Torquemada, a Clockmaker

Table of Contents | Week 18

7 bso news 15 on display in symphony hall 16 bso music director andris nelsons 18 the boston symphony orchestra 21 a brief history of symphony hall 26 this week’s program

Notes on the Program

28 The Program in Brief… 29 Ravel “Rapsodie espagnole” 35 Manuel de Falla 43 Ravel “L’Heure espagnole” 51 To Read and Hear More…

Guest Artists

55 Charles Dutoit 57 Javier Perianes 59 Daniela Mack 61 Benjamin Hulett 63 François Piolino 65 Jean-Luc Ballestra 67 David Wilson-Johnson

68 sponsors and donors 80 future programs 82 symphony hall exit plan 83 symphony hall information

the friday preview on march 4 is given by elizabeth seitz of the boston conservatory.

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

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

trustees of the boston symphony orchestra, inc.

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

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

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

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

Noubar Afeyan • James E. Aisner • Peter C. Andersen • Bob Atchinson • Lloyd Axelrod, M.D. • Liliana Bachrach • Judith W. Barr • Lucille M. Batal • Linda J.L. Becker • Paul Berz • Mark G. Borden • Partha Bose • William N. Booth • Karen Bressler • Anne F. Brooke • Gregory E. Bulger • Joanne M. Burke • Bonnie Burman, Ph.D. • Richard E. Cavanagh • Yumin Choi • Dr. Lawrence H. Cohn † • Charles L. Cooney • William Curry, M.D. • Gene D. Dahmen • Michelle A. Dipp, M.D., Ph.D. • Dr. Ronald F. Dixon • Ursula Ehret-Dichter • Sarah E. Eustis • Joseph F. Fallon • Beth Fentin • Peter Fiedler • Steven S. Fischman • John F. Fish • Sanford Fisher • Jennifer Mugar Flaherty • Alexandra J. Fuchs • Robert Gallery • Levi A. Garraway • Zoher Ghogawala, M.D. • Cora H. Ginsberg • Robert R. Glauber • Todd R. Golub • Barbara Nan Grossman • Nathan Hayward, III • Rebecca M. Henderson • James M. Herzog, M.D. • Stuart Hirshfield • Albert A. Holman, III • Lawrence S. Horn • Jill Hornor • Valerie Hyman • Everett L. Jassy • Stephen J. Jerome • Darlene Luccio Jordan, Esq. • Paul L. Joskow •

week 18 trustees and overseers 3

photos by Michael J. Lutch

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

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

† Deceased

week 18 trustees and overseers 5

BSO News

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

BSO Music Director Laureate Seiji Ozawa Wins 2016 Grammy for Best Opera Performance Also at the 58th Annual Grammy Awards on February 15, BSO Music Director Laureate Seiji Ozawa and the Saito Kinen Orchestra won the 2016 Grammy for Best Opera Recording, for their recording of Ravel’s L’Enfant et les sortilèges and Shéhérazade featuring mezzo-soprano Isabel Leonard and the Saito Kinen Festival Matsumoto Chorus and Children’s Chorus. This follows Maestro Ozawa’s recent recognition—along with Carole King, George Lucas, Rita Moreno, and Cicely Tyson—when he was among the honorees celebrated at the 2015 Kennedy Center Honors this past December.

Boston Symphony Chamber Players at Jordan Hall: All-Beethoven Program, Sunday, March 13, at 3 p.m. Joined by guest pianist Garrick Ohlsson, the Boston Symphony Chamber Players perform their third of four concerts this season at Jordan Hall at the New England Conservatory, on Sunday, March 13, at 3 p.m. The all-Beethoven program includes the String Trio in C minor, Opus 9, No. 3; the Quintet in E-flat for piano and winds, Opus 16; the Duet in E-flat “with two obbligato eyeglasses,” WoO 32, performed here on viola and double bass, and the Piano Trio in E-flat, Opus 70, No. 2. Single tickets are $38, $29, and $22, 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 can only be purchased at Jordan Hall.

week 18 bso news 7 BSO 101, the BSO’s Free Adult Education Series at Symphony Hall and Beyond “BSO 101: Are You Listening?” offers the opportunity to enhance your listening abilities and appreciation of music by focusing on upcoming BSO repertoire with BSO Director of Program Publications Marc Mandel and members of the Boston Symphony Orchestra on selected Wednesdays from 5:30-6:45 p.m. in Higginson Hall. The next of this season’s two remaining Symphony Hall sessions is scheduled for March 9, when BSO violinist Jennie Shames joins Marc Mandel for a discussion entitled “The Meaning of ‘Symphony’—Mahler and Shostakovich.” Also this season, thanks to the generosity of an anonymous donor, BSO 101 takes to the road, offering two more BSO 101 sessions on Sunday afternoons from 2-3:30 p.m., at the Newton Free Library (March 20) and the Watertown Arsenal Center for the Arts (April 10). All of these sessions include recorded musical examples, and each is self-contained, so no prior musical training, or attendance at any previous session, is required. For further details, please visit bso.org, where BSO 101 can be found under the “Education & Community” tab on the home page.

Friday Previews at Symphony Hall Friday Previews take place from 12:15-12:45 p.m. in Symphony Hall before all of the BSO’s Friday-afternoon subscription concerts throughout the season. Given by BSO Director of Program Publications Marc Mandel, Assistant Director of Program Publications Robert Kirzinger, and occasional guest speakers, these informative half-hour talks incorporate recorded examples from the music to be performed. This week’s Friday Preview on March 4 is given by Elizabeth Seitz of the Boston Conservatory. Speakers in the weeks ahead include author/composer Jan Swafford on March 11 and Harlow Robinson of Northeastern University on March 25.

individual tickets are on sale for all concerts in the bso’s 2015-2016 season. for specific information on purchasing tickets by phone, online, by mail, or in person at the symphony hall box office, please see page 83 of this program book.

8 The Boston Symphony Association possible. In many cases, you could realize of Volunteers Concert significant tax savings and secure an attrac- Saturday, March 5, 2016 tive income stream for yourself and/or a The performance on Saturday evening is loved one, all while providing valuable future named in honor of the Boston Symphony support for the performances and programs Association of Volunteers (BSAV). The BSO you care about. When you establish and has relied on the assistance of volunteers for notify us of your planned gift for the Boston decades, but in 1984, a group of loyal and Symphony Orchestra, you will become a dedicated supporters of the BSO and Tangle- member of the Walter Piston Society, joining wood first joined forces to ensure that all a group of the BSO’s most loyal supporters aspects of the BSO’s many educational, service, who are helping to ensure the future of the and fundraising initiatives were top-notch. BSO’s extraordinary performances. Members of the Piston Society—named for Pulitzer Members of the BSAV are instrumental in Prize-winning composer and noted musician helping the BSO carry out its musical mis- Walter Piston, who endowed the BSO’s prin- sion. They diligently dedicate hours upon cipal flute chair with a bequest—are recog- hours to the behind-the-scenes elements for nized in several of our publications and marquee events such as A Company Christmas offered a variety of exclusive benefits, includ- at Pops, Presidents at Pops, and Symphony and ing invitations to various events in Boston Tanglewood galas. BSAV members also play and at Tanglewood. If you would like more a vital role in many BSO initiatives and pro- information about planned gift options and grams, such as the Instrument Playgrounds, how to join the Walter Piston Society, please flower decorating, exhibit docents, and greet- contact Jill Ng, Director of Planned Giving ing patrons, among others. And if you have and Senior Major Gifts Officer, at (617) 638- ever visited the Symphony Shop or Tangle- 9274 or [email protected]. We would be delighted wood Glass Houses, engaged the assistance to help you orchestrate your legacy with of an usher at Tanglewood, or taken a tour of the BSO. Symphony Hall or the Tanglewood campus, then you have likely encountered a member of the BSAV in action. Friday-afternoon Bus Service During the 2014-15 season, some 750 volun- to Symphony Hall teers donated more than 24,000 hours of If you’re tired of fighting traffic and searching their time in passionate support of the BSO. for a parking space when you come to Friday- The BSAV continues to be a valued partner in afternoon Boston Symphony concerts, why helping the BSO maintain its legacy of musi- not consider taking the bus from your com- cal excellence and sustain its community and munity directly to Symphony Hall? The educational outreach to spread the joy of Boston Symphony Orchestra is pleased to music far and wide. continue offering round-trip bus service on Friday afternoons at cost from the following Planned Gifts for the BSO: communities: Beverly, Canton, Cape Cod, Con- cord, Framingham, the South Shore, Swamp- Orchestrate Your Legacy scott, Wellesley, Weston, and Worcester in There are many creative ways that you can Massachusetts; Nashua, New Hampshire; support the BSO over the long term. Planned and Rhode Island. In addition, we offer bus gifts such as bequest intentions (through service for selected concerts from the your will, personal trust, IRA, or insurance Holyoke/Amherst area. Taking advantage of policy), charitable trusts, and gift annuities your area’s bus service not only helps keep can generate significant benefits for you now this convenient service operating, but also while enabling you to make a larger gift to the provides opportunities to spend time with BSO than you may have otherwise thought your Symphony friends, meet new people,

week 18 bso news 9 and conserve energy. For further information BSO Members in Concert about bus transportation to Friday-afternoon BSO cellist Mickey Katz and pianist Constan- Boston Symphony concerts, please call the tine Finehouse perform music of Beethoven, Subscription Office at (617) 266-7575. Mendelssohn, Rossini, Martinu,˚ and others as part of the Hammond Real Estate Perform- Go Behind the Scenes: ing Arts Series on Sunday, March 6, at 3 p.m. The Irving W. and Charlotte F. Rabb at Follen Community Church, 755 Massa- Symphony Hall Tours chusetts Avenue, Lexington. Admission is free; however, reservations are recommended The Irving W. and Charlotte F. Rabb Symphony and can be made by calling (781) 861-8100, Hall Tours—named in honor of the Rabbs’ ext. 1102. devotion to Symphony Hall with a gift from their children James and Melinda Rabb and BSO principal trumpet Thomas Rolfs and Betty (Rabb) and Jack Schafer—provide a principal trombone Toby Oft are soloists in rare opportunity to go behind the scenes at the inaugural concert of the Bach, Beetho- Symphony Hall. In these free guided tours, ven, and Brahms Society Orchestra under experienced members of the Boston Sym- music director Steven Lipsitt on Sunday, phony Association of Volunteers unfold the March 6, at 3 p.m. at Faneuil Hall. The history and traditions of the Boston Symphony program includes Leopold Mozart’s Serenade Orchestra—discussing its musicians, conduc- in D for trumpet, trombone, and orchestra tors, and supporters—while also offering in- (in an edition by Mr. Lipsitt), Salieri’s depth information about the Hall itself. Free Sinfonia Veneziana, Wolf-Ferrari’s Suite walk-up tours are available on most Wednes- Veneziana, Op. 18, and Haydn’s Symphony days at 4 p.m. and two Saturdays each month No. 59, Fire. Tickets from $20 to $60 at 2 p.m. during the BSO season. Please visit ($10 for students with ID) are available at bso.org/tours for more information and to bbbsociety.org. register. Retired BSO principal trombone Ronald Barron, assisted by pianist Larry Wallach, BSO Broadcasts on WCRB trumpet player Allan Dean, violinist Ron Gorevic, and the University of Massachusetts BSO concerts are heard on the radio at 99.5 Trombone Choir, Greg Spiridopoulos, con- WCRB. Each Saturday-night concert is broad- ductor, plays a recital of American music for cast live at 8 p.m. with host Ron Della Chiesa, trombone on Sunday, March 13, at 3 p.m. at and encore broadcasts are aired on Monday Richmond Congregational Church, 1515 State nights at 8 p.m. In addition, interviews with Road/Rte. 41, in Richmond. The performance guest conductors, soloists, and BSO musi- is presented in support of the Emergency cians are available online, along with a one- Fuel Assistance Fund. No tickets are required, year archive of concert broadcasts. Listeners though donations will be gratefully accepted. can also hear the BSO Concert Channel, an For further information, please call (413) online radio station consisting of BSO concert 698-2801. performances from the previous twelve months. Visit classicalwcrb.org/bso. Current Collage New Music, founded by former BSO and upcoming broadcasts include last week’s percussionist Frank Epstein and whose mem- program with Charles Dutoit leading music of bers include former BSO cellist Joel Moerschel Berlioz and Dutilleux (encore March 7), this and current BSO violinist Catherine French, week’s program of Ravel and Falla also led by performs an all-Carter program entitled Charles Dutoit (March 5; encore March 14), “Elliott’s Ears and Eras” on Sunday, March 13, and the all-Beethoven pairing of his Piano at 8 p.m., at Edward Pickman Hall at the Concerto No. 1 and Seventh Symphony led Longy School of Music, 27 Garden Street, by Herbert Blomstedt with pianist Garrick Cambridge. General admission is $25 in Ohlsson (March 12; encore March 21). advance, $30 at the door (discounts for sen-

week 18 bso news 11 iors and students). For more information, Those Electronic Devices… visit collagenewmusic.org. As the presence of smartphones, tablets, and BSO violinists Elita Kang, Julianne Lee, and other electronic devices used for communica- Alexander Velinzon, and BSO flutist Clint tion, note-taking, and photography continues Foreman, are among the participants in to increase, there have also been increased New England Conservatory’s 26th Annual expressions of concern from concertgoers Composers Celebration Concert—this year and musicians who find themselves distracted saluting composers born in March—on not only by the illuminated screens on these Sunday, March 13, at 7:30 p.m. at NEC’s devices, but also by the physical movements Jordan Hall. The program includes works that accompany their use. For this reason, by Bach, Chopin, Muczynski, Mussorgsky, and as a courtesy both to those on stage and Piazzolla, Ravel, Rimsky-Korsakov, Sarasate, those around you, we respectfully request Villa-Lobos, and Vivaldi. Tickets at $15 and that all such electronic devices be completely $20 are available at the Jordan Hall Box turned off and kept from view while BSO per- Office or by calling (617) 585-1260. Visit formances are in progress. In addition, please necmusic.org for more information. also keep in mind that taking pictures of the orchestra—whether photographs or videos— The Information Stand: is prohibited during concerts. Thank you very much for your cooperation. Find Out What’s Happening at the BSO Comings and Goings... Are you interested in upcoming BSO concert information? Special events at Symphony Please note that latecomers will be seated by Hall? BSO youth activities? Stop by the Infor- the patron service staff during the first con- mation Stand in the Brooke Corridor on the venient pause in the program. In addition, Massachusetts Avenue side of Symphony please also note that patrons who leave the Hall (orchestra level). There you will find the auditorium during the performance will not latest information on performances, member- be allowed to reenter until the next convenient ship, and Symphony Hall, all provided by pause in the program, so as not to disturb the knowledgeable members of the Boston Sym- performers or other audience members while phony Association of Volunteers. The BSO the music is in progress. We thank you for Information Stand is staffed before each con- your cooperation in this matter. cert and during intermission.

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week 18 bso news 13 on display in symphony hall This season’s BSO Archives exhibit once again displays the wide variety of holdings in the Boston Symphony Archives. Much of this year’s exhibit was inspired by the series of Shostakovich recordings currently being made by Andris Nelsons and the BSO in collaboration with Deutsche Grammophon. highlights of this year’s exhibit include, on the orchestra level of symphony hall: • a display case in the Brooke Corridor documenting the commercial recording history of the BSO • two displays cases in the Brooke Corridor focusing on historic BSO performances of Shostakovich’s music, and spotlighting the visit to America by a delegation of Soviet composers led by Shostakovich in November 1959, including a visit to Symphony Hall • two display cases in the Huntington Avenue corridor focusing on BSO members of Russian and Eastern European descent, and the BSO’s historic 1956 tour to the Soviet Union, the first visit by an American orchestra to Russia exhibits on the first-balcony level of symphony hall include: • a display case in the first-balcony corridor, audience-right, devoted to the appointment of Serge Koussevitzky as conductor of the BSO • a display case, also in the first-balcony corridor, audience-right, spotlighting the Tanglewood Music Center, which was founded by Koussevitzky (as the Berkshire Music Center) in 1940 and celebrated its 75th anniversary this past summer • a display case in the first-balcony corridor, audience-left, marking the 80th birthday this past September of BSO Music Director Laureate Seiji Ozawa • three exhibit cases in the Cabot-Cahners Room highlighting collections of memorabilia—the Paul Cherkassky, Albert Sand, and Josef Zimbler collections— originally belonging to BSO members of Russian or Eastern European origin

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

week 18 on display 15 ac Borggreve Marco

Andris Nelsons

In 2015-16, his second season as the Boston Symphony Orchestra’s Ray and Maria Stata Music Director, Andris Nelsons leads the BSO in thirteen wide-ranging programs, three of them being repeated at Carnegie Hall in New York. This past August, Maestro Nelsons’ contract as music director of the Boston Symphony Orchestra was extended through the 2021-22 season. In 2017 he becomes Gewandhauskapellmeister of the Gewandhaus- orchester Leipzig, in which capacity he will also bring the BSO and GWO together for a unique multi-dimensional alliance exploring historic connections between the two. Highlights of this season’s BSO programs include concert performances of Strauss’s Elektra; three weeks marking the 400th anniversary of the death of Shakespeare; new works by Hans Abrahamsen and George Tsontakis; and the continuation of the orchestra’s multi-year Shostakovich recordings project in collaboration with Deutsche Grammophon, “Shostakovich Under Stalin’s Shadow,” to be drawn from live performances at Symphony Hall of Shostakovich’s symphonies 5 through 10, the Passacaglia from his opera Lady Macbeth of Mtsensk, and selections from Shostakovich’s incidental music to Hamlet and King Lear, all composed during the period the composer labored under the life-threaten- ing shadow of Soviet dictator Joseph Stalin. Following last summer’s Tanglewood season, Andris Nelsons and the BSO undertook a twelve-concert, eight-city tour to major European capitals, including Berlin, Cologne, London, Milan, and Paris, as well as the Lucerne, Salzburg, and Grafenegg festivals. An eight-city tour to Germany, Austria, and Luxembourg is scheduled for May 2016.

The fifteenth music director in the history of the Boston Symphony Orchestra, Mr. Nelsons made his BSO debut at Carnegie Hall in March 2011 with Mahler’s Symphony No. 9. He made his Tanglewood debut in July 2012, leading both the BSO and the Tanglewood Music Center Orchestra as part of Tanglewood’s 75th Anniversary Gala (a concert available on DVD and Blu-ray, and telecast nationwide on PBS). His first compact disc with the BSO—live recordings of Wagner’s Tannhäuser Overture and Sibelius’s Symphony No. 2—

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

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

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

week 18 andris nelsons 17 Boston Symphony Orchestra 2015–2016

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

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

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

week 18 boston symphony orchestra 19

S Archives BSO

A Brief History of Symphony Hall

The ﬁrst home of the Boston Symphony Orchestra was the old Boston Music Hall, which stood downtown where the Orpheum Theatre now stands, held about 2,400 seats, and was threatened in 1893 by the city’s road-building/rapid transit project. That summer, the BSO’s founder, Major Henry Lee Higginson, organized a corporation to ﬁnance a new and permanent home for the orchestra. On October 15, 1900—some seven years and $750,000 later—the new hall was opened. The inaugural gala concluded with a performance of Beethoven’s Missa Solemnis under the direction of then music director Wilhelm Gericke.

At Higginson’s insistence, the architects—McKim, Mead & White of New York—engaged Wallace Clement Sabine, a young assistant professor of physics at Harvard, as their acoustical consultant, and Symphony Hall became the ﬁrst auditorium designed in accor- dance with scientiﬁcally-derived acoustical principles. It is now ranked as one of the three best concert halls in the world, along with Amsterdam’s Concertgebouw and Vienna’s Musikverein. Bruno Walter called it “the most noble of American concert halls,” and Herbert von Karajan, comparing it to the Musikverein, noted that “for much music, it is even better... because of the slightly lower reverberation time.”

Symphony Hall is 61 feet high, 75 feet wide, and 125 feet long from the lower back wall to the front of the stage. The walls of the stage slope inward to help focus the sound. The side balconies are shallow so as not to trap any of the sound, and though the rear balconies are deeper, sound is properly reflected from the back walls. The recesses of the coffered ceiling help distribute the sound throughout the hall, as do the statue-filled niches along the three sides. The auditorium itself is centered within the building, with corridors and offices insulating it from noise outside. The leather seats are the ones installed for the hall’s opening in 1900. With the exception of the wood floors, the hall is built of brick, steel, and plaster, with only a moderate amount of decoration, the original, more ornate plans for the building’s exterior having been much simplified as a cost-reducing measure. But as architecture critic Robert Campbell has observed, upon penetrating the “outer car- ton” one discovers “the gift within—the lovely ornamented interior, with its delicate play

BSO conductor Wilhelm Gericke, who led the Symphony Hall inaugural concert

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Architect’s watercolor rendering of Symphony Hall prior to its construction

of grays, its statues, its hint of giltwork, and, at concert time, its sculptural glitter of instru- ments on stage.”

Symphony Hall was designed so that the rows of seats could be replaced by tables for Pops concerts. For BSO concerts, the hall seats 2,625. For Pops concerts, the capacity is 2,371, including 241 small tables on the main floor. To accommodate this flexible system—an innovation in 1900—an elevator, still in use, was built into the Symphony Hall floor. Once a year the five Symphony Hall chandeliers are lowered to the floor and all 394 lightbulbs are changed. The sixteen replicas of Greek and Roman statues—ten of mythical subjects, six of actual historical figures—are related to music, art, and literature. The statues were donated by a committee of 200 Symphony-goers and cast by P.P. Caproni and Brother, Boston, makers of plaster reproductions for public buildings and art schools. They were not ready for the opening concert, but appeared one by one during the first two seasons.

The Symphony Hall organ, an Aeolian-Skinner designed by G. Donald Harrison and installed in 1949, is considered one of the finest concert hall organs in the world. The console was autographed by Albert Schweitzer, who expressed his best wishes for the organ’s tone. There are more than 4,800 pipes, ranging in size from 32 feet to less than six inches and located behind the organ pipe facade visible to the audience. The organ was commissioned to honor two milestones in 1950: the ﬁftieth anniversary of the hall’s opening, and the 200th anniversary of the death of Johann Sebastian Bach. The 2004- 2005 season brought the return to use of the Symphony Hall organ following a two-year renovation process by the ﬁrm of Foley-Baker, Inc., based in Tolland, CT.

Two radio booths used for the taping and broadcasting of concerts overlook the stage at audience-left. For recording sessions, equipment is installed in an area of the basement. The hall was completely air-conditioned during the summer of 1973, and in 1975 a six- passenger elevator was installed in the Massachusetts Avenue stairwell. The Massachu- setts Avenue lobby and box ofﬁce were completely renovated in 2005.

Symphony Hall has been the scene of more than 250 world premieres, including major works by Samuel Barber, Béla Bartók, Elliott Carter, Aaron Copland, Henri Dutilleux, George Gershwin, Soﬁa Gubaidulina, John Harbison, Walter Piston, Sergei Prokoﬁev, Roger Sessions, Igor Stravinsky, Michael Tippett, John Williams, and Ellen Taaffe Zwilich. For many years the biggest civic building in Boston, it has also been used for many purposes other than concerts, among them the First Annual Automobile Show of the Boston Auto-

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S Archives BSO

Symphony Hall in the early 1940s, with the main entrance still on Huntington Avenue, before the intersection of Massachusetts and Huntington avenues was reconstructed so the Green Line could run underground

mobile Dealers’ Association (1903), the Boston premiere of Cecil B. DeMille’s ﬁlm version of Carmen starring Geraldine Farrar (1915), the Boston Shoe Style Show (1919), a debate on American participation in the League of Nations (1919), a lecture/demonstration by Harry Houdini debunking spiritualism (1925), a spelling bee sponsored by the Boston Herald (1935), Communist Party meetings (1938-40; 1945), Jordan Marsh-sponsored fashion shows “dedicated to the working woman” (1940s), and all the inaugurations of former longtime Boston mayor James Michael Curley.

A couple of interesting points for observant concertgoers: The plaques on the proscenium arch were meant to be inscribed with the names of great composers, but the hall’s original directors were able to agree unanimously only on Beethoven, so his remains the only name above the stage. The ornamental initials “BMH” in the staircase railings on the Huntington Avenue side (originally the main entrance) reﬂect the original idea to name the building Boston Music Hall, but the old Boston Music Hall, where the BSO had performed since its founding in 1881, was not demolished as planned, and a decision on a substitute name was not reached until Symphony Hall’s opening.

In 1999, Symphony Hall was designated and registered by the United States Department of the Interior as a National Historic Landmark, a distinction marked in a special ceremony at the start of the 2000-01 season. In 2000-01, the Boston Symphony Orchestra marked the centennial of its home, renewing Symphony Hall’s role as a crucible for new music activity, as a civic resource, and as a place of public gathering. The programming and celebratory events included world premieres of works commissioned by the BSO, the ﬁrst steps of a new master plan to strengthen Symphony Hall’s public presence, and the launching of an initiative to extend the sights and sounds of Symphony Hall via the internet. Recent renova- tions have included new electrical, lighting, and fire safety systems; an expanded main lobby with a new marble floor; and, in 2006, a new hardwood stage floor matching the specifications of the original. For the start of the 2008-09 season, Symphony Hall’s clerestory windows (the semi-circular windows in the upper side walls of the auditorium) were reopened, allowing natural light into the auditorium for the first time since the 1940s. Now more than a century old, Symphony Hall continues to serve the purpose for which it was built, fostering the presence of music familiar and unfamiliar, old and new—a mission the BSO continues to carry forward into the world of tomorrow.

week 18 a brief history of symphony hall 25 andris nelsons, ray and maria stata music director bernard haitink, lacroix family fund conductor emeritus seiji ozawa, music director laureate Boston Symphony Orchestra 135th season, 2015–2016

Thursday, March 3, 8pm | the alan j. and suzanne w. dworsky concert Friday, March 4, 1:30pm Saturday, March 5, 8pm | the boston symphony association of volunteers concert

charles dutoit conducting javier perianes, piano daniela mack, mezzo-soprano benjamin hulett, tenor françois piolino, tenor jean-luc ballestra, baritone david wilson-johnson, bass-baritone

ravel “rapsodie espagnole” Prelude à la nuit Malagueña Habanera Feria

falla “nights in the gardens of spain,” symphonic impressions for piano and orchestra In the Generalife Distant dance In the gardens of the Sierra de Córdoba javier perianes

{intermission}

26 ravel “l’heure espagnole” (“the spanish hour”), musical comedy in one act, after the play by franc-nohain

Characters in order of singing: Ramiro, a muleteer ...... JEAN-LUC BALLESTRA, baritone Torquemada, a clockmaker ...... FRANÇOIS PIOLINO, tenor Concepcion, Torquemada’s wife ...... DANIELA MACK, mezzo-soprano Gonzalve, a poet ...... BENJAMINHULETT, tenor Don Inigo Gomez, a banker ...... DAVID WILSON-JOHNSON, bass-baritone

Setting: The interior of Torquemada’s shop in Toledo in the 18th century For a synopsis of “L’Heure espagnole,” see page 42.

Timothy Steele, rehearsal pianist/vocal coach

Supertitles by Dennis Helmrich SuperTitle System courtesy of Digital Tech Services, LLC, Portsmouth, VA Casey Smith, Supertitles Technician Daniel McGaha, Supertitles Caller thursday evening’s performance of ravel’s “rapsodie espagnole” is supported by a gift from richard and nancy heath in honor of richard a. heath, sr. saturday evening’s performance of falla’s “nights in the gardens of spain” is supported by a gift from solange skinner. bank of america and emc corporation are proud to sponsor the bso’s 2015-16 season.

The evening concerts will end about 10:10, the afternoon concert about 3:40. Concertmaster Malcolm Lowe performs on a Stradivarius violin, known as the “Lafont,” generously donated to the Boston Symphony Orchestra by the O’Block Family. Steinway & Sons Pianos, selected exclusively for Symphony Hall. The BSO’s Steinway & Sons pianos were purchased through a generous gift from Gabriella and Leo Beranek. Special thanks to The Fairmont Copley Plaza and Fairmont Hotels & Resorts, and Commonwealth Worldwide Chauffeured Transportation. The program books for the Friday series are given in loving memory of Mrs. Hugh Bancroft by her daughters, the late Mrs. A. Werk Cook and the late Mrs. William C. Cox. Broadcasts of the Boston Symphony Orchestra are heard on 99.5 WCRB. In consideration of the performers and those around you, please turn off all electronic equipment during the concert, including tablets, cellular phones, pagers, watch alarms, messaging devices of any kind, anything that emits an audible signal, and anything that glows. Thank you for your cooperation. Please note that the use of audio or video recording devices, or taking pictures of the orchestra—whether photographs or videos—is prohibited during concerts.

week 18 program 27 The Program in Brief...

The French composer Maurice Ravel’s Basque heritage played a part in his fascination with Spanish culture; he wrote a number of pieces that drew on that culture’s music and folklore over the course of his career, culminating in his Boléro and Piano Concerto in G. In this program, two of Ravel’s Spanish-flavored pieces bracket brilliant, colorful music by the early 20th century’s most famous Spanish composer, Manuel de Falla, who spent time in Paris in the 1910s, absorbing the Impressionist influences of Ravel and Debussy.

As was typical of Ravel, he wrote his four-movement Rapsodie espagnole for piano—in this case two pianos— before embarking on the orchestration, which he finished in early 1908. The Rapsodie’s two middle movements are named for Spanish dances; the third- movement Habanera dates back to 1895. The Rapsodie begins with the “Prélude à la nuit,” with slow chromatic patterns creating an atmosphere of anticipation. The two dances are the stylized flamenco Malagueña, a quick triple meter dance, and the more restrained Habanera. The title of the last movement, “Feria,” refers to a “free” or festival day. This more expansive movement shifts from excited dance music to Impressionist recollections of the opening Prelude. Although not Ravel’s first orchestral score, the Rapsodie is considered one of the earliest examples of the composer’s mature, unique approach to the orchestra.

Like Ravel, Manuel de Falla was also a pianist-composer. Although he spent most of his life in Spain, in 1907 he moved to Paris, living there until the start of World War I and coming into contact with such contemporaries as Ravel and Stravinsky, as well as Diaghilev and the Ballets Russes, for which he would later write his ballet The Three-cornered Hat. His music melds the influence of Spanish traditional styles with some of the modern currents of classical music, including Impressionism and neoclassicism. He began Nights in the Gardens of Spain as a set of solo piano nocturnes, but expanded the piece to a three-movement suite for orchestra with piano, stopping short of making it a full-fledged concerto. The piano adds a touch of virtuosic brilliance to the colorful orchestral palette, only occasionally taking on a solo role. The two outer movements refer to specific places— the gardens of the Moorish Generalife in Granada and the Gardens of the Sierra de Córdoba. The middle movement’s title is simply “Distant dance.”

Ravel began his first opera, the almost hour-long L’Heure espagnole, in 1907, and it was first performed in 1911, at the Opéra-Comique. The title hints at the comic, bedroom-farce scenario, which takes place in the shop of a Spanish clockmaker. The principal characters are the clockmaker Torquemada; his wife Concepcion; two of her admirers, Gonzalve the poet and Don Inigo the banker; and the mule driver Ramiro. Ravel characterizes each of them through specific musical elements, from the fiery, flighty Concepcion to the steady, strong mule driver. Various orchestral time-keeping sound effects, from tick-tocks to cuckoos, refer frequently to the array of clocks filling the shop.

Robert Kirzinger

28 Maurice Ravel “Rapsodie espagnole”

JOSEPH MAURICE RAVEL was born in Ciboure near Saint-Jean-de-Luz, Basses-Pyrénées, in the Basque region of France just a short distance from the Spanish border, on March 7, 1875, and died in Paris on December 28, 1937. He composed the “Rapsodie espagnole” in 1907, dedicating it “à mon cher maître Charles de Beriot”; it was first heard at the Colonne Concerts, at the Théâtre du Châtelet, Paris, on March 15, 1908, under the direction of Edouard Colonne.

THE SCORE OF “RAPSODIE ESPAGNOLE” calls for two flutes, two piccolos, two oboes and English horn, two clarinets and bass clarinet, three bassoons and sarrusophone, four horns, three trumpets, three trombones, tuba, timpani, bass drum, side drum, cymbals, triangle, tambourine, castanets, tam-tam, xylophone, celesta, two harps, and strings.

It has been remarked that the best Spanish music composed in the 19th and early 20th centuries was written by French or Russian composers: Bizet, Lalo, Chabrier, Rimsky- Korsakov, and, later, Debussy and Ravel. For Ravel, at least, this Iberian bent was, in part, genetic, since his mother was Basque and his birthplace was in the Pyrenees only a few miles from the Spanish border. He grew up hearing Spanish rhythms and Basque lullabies, so it is hardly surprising that he should have introduced Spanish elements as exotic and coloristic touches in a number of major works, among them the Rapsodie espagnole and the short opera L’Heure espagnole, which were composed at almost the same time and played a part in the establishment of his early reputation.

This is not to say that Ravel was unknown before he wrote them. His Pavane pour une Infante défunte had already set out on the triumphant march to the popular success it has never lost. A piano piece, Jeux d’eau, revealed new possibilities in post-Lisztian keyboard virtuosity. And his string quartet in F established itself ﬁrmly in the repertoire almost at once. In addition, Ravel was notorious for a scandal in the administration of the Prix de Rome at the Conservatory, which he had tried for four separate times, in 1901, 1902, 1903, and 1905, without success. (The award was not only prestigious but lucrative as

week 18 program notes 29 Program page for the first Boston Symphony performances of Ravel’s “Rapsodie espagnole” on November 20 and 21, 1914, with Karl Muck conducting (BSO Archives)

30 well, a stipend to support him for four years while living at the French Academy in Rome.) By 1905, the last year that he fell within the age limit, he was an established composer, but one whose music was aesthetically quite beyond the ken of the judges. His preliminary choral piece and fugue broke the rules so ﬂagrantly that he was not even admitted to the ﬁnals. In any case, the “affaire Ravel ” quickly mushroomed into a major scandal at the Conservatory; it continued until the director, Theodore Dubois, resigned and was replaced by Fauré and other more open-minded musicians.

Ravel then embarked upon a period of very fruitful composition, including his ﬁrst opera and his ﬁrst major orchestral score, both products of the year 1907. For the orchestral work, which became Rapsodie espagnole, Ravel went back to a two-piano Habanera he had composed in 1895. He made remarkably few changes in the process of orchestrating it as the third section of his Iberian orchestral suite. Although Rapsodie espagnole was

week 18 program notes 31 his ﬁrst large orchestral work (not counting an overture called Shéhérazade, performed in 1898 and promptly withdrawn by the composer), Ravel seems to have written it in a remarkably short time. He found it hard to work out the new piece in the clamor of his Paris apartment, which he was sharing with his parents and his brother, and accepted an invitation from a Polish couple, Ida and Cipa Godebski, to live on their yacht, where he could avoid unnecessary interruptions. He stayed there the month of August 1907, during which time he composed the bulk of the Rapsodie.

The Rapsodie espagnole consists of four movements, the ﬁrst of which, “Prélude à la nuit,” is largely color and atmosphere, night music controlled and spare in its lushness. The spirit of the dance breaks in with the Malagueña, based on a dance style from Malaga (though Ravel treats it with considerable freedom); its characteristic rhythm has been employed by many composers to suggest Spain. A reference to the descending four-note theme of the Prelude reappears as a unifying element at the end of the section. The Habanera, too, is a dance with a characteristic rhythm that marks it at once as Spanish (as Bizet had already recognized in Carmen). The last movement, Feria, depicts a festival with a variety of tunes all in popular styles, castanets for local color, and a brilliant climax with materials piled up in sonorous confusion.

When the Rapsodie espagnole had its first performance, about half a year after its composition, the hall was filled in the usual social strata—the boxes and seats on the floor with the wealthy and socially prominent, the galleries with artists, musicians, and students. Upstairs everyone was prepared to cheer Ravel’s new work; downstairs the reaction was, at the least, unenthusiastic. The enthusiasts in the gallery demanded an encore of the Malagueña, and the stentorian voice of composer Florent Schmitt bellowed, “Play it once more for those down below who haven’t understood it!” It wasn’t long, though, before even the holders of the highest-priced tickets came to regard the work as an endearing showpiece by one of the real masters of the orchestral palette.

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

THEFIRSTAMERICANPERFORMANCEOF“RAPSODIEESPAGNOLE” was conducted by Frederick Stock with the Chicago Orchestra (then called the Theodore Thomas Orchestra in honor of its late founder) on November 12, 1909, in Chicago.

THEFIRSTBOSTONSYMPHONYPERFORMANCESOF“RAPSODIEESPAGNOLE” were given by Karl Muck on November 20 and 21, 1914, subsequent ones being given by Henri Rabaud, Pierre Monteux, Ravel himself (in January 1928), Serge Koussevitzky, Dimitri Mitropoulos, Vladimir Golschmann, Charles Munch, Sixten Ehrling, Leonard Bernstein, Seiji Ozawa, Sir Colin Davis, Carl St. Clair, Bernard Haitink (the most recent subscription performances, in November 1995), James Conlon, and Miguel Harth-Bedoya (the most recent Tanglewood performance, on August 17, 2008).

week 18 program notes 33

Manuel de Falla “Nights in the Gardens of Spain,” Symphonic impressions for piano and orchestra

MANUEL DE FALLA was born in Cádiz, Spain, on November 23, 1876, and died in Alta Gracia, Argentina, on November 14, 1946. “Noches en los jardines de España” (“Nights in the Gardens of Spain”) was composed in Paris, Sitges, and Madrid between 1911 and 1915; its first performance was on April 9, 1916, in the Teatro Real, Madrid, with the Orquesta sinfónica de Madrid, soloist José Cubiles, and conductor Enrique Fernández Arbós.

IN ADDITION TO THE SOLO PIANO, Falla’s “Nights in the Gardens of Spain” calls for an orchestra of two flutes and piccolo, two oboes and English horn, two clarinets, two bassoons, four horns, two trumpets, three trombones, tuba, timpani, triangle, cymbals, celesta, harp, and strings.

Of the group of composers that led the renaissance of Spanish music around 1900, Manuel de Falla was in many ways the most accomplished. Albéniz had an extraordinary career as a virtuoso pianist who composed magnificently for his instrument; Turina’s works, though fine, have fallen into sad neglect; Granados, his life tragically cut short by World War I, left too little to be considered alongside the great masters of the time, but nonetheless wrote a handful of precious enduring pieces. Falla too composed relatively little, but lived to a full age and was highly respected both inside and outside of Spain, particularly in France, which for many years he regarded as his home.

He was born into a well-to-do family in the port of Cádiz, then moved to Madrid to study piano at the Madrid Conservatory in 1900 at the age of thirteen. He composed assiduously and in 1902 took his work to Felipe Pedrell, one of the leading musicians in Spain and certainly the foremost teacher, who also taught Albéniz and Granados. Pedrell gave him confidence in using Spanish, especially Andalusian, folk idioms in his music, and he also acquired an up-to-date technique based on the latest European models. By 1904, after a series of zarzuelas and lighter pieces, most of which were never performed, he was ready to embark on his first opera, La vida breve, in response to a competition organized by the

week 18 program notes 35 Program page for the first Boston Symphony Orchestra performances of Falla’s “Nights in the Gardens of Spain” on March 28 and 29, 1924, Pierre Monteux conducting, with pianist Heinrich Gebhardt (BSO Archives)

36 Royal Academy of Arts. In November of the same year the Academy awarded Falla the first prize.

Unfortunately the prestigious award did not procure a performance, a disappointment that led him to try his fortune elsewhere. Encouraged by his friend and compatriot Joaquín Turina, who was already there, he set out for Paris. The seven years he spent there enor- mously enriched his musical language, and he became friendly with Debussy, Ravel, and many other French musicians. He was able to refine the scoring of his opera in the light of consultations with Debussy and Dukas, and also won an opportunity to see it staged. This was in the Municipal Casino in Nice in April 1913, sung in French.

After the staging of La vida breve, his most productive period followed. In 1915 the ballet El amor brujo was staged in Madrid, where Falla had returned in 1914 at the outbreak of war, and his Nights in the Gardens of Spain, which he had started in Paris in 1911, was first performed in Madrid in 1916. The ballet The Three-cornered Hat appeared in London in 1919 with Diaghilev’s company, and his puppet opera Master Peter’s Puppet Show was performed in Paris in 1923. During the Spanish Civil War, which caused him intense suffering, he lived in Granada. Later he moved to Argentina to work for the Institución Cultura Española in Buenos Aires, where he spent the duration of World War II and where he died. He left a great number of works unfinished, including the vast oratorio Atlántida, on which he worked intermittently for twenty years.

week 18 program notes 37

“Gardens of the Generalife,” 1895, by Santiago Rusiñol (1861-1931)

Falla was a highly fastidious composer who completed relatively few works. He was reti- cent in character and kept his thoughts to himself. Stravinsky described Falla’s nature as “the most unpityingly religious I have ever known.” He was short and slight, with a heavy moustache (in early life), bald head, and bow tie. A friend described him as “a weak figure, with two broken teeth, always wearing a well worn, but very smart black suit, compli- mented by a black tie. Falla did not have the look of an extraordinary person. If truth be told, he looked more like a domestic delivery boy or a monastery verger. He spoke little and about things of no interest, smiling once in a while, showing the gaps in his teeth. This man had a hard shell of timidity and coldness, inside which a great soul burned.” He was a lonely individual who worked patiently and self-critically, attended church regularly, and was not easily distracted by fads and fashions.

Nights in the Gardens of Spain was originally conceived in Paris as a series of Nocturnes for piano solo for his Spanish friend Ricardo Viñes, who advised Falla to recast the sketches for piano and orchestra. The subject was inspired by his friend the Catalan painter Santiago Rusiñol, who was fond of painting gardens, including the garden at the Generalife which became the subject of Falla’s first movement. The music was completed after Falla’s return to Spain, when he stayed as Rusiñol’s guest at Sitges on the coast near Barcelona.

The soloist at the first performance in Madrid was José Cubiles, a young pianist from Cadíz, although Viñes played it shortly afterwards at San Sebastian, with Enrique Fernández Arbós again conducting. Artur Rubinstein was present at the Madrid performance. He describes in his memoirs how he fell in love with the work, which he subsequently took

week 18 program notes 39 into his repertory and recorded no less than four times. At the first London performance, during one of Edward Clark’s concerts of modern music at the Queen’s Hall in 1921, Falla himself was the soloist.

In the city of Granada the Alhambra and Generalife palaces dominate the skyline, and the garden of the latter is an historic garden dating from the 14th century. There is a sense of repose in Falla’s avoidance of melody, yet the music is restless in the constant interplay of colors and effects. Alternating neighbor-notes predominate, with sudden bursts of activity when the soloist joins the orchestra. The Danza lejana (“Distant Dance”) has more motion and plenty of brisk guitar figuration, although the garden is not specified. For the final movement the focus moves to the gardens in the mountains above Córdoba, and although the main thrust of the music is festive, it closes with a clear sense of loss, tragedy even. Falla had at one time intended to write a fourth movement based on the Cádiz version of the tango, but eventually this took its place in his next work, the ballet The Three-cornered Hat.

It is often remarked that the rhythms and flavor of Spanish music are easy to imitate, which is one reason why they have had such strong appeal for non-Spanish composers from Glinka to Chabrier. But to blend the Spanish idiom with a sophisticated craft of composition takes much more skill, and in this domain Falla is a master. His harmony is far richer than the conventionally strummed chord sequences that lie so well on the guitar, and his orchestration is refined and subtle. Although he was never interested in forging a new language or overturning the traditions of the 19th century, rich ninth-chords are reminiscent of Debussy or Puccini, and the detail in his scores repays intense listening and close study, as it might in a work by Ravel or Stravinsky.

Hugh Macdonald hugh macdonald 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 and is currently writing a book on the operas of Saint-Saëns. His most recent books are “Bizet” (Oxford University Press) and “Music in 1853” (University of Rochester Press).

THEFIRSTBSOPERFORMANCESOF“NIGHTSINTHEGARDENSOFSPAIN” were led by Pierre Monteux on March 28 and 29, 1924, with soloist Heinrich Gebhardt, followed on April 5 by a performance in New York. Subsequent BSO performances featured Jesús María Sanromá under Serge Koussevitzky (February 1930), Luise Vosgerchian under Richard Burgin (December 1946, the most recent subscription performances), Alicia de Larrocha under Edo de Waart (at Tanglewood in July 1983), and Josep Colom under Ludovic Morlot (at Tanglewood on August 18, 2006).

week 18 program notes 41 “L’Heure espagnole”: The Story

The story is set in Toledo in the 18th century. Torquemada, the clockmaker, is about to set off to wind the city clocks, as he does every Thursday, when Ramiro, a muleteer, brings in a watch to be repaired. But the municipal clocks cannot wait, so Ramiro must stay and make conversation with the clockmaker’s wife, Concepcion. She, meanwhile, is expecting the weekly visit of her lover Gonzalve, a poet, so she gets the brawny muleteer to carry a grandfather clock up to her bedroom. When he returns, she decides that she would like a different, but equally large, clock taken up instead. The muleteer, happy to oblige, goes off to fetch the first clock down.

No sooner has Concepcion hidden Gonzalve in the second clock than there arrives Don Inigo Gomez, a corpulent banker and an unabashed admirer of the clockmaker’s wife. Ramiro comes down with the first clock and carries the second clock (containing Gonzalve) upstairs. Concepcion follows him up, thinking thus to escape Don Inigo and to join Gonzalve. Don Inigo, playing the wily lover, squeezes himself into the first clock. Ramiro returns, sent downstairs to keep an eye on the shop.

Concepcion now decides she wants the second clock brought down and the first clock taken up, so Ramiro again obeys. When Don Inigo peeps out of his clock, Concepcion manages to shut him back in in time to be carried up by Ramiro. She is now again alone with Gonzalve but tired of his poetic fancies, so she leaves him to warble on his own. Ramiro returns, happy in these delightful tasks. When Concepcion sends him up again to fetch the clock with Don Inigo in it, she muses on the inadequacy of her two lovers. So when both clocks are back in their places, she turns to Ramiro and invites him to go upstairs again, this time without any clock.

All is set for the showdown. Gonzalve and Don Inigo discover each other’s presence just as Torquemada returns. The clockmaker is delighted to have two customers, one of whom is stuck inside his clock pretending to be examining its mechanism. Concepcion and Ramiro return without a blush, and the muleteer is required to release the fat banker from his clock. All agree that, as Boccaccio put it, the muleteer eventually gets his turn.

Hugh Macdonald

42 Maurice Ravel “L’Heure espagnole,” Musical comedy in one act, after the play by Franc-Nohain

JOSEPH MAURICE RAVEL was born in Ciboure near Saint-Jean-de-Luz, Basses-Pyrénées, in the Basque region of France just a short distance from the Spanish border, on March 7, 1875, and died in Paris on December 28, 1937. He composed “L’Heure espagnole” (“The Spanish Hour”) in 1907-09 (the vocal score being completed in October 1907), basing it on the play by Franc-Nohain (pseudo- nym of the French writer Maurice Étienne Legrand; 1872-1934). Franc-Nohain’s play was first performed on October 28, 1904, at the Théâtre de l’Odéon in Paris. The premiere of Ravel’s opera took place on May 19, 1911, at the Opéra-Comique in Paris, with Geneviève Vix as Concepcion, Maurice Coulomb as Gonzalve, Maurice Cazeneuve as Torquemada, Jean Périer as Ramiro, and Hector Dufranne as Don Inigo Gomez; the conductor was François Ruhlmann.

IN ADDITION TO THE FIVE VOCAL SOLOISTS (Concepcion, soprano; Gonzalve, tenor; Torque- mada, tenor; Ramiro, baritone; Don Inigo, bass), the score calls for an orchestra of two flutes and piccolo, two oboes and English horn, two clarinets in A, bass clarinet in B-flat, two bassoons, sarrusophone (replaced here by contrabassoon), four horns, two trumpets, three trombones, tuba, timpani, snare drum, bass drum, cymbals, spring, tambourine, tam-tam, triangle, castanets, ratchet, whip, sleigh bells, tubular bells, glockenspiel, xylophone, three clock pendulums, celesta, two harps, and strings.

Ravel’s two one-act operas—L’Heure espagnole (“The Spanish Hour”; 1907-09) and L’Enfant et les sortil`eges (“The Child and the Magic Spells”; 1920-25)—are perfect gems. Far from the remote brooding worlds of Wagner’s and Debussy’s operas, they evoke color and action and draw the audience into fantastical scenes with brilliantly clever stagecraft and music. They are not ideological tracts, not bitter cries against pain or injustice, not designed to shock or alienate; their purpose is to entertain, to bewitch, to evoke laughter and tears, and to send us home in a state of high euphoria, lost in admiration of the fan- tasy, imagination, and technique that went into their making. All good operas are unique, but most belong to a tradition or at the very least to a special body of works. Not so with Ravel: neither of his operas can readily be compared to any other of his own time or of previous centuries. Instead, they constitute a finely matched and neatly contrasted pair often encountered—whether in performance or on recordings—as a double bill.

week 18 program notes 43

Ravel was proud of his highly polished technique and liked to challenge his extraordinary powers of description. He was, after all, one of the most accomplished musicians of his time. Those who knew him well attested to the warm heart beating beneath that fastidious exterior, and only envious critics accused him of being a “mere technician.” In harmony, in rhythm, and in orchestration he was simply far ahead of the field, not excluding Strauss and Stravinsky, both of whom, in their own ways, were formidably well equipped as composers. In melodic richness perhaps Ravel cannot here be compared to Puccini or to his own earlier tunefulness in the string quartet or the Sonatine for piano, but in his operas he was after a different effect, in pursuit of which he succeeded spectacularly well.

In L’Heure espagnole, his aim, as he explained in a letter to Le Figaro two days before its premiere in 1911, was to regenerate Italian opera buffa. He was deliberately looking beyond Offenbach and traditional French opéra-comique (regular favorites like Auber’s Fra Diavolo and Hérold’s Zampa) to the genre we know best from Mozart’s Da Ponte operas. He stressed that it is not an opera but a “musical comedy,” which to a Frenchman recalled plays such as those by Feydeau, whose incomparable skill at maneuvering his characters in and out of bedrooms is well matched in the short play by Franc-Nohain that Ravel chose as the subject for his first opera.

He had seen it performed at the Odéon Theatre in 1905, and he made very few cuts in the text when fashioning a libretto from it. He composed the score in 1907, so full of enthusiasm for Spanish idioms that he went on to write the Rapsodie espagnole immediately

week 18 program notes 45

Franc-Nohain (1872-1934), on whose play “L’Heure espagnole” Ravel based his opera of that name

after. Not only its local color, but also a stage full of ticking clocks appealed immensely to Ravel. The libretto is witty and cleverly rhymed, full of puns and verbal dexterity. When, for example, Concepcion speaks admiringly of the muleteer Ramiro, she sighs: Vraiment cet homme a des biceps Qui dépassent tous mes concepts (memorably rendered by Viola Tunnard as: “He has a torso like Apollo, only more so”). And when the muleteer explains how his watch was damaged during a bullfight, he says: Mais si le monstre par le montre fut arrêté, C’est à présent le montre qui s’arrête. (“But if the charger was stopped by the hunter, it’s now the hunter that’s stopped.”)

Ravel also had a well-balanced set of four characters around the beautiful Concepcion, the clockmaker’s wife. Her husband and three admirers are sharply drawn. Torquemada, the clockmaker, has the voice termed “Trial,” a high nasal voice named after an 18th- century French singer; he is punctilious and correct. Gonzalve, the poet, is truly more in love with his own poetry than with her, his source of inspiration. He is the kind of foppish lover with whom infinite patience is required. Don Inigo Gomez, on the other hand, is bluff and direct, fat and rich, a perfect overdressed buffo bass entirely lacking in charm. Ramiro, the muscular muleteer, is sweet-natured and shy, delighted to be of service to Concepcion and awed both by her neat personality and by the fascinating interior of the shop. The story is risqué, undoubtedly, and this kept the opera from the stage for four years, the director of the Opéra-Comique arguing that it was too improper for his theater even though it had been staged as a play some years before. Although the action is treat- ed with the utmost delicacy, and although Concepcion’s preference is presumed to be for the naive muleteer Ramiro, she contrives to be upstairs with all three of her visitors at various points in the opera, allowing the sort of mischievous calculations that suggest that Don Giovanni seduces half a dozen women in the course of his opera.

week 18 program notes 47 48 Ravel acknowledged another source of inspiration: Mussorgsky’s unfinished opera The Marriage. This highly experimental work was to have been a direct setting of Gogol’s play eschewing all traditional cantilena in favor of continuous recitative, intended to reproduce speech as exactly as possible. Ravel was as seduced by the idea of speech-rhythm as Janáˇcek, so while the orchestra explores its entrancing rhythms the voices generally cut across the barlines in a naturalistic fashion. The word-setting is in fact not unlike that of Debussy’s Pelléas et Mélisande, whose characters sing in a continuous parlando, leaving all lyrical exposition to the orchestra. The motifs, too, are all in the orchestra, not in the vocal line. Ramiro’s good-natured character is heard in his motif every time he appears, but he sings in a direct and speech-like fashion. Don Inigo enters to a lumbering but expressive orchestral phrase, and his instrument is often the contrabassoon.

Ravel’s score is full of evocative moments, occasionally reaching into parody. He loves the Spanish idiom above all, as when Ramiro tells about his uncle’s unfortunate bullfight. Two rhythms keep returning in one form or another: the habanera, with its languorous dotted pulse, and the Viennese waltz, so refined and sensuous in Ravel’s expert hands. When Concepcion finally has the stage to herself, she lets off steam in a parody of an operatic grand air, “Oh! la pitoyable aventure!,” a gentle reminiscence of the grand ensemble in Massenet’s Cendrillon, “Oh! la surprenante aventure!,” itself a parody of traditional grand opera.

It is curious that one of the forgotten works by Adolphe Adam, composer of Giselle, is Le Muletier de Toledo, performed in 1854. Was it coincidence that inspired Franc-Nohain to put his muleteer in the city of Toledo, even in a quite different story? And why did he name his gentle clockmaker after Spain’s most evil inquisitor? But such questions need no answers. More to the point is how dazzling and delightful are the humor and evocative musical magic wrought by Ravel’s incomparable craft.

Hugh Macdonald

THEAMERICANPREMIEREOF“L’HEUREESPAGNOLE” took place on January 5, 1920, in Chicago, the New York premiere following that same year. The Metropolitan Opera premiere took place on November 7, 1925 (on a double bill with Peter Cornelius’s “The Barber of Baghdad”); Louis Hasselmans conducted, with Lucrezia Bori as Concepcion, Ralph Errolle as Gonzalve, Angelo Badà as Torquemada, Lawrence Tibbett as Ramiro, and Adamo Didur as Don Inigo.

THESEARETHEFIRSTBOSTONSYMPHONYPERFORMANCESOF“L’HEUREESPAGNOLE,” though the Tanglewood Music Center staged a double-bill production of Ravel’s “L’Enfant et les sortilèges” and “L’Heure espagnole” on July 24 and 25, 2001. Seiji Ozawa conducted “L’Heure espagnole” (Robert Spano was the conductor for “L’Enfant et les sortil`eges”), with Valérie MacCarthy (Concepcion), Glenn Alamilla (Gonzalve), Jason Ferrante (Torquemada), Alan Corbishley (Ramiro), and Mark Uhlemann (Don Inigo) on July 24, and Allyson McHardy, William Ferguson, Hugo Vera, D. Renard Young, and Bruno Cormier on July 25.

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To Read and Hear More...

To read about Manuel de Falla, a good place to start is the article by Carol A. Hess in the 2001 edition of The New Grove Dictionary of Music and Musicians. Hess is also the author of Manuel de Falla and Modernism in Spain, 1898-1936 (University of Chicago) and Sacred Passions: The Life and Music of Manuel de Falla (Oxford University Press). A fairly recent addition to the English-language Falla bibliography is Gonzalo Armero’s Manuel de Falla: His Life and Work, published in 2012 (Omnibus Press). Nancy Lee Harper’s extensively detailed Manuel de Falla: His Life and Music uses contemporary documentation to shed light on Falla’s creative process and provides a chronological selection of photographs (Scarecrow Press).

Javier Perianes has recorded Nights in the Gardens of Spain with Josep Pons and the BBC Symphony Orchestra (Harmonia Mundi CD and video). Charles Dutoit’s recording with Alicia de Larrocha is used for the travelogue-like film “Nights in the Gardens of Spain” directed by Larry Weinstein (Decca and Euroarts videos). Classic interpreters on disc include Alicia de Larrocha with Rafael Frühbeck de Burgos and the Philharmonia Orchestra (Decca), Arthur Rubinstein with Enrique Jorda and the San Francisco Symphony (RCA) as well as with Ernest Ansermet and the Orchestre de la Suisse Romande (Cascavelle), and Philippe Entremont with Eugene Ormandy and the Philadelphia Orchestra (Sony). More recent entries feature Martha Argerich with Alexander Vedernikov and the Orchestra della Svizzera Italiana (Warner Classics) and Jean-Efflam Bavouzet with Juanjo Mena and the BBC Philharmonic (Chandos).

Roger Nichols’s Ravel, published in 2011 (Yale University Press), has now replaced his earlier biography of the composer that was part of the “Master Musicians” series. Nichols also assembled Ravel Remembered, which brings together recollections from musicians and non-musicians who knew the composer personally (Farrar Straus & Giroux). Gerald Larner’s Maurice Ravel is one of the many well-illustrated volumes in the biographical series “20th-Century Composers” (Phaidon paperback). Also useful are The Cambridge Companion to Ravel, edited by Deborah Mawer (Cambridge University Press); Arbie Orenstein’s Ravel: Man and Musician (Dover); Orenstein’s A Ravel Reader: Correspondence, Articles, Interviews (also Dover), and Benjamin Ivry’s Maurice Ravel: a Life (Welcome Rain). Laurence Davies’s Ravel Orchestral Music in the series of BBC Music Guides provides a good brief introduction to that subject (University of Washington paperback).

The Boston Symphony Orchestra recorded Ravel’s Rapsodie espagnole under Serge Koussevitzky in 1945 (RCA), Charles Munch in 1950 and then in stereo in 1956 (RCA),

week 18 read and hear more 51 52 Seiji Ozawa in 1974 (Deutsche Grammophon), and Bernard Haitink in 1995 (Philips). Charles Dutoit recorded the Rapsodie espagnole with the Montreal Symphony Orchestra (Decca). Other recordings include Ernest Ansermet’s with the Orchestra de la Suisse Romande (Decca), Pierre Boulez’s with the Cleveland Orchestra (Sony), Stéphane Denève’s with the Radio-Sinfonieorchester Stuttgart des SWR (Hänssler Classic), Jean Martinon’s with the Orchestre de Paris (Warner Classics), and Yan Pascal Tortelier’s with the Ulster Orchestra (Chandos). For the four-hand piano version, options include Martha Argerich and Nelson Freire (Deutsche Grammophon), Vladimir and Vovka Ashkenazy (Decca), Louis Lortie and Hélène Mercier (Chandos), Pascal and Ami Rogé (Onyx), and Joseph and Anthony Paratore (Four Winds).

The first recording of L’Heure espagnole, from the early 1930s, featured Madame J. Krieger as Concepcion with Georges Truc conducting an otherwise unidentified “Symphony Orchestra” with Louis Arnould as Gonsalve, Raoul Gilles as Torquemada, I. Aubert as Ramiro, and Hector Dufranne as Don Inigo. (In the following listings, the names of the singers follow this same sequence of the characters they portray.) Three noteworthy recordings appeared in 1953: Ernest Ansermet’s with the Orchestre de la Suisse Romande and soloists Suzanne Danco, Paul Derenne, Michel Hamel, Heinz Rehfuss, and André Vessières (London); Roger Cluytens’s with the orchestra of the Opéra-Comique, Paris, and soloists Denise Duval, Jean Giraudeau, René Hérent, Jean Vieuille, and Charles Clavensy (Angel), and René Leibowitz’s with the French Radio Orchestra and soloists Janine Linda, André Dran, Jean Hoffman, Jean Mollien, and Lucien Mans (Vox). Lorin Maazel’s 1965 recording with the Paris Opéra Orchestra features Jane Berbié, Michel Sénéchal, Jean Giraudeau, Gabriel Bacquier, and José Van Dam (Deutsche Grammophon). André Previn recorded L’Heure espagnole in 1997 with the London Symphony Orchestra and soloists Kimberly Barber, John Mark Ainsley, Georges Gautier, Kurt Ollmann, and the Don Inigo of this week’s BSO performances, David Wilson-Johnson (Deutsche Grammo- phon). A 2012 Glyndebourne production on video has conductor Kazushi Ono leading the London Philharmonic with a cast including Stéphanie d’Oustrac, Alek Shrader, François Piolino (the Torquemada in this week’s BSO performances), Eliot Madore, and Paul Gay (Fra Musica).

Marc Mandel

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Guest Artists

Charles Dutoit Since his initial Boston Symphony appearances in February 1981 at Symphony Hall and August 1982 at Tanglewood, Charles Dutoit has returned frequently to the BSO podium at both venues. He conducts both the BSO and the Tanglewood Music Center Orchestra at Tanglewood and in the spring of 2013, substituting at short notice for Lorin Maazel, led the final three programs of the BSO’s 2013-14 subscription season, as well as, immediately following those concerts, the orchestra’s tour to China and Japan. Captivating audiences throughout the world, Maestro Dutoit is one of today’s most sought-after conductors, having performed with all the major orchestras on most stages of the five continents. Currently artistic director and principal conductor of London’s Royal Philharmonic Orchestra, he recently celebrated his thirty-year artistic collaboration with the Philadelphia Orchestra, which, in turn, bestowed upon him the title of conductor laureate. He collaborates each season with the orchestras of Boston, Chicago, San Francisco, New York, and Los Angeles and is also a regular guest on the concert stages of London, Berlin, Paris, Munich, Moscow, Sydney, Beijing, Hong Kong, and Shanghai, among others. His more than 200 recordings for Decca, Deutsche Grammophon, EMI, Philips, and Erato have garnered multiple awards and distinctions, including two Grammys. For twenty-five years, Charles Dutoit was artistic director of the Montreal Symphony Orchestra, a dynamic musical team recognized the world over. From 1991 to 2001 he was music director of the Orchestre National de France. In 1996 he was appointed principal conductor of the NHK Symphony Orchestra in Tokyo, becoming its music director soon thereafter; today he is music director emeritus of that orchestra. He was music director of the Philadelphia Orchestra’s season at the Mann Music Center for ten years and at the Saratoga Performing Arts Center for twenty-one years. Charles Dutoit’s interest in the younger generation has always held an important place in his career; he has successively been music director of the Sapporo Pacific Music Festival and Miyazaki International Music Festival in Japan, as well as the Canton International Summer Music Academy in Guangzhou. In 2009 he became music director of the Verbier Festival Orchestra. When still in his early twenties, Charles Dutoit was invited by Herbert von Karajan to conduct the Vienna State Opera. He has since conducted at Covent Garden in London, the Metropolitan Opera in New York, Deutsche Oper Berlin, Rome Opera, and the Teatro Colón in Buenos Aires. In 1991 he was made Honorary Citizen of the City of Philadelphia; in 1995, Grand Officier de l’Ordre National du Québec, and in 1996, Commandeur de l’Ordre des Arts et des Lettres by the government of France. In 1998 he was invested as Honorary Officer of the Order of Canada. In 2007 he received the Gold Medal of the city of Lausanne, his birthplace, and in 2014 he was given the Lifetime Achievement Award from the

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International Classical Music Awards. Charles Dutoit holds honorary doctorates from McGill, Montreal, and Laval universities, and from the Curtis School of Music. A globetrotter motivated by his passion for history and archaeology, political science, art, and architecture, he has traveled in all 196 nations of the world.

Javier Perianes Making his BSO debut this week, pianist Javier Perianes was awarded the National Music Prize in 2012 by the Ministry of Culture of Spain. His flourishing international career spans five continents, taking him to some of the world’s most prestigious venues, including Carnegie Hall in New York, the Barbican, Royal Festival, and Wigmore halls in London, the Salle Pleyel and Théâtre des Champs-Élysées in Paris, Berlin’s Philharmonie, the Musikverein in Vienna, the Concertgebouw in Amsterdam, St. Petersburg’s Philharmonic Hall, the Great Hall at the Moscow Conservatory, and Suntory Hall in Tokyo. He has appeared in such festivals as Lucerne, La Roque d’Anthéron, Grafenegg, San Sebastián, Granada, and Ravinia and worked with such leading conductors as Daniel Barenboim, Charles Dutoit, Zubin Mehta, Lorin Maazel, Rafael Frühbeck de Burgos, Daniel Harding, Yuri Temirkanov, Juanjo Mena, Pablo Heras-Casado, Josep Pons, Andrés Orozco-Estrada, Robin Ticciati, Thomas Dausgaard, and Vasily Petrenko. His 2015-16 season includes concerts with the Vienna Philharmonic, Chicago Symphony, Yomiuri Nippon Symphony Orchestra, hr-Sinfonieorchester, London Philharmonic, Netherlands Radio Philharmonic, Tonkünstler- Orchester, Orchestre de Chambre de Paris, and the Orchestra of St. Luke’s at Carnegie Hall,

week 18 guest artists 57 58 as well as a month of engagements with orchestras in Australia, New Zealand, and Singapore. Concerto highlights of last season featured several prestigious debuts, including performances with the Orchestre de Paris, National Symphony (Washington, D.C.), San Francisco Symphony, and BBC Scottish Symphony. He also returned to the St. Petersburg Philharmonic, BBC Phil- harmonic, and the Orquestra Sinfônica do Estado de São Paulo. Recent and upcoming recitals include performances in Madrid, Barcelona, Leipzig, St. Petersburg, Paris, Miami, Rio de Janeiro, Buenos Aires, Montevideo, Marseille, and Hong Kong. His regular chamber music partners include violist Tabea Zimmermann and the Quiroga Quartet. Mr. Perianes records exclusively for Harmonia Mundi, most recently releasing the first recorded pairing of the quintets by Granados and Turina, recorded with the Quiroga Quartet. Previous releases for the label include a live recording of Grieg’s Piano Concerto with the BBC Symphony and Sakari Oramo, a selection of Grieg’s Lyric Pieces, “Songs Without Words” (a highly praised album of Mendelssohn piano works), Schubert’s Impromptus and Klavierstücke, Manuel Blasco de Nebra’s keyboard sonatas, Mompou’s Música callada,“...les sons et les parfums”(works by Chopin and Debussy), and “Moto perpetuo” (a selection of Beethoven sonatas). His recording of Falla’s Nights in the Gardens of Spain and selected solo works received a Latin Grammy nomination.

Daniela Mack (Concepcion) In the 2015-16 season, mezzo-soprano Daniela Mack returns to San Francisco Opera to reprise her performances as Rosina in Il barbiere di Siviglia and, at Fort Worth Opera, creates the role of Jacqueline Kennedy in the world premiere of David T. Little and Royce Vavrek’s JFK. She also makes her Arizona Opera debut in the title role of Carmen and performs in recital with tenor Alek Shrader at the Tucson Desert Song Festival. In concert, she makes debuts under Charles Dutoit with the Orchestre de la Suisse Romande in Ravel’s L’Heure espagnole and L’Enfant et les sortilèges, with the Boston Symphony Orchestra in L’Heure espagnole, and with the Chicago Symphony Orchestra in Falla’s The Three- cornered Hat. She also makes her Mitteldeutscher Rundfunk debut in Rossini’s Giovanna d’Arco under James Gaffigan and records Vivaldi’s Juditha triumphans with Boston Baroque. Future seasons will see her at the Metropolitan Opera, Royal Opera House–Covent Garden, San Francisco Opera, Seattle Opera, Washington National Opera, Opera Philadelphia, and English National Opera. Recently Ms. Mack sang Rosmira in Handel’s Partenope at San Francisco Opera, as well as Rosina. Summer 2014 brought an important role and company debut: the title role in Carmen at Santa Fe Opera in a new production by Stephen Lawless. She made her Lyric Opera of Chicago debut as the Kitchen Boy in David McVicar’s production of Rusalka conducted by Andrew Davis and returned to Madison Opera as Sister Helen Prejean in Dead Man Walking. At English National Opera she has sung Sesto in a new production of Julius Caesar under Christian Curnyn, the first time the opera was produced there since the legendary 1979 production. She also made debuts at Théâtre du Capitole in Toulouse and Los Angeles Opera as Nancy in Albert Herring, Washington National Opera as the Madrigal Singer in Manon Lescaut, Deutsche Oper Berlin and Verbier Festival as Cherubino in Le nozze di Figaro, Opéra National de Bordeaux as Angelina in L’italiana in Algeri, and Opera Colorado in La Cenerentola. In concert Ms. Mack has been heard with the Los Angeles Philharmonic in Falla’s La vida breve under Rafael Frühbeck de Burgos and in Beethoven’s Symphony No. 9, with the Washington Chorus in Beethoven’s Missa solemnis, Hong Kong Philharmonic in Ravel’s Shéhérazade, and the Sydney Symphony in Canteloube’s Chants d’Auvergne and Falla’s

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Siete canciones populares españolas. She made her Cincinnati May Festival debut in Mozart’s Requiem under James Conlon and participated in an all-star gala at Opera Theater of San Antonio. A finalist in the 2013 BBC Cardiff Singer of the World Competition, Daniela Mack is an alumna of the Adler Fellowship Program at San Francisco Opera.

Benjamin Hulett (Gonzalve) Benjamin Hulett trained as a choral scholar at New College, Oxford, and studied with David Pollard at the Guildhall School of Music and Drama. A member of the Hamburg State Opera from 2005 to 2009, he sang there as Tamino in Die Zauberflöte, Ferrando in Così fan tutte, the Novice in Billy Budd, and the Steersman in The Flying Dutchman and returned as a guest for Tamino and for Narraboth in Salome. He made debuts at the Bayerische Staatsoper, Munich, in Handel’s Alcina; Berlin Staatsoper in Henze’s Phaedra; Theater an der Wien in the world premiere of Kalitzke’s Die Besessenen; the Salzburg Festival in Elektra; the Baden-Baden Festival in Salome, returning for Die Zauberflöte; and Rome Opera as the Madwoman in Curlew River, returning for Gonzalve in L’Heure espagnole. In the UK he made his role debut as Peter Quint in Turn of the Screw for Opera North, sang Ferrando for Grange Park Opera and Fenton in Falstaff for Opera Holland Park, and appeared in Sir Jonathan Miller’s staging of Bach’s St. Matthew Passion at the National Theatre. He made his debut with the Royal Opera House, Covent Garden, as Edmondo in Manon Lescaut. Concert highlights include the BBC Proms under Norrington, Gardiner, and Davies; Maderna’s Venetian Journal with the Royal Concertgebouw Orchestra; Arbace in Mozart’s Idomeneo with Fabio Biondi; Britten’s Serenade with Norrington, Hogwood, and the Trondheim Solisten; Die Schöpfung with Haim and Pinnock; Die Frau ohne Schatten under Jurowski; Missa Solemnis under Bolton and Herreweghe; Beethoven’s Ninth Symphony under Herreweghe and Brüggen; Mozart’s Requiem on tour in the Far East under Herreweghe; Das Paradies und die Peri under Norrington at the Edinburgh Festival; the title role in J.C. Bach’s Lucio Silla under Bolton at the Salzburg Mozartwoche; and Tamino with the Berlin Philharmonic under Rattle. Increasingly in demand as an interpreter of song, he has performed at Wigmore Hall, the Aldeburgh Festival, and the Freie Akademie des Kunstes in Hamburg, among other

week 18 guest artists 61 venues, collaborating with such pianists as András Schiff, Graham Johnson, and Malcolm Martineau. Other recent highlights include Bernstein’s A Quiet Place with the Montreal Sym- phony and Nagano, Tamino for Welsh National Opera, his Glyndebourne Festival debut in Handel’s Saul, and his first full recital at London’s Wigmore Hall. This season he sings Luzio in Das Liebesverbot for Opera du Rhin, Strasbourg; Beppe in Pagliacci at the Royal Opera House, and Lysander in A Midsummer Night’s Dream at Glyndebourne. In concert he makes his debut this week with the Boston Symphony Orchestra and also appears with the Rotterdam Philhar- monic under Philippe Herreweghe and the Royal Concertgebouw Orchestra under Iván Fischer.

François Piolino (Torquemada) After finishing his vocal studies at the Lausanne Conservatory and at London’s Guildhall School, Swiss tenor François Piolino garnered first prize at the National Superior Conservatory in Paris. He has studied for many years with the Parisian tenor Guy Flechter. Mr. Piolino began his career specializing in Baroque music, predominantly with William Christie and Les Arts Florissants, building a solid foundation that led naturally to opera. Spe- cializing in character roles, he toured France and Europe, performing on such stages as the Bastille, Garnier, Châtelet, Théâtre des Champs-Élysées, Lyon, Nancy, Strasbourg, Aix-en-Provence, Geneva, Opéra Royal de Wallonie, Staatsoper Berlin, Amsterdam, and Glyndebourne. He has collaborated with such leading stage directors as Robert Carsen, Graham Vick, Laurent Pelly, and Francesca Zambello, and has sung under the direction of Michel Plasson, Iván Fischer, Pinchas Steinberg, Bernhard Kontarsky, Lawrence Foster, Jérémie Rhorer, Charles Dutoit, Jeffrey Tate, Kazushi Ono, Philippe Jordan,

week 18 guest artists 63 and Esa-Pekka Salonen. Notable roles include Don Basilio (Le nozze di Figaro), Goro (Madama Butterfly), Caius (Falstaff), Pang (Turandot), Monsieur Triquet (Eugene Onegin), and the Novice in Billy Budd. In addition to his signature role (more than eighty performances worldwide) of Monostatos in Die Zauberflöte, he has sung roles in Strauss’s Salome, Capriccio, Ariadne auf Naxos, and Der Rosenkavalier. In French repertoire, he has sung Le Remendado (Carmen), Guillot Morfontaine (Manon), Schmidt (Werther), the four servants in Les Contes d’Hoffmann, Torquemada (L’Heure espagnole), the Chaplain (Dialogues des Carmélites), and, a personal favorite, the tenor roles in L’Enfant et les sortilèges (the teapot, arithmetic, and the frog). Recent highlights include Die Entführung aus dem Serail at the Théâtre des Champs-Élysées and in Nantes; Salome, Carmen, The Merry Widow, L’Enfant et les sortilèges, and Die Zauberflöte at the Paris Opera; L’Enfant et les sortilèges in Lyon, Rome, Glyndebourne, London, Stockholm, and at the Paris Philharmonic; Eugene Onegin in Glyndebourne, Dialogues des Carmélites at the Théâtre des Champs-Élysées, Capriccio in Lyon, L’Étoile in Amsterdam, and Madama Butterfly in Lille. Recent and upcoming engagements include L’Enfant et les sortilèges in Glyndebourne, Munich, Cologne, Lausanne, and Geneva, L’Étoile and Werther for his Royal Opera, Covent Garden, debut, Massenet’s Chérubin at Montpellier, and Capriccio at La Monnaie in Brussels. This week’s appearances with the Boston Symphony Orchestra mark his BSO debut.

Jean-Luc Ballestra (Ramiro) The young baritone Jean-Luc Ballestra was hailed as “Révélation lyrique de l’Année” at the Victoires de La Musique Classique Awards 2007. After a two-year training program at CNIPAL (Centre National d’Insertion Professionnelle d’Artistes Lyriques), he was also designated “Révélation Lyrique” by ADAMI (Administration des droits des artistes et des musiciens interprètes). Following his debut as Mars (Orphée aux Enfers) and Mercutio (Roméo et Juliette) at Opéra de Nice, he sang Schaunard (La bohème) at Opéra de Nancy and in Marseille. In Nice he also sang such roles as the music master in Ariadne auf Naxos and Ping in Turandot. In 2004 he made his debut at Opéra National de Paris in Dialogues des Carmélites (followed by performances in Madrid) and performed Johann (Werther) and Gubetta (Lucrezia Borgia) in Monte Carlo. Other highlights include Morales in Carmen at Opéra de Montpellier; Pantalon in a new production of The Love of Three Oranges and the Steersman in Tristan und Isolde at Opéra National de Paris; Lescaut, in both Massenet’s Manon and Puccini’s Manon Lescaut, in Nice; Haly in L’italiana in Algeri in Lille and on tour; Escamillo in Carmen with Glyndebourne Touring Opera, at Opéra de Lille, and in Hong Kong; Gregorio in Roméo et Juliette at the Salzburg Festival, Silvano in Un ballo in maschera and Cyprien in Philippe Boesmans’ Yvonne, princesse de Bourgogne at Opéra de Paris, a production also presented at the Wiener Festwochen and La Monnaie in Brussels; his debut at Teatre del Liceu, Barcelona, as Silvio in Pagliacci; and concerts in Moscow and at the Salzburg Festival. In more recent seasons, Jean-Luc Ballestra returned to La Monnaie for Rigoletto, Guillaume Tell, and Don Giovanni (Masetto); made his Rome Opera debut in Rienzi, returning there for L’Heure espagnole under Charles Dutoit and for Werther; sang Lakmé in Metz; appeared at the Festival of Aix-en-Provence; returned to Nice for Halévy’s La Juive, and made his American debut with the San Francisco Symphony in L’Heure espagnole. Engagements in 2015-16 take him to Amsterdam for Les Dialogues des Carmélites, to La Scala for operas by Ravel, and to the United States for his Boston Symphony Orchestra debut in Ravel’s L’Heure espagnole.

week 18 guest artists 65 66 David Wilson-Johnson (Don Inigo) British baritone David Wilson-Johnson was born in Northampton; he studied modern languages at St. Catharine’s College, Cambridge, and singing at London’s Royal Academy of Music. His thirty-year career has taken him to opera houses, orchestras, and festivals worldwide, performing under such conductors as Boulez, Brüggen, Giulini, Haenchen, Harnoncourt, Knussen, de Leeuw, Leonhardt, Mackerras, Mehta, Montgomery, Previn, and Rattle. Opera repertoire includes The Nightingale, L’Enfant et les sortilèges, Boris Godunov, Turandot, Werther, Die Zauberflöte, Arianna, and Così fan tutte (all at the Royal Opera House, Covent Garden), Peter Grimes (Amsterdam, Brussels, Geneva, Madrid), Billy Budd (English National Opera, Royal Opera House, Opéra Bastille), La Damnation de Faust (Berlin, Turin, Tanglewood), Die Meistersinger von Nürnberg (Amsterdam and Opera Garnier), Die Zauberflöte (Opera Garnier), Tristan und Isolde (Monte Carlo), Rameau’s Les Boréades (Salzburg Festival), Peter Maxwell Davies’s Eight Songs for a Mad King (Opéra Comique), Tippett’s A Midsummer Marriage (TV film), and the title role in Messiaen’s St. François d’Assise (London, BBC-TV, Lyon, Amsterdam, Brussels, New York, and Edinburgh Festival). In concert he has performed Parsifal and Mahler’s Symphony No. 8 at the BBC Proms; Henze’s Elegy for Young Lovers at the Amsterdam Concertgebouw; Ravel’s L’Heure espagnole and Brahms’s German Requiem in Carnegie Hall, Pittsburgh, and Oslo; and Haydn’s Seasons, Schumann’s Das Paradies und die Peri, The Creation, Britten’s Death in Venice, and Enescu’s Oedipe at the Holland Festival. At the 2001 Last Night of the Proms (after the events of 9/11), he sang Beethoven’s Ninth under Leonard Slatkin to a worldwide audience of 340 million. Recent highlights include Elijah in Strasbourg under Heinz Holliger; A Child of Our Time with the Royal Philharmonic; Berlioz’s Roméo et Juliette with the Philadelphia Orchestra and La Damnation de Faust with the Chicago Symphony, both under Charles Dutoit; The Creation with the New Japan Philharmonic; Beethoven’s Ninth Symphony with Daniele Gatti and Philippe Herreweghe; Haydn’s Harmoniemesse with Mariss Jansons, Stravinsky’s Oedipus Rex with the Orchestre de la Suisse Romande, Berlioz’s L’Enfance du Christ with the Saint Paul Chamber Orchestra, Peter Grimes at the Teatro Regio Turin, Maxwell Davies’s Taverner with the BBC Scottish Symphony, Handel’s Athalia with Paul Goodwin and the Basel Kammerorchester, Handel’s Messiah with Harry Christophers and The Sixteen in Paris, Bach’s St. Matthew Passion with the King’s Consort, and Stravinsky’s Threni and Tavener’s The Whale at the BBC Proms. David Wilson-Johnson made his BSO debut in Bach’s St. Matthew Passion in April 1998 in Boston and at Carnegie Hall, subsequent appearances including Berlioz’s La Damnation de Faust, Beethoven’s Mass in C, and Falla’s Master Peter’s Puppet Show at Tanglewood, and the October 2012 double bill under Charles Dutoit of Stravinsky’s The Nightingale and Ravel’s L’Enfant et les sortil`eges.

week 18 guest artists 67 The Great Benefactors

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

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

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

five million Alli and Bill Achtmeyer • Bank of America • Catherine and Paul Buttenwieser • Cynthia and Oliver Curme/The Lost & Foundation, Inc. • Alan J. and Suzanne W. Dworsky • EMC Corporation • Germeshausen Foundation • Sally ‡ and Michael Gordon • Barbara and Amos Hostetter • Ted and Debbie Kelly • NEC Corporation • Megan and Robert O’Block • UBS • Stephen and Dorothy Weber

two and one half million Mary and J.P. Barger • Gabriella and Leo Beranek • Roberta and George ‡ Berry • Peter and Anne Brooke • Eleanor L. and Levin H. Campbell • Chiles Foundation • Mara E. Dole ‡ • Fairmont Copley Plaza and Fairmont Hotels and Resorts • Jane and Jack Fitzpatrick ‡ • Susan Morse Hilles ‡ • Dorothy and Charlie Jenkins • Stephen B. Kay and Lisbeth L. Tarlow/The Aquidneck Foundation • The Kresge Foundation • Lizbeth and George Krupp • Liberty Mutual Foundation, Inc. • Massachusetts Cultural Council • Kate and Al ‡ Merck • Cecile Higginson Murphy • National Endowment for the Arts • William and Lia Poorvu • John S. and Cynthia Reed • Carol and Joe Reich • Kristin and Roger Servison • Miriam Shaw Fund • State Street Corporation and State Street Foundation • Thomas G. Stemberg ‡ • Miriam and Sidney Stoneman ‡ • Elizabeth B. Storer ‡ • Caroline and James Taylor • Samantha and John Williams • Anonymous (3)

68 one million Helaine B. Allen • American Airlines • Lois and Harlan Anderson • Mariann Berg (Hundahl) Appley • Arbella Insurance Foundation and Arbella Insurance Group • Dorothy and David B. ‡ Arnold, Jr. • AT&T • William I. Bernell ‡ • BNY Mellon • The Boston Foundation • Lorraine D. and Alan S. ‡ Bressler • Jan Brett and Joseph Hearne • Gregory E. Bulger Foundation/Gregory Bulger and Richard Dix • Ronald G. and Ronni J. Casty • Commonwealth Worldwide Chauffeured Transportation • Mr. and Mrs. William H. Congleton ‡ • William F. Connell ‡ and Family • Country Curtains • Diddy and John Cullinane • Edith L. and Lewis S. ‡ Dabney • Elisabeth K. and Stanton W. Davis ‡ • Mary Deland R. de Beaumont ‡ • Delta Air Lines • Bob and Happy Doran • Alan and Lisa Dynner and Akiko ‡ Dynner • Deborah and Philip Edmundson • William and Deborah Elfers • Elizabeth B. Ely ‡ • Nancy S. and John P. Eustis II ‡ • Shirley and Richard ‡ Fennell • Anna E. Finnerty ‡ • Fromm Music Foundation • The Ann and Gordon Getty Foundation • Marie L. Gillet ‡ • Sophia and Bernard Gordon • Mrs. Donald C. Heath ‡ • Francis Lee Higginson ‡ • Major Henry Lee Higginson ‡ • Edith C. Howie ‡ • John Hancock Financial • Muriel E. and Richard L. ‡ Kaye • Nancy D. and George H. ‡ Kidder • Kingsbury Road Charitable Foundation • Audrey Noreen Koller ‡ • Farla and Harvey Chet Krentzman ‡ • Barbara and Bill Leith ‡ • Nancy and Richard Lubin • Vera M. and John D. MacDonald ‡ • Nancy Lurie Marks Family Foundation • Carmine A. and Beth V. Martignetti • Commonwealth of Massachusetts • The McGrath Family • The Andrew W. Mellon Foundation • Henrietta N. Meyer ‡ • Mr. and Mrs. Nathan R. Miller ‡ • Mr. and Mrs. Paul M. Montrone • Richard P. and Claire W. Morse Foundation • William Inglis Morse Trust • Mary S. Newman • Mrs. Mischa Nieland ‡ and Dr. Michael L. Nieland • Mr. ‡ and Mrs. Norio Ohga • P&G Gillette • The Claudia and Steven Perles Family Foundation • Polly and Dan ‡ Pierce • Mary G. and Dwight P. Robinson, Jr. ‡ • Susan and Dan ‡ Rothenberg • Carole and Edward I. Rudman • Richard Saltonstall Charitable Foundation • Wilhemina C. (Hannaford) Sandwen ‡ • Hannah H. ‡ and Dr. Raymond Schneider • Carl Schoenhof Family • Ruth ‡ and Carl J. Shapiro • Marian Skinner ‡ • Richard and Susan Smith Family Foundation/Richard A. and Susan F. Smith • Sony Corporation of America • Dr. Nathan B. and Anne P. Talbot ‡ • Diana O. Tottenham • The Wallace Foundation • Edwin S. Webster Foundation • Roberta and Stephen R. Weiner • The Helen F. Whitaker Fund • Helen and Josef Zimbler ‡ • Brooks and Linda Zug • Anonymous (7)

‡ Deceased

week 18 the great benefactors 69 BSO Season Sponsors 2015–16 Season

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 2015-16 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 diverse and global, supporting nonproﬁt arts institutions that deliver the visual Miceal Chamberlain and performing arts, provide inspirational and educational sustenance, Massachusetts President, anchor communities, create jobs, augment and complement existing school Bank of America 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.

EMC is pleased to continue our longstanding partnership with the Boston Symphony Orchestra. EMC is a global leader in enabling businesses and service providers to transform their operations and deliver information technology as a service (ITaaS). Fundamental to this transformation is cloud computing. Through innovative products and services, EMC acceler- ates the journey to cloud computing, helping IT departments to store, manage, protect, and analyze their most valuable asset—information—in Joe Tucci a more agile, trusted, and cost-efﬁcient way. Chairman, President, and CEO “As a Great Benefactor, EMC is proud to help preserve the wonderful musical heritage of the BSO, so that it may continue to enrich the lives of listeners and create a new generation of music lovers,” said Joe Tucci, Chairman and CEO, EMC Corporation.

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].

70 BSO Season Supporting Sponsors

The Arbella Insurance Group, through the Arbella Insurance Foundation, is proud to support the Boston Symphony Orchestra through sponsorship John Donohue of the BSO’s Youth & Family Concerts and College Card program. These Chairman and CEO outreach programs give both area students and students from around the globe the opportunity to experience great classical music performed by one of the world’s leading orchestras in one of the world’s greatest concert halls. Through the Foundation, Arbella helps support organizations like the Boston Symphony Orchestra that work so hard to positively impact the lives of those around them. We’re proud to be local, and our passion for everything that is New England helps us better meet all the unique insurance needs of our neighbors.

The Fairmont Copley Plaza Boston together with Fairmont Hotels & Resorts is proud to be the ofﬁcial hotel of the BSO. We look forward to Paul Tormey many years of supporting this wonderful organization. For more than Regional Vice President a century Fairmont Hotels & Resorts and the BSO have graced their and General Manager communities with timeless elegance and enriching experiences. The BSO is a New England tradition and like The Fairmont Copley Plaza, a symbol of Boston’s rich tradition and heritage.

Commonwealth Worldwide Chauffeured Transportation is proud to be the Ofﬁcial Chauffeured Transportation of the Boston Symphony Orchestra Dawson Rutter and Boston Pops. The BSO has delighted and enriched the Boston com- President and CEO munity 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.

week 18 bso season sponsors and season supporting sponsors 71

Administration

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

Bridget P. Carr, Senior Archivist • Kristie Chan, Assistant to the Artistic Administrator • Julie Giattina Moerschel, Executive Assistant to the Managing Director • Vincenzo Natale, Chauffeur/Valet • Sarah Radcliffe-Marrs, Manager of Artists Services • Eric Valliere, Assistant Artistic Administrator administrative staff/production Christopher W. Ruigomez, Director of Concert Operations and Assistant Director of Tanglewood Kristie Chan, Chorus and Orchestra Management Assistant • H.R. Costa, Technical Director • Erik Johnson, Chorus Manager • Tuaha Khan, Stage Technician • Jake Moerschel, Technical Supervisor/Assistant Stage Manager • Leah Monder, Operations Manager • John Morin, Stage Technician • Mark C. Rawson, Stage Technician • Emily W. Siders, Concert Operations Administrator • Nick Squire, Recording Engineer • Andrew Tremblay, Assistant to the Orchestra Personnel Manager/ Audition Coordinator boston pops Dennis Alves, Director of Artistic Planning Wei Jing Saw, Assistant Manager of Artistic Administration • Amanda Severin, Manager of Artistic Planning and Services business office

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

week 18 administration 73 development

Susan Grosel, Director of Annual Funds and Donor Relations • Nina Jung, Director of Board, Donor, and Volunteer Engagement • Ryan Losey, Director of Foundation and Government Relations • John C. MacRae, Director of Principal and Major Gifts • Jill Ng, Director of Planned Giving and Senior Major Gifts Officer • Richard Subrizio, Director of Development Communications • Mary E. Thomson, Director of Corporate Initiatives • Jennifer Roosa Williams, Director of Development Research and Information Systems Kyla Ainsworth, Donor Acknowledgment and Research Coordinator • Leslie Antoniel, Leadership Gifts Officer • Erin Asbury, Manager of Volunteer Services • Stephanie Baker, Assistant Director, Campaign Planning and Administration • Nadine Biss, Assistant Manager, Development Communications • Diane Cataudella, Associate Director, Donor Relations • Caitlin Charnley, Donor Ticketing Associate • Allison Cooley, Major Gifts Officer • Emily Diaz, Assistant Manager, Gift Processing • Emily Fritz-Endres, Executive Assistant to the Director of Development • Barbara Hanson, Senior Leadership Gifts Officer • James Jackson, Assistant Director, Telephone Outreach • Jennifer Johnston, Graphic Designer/Print Production Manager • Laine Kyllonen, Assistant Manager, Donor Relations • Katherine Laveway, Major Gifts Coordinator • Andrew Leeson, Manager, Direct Fundraising and Friends Program • Anne McGuire, Assistant Manager, Corporate Initiatives and Research • Suzanne Page, Major Gifts Officer • Mark Paskind, Assistant Manager of Planned Giving • Kathleen Pendleton, Assistant Manager, Development Events and Volunteer Services • Johanna Pittman, Grant Writer • Maggie Rascoe, Annual Funds Coordinator • Emily Reynolds, Assistant Director, Development Information Systems • Francis Rogers, Major Gifts Officer • Drew Schweppe, Major Gifts Coordinator • Alexandria Sieja, Assistant Director, Development Events • Yong-Hee Silver, Senior Major Gifts Officer • Szeman Tse, Assistant Director, Development Research education and community engagement Jessica Schmidt, Helaine B. Allen Director of Education and Community Engagement Claire Carr, Senior Manager of Education and Community Engagement • Emilio Gonzalez, Manager of Education and Community Engagement • Elizabeth Mullins, Assistant Manager of Education and Community Engagement • Darlene White, Manager of Berkshire Education and Community Engagement facilities Robert Barnes, Director of Facilities symphony hall operations Peter J. Rossi, Symphony Hall Facilities Manager Charles F. Cassell, Jr., Facilities Compliance and Training Coordinator • Alana Forbes, Facilities Coordinator • Shawn Wilder, Mailroom Clerk maintenance services Jim Boudreau, Lead Electrician • Thomas Davenport, Carpenter • Michael Frazier, Carpenter • Steven Harper, HVAC Technician • Sandra Lemerise, Painter • Adam Twiss, Electrician environmental services Landel Milton, Lead Custodian • Rudolph Lewis, Assistant Lead Custodian • Desmond Boland, Custodian • Julien Buckmire, Custodian/Set-up Coordinator • Claudia Ramirez Calmo, Custodian • Errol Smart, Custodian • Gaho Boniface Wahi, Custodian tanglewood operations Robert Lahart, Director of Tanglewood Facilities Bruce Peeples, Grounds Supervisor • Peter Socha, Buildings Supervisor • Fallyn Girard, Tanglewood Facilities Coordinator • Stephen Curley, Crew • Richard Drumm, Mechanic • Maurice Garofoli, Electrician • Bruce Huber, Assistant Carpenter/Roofer human resources

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

week 18 administration 75 information technology Timothy James, Director of Information Technology Andrew Cordero, IT Asset Manager • Ana Costagliola, Database Business Analyst • Isa Cuba, Infrastructure Engineer • Stella Easland, Telephone Systems Coordinator • Michael Finlan, Telephone Systems Manager • Karol Krajewski, Infrastructure Systems Manager • Brian Van Sickle, User Support Specialist • Richard Yung, IT Services Manager public relations

Samuel Brewer, Senior Publicist • Alyssa Kim, Senior Publicist • Taryn Lott, Assistant Director of Public Relations publications Marc Mandel, Director of Program Publications Robert Kirzinger, Assistant Director of Program Publications—Editorial • Eleanor Hayes McGourty, Assistant Director of Program Publications—Production and Advertising sales, subscription, and marketing

Helen N.H. Brady, Director of Group Sales • Alyson Bristol, Director of Corporate Partnerships • Sid Guidicianne, Front of House Manager • Roberta Kennedy, Buyer for Symphony Hall and Tanglewood • Sarah L. Manoog, Director of Marketing • Michael Miller, Director of Ticketing Amy Aldrich, Associate Director of Subscriptions and Patron Services • Christopher Barberesi, Assistant Manager, Corporate Partnerships • Gretchen Borzi, Associate Director of Marketing • Lenore Camassar, Associate Manager, SymphonyCharge • Megan Cokely, Group Sales Manager • Susan Coombs, SymphonyCharge Coordinator • Jonathan Doyle, Graphic Designer • Paul Ginocchio, Manager, Symphony Shop and Tanglewood Glass House • Leslie Kwan, Associate Director of Marketing Promotions and Events • George Lovejoy, SymphonyCharge Representative • Mary Ludwig, Manager, Corporate Sponsor Relations • Ronnie McKinley, Ticket Exchange Coordinator • Michelle Meacham, Subscriptions Representative • Michael Moore, Associate Director of Internet Marketing and Digital Analytics • Laurence E. Oberwager, Director of Tanglewood Business Partners • Meaghan O’Rourke, Internet Marketing and Social Media Manager • Greg Ragnio, Subscriptions Representative • Doreen Reis, Advertising Manager • Laura Schneider, Internet Marketing Manager and Front End Lead • Robert Sistare, Senior Subscriptions Representative • Richard Sizensky, Access Coordinator • Kevin Toler, Art Director • Himanshu Vakil, Associate Director of Internet and Security Technologies • Claudia Veitch, Director, BSO Business Partners • Thomas Vigna, Group Sales and Marketing Associate • Amanda Warren, Graphic Designer • David Chandler Winn, Tessitura Liaison and Associate Director of Tanglewood Ticketing box ofﬁce Jason Lyon, Symphony Hall Box Office Manager • Nicholas Vincent, Assistant Manager

Jane Esterquest, Box Office Administrator • Arthur Ryan, Box Office Representative event services James Gribaudo, Function Manager • Kyle Ronayne, Director of Event Administration • Luciano Silva, Manager of Venue Rentals and Event Administration tanglewood music center

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

week 18 administration 77

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

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

week 18 administration 79 Next Program…

Thursday, March 10, 8pm Friday, March 11, 1:30pm Saturday, March 12, 8pm Tuesday, March 15, 8pm

herbert blomstedt conducting

all-beethoven program

piano concerto no. 1 in c, opus 15 Allegro con brio Largo Rondo: Allegro garrick ohlsson

{intermission}

symphony no. 7 in a, opus 92 Poco sostenuto—Vivace Allegretto Presto Allegro con brio

Swedish conductor Herbert Blomstedt returns to Symphony Hall for this Beethoven pairing. American pianist and audience favorite Garrick Ohlsson performs Beehoven’s C major concerto— which was actually written after the work published as No. 2, and shows the composer clearly moving beyond the models of Haydn and Mozart but still maintaining the clarity and balance of Viennese classicism. The beloved Seventh Symphony features a remarkable balance between lyricism and rhythmic drive.

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

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

Thursday ‘D’ March 10, 8-9:40 Friday Evening March 18, 8-9:25 Friday ‘B’ March 11, 1:30-3:10 (Casual Friday, with introductory comments Saturday ‘B’ March 12, 8-9:40 by a BSO member and no intermission) Tuesday ‘B’ March 15, 8-9:40 STÉPHANEDENÈVE, conductor HERBERTBLOMSTEDT, conductor GILSHAHAM, violin GARRICKOHLSSON, piano JAMES DAVID CHRISTIE, organ ALL- Piano Concerto No. 1 WILLIAMS Violin Concerto BEETHOVEN Symphony No. 7 SAINT-SAËNS Symphony No. 3, Organ PROGRAM Symphony

Sunday, March 13, 3pm Thursday ‘B’ March 24, 8-10:20 Jordan Hall, New England Conservatory Friday ‘A’ March 25, 1:30-3:50 Saturday ‘B’ March 26, 8-10:20 BOSTONSYMPHONYCHAMBERPLAYERS ANDRISNELSONS with GARRICKOHLSSON, piano , conductor NIKOLAILUGANSKY, piano ALL- String Trio in C minor, Op. 9, TANGLEWOOD FESTIVAL CHORUS, BEETHOVEN No. 3 BETSYBURLEIGH, guest chorus conductor PROGRAM Quintet in E-flat for piano and winds, Op. 16 KANCHELI Dixi, for chorus and orchestra Duet in E-flat “with two (American premiere) obbligato eyeglasses,” RACHMANINOFF Rhapsody on a Theme of WoO 32, for viola and Paganini double bass SHOSTAKOVICH Symphony No. 8 Piano Trio in E-flat, Op. 70, No. 2 Tuesday ‘C’ March 29, 8-10:20 ANDRISNELSONS, conductor Thursday, March 17, 10:30am (Open Rehearsal) TANGLEWOOD FESTIVAL CHORUS, Thursday ‘A’ March 17, 8-9:55 BETSYBURLEIGH, guest chorus conductor Saturday ‘A’ March 19, 8-9:55 SHOSTAKOVICH Suite from Incidental music STÉPHANEDENÈVE, conductor to Hamlet GILSHAHAM , violin KANCHELI Dixi, for chorus and orchestra JAMES DAVID CHRISTIE , organ SHOSTAKOVICH Symphony No. 8 HIGDON blue cathedral WILLIAMS Violin Concerto SAINT-SAËNS Symphony No. 3, Organ Symphony

Programs and artists subject to change.

week 18 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 (12 noon until 6 p.m. on Saturday), until 8:30 p.m. on concert evenings, and for a half-hour past starting time for other events. In addition, the box office opens at least two hours prior to most Sunday performances. Single tickets for all Boston Symphony subscription concerts are available at the box office. To purchase BSO Tickets: American Express, MasterCard, Visa, Diners Club, Discover, a personal check, and cash are accepted at the box office. To charge tickets instantly on a major credit card, call “SymphonyCharge” at (617) 266-1200, from 10 a.m. until 6 p.m. Monday through Friday (12 noon to 6 p.m. on Saturday). Outside the 617 area code, phone 1-888-266-1200. As noted above, tickets can also be purchased online. There is a handling fee of $6.50 for each ticket ordered by phone or online. Group Sales: Groups may take advantage of advance ticket sales. For BSO concerts at Symphony Hall, groups of twenty-five or more may reserve tickets by telephone and take advantage of ticket discounts and flexible payment options. To place an order, or for more information, call Group Sales at (617) 638-9345 or (800) 933-4255, or e-mail [email protected]. For patrons with disabilities, elevator access to Symphony Hall is available at both the Massachusetts Avenue and Cohen Wing entrances. An access service center, large print programs, and accessible restrooms are available inside the Cohen Wing. For more information, call the Access Services Administrator line at (617) 638-9431 or TDD/TTY (617) 638-9289. In consideration of our patrons and artists, children age four or younger will not be admitted to Boston Symphony Orchestra concerts. Please note that no food or beverage (except water) is permitted in the Symphony Hall auditorium. Patrons who bring bags to Symphony Hall are subject to mandatory inspections before entering the building. Those arriving late or returning to their seats will be seated by the patron service staff only during a convenient pause in the program. Those who need to leave before the end of the concert are asked to do so between program pieces in order not to disturb other patrons.

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

week 18 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 $9 each, one to a customer, at the Symphony Hall box office on Fridays as of 10 a.m. for afternoon concerts, and on Tuesdays and Thursdays as of 5 p.m. for evening concerts. Please note that there are no Rush Tickets available for Friday and Saturday evenings. Please note that smoking is not permitted anywhere in Symphony Hall. Camera and recording equipment may not be brought into Symphony Hall during concerts. Lost and found is located at the security desk at the stage door to Symphony Hall on St. Stephen Street. First aid facilities for both men and women are available. On-call physicians attending concerts should leave their names and seat locations at the Cohen Wing entrance on Huntington Avenue. Parking: The Prudential Center Garage and Copley Place Parking on Huntington Avenue offer discounted parking to any BSO patron with a ticket stub for evening performances. Limited street parking is available. As a special benefit, guaranteed pre-paid parking near Symphony Hall is available to subscribers who attend evening concerts. For more information, call the Subscription Office at (617) 266-7575. Elevators are located outside the O’Block/Kay and Cabot-Cahners rooms on the Massachusetts Avenue side of Symphony Hall, and in the Cohen Wing. Ladies’ rooms are located on both main corridors of the orchestra level, as well as at both ends of the first balcony, audience-left, and in the Cohen Wing. Men’s rooms are located on the orchestra level, audience-right, outside the O’Block/Kay Room near the elevator; on the first-balcony level, also audience-right near the elevator, outside the Cabot-Cahners Room; and in the Cohen Wing. Coatrooms are located on the orchestra and first-balcony levels, audience-left, outside the O’Block/Kay and Cabot-Cahners rooms, and in the Cohen Wing. Please note that the BSO is not responsible for personal apparel or other property of patrons. Lounges and Bar Service: There are two lounges in Symphony Hall. The O’Block/Kay Room on the orchestra level and the Cabot-Cahners Room on the first-balcony level serve drinks starting one hour before each performance. For the Friday-afternoon concerts, both rooms open at noon, with sandwiches available until concert time. Drink coupons may be purchased in advance online or through SymphonyCharge for all performances. Boston Symphony Broadcasts: Saturday-evening concerts of the Boston Symphony Orchestra are broadcast live in the Boston area by 99.5 All-Classical. BSO Friends: The Friends are donors who contribute $100 or more to the Boston Symphony Orchestra Annual Funds. For information, please call the Friends of the BSO Office at (617) 638-9276 or e-mail [email protected]. If you are already a Friend and you have changed your address, please inform us by sending your new and old addresses to Friends of the BSO, Symphony Hall, Boston, MA 02115. Including your patron number will assure a quick and accurate change of address in our files. BSO Business Partners: The BSO Business Partners program makes it possible for businesses to participate in the life of the Boston Symphony Orchestra. Benefits include corporate recognition in the BSO program book, access to the Beranek Room reception lounge, two-for-one ticket pricing, and advance ticket ordering. For further information, please call the BSO Business Partners Office at (617) 638-9275 or e-mail [email protected]. The Symphony Shop is located in the Cohen Wing at the West Entrance on Huntington Avenue and is open Thursday and Saturday from 3 to 6 p.m., and for all Symphony Hall performances through intermission. The Symphony Shop features exclusive BSO merchandise, including calendars, coffee mugs, an expanded line of BSO apparel and recordings, and unique gift items. The Shop also carries children’s books and musical-motif gift items. A selection of Symphony Shop merchandise is also available online at bso.org and, during concert hours, outside the Cabot-Cahners Room. All proceeds benefit the Boston Symphony Orchestra. For further information and telephone orders, please call (617) 638-9383, or purchase online at bso.org.