The Tanglewood Festival Chorus, James Burton, conductor, is featured in Maija Einfelde’s Lux aeterna, Mahler’s Resurrection Symphony, Bach’s Christmas Oratorio, Puccini’s Suor Angelica, Dvoˇrák’s Stabat Mater, and Estévez’s Cantata Criolla. The Lorelei Ensemble, Beth Willer, artistic director, appears in Puccini’s Suor Angelica, and the Boston Symphony Children’s Choir is featured in Britten’s Friday Afternoons, for children’s chorus and orchestra. Complete programs and further information are available online at bso.org. Subscriptions for the BSO’s 2018-19 Symphony Hall season can be purchased online at bso.org via a secure credit card transaction; by phone at (617) 266-7575, or in person at the Symphony Hall box office.

BSO Community Chamber Concert April 29 in Worcester The BSO concludes its 2017-18 series of free, hour-long Community Chamber Concerts on Sunday, April 29, at 3 p.m. at the First Baptist Church in Worcester. The program includes Prokofiev’s Overture on Hebrew Themes, Opus 34, and Brahms’s Quintet in F minor for piano and strings, Opus 34, with BSO clarinetist Michael Wayne, BSO string players Bracha Malkin and Alexander Velinzon, violins, Cathy Basrak, viola, and Blaise Déjardin, cello, and pianist Jonathan Bass. A coffee-and-dessert reception for the audience and the musicians will follow the performance. For further information, please visit bso.org and go to “Edu- cation & Community” on the home page. The BSO’s 2017-18 Community Concerts are sponsored by Takeda Pharmaceutical Company Limited.

week 23 bso news 9 Friday Previews at Symphony Hall Friday Previews take place from 12:15-12:45 p.m. in Symphony Hall prior to all of the BSO’s Friday-afternoon subscription concerts throughout the season. Given by BSO Director of Program Publications Marc Mandel, Associate 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 speaker on April 20 is Marc Mandel, who will also be the speaker for the final Friday Preview of the season next week on April 27.

individual tickets are on sale for all concerts in the bso’s 2017-2018 season. for specific information on purchasing tickets by phone, online, by mail, or in person at the symphony hall box office, please see page 83 of this program book.

The Virginia Wellington Cabot Trust endowed a Boston Symphony concert Memorial Concert, Thursday, in her name. April 19, 2018 Virginia Cabot was married to the late Thomas The concert on April 19, 2018, is given in D. Cabot for seventy-five years. The daughter memory of Virginia Wellington Cabot of of Louis B. Wellington and Louise Lawton Weston, who died on September 15, 1997, Wellington, she loved a broad range of one week short of her 98th birthday. An music and often accompanied herself on attendee of Friday-afternoon concerts for the piano as she sang to her family. Born more than seventy years, she took over her in Boston in 1899, Mrs. Cabot grew up on mother-in-law’s BSO subscription in 1934. In Beacon Hill and in Weston, in an extended 1992 a gift from the Cabot Family Charitable family in which her parents, her aunt and

10 uncle, and her older sister all played and program featuring Emanuel Ax in the Piano sang expertly at the piano. She graduated Concerto No. 2, followed by the Symphony from the Winsor School in 1917. On the No. 2 (May 5; encore May 14). Weston farm of her childhood, she nurtured a love for horses. Immediately after her marriage in 1920, the Cabots moved to the Go Behind the Scenes: heart of rural Appalachia, where she would The Irving W. and Charlotte F. Rabb often accompany her husband on horseback Symphony Hall Tours as he inspected the West Virginia pipelines The Irving W. and Charlotte F. Rabb Sym- of his father’s gas company. An experienced phony Hall Tours, named in honor of the mountaineer, she made the first ascent of Rabbs’ devotion to Symphony Hall through Mount Magog in the Canadian Rockies and a gift from their children James and Melinda later journeyed to the American Southwest Rabb and Betty (Rabb) and Jack Schafer, to explore the Superstition Mountains of provide a rare opportunity to go behind Arizona, the Zion and Bryce canyons of the scenes at Symphony Hall. In these free, Utah, and the Sangre de Cristo range—all guided tours, experienced members of the virtually uncharted when she hiked them in Boston Symphony Association of Volunteers the 1920s and ’30s. An expert canoeist, she unfold the history and traditions of the Bos- and Mr. Cabot also explored virtually all of ton Symphony Orchestra—its musicians, New England’s watercourses, resulting in conductors, and supporters—as well as offer the volume Quick Water and Smooth, the first in-depth information about the Hall itself. printed guidebook for New England Rivers. Tours are offered on selected weekdays at She was also among the first wave of Ameri- 4:30 p.m. and some Saturdays at 5 p.m. cans who learned the Austrian technique for during the BSO season. Please visit bso.org/ downhill skiing from the legendary Hannes tours for more information and to register. Schneider. Later in life, Mrs. Cabot was engaged in conservation activities in Maine, New Hampshire, Colorado, and Honduras. Join Our Community of Mrs. Cabot shared her love of music, riding, Music Lovers— skiing, sailing, and the outdoors with all of The Friends of the BSO her progeny, including her children, grand- Attending a BSO concert at Symphony Hall children, and great-grandchildren. is a communal experience—thousands of concertgoers join together to hear 100 BSO Broadcasts on WCRB musicians collaborate on each memorable performance. Without an orchestra, there is BSO concerts are heard on the radio at no performance, and without an audience, 99.5 WCRB. Saturday-night concerts are it is just a rehearsal. Every single person is broadcast live at 8 p.m. with host Ron Della important to ensuring another great expe- Chiesa, and encore broadcasts are aired on rience at Symphony Hall. There’s another Monday nights at 8 p.m. In addition, inter- community that helps to make it all possible, views with guest conductors, soloists, and one that you might not notice while enjoying BSO musicians are available online at clas- a concert—the Friends of the BSO. Every $1 sicalwcrb.org/bso. Current and upcoming the BSO receives through ticket sales must broadcasts include this week’s program led be matched by an additional $1 of contribut- by Tugan Sokhiev in his BSO debut: music of ed support to cover annual expenses. Friends Britten, Chopin—the Piano Concerto No. 1 of the BSO help bridge that gap, keeping the with Jan Lisiecki—and Mendelssohn (April music playing to the delight of audiences all 21; encore April 30); next week’s program, year long. In addition to joining a commu- also led by Tugan Sokhiev, featuring Vadim nity of like-minded music lovers, becoming Gluzman in the Brahms Violin Concerto, a Friend of the BSO entitles you to benefits followed by Prokofiev’s Symphony No. 5 that bring you closer to the music you cher- (April 28; encore May 7); and BSO Conduc- ish. Friends receive advance ticket ordering tor Emeritus Bernard Haitink’s all-Brahms

week 23 bso news 11 LOCAL EXPERTS, GLOBAL REACH Now accepting consignments in all categories for our auctions in New York, London and Hong Kong.

To obtain a complimentary auction estimate, SALVADOR DALI please contact: (SPANISH, 1904-1989) Amy Corcoran Sold for £1,805,000 Director, New England ($2,512,000) +1 (617) 742 0909 [email protected]

bonhams.com/boston LOCAL EXPERTS, GLOBAL REACH Now accepting consignments in all categories for our auctions privileges, discounts at the Symphony Shop, The Information Stand: Find Out in New York, London and Hong Kong. and access to the BSO’s online newsletter What’s Happening at the BSO InTune, as well as invitations to exclusive Are you interested in upcoming BSO concert To obtain a complimentary auction estimate, SALVADOR DALI donor events such as BSO and Pops working please contact: (SPANISH, 1904-1989) rehearsals, and much more. Friends member- information? Special events at Symphony ships start at just $100. To join our commu- Hall? BSO youth activities? Stop by the Amy Corcoran information stand in the Brooke Corridor Director, New England nity of music lovers in the Friends of the BSO, contact the Friends Office at (617) 638-9276 on the Massachusetts Avenue side of Sym- +1 (617) 742 0909 phony Hall (orchestra level), and in the [email protected] or [email protected], or join online at bso.org/contribute. Cohen Wing during Pops concerts. There you will find the latest information on performances, membership, and Symphony Hall. BSO Members in Concert The BSO Information Stand is staffed before Founded by former BSO cellist Jonathan each Pops concert and during intermission. Miller, the Boston Artists Ensemble performs During the BSO season the stand is self-serve. a program entitled “Finale & Premiere” on Friday, April 20, at 8 p.m. at Hamilton Hall Those Electronic Devices… in Salem and on Sunday, April 22, at 3 p.m. at St. Paul’s Episcopal Church, 15 St. Paul As the presence of smartphones, tablets, Street, Brookline. Joining Mr. Miller for this and other electronic devices used for com- program, which includes Ravel’s Sonata munication, note-taking, and photography for Violin and Cello, the world premiere of has increased, there have also been continu- Scott Wheeler’s Songs Without Words for ing expressions of concern from concertgoers cello and piano, and Dvoˇrák’s Piano Trio in and musicians who find themselves distracted F minor, Opus 65, are BSO violinist Lucia not only by the illuminated screens on these Lin and pianist Diane Walsh. Tickets are devices, but also by the physical movements $30 (discounts for seniors and students), that accompany their use. For this reason, available at the door. For more information, and as a courtesy both to those on stage and visit bostonartistsensemble.org or call (617) those around you, we respectfully request 964-6553. that all such electronic devices be completely turned off and kept from view while BSO per- BSO associate principal clarinet Thomas formances are in progress. In addition, please Martin is soloist in Copland’s Clarinet Con- also keep in mind that taking pictures of the certo with the Pro Arte Chamber Orchestra orchestra—whether photographs or videos— under principal conductor Kevin Rhodes, on is prohibited during concerts. Thank you very Saturday, May 12, at 8 p.m. at First Baptist much for your cooperation. Church in Newton Centre. Also on the program are Daugherty’s Sunset Strip, Mozart’s Symphony No. 40, and the premiere of a Comings and Goings... new work by Howard Frazin. Tickets are Please note that latecomers will be seated $20-$70, available at proarte.org or by call- by the patron service staff during the first ing (617) 779-0900. convenient pause in the program. In addition, BSO violinist Lucia Lin joins former BSO please also note that patrons who leave the cellist Jonathan Miller and pianist Marc auditorium during the performance will not Ryser for a special “Mother’s Day by the Sea” be allowed to reenter until the next conve- concert of music by J.S. Bach, Kodály, and nientpause in the program, so as not to dis- Prokofiev, plus Scott Wheeler’sSongs With- turb the performers or other audience mem- out Words recently composed for Mr. Miller, bers while the music is in progress. We thank on Sunday, May 13, at 3 p.m. at Shalin Liu you for your cooperation in this matter. Concert Hall in Rockport. Tickets at $30 for adults, $25 for seniors, and $10 for students are available at RockportMusic.org.

week 23 bso news 13 on display in symphony hall Using archival materials displayed on the orchestra and first-balcony evelsl of Symphony Hall, this season’s BSO Archives exhibit recognizes three significant anniversaries. celebrating the bernstein centennial Anticipating the 100th anniversary on August 25, 2018, next summer of Leonard Bernstein’s birth, the Archives has assembled materials documenting Bernstein’s Boston roots and his deep, lifelong connection with the BSO, Tanglewood, and the Tanglewood Music Center. • An exhibit in the Brooke Corridor focuses on Bernstein’s early connections with Boston and the BSO. • An exhibit case on the first balcony, audience-right, is devoted to the world premiere of Bernstein’s opera Trouble in Tahiti on June 12, 1952, as part of a Creative Arts Festival at Brandeis University in which many BSO members performed. • An exhibit case on the first balcony, audience-left, documents BSO performances of Bee- thoven’s Missa Solemnis at Tanglewood in 1951, 1955, and 1971 led by Leonard Bernstein in memory of his mentor, BSO conductor Serge Koussevitzky. • A display in the Cabot-Cahners Room of photographs, musical scores, and memorabilia documents the BSO premieres of works by Leonard Bernstein and BSO-commissioned works by Bernstein himself. marking the 100th anniversary of the bso’s first recordings in 1917 One hundred years ago the BSO traveled to Camden, New Jersey, to make its very first recordings for the Victor Talking Machine Co. (later RCA Victor). • An exhibit near the backstage door in the Brooke Corridor focuses on the turbulent World War I era during which the BSO’s first recordings were made. • A display on the first balcony, audience-left, documents the BSO’s first recording sessions of October 2-5, 1917. marking the 60th anniversary of the boston youth symphony orchestras (byso) • In the Hatch Corridor, material on loan from the BYSO Archives documents both its own history and its ongoing partnership with the BSO.

TOP OF PAGE, LEFT TO RIGHT: Leonard Bernstein and his mentor Serge Koussevitzky at Tanglewood, c.1946 (photo by Heinz H. Weissen- stein, Whitestone Photo) Label from one of the BSO’s first commercial recordings, the Prelude to Act III of “Lohengrin” led by Karl Muck BYSO’s founding music director, Dr. Marvin J. Rabin, with members of the orchestra, c.1960 (courtesy BYSO)

week 23 on display 15

Marco Borggreve

Andris Nelsons

In October 2017, BSO Music Director Andris Nelsons was named Musical America’s 2018 Artist of the Year. In 2017-18, his fourth season as the BSO’s Ray and Maria Stata Music Director, Andris Nelsons leads the Boston Symphony Orchestra in twelve wide-ranging subscription programs at Symphony Hall, repeating three of them at New York’s Carnegie Hall in April. Also this season, in November, he and the orchestra toured Japan together for the first time, playing concerts in Nagoya, Osaka, Kawasaki, and Tokyo. In addition, in February 2018 Maestro Nelsons became Gewandhaus- kapellmeister of the Gewandhausorchester Leipzig, in which capacity he will bring both orchestras together for a unique multi-dimensional alliance; under his direction, the BSO celebrated its first “Leipzig Week in Boston” that same month. In the summer of 2015, following his first season as music director, his contract with the Bos- ton Symphony Orchestra was extended through the 2021-22 season. Following the 2015 Tanglewood season, he and the BSO undertook a twelve-concert, eight-city tour to major European capitals as well as the Lucerne, Salzburg, and Grafenegg festivals. A second European tour, to eight cities in Germany, Austria, and Luxembourg, took place in May 2016.

The fifteenth music director in the history of the Boston Symphony Orchestra, Andris Nelsons made his BSO debut at Carnegie Hall in March 2011, his Tanglewood debut in July 2012, and his BSO subscription series debut in January 2013. His first CD with the BSO—live recordings of Wagner’s Tannhäuser Overture and Sibelius’s Sym- phony No. 2—was released in November 2014 on BSO Classics. April 2017 brought the release on BSO Classics of the four Brahms symphonies with Maestro Nelsons conducting, recorded live at Symphony Hall in November 2016. In an ongoing, multi- year collaboration with Deutsche Grammophon initiated in 2014-15, he and the BSO are making live recordings of Shostakovich’s complete symphonies, the opera Lady

18 Macbeth of Mtsensk, and other works by the composer. The first release in this series (the Symphony No. 10 and the Passacaglia from Lady Macbeth of Mtsensk) won the 2016 Grammy Award for Best Orchestral Performance and Gramophone Magazine’s Orchestral Award. The second release (symphonies 5, 8, and 9, plus excerpts from Shostakovich’s 1932 incidental music to Hamlet) won the 2017 Grammy for Best Orchestral Performance. Also for Deutsche Grammophon, Andris Nelsons is recording the Bruckner symphonies with the Gewandhausorchester Leipzig and the Beetho- ven symphonies with the Vienna Philharmonic.

In 2017-18, Andris Nelsons is artist-in-residence at the Konzerthaus Dortmund and continues his regular collaboration with the Vienna Philharmonic, leading that orchestra on tour to China. He also maintains regular collaborations with the Royal Concert- gebouw Orchestra of Amsterdam, the Berlin Philharmonic, the Bavarian Radio Sym- phony Orchestra, and the Philharmonia Orchestra. Maestro Nelsons has also been a regular guest at the Bayreuth Festival and at the Royal Opera House, Covent Garden, where he conducts a new David Alden production of Lohengrin this season.

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 music director of the City of Birmingham Symphony Orchestra from 2008 to 2015, principal conductor of the Nordwestdeutsche Philharmonie in Herford, Germany, from 2006 to 2009, and music director of Latvian National Opera from 2003 to 2007. Mr. Nelsons is the subject of a 2013 DVD from Orfeo, a documentary film entitled “Andris Nelsons: Genius on Fire.” Marco Borggreve

week 23 andris nelsons 19 Boston Symphony Orchestra 2017–2018

andris nelsons bernard haitink seiji ozawa thomas adès Ray and Maria Stata LaCroix Family Fund Music Director Laureate Deborah and Philip Edmundson Music Director Conductor Emeritus Artistic Partner endowed in perpetuity endowed in perpetuity thomas wilkins Germeshausen Youth and Family Concerts Conductor endowed in perpetuity

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

20 photos by Winslow Townson and Michael Blanchard

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

week 23 boston symphony orchestra 21 Memory Care Bon Appétit! White Oak Cottages at Fox Hill Village off ers a unique alternative Live well, eat well in retirement. for those who can no longer live at home due to memory impairment. With 5 star chefs, the culinary team at Fox Hill With our specially designed Village continues to excel in creating remarkable cottages, philosophy of care, dining experiences for all of our residents and and unique staffi ng model, their guests! we provide the very best living options for our Whether you prefer formal dining–or residents with demen- casual– our 3 full service restaurants tia and Alzheimer’s have all of your dining needs under one disease. We are a proud roof. Our options are designed to entice an array partner of of fi ne palates while also providing for multiple The Green House® Project, a national movement to dietary restrictions. Menus have regular and seasonal staples as well as transform long-term care. specials that change daily. To learn more, call In addition to our phenomenal menus, we off er: 781-320-1999 • Cooperative Ownership • Floorplans from 615 to 1,900 sq. ft. or visit WhiteOakCottages.com • Privacy and Security • Over 100 Beautiful Acres WHITE OAK Call today to schedule your private tour 781-493-6805. COTTAGES Visit us at FoxHillVillage.com 10 Longwood Drive, Westwood, MA 02090 AT FOX HILL VILLAGE

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andris nelsons, ray and maria stata music director bernard haitink, lacroix family fund conductor emeritus seiji ozawa, music director laureate thomas adès, deborah and philip edmundson artistic partner Boston Symphony Orchestra 137th season, 2017–2018

Thursday, April 19, 8pm | the virginia wellington cabot memorial concert Friday, April 20, 1:30pm Saturday, April 21, 8pm Tuesday, April 24, 8pm | the alan j. and suzanne w. dworsky concert

tugan sokhiev conducting

britten “simple symphony,” opus 4, for strings Boisterous Bourée (Allegro ritmico) Playful Pizzicato (Presto possibile pizzicato sempre) Sentimental Saraband (Poco lento e pesante) Frolicsome Finale (Prestissimo con fuoco) Peter Vanderwarker

24 chopin piano concerto no. 1 in e minor, opus 11 Allegro maestoso Romanza: Larghetto Rondo: Vivace jan lisiecki

{intermission} mendelssohn symphony no. 4 in a, opus 90, “italian” Allegro vivace Andante con moto Con moto moderato Saltarello: Presto

thursday evening’s performance of chopin’s piano concerto no. 1 is supported by a generous gift from jane and neil pappalardo. saturday evening’s performance of chopin’s piano concerto no. 1 is supported by a gift from thomas burger and andree robert.

bank of america and takeda pharmaceutical company limited are proud to sponsor the bso’s 2017-18 season.

The evening concerts will end about 10, the afternoon concert about 3:30. Concertmaster Malcolm Lowe performs on a Stradivarius violin, known as the “Lafont,” generously donated to the Boston Symphony Orchestra by the O’Block Family. First associate concertmaster Tamara Smirnova performs on a 1754 J.B. Guadagnini violin, the “ex-Zazofsky,” and James Cooke performs on a 1778 Nicolò Gagliano violin, both generously donated to the orchestra by Michael L. Nieland, M.D., in loving memory of Mischa Nieland, a member of the cello section from 1943 to 1988. 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. 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. Special thanks to Fairmont Copley Plaza, Delta Air Lines, and Commonwealth Worldwide Executive Limousine. 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 performance, 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 artists—whether photographs or videos—is prohibited during concerts.

week 23 program 25 The Program in Brief...

Now regarded as arguably the greatest of English opera composers, Benjamin Britten displayed astonishing musical talent from an early age, making a public name for himself while still in his teens. Though other works from his early maturity exhibited pro- gressive tendencies, these are mostly missing from his charming, classically oriented Simple Symphony. Britten wrote this four-movement piece for string orchestra at age twenty, using as source material music he’d composed between the ages of nine and thirteen. The titles of the four movements are alliterative: “Boisterous Bourée,” “Playful Pizzicato,” “Sentimental Saraband,” and “Frolicsome Finale.” For Britten, the Simple Symphony was a deliberate exercise in classical clarity. Later in his life, his music often evoked a similar childlike innocence and naivety, but this was placed in direct conflict with darker or stranger emotions in such works as the War Requiem and the opera A Midsummer Night’s Dream.

Though Chopin’s E minor piano concerto was published first, he actually wrote it after the F minor concerto we know as No. 2. The Polish composer’s concertos display the kind of pianist that he was: he used the piano the way bel canto singers used their voices, to spin out long, expressive lines, enlivened by intricate ornamentation; he used the orchestra to introduce the themes and support the soloist. Chopin’s marking for the first movement of the Piano Concerto No. 1 is “Allegro maestoso,” but despite the presence of majestic moments as well as some glitteringly brilliant ones, the mood is more often intimate and reflective. Chopin himself left a compelling description of the second movement, calling it “a Romance, calm and melancholy, giving the impression of someone looking gently towards a spot that calls to mind a thousand happy memories.” The finale is a delightful rondo based on the vigorous rhythmic patterns of a Polish dance that originated in the city of Crakow, the so-called “krakowiak.”

Felix Mendelssohn was an astonishing musical prodigy; he composed his Octet for strings at sixteen and his overture to A Midsummer Night’s Dream at seventeen. And though he died at thirty-eight, he made lasting contributions to almost every musical genre but opera: piano music, songs, chamber music, symphonic music, and oratorio. The so-called Italian Symphony began during a long trip to Italy that Mendelssohn took in 1830. This sunlit work, which sounds so dazzlingly spontaneous, in fact cost him a lot of effort. Even after the successful premiere in 1833, he refused to publish it, and he was tinkering with it, or planning to tinker with it, for most of the rest of his life. Setting the tone for the entire symphony, the energetic opening moves by leaps and bounds. The second movement was inspired by a procession of chanting pilgrims Mendelssohn saw in Naples; the third is gracious, courtly, and elegant; and the finale is built out of two Italian dances, the Saltarello, a jumping dance, and the tarantella. The momentum of the finale never lets up: the victim of a tarantula bite was supposed to dance until the poison was expelled.

Robert Kirzinger (Britten)/Richard Dyer

26 Benjamin Britten “Simple Symphony,” Opus 4, for strings

EDWARD BENJAMIN BRITTEN was born in Lowestoft, Suffolk, on the east coast of England, on November 22, 1913, and died in Aldeburgh on December 4, 1976. He composed the “Simple Symphony” between December 23, 1933, and February 10, 1934, adapting and scoring for string orchestra music he had originally conceived mostly for piano between his ninth and twelfth years. He himself led the first performance on March 6, 1934, in Norwich. The score is dedicated to Audrey Alston, who taught Britten viola and who introduced him to the composer Frank Bridge (see below).

THE “SIMPLE SYMPHONY” is scored for string orchestra, with an alternative version for string quartet.

“This ‘Simple Symphony’ is entirely based on material from works which the composer wrote between the ages of nine and twelve. Although the development of these themes is in many places quite new, there are large stretches of the work which are taken bodily from the early pieces—save for the re-scoring of the strings.”

Benjamin Britten’s note at the front of the score tells us the essential facts about his Simple Symphony, a disarmingly charming piece from a composer later to explore the darkest sides of human nature in Peter Grimes, Billy Budd, and other works. He composed it at the age of twenty, when his mind was teeming with new ideas opened up by his studies in London, so the fact that he was mining his juvenile works for material rather than composing something new needs some explaining.

As a child, Britten was prodigiously gifted as pianist and composer, so that before his Opus 1, the Sinfonietta for chamber orchestra, was composed in 1932, he had already completed piles of music of all shapes and sizes, none of which was published until after his death in 1976. The son of a dentist, he spent his childhood in the port/fishing town of Lowestoft, in Suffolk, in a modest house (now a bed-and-breakfast) only a step or two away from the ocean. Long walks along the beach were frequent, as they con-

week 23 program notes 27 Program page for the only previous Boston Symphony performances of Britten’s “Simple Symphony” in February 1982 with Kurt Masur conducting (BSO Archives)

28 tinued to be all his life. The youngest of four children—Barbara, Bobby, Beth, and Ben- jamin—he was the only one to satisfy their mother’s longing for musical talent in her children, since she was an ardent but untrained music lover.

At the age of ten, when he was already winning prizes on the piano, his mother took him for viola lessons to a professional viola player, Mrs. Audrey Alston, in the village of Framingham Earl, near Norwich. Her influence on young Britten was decisive since she introduced him to the composer Frank Bridge, by whose music, which Britten heard played at the triennial Norwich Festival in 1924, he was, in his own words, “knocked sideways.”

During his schooldays, Britten went regularly to London for lessons with Bridge, and at the age of sixteen he enrolled at the Royal College of Music in London, where he learned less from his teacher John Ireland than from the richness of London’s musical life. Still encouraged by Bridge, and glued to BBC broadcasts, he discovered modern European music such as that of Mahler, Schoenberg, and Berg, all three composers being regarded with great suspicion by the English musical establishment at that time.

He graduated from the college in December 1933 and returned home to Lowestoft for Christmas. His plan to study with Berg in Vienna was effectively vetoed by the college authorities and by his mother, so he was facing the prospect of making a living as a musician with no certain opportunities ahead of him. It was, he later said, to make some money, and with an eye on the market for school music, that he rifled through the

April 29, 2018 at 3:30pm, Symphony Hall Boston Youth Symphony, Photo by Michael Lutch BYSO is delighted to welcome the Leipzig choirs to Boston for this special celebration as part of a new international residency and exchange initiative. BYSO looks forward to travelling to Leipzig in June to perform at the Gewandhaus concert hall as part of Bachfest, the renowned international festival featuring the works of J.S. Bach and his contemporaries. MESSIAEN Les offrandes oubliées COPLAND Four Motets BERNSTEIN Chichester Psalms RAVEL Daphnis and Chloe, Suite Nos. 1 and 2 Leipzig Gewandhaus Youth Choir, Photo by Stev Wackerhagen Boston Youth Symphony Federico Cortese, Conductor with Leipzig Gewandhaus Youth Choir and Leipzig Opera Youth Choir

Tickets: $25–30 Call Symphony Charge at 617-266-1200 or visit www.BYSOweb.org

with support from: Leipzig Opera Youth Choir, Photo by Andreas Birkigt Kopie

week 23 program notes 29

The young Britten in his South Lodge School uniform, Lowestoft, c.1926

drawers full of music he had composed ten years earlier and put together a lighthearted piece for strings, the Simple Symphony. Once it was done, Britten went back to London to hear a concert in which Schoenberg conducted his Variations for Orchestra, Opus 31. He found it “rather dull” but was pleased when Bridge took him backstage to meet the composer. “Meet Sch. in interval,” his diary reported.

The first performance of theSimple Symphony was arranged by Mrs. Alston and given in the Stuart Hall (now an arts cinema) in Norwich on March 6, 1934. Nine string players took part—a double string quartet and one double bass—and Britten himself conducted. The rest of the concert was conducted by the composer E.J. Moeran, another pupil of John Ireland, who had a close interest in the folk music of eastern counties of England. Unfortunately “only a small proportion of the musical ‘faithful’ in the city and county were present,” as reported by the Eastern Daily Press the next morning.

If this premiere seemed strictly local, Britten was next to hear his music being played in Italy, where he went the same month to hear his Phantasy for oboe and strings at an international festival in Florence. The Sinfonietta was broadcast by the BBC that year and the Oxford University Press published the Simple Symphony. Bit by bit he was being noticed by the wider world as a composer of exceptional promise.

The Norwich critic admired “alliteration’s artful aid” in the titles of the four movements of the symphony, which make no secret of the work’s light character but distract from its roots in classical practice, in particular its connection to the early symphonies of Haydn with their four short movements.

week 23 program notes 31 “First Republic shares our passion for innovation and world-class performance.”

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BostonSymphony May18 Miller ND2017.indd 1 3/30/18 5:37 PM The model for the “Boisterous Bourrée” was not any bourrée the composer might have found in a Bach or Couperin suite; it follows classical formal models. The opening theme is based on a suite for piano composed at thirteen; the second subject was originally a song. As the movement proceeds it becomes clear that the intricate working out of these themes is the work of a real composer, not of a child, and a deft touch is the close, where the arrival of the major key and a burst of speed suggest the end is nigh. But in fact the music gets softer and softer; the minor key returns along with the original themes, and it disappears into nothing.

“Playful Pizzicato” is the scherzo of the symphony, based on a piano Scherzo from 1924. Perhaps Britten was thinking of the “Pizzicato ostinato” movement in Tchaikovsky’s Fourth Symphony, where the players’ fingers can rest when the woodwinds and then the brass make their contributions to the movement. Here the pizzicato continues through the movement, including the Trio section based on a song, with thrumming chords from the lower instruments.

The “Sentimental Saraband” is the longest movement of the symphony, and again it is not strictly a sarabande in the Baroque sense. More early piano music provided the themes, but the working out is rich and expressive. The muted ending is particularly impressive.

The finale is “Frolicsome” indeed, showing the kind of high spirits that Haydn loved to display in his finales. Britten’s ninth piano sonata was the source; there were nine (or more) piano sonatas written before he was thirteen! In the list of his works that Britten acknowledged, however, there is scarcely any music for solo piano at all, and not a single sonata.

Hugh Macdonald hugh macdonald, general editor of the New Berlioz Edition, was for many years Avis Blewett Professor of Music at Washington University in St. Louis. A frequent guest annotator for the BSO, he has written extensively on music from Mozart to Shostakovich, including biographies of Berlioz, Bizet, and Scriabin, and is currently writing a book on the operas of Saint-Saëns.

THE BOSTON SYMPHONY ORCHESTRA has performed Britten’s “Simple Symphony” on just one previous occasion, when Kurt Masur led four subscription performances in February 1982 (see page 28).

week 23 program notes 33 Ride to work with an old friend.

Joe Mathieu, now on Morning Edition.

wgbhnews.org Fryderyk Chopin Piano Concerto No. 1 in E minor, Opus 11

FRYDERYK FRANCISZEK CHOPIN—or, as he called himself during his many years in France, Frédéric Chopin—was born in Zelazowa˙ Wola, near Warsaw, Poland, probably on March 1, 1810, and died in Paris on October 17, 1849. He composed his E minor piano concerto during the summer of 1830 and was himself soloist in the first performance, which took place at his final concert in Warsaw on October 11 of that same year.

IN ADDITION TO THE SOLO PIANO, the score of Chopin’s E minor piano concerto calls for an orchestra including two each of flutes, oboes, clarinets, and bassoons, two horns, two trumpets, trombone, timpani, and strings.

Chopin composed all of his works for piano and orchestra—including the two piano concertos—before he turned twenty-one, when he was still undergoing or had barely finished his formal studies. He had begun the study of composition in 1822, when he was twelve, with Jozef Elsner, director of the Warsaw Conservatory. His talent as a performer had been recognized even earlier. In February 1818, a month before Chopin’s eighth birthday, he made his first public appearance as a pianist, playing a concerto of Gyrowetz. And even at that time he was constantly improvising little pieces—polonaises and the like. But formal composition studies were to lead ultimately to his greatest and most endur- ing fame. Elsner attempted to teach Chopin the traditional classical forms, supervising the composition of the First Sonata, Opus 4, which is almost completely un-Chopinesque. Eventually, though, Elsner recognized that Chopin simply had such gifts that it was use- less to impose an outside taste on them. He retained the private hope that Chopin would one day compose the great Polish national opera, but that hope was vain, since the young man desired only to write music for the piano.

Few composers, indeed, have so consciously limited their output. Chopin never wrote a piece that did not include the piano, and the bulk of his works are for piano solo. But since it is on that instrument that he is most original, we are not inclined to complain. Despite

week 23 program notes 35 Program page for the first Boston Symphony performance of Chopin’s E minor piano concerto on December 23, 1882, with soloist Madeline Schiller under the direction of Georg Henschel during the orchestra’s second season (BSO Archives)

36 his years of piano studies, he never became academic in the technical mechanics of performing, and his boundless imagination soon came up with new sonorities and devices that set him apart.

Warsaw was something of a musical backwater, but visiting celebrities gave Chopin a sense of the larger musical world. In 1828 he heard Hummel perform, and he quickly adopted the decorative elegance of that composer in his ensuing works. The following year he heard Paganini, who was such a powerful influence on instrumental music of the 1830s and 1840s by demonstrating the degree of virtuosic proficiency that might be possible.

Chopin composed a Fantasia on Polish Airs in 1828, during his last year of formal conservatory training, following it up with another brilliant piece for piano and orchestra based on Polish melodies, Krakowiak, Opus 14. The following year, when he was nineteen, he finished his formal studies and visited Vienna, where the exotic Polish character of works like the Krakowiak attracted a great deal of attention. When he returned home on Septem- ber 12, he began work on his F minor piano concerto (published as No. 2, though it was the first to be composed). It was premiered on two concerts of March 17 and 22. On the whole, the F minor concerto was favorably received, especially its slow movement, and this encouraged Chopin, a few months later, to compose the E minor concerto, later published as No. 1, though it was second in order of writing. A few months after that, in November 1830, he left Poland to study abroad, never to return.

It would be unrealistic to expect a piano concerto written by a budding young virtuoso not out of his teens to display a command of the symphonic style of concerto writing— the careful balancing of soloist and orchestra, the intricate development of thematic ideas, and so on—that we have come to recognize in the earlier works of Mozart and Beethoven. Not only was such a style inimical to Chopin’s original genius, but he had not even encountered the concertos of Beethoven. (This is not to say that he disliked Beetho ven’s music; while working on the F minor concerto, he had taken part in a private reading of the Archduke Trio and wrote to Titus Woyciechowski, “I’ve never heard anything so great; in it Beethoven snaps his fingers at the whole world.”) But the musical life of Warsaw had not yet admitted Beethoven to the pantheon, especially with his larger works. Hummel was the major composer whose concertos provided a basic model for Chopin, along with works of Ries, Gyrowetz, and Moscheles—concertos by keyboard virtuosi written to display their own technical prowess.

But for all of Chopin’s youth and relative inexperience, his concertos are extraordinary in that special way that makes all of his best music personal and immediately identifiable; and this in spite of the fact that Chopin avoids the expected key relationships, which typically help create the shape of the music by setting up the drama of musical incident. Chopin’s first movement, most unusually, keeps to the tonic key for both first and second subjects, a procedure that Donald Francis Tovey regards as “suicidal.” Yet it is full of surprising and poetic and majestic moments for all its apparent lack of a strong ground plan. The second movement, “Romance,” is nearer to the heart of Chopin, a pure out- pouring of elegant and spontaneous melody. The finale, like the middle movement, is in

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38 Chopin in the last year of his life, 1849, in a photograph by Louis-Auguste Bisson

E major. Its most characteristic element appears in the third theme, a krakowiak of great verve and rhythmic subtlety, which brings the concerto to a vigorous close.

Steven Ledbetter steven ledbetter was program annotator of the Boston Symphony Orchestra from 1979 to 1998.

THE FIRST AMERICAN PERFORMANCE OF CHOPIN’S E MINOR PIANO CONCERTO was on November 21, 1846, with soloist Henry C. Timm and the New York Philharmonic Society under the direction of George Loder. The first Boston performance featured pianist Alfred Jaell with the Germania Musical Society conducted by Carl Bergmann on December 11, 1852, at the Melodeon.

THE FIRST BOSTON SYMPHONY PERFORMANCE of Chopin’s E minor piano concerto was with soloist Madeline Schiller under Georg Henschel’s direction on December 23, 1882, subsequent performances featuring Adele aus der Ohe, Teresa Carreno, Etelka Utassi, and Moritz Rosenthal under the direction of Wilhelm Gericke; Eugen d’Albert with Arthur Nikisch conducting; Rosenthal and Rafael Joseffy with Emil Paur; Rosenthal, Josef Hofmann, Ernest Hutcheson, and Antoinette Szumowska with Gericke; Szumowska, Elizabeth Claire Forbes, and Ossip Gabrilowitsch with Karl Muck; Hofmann with Pierre Monteux and Henri Rabaud; Rosenthal with Monteux; Leon Vartanian with Serge Koussevitzky; Gary Graffman with Charles Munch; Alexis Weissenberg with Seiji Ozawa; Stanislav Bunin with David Zinman; Horacio Gutiérrez with David Wroe; Garrick Ohlsson with Ilan Volkov; Evgeny Kissin with John Nelson (the most recent subscription performances, in March/April 2011); and Ohlsson with Hans Graf (the most recent Tanglewood performance, on August 4, 2017).

week 23 program notes 39 John Singer Sargent, Candelabra with Roses, oil on canvas, 21 x 16 in., sold: $457,500

Assisting New England families with the sale of their fine jewelry and paintings since 1987. groganco.com | 20 charles street, boston, massachusetts 02114 | 617.720.2020 Felix Mendelssohn-Bartholdy Symphony No. 4 in A, Opus 90, “Italian”

JAKOB LUDWIG FELIX MENDELSSOHN was born in Hamburg on February 3, 1809, and died in Leipzig, Saxony, on November 4, 1847. He began composing the “Italian” Symphony while in Rome in the late winter and spring of 1831; he sketched it out rapidly, but never allowed publication in his lifetime. Although the “official” date of completion is March 13, 1833, Mendelssohn kept saying he intended to rework it again before allowing it out of his hands permanently. The first performance took place in a concert of the Philharmonic Society in London on May 13, 1833, with Mendelssohn conducting. MENDELSSOHN’S “ITALIAN” SYMPHONY IS SCORED for two each of flutes, oboes, clarinets, and bassoons, two horns, two trumpets, timpani, and strings.

As the scion of a well-off middle-class German family, Felix Mendelssohn undertook the Grand Tour to the centers of classical culture in Italy; his tour was somewhat grand er than most, extending from early May 1830 to late June 1832 and including John Singer Sargent, months-long stops in Rome, Paris, and London (he had already spent some eight months in the British isles in 1829). He was a great letter writer, and his travel impres- sions have been preserved in a voluminous correspondence published by his younger brother Paul and his eldest son Carl after Felix’s death. His account of travel experi- sold: ences, sightseeing, and visits (in cluding a stop in Weimar for a visit with the elderly Goethe; how many twenty-one-year-old tourists could have done that?) is a delightful one, with reports here and there of musical plans.

From Rome on December 20, 1830, Felix wrote to his family, “The Hebrides is completed at last, and a strange production it is.” After mentioning a few small vocal pieces he was working on, he added, “After the new year I intend to resume instrumental music, and to write several things for the piano, and probably a symphony of some kind, for two have been haunting my brain.” The two symphonies in question were the ones we know as the Scotch (or, better, Scottish) and Italian symphonies, numbered three and four in the traditional conception of Mendelssohn’s symphonic output. The first fo these, like Assisting New England families with the sale of their fine jewelry and paintings since 1987. groganco.com | 20 charles street, boston, massachusetts 02114 | 617.720.2020 week 23 program notes 41 Program page for the first Boston Symphony performance of Mendelssohn’s “Italian” Symphony on October 25, 1884, with Wilhelm Gericke conducting (BSO Archives)

42 the Hebrides Overture, was a reaction to his visit to Scotland the year before, while the Italian Symphony grew out of his new experiences in Rome and, later, Naples.

Just after Christmas Felix complained of absolutely miserable rainy weather which, no doubt, made it easier for him to settle down to composition instead of running off to visit the villa and gardens at Tivoli or some other sightseeing wonder. And though the weather became springlike by mid-January, he was able to write on the 17th that he had nearly completed some small works, adding “the two symphonies also begin to assume a more definite form, and I particularly wish to finish them here.” Surely it seems unlikely for a composer to work on avowedly Scottish and Italian symphonies (the names come from Mendelssohn himself) at the same time, but that is precisely what happened. Perhaps that is why the two symphonies are, in a sense, tonal shadows of one another: the Scottish is fundamentally in A minor but ends in the major, while the Italian is in A major but ends in the minor. He remained in Rome through Easter in order to experience the full effect of the traditional liturgical music of the Papal choir, the only complaint being that the beautiful weather drove away the “misty Scot tish mood,” so he chose to set aside that symphony for the time being. We may presume that his “Italian” mood responded to all the stimuli, however, for when he reached Naples he wrote to his sister Rebecca that his cantata Die erste Walpurgisnacht (a setting of a Goethe poem, which he had worked on most of the winter) should be completed in a few days if the bad weather held, adding, “If I continue in my present mood, I shall finish my Italian symphony also in Italy, in which case I shall have a famous store to bring home with me, the fruits of this winter.”

Since the Italian Symphony has long been regarded as one of his most perfect works, Mendelssohn’s uncertainty about letting it out of his hands and his constantly feeling the need to revise it are hard to credit today, but whatever faults—real or imagined—the composer found in the score resulted in its appearance only after his premature death. Then, over a brief period of about five years, many scores previously withheld yb the

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week 23 program notes 43

Mendelssohn’s 1836 watercolor of Amalfi, Italy, based on a sketch of his own from 1831

composer were at last published (although a great deal of his work was not printed even then, so aware were his executors of his careful, even finicky attitude toward scores that might be less than perfectly realized). The last work brought out in the composer’s lifetime was a set of Christmas piano pieces published as Opus 72; any number after that was added posthumously, with no regard for the chronological order of composition. The “Opus 90” of the Italian Symphony gives a misleadingly false impression of its being a late work, whereas it is actually, as we have seen, one of the most brilliant early orchestral scores of this incredibly precocious artist.

The richly assured orchestration makes its mark in the opening measures with a background of repeated chords in the woodwinds over which the violins sing their enthusi- astic, soaring theme. The sonority of the first measure alone is enough to identify this score out of the entire symphonic repertory. The racing activity never stops or slows, even when the strings become the lightest staccato whisper to bring in the clarinets and bassoons with the secondary theme. But shortly before the end of the exposition the activity just barely slows to allow the solo clarinet one superbly romantic moment, whispering the opening theme in notes twice as long as before. As is usually the case with sonata-form first movements, Men dels sohn puts a repeat sign at the end of the exposition; in this case, though, the repeat is absolutely essential, since the first ending contains a new idea in the oboe and then in the strings—a soaring-upward that settles gracefully down to the cadence—which will play an important role in the coda. The second time through the exposition, leading on into the development, this passage is omitted. Much of the development is based on a new idea treated imitatively in the strings with punctuation from the woodwinds until the latter assert the importance of the main theme on top of everything. The new theme is recapitulated in place of the romantic moment for the clarinet in the exposition, and the coda works all of the preceding materials in with the concluding material from the first ending in a wonderfully imaginative web.

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46 Mendelssohn wrote to his sister Fanny that he would look for inspiration for the second movement in Naples. As it stands, there is no verbal hint of a program in this An dante, but Tovey professed to discern the influence of a religious procession through the streets (although such a procession need not have been limited to Naples). The opening figure, a “wailing” gesture, introduces a measured and rather somber march-like theme in D minor. The third movement is the embodiment of graceful themes, with a light but poetic touch in the horn calls deftly answered by violin and flute scales in the Trio. The Saltarello is a whirlwind of rushing activity, from the orchestral trills and punc tuating chords of the first measure, through the unison statement of the basic rhythm, to the end. The biggest surprise, perhaps, is that Mendelssohn begins in the minor mode and, contrary to all expectation, refuses to yield, even in the very last measures, to a conclusion in the major. But the energy and the brilliant orchestration of the whole, the unflag- ging verve and ceaseless activity, bring on a conclusion that, for all its surprises, is as fully gratifying as any that Mendelssohn ever wrote.

The Italian Symphony is the product of a very young man—of twenty-two to twenty- four years. Not so young, certainly, as the composer of the Octet or the overture to A Midsummer Night’s Dream, but still a man in the first flush of his mature powers. And though Mendelssohn can hardly be said ever to have been an old man, it is un likely that the intended later revisions, if he had ever gotten around to them as he hoped, could have had any effect but to vitiate the overwhelming sense of youth that we find in this score.

Steven Ledbetter

THE FIRST AMERICAN PERFORMANCE of Mendelssohn’s Symphony No. 4 was given by Carl Bergmann and the Germania Musical Society on November 1, 1851, at the Melodeon in Boston.

THE FIRST BOSTON SYMPHONY PERFORMANCES of Mendelssohn’s “Italian” Symphony were given by Wilhelm Gericke in October 1884, subsequent BSO performances being given by Arthur Nikisch, Emil Paur, Gericke, Karl Muck, Henri Rabaud, Pierre Monteux, Serge Koussevitzky, Richard Burgin, Ernest Ansermet, Charles Munch, William Steinberg, Jean Martinon, Colin Davis, Neville Marriner, Joseph Silverstein, Adám Fischer, Seiji Ozawa, Carl St. Clair, Roger Norrington, John Nelson, Giuseppe Sinopoli, David Zinman, André Previn, Pinchas Zukerman, Robert Spano, Rafael Frühbeck de Burgos, Hans Graf, Shi-Yeon Sung, Kurt Masur (including the most recent subscription performances, in January 2009), and Manfred Honeck (the most recent Tanglewood performance, on July 25, 2014).

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A good place to start reading about Benjamin Britten is Michael Kennedy’s Britten in the Master Musicians series (Oxford paperback). The big biographical account of the composer’s life is Humphrey Carpenter’s Benjamin Britten (Scribners). Two other biographies were published in 2013 to mark the composer’s centennial: Neil Powell’s Benjamin Britten: A Life for Music (Henry Holt) and Paul Kildea’s Benjamin Britten: A Life in the Twentieth Century (Penguin paperback). Older books that remain of interest include Michael Oliver’s Benjamin Britten in the well-illustrated series “20th-Century Composers” (Phaidon paperback), Peter Evans’s The Music of Benjamin Britten (Clarendon Press), and Letters From a Life: Selected Letters and Diaries of Benjamin Britten, a 1400-page compilation edited by Donald Mitchell and Philip Reed (University of California). Other sources of information include The Cambridge Companion to Benjamin Britten, edited by Mervyn Cooke (Cambridge University paperback); Britten’s Musical Language by Philip Rupprecht (also Cambridge); Rethinking Britten, an essay collection edited by Rupprecht (Oxford), and The Britten Companion, edited by Christopher Palmer (Cambridge). Out of print but worth seeking from second-hand sources is the photographic survey Benjamin Britten: Pictures From a Life, 1913-1976, by Donald Mitchell and John Evans (Scribners). For basic information on the composer and his music, visit the website of the Britten-Pears Foun- dation, brittenpears.org.

Britten himself recorded the Simple Symphony in 1969 with the English Chamber Orchestra (London/Decca). Other recordings include Steuart Bedford’s with the Northern Sinfonia (Naxos), Iona Brown’s with the Norwegian Chamber Orchestra (Warner Classics), the conductor-less Orpheus Chamber Orchestra’s (Deutsche Grammophon), and the Emperor Quartet’s of the version for string quartet (BIS).

Useful books about Chopin include Jim Samson’s Chopin in the “Master Musicians” series (Schirmer); The Chopin Companion: Profiles of the Man and his Music, edited by Alan Walker (Norton paperback), and Chopin: The Man and his Music by James Huneker (Cosimo Classics). The article in the 2001 edition of Grove is by Kornel Michałowski and Jim Samson. The 1980 Grove entry was by Arthur Hedley, Maurice J.E. Brown, and Nicholas Temperley.

Jan Lisiecki’s live performances of Chopin’s F minor and E minor piano concertos, from the 2008 and 2009 “Chopin and his World” festivals, respectively, with Howard Shelley conducting the Sinfonia Varsovia, have been issued on CD (Fryderyk Chopin Institute). The

week 23 read and hear more 49 2017-18

Our upcoming APRIL concerts Finale & Premiere Salem Salem Fri. April 20, 8:00 Brookline Sun. April 22, 3:00 Friday Evenings at 8:00 in historic Hamilton Hall Ravel Sonata for Violin and Cello

Songs Without Words for Wheeler Cello and Piano, World Premiere Brookline

Piano Trio in F minor, Opus 65 Dvorˇák Sunday Afternoons at 3:00 in beautiful St. Paul’s Church Lucia Lin, violin – Jonathan Miller, cello – Diane Walsh, piano You ™ Please note Hamilton Hall is a Registered National Historic Landmark and is not handicap accessible to the performance hall on the second floor. Are Hear BostonArtistsEnsemble.org

50 Boston Symphony Orchestra recorded Chopin’s E minor piano concerto with soloist Gary Graffman and conductor Charles Munch in 1960 (RCA). Other recordings of the E minor concerto—listed alphabetically by soloist—include Martha Argerich’s with Claudio Abbado and the London Symphony Orchestra (Deutsche Grammophon), Van Cliburn’s with Eugene Ormandy and the Philadelphia Orchestra (RCA), the young Evgeny Kissin’s with Dmitri Kitayenko and the Moscow Philharmonic (Melodiya), Lang Lang’s with Zubin Mehta and the Vienna Philharmonic (Deutsche Grammophon), Garrick Ohlsson’s with Jerzy Maksymiuk and the Warsaw Polish Radio/Television Symphony Orchestra (EMI), Murray Perahia’s with Zubin Mehta and the New York Philharmonic (CBS/Sony), and Daniil Trifonov’s with Mikhail Pletnev and the Mahler Chamber Orchestra (Deutsche Grammophon).

Books in which to read about Mendelssohn include Mendelssohn: A Life in Music by R. Larry Todd (Oxford University Press); A Portrait of Mendelssohn by Clive Brown (Yale University Press); The Cambridge Companion to Mendelssohn by Peter Mercer-Taylor (Cambridge University paperback); the anthology Mendelssohn and his World, edited by R. Larry Todd (Princeton University Press); Eric Werner’s Mendelssohn: A New Image of the Composer and his Age, translated by Dika Newlin (Macmillan); Philip Radcliffe’s Men- delssohn in the Master Musicians series, revised by Peter Ward Jones (Oxford); George Marek’s Gentle Genius, which is more concerned with the composer’s background and milieu than with specifics of the music (Funk & Wagnalls), and Herbert Kupferberg’s The Mendelssohns: Three Generations of Genius (Scribners). Michael Steinberg’s program notes on Mendelssohn’s Third and Fourth symphonies (the Scottish and Italian, respectively) are in his compilation volume The Symphony–A Listener’s Guide (Oxford paperback). Donald Francis Tovey’s program note on the Italian Symphony is among his Essays in Musical Analysis (Oxford).

The BSO has made four recordings of the Italian Symphony: with Colin Davis conducting in 1975 (Philips), Charles Munch in 1958 (RCA), and Serge Koussevitzky first in 1935, then again in 1947 (originally RCA). A February 1958 Munch/BSO telecast from Sanders Theatre in Cambridge has been issued on DVD (ICA Classics, paired with a 1959 Munch/BSO telecast of the Scottish Symphony). Complete recorded cycles of the five Mendelssohn symphonies include Claudio Abbado’s with the London Symphony Orchestra (Deutsche Grammophon), Kurt Masur’s with the Gewandhaus Orchestra of Leipzig (Warner Classics), and Yannick Nézet-Séguin’s with the Chamber Orchestra of Europe (Deutsche Grammophon). Noteworthy individual recordings of the Italian Sym- phony also include George Szell’s with the Cleveland Orchestra (Sony) and, of much older vintage, Arturo Toscanini’s with the NBC Symphony (RCA) and Guido Cantelli’s with the Philharmonia Orchestra (EMI or Testament).

Marc Mandel

week 23 read and hear more 51

Guest Artists

Tugan Sokhiev

Making his Boston Symphony Orchestra debut with two subscription series this month, the internationally acclaimed Russian conductor Tugan Sokhiev has been music director of the Orchestre National du Capitole de Toulouse (ONCT) for more than a decade. He is also music director and conductor of the Bolshoi Theatre in Moscow and through the end of the 2015-16 season served as music director of the Deutsches Symphonie- Orchester (DSO) Berlin. In addition to his BSO debut, highlights of his current season include engagements with the Berlin Philharmonic, Deutsches Symphonie-Orchester, and NHK Symphony Orchestra, as well as leading the ONCT throughout France and on tour to South America and Asia. In recent seasons he has conducted the Vienna Philharmonic (notably at the Lucerne Festival), Chicago Symphony Orchestra, London Symphony Orchestra, Philadelphia Orchestra, Leipzig’s Gewandhaus Orchestra, the Berlin Philhar- monic, and at the NHK Music Festival, also touring Europe with both the Philharmonia Orchestra and Mahler Chamber Orchestra. Mr. Sokhiev has toured extensively with ONCT in Europe, Asia, the United Kingdom, and South America and with DSO Berlin in Europe. Since 2003 he has conducted the Philharmonia Orchestra every season in London and toured with that orchestra in Europe. He has appeared as a guest conductor with the Vienna Philharmonic at the Mozartwoche Festival, Finnish Radio Symphony, NHK Symphony, Rotterdam Philharmonic, National Philharmonic of Russia, Accademia Nazionale di Santa Cecilia, RAI Turin, the orchestras of La Scala and the Bayerische Staatsoper, the Bournemouth Symphony, Swedish Radio Symphony Orchesta, Oslo Philharmonic, the Royal Concertgebouw Orchestra of Amsterdam, Munich Philharmonic, and Orchestre

week 23 guest artists 53 All

JORGE SOTO, GUEST CONDUCTOR IRINA MURESANU, VIOLIN

May 19, 8pm | May 20, 3PM First Baptist Church, 848 Beacon Street, Newton

featuring Beethoven’s Violin Concerto & Symphony No. 7

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New Philharmonia Orchestra is a member of the Newton Cultural Alliance. newtonculture.org

54 National de France. Recent operatic engagements have included new productions of Katerina Ismailova and La Damnation de Faust at the Bolshoi Theatre. Tugan Sokhiev gained extensive opera experience early on, including many productions for the Mariinsky The- atre and Welsh National Opera; he has appeared as guest conductor at the Metropolitan Opera with the Mariinsky, at Houston Grand Opera, at the Aix-en-Provence Festival, and in Madrid. He was named “Musical Discovery of the Year” by the French Critics’ Union in 2005 for his performance at the Théâtre des Champs-Élysées with the Orchestre Nation- al du Capitole. Following many engagements in Toulouse, Berlin, Paris, London, and Vienna, Tugan Sokhiev swiftly established himself with orchestras, audiences, and critics alike. His discography includes acclaimed recordings for Naïve Classique with the Orchestre National du Capitole de Toulouse, including Tchaikovsky’s symphonies 4 and 5, Mussorg- sky’s Pictures at an Exhibition, Rachmaninoff’s Symphonic Dances, Prokofiev’sPeter and the Wolf, and Stravinsky’s Rite of Spring and Firebird. Releases on Sony Classical with DSO Berlin include Prokofiev’sIvan the Terrible, Fifth Symphony, and Scythian Suite.

Jan Lisiecki

Making his Boston Symphony debut in these concerts, the twenty-three-year-old pianist Jan Lisiecki has won acclaim for his interpretive maturity, distinctive sound, and poetic sensibility. Born to Polish parents in Canada, he began piano lessons at five and made his concerto debut four years later. The 2010 release, by the Fryderyk Chopin Institute, of a recording of Chopin’s piano concertos performed live by Mr. Lisiecki (at thirteen and fourteen) garnered international attention and won the Diapason Découverte. In 2011 Deutsche Grammophon signed him to an exclusive contract. His first DG recording, released in 2012 and featuring Mozart’s piano concertos K.466 and K.467, was followed in 2013 by Chopin’s Études, Opp. 10 and 25. His recording of Schumann’s works for piano and orchestra was released in January 2016; his March 2017 release of rarely performed Chopin works for piano and orchestra won the ECHO Klassik. In March 2013, Mr. Lisiecki substituted at short notice for Martha Argerich, performing Beethoven’s Piano Concerto No. 4 in Bologna with the Orchestra Mozart under Claudio Abbado. He crowned that

week 23 guest artists 55 56 season performing Schumann’s Piano Concerto at the BBC Proms. The following year he performed three Mozart concertos in one week with the Philadelphia Orchestra, and made debuts with the Orchestra Filarmonica della Scala in Milan, Tonhalle Orchestra Zurich, the NHK Symphony Orchestra in Tokyo, and the Deutsches Symphonie-Orchester Berlin. Also that season he gave debut recitals at London’s Wigmore Hall, Rome’s Acca- demia Nazionale di Santa Cecilia, and in San Francisco. He has appeared with such ensembles as the Orchestre de Paris, New York Philharmonic, and BBC Symphony, at such venues as Suntory Hall, the Kennedy Center, Lincoln Center, and London’s Barbican and Royal Albert Hall, collaborating with such prominent conductors as Sir Antonio Pappano, Yannick Nézet-Séguin, and Daniel Harding. His January 2016 debut in the main auditorium of New York’s Carnegie Hall earned rave reviews. Other noteworthy performances have included debuts with the Cleveland Orchestra and San Francisco Symphony, and multiple tours, including those with the London Philharmonic and Vladimir Jurowski, the City of Birmingham Symphony Orchestra and Mirga Gražinyt˙e-Tyla, and the Rotterdam Philharmonic and Yannick Nézet-Séguin. Conducting from the piano, he has performed concertos with the Zurich Chamber Orchestra and Camerata Salzburg. Recent and upcoming engagements include his Munich Philharmonic debut under Valery Gergiev, the Toronto Symphony’s season-opening concert, recital tours of Europe and Asia, and subscription debuts with the Vienna Symphony and Staatskapelle Dresden, among others. His performances have been broadcast on radio and television in Europe and North America; he was the subject of the CBC National News documentary “The Reluctant Prodigy.” In 2013 he received the Leonard Bernstein Award at the Schleswig-Holstein Music Festival and was also named Gramophone’s Young Artist of the Year. Jan Lisiecki has donated time and performances to such organizations as the David Foster Foundation, the Polish Humani- tarian Organization, and the Wish Upon a Star Foundation. In 2012 he was named UNICEF Ambassador to Canada, having been a National Youth Representative since 2008.

2O17 2O18 SEASON Dancing in Time APRIL 28, 2O18 8PM David Rakowski Water Music WORLD PREMIERE Sebastian Currier Time Machines BOSTON PREMIERE Danielle Maddon, violin Bernard Hoffer Three Pieces for Orchestra WORLD PREMIERE Maurice Ravel Bolero

TSAI PERFORMANCE CENTER, BOSTON UNIVERSITY NEPHILHARMONIC.ORG MUSIC DIRECTOR

week 23 guest artists 57

Be in touch with the full spectrum of arts and culture happening right here in our community. Visit The ARTery at wbur.org/artery today. 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 Bank of America • Mr. and Mrs. George D. Behrakis • John F. Cogan, Jr. and Mary L. Cornille • Cynthia and Oliver Curme/The Lost & Foundation, Inc. • EMC Corporation • Sally ‡ and Michael Gordon

five million Alli and Bill Achtmeyer • Catherine and Paul Buttenwieser • Alan J. and Suzanne W. Dworsky • Fairmont Copley Plaza • Germeshausen Foundation • Barbara and Amos Hostetter • Ted and Debbie Kelly • Commonwealth of Massachusetts • Cecile Higginson Murphy • 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 • Bloomberg • Peter and Anne ‡ Brooke • Eleanor L. and Levin H. Campbell • Chiles Foundation • Mr. and Mrs. William H. Congleton ‡ • Mara E. Dole ‡ •

Eaton Vance Corporation • Jane and Jack Fitzpatrick ‡ • Susan Morse Hilles ‡ • Charlie and Dorothy Jenkins/The Ting Tsung and Wei Fong Chao Foundation • Stephen B. Kay and Lisbeth L. Tarlow/The Aquidneck Foundation • The Kresge Foundation • Lizbeth and George Krupp • Liberty Mutual Foundation, Inc. • Kate and Al ‡ Merck • National Endowment for the Arts • Mrs. Mischa Nieland ‡ and Dr. Michael L. Nieland • 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)

60 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 • Caroline Dwight Bain ‡ • 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 Executive Transportation • William F. Connell ‡ and Family • Dick and Ann Marie Connolly • 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 • Hermine Drezner and Jan Winkler • 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 ‡ • John and Cyndy Fish • Fromm Music Foundation • The Ann and Gordon Getty Foundation • Marie L. Gillet ‡ • Sophia and Bernard Gordon • Nathan and Marilyn Hayward • Mrs. Donald C. Heath ‡ • Francis Lee Higginson ‡ • Major Henry Lee Higginson ‡ • John Hitchcock ‡ • 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 ‡ • Elizabeth W. and John M. Loder • Nancy and Richard Lubin • Vera M. and John D. MacDonald ‡ • Nancy Lurie Marks Family Foundation • Carmine A. and Beth V. Martignetti • Jane B. and Robert J. Mayer, M.D. • 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 ‡ • 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 • Wendy Shattuck and Samuel Plimpton • 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 • Robert and Roberta Winters • Helen and Josef Zimbler ‡ • Brooks and Linda Zug • Anonymous (12)

‡ Deceased week 23 the great benefactors 61

The Maestro Circle Annual gifts to the Boston Symphony Orchestra provide essential funding to the support of ongoing operations and to sustain our mission of extraordinary music-making. The BSO is grateful for the philanthropic leadership of our Maestro Circle members whose current contributions to the Orchestra’s Symphony, Pops and Tanglewood annual funds, gala events, and special projects have totaled $100,000 or more during the 2017-18 season. ‡ This symbol denotes a deceased donor.

Alli and Bill Achtmeyer • Mr. and Mrs. George D. Behrakis • Peter and Anne ‡ Brooke • Gregory E. Bulger Foundation/Gregory Bulger & Richard Dix • Cynthia and Oliver Curme • Michael L. Gordon • Nathan and Marilyn Hayward • The Nancy Foss Heath and Richard B. Heath Educational, Cultural and Environmental Foundation • Barbara and Amos Hostetter • Charlie and Dorothy Jenkins/The Ting Tsung and Wei Fong Chao Foundation • Joyce Linde • Nancy and Richard Lubin • Mr. and Mrs. Paul M. Montrone • John S. and Cynthia Reed • Carol and Joe Reich • Sue Rothenberg • Wendy Shattuck and Samuel Plimpton • Caroline and James Taylor • Stephen and Dorothy Weber • Marillyn Zacharis • Anonymous (3)

The Higginson Society ronald g. casty, chair, boston symphony orchestra annual funds peter c. andersen, vice-chair, symphony annual funds

The Higginson Society embodies a deep commitment to supporting musical excellence, which builds on the legacy of the Boston Symphony Orchestra’s founder and first benefactor, Henry Lee Higginson. The BSO is grateful to current Higginson Society members whose gifts to the Symphony Annual Fund provide more than $5 million in essential funding to sustain our mission. The BSO acknowledges the generosity of the donors listed below, whose contributions were received by March 1, 2018. For further information on becoming a Higginson Society member, please contact Kara O’Keefe, Leadership Gifts Officer, at 617-638-9259. ‡ This symbol denotes a deceased donor. founders $100,000 and above Peter A. Brooke • Barbara and Amos Hostetter • Wendy Shattuck and Samuel Plimpton virtuoso $50,000 - $99,999 Alli and Bill Achtmeyer • Mr. and Mrs. George D. Behrakis • Alan J. and Suzanne W. Dworsky • Thomas and Winifred Faust • Ted and Debbie Kelly • Joyce Linde • Nancy and Richard Lubin • Carmine A. and Beth V. Martignetti • John S. and Cynthia Reed • Sue Rothenberg • Kristin and Roger Servison • Stephen and Dorothy Weber • Brooks and Linda Zug • Anonymous

week 23 the maestro circle 63 .

STAY TUNED FOR OUR POWDER HER FACE 2018–2019 SEASON ANNOUNCEMENT!

Odyssey Opera presents adventurous and eclectic repertoire that affirm opera as a powerful expression of the human experience and advances the operatic genre beyond the familiar and into undiscovered territory.

JOIN THE JOURNEY AT ODYSSEYOPERA.ORG PICTURED: PATRICIA SCHUMAN IN THOMAS ADÈS’ ADÈS’ THOMAS IN SCHUMAN PATRICIA PICTURED: FILMS. SQUARE WITTMAN/BALL KATHY PHOTO:

64 encore $25,000 - $49,999 Amy and David Abrams • Jim and Virginia Aisner • Lloyd Axelrod, M.D. • Gabriella and Leo ‡ Beranek • Joan and John ‡ Bok • Mr. and Mrs. William N. Booth • Gregory E. Bulger Foundation/Gregory Bulger & Richard Dix • Ronald G. and Ronni J. ‡ Casty • John F. Cogan, Jr. and Mary L. Cornille • Roberta L. and Lawrence H. ‡ Cohn, M.D. • Donna and Don Comstock • Cynthia and Oliver Curme • Alan and Lisa Dynner • Deborah and Philip Edmundson • William and Deborah Elfers • Dr. David Fromm • Joy S. Gilbert • The Grossman Family Charitable Foundation • Mrs. Francis W. Hatch • Mr. and Mrs. Brent L. Henry • Elizabeth W. and John M. Loder • Josh and Jessica Lutzker • Jane B. and Robert J. Mayer, M.D. • Sandra Moose and Eric Birch • Megan and Robert O’Block • William and Lia Poorvu • William and Helen Pounds • James and Melinda Rabb • Louise C. Riemer • Cynthia and Grant Schaumburg • 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 • Theresa M. and Charles F. Stone III • Stephen, Ronney, Wendy and Roberta Traynor • Robert and Roberta Winters • Anonymous (5) patron $12,000 - $24,999 Noubar and Anna Afeyan • Mr. and Mrs. Peter Andersen • Lois ‡ and Harlan Anderson • Liliana and Hillel Bachrach • Judith and Harry ‡ Barr • Lucille Batal • Roz and Wally Bernheimer • Roberta and George ‡ Berry • Ann Bitetti and Doug Lober • Mrs. Linda Cabot Black • Karen S. Bressler and Scott M. Epstein • Lorraine Bressler • Thomas Burger and Andree Robert • Joanne and Timothy Burke • Catherine and Paul Buttenwieser • Eleanor L. and Levin H. Campbell • Arthur Clarke and Susan Sloan • Barbara and Fred Clifford • Ernest Cravalho and Ruth Tuomala • Diddy and John Cullinane • Sally Currier and Saul Pannell • Edith L. and Lewis S. ‡ Dabney • Gene and Lloyd Dahmen • Drs. Anna L. and Peter B. Davol • Mr. and Mrs. Miguel de Bragança • Bob and Happy Doran • Dr. and Mrs. Levi A. Garraway • The Gerald Flaxer Charitable Foundation, Nancy S. Raphael, Trustee • Barbara and Robert Glauber • Thelma ‡ and Ray Goldberg • Richard and Nancy Heath • Mr. and Mrs. Ulf B. Heide • Rebecca Henderson and James Morone • Mr. James G. Hinkle and Mr. Roy Hammer • Albert A. Holman III and Susan P. Stickells • Prof. Paul L. Joskow and Dr. Barbara Chasen Joskow • Mr. and Mrs. Mark A. Jung • Steve Kidder and Judy Malone • Meg and Joseph Koerner • Lizbeth and George Krupp • Tom Kuo and Alexandra DeLaite • Dr. and Mrs. Joseph B. Martin • Kurt and Therese Melden • Jo Frances and John P. Meyer • Dr. Martin C. Mihm, Jr. • Kristin A. Mortimer • Jerry and Mary ‡ Nelson • Polly and Dan ‡ Pierce • Randy and Stephanie Pierce • Janet and Irv Plotkin • Susanne and John Potts • Linda H. Reineman • Graham Robinson and Jeanne Yu • Dr. Michael and Patricia Rosenblatt • Benjamin Schore • Arthur and Linda Schwartz • Eileen Shapiro and Reuben Eaves • Ann and Phillip Sharp • Solange Skinner • Katherine Chapman Stemberg • Blair Trippe • Eric and Sarah Ward • Harvey and Joëlle Wartosky • Anonymous (3) sponsor $6,000 - $11,999 Nathaniel Adams and Sarah Grandfield • Ms. Deborah L. Allinson • David and Holly Ambler • Dr. Ronald Arky • Marjorie Arons-Barron and James H. Barron • Diane M. Austin and Aaron J. Nurick • Mrs. Hope Lincoln Baker • Dr. Peter A. Banks • Mr. and Mrs. Eugene F. Barnes III • Jim and Nancy Bildner •

week 23 the higginson society 65 more time for the pool

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66 Peter Blau and Cristina Coletta Blau • Brad and Terrie Bloom • Mark G. and Linda Borden • Mr. and Mrs. ‡ John M. Bradley • Traudy and Stephen Bradley • Drs. Andrea and Brad Buchbinder • Julie and Kevin Callaghan • Jane Carr and Andy Hertig • The Cavanagh Family • Mr. Miceal Chamberlain • Dr. Frank Clark and Dr. Lynn Delisi • Ronald and Judy Clark • Mrs. Abram Collier • Victor Constantiner • Ms. RoAnn Costin • Dr. William T. Curry, Jr. and Ms. Rebecca Nordhaus • Eve and Philip D. Cutter • Lynn Dale and Frank Wisneski • Robert and Sara Danziger • Deborah B. Davis • Charles and JoAnne Dickinson • Rachel and Peter Dixon • Richard Dixon and Douglas Rendell • Phyllis Dohanian • Mrs. Richard S. Emmet • Pamela Everhart and Karl Coiscou • Beth and Richard Fentin • Mr. and Mrs. Steven S. Fischman • Barbie and Reg Foster • Myrna H. Freedman • Nicki Nichols Gamble • Beth and John Gamel • Jim and Becky Garrett • Mr. and Mrs. Paul B. Gilbert • Adele C. Goldstein • Martha and Todd Golub • Jack Gorman • Raymond and Joan Green • Carol and Robert Henderson • Mrs. Nancy R. Herndon • Drs. James and Eleanor Herzog • Mr. ‡ and Mrs. Richard D. Hill • Mary and Harry Hintlian • Patricia and Galen Ho • Ms. Emily C. Hood • G. Lee and Diana Y. Humphrey • Mr. and Mrs. Roger Hunt • Joanie V. Ingraham • Blake Ireland, in memory of Anne Ireland • Nancy and G. Timothy Johnson • Rita J. and Stanley H. Kaplan Family Foundation, Inc./ Susan B. Kaplan and Nancy and Mark Belsky • Barbara and Leo Karas • Stephen B. Kay and Lisbeth L. Tarlow • Dr. Nancy Koehn • Mr. Robert K. Kraft • Pamela S. Kunkemueller • Mr. Benjamin H. Lacy • Robert A. and Patricia P. Lawrence • Mr. and Mrs. David S. Lee • Mr. and Mrs. Henry Lee • Rosemarie and Alexander Levine • Betty W. Locke • Dr. and Mrs. Frederick H. Lovejoy, Jr. • Anne R. Lovett and Stephen G. Woodsum • Nancy Lurie Marks Family Foundation • Ann Merrifield and Wayne Davis • Kyra and Jean Montagu • Mr. and Mrs. Paul M. Montrone • Anne M. Morgan • Betty Morningstar and Jeanette Kruger • Richard P. and Claire W. Morse Foundation • Ms. Cecilia O’Keefe • John O’Leary • Peter Palandjian • Jane and Neil Pappalardo • Mr. and Mrs. Joseph M. Paresky • Drs. James and Ellen Perrin • Slocumb H. and E. Lee Perry • Ann M. Philbin • Dr. Herbert Rakatansky and Mrs. Barbara Sokoloff • Peter and Suzanne Read • Rita and Norton Reamer • Sharon and Howard Rich • Mr. and Mrs. Henry Rosovsky • Debora and Alan Rottenberg • William and Kathleen Rousseau • Sean Rush and Carol C. McMullen • Darin S. Samaraweera • In Memory of Frida Sapgir • Joanne Zervas Sattley • Norma and Roger A. Saunders • Lynda Anne Schubert • Christopher and Cary Smallhorn • Ms. Nancy F. Smith • Anne-Marie Soullière and Lindsey C.Y. Kiang • Mr. John F. Spence, Jr. • Maria and Ray Stata • Tazewell Foundation • Charlotte and Theodore Teplow • John Lowell Thorndike • Marian and Dick Thornton • Magdalena Tosteson • Mrs. Polly J. Townsend • John Travis • Dr. Roger Tung and Dr. Jillian Tung • Mark and Martha Volpe • Linda and Daniel Waintrup • Ms. Vita L. Weir and Mr. Edward Brice, Jr. • Drs. Christoph and Sylvia Westphal • Dr. and Mrs. Michael J. Yaremchuk • Marillyn Zacharis • Dr. and Mrs. Nicholas T. Zervas • Anonymous (7)

week 23 the higginson society 67 BSO Major Corporate Sponsors 2017–18 Season

BSO SEASON LEAD SPONSOR Bank of America is proud of our longstanding support of the Boston Symphony Orchestra and we’re excited to serve once again as co-sponsor for the 2017-2018 season. Bank of America’s support of the arts reflects our belief that the arts matter: they are a powerful tool to help economies thrive, to help individuals connect with each other and across cultures, and to educate and enrich societies. Our Arts and Culture Program is Miceal Chamberlain diverse and global, supporting nonprofit arts institutions that deliver the Massachusetts President, visual and performing arts, provide inspirational and educational sus- Bank of America tenance, anchor communities, create jobs, augment and complement existing school offerings, and generate substantial revenue for local businesses. On a global scale, the arts speak to us in a universal language that provides pathways to greater cultural understanding. It’s an honor and privilege to continue our collaboration with the Boston Symphony Orchestra, and to play a part in welcoming the valued audiences and world-class artists for each and every performance of this cherished institution.

BSO SEASON SUPPORTING SPONSOR For more than 235 years, Takeda Pharmaceutical Company Limited has brought the hope of Better Health and a Brighter Future to people around the world through our empathetic and people-centered approach to science and medicine. Takeda’s Boston campus is the home of one of our world-class R&D sites, as well as our oncology and vaccine business units. We are pleased to support the Boston Symphony Orchestra Andrew Plump, in its efforts to bring artistic excellence to the local community and M.D., Ph.D. across the globe. Chief Medical and Scientific Officer

CASUAL FRIDAYS SERIES, COLLEGE CARD PROGRAM, John Donohue Chairman and CEO YOUTH & FAMILY CONCERTS, AND THE BSO’S YOUNG PROFESSIONALS PROGRAM SPONSOR The Arbella Insurance Group, through the Arbella Insurance Foundation, is proud to sponsor the Boston Symphony Orchestra’s Casual Fridays Series, College Card program, Youth & Family Concerts, and Young Professionals program. These programs give local students and young professionals the opportunity to experience classical music performed by one of the world’s leading orchestras in historic Symphony Hall. Arbella is a local company that’s passionate about serving our communities throughout New England, and through the Foundation we support many wonderful organizations like the BSO. 68 OFFICIAL AIRLINE OF THE BSO Delta Air Lines has been proud to support the Boston Symphony Orchestra since 2004 as the Official Airline of the BSO at Symphony Hall, and most recently as a BSO Great Benefactor. The BSO's dedication to the performing Charlie Schewe arts and arts education programs continues to delight and enrich Massa- Director of Sales- chusetts and beyond with each passing season. As the BSO continues to New England help classical music soar, Delta looks forward to celebrating this vibrant institution's rich legacy for many years to come.

OFFICIAL HOTEL OF THE BSO George Terpilowski Fairmont Copley Plaza has had the honor of being the official hotel of Regional Vice President, the BSO for more than 15 years. Located less than a mile from Symphony North East U.S. and Hall, we are proud to offer luxury accommodations for the talented General Manager, artists and conductors that captivate Boston audiences. Together our Fairmont Copley Plaza historic institutions are a symbol of the city’s rich tradition and elegance. We look forward to celebrating another season of remarkable BSO performances.

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

Boston Symphony Orchestra and Symphony Hall major corporate sponsorships reflect the increasing importance of alliance between business and the arts. The BSO is honored to be associated with the companies listed above and gratefully acknowledges their partnership. For information regarding BSO, Boston Pops, and/or Tanglewood sponsorship opportunities, contact Alyson Bristol, Director of Corporate Partnerships, at (617) 638-9279 or at [email protected].

week 23 bso major corporate sponsors 69 OUR NEW BOSTON SHOWROOM IS NOW OPEN.

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Mark Volpe, Eunice and Julian Cohen Managing Director, endowed in perpetuity Evelyn Barnes, Chief Financial Officer Anthony Fogg, William I. Bernell Artistic Administrator and Director of Tanglewood Alexandra J. Fuchs, Chief Operating Officer 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 Lynn G. Larsen, Orchestra Manager and Director of Orchestra Personnel Bart Reidy, Director of Development Christopher W. Ruigomez, Director of the Boston Pops and Concert Operations and Assistant Director of Tanglewood Kathleen Sambuco, Director of Human Resources administrative staff/artistic

Bridget P. Carr, Blanche and George Jones Director of Archives and Digital Collections • Jennifer Dilzell, Chorus Manager • Sarah Donovan, Associate Archivist for Digital Assets • 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

Brandon Cardwell, Video Engineer • Kristie Chan, Orchestra Management Assistant • Tuaha Khan, Assistant Stage Manager • Jake Moerschel, Technical Director • John Morin, Stage Technician • Mark C. Rawson, Stage Technician • Emily W. Siders, Concert Operations Administrator • Nick Squire, Recording Engineer boston pops

Dennis Alves, Director of Artistic Planning • Richard MacDonald, Executive Producer and Operations Director • Pamela J. Picard, Executive Producer and Event Director, July 4 Fireworks Spectacular, and Broadcast and Media Director Helen N.H. Brady, Director of Boston Pops Sales and Business Director • Leah Monder, Operations Manager • Wei Jing Saw, Assistant Manager of Artistic Administration • Amanda Severin, Manager of Artistic Planning and Services • Thomas Vigna, Group Sales and Marketing Associate business office

Kathleen Donahue, Controller • Mia Schultz, Director of Investment Operations and Compliance • Bruce Taylor, Director of Financial Planning and Analysis Michelle Bourbeau, Payroll Administrator • James Daley, Accounting Manager • Kevin Golden, Payroll Manager • Karen Guy, Accounts Payable Supervisor • Jared Hettrick, Business Office Administrator • Erik Johnson, Interim Director of Planning and Budgeting • Evan Mehler, Budget Manager • Nia Patterson, Staff Accountant • Mario Rossi, Senior Accountant • Lucy Song, Accounts Payable Assistant • Teresa Wang, Staff Accountant • Maggie Zhong, Senior Endowment Accountant

week 23 administration 73 GUITAR GONG GLOCKENSPIEL

ANY WAY YOU PLAY IT, THE BSO IS ALWAYS GOURMET

Boston Gourmet is proud to be the exclusive caterer of the Boston Symphony Orchestra

GOURMETCATERERS.COM/BSO • BSO.ORG development

Nina Jung Gasparrini, Director of Board, Donor, and Volunteer Engagement • Susan Grosel, Director of Annual Funds and Donor Relations • Ryan Losey, Director of Foundation and Government Relations • 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 Kaitlyn Arsenault, Graphic Designer • Erin Asbury, Manager of Volunteer Services • Stephanie Baker, Assistant Director, Campaign Planning and Administration • Shirley Barkai, Manager, Friends Program and Direct Fundraising • Lydia Buchanan, Assistant Manager, Development Communications • Diane Cataudella, Associate Director, Donor Relations • Caitlin Charnley, Assistant Manager of Donor Relations and Ticketing • Allison Cooley, Major Gifts Officer • Emily Diaz, Assistant Manager, Gift Processing • Elizabeth Estey, Major Gifts Coordinator • Emily Fritz-Endres, Senior Executive Assistant, Development and Board Relations • Barbara Hanson, Senior Leadership Gifts Officer • Laura Hill, Assistant Manager, Annual Funds Friends Program • James Jackson, Associate Director, Telephone Outreach • Laine Kyllonen, Assistant Manager, Donor Relations • Anne McGuire, Manager, Corporate Initiatives and Development Research • Kara O’Keefe, Leadership Gifts Officer • 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 Associate • Francis Rogers, Major Gifts Officer • Laura Sancken, Assistant Director of Board Engagement • Alexandria Sieja, Assistant Director, Development Events • Yong-Hee Silver, Senior Major Gifts Officer • Szeman Tse, Assistant Director, Development Research education and community engagement Zakiya Thomas, Helaine B. Allen Executive Officer for Education, Community Engagement, and Inclusion Claire Carr, Associate Director of Education and Community Engagement • Deron Hall, Associate Director of Strategic Education Partnerships • Cassandra Ling, Head of Strategic Program Development, Education • Elizabeth Mullins, Manager of Education and Community Engagement • Sarah Saenz, Assistant Manager of 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 • Samuel Darragh, Painter • Thomas Davenport, Carpenter • Steven Harper, HVAC Technician • Adam Twiss, Electrician environmental services Landel Milton, Lead Custodian • Desmond Boland, Custodian • Julien Buckmire, Custodian/Set-up Coordinator • Claudia Ramirez Calmo, Custodian • Garfield Cunningham,Custodian • Errol Smart, Custodian • Gaho Boniface Wahi, Custodian tanglewood operations Robert Lahart, Director of Tanglewood Facilities Bruce Peeples, Grounds Supervisor • Peter Socha, Tanglewood Facilities Manager • Fallyn Davis, Tanglewood Facilities Coordinator • Stephen Curley, Crew • Richard Drumm, Mechanic • Maurice Garofoli, Electrician • Bruce Huber, Assistant Carpenter/Roofer human resources

John Davis, Associate Director of Human Resources • Heather Mullin, Human Resources Manager • Susan Olson, Human Resources Recruiter

week 23 administration 75 RARE FORM

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Client - Team One Job # - 148052 AD03 Cyan Magenta Yellow Black information technology Timothy James, Director of Information Technology James Beaulieu, IT Services Lead • Andrew Cordero, IT Asset Manager • Ana Costagliola, Senior Database Analyst • Isa Cuba, Infrastructure Engineer • Stella Easland, Telephone Systems Coordinator • Michael Finlan, Telephone Systems Manager • Karol Krajewski, Senior Infrastructure Architect • Brian Van Sickle, User Support Specialist public relations

Nicole Banks, Publicist • Taryn Lott, Assistant Director of Public Relations publications Marc Mandel, Director of Program Publications Robert Kirzinger, Associate Director of Program Publications—Editorial • Eleanor Hayes McGourty, Assistant Director of Program Publications—Production and Advertising sales, subscription, and marketing

Roberta Kennedy, Director of Retail Operations • Sarah L. Manoog, Senior Director of Sales, Marketing, and Branding • Michael Miller, Director of Ticketing and Customer Experience Amy Aldrich, Associate Director of Subscriptions and Patron Services • Amanda Beaudoin, Senior Graphic Designer • Gretchen Borzi, Director of Marketing Programs • Hester C.G. Breen, Corporate Partnerships Coordinator • Lenore Camassar, Associate Manager, SymphonyCharge • Megan Cokely, Group Sales Manager • Susan Coombs, SymphonyCharge Coordinator • Jonathan Doyle, Graphic Designer • Leslie Wu Foley, Associate Director of Audience Development • Paul Ginocchio, Manager, Symphony Shop and Tanglewood Glass House • Neal Goldman, Subscriptions Representative • Mary Ludwig, Senior Manager, Corporate Sponsor Relations • Tammy Lynch, Front of House Director • Ronnie McKinley, Ticket Exchange Coordinator • Michael Moore, Manager of Digital Marketing and Analytics • Laurence E. Oberwager, Director of Tanglewood Business Partners • Meaghan O’Rourke, Digital Media Manager • Greg Ragnio, Subscriptions Representative • Ellen Rogoz, Marketing 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 • David Chandler Winn, Tessitura Liaison and Associate Director of Tanglewood Ticketing box office Jason Lyon, Symphony Hall Box Office Manager • Nicholas Vincent, Assistant Manager Kelsey Devlin, Box Office Administrator • Evan Xenakis, Box Office Representative event services James Gribaudo, Function Manager • Kyle Ronayne, Director of Event Administration • John Stanton, Venue and Events Manager tanglewood music center

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

week 23 administration 77 Your A ernoon Exhale

A service of WGBH A SERVICE OF WGBH

Download the App Boston Symphony Association of Volunteers executive committee Chair, Martin Levine Chair-Elect, Jerry Dreher Vice-Chair, Boston, Suzanne Baum Vice-Chair, Tanglewood, Bob Braun Secretary, Beverly Pieper Co-Chairs, Boston Trish Lavoie • Cathy Mazza • George Mellman Co-Chairs, Tanglewood Nancy Finn • Gabriel Kosakoff • Susan Price Liaisons, Tanglewood Glass Houses, Adele Cukor • Ushers, Carolyn Ivory boston project leads 2017-18

Café Flowers, Virginia Grant, Stephanie Henry, and Kevin Montague • Chamber Music Series, Rita Richmond • Computer and Office Support, Helen Adelman • Flower Decorating, Stephanie Henry and Wendy Laurich • Guide’s Guide, Audley H. Fuller and Renee Voltmann • Instrument Playground, Elizabeth Michalak • Mailings, Steve Butera • Membership Table/Hall Greeters, Connie Hill • Newsletter, Cassandra Gordon • Volunteer Applications, Carol Beck • Symphony Shop, Karen Brown • Tour Guides, Greg Chetel

week 23 administration 79 Next Program…

Thursday, April 26, 8pm Friday, April 27, 1:30pm (Friday Preview from 12:15-12:45pm in Symphony Hall) Saturday, April 28, 8pm

tughan sokhiev conducting

brahms violin concerto in d, opus 77 Allegro non troppo Adagio Allegro giocoso, ma non troppo vivace vadim gluzman

{intermission}

prokofiev symphony no. 5 in b-flat, opus 100 Andante Allegro moderato Adagio Allegro giocoso

For his second week of concerts this season, Tugan Sokhiev leads the BSO in Brahms’s towering Violin Concerto, with the outstanding, Ukrainian-born, Israeli violin soloist Vadim Gluzman in his subscription series debut. Brahms wrote his concerto in 1878 for his lifelong friend Joseph Joachim, one of the great musicians of that era. Closing the program is Prokofiev’s wartime Symphony No. 5, a powerful, searching, and expansive work premiered in January 1945 with the composer conducting. The American premiere was given by the BSO and Serge Koussevitzky in November 1945, on which occasion Prokofiev sent a telegram to his old friend Koussevitzky, reading in part, “Very happy you conducting the American premiere my Fifth Symphony. Send- ing sincere greetings you and all members your magnificent orchestra.”

Single tickets for all Boston Symphony concerts throughout the season are available online at bso.org via a secure credit card order; 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. (Saturdays from 4-8:30 p.m. when there is a concert). Please note that there is a $6.50 handling fee for each ticket ordered by phone or online.

80 Coming Concerts… friday previews and pre-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.

Thursday ‘C’ April 26, 8-9:55 Friday ‘B’ May 4, 1:30-3:15 Friday ‘A’ April 27, 1:30-3:25 MORITZ GNANN, conductor Saturday ‘B’ April 28, 8-9:55 JOHN FERRILLO, oboe TUGAN SOKHIEV, conductor GABRIELI Canzonas for brass VADIM GLUZMAN, violin MARCELLO Concerto in C minor for oboe, BRAHMS Violin Concerto strings, and continuo PROKOFIEV Symphony No. 5 ROSSINI Suite from Il barbiere di Siviglia, (ARR. SEDLAK) for wind ensemble MOZART Symphony No. 40, K.550 Tuesday ‘B’ May 1, 8-9:50 Thursday ‘D’ May 3, 8-9:50 Saturday ‘A’ May 5, 8-9:50 BERNARD HAITINK, conductor EMANUEL AX, piano ALL-BRAHMS Piano Concerto No. 2 PROGRAM Symphony No. 2

The BSO’s 2017-18 season is supported in part by the Massachusetts Cultural Council, which receives support from the State of Massachusetts and the National Programs and artists subject to change. Endowment for the Arts.

week 23 coming concerts 81 Symphony Hall Exit Plan

82 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, or until a half-hour past starting time on performance evenings. On Saturdays, the box office is open from 4 p.m. until 8:30 p.m. when there is a concert, but is otherwise closed. For an early Saturday or Sunday performance, the box office is generally open two hours before concert time. 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 5 p.m. Monday through Friday (12:30 p.m. to 4:30 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 23 symphony hall information 83 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 $10 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 WCRB Classical Radio Boston. 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 Thurs day 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.

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