Week 4 Haydn Turnage Elgar

2018–19 season andris nelsons bostonmusic director symphony orchestra

week 4 haydn turnage elgar

Season Sponsors seiji ozawa music director laureate bernard haitink conductor emeritus

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Takeda is proud to support the Boston Symphony Orchestra Table of Contents | Week 4

7 bso news 1 5 on display in symphony hall 16 bso music director andris nelsons 18 the boston symphony orchestra 23 music, the ultimate renewable energy by gerald elias 31 a message from andris nelsons 3 2 this week’s programs

Notes on the Program

36 The Program in Brief… 37 Joseph Haydn 43 Mark-Anthony Turnage 51 Edward Elgar 63 To Read and Hear More…

7 0 sponsors and donors 88 future programs 90 symphony hall exit plan 9 1 symphony hall information

BOSTON SYMPHONY ORCHESTRA Symphony Hall, 301 Massachusetts Avenue Boston, MA 02115-4511 (617) 266-1492 bso.org Now on view mfa.org/pastels

Supported by the Robert Lehman Foundation and Davis and Carol Noble. Edgar Degas, Dancers Resting (detail), 1881–85. Pastel on paper mounted on cardboard. Juliana Cheney Edwards Collection. andris nelsons, ray and maria stata music director bernard haitink, lacroix family fund conductor emeritus seiji ozawa, music director laureate thomas adès, deborah and philip edmundson artistic partner thomas wilkins, germeshausen youth and family concerts conductor 138th season, 2018–2019 trustees of the boston symphony orchestra, inc.

Susan W. Paine, Chair • Joshua A. Lutzker, Treasurer

William F. Achtmeyer • Noubar Afeyan • David Altshuler • Gregory E. Bulger • Ronald G. Casty • Susan Bredhoff Cohen • Richard F. Connolly, Jr. • Cynthia Curme • William Curry, M.D. • Alan J. Dworsky • Philip J. Edmundson • Thomas E. Faust, Jr. • Todd R. Golub • Michael Gordon • Nathan Hayward, III • Ricki Tigert Helfer • Brent L. Henry • Susan Hockfield • Albert A. Holman, III • Barbara W. Hostetter • Stephen B. Kay • Edmund Kelly • Tom Kuo, ex-officio • Joyce Linde • John M. Loder • Nancy K. Lubin • Carmine A. Martignetti • Robert J. Mayer, M.D. • Pamela L. Peedin • Steven R. Perles • Lina S. Plantilla, M.D. • Carol Reich • Arthur I. Segel • Wendy Shattuck • Theresa M. Stone • Caroline Taylor • Sarah Rainwater Ward, ex-officio • Dr. Christoph Westphal • D. Brooks Zug life trustees

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

Mark Volpe, Eunice and Julian Cohen President and Chief Executive Officer • Evelyn Barnes, Jane B. and Robert J. Mayer, M.D., Chief Financial Officer • Bart Reidy, Clerk of the Board advisors of the boston symphony orchestra, inc.

Tom Kuo, Co-Chair • Sarah Rainwater Ward, Co-Chair

Nathaniel Adams • James E. Aisner • Maureen Alphonse-Charles • Holly Ambler • Peter C. Andersen • Bob Atchinson • Lloyd Axelrod, M.D. • Liliana Bachrach • Judith W. Barr • Ted Berk • Paul Berz • William N. Booth • Mark G. Borden • Partha Bose • Karen Bressler • Thomas M. Burger • Joanne M. Burke • Bonnie Burman, Ph.D. • Richard E. Cavanagh • Miceal Chamberlain • Bihua Chen • Yumin Choi • Michele Montrone Cogan • Roberta L. Cohn • RoAnn Costin • Sally Currier • Gene D. Dahmen • Lynn A. Dale • Anna L. Davol • Peter Dixon • Sarah E. Eustis • Beth Fentin • Peter Fiedler • Sanford Fisher • Adaline H. Frelinghuysen • Stephen T. Gannon • Marion Gardner-Saxe • Levi A. Garraway • Zoher Ghogawala, M.D. • Cora H. Ginsberg • Robert R. Glauber • Barbara Nan Grossman • Alexander D. Healy • James M. Herzog, M.D. • Stuart Hirshfield • Lawrence S. Horn • Jill Hornor • Valerie Hyman •

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George Jacobstein • Stephen J. Jerome • Giselle J. Joffre • Susan A. Johnston • Mark Jung • Steve Kidder • John L. Klinck, Jr. • Roy Liemer • Sandra O. Moose • Kristin A. Mortimer • Cecile Higginson Murphy • John F. O’Leary • Peter Palandjian • Donald R. Peck • Wendy Philbrick • Randy Pierce • Irving H. Plotkin • Andrew S. Plump • Jim Pollin • William F. Pounds • Esther A. Pryor • James M. Rabb, M.D. • Ronald Rettner • Robert L. Reynolds • Robin S. Richman, M.D. • Dr. Carmichael Roberts • Graham Robinson • Patricia Romeo-Gilbert • Michael Rosenblatt, M.D • Sean C. Rush • Malcolm S. Salter • Dan Schrager • Donald L. Shapiro • Phillip A. Sharp, Ph.D. • Carol S. Smokler • Anne-Marie Soullière • Michael B. Sporn, M.D. • Nicole Stata • Margery Steinberg, Ph.D • Katherine Chapman Stemberg • Jean Tempel • Douglas Dockery Thomas • Mark D. Thompson • Blair Trippe • Jillian Tung, M.D. • Sandra A. Urie • Antoine van Agtmael • Edward Wacks, Esq. • Linda S. Waintrup • Vita L. Weir • June K. Wu, M.D. • Patricia Plum Wylde • Gwill E. York • Marillyn Zacharis advisors emeriti

Helaine B. Allen • Marjorie Arons-Barron • Diane M. Austin • Sandra Bakalar • Lucille M. Batal • Linda J.L. Becker • James L. Bildner • William T. Burgin • Hon. Levin H. Campbell • Carol Feinberg Cohen • Mrs. James C. Collias • Charles L. Cooney • Ranny Cooper • Joan P. Curhan • James C. Curvey • Tamara P. Davis • Mrs. Miguel de Bragança • Paul F. Deninger • JoAnne Walton Dickinson • Phyllis Dohanian • Alan Dynner • Ursula Ehret-Dichter • George Elvin • Pamela D. Everhart • Judy Moss Feingold • Steven S. Fischman • John F. Fish • Myrna H. Freedman • Mrs. James Garivaltis • Dr. Arthur Gelb • Robert P. Gittens • Jordan Golding • Michael Halperson • John Hamill • Deborah M. Hauser • Carol Henderson • Mrs. Richard D. Hill • Roger Hunt † • Lola Jaffe • Everett L. Jassy • Darlene Luccio Jordan, Esq. • Paul L. Joskow • Martin S. Kaplan • Stephen R. Karp • Mrs. Gordon F. Kingsley • Robert I. Kleinberg • David I. Kosowsky † • Robert K. Kraft • Peter E. Lacaillade • Benjamin H. Lacy • Mrs. William D. Larkin • Robert J. Lepofsky • Frederick H. Lovejoy, Jr. • Diane H. Lupean • Mrs. Harry L. Marks • Jay Marks • Joseph B. Martin, M.D. • Joseph C. McNay • Dr. Martin C. Mihm, Jr. • Robert Mnookin • Paul M. Montrone • Robert J. Morrissey • Joseph Patton • John A. Perkins † • Ann M. Philbin • May H. Pierce • Claudio Pincus • Irene Pollin • Dr. John Thomas Potts, Jr. • Dr. Tina Young Poussaint • Claire Pryor • Robert E. Remis • John Ex Rodgers • Susan Rothenberg • Alan W. Rottenberg • Joseph D. Roxe • Kenan Sahin • Roger A. Saunders • Lynda Anne Schubert • L. Scott Singleton • Gilda Slifka • Christopher Smallhorn • Patricia L. Tambone • Samuel Thorne • Albert Togut • Diana Osgood Tottenham • Joseph M. Tucci • David C. Weinstein • James Westra • Mrs. Joan D. Wheeler • Margaret Williams-DeCelles • Richard Wurtman, M.D.

Membership as of September 20, 2018

† Deceased

week 4 trustees and advisors 5

BSO News

This Season’s BSO/GHO Musician Exchanges As part of the BSO/GHO Alliance initiated last season by BSO Music Director Andris Nelsons, who is also Gewandhauskapellmeister of Leipzig’s Gewandhausorchester (GHO), musicians from each of the two ensembles are participating in an exchange program whereby they play in the others’ home orchestra. For the first half of the 2018-19 season, BSO assistant concertmaster Elita Kang and BSO violist Danny Kim are playing in Leipzig with the Gewandhausorchester, and GHO violinist Dorothea Vogel and GHO violist David Lau are playing at Symphony Hall with the BSO. Beginning in mid-February, the two BSO members playing in Leipzig will be violinist Catherine French and bass player Todd Seeber, with GHO members Katharina Wachsmuth, violin, and Waldemar Schwiertz, double bass, crossing the Atlantic to play with the BSO. The BSO/GHO Alliance creates opportunities for both orchestras and their respective audiences to explore the historic traditions and accomplishments of each ensemble, through an extensive co-commissioning program, educational programs spotlighting each orchestra’s culture and history, and a focus on complementary programming offered during “Leipzig Week in Boston” and “Boston Week in Leipzig.” Among other offerings, this season’s “Leipzig Week in Boston” will feature the BSO’s first complete performances (November 28-December 1, with Andris Nelsons conducting) of J.S. Bach’s Christmas Oratorio, composed by Bach for performance in Leipzig during the Christmas season of 1734.

New England Conservatory and BSO Present “What I Hear” on Thursday, November 8, at 6pm, Free and Open to the Public at NEC’s Williams Hall A collaboration between the Boston Symphony Orchestra and New England Conservatory, “What I Hear” is a series of free hour-long events that introduce audiences to composers working with the BSO. These composer-curated chamber music programs feature performances by NEC students and include conversations between the composers and BSO Assistant Artistic Administrator Eric Valliere. The NEC student performances are coached and directed by NEC faculty member Stephen Drury. The first of this season’s three “What I Hear” events is on Thursday, November 8, featuring Latvian composer Andris Dzenītis, whose orchestral work M a¯ r a , co-commissioned by the BSO and the Gewandhaus Orchestra of Leipzig, receives its American premiere on that evening’s 8 p.m. BSO concert. Upcoming sessions feature Finnish composer Kaija Saariaho on Thursday, January 24, and American composer Sebastian Currier on Thursday, May 2.

week 4 bso news 7 “BSO 360” Airing on PBS “BSO 360,” a new behind-the-scenes series self-produced by the BSO, has begun airing nationally on PBS, with 76% of PBS stations across the country having picked up the series. There are five thirty-minute episodes showcasing all aspects of the BSO, including in-depth profiles of Music Director Andris Nelsons, Youth and Family Concerts Conductor Thomas Wilkins, and Tanglewood Festival Chorus Conductor James Burton; an insiders's look at the Boston Pops Fireworks Spectacular; an historical look at Boston Pops conductors with Keith Lockhart; and segments on Leonard Bernstein, Tanglewood, and the BSO audition process. The show is already airing locally on WGBX (Channel 44) on Saturdays at 4:30 p.m. (it started on September 29). It will air on the World Channel starting Satur- day, November 10, at 8 p.m., and on WGBH (Channel 2) in December (dates and times to be announced). Funding for “BSO 360” was provided by Cynthia and Oliver Curme.

BSO Community Chamber Concerts The BSO continues its free, hour-long Community Chamber Concerts featuring BSO musicians in communities throughout the greater Boston area on Sunday afternoons at 3 p.m. (followed by a coffee-and-dessert reception for the audience and musicians), and at Northeastern University’s Fenway Center on four Friday afternoons at 1:30 p.m. This season’s first program features BSO string players Tamara Smirnova, Bracha Malkin, Michael Zaretsky, and Mickey Katz, BSO clarinetist Thomas Martin, and pianist Xak Bjerken in music of Schumann and Shostakovich on Sunday, October 28, at Massachusetts College of Liberal Arts in North Adams; Friday, November 2, at the Fenway Center, and Sunday, November 4, at UMass Lowell. Admission is free, but reservations are required; please

2018–2019 season andris nelsons music director

bso 101 A FREE ADULT EDUCATION SERIES

BSO 101: Are You Listening? offers the OCT 17: Exploring What’s New! opportunity to increase your enjoyment of NOV 14: Orchestral Palettes I—Mahler, BSO concerts. Join BSO Director of Program Beethoven, Dvořák, Harbison Publications Marc Mandel (11/14 & 2/13), JAN 16: Symphonic Shifts—Haydn, Brahms, Associate Director of Program Publications Sibelius, Copland Robert Kirzinger (10/17, 1/16 & 4/3), and FEB 13: Orchestral Palettes II—Debussy, members of the BSO in five sessions Puccini, Adès, Strauss designed to enhance your listening APR 3: 20th-Century Masters—Stravinsky abilities and appreciation of music by and Shostakovich focusing on upcoming BSO repertoire. No Free admission; reservations required. prior musical training, or attendance at any Call 617-266-1200 or go to bso.org/bso101. previous session, is necessary. bso.org/bso101

8 call 1-888-266-1200. For further details, please visit bso.org and go to “Education & Com- munity” on the home page. The BSO’s 2018-19 Community Concerts are sponsored by Takeda Pharmaceutical Company Limited.

Friday Previews at Symphony Hall Friday Previews take place from 12:15-12:45 p.m. in Symphony Hall prior to all of the BSO’s Friday-afternoon subscription concerts throughout the season. Given by BSO Director of Program Publications Marc Mandel, Associate Director of Program Publications Robert Kirzinger, and occasional guest speakers, these informative half-hour talks incorporate recorded examples from the music to be performed. The speakers for this fall are Marc Mandel (October 19, October 26, November 23), Robert Kirzinger (October 12, November 16, and November 30), and author/lecturer Harlow Robinson (November 9). individual tickets are on sale for all concerts in the bso’s 2018-2019 season. for specific information on purchasing tickets by phone, online, by mail, or in person at the symphony hall box office, please see page 91 of this program book.

The Grossman Family Concert in Memory of Dr. Jerome H. Grossman While Jerry was a passionate believer in Thursday, November 1, 2018 the holy grail of increasing productivity in health care delivery, he was keenly aware of Dr. Jerome H. Grossman developed his love the economic and cultural barriers to chang- for classical music at an early age, when his ing the systems. As head of the Harvard older brother first introduced him to Grieg’s Kennedy School Health Care Delivery Piano Concerto in A minor. Jerry’s appreciation Policy Program, he convened a group of for classical music never waned; his first providers, consumers, insurers, government date with his then future wife, Barbara, was representatives, device manufacturers, at Tanglewood. During their courtship, and pharmaceutical companies. The final Barbara and Jerry became BSO subscribers, decade of his life was devoted to engaging and they were dedicated Symphony-goers the spectrum of stakeholders to buy into over the forty years of their marriage. systemic reform. Professionally, Jerry was devoted to bringing Jerry was also devoted to Boston and to high quality, affordable health care to all Massachusetts. His core belief was that Americans. During the 1970s, 1980s, and good health and a good education were 1990s, he managed clinical organizations: inextricably intertwined. He chaired the first as the director of ambulatory programs Boston Compact, which brought the at the MGH and then as CEO of Tufts resources of the private sector to the Medical Center. By the 1990s, Jerry was Boston Public Schools. He served on the convinced that the health care delivery state Board of Education. His distinguished system needed fundamental reform. He civic leadership led to his appointment to believed advances in technology and manage- the board of the Federal Reserve Bank of ment processes from the for-profit world Boston, and he served as its chair from could be applied to hospitals to increase 1994 to 1997. both productivity and quality of care. He founded two medical information systems Since Jerry’s death in 2008, Barbara has companies during his years at the MGH continued to attend BSO concerts and now and Tufts. serves on its Board of Advisors.

week 4 bso news 9 Explore Memory Care Arts & Culture White Oak Cottages at Fox Hill Village offers a unique alternative Living at Fox Hill Village means the planning is done. for those who can no longer live at You just show up! Join your neighbors for an excursion of guided home due to memory impairment. tours, eateries and shops to explore. Make it easy and take the bus to With our specially designed Symphony Hall. Take day trips to Tanglewood, the cottages, philosophy of care, and Boston Ballet, the Wang Theatre and more! unique staffing model, we provide the very best living options for our With numerous intellectually stimulating outings, residents with dementia and a variety of adult learning programs highlighting Alzheimer’s disease. We are a history, finance, current events and the arts, you’ll proud partner of The Green House® Project, a national move- never be bored at Fox Hill Village. ment to transform long-term care. In the Loge at the In addition to our commitment to rich Museum of Fine Arts, To learn more, call cultural offerings, we have: Boston 781-320-1999 or visit WhiteOakCottages.com • Cooperative Ownership • Floorplans from 615 to 1,900 sq. ft. • Privacy and Security • Over 100 Beautiful Acres WHITE OAK Call today to schedule your private tour 781-493-6805. COTTAGES Visit us at FoxHillVillage.com 10 Longwood Drive, Westwood, MA 02090 AT FOX HILL VILLAGE

Developed by Massachusetts General Hospital Proudly Celebrating Over 25 Years! The Robert and Jane Mayer Concert Museum of Fine Arts, Boston, where she Saturday, November 3, 2018 is a Gallery Instructor, serves as Chair, The performance on Saturday evening is Conservation and Collections Management, supported by a generous gift from BSO and is a member of the Learning and Great Benefactors Robert J. Mayer, M.D., Community Engagement Committee. She and his wife, Jane, who are longtime BSO is a graduate of Boston University and patrons in Boston and at Tanglewood. Columbia School of Social Work. Symphony subscribers for thirty-four Bob credits his father for encouraging his consecutive years, they also attend many interest in music. He learned to love classical performances at Tanglewood each season. music early, and most of his fondest and Bob was elected an Overseer in 2001, a clearest memories are of seeing the greats Trustee in 2005, and Co-President of the perform the best music. Bob and Jane Board of Trustees in 2017. He currently have shared their passion for music and serves on the Committee on Philanthropy, Tanglewood with their two daughters, Erica and previously served as co-chair of the and Rachel, and their families. Planned Giving Committee, chair of the Overseers Nominating Committee, and chair of the Tanglewood Annual Fund. Jane was BSO Broadcasts on WCRB a member of the Audience Development BSO concerts are heard on the radio at Committee. The Mayers, who were chairs 99.5 WCRB. Saturday-night concerts are of the Tanglewood Gala in 2014, have been broadcast live at 8 p.m. with host Ron Della members of the benefactor committee for Chiesa, and encore broadcasts are aired both Symphony and Tanglewood galas for on Monday nights at 8 p.m. In addition, many years. Bob and Jane are members interviews with guest conductors, soloists, of the Higginson Society, the Koussevitzky and BSO musicians are available online at Society, and the Walter Piston Society. classicalwcrb.org/bso. Current and upcom- The Mayer family has named two seats ing broadcasts include this week’s program in Symphony Hall as well as the Jane B. under Andris Nelsons of Haydn, Elgar, and and Robert J. Mayer, M.D. Chief Financial the American premiere of Mark-Anthony Officer position in the BSO’s senior adminis- Turnage’s BSO-commissioned Remembering; tration. In addition to supporting the Annual In Memoriam Evan Scofield (November 3; Funds and Gala events, they have supported encore November 12); and the two follow- the Tanglewood Forever Fund and the ing programs, both also under Andris Tanglewood Music Center/Tanglewood Nelsons: Shostakovich’s Symphony No. 1, Learning Institute Building Project. Andris Dzenītis’s BSO-commissioned M a¯ r a , Bob is the faculty vice president for academic and Act II of Tchaikovsky’s The Nutcracker affairs at Dana-Farber Cancer Institute and (November 10; encore November 19); and the faculty associate dean for admissions Mahler’s Symphony No. 5, preceded by HK at Harvard Medical School, where he is the Gruber’s Aerial featuring trumpet soloist Stephen B. Kay Family Professor of Medicine. Håkan Hardenberger (November 17; encore He is a graduate of Williams College and November 26). Harvard Medical School. Jane directed the department of social work at Beth Israel Deaconess Medical Center for many years BSO Members in Concert before serving as vice-president for resident BSO members Sheila Fiekowsky, Daniel services and community relations at Cornu Getz, Adam Esbensen, Edwin Barker, Richard Management Company. She currently Ranti, and Jason Snider join violinist Lisa chairs the Art and Environment Program Crockett and clarinetist Catherine Hudgins at Dana-Farber and is a board member of for Dvoˇrák’s Miniatures, Op. 75a; Garfield’s the Winsor School, Kids4Harmony, and the Quartet for Bassoon and Strings; Till Eulen-

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BostonSymphony 2017/18 ISG ND2017.indd 1 4/21/17 4:40 PM on display in symphony hall This year’s BSO Archives exhibit on the orchestra and first-balcony levels of Symphony Hall encompasses a widely varied array of materials, some of it newly acquired, from the Archives’ permanent collection. highlights of this year’s exhibit include, on the orchestra level of symphony hall: • An exhibit case in the Brooke Corridor documenting grand musical events in Boston prior to the founding of the BSO • An exhibit case in the Brooke Corridor spotlighting BSO founder and sustainer Henry Lee Higginson • An exhibit case in the Brooke Corridor celebrating women composers whose music the BSO has performed • Two exhibit cases in the Hatch Corridor focusing on the construction and architecture of Symphony Hall in the first balcony corridors: • An exhibit case, audience-right, tracing the crucial role of the BSO’s orchestra librarian throughout the orchestra’s history • An exhibit case, also audience-right, highlighting a newly acquired collection of letters written between 1919 and 1924 by Georg Henschel, the BSO’s first conductor, to the French flutist Louis Fleury, as well as Henschel the composer • An exhibit case, audience-left, documenting Symphony Hall’s history as a venue for jazz concerts between 1938 and 1956 in the cabot-cahners room: • Two exhibit cases focusing on the life, career, and family history of the late Tanglewood Festival Chorus founder/conductor John Oliver, including personal and professional papers, photographs, and other memorabilia, all donated to the BSO Archives in 2018 by Mr. Oliver’s estate • An exhibit case drawn from materials acquired by the BSO Archives in 2017 documenting the life and musical career of former BSO violinist Einar Hansen, a member of the BSO from 1925 to 1965

TOP OF PAGE, LEFT TO RIGHT: Composer Amy Beach (1867-1944), c.1910 (Fraser Studios) An April 1947 program from a Symphony Hall concert featuring Billie Holiday and Louis Armstrong A young John Oliver at the keyboard, c.1960 (photographer unknown)

week 4 on display 15 Marco Borggreve

Andris Nelsons

The 2018-19 season is Andris Nelsons’ fifth as the Boston Symphony Orchestra’s Ray and Maria Stata Music Director. Named Musical America’s 2018 Artist of the Year, Mr. Nelsons will lead fourteen of the BSO’s twenty-six subscription programs in 2018-19, ranging from orchestral works by Haydn, Beethoven, Tchaikovsky, Stravinsky, and Copland to concerto collaborations with acclaimed soloists, as well as world and American premieres of pieces newly commissioned by the BSO from Thomas Adès, Sebastian Currier, Andris Dzenītis, and Mark-Anthony Turnage; the continuation of his complete Shostakovich symphony cycle with the orchestra, and concert performances of Puccini’s one-act opera Suor Angelica. In summer 2015, following his first season as music director, Andris Nelsons’ contract with the BSO was extended through the 2021-22 season. In November 2017, he and the orchestra toured Japan together for the first time. In February 2018, he became Gewandhaus- kapellmeister of the Gewandhausorchester Leipzig, in which capacity he brings both orchestras together for a unique multi-dimensional alliance. Immediately following the 2018 Tanglewood season, Maestro Nelsons and the BSO made their third European tour together, playing concerts in London, Hamburg, Berlin, Leipzig, Vienna, Lucerne, Paris, and Amsterdam. Their first European tour, following the 2015 Tanglewood season, took them to major European capitals and the Lucerne, Salzburg, and Grafenegg festivals; the second, in May 2016, took them to eight cities in Germany, Austria, and Luxembourg.

The fifteenth music director in the history of the Boston Symphony Orchestra, Andris Nelsons made his BSO debut at Carnegie Hall in March 2011, his Tangle- wood debut in July 2012, and his BSO subscription series debut in January 2013. His recordings with the BSO, all made live in concert at Symphony Hall, include the complete Brahms symphonies on BSO Classics; Grammy-winning recordings

16 on Deutsche Grammophon of Shostakovich’s symphonies 5, 8, 9, and 10, the initial releases in a complete Shostakovich symphony cycle for that label; and a new two-disc set pairing Shostakovich’s symphonies 4 and 11, The Year 1905. Under an exclusive contract with Deutsche Grammophon, Andris Nelsons is also recording the complete Bruckner symphonies with the Gewandhausorchester Leipzig and the complete Beethoven symphonies with the Vienna Philharmonic.

The 2018-19 season is Maestro Nelsons’ final season as artist-in-residence at the Konzerthaus Dortmund and marks his first season as artist-in-residence at Hamburg’s Elbphilharmonie. In addition, he continues his regular collaborations with the Vienna Philharmonic and Berlin Philharmonic. Throughout his career, he has also established regular collaborations with Amsterdam’s Royal Concertgebouw Orchestra, the Bavarian Radio Symphony Orchestra, and the Philharmonia Orchestra, and has been a regular guest at the Bayreuth Festival and the Royal Opera House, Covent Garden.

Born in Riga in 1978 into a family of musicians, Andris Nelsons began his career as a trumpeter in the Latvian National Opera Orchestra before studying conducting. He was music director of the City of Birmingham Symphony Orchestra from 2008 to 2015, principal conductor of the Nordwestdeutsche Philharmonie in Herford, Germany, from 2006 to 2009, and music director of Latvian National Opera from 2003 to 2007. Marco Borggreve

week 4 andris nelsons 17 Boston Symphony Orchestra 2018–2019

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

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

18 photos by Winslow Townson and Michael Blanchard

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

week 4 boston symphony orchestra 19

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Music, the Ultimate Renewable Energy by Gerald Elias

Former BSO violinist Gerald Elias, who continues to perform with the orchestra at Tanglewood and on tour, reflects on the BSO’s September 2018 tour to London, Hamburg, Berlin, Leipzig, Vienna, Lucerne, Paris, and Amsterdam.

There’s ample occasion for reflection amidst the classic “hurry up and wait” mode of international concert tours. Not onstage, of course, when it’s essential to remain focused on the task at hand, but certainly while in transit from one concert hall to the next. On the recent nineteen-day BSO tour to Europe there was one long train trip of 355 miles, plus no fewer than twenty bus rides for another 547, and six plane flights totaling 8,455 more. Not to mention waiting in airports and train stations for another twenty hours, more or less. All in all, plenty of time for mulling.

On one such excursion a window seat on the upper level of our bus from Hamburg to Berlin provided an ideal observation point to view the rolling farmland of central Germany. What better setting than such bucolic monotony to allow one’s mind to wander mind- lessly? It lulled one into the sense that all was right with the world. Yet we know very well that behind the tranquil façade, we live in a turbulent world. A changing climate is wreaking havoc on every continent, and the threat of terrorism—the result of geopolitical instability—is a constant, dark presence. What is our role? I wondered. What is the role of music and musicians in all this turmoil?

The first performance of the BSO’s 2018 European tour—Mahler’s Symphony No. 3 at the BBC Proms in London’s Royal Albert Hall, September 2, 2018

week 4 music, the ultimate renewable energy 23 Innovation, now seating seven.

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Performing Bernstein’s Serenade for Violin and Orchestra with soloist Baiba Skride at the Philharmonie de Paris, September 16, 2018

Flanking the road, in the agriculturally unworkable strip of land between freeway and field, mile after mile of recently installed solar panel arrays caught my attention. Farther off, battalions of monumental windmills, so imposing they would have given Don Quixote pause, dotted the horizon. All this new technology to create renewable energy gave me a starting point to wonder how many gallons of fuel we’d consumed on all those trains, planes, and buses rumbling under our feet. From there, my imagination took flight, thinking about what potential untapped sources of energy humanity has not yet considered. Over the millennia, we’ve tried tallow, beeswax, olive oil, coal, wood, whales, gas, fossil fuel oil, and nuclear combustion.

And let us not forget the energy produced by human muscles. A case in point: During our stay in Paris, the sunny Sunday morning of September 16 had a festive atmosphere, the day having been declared car-free in the central city as part of that city’s commitment to the 2016 international climate change agreement that bears its name. As a result, the Champs-Élysées, usually congested with bumper-to-bumper traffic, was a pedestrian mall. Instead of engines revving and horns honking, all you heard was the cordial buzz of people talking! The only “motorized” vehicles were human-powered bicycles and scooters.

What progress we’ve made in the quest for efficient energy! Mozart might have penned the last notes of his Requiem under the dim rays of an oil lamp, the big technological breakthrough from candles. Beethoven, tucked away in the cellar of his brother’s house when Vienna was bombarded by Napoleon, might have had a gas lamp at his disposal to enable him to compose the Eroica Symphony. In Brahms’s last years, when he recorded the Hungarian Dance in G minor on a wax cylinder, he might have marveled at an incan- descent light bulb hanging over his piano keyboard. 20th- and 21st-century composers have had it easy being able to see what they were writing.

Now, given the urgency of reckoning with climate change, we’ve seen the rapid development of safely renewable sources of energy: solar, wind, and geothermal. But as our

week 4 music, the ultimate renewable energy 25 Jens Gerber

Performing Mahler’s Symphony No. 3 at the Gewandhaus in Leipzig, September 8, 2018, with the women of the Gewandhaus Chorus and the Gewandhaus Children’s Choir seated behind the orchestra

fuel-efficient bus hummed along the autobahn, it dawned on me that up to this very day, there has been a powerful source of renewable energy that has been providing light and warmth without interruption for all these centuries, but which has gone almost unrecognized: Music!

Scientifically, we’re told the energy in sound waves is far weaker than other forms of energy. But when you consider the effect of the complex jumble of the sound waves we call music on the human psyche, from the individual level all the way up to the societal, it’s hard to imagine an energy source more powerful, more transformative, and more sustaining.

That power becomes even more acute when performing in a Stradivari of a concert hall. In a sense, the more perfect the acoustics, the more “fuel efficient” the music, providing the listener literally more bang for the buck. That’s one reason it was such a pleasure to perform in three of the world’s four greatest concert halls on the tour: Berlin’s Philhar- monie, Vienna’s Musikverein, and Amsterdam’s Concertgebouw. (The fourth, if you’re wondering, is where you’re sitting right now.) The experience of playing in—and listening to—a great orchestra led by a great conductor performing great music in a great concert hall is transformative, and the energy from that experience, stored in the listeners’ mental batteries, radiates outward in all directions.

“In all directions” refers to time as well as space. When musicians walk onstage for a concert on an international tour, they not only represent our orchestra and the music, they become de facto ambassadors of our city and country. It’s quite a bit different from a business person going to an international conference, because orchestras have such a public face, seen and heard every night by thousands of different people representing all walks of life. While on tour, the musicians’ diplomatic role often extends outward

26 from the concert hall. Musicians have friends in other countries, meet with colleagues in other orchestras, or give master classes at conservatories from city to city. The energy of musical connections is passed from generation to generation and to every corner of the earth.

For all that these international tours have to commend them—the art and architecture, the music, the culture, the history, the food, the gardens, the museums, even the shopping—for me the most important thing is the one-on-one, the connections we make with people and not just places. That—and playing great music—is the most valuable export we can provide in our roles as international representatives.

I’d bet many of my colleagues would agree that, as musicians, if there is anything more gratifying and fulfilling than playing Beethoven in the Concertgebouw it’s seeing former students thrive and succeed. Why? When you consider the years of intensive, often grueling lessons that are part and parcel of helping students achieve their musical aspi- rations; of being part parent, part counselor, sometimes part therapist to your student; helping them find suitable instruments to play on, summer programs to participate in, scholarships to audition for, colleges to apply to, observing them wend their way through life—it’s almost like seeing your own child grow up. When the orchestra was in Lucerne, I had that very opportunity to witness the fruits of my labors as a teacher, of passing the torch of musical energy to the next generation.

One of my former Utah students, Celeste Carruth, currently living in Geneva, whom I had seen only once since she went off to college about ten years ago, visited me in Lucerne for a splendidly productive lesson of Mozart, Brahms, and Prokofiev. But the other half of Celeste’s story is the reason she’s in Geneva: after earning her Ph.D. in physics at Berkeley, she’s doing antihydrogen research at the CERN European Organization for Nuclear Research particle accelerator. (Don’t ask me to explain what antihydrogen is, Marc Mandel

A nighttime view of the Gewandhaus in Leipzig

week 4 music, the ultimate renewable energy 27 BIG conversations happen HERE.

wgbhnews.org Marco Borggreve

Performing Beethoven’s Symphony No. 7 to close the final concert of the tour on September 17, 2018, at the Concertgebouw in Amsterdam

but it must be quite a powerful source of energy because NASA estimates it costs $92 trillion to produce a gram of the stuff.) See what practicing your scales can do?

Back to Paris. As I strolled along the sunny Champs-Élysées, soaking up the car-free celebratory atmosphere, I was suddenly confronted by the dark shadow of our troubled times. A block from the Arc de Triomphe, a phalanx of police appeared out of nowhere. They quickly cordoned off a wide perimeter around the George V café, politely but firmly ordering pedestrians to detour around the block. I later learned that there had been a bomb scare or threat—I’m not sure which—that fortunately turned out to be a false alarm.

How will we deal with today’s challenges? The two main works of the Boston Symphony tour were the Mahler Symphony No. 3, which ends in joy and triumph, and the Shosta- kovich Symphony No. 4, which ends in fear and despair. In a way, that dichotomy is a reflection of Paris on September 16 and, more broadly, the world we currently live in. It’s up to all of us to determine which ending we want to hear. Humanity will be able to draw upon music as a vital source of renewable energy as long as there are musicians to transform black dots written on a piece of paper into the sound waves of music. As the Boston Symphony Orchestra once again demonstrated, music is a source of energy that can light up the world. gerald elias, formerly a BSO violinist and associate concertmaster of the Utah Symphony, continues to perform with the BSO at Tanglewood and on tour. Music director since 2004 of the Vivaldi by Candlelight chamber orchestra series in Salt Lake City and author of the six-part Daniel Jacobus mystery series (including two audio books), he recently completed his first nonfiction work, “Symphonies & Scorpions,” which relives via stories and photos the BSO’s history-making 1979 concert tour to China and its return in 2014. An expanded version of a BSO essay from last season, “War & Peace. And Music,” was recently awarded first prize in creative nonfiction by the Utah Division of Arts and Museums.

week 4 music, the ultimate renewable energy 29 NO ONE CHANGED THE WORLD BY STAYING PUT. Proud to be the Official Airline of the Boston Symphony Orchestra. A Message from Andris Nelsons

Very Dear Friends

As we begin our fifth season of making music together, I could not be happier about the sense of family that continues to deepen the connections between the BSO, our devoted audience, and myself. This shared musical journey is so meaningful to all of us, and so important for bringing our entire community together, including not just our devoted subscribers, but so many new concertgoers we’re pleased to welcome to Symphony Hall.

The 2018-19 season has so much to look forward to, for example, Shostakov- ich’s first and last symphonies as part of our recording project with Deutsche Grammophon, concert performances of Puccini’s beautiful one-act opera Suor Angelica, Bruckner’s unfinished Symphony No. 9 as part of our ongoing exploration of his symphonies, all-Beethoven and all-Strauss programs, Bach’s Christmas Oratorio for our second “Leipzig Week in Boston,” and several commissioned works. These include the world premiere of Sebastian Currier’s Aether for violin and orchestra, co-commissioned by the BSO and Gewand- hausorchester Leipzig as part of our BSO/GHO Alliance, and the American premieres of two other BSO commissions, Mark-Anthony Turnage’s Remem- brances and Latvian composer Andris Dzenītis’ M a¯ r a . Latvian composer Maija Einfelde’s Lux aeterna this month and Dzenītis’ M a¯ r a in November are being performed to mark the 100th anniversary of Latvian independence.

We are also very happy to have three members of our BSO family conduct subscription programs in 2018-19—Associate Conductor Ken-David Masur in October, Artistic Partner Thomas Adès in March, and Youth and Family Concerts Conductor Thomas Wilkins also in March—and to working with so many wonderful guest artists in what promises to be such an exciting season.

Thank you as always for your great devotion and support, and for being here tonight. We look forward to seeing you at many more concerts this season.

With warm wishes,

week 4 a message from andris nelsons 31 andris nelsons, ray and maria stata music director bernard haitink, lacroix family fund conductor emeritus seiji ozawa, music director laureate thomas adès, deborah and philip edmundson artistic partner Boston Symphony Orchestra 138th season, 2018–2019

Thursday, November 1, 8pm | the grossman family concert in memory of dr. jerome h. grossman Saturday, November 3, 8pm | the robert and jane mayer concert Tuesday, November 6, 8pm

andris nelsons conducting

haydn symphony no. 93 in d Adagio—Allegro assai Largo cantabile Menuetto: Allegro Finale: Presto ma non troppo Marco Borggreve

32 mark-anthony “remembering: in memoriam evan scofield” (2015) turnage (american premiere; co-commissioned by the boston symphony orchestra, andris nelsons, music director, through the generous support of the arthur p. contas commissioning fund)

I. q = 104

II. q = 54

III. q. = 84

IV. Very expressive ( q = 54)

{intermission} elgar variations on an original theme, opus 36, “enigma” Theme (Andante) 8. W.N. (Allegretto) 1. C.A.E. (L’istesso tempo) 9. Nimrod (Adagio) 2. H.D.S.-P. (Allegro) 10. Intermezzo (Dorabella) 3. R.B.T. (Allegretto) (Allegretto) 4. W.M.B. (Allegro di molto) 11. G.R.S. (Allegro di molto) 5. R.P.A. (Moderato) 12. B.G.N. (Andante) 6. Ysobel (Andantino) 13. ***Romanza (Moderato) 7. Troyte (Presto) 14. Finale. E.D.U. (Allegro)

bank of america and takeda pharmaceutical company limited are proud to sponsor the bso’s 2018-19 season.

These concerts will end about 10. Concertmaster Malcolm Lowe performs on a Stradivarius violin, known as the “Lafont,” generously donated to the Boston Symphony Orchestra by the O’Block Family. First associate concertmaster Tamara Smirnova performs on a 1754 J.B. Guadagnini violin, the “ex-Zazofsky,” and James Cooke performs on a 1778 Nicolò Gagliano violin, both generously donated to the orchestra by Michael L. Nieland, M.D., in loving memory of Mischa Nieland, a member of the cello section from 1943 to 1988. Steinway & Sons Pianos, selected exclusively for Symphony Hall. The BSO’s Steinway & Sons pianos were purchased through a generous gift from Gabriella and Leo Beranek. Special thanks to Fairmont Copley Plaza, Delta Air Lines, and Commonwealth Worldwide Executive Transportation. Broadcasts of the Boston Symphony Orchestra are heard on 99.5 WCRB. In consideration of the performers and those around you, please turn off all electronic equipment during the performance, including tablets, cellular phones, pagers, watch alarms, messaging devices of any kind, anything that emits an audible signal, and anything that glows. Thank you for your cooperation. Please note that the use of audio or video recording devices, or taking pictures of the artists—whether photographs or videos—is prohibited during concerts.

week 4 program 33 We are honored to support the Boston Symphony Orchestra

as Sponsor of Casual Fridays BSO Young Professionals BSO College Card and Youth and Family Concerts

H E R E . F O R O U R C O M M U N I T I E S . H E R E . F O R G O O D . andris nelsons, ray and maria stata music director bernard haitink, lacroix family fund conductor emeritus seiji ozawa, music director laureate thomas adès, deborah and philip edmundson artistic partner Boston Symphony Orchestra 138th season, 2018–2019

Friday, November 2, 8pm (“Casual Friday” concert, including introductory comments from the stage by BSO trombonist Stephen Lange) andris nelsons conducting haydn symphony no. 93 in d Adagio—Allegro assai Largo cantabile Menuetto: Allegro Finale: Presto ma non troppo elgar variations on an original theme, opus 36, “enigma” Theme (Andante) 8. W.N. (Allegretto) 1. C.A.E. (L’istesso tempo) 9. Nimrod (Adagio) 2. H.D.S.-P. (Allegro) 10. Intermezzo (Dorabella) 3. R.B.T. (Allegretto) (Allegretto) 4. W.M.B. (Allegro di molto) 11. G.R.S. (Allegro di molto) 5. R.P.A. (Moderato) 12. B.G.N. (Andante) 6. Ysobel (Andantino) 13. ***Romanza (Moderato) 7. Troyte (Presto) 14. Finale. E.D.U. (Allegro)

Please note that there is no intermission in this concert, which will end about 9:10.

bank of america and takeda pharmaceutical company limited are proud to sponsor the bso’s 2018-19 season.

Concertmaster Malcolm Lowe performs on a Stradivarius violin, known as the “Lafont,” generously donated to the Boston Symphony Orchestra by the O’Block Family. First associate concertmaster Tamara Smirnova performs on a 1754 J.B. Guadagnini violin, the “ex-Zazofsky,” and James Cooke performs on a 1778 Nicolò Gagliano violin, both generously donated to the orchestra by Michael L. Nieland, M.D., in loving memory of Mischa Nieland, a member of the cello section from 1943 to 1988. Steinway & Sons Pianos, selected exclusively for Symphony Hall. The BSO’s Steinway & Sons pianos were purchased through a generous gift from Gabriella and Leo Beranek. Special thanks to Fairmont Copley Plaza, Delta Air Lines, and Commonwealth Worldwide Executive Transportation. Broadcasts of the Boston Symphony Orchestra are heard on 99.5 WCRB. In consideration of the performers and those around you, please turn off all electronic equipment during the performance, including tablets, cellular phones, pagers, watch alarms, messaging devices of any kind, anything that emits an audible signal, and anything that glows. Thank you for your cooperation. Please note that the use of audio or video recording devices, or taking pictures of the artists—whether photographs or videos—is prohibited during concerts.

“casual friday” program 35 The Program in Brief...

The works on this week’s BSO concerts were all premiered in London, in the 18th, 21st, and 19th centuries, respectively: the first of Haydn’s “London” symphonies, the English composer Mark-Anthony Turnage’s Remembering: In Memoriam Evan Scofield, and Elgar’s orchestral masterpiece, the Enigma Variations.

Franz Josef Haydn was Austrian, composed much of his prodigious output for the noble Esterházy family on their estate in Hungary, and, as his reputation spread, in the decade 1785-1795 wrote nine symphonies specifically for Paris and twelve for his two acclaimed visits to London. These astonishingly popular final symphonies fo Haydn are considered the pinnacle of Classical symphonic style, along with the Mozart symphonies of the 1780s. Haydn’s No. 93, the earliest-numbered of his London symphonies, was premiered in the Hanover Square Concert Room on February 17, 1792, and repeated soon after, the audience on both occasions calling for immediate encores of individual movements.

Mark-Anthony Turnage wrote his Remembering as a memorial to a friend, Evan Scofield, who was the son of the composer’s longtime collaborator, the American jazz guitarist John Scofield. This four-movement, symphony-like work ends with an orchestral elegy based on a small piano work that Turnage had written just after Evan’s death in 2013. The other three movements are colorful and expressively varied. Remembering was commissioned by the London Symphony Orchestra at the request of Simon Rattle, who led its premiere in January 2017. The BSO and the Berlin Philharmonic were co-commissioners of the piece, which receives its American premiere in these concerts.

Closing the program is Edward Elgar’s evergreen orchestral showpiece, the Enigma Variations. Mostly self-taught and having achieved local renown as a composer, Elgar began writing the Variations on an Original Theme for orchestra in 1899, at age forty- two. Upon its completion he sent it to the eminent conductor Hans Richter, who led its sensationally successful premiere in London, which established Elgar in one fell swoop as England’s most significant living composer. Apart from being a tour de force of compositional skill and orchestral brilliance, the “Enigma” aspect of the piece titillated: Elgar produced fourteen wide-ranging character sketches of friends and acquaintances based on his original theme, beginning with his wife Alice and ending with himself. Although he later revealed to the public most of the personalities sketched in his piece, one (Variation 13) has never been satisfactorily identified. Further, in Elgar’s words, “through and over the whole set another theme ‘goes’ but is not played.” He never revealed that unheard theme—an enigma that remains unraveled, in spite of the sweat of many musicologists’ brows.

Robert Kirzinger

36 Joseph Haydn Symphony No. 93 in D

FRANZ JOSEPH HAYDN was born at Rohrau, Lower Austria, on March 31, 1732, and died in Vienna on May 31, 1809. He wrote this symphony in England in the summer of 1791 and led its first performance on February 17, 1792, in London.

THE SCORE OF HAYDN’S SYMPHONY NO. 93 calls for two flutes, two oboes, two bassoons, two horns, two trumpets, timpani, and strings.

The story of Haydn’s dramatic meeting with the impresario Johann Peter Salomon (who walked into the composer’s home one morning in December 1790 and announced, “I am Salomon from London and have come to fetch you!”) is too well known to require elaboration. What is perhaps overlooked in the story of Haydn’s trip to England and his success there—which not only left him well off financially for the rest of his life, but also made the Viennese realize that they had a great composer in their midst—is that until this late period in his life (he was nearing sixty), the only member of the audience who really counted was the prince who had been paying his salary. London had the most varied and active musical life of the time, with extended concert series to which enthusiastic listeners could subscribe. If they didn’t like what they heard, they could stay away in droves. It was the first time in Haydn’s life that he had to face the test of the box office. The initial concerts were certain to be well attended, since curiosity was high; yet there was concern that anyone who wrote so much must sooner or later write himself out. The first concert showed that English audiences had no cause for alarm. Over and over the reviewers noted that Haydn’s symphonies were both “pleasing” and “scientific,” that this was music at once immediately accessible yet structurally significant (for the naive listener) and original in its application of a fully refined technique (for the musical connoisseur).

Though the symphonies Haydn composed for London were published as numbers 93 to 104, the numbering system bears little relationship to the actual chronology of the

week 4 program notes 37 Program page from the first Boston Symphony performances of Haydn’s Symphony No. 93 (then called “No. 5”) on November 16 and 17, 1900, with Wilhelm Gericke conducting (BSO Archives)

38 Johann Peter Salomon (1745-1815)

works. During Haydn’s first winter in London he introduced the symphonies we know as numbers 96 and 95. Both were received with great enthusiasm. Haydn was determined not to rest on his laurels. He paid careful attention to the taste of the English public, ob serving what particularly excited them. The season was so successful that Haydn decided to stay another year. During the summer of 1791 he worked on two symphonies— the ones we know as numbers 93 and 94—while paying a long visit to friends in Hertford- shire. And he surely bore in mind the lessons learned during concerts the preceding winter. The result was even greater success that he had enjoyed the year before. When Sym phony No. 93 was performed at Hanover Square on February 17, 1792, the Times commented: Such a combination of excellence was contained in every movement, as inspired all the performers as well as the audience with enthusiastic ardour. Novelty of idea, agreeable caprice, and whim combined with Haydn’s sublime and wonted gran deur, gave additional consequence to the soul and feelings of every individual present. The Critic’s eye brightened with additional lustre—then was the moment that the great Painter might have caught—that, which cannot be thrown on the human frame, but on such rare and great occasions.

The symphony appealed to “the English taste” from the first moment, with a brief but bold slow introduction that implies some hair-raising harmonic adventures before set- tling onto the jumping-off point for the Allegro. The principal theme is, as H.C. Rob bins Landon has remarked, “born popular,” a melody of such directness and familiarity that we seem to have known it always. (In some Protestant churches it has even been converted into a hymn tune.) After the first theme has been presented in the strings, Haydn engineers a modulation to the dominant key and the strings introduce a new, though related, theme. The development is devoted al most entirely to a single rhythmic- melodic figure that does not appear in either the first or second themes but seems to fuse elements of both into a new idea.

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40 The slow movement is an original and effective theme-and-variations that em pha sizes a number of soloists within the or ches tra. The theme is presented strikingly by a solo string quartet, then repeated by the full string ensemble with the addition of a bassoon. A dramatic contrast comes with a section in the minor key filled with weighty dotted rhythms; this is surely Haydn’s homage to Handel, whose music he was discovering in London (it was still enormously popular in London even thirty years after Handel’s death). Al ter nations between the main theme and orchestral outbursts of various kinds set us up to expect something poignant and serious as delicate solo statements die away in ethereal silence. Suddenly, though, the bassoons sound a humorous low C, fortissimo—almost the musical equivalent of a Bronx cheer. (This touch of cheerful vulgarity in the elegant context is a much more unexpected “surprise” than the one that gave the nickname to Sym phony No. 94.)

Haydn’s Menuetto is a much faster movement than he generally wrote in Austria, and it is full of surprises too. Among these is the strikingly scored passage with a flute playing eighth-notes on a high D while the timpanist, in a rare solo, plays sixteenth-notes on a low D. Oboes and violins speak alternately in the empty octaves in between. This astonishing texture already seems to foreshadow sonorities favored by Gustav Mahler a century later. The Trio is marked by repeated fanfares on the woodwinds and brass; each time, the strings respond in a different—usually unexpected—key.

The finale begins with a lighthearted theme that carries a poignant shift to the minor even within its initial statement. Haydn’s treatment leads us to the brink of harmonic cliffs, only to pull us back at the last moment. The return to the tonic is especially witty, convincing us first that we are still a long way from home (with a lone cello playing a figure of octave leaps on a note that implies a distant harmony), when suddenly the en tire orchestra blares out the octave leap on D, the home key. Another brief silence, as if to take stock, and the restatement begins.

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

THE FIRST AMERICAN PERFORMANCE OF HAYDN’S SYMPHONY NO. 93 was given by Carl Bergmann and the Philharmonic Society on February 12, 1859, at Niblo’s Saloon in New York.

THE FIRST BOSTON SYMPHONY PERFORMANCES OF HAYDN’S SYMPHONY NO. 93 were given by Wilhelm Gericke on November 16 and 17, 1900, followed by a repeat performance in Cambridge on December 6 that year. After that, the BSO did not play the piece again until January and February of 1953, when Guido Cantelli led it in Boston, Providence, New London, New York, Washington, and Brooklyn, subsequent performances then being given by Erich Leinsdorf, David Zinman, Trevor Pinnock (the most recent Tanglewood performance, on July 18, 1986), Seiji Ozawa, David Robertson, and Roberto Abbado (the most recent subscription performances, in March 2011).

week 4 program notes 41

Philip Gatward

Mark-Anthony Turnage “Remembering: In Memoriam Evan Scofield” (2015)

MARK-ANTHONY TURNAGE was born in Grays, Essex, England, on June 10, 1960, and lives in Lewes, Sussex. He composed “Remembering: In Memoriam Evan Scofield” in 2014-15; it was co-commissioned by the London Symphony Orchestra (with support from Susie Thomson), the Stiftung Berliner Philharmoniker, and the Boston Symphony Orchestra (through the generous support of the Arthur P. Contas Commissioning Fund). Simon Rattle led the London Symphony Orchestra in the world premiere on January 19, 2017, at the Barbican, London; he led the German premiere with the Berlin Philharmonic on June 21 that same year. These are the American premiere performances.

THE SCORE OF “REMEMBERING” calls for three flutes (third doubling piccolo), two oboes, English horn, two clarinets, two bass clarinets (first doubling E-flat clarinet), two bassoons, contrabassoon, soprano saxophone, four horns, three trumpets, three trombones, tuba, timpani (with sleigh bells), percussion (six players suggested: crotales, vibraphone, almglocken, tubular bells, Japanese temple bells, bell plates, two large desk bells, cabasa [metal rattle], steel drum, large metal bar, large woodblock, claves, maracas, guiro [rasp], ratchet, tom-toms, log drum, djembe [West African drum], bass drum, pedal bass drum, sizzle cymbal, large suspended cymbal, gong), harp, piano (doubling celesta), violas, cellos, and basses. The piece is about thirty minutes long.

Remembering: In Memoriam Evan Scofield began life as a little elegy for piano that Mark-Anthony Turnage wrote as a direct response to the July 2013 death from sarcoma of his friend Evan Scofield, the twenty-six-year-old son of the composer’s longtime collaborator, the American jazz guitarist John Scofield. Turnage and Scofield first began working together when the latter was a soloist in Turnage’s Blood on the Floor (1996-98), a large-scale hybrid work for fully notated ensemble with improvising jazz quartet. That piece, too, was a memorial, part of Turnage’s complex process of mourning the death of his own younger brother from an overdose. Others of Turnage’s works—Speranza and From the Wreckage, for example—are “about” finding a way forward in the face of loss.

After Evan’s death, his friends and family did something remarkable to acknowledge his

week 4 program notes 43 adventurous spirit: they honored his dying wish that his ashes be scattered in interesting places throughout the world. The results of Project Scatter Evan are documented on a website, www.scatterevan.com, listing locations including Japan, the Gulf of Alaska, Iceland, Legoland in Denmark, Lake Marian in New Zealand, and the Ganges River in India. Remembering has also begun its journey, beginning in London, traveling to Berlin, and now making its way to Boston, where the BSO has performed a number of Turnage’s works.

Turnage was a Tanglewood Composition Fellow in 1983, where his In My Solitude (note the nod to Duke Ellington) was performed, the first of many of his pieces to be programmed at Tanglewood, where he has also been a frequent visiting composer. Prior to Remembering, the BSO has given the U.S. premieres of four Turnage orchestral works: his orchestral song cycle Some Days with mezzo-soprano Cynthia Clarey, led by Bernard Haitink in April 1994; his “asteroid for orchestra” Ceres, led by Robert Spano in January 2007; the forty-minute orchestral work Speranza, a BSO co-commission with the London Symphony Orchestra and the Swedish Radio Symphony Orchestra, conducted by Daniel Harding in October 2013, and the trumpet concerto From the Wreckage, featuring soloist Håkan Hardenberger under Marcelo Lehninger’s direction in January 2014.

Although Turnage’s biggest successes are in the conservative classical music realm of orchestral music, as well as the even more tradition-bound world of opera, his route to these traditions had its productive digressions. If one knows only his mature style—from about the time of his breakout opera Greek (1988)—it might come as a surprise to learn

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44 Nick Suttl e/scatterevan.com

Evan Scofield (1987-2013), the dedicatee of Mark-Anthony Turnage’s “Remembering”

that Turnage grew up primarily interested in classical music. His intense encounters with jazz, soul, and rock came late in his development as a musician, in his late teens, but the effect of those genres on his composing was seismic and immediate. His deft and provocative Night Dances (1981) was an explicit response to that newfound well- spring: a solo muted trumpet in the third movement is a deliberate nod to Miles Davis, and its orchestral accompaniment taps into the voicings and harmonies of the great jazz orchestrator Gil Evans.

Turnage studied at the Royal College of Music under Oliver Knussen before arriving in 1983 at Tanglewood, where he worked with the eminent German composer Hans Werner Henze and the American Gunther Schuller. In spite of the short time Turnage had with them, both Henze and Schuller turned out to be well suited as models for Turnage’s career: Henze was a veteran and estimable opera composer, and Turnage would go on to become one of the more successful English composers of opera of our time. Schuller, a musical polymath, had played French horn in ensembles under Miles Davis, and had pioneered the melding of jazz and modern classical music in the late 1950s with the genre he dubbed “Third Stream.”

These associations soon began to bear significant fruit. Henze was in the process of founding a music theater festival, the Munich Biennale, and commissioned Turnage to write an opera for its first season, 1988. This wasGreek , based on playwright Steven Berkoff’s modern retelling of Sophocles’ Oedipus set in London’s gritty and urban East End. Funda- mentally a dramatic composer, Turnage went on to write several more operas, including two commissioned by London’s Royal Opera: Anna Nicole, which was premiered in 2011, and Coraline, first performed in March 2018. Turnage’s dramatic bent extends to his instrumental music as well. Many of his pieces were triggered by extramusical impulses. His saxophone concerto Your Rockaby was inspired by Samuel Beckett; the two-trumpet

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Mark-Anthony Turnage with conductor Daniel Harding following the BSO’s American premiere of Turnage’s “Speranza” on October 24, 2013

concerto Dispelling the Fears by Heather Betts paintings, and Three Screaming Popes and Blood on the Floor by Francis Bacon paintings.

The eighty-minute Blood on the Floor, written over several years in the mid-to-late 1990s, was a watershed in Turnage’s career. For the first time in his music, Turnage incorporated improvising jazz musicians into the fabric of the piece. The definitive version of the piece was a collaboration with ex-Weather Report guitarist John Scofield, saxophonist/ clarinetist Martin Robertson, and drummer Peter Erskine performing with the specialist new music group Ensemble Modern. Collaboration with improvisers had an effect on his music for traditional orchestras and ensembles, in the form of expanded structures and freer use of instruments. Opportunities to develop his orchestral chops came via associations with such ensembles as the City of Birmingham Symphony Orchestra, the BBC Symphony, the Chicago Symphony Orchestra, and the London Philharmonic. He has composed on commission for most of the major London and U.S. orchestras as well as the Berlin Philharmonic, and his music is among the most often programmed of any living composer.

It was while working with the City of Birmingham Symphony Orchestra that Turnage first worked closely with the conductor Simon Rattle, who from 1980 to 1998 was that orchestra’s music director. More recently Rattle was one of the principals behind the request for Remembering, which was jointly commissioned by the London Symphony Orchestra, the Berlin Philharmonic, and the BSO; Rattle ultimately conducted the world and German premieres of the piece. Turnage responded to the request for an orchestral work by returning to the small piano elegy he’d written as a response to Evan Scofield’s death, using that as the seed for the finale ofRemembering . Also wanting to illustrate the positives of Evan’s life, he expanded the work’s expressive range by preceding the elegy with three movements of varied character. “I’m reluctant to call it a symphony, although it does follow that plan,” the composer has said, indicating that he doesn’t feel the traditional connotations of the word quite fit his intentions. (His earlierSperanza suggests an even stronger comparison to the genre.) One unusual feature of the scoring is the lack

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48 of violins, which results in the music’s particular dusky, subdued hue. The idea of omit- ting violins was not the composer’s but rather Simon Rattle’s. The conductor felt that Turnage would need to come up with interesting new colors and orchestral solutions to make up for their absence. Violins are such an integral part of an orchestra’s sound that Turnage at first “found it really hard,” as he related in an interview, but “it was good for me to do it.”

The first movement ofRemembering starts with punch and energy, with syncopated chords, percussion punctuation, and fragmentary melodic figures building to swinging, dotted-note lines in the strings with skittering wind accompaniment. A contrasting passage features legato melodies in the strings, violas in counterpoint with the cellos and basses. A hesitant, bluesy tune with a syncopated chordal backdrop reconciles the two contrasting ideas, rhythmic/fragmented vs. melodic/linear. In the second movement, a pedal-point in timpani and double basses defines a pulse for Gil Evans-like, lush, sustained harmonies. This sets up an intricate, ranging melody backed by sharp short-long commentary, and builds to an intense, dark peak before fading out. A lone flute concludes the movement.

Although Turnage didn’t designate it so, the third movement is clearly the scherzo of this non-symphony. High woodwinds characterize the opening; violas enter with a jaunty triple-meter tune. Where a traditional scherzo would feature a Trio, though, this movement’s middle section is a dense wash of sound over a series of repeated chords. The scherzo music returns, but is twice defeated by the dark, dense music. The scherzo idea returns ever so briefly at the end of the movement. The elegy finale, marked “Very expressively,” is the only movement of the four with a character indication at its start. It opens with cellos high in their range, giving the line a keening quality. Woodwinds repeat this sustained, chorale-like passage, and are joined by lovely melodies in solo viola, then cello, which come together in an accompanied duet. High woodwinds repeat the main melody, which is then shouted by the whole orchestra as the movement’s climax. A quiet coda releases the tension but sustains the grief.

Robert Kirzinger

Composer/annotator robert kirzinger is the BSO’s Associate Director of Program Publications.

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www.naejuilliard.com/bisboston Edward Elgar Variations on an Original Theme, Opus 36, “Enigma”

EDWARD ELGAR was born at Broadheath, near Worcester, England, on June 2, 1857, and died in Worcester on February 23, 1934. He began the “Enigma” Variations in October 1898 and completed them on February 19, 1899. The score bears the dedication “To my friends pictured within.” The first performance was given in London on June 19, 1899, with Hans Richter conducting.

THE SCORE OF THE “ENIGMA” VARIATIONS calls for two flutes (second doubling piccolo), two oboes, two clarinets, two bassoons and contrabassoon, four horns, three trumpets, three trombones and tuba, timpani, side drum, triangle, bass drum, cymbals, organ (ad lib.), and strings.

Edward Elgar was in almost every respect an outsider: largely self-taught in a day when only strict academic training, preferably including one of the two universities, was considered absolutely essential; Roman Catholic in a country officially Protestant; a musician of deep feeling and commitment in a culture that viewed music as an insignifi- cant entertainment. But most galling was the fact that he was the son of a shopkeeper in a class-ridden society that could never get over looking down its nose at people “in trade.” And yet, ironically, it is just those facts, the very things that made him feel ever the outsider, that also allowed him to develop his musical talents as a composer of marked originality.

He spent his youth in Worcester, a sleepy cathedral town in western England, living over the family music shop. He spent much time absorbing the scores in stock, pursuing his own original course in music rather than the stodgy academic instruction prevalent at the official schools. Except for violin lessons he had no formal training, but already as a child he showed promise of an original talent. At sixteen he left business forever and supported himself as a freelance musician in Worcester, filling various positions as violinist, conductor, and even bassoonist in a wind quintet, as well as teacher of violin. Five years spent as conductor of an “orchestra” made up of staff members of the county mental asylum in nearby Powick were invaluable. He composed original music and

week 4 program notes 51 Program page for the first Boston Symphony Orchestra performances of Elgar’s “Enigma” Variations on December 24 and 26, 1903, with Wihelm Gericke conducting (BSO Archives)

52 Caroline Alice Elgar, the composer’s wife, the subject of Variation I (“C.A.E.”)

rescored the classics for whatever instruments were available each week, gaining in this way a thorough practical knowledge of how instruments sound in performance. He later used to boast that he had never had to reorchestrate a passage after hearing it in performance because it always sounded exactly as he had imagined it would.

In 1889 he married Caroline Alice Roberts, a woman convinced of his genius. Alice was eight years his senior and far his social superior (this was a time when such things were considered to be very important), but she had the backbone to withstand the rel- atives who objected to the match. She encouraged Elgar to compose the great works that she knew he had in him. During the thirty years of their marriage, Elgar became England’s first composer of international stature in two centuries—and after her death, which occurred fourteen years before his own, he was never able to complete another large work.

Until he was forty Elgar remained a purely local celebrity. Shortly after the premiere of his cantata Caractacus at the Leeds Festival in October 1898, Elgar sat musing at the piano one day, idly playing a pensive melody that had occurred to him. When his wife asked what it was, he said, “Nothing, but something might be made of it.” He named several of their friends. “Powell would have done this, or Nevinson would have looked at it like this.” Alice commented, “Surely you are doing something that has never been done before?” Thus encouraged, Elgar sketched out an entire set of variations on his original theme. On Oc to ber 24 he wrote to his friend August Jaeger at Novello’s music publishers to announce that he had sketched a set of orchestral variations. “I’ve labelled ’em with the nicknames of my particular friends—you are Nimrod. That is to say I’ve written the variations each one to represent the mood of the ‘party’ writing the var[iation] him (or her)self and have written what I think they wd. have written—if they were asses enough to compose.”

On November 1, the Elgars’ young friend Dora Penny was invited to lunch and to hear

week 4 program notes 53 Elgar’s new piece. The composer played the piano, while Dora turned pages for him. He played the theme and started in on the variations. Then he turned over two pages and I saw No. III, R.B.T., the initials of a connexion of mine. This was amusing! Before he had played many bars I began to laugh, which rather annoyed me. You don’t generally laugh when you hear a piece of music for the first time dedicated to someone you know, but I just couldn’t help it, and when it was over we both roared with laughter! “But you’ve made it like him! How on earth have you done it?” Dora Penny (herself a “variation” named “Dorabella”) was probably the first person outside the Elgar household to learn the secret of the variations.

After completing the orchestration, between February 5 and 19, 1899, Elgar sent the score off to Hans Richter, and waited a nervous month before learning that he would program the work. At the premiere, on June 19, a few critics were miffed at not being let in on the identity of the friends whose initials appeared at the head of each movement. But the work itself achieved a sensational success.

All but one of the friends have long since been identified, so that mystery is solved. But another mystery about the Enigma Variations will probably be argued over forever. It has to do with the title and a statement Elgar made in the program note at the work’s premiere. The manuscript of the score simply bears the title “Variations for orchestra composed by Edward Elgar, Op. 36.” Over the theme, though, someone has written in pencil the word “Enigma.” The handwriting appears not to be Elgar’s. Still, he did not object to the word, and in fact his program note implied the presence of a mystery, a “dark saying” that “must be left unguessed.” He added, “through and over the whole set another larger theme ‘goes’ but is not played.” The mysteries of the “dark saying” and the “larger theme” have exercised the ingenuity of many people since 1899. Whenever a new solution is proposed (Mozart’s Prague Symphony and Beethoven’s Pathétique piano sonata have figured among the possible answers), the arguments inevitably start all over again. In the end, however, it is the quality of the music, and our enjoyment of it, that determine how frequently we wish to hear the piece.

Elgar himself revealed the identity of the “Variations” in a set of notes written in 1913, later published with photographs of each of the individuals. His own remarks will be quoted in the discussion below.

The theme is remarkable in itself. It goes by stops and starts, broken up into little frag- ments which, at the outset, hardly seem “thematic.” It has been pointed out that the first four notes provide a perfect setting, in rhythm and pitch, of the name “Edward Elgar,” who thus writes his signature, so to speak, on the whole work.

54 August Jaeger (“Nimrod”), the subject of Variation IX

It begins in G minor, has four rising bars in the major, then is restated in the minor with an expressive new counterpoint. It leads directly into:

I. (C.A.E.) Caroline Alice Elgar, the composer’s wife. “The variation is really a prolonga- tion of the theme with what I wished to be romantic and delicate additions; those who know C.A.E. will understand this reference to one whose life was a romantic and delicate inspiration.” Oboe and bassoon have a little triplet figure in the opening measures that had a private resonance for the composer and his wife: it was the signal he used to whistle when he came home (it reappears in the last variation).

II. (H.D.S.-P.) Hew David Steuart-Powell played piano in a trio with Elgar (violin) and Basil Nevinson (Variation XII). “His characteristic diatonic run over the keys be fore beginning to play is here humorously travestied in the semiquaver passages; these should suggest a Toccata, but chromatic beyond H.D.S.-P’s liking.” The chromatic figures race along in the strings and woodwinds; eventually the theme appears in longer note values softly in the cellos and basses.

III. (R.B.T.) Richard Baxter Townshend was an author of a series of Tenderfoot books (A Tenderfoot in Colorado and A Tenderfoot in New Mexico), as well as a classical scholar and a lovable eccentric. Elgar says that the variation refers to his performance as an old man in some amateur theatricals in which his voice occasionally cracked to “soprano” timbre (the oboe with the main part of the theme, later joined by the flute).

IV. (W.M.B.) William Meath Baker, a country squire with a blustery way about him. He tended to give “orders of the day” to his guests, especially with regard to arrangements for carriages. Elgar depicts his forcible delivery. The middle section of this very fast movement contains “some suggestions of the teasing attitude of the guests.”

V. (R.P.A.) Richard Penrose Arnold, a son of Matthew Arnold, a self-taught pianist. “His

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56 “Dorabella,” the subject of Variation X, in a 1956 photograph

serious conversation was continually broken up by whimsical and witty remarks. The theme is given by the basses with solemnity and in the ensuing major portion there is much lighthearted badinage among the wind instruments.”

VI. (Ysobel) Isabel Fitton was an amateur viola player, whom Elgar draws into the music by writing a leading part for her instrument built on a familiar exercise for crossing the strings, “a difficulty for beginners; on this is built a pensive, and for a moment, romantic movement.”

VII. (Troyte) One of Elgar’s closest friends, Arthur Troyte Griffith, an architect in Malvern. Elgar said that the variation represented “some maladroit essays to play the pianoforte; later the strong rhythm suggests the attempts of the instructor (E.E.) to make something like order out of chaos, and the final despairing ‘slam’ records that the effort proved to be in vain.”

VIII. (W.N.) Winifred Norbury is the bearer of the initials, but Elgar commented that the variation was “really suggested by an eighteenth-century house. The gracious personalities of the ladies are se dately shown.” But because W.N. was also involved with music—she was a competent pianist—Elgar makes specific reference to her characteristic laugh.

IX. (Nimrod) August Jaeger (“Jaeger” is German for “hunter,” and Nimrod is the “mighty hunter” of the Old Testament) worked for Elgar’s publisher, Novello, and often provided enthusiasm and moral support for the composer, who rarely in those years found encouragement from anyone but Alice. The variation is a record of a “long summer evening talk, when my friend discoursed eloquently on the slow movements of Beetho ven.” According to Mrs. Powell, Jaeger also discoursed eloquently on the hard- ships Beethoven endured in his life, and he encouraged Elgar not to give up. In any case, the theme is arranged so as to suggest a hint of the slow movement of Beethoven’s

week 4 program notes 57

The subjects of Variation XI: Dr. George R. Sinclair with his bulldog Dan

Pathétique Sonata, Opus 13. This Adagio is the best-known single excerpt from the Variations, noble, poignant, and deeply felt. In England it has become a traditional piece to commemorate the dead. Elgar, writing after Jaeger’s own death, said, “Jaeger was for many years my dear friend, the valued adviser and the stern critic of many musicians besides the writer; his place has been occupied but never filled.”

X. (Dorabella) Dora Penny, later Mrs. Richard Powell, who first heard the variations even before Elgar had orchestrated them. The “intermezzo” that comprises this movement is a lighthearted contrast to the seriousness of “Nimrod.” It is also the farthest away from the theme of any of the variations in the set.

XI. (G.R.S.) Dr. George R. Sinclair, organist of Hereford Cathedral, though the variation has more to do with his bulldog Dan, who was a well-known character. As Elgar explained, the opening had to do with Dan “falling down the steep bank into the river Wye; his paddling upstream to find a landing place; and his rejoicing bark on landing. G.R.S. said, ‘Set that to music.’ I did; here it is.”

XII. (B.G.N.) Basil G. Nevinson was a fine amateur cellist who performed with Elgar and Steuart-Powell (Var. II) in a trio. The variation features a melody, marked “molto espressivo,” for cello solo in “tribute to a very dear friend whose scientific and artistic attainments, and the wholehearted way they were put at the disposal of his friends, particularly endeared him to the writer.”

XIII. (***) Another mystery: It has often been asserted that the asterisks represent Lady Mary Lygon, who was supposedly on a sea voyage to Australia at the time of composition (she wasn’t), hence the clarinet quoting Mendelssohn’s Calm Sea and Pros perous Voyage. Other candidates have been put forward, some of which would seem to have a more

week 4 program notes 59 60 intimate relationship with the composer. The variation is highly atmospheric, as the “drums suggest the distant throb of the engines of a liner” under the Mendelssohn quotation.

XIV. (E.D.U.) Elgar himself. When Dora Penny first heard this movement in Elgar’s study, she couldn’t figure out whose initials stood at the head of the page. Only after he dropped a broad hint did she realize that it was Alice’s nickname for Elgar—“Edu”— written as if it were initials. Elgar wrote that the movement was “written at a time when friends were dubious and generally discour aging as to the composer’s musical future.” During the course of the movement he re fers especially to C.A.E. and to Nimrod, “two great influences on the life and art of the composer.” As Elgar correctly noted, “The whole of the work is summed up in the triumphant, broad presentation of the theme in the major.”

The Enigma Variations remains, justifiably, Elgar’s best-known work. In its invention, its range of expression, its play of light and dark between movements and keys, the craftsmanship of its links between movements, its exploiting of the various possibilities of the orchestra, its melodic fertility—in all of these things, the work is quite simply a masterpiece. If we remember that it appeared unannounced in a country that had not produced a serious composer of major stature since Purcell (who died in 1691), we can appreciate the tone of Arthur Johnstone’s remarks in the Manchester Guardian after a performance of the Variations in 1900: “The audience seemed rather astonished that a work by a British composer should have other than a petrifying effect upon them.”

Steven Ledbetter

THE FIRST AMERICAN PERFORMANCE OF THE “ENIGMA” VARIATIONS was given by the Chicago Symphony Orchestra in that city’s Auditorium Theatre on January 3, 1902, with Theodore Thomas conducting.

THE FIRST BOSTON SYMPHONY PERFORMANCES OF THE “ENIGMA” VARIATIONS were given by Wilhelm Gericke on December 24 and 26, 1903. Since then, the orchestra has played it under the direction of Max Fiedler, Serge Koussevitzky, Sir Henry J. Wood, Sir Adrian Boult, Charles Munch, Jean Morel, Pierre Monteux, Eugene Ormandy, Erich Leinsdorf, Erich Kunzel, Colin Davis, André Previn, Seiji Ozawa, Charles Dutoit, Grant Llewellyn, Simon Rattle, Yuri Temirkanov, Jeffrey Tate, Andrew Davis, Sir Neville Marriner, Mark Elder, Donald Runnicles, Leonard Slatkin (the BSO’s most recent Tanglewood performance, on August 8, 2014), and Bramwell Tovey (the most recent subscription performances, in January 2017).

week 4 program notes 61

To Read and Hear More...

A short monograph on Mark-Anthony Turnage by Andrew Clement gives an overview of the composer’s formative and early mature years; however, being now more than ten years out of date, it falls short of being comprehensive (Faber & Faber paperback). Also useful but similarly outdated (from 2001) is the article by Jonathan Cross for the New Grove II. Turnage’s publisher Boosey & Hawkes is an excellent source for information on pieces written after 2003, and also includes up-to-date biographical details and multimedia elements (boosey.com), such as a short promotional video for his opera Anna Nicole. Turnage’s music before 2003 was published by Schott.

A recording of Turnage’s Remembering: In Memoriam Evan Scofield from the world premiere performances was issued as a downloadable/streaming release by the London Symphony Orchestra led by Sir Simon Rattle (LSO Live). The album “Scorched,” the composer’s project with guitarist John Scofield (Evan’s father and a longtime Turnage collaborator), features as Scofield’s improvising partners drummer eterP Erskine and bassist John Patitucci, with the Frankfurt Radio Symphony Orchestra and Bigband led by Hugh Wolff (Deutsche Grammophon). The London Symphony Orchestra under Daniel Harding recorded the orchestral work Speranza and the trumpet concerto From the Wreckage, the latter with soloist Håkan Hardenberger; these were released on the orchestra’s own label, LSO Live. (The BSO gave the American premieres of both works.) Hardenberger also recorded From the Wreckage with the Gothenburg Symphony Orchestra and conductor Peter Eötvös soon after its 2005 premiere (Deutsche Gram- mophon, with trumpet concertos by Eötvös and Gruber). A good place to start for Turnage’s earlier music is the two-CD set in the “British Music Collection” series, featuring the complete Blood on the Floor; the two-trumpet concerto Dispelling the Fears; the saxophone concerto Your Rockaby, and other works, with various ensembles (Decca). The London Philharmonic—with which Turnage was composer-in-residence— has released three discs’ worth of varied Turnage works on its own label (Lpo). The composer’s opera The Silver Tassie was released on CD by English National Opera on its ENO Live label. The earlier opera Greek, long out of the catalog on CD (the now defunct Argo label), can now be found as a download on iTunes and on a DVD of the television production (Arthaus). A DVD of Turnage’s Royal Opera-commissioned 2011 Anna Nicole, with Eva-Maria Westbroek in the title role and led by Antonio Pappano, was released in August 2011 (Opus Arte).

Robert Kirzinger

week 4 read and hear more 63 9,977 GOT BACK IN THE GAME

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15 Massachusetts and 2 Rhode Island Facilities 14 Crosby Drive | Bedford, MA 01730 • 781.271.0500 Assisted Living at Life Care Center of Stoneham 781.662.2545 117900 117900 The main resource for information on Haydn and his music is the massive, five-volume study Haydn: Chronology and Works by H.C. Robbins Landon. Symphony No. 93 is discussed in Volume III, “Haydn in England, 1791-1795” (Indiana University Press). A useful single- volume source on Haydn and his music is Haydn, edited by David Wyn Jones, in the short-lived series “Oxford Composer Companions” (Oxford University Press). Jones also provided the chapter on “The Symphonies of Joseph Haydn” in A Guide to the Symphony, edited by Robert Layton (Oxford paperback). James Webster’s Haydn entry from the 2001 New Grove Dictionary of Music and Musicians was published separately as The New Grove Haydn (Oxford paperback). Jens Peter Larsen’s entry from the 1980 edition of Grove was reprinted as an earlier version of The New Grove Haydn (Norton paperback). Another convenient introduction is provided by Rosemary Hughes’s Haydn in the “Master Musicians” series (Littlefield paperback). If you can track down a used copy, László Somfai’s copiously illustrated Joseph Haydn: His Life in Contemporary Pictures provides a fascinating view of the composer’s life, work, and times (Taplinger).

Complete modern-orchestra sets of the Haydn symphonies at a reasonable price include Adám Fischer’s with the Austro-Hungarian Haydn Orchestra (Brilliant Classics) and Dennis Russell Davies’s with the Stuttgart Chamber Orchestra (Sony). Period-instrument cycles were recorded by Christopher Hogwood with the Academy of Ancient Music (Oiseau-Lyre) and Roy Goodman with the Hanover Band (Helios). Important older sets of the twelve London symphonies (No. 93 among them) include Leonard Bernstein’s with the New York Philharmonic (Sony), Sir Colin Davis’s with the Concertgebouw

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week 4 read and hear more 65 Be in touch with the full spectrum of arts and culture happening right here in our community. Visit The ARTery at wbur.org/artery today. Orchestra of Amsterdam (Philips; a Davis/London Symphony recording of No. 93 was issued more recently along with Nos. 92 and 97-99 in a two-disc LSO Live set), and Eugen Jochum’s with the London Philharmonic (Deutsche Grammophon). A more recent set of Haydn’s twelve London symphonies (with No. 68 thrown in for good measure) has Nikolaus Harnoncourt conducting the Royal Concertgebouw Orchestra (Warner Classics). George Szell’s recording of No. 93 with the Cleveland Orchestra is in a four-disc set of Haydn’s symphonies 88, 92-99, and 104 (Sony).

Among the most important studies of Elgar and his music is Michael Kennedy’s Portrait of Elgar (Oxford). Kennedy is also the author of The life of Elgar in the series “Musical lives” (Cambridge University paperback) and of the compact BBC Music Guide on Elgar Orchestral Music (University of Washington paperback). Another big biography is Jerrold Northrop Moore’s Edward Elgar: A Creative Life (Oxford). Moore also edited Edward Elgar: Letters of a Lifetime (Oxford) and produced a discography of Elgar’s work as a conductor, Elgar on Record: The Composer and the Gramophone (out of print). Edward Elgar, Modernist by J.P.E. Harper Scott, published in 2006, is described as “the first full- length analytical study of Edward Elgar’s music” (“Music in the 20th Century,” volume 20, Cambridge University Press; expensive). From 2007, and much more affordable, is Edward Elgar and his World, a compilation of essays originating from the Bard Music Festival and edited by Byron Adams (Princeton University paperback). Also from 2007 is Elgar: An Anniversary Portrait, a valuable collection of essays assembled and introduced by Nicholas Kenyon (Continuum). Ian Parrott’s Elgar is part of the “Master Musicians” series (Dent). Much older books include recollections by the violinist W.R. Reed (who assisted the composer with the solo part in the Violin Concerto) in Elgar As I Knew Him (Oxford) and by two of the composer’s friends: Edward Elgar: Memories of a Variation by Mrs. Richard Powell, the “Dorabella” of Elgar’s Enigma Variations (Methuen), and Edward Elgar: The Record of a Friendship by Rosa Burley, headmistress of the school where he taught for a while (Barrie & Jenkins). Donald Francis Tovey’s program note on the Enigma Variations is among his Essays in Musical Analysis (Oxford).

Elgar himself recorded the Enigma Variations twice: in 1921 with the Royal Albert Hall Orchestra (available on single-disc reissues from EMI, or from Music & Arts in the four- disc box “Elgar Conducts Elgar: The Complete Recordings 1914-1925), and in 1926 with the London Symphony Orchestra (available on EMI paired with The Planets led by its composer, Gustav Holst, or in EMI’s multi-disc “Composers in Person” box). More modern recordings of varying vintage include Sir Colin Davis’s with the London Symphony Orchestra (LSO Live), Mark Elder’s with the Hallé Orchestra (Hallé), Bernard Haitink’s live with the London Philharmonic (Lpo), Simon Rattle’s with the City of Birmingham Symphony Orchestra (Warner Classics), Adrian Boult’s with the London Philharmonic (EMI), and Leonard Bernstein’s with the BBC Symphony Orchestra (Deutsche Gram- mophon). An historic 1935 live performance with Arturo Toscanini conducting the BBC Symphony Orchestra will be of interest to collectors (Warner Classics).

Marc Mandel

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#HOLLYWOODBLO | BLO.ORG | 617.542.6772 The Great Benefactors

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

ten million and above Julian Cohen ‡ • Fidelity Investments • Linde Family Foundation • Maria and Ray Stata • Anonymous seven and one half million Bank of America • Mr. and Mrs. George D. Behrakis • John F. Cogan, Jr. and Mary L. Cornille • Cynthia and Oliver Curme/The Lost & Foundation, Inc. • EMC Corporation • Sally ‡ and Michael Gordon five million Alli and Bill Achtmeyer • Catherine and Paul Buttenwieser • Alan J. and Suzanne W. Dworsky • Fairmont Copley Plaza • Germeshausen Foundation • Barbara and Amos Hostetter • Ted and Debbie Kelly • Commonwealth of Massachusetts • Cecile Higginson Murphy • NEC Corporation • Megan and Robert O’Block • UBS • Stephen and Dorothy Weber two and one half million Mary and J.P. Barger • Gabriella and Leo ‡ Beranek • Roberta and George ‡ Berry • Bloomberg • Peter and Anne ‡ Brooke • Eleanor L. and Levin H. Campbell • Chiles Foundation • Mr. and Mrs. William H. Congleton ‡ • Mara E. Dole ‡ • Eaton Vance • Jane and Jack Fitzpatrick ‡ • Susan Morse Hilles ‡ • Charlie and Dorothy Jenkins/The Ting Tsung and Wei Fong Chao Foundation • Stephen B. Kay and Lisbeth L. Tarlow/The Aquidneck Foundation • The Kresge Foundation • Lizbeth and George Krupp • Liberty Mutual Foundation, Inc. • Kate and Al ‡ Merck • Mr. and Mrs. Paul M. Montrone • National Endowment for the Arts • Mrs. Mischa Nieland ‡ and Dr. Michael L. Nieland • William and Lia Poorvu • John S. and Cynthia Reed • Carol and Joe Reich • Kristin and Roger Servison • Miriam Shaw Fund • State Street Corporation and State Street Foundation • Thomas G. Stemberg ‡ • Miriam and Sidney Stoneman ‡ • Elizabeth B. Storer ‡ • Caroline and James Taylor • Samantha and John Williams • Anonymous (3)

70 one million Helaine B. Allen • American Airlines • Lois ‡ and Harlan Anderson • Mariann Berg (Hundahl) Appley • Arbella Insurance Foundation and Arbella Insurance Group • Dorothy and David B. Arnold, Jr. ‡ • AT&T • Caroline Dwight Bain ‡ • William I. Bernell ‡ • BNY Mellon • The Boston Foundation • Lorraine D. and Alan S. ‡ Bressler • Jan Brett and Joseph Hearne • Gregory E. Bulger Foundation/Gregory Bulger & Richard Dix • Ronald G. and Ronni J. ‡ Casty • Commonwealth Worldwide Executive Transportation • William F. Connell ‡ and Family • Dick and Ann Marie Connolly • Country Curtains • Diddy and John Cullinane • Edith L. and Lewis S. ‡ Dabney • Elisabeth K. and Stanton W. Davis ‡ • Mary Deland R. de Beaumont ‡ • Delta Air Lines • Bob and Happy Doran • Hermine Drezner and Jan ‡ Winkler • Alan and Lisa Dynner and Akiko ‡ Dynner • Deborah and Philip Edmundson • William and Deborah Elfers • Elizabeth B. Ely ‡ • Nancy S. and John P. Eustis II ‡ • Thomas and Winifred Faust • Shirley and Richard ‡ Fennell • Anna E. Finnerty ‡ • John and Cyndy Fish • Fromm Music Foundation • The Ann and Gordon Getty Foundation • Marie L. Gillet ‡ • Sophia and Bernard Gordon • Nathan and Marilyn Hayward • Mrs. Donald C. Heath ‡ • Francis Lee Higginson ‡ • Major Henry Lee Higginson ‡ • John Hitchcock ‡ • Edith C. Howie ‡ • John Hancock Financial • Muriel E. and Richard L. Kaye ‡ • Nancy D. and George H. ‡ Kidder • Kingsbury Road Charitable Foundation • Audrey Noreen Koller ‡ • Farla and Harvey Chet Krentzman ‡ • Barbara and Bill Leith ‡ • Elizabeth W. and John M. Loder • Nancy and Richard Lubin • Vera M. and John D. MacDonald ‡ • Nancy Lurie Marks Family Foundation • Carmine A. and Beth V. Martignetti • Jane B. and Robert J. Mayer, M.D. • The McGrath Family • Joseph C. McNay, The New England Foundation • The Andrew W. Mellon Foundation • Henrietta N. Meyer ‡ • Mr. and Mrs. Nathan R. Miller ‡ • Richard P. and Claire W. Morse Foundation • William Inglis Morse Trust • Mary S. Newman ‡ • Mr. ‡ and Mrs. Norio Ohga • P&G Gillette • The Perles Family Foundation • Polly and Dan ‡ Pierce • Mary G. and Dwight P. Robinson, Jr. ‡ • Susan and Dan ‡ Rothenberg • Carole and Edward I. Rudman • Richard Saltonstall Charitable Foundation • Wilhemina C. (Hannaford) Sandwen ‡ • Hannah H. ‡ and Dr. Raymond Schneider • Carl Schoenhof Family • Ruth ‡ and Carl J. Shapiro • Wendy Shattuck and Samuel Plimpton • Marian Skinner ‡ • Richard and Susan Smith Family Foundation/Richard A. and Susan F. ‡ Smith • Sony Corporation of America • Dr. Nathan B. and Anne P. Talbot ‡ • Diana O. Tottenham • The Wallace Foundation • Edwin S. Webster Foundation • Roberta and Stephen R. Weiner • Drs. Christoph and Sylvia Westphal • The Helen F. Whitaker Fund • Robert and Roberta Winters • Helen and Josef Zimbler ‡ • Brooks and Linda Zug • Anonymous (12)

‡ Deceased

week 4 the great benefactors 71 A service of WGBH A SERVICE OF WGBH

Download the App Corporate, Foundation, and Government Contributors

The operating support provided by members of the corporate community, foundation grantors, and government agencies enables the Boston Symphony Orchestra to maintain an unparalleled level of artistic excellence, to keep ticket prices at accessible levels, and to support extensive education and community engagement programs throughout the Greater Boston area and the Commonwealth of Massachusetts. The BSO gratefully acknowledges the following contributors for their generous support during the 2017-18 season through major corporate sponsorships, corporate events, BSO Business Partners, foundations programs, and government grants.

$500,000 and above Bloomberg • Eaton Vance, Thomas E. Faust, Jr. • Fidelity Investments $250,000 - $499,999 Bank of America, Anne M. Finucane, Miceal Chamberlain • Fairmont Copley Plaza, George Terpilowski • Takeda Pharmaceuticals Company Limited, Andrew Plump $100,000 - $249,999 American Airlines, Jim Carter • Arbella Insurance Foundation and Arbella Insurance Group, John F. Donohue • Commonwealth Worldwide Executive Transportation, Dawson Rutter • Delta Air Lines, Charlie Schewe • The Nancy Foss Heath and Richard B. Heath Educational, Cultural and Environmental Foundation • League of American Orchestras • David G. Mugar • National Endowment for the Arts $50,000 - $99,999 Citizens Bank, Stephen T. Gannon • Dick and Ann Marie Connolly • Eversource Energy, James J. Judge • Fromm Music Foundation • Goodwin Procter LLP, Regina M. Pisa • The Geoffrey C. Hughes Foundation • Intercontinental Real Estate Corporation, Peter Palandjian • Massachusetts Cultural Council • Joseph C. McNay, The New England Foundation • New England Audi Dealers • Perspecta Trust, LLC, Paul M. Montrone • Putnam Investments, Robert L. Reynolds • Miriam Shaw Fund • Suffolk, John F. Fish $25,000 - $49,999 The Aaron Copland Fund for Music, Inc. • Accenture, Richard P. Clark, Christine Disco • Adage Capital Management, Michelle and Bob Atchinson • Anbaric Holding LLC, Edward N. Krapels • Josh and Anita Bekenstein • Berkshire Bank • Boston Foundation • Canyon Ranch in Lenox • Connell Limited Partnership, Margot C. Connell, Frank A. Doyle • Encore Boston Harbor, Bob DeSalvio • EY-Parthenon, William F. Achtmeyer • Farley White Interests, John F. Power, Roger W. Altreuter • Elizabeth Taylor Fessenden Foundation • Gerondelis Foundation • The Ann and Gordon Getty Foundation • Goldman Sachs, Matt Gibson •

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74 Grew Family Charitable Foundation • Hemenway & Barnes LLP, Kurt F. Somerville • Gerald R. Jordan Foundation, Jerry and Darlene Jordan • JPMorgan Chase & Co., Daniel J. Curtin • Kingsbury Road Charitable Foundation • Liberty Mutual Insurance, David H. Long • Mastercard • Morgan, Lewis & Bockius LLP, Lisa Barton, Steven C. Browne, Catherine Curtin • Quanta Services, Ben Bosco • SoCo Creamery • Waters Corporation, Chris O’Connell • Edwin S. Webster Foundation • Wilmington Trust, Part of the M&T Bank Family, Christopher T. Casey • Yawkey Foundation $15,000 - $24,999 Altec • Analog Devices, Inc., Vincent Roche • Arthur J. Hurley Company, Inc., Matthew Hurley • Asplundh/Asplundh Construction/American Electrical Testing • Barclays, John Lange • Bicon, LLC, Vincent J. Morgan, D.M.D. • Blue Cross Blue Shield of Massachusetts, Andrew Dreyfus • Boston Red Sox, Sam Kennedy • Boston Seed Capital, Nicole Maria Stata • Consigli Construction Co., Inc. • Debevoise & Plimpton LLP, Gregory J. Lyons • Mr. and Mrs. James S. DiStasio • E.M. Duggan, Inc., Len Monfredo • Enbridge, Bill Yardley • Feeney Brothers Utility Services, Brendan Feeney, Greg Feeney • Steve and Betty Gannon • The Highland Street Foundation/Stonegate Group LLC • Hill Holliday, Karen Kaplan • Hunton & Williams LLP, Walfrido Martinez • J.P. Marvel Wealth Management, Joseph F. Patton, Jr. • Keegan Werlin LLP, Cheryl Kimball • Roger and Myrna Landay Charitable Foundation • Macy’s • MEDITECH, Howard Messing • Needham Bank, Joseph P. Campanelli • New Balance Foundation, Anne and Jim Davis • The Alice Ward Fund of The Rhode Island Foundation • Saquish Foundation • Ray and Maria Stata • Margery and Lewis Steinberg • Stonehill College, Rev. John Denning, C.S.C. • The Summer Fund • Vertex Pharmaceuticals • Willis Towers Watson, Michael A. McShane • Anonymous $10,000 - $14,999 Abrams Capital, David Abrams • Advent International, Peter A. Brooke • Albrecht Auto Group, George T. Albrecht, Sr. • Berkshire Partners LLC • Boston Properties, Inc., Douglas T. Linde • Dennis and Kimberly Burns • Cabot Corporation, Martin O’Neill • Cambridge Trust, Mark Thompson • Charles River Laboratories, Inc., James C. Foster • Eileen and Jack Connors, Jr. • Deutsch Family Wine & Spirits • Elliott Management Corporation, Paul E. Singer • EY, Jane C. Steinmetz • FTI Consulting, Stephen J. Burlone • Gallagher, Patrick Veale • H. Carr & Sons, Inc., James Carr • John Hancock Financial, Marianne Harrison • John Moriarty & Associates, Inc., John Moriarty, David Leathers • Jim and Mary Judge • JWR Advisors, LLC, Jim Rappaport • Kaufman & Company, LLC, Sumner Kaufman • Ted and Debbie Kelly/The Kelly Family Foundation • The Kraft Family/New England Patriots Charitable Foundation • Liberty Mutual Group/Ironshore, Kevin H. Kelley • Mintz, Levin, Cohn, Ferris, Glovsky and Popeo, P.C. and ML Strategies, LLC, R. Robert Popeo, Esq. • Natixis Investment Managers, David Giunta • Navigator Management, Thomas M. O’Neill • New England Development, Stephen R. Karp • Northwood Investors, John Z. Kukral • Lee and Bernadette Olivier • Abraham Perlman Foundation • PwC, John Farina • Qualprint • The Red Lion Inn • Billy Rose Foundation • Silicon Valley Bank, Pamela Aldsworth • The Carl and Ruth Shapiro Family Foundation • Peter and Catherine Smyth • Strategic Benefit Advisors, Mark Abate • TA Realty, Michael Ruane • Tetlow Realty Associates, Inc., Paul B. Gilbert • The TJX Companies, Inc., Carol Meyrowitz • Wayne J. Griffin Electric, Inc., Wayne J. Griffin • Wheatleigh Hotel & Restaurant

week 4 corporate, foundation, and government contributors 75 2018–2019 season andris nelsons music director

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76 $5,000 - $9,999 Adelaide Breed Bayrd Foundation • Adler Pollock & Sheehan P.C. • Allegrone Companies • The Amphion Foundation, Inc. • Amuleto Mexican Table • Apple Tree Inn • Atlantic Trust Private Wealth Management • Barrington Associates Realty Trust • Berkshire Eagle • Berkshire Life Insurance Company of America, a Guardian Company • Anne Bailey and Roger Berman • The Beveridge Family Foundation, Inc. • BJ’s Wholesale Club • Blake & Blake Genealogists • Boston Area Mercedes-Benz Dealers • The Boston Globe • Boston Private • Burack Investments • The Cambridge Homes • Chadwick Martin Bailey • Choate, Hall & Stewart LLP • Chubb • Clough Capital Partners, LP • Cohen Kinne Valicenti & Cook LLP • Colliers International • RoAnn Costin • Cranwell Resort, Spa & Golf Club • John and Diddy Cullinane • Cushman & Wakefield • Cutler Associates, Inc. • D.C. Beane and Associates Construction Company • Davidson Kempner Capital Management LP • Irene E. and George A. Davis Foundation • Demoulas Foundation • Francie and Bob DeSalvio • Dresser-Hull Company • Mr. and Mrs. J. Christopher Eagan • Ergonomic Group, Inc. • The Fuller Foundation • Greater Boston Chamber of Commerce • The Hamilton Company Charitable Foundation • Susan and Raymond Held • The Herb Chambers Companies • High Output, Inc. • History of Toys Gallery • IBM • Jack Madden Ford • Kripalu Center for Yoga & Health • Lee Kennedy Co., Inc. • Leggat McCall Properties • Locke Lord LLP • John and Rose Mahoney • Massachusetts High Technology Council, Inc. • Michael Renzi Painting Co. • Lucia B. Morrill Charitable Foundation • Myriad Productions • The E. Nakamichi Foundation • Neighborhood Health Plan • Nutter McClennen & Fish LLP • Joe and Kathy O’Donnell • Port Asylum • Prince Street Capital Management • Riemer & Braunstein LLP • Roffi Salon & Spa • Ropes & Gray LLP • Thomas A. and Georgina T. Russo Family Fund • S&F Concrete Contractors, Inc. • William E. and Bertha E. Schrafft Charitable Trust • Senator Investment Group • Shawmut Design and Construction • Siena Construction • Signature Printing & Consulting, Woburn, MA • Katherine Chapman Stemberg • Abbot and Dorothy H. Stevens Foundation • The Studley Press, Inc. • Edward A. Taft Trust • Transwestern • United Group of Companies • Walsh Brothers • WB Wood • WBUR • Stetson Whitcher Fund • Wilmer Cutler Pickering Hale and Dorr LLP • Wolf, Greenfield & Sacks, P.C. • Anonymous (2) $2,500 - $4,999 Abbott’s Limousine & Livery Service, Inc. • Alice Willard Dorr Foundation • Allied Printing Services, Inc. • Aqueduct Technologies, Inc. • Asia Alternatives • Audible, Inc. • B2C2 • Barrington Brewery and Restaurant • Bell Container Corp. • Biener Audi • Big Y Supermarkets • Blantyre • Blue Spark Capital Advisors • Bond Brothers, Inc. • Brookline Youth Concerts Fund • Carleton-Willard Village • Casablanca • Complete Staffing Solutions, Inc. • Katharine L.W. and Winthrop M. Crane, 3D Charitable Foundation • The Drew Company, Inc. • Edward Acker, Photographer • Elizabeth Grant Trust • F3 Technology Partners, LLC • Fire Equipment, Inc. • Margaret Foley • Fowler Printing & Graphics • Mr. and Mrs. Ronald Frohne • G&C Concrete Construction, Inc. • Garden Gables Inn • Gate City Electric • Gennari Plumbing & Heating, Inc. • Jackson and Irene Golden 1989 Charitable Trust • Elizabeth Grant Fund • Mr. and Mrs. Robert Haber • Iredale Mineral Cosmetics, Ltd. • J.H. Maxymillian, Inc. • JK Glass Co., Inc. • Kemble Inn • Linda Leffert J.D. ret. • Lewis R. Dan, M.D. • MountainOne Financial • Murtha Cullina LLP • Norbella • Oxford Fund, Inc. • Peter D. Whitehead Builder, LLC • Quality Moving & Storage • Republic Services • Rockland Trust • Mr. and Mrs. Stephen Sacks • Sametz Blackstone Associates • Security Self Storage • David J. Tierney, Jr., Inc. • Vedder Price • Verrill Dana • Welch & Forbes, LLC • Frederica M. Williams • Anonymous (2)

week 4 corporate, foundation, and government contributors 77 BSO Major Corporate Sponsors 2018–19 Season

BSO SEASON LEAD SPONSOR Bank of America is proud of our longstanding support of the Boston Symphony Orchestra and we’re excited to serve once again as co-sponsor for the 2018-2019 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 Miceal Chamberlain deliver the visual and performing arts, provide inspirational and educational Massachusetts President, sustenance, anchor communities, create jobs, augment and complement existing Bank of America school offerings, and generate substantial revenue for local businesses. On a global scale, the arts speak to us in a universal language that provides pathways to greater cultural understanding. It’s an honor and privilege to continue our collaboration with the Boston Symphony Orchestra, and to play a part in welcoming the valued audiences and world-class artists for each and every performance of this cherished institution.

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

CASUAL FRIDAYS SERIES, COLLEGE CARD PROGRAM, John Donohue Chairman and CEO YOUTH & FAMILY CONCERTS, AND THE BSO’S YOUNG PROFESSIONALS PROGRAM SPONSOR The Arbella Insurance Group, through the Arbella Insurance Foundation, is proud to sponsor the Boston Symphony Orchestra’s Casual Fridays Series, College Card program, Youth & Family Concerts, and Young Professionals program. These programs give local students and young professionals the opportunity to experience classical music performed by one of the world’s leading orchestras in historic Symphony Hall. Arbella is a local company that’s passionate about serving our communities throughout New England, and through the Foundation we support many wonderful organizations like the BSO.

Boston Symphony Orchestra major corporate sponsorships reflect the importance of the alliance between business and arts. We are honored to be associated with organizations above. For information regarding BSO, Boston Pops, and/or Tanglewood please contact Joan Jolley, Director of Corporate Partnerships, at (617) 638-9279 or at [email protected]. OFFICIAL LUXURY VEHICLE OF THE BSO New England Audi Dealers are proud to partner with the Boston Symphony Orchestra as their Official Luxury Vehicle. Together we look forward to providing quality and excellence for audiences in Boston and beyond. We are proud to be celebrating the first year of our partnership.

OFFICIAL AIRLINE OF THE BSO Delta Air Lines has been proud to support the Boston Symphony Orchestra since 2004 as the Official Airline of the BSO at Symphony Hall, and most recently as a BSO Great Benefactor. The BSO's dedication to the performing arts and arts Charlie Schewe education programs continues to delight and enrich Massachusetts and beyond Director of Sales- with each passing season. As the BSO continues to help classical music soar, New England Delta looks forward to celebrating this vibrant institution's rich legacy for many years to come.

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

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

week 4 bso major corporate sponsors 79 GRIEG GOUNOD GERSHWIN

ANY WAY YOU PLAY IT, THE BSO IS ALWAYS GOURMET

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

GOURMETCATERERS.COM/BSO • BSO.ORG Administration

Mark Volpe, Eunice and Julian Cohen President and Chief Executive Officer, endowed in perpetuity Evelyn Barnes, Jane B. and Robert J. Mayer, M.D. Chief Financial Officer Sue Elliott, Judith and Steward Colton Tanglewood Learning Institute Director Anthony Fogg, William I. Bernell Artistic Administrator and Director of Tanglewood Alexandra J. Fuchs, Thomas G. Stemberg Chief Operating Officer Ellen Highstein, Edward H. Linde Tanglewood Music Center Director, endowed by Alan S. Bressler and Edward I. Rudman Bernadette M. Horgan, Director of Public Relations Lynn G. Larsen, Orchestra Manager and Director of Orchestra Personnel Bart Reidy, Director of Development Christopher W. Ruigomez, Director of the Boston Pops and Concert Operations and Assistant Director of Tanglewood Kathleen Sambuco, Director of Human Resources administrative staff/artistic

Colin Bunnell, Library Administrative Assistant • Bridget P. Carr, Blanche and George Jones Director of Archives and Digital Collections • Jennifer Dilzell, Chorus Manager • Sarah Funke Donovan, Associate Archivist for Digital Assets • Julie Giattina Moerschel, Executive Assistant to the President and Chief Executive Officer • Vincenzo Natale, Chauffeur/Valet • Sarah Radcliffe-Marrs, Manager of Artists Services • Eric Valliere, Assistant Artistic Administrator administrative staff/production

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

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

Kathleen Donahue, Controller • Mia Schultz, Director of Investment Operations and Compliance • Bruce Taylor, Director of Financial Planning and Analysis James Daley, Accounting Manager • Jennifer Dingley, Senior Accountant • Karen Guy, Accounts Payable Supervisor • Jared Hettrick, Business Office Administrator • Erik Johnson, Senior Financial Analyst • Evan Mehler, Financial Analyst • Nia Patterson, Staff Accountant • Lucy Song, Accounts Payable Assistant • Teresa Wang, Staff Accountant • Maggie Zhong, Senior Endowment Accountant

week 4 administration 81 82 corporate partnerships Joan Jolley, Director of Corporate Partnerships Hester C.G. Breen, Corporate Partnerships Coordinator • Mary Ludwig, Senior Manager, Corporate Sponsor Relations • Laurence E. Oberwager, Director of Tanglewood Business Partners • Claudia Veitch, Director, BSO Business Partners development

Nina Jung Gasparrini, Director of Board, Donor, and Volunteer Engagement • Ryan Losey, Director of Foundation and Government Relations • Pam Malumphy, Individual Giving Advisor • Jill Ng, Director of Planned Giving and Senior Major Gifts Officer • Richard Subrizio, Director of Development Communications • Mary E. Thomson, Director of Corporate Initiatives • Jennifer Roosa Williams, Director of Development Research and Information Systems Kaitlyn Arsenault, Graphic Designer • Erin Asbury, Manager of Volunteer Services • Stephanie Baker, Assistant Director, Campaign Planning and Administration • Shirley Barkai, Manager, Friends Program and Direct Fundraising • Diane Cataudella, Associate Director, Donor Relations • Caitlin Charnley, Assistant Manager of Donor Relations and Ticketing • Sarah Chin, Donor Acknowledgment and Research Coordinator • Allison Cooley, Major Gifts Officer • Emily Diaz, Assistant Manager, Gift Processing • Elizabeth Estey, Major Gifts Coordinator • Emily Fritz-Endres, Senior Executive Assistant, Development and Board Relations • Barbara Hanson, Senior Leadership Gifts Officer • Laura Hill, Assistant Manager, Annual Funds Friends Program • Michelle Houle, Major Gifts Coordinator • James Jackson, Associate Director, Telephone Outreach • Laine Kyllonen, Assistant Manager, Donor Relations • Heather Laplante, Assistant Director of Development Information Systems • Anne McGuire, Manager, Corporate Initiatives and Development Research • Kara O’Keefe, Leadership Gifts Officer • Suzanne Page, Major Gifts Officer • Mark Paskind, Assistant Manager of Planned Giving • Kathleen Pendleton, Assistant Manager, Development Events and Volunteer Services • Johanna Pittman, Grant Writer • Maggie Rascoe, Annual Funds Associate • Francis Rogers, Major Gifts Officer • Laura Sancken, Assistant Director of Board Engagement • Jenny Schulte, Assistant Manager of Development Communications • Alexandria Sieja, Assistant Director, Development Events • Yong-Hee Silver, Senior Major Gifts Officer • Szeman Tse, Assistant Director, Development Research education and community engagement Leslie Wu Foley, Interim Director of Education and Community Engagement Deron Hall, Associate Director of Strategic Education Partnerships • Cassandra Ling, Head of Strategic Program Development, Education • Beth Mullins, Manager of Education and Community Engagement • Sarah Saenz, Assistant Manager of Education and Community Engagement facilities Robert Barnes, Director of Facilities symphony hall operations Peter J. Rossi, Symphony Hall Facilities Manager Charles F. Cassell, Jr., Facilities Compliance and Training Coordinator • Alana Forbes, Facilities Coordinator • Shawn Wilder, Mailroom Clerk maintenance services Jim Boudreau, Lead Electrician • Samuel Darragh, Painter • Thomas Davenport, Carpenter • Steven Harper, HVAC Technician • Adam Twiss, Electrician environmental services Landel Milton, Lead Custodian • Desmond Boland, Custodian • Julien Buckmire, Custodian/Set-up Coordinator • Claudia Ramirez-Calmo, Custodian • Garfield Cunningham,Custodian • Errol Smart, Custodian • Gaho Boniface Wahi, Custodian tanglewood operations Robert Lahart, Director of Tanglewood Facilities Bruce Peeples, Grounds Supervisor • Peter Socha, Tanglewood Facilities Manager • Fallyn Davis, Tanglewood Facilities Coordinator • Stephen Curley, Crew • Richard Drumm, Mechanic • Maurice Garofoli, Electrician • Bruce Huber, Assistant Carpenter/Roofer

week 4 administration 83 share our legacy NEC invites you to join us in celebrating the 100th birthday of Leonard Bernstein — Boston native, NEC Prep alumnus, and one of America’s greatest 20th-century composers, conductors, and educators. necmusic.edu/bernstein

Photo: Leonard Bernstein, c. 1960, courtesy of the Leonard Bernstein Office, Inc.

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84 human resources

Michelle Bourbeau, Payroll Administrator • John Davis, Associate Director of Human Resources • Kevin Golden, Payroll Manager • Susan Olson, Human Resources Recruiter information technology Timothy James, Director of Information Technology Andrew Cordero, IT Asset Manager • Ana Costagliola, Senior Database Analyst • Isa Cuba, Infrastructure Engineer • Stella Easland, Telephone Systems Coordinator • Michael Finlan, Telephone Systems Manager • Karol Krajewski, Senior Infrastructure Architect • Brian Van Sickle, User Support Specialist public relations

Nicole Banks, Publicist • Taryn Lott, Assistant Director of Public Relations publications Marc Mandel, Director of Program Publications Robert Kirzinger, Associate Director of Program Publications—Editorial • Eleanor Hayes McGourty, Assistant Director of Program Publications—Production and Advertising sales, subscriptions, and marketing Sarah L. Manoog, Senior Director of Sales, Marketing, and Branding Amy Aldrich, Associate Director of Subscriptions and Patron Services • Patrick Alves, Front of House Associate Manager • Amanda Beaudoin, Senior Graphic Designer • Gretchen Borzi, Director of Marketing Programs • Lenore Camassar, Associate Manager, SymphonyCharge • Megan Cokely, Group Sales Manager • Susan Coombs, SymphonyCharge Coordinator • Jonathan Doyle, Graphic Designer • Diane Gawron, Executive Assistant to the Chief Operating Officer • Paul Ginocchio, Manager, Symphony Shop and Tanglewood Glass House • Neal Goldman, Subscriptions Representative • Roberta Kennedy, Director of Retail Operations • Tammy Lynch, Front of House Director • Ronnie McKinley, Ticket Exchange Coordinator • Michael Miller, Director of Ticketing and Customer Experience • Michael Moore, Manager of Digital Marketing and Analytics • Meaghan O’Rourke, Digital Media Manager • Ellen Rogoz, Marketing Manager • Laura Schneider, Internet Marketing Manager and Front End Lead • Robert Sistare, Senior Subscriptions Representative • Richard Sizensky, Access Coordinator • Emma Staudacher, Subscriptions Associate • Kevin Toler, Art Director • Himanshu Vakil, Associate Director of Internet and Security Technologies • David Chandler Winn, Tessitura Liaison and Associate Director of Tanglewood Ticketing box office Jason Lyon, Symphony Hall Box Office Manager • Nicholas Vincent, Assistant Manager Kelsey Devlin, Box Office Administrator • Evan Xenakis, Box Office Representative event services Kyle Ronayne, Director of Events Administration • James Gribaudo, Function Manager • John Stanton, Venue and Events Manager • Jessica Voutsinas, Events Administrative Assistant tanglewood music center

Karen Leopardi, Associate Director for Faculty and Guest Artists • Michael Nock, Associate Director for Student Affairs • Matthew Szymanski, Manager of Administration • Gary Wallen, Associate Director for Production and Scheduling

week 4 administration 85 SEASON TICKETS TO AN EXCEPTIONAL LIFESTYLE DISCOVER NEW ADVENTURES EVERY DAY AT

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OUR LIFESTYLE360 PROGRAMMING INCLUDES: • Season Tickets to Boston Pops, Symphony • Trips to the Boston Library and Museums • Off-site Tours of Fenway Park • Local Shopping Outings • Theatre Shows Call 781-756-1026 to join us for a Lifestyle360 activity. www.TheGablesAtWinchester.com INDEPENDENT & ASSISTED LIVING • RESPITE STAYS ©2018 Five Star Senior Living

KEITH LOCKHART CONDUCTOR Join conductor Keith Lockhart and the Boston Pops in a performance filled with holiday music favorites, the traditional Pops sing-along, and TICKETS ON SALE NOW! a visit from Santa Claus himself! DECEMBER 6–31 #HolidayPops

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617-266-1200 · bostonpops.org SEASON SPONSOR

86 Boston Symphony Association of Volunteers executive committee Chair, Gerald L. Dreher Vice-Chair, Boston, Ellen Mayo Vice-Chair, Tanglewood, Bob Braun Secretary, Beverly Pieper Co-Chairs, Boston Trish Lavoie • Cathy Mazza • George Mellman Co-Chairs, Tanglewood Scott Camirand • Nancy Finn • Susan Price Liaisons, Tanglewood Glass Houses, Adele Cukor • Ushers, Carolyn Ivory boston project leads 2018-19

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

2O18/2O19 SEASON

The Big Bad Wolf Aaron Copland “Prairie Night” ANNUAL FAMILY CONCERT and “Celebration” from Billy the Kid DECEMBER 2, 2018 3PM Andy Vores Big Bad Wolf Concerto Performed by the Young Artist Competition Winner BOSTON UNIVERSITY Bernard Hoffer Little Red Riding Hood TSAI PERFORMANCE CENTER WORLD PREMIERE, NEP COMMISSION Boston City Singers, Joshua DeWitte, director TICKETS ON SALE Joyce Kulhawik, narrator NEPHILHARMONIC.ORG

week 4 administration 87 Next Program…

Thursday, November 8, 8pm Friday, November 9, 1:30pm (Friday Preview from 12:15-12:45 in Symphony Hall) Saturday, November 10, 8pm Tuesday, November 13, 8pm

andris nelsons conducting

andris dzeni¯tis “ma¯ra” (american premiere; bso co-commission)

shostakovich symphony no. 1 in f minor, opus 10 Allegretto Allegro Lento Allegro molto

{intermission}

tchaikovsky “the nutcracker,” opus 71: act ii Scene: The Kingdom of Sweets Scene: Clara and the Prince Divertissement Chocolate (Spanish Dance) Coffee (Arabian Dance) Tea (Chinese Dance) Trepak Dance of the Reed Flutes The Old Woman Who Lived in a Shoe and her Children Waltz of the Flowers Pas de deux Dance of the Prince and the Sugar-Plum Fairy Variation I: Tarantella Variation II: Dance of the Sugar-Plum Fairy Coda Final Waltz and Apotheosis

Single tickets for all Boston Symphony concerts throughout the season are available online at bso.org via a secure credit card order; by calling Symphony Charge at (617) 266-1200 or toll-free at (888) 266-1200; or at the Symphony Hall box office, Monday through Friday from 10 a.m. to 6 p.m. (Saturdays from 4:30-8:30 p.m. when there is a concert). Please note that there is a $6.50 handling fee for each ticket ordered by phone or online.

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

Thursday ‘C’ November 8, 8-10:10 Friday ‘B’ November 23, 1:30-2:55 Friday ‘A’ November 9, 1:30-3:40 Saturday ‘A’ November 24, 8-9:25 Saturday ‘A’ November 10, 8-10:10 Tuesday ‘B’ November 27, 8-9:25 Tuesday ‘C’ November 13, 8-10:10 ALL-BEETHOVEN Symphony No. 4 ANDRIS NELSONS, conductor PROGRAM Symphony No. 5 ANDRIS DZEN¯ITIS M¯ara SHOSTAKOVICH Symphony No. 1 Thursday ‘D’ November 29, 7:30-10:30 TCHAIKOVSKY The Nutcracker, Act II Friday ‘A’ November 30, 1:30-4:30 Saturday ‘A’ December 1, 7:30-10:30 Thursday, November 15, 10:30am (Open Rehearsal) ANDRIS NELSONS, conductor Thursday ‘A’ November 15, 8-10:15 CAROLYN SAMPSON, soprano Friday ‘B’ November 16, 1:30-3:45 CHRISTINE RICE, mezzo-soprano Saturday ‘B’ November 17, 8-10:15 SEBASTIAN KOHLHEPP, tenor ANDRIS NELSONS, conductor ANDRÈ SCHUEN, baritone HA˚ KAN HARDENBERGER, trumpet TANGLEWOOD FESTIVAL CHORUS, JAMES BURTON, conductor HK GRUBER Aerial, Concerto for trumpet and orchestra “Leipzig Week in Boston” MAHLER Symphony No. 5 BACH Christmas Oratorio

The BSO’s 2018-19 season is supported in part by the Massachusetts Cultural Council, which receives support from the State of Massachusetts and the National Endowment for the Arts. Programs and artists subject to change.

Next week, Andris Nelsons and the BSO give the American premiere of Latvian composer Andris Dzenītis’s orchestral work Ma¯ra, a BSO co-commission with the Gewandhaus Orchestra of Leipzig, one of two works being performed by the BSO this season to mark the centennial of Latvian independence (declared November 18, 1918). Dzenītis calls his new work, which is dedicated to Andris Nelsons and takes its title from a goddess in Latvian mythology, “the musical encoding of my personal understanding of what it means to be Latvian.”

Opening the program is Shostakovich’s Symphony No. 1, to be recorded live as part of Andris Nelsons/BSO multi-season exploration of the composer’s symphonies. Written while he was still a student, Shostakovich’s Symphony No. 1 immediately established him as one of Russia’s leading artistic figures. Completing the program is Act II of Tchaikovsky’s vibrant, beloved ballet score The Nutcracker, which includes the Dance of the Sugar Plum Fairy and the famous series of exotic national dances well-known from the popular Nutcracker Suite.

week 4 coming concerts 89 Symphony Hall Exit Plan

90 Symphony Hall Information

For Symphony Hall concert and ticket information, call (617) 266-1492. For Boston Symphony concert program information, call “C-O-N-C-E-R-T” (266-2378). The Boston Symphony Orchestra performs ten months a year, in Symphony Hall and at Tanglewood. For information about any of the orchestra’s activities, please call Symphony Hall, visit bso.org, or write to the Boston Symphony Orchestra, Symphony Hall, 301 Massachusetts Avenue, Boston, MA 02115. The BSO’s web site (bso.org) provides information on all of the orchestra’s activities at Symphony Hall and at Tanglewood, and is updated regularly. In addition, tickets for BSO concerts can be purchased online through a secure credit card transaction. The Eunice S. and Julian Cohen Wing, adjacent to Symphony Hall on Huntington Avenue, may be entered by the Symphony Hall West Entrance on Huntington Avenue. In the event of a building emergency, patrons will be notified by an announcement from the stage. Should the building need to be evacuated, please exit via the nearest door (see map on opposite page), or according to instructions. For Symphony Hall rental information, call (617) 638-9241, or write the Director of Event Administration, Symphony Hall, Boston, MA 02115. The Box Office is open from 10 a.m. until 6 p.m. Monday through Friday, or until a half-hour past starting time on performance evenings. On Saturdays, the box office is open from 4:30 p.m. until 8:30 p.m. when there is a concert, but is otherwise closed. For an early Saturday or Sunday performance, the box office is generally open two hours before concert time. To purchase BSO Tickets: American Express, MasterCard, Visa, Diners Club, Discover, a personal check, and cash are accepted at the box office. To charge tickets instantly on a major credit card, call “SymphonyCharge” at (617) 266-1200, from 10 a.m. until 5 p.m. Monday through Friday (12:30 p.m. to 4:30 p.m. on Saturday). Outside the 617 area code, phone 1-888-266-1200. As noted above, tickets can also be purchased online. There is a handling fee of $6.50 for each ticket ordered by phone or online. Group Sales: Groups may take advantage of advance ticket sales. For BSO concerts at Symphony Hall, groups of twenty-five or more may reserve tickets by telephone and take advantage of ticket discounts and flexible payment options. To place an order, or for more information, call Group Sales at (617) 638-9345 or (800) 933-4255, or e-mail [email protected]. For patrons with disabilities, elevator access to Symphony Hall is available at both the Massachusetts Avenue and Cohen Wing entrances. An access service center, large print programs, and accessible restrooms are available inside the Cohen Wing. For more information, call the Access Services line at (617) 638-9431 or TDD/TTY (617) 638-9289. In consideration of our patrons and artists, children under age five 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 4 symphony hall information 91 Subscriber 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) 638-9426 up to one hour before the concert. This helps bring needed revenue to the orchestra and makes your seat available to someone who wants to attend the concert. A mailed receipt will acknowledge your tax-deductible contribution. Rush Seats: There are a limited number of Rush Seats available for Boston Symphony subscription concerts on Tuesday and Thursday evenings, and on Friday afternoons. The low price of these seats is assured through the Morse Rush Seat Fund. Rush Tickets are sold at $10 each, one to a customer, at the Symphony Hall box office on Fridays as of 10 a.m. for afternoon concerts, and on Tuesdays and Thursdays as of 5 p.m. for evening concerts. Please note that there are no Rush Tickets available for Friday and Saturday evenings. Please note that smoking is not permitted anywhere in Symphony Hall. Camera and recording equipment may not be brought into Symphony Hall during concerts. Lost and found is located at the security desk at the stage door to Symphony Hall on St. Stephen Street. First aid facilities for both men and women are available. On-call physicians attending concerts should leave their names and seat locations at the Cohen Wing entrance on Huntington Avenue. Parking: The Prudential Center Garage (after 2 p.m.) 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. Elevators are located outside the O’Block/Kay and Cabot-Cahners rooms on the Massachusetts Avenue side of Symphony Hall, and in the Cohen Wing. Ladies’ rooms are located on both main corridors of the orchestra level, as well as at both ends of the first balcony, audience-left, and in the Cohen Wing. Men’s rooms are located on the orchestra level, audience-right, outside the O’Block/Kay Room near the elevator; on the first-balcony level, also audience-right near the elevator, outside the Cabot-Cahners Room; and in the Cohen Wing. Coatrooms are located on the orchestra and first-balcony levels, audience-left, outside the O’Block/Kay and Cabot-Cahners rooms, and in the Cohen Wing. Please note that the BSO is not responsible for personal apparel or other property of patrons. Lounges and Bar Service: There are two lounges in Symphony Hall. The O’Block/Kay Room on the orchestra level and the Cabot-Cahners Room on the first-balcony level serve drinks starting one hour before each performance. For the Friday-afternoon concerts, both rooms open at noon, with sandwiches available until concert time. Drink coupons may be purchased in advance online or through SymphonyCharge for all performances. Boston Symphony Broadcasts: Saturday-evening concerts of the Boston Symphony Orchestra are broadcast live in the Boston area by 99.5 WCRB Classical Radio Boston. BSO Friends: The Friends are donors who contribute $100 or more to the Boston Symphony Orchestra Annual Funds. For information, please call the Friends of the BSO Office at (617) 638-9276 or e-mail [email protected]. If you are already a Friend and you have changed your address, please inform us by sending your new and old addresses to Friends of the BSO, Symphony Hall, Boston, MA 02115. Including your patron number will assure a quick and accurate change of address in our files. BSO Business Partners: The BSO Business Partners program makes it possible for businesses to participate in the life of the Boston Symphony Orchestra. Benefits include corporate recognition in the BSO program book, access to the Beranek Room reception lounge, two-for-one ticket pricing, and advance ticket ordering. For further information, please call the BSO Business Partners Office at (617) 638-9275 or e-mail [email protected]. The Symphony Shop is located in the Cohen Wing at the West Entrance on Huntington Avenue and is open Thurs day and Saturday from 3 to 6 p.m., and for all Symphony Hall performances through intermission. The Symphony Shop features exclusive BSO merchandise, including calendars, coffee mugs, an expanded line of BSO apparel and recordings, and unique gift items. The Shop also carries children’s books and musical-motif gift items. A selection of Symphony Shop merchandise is also available online at bso.org and, during concert hours, outside the Cabot-Cahners Room. All proceeds benefit the Boston Symphony Orchestra. For further information and telephone orders, please call (617) 638-9383, or purchase online at bso.org.

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