Summer 2019 Boston Symphony Orchestra

Home , Andris Nelsons, Desert Transport, Ludovic Morlot, Peter Gelb, Stefan Jackiw, Vasily Safonov

boston symphony orchestra andris nelsons music director

summer 2019 EXPERIENCE THE For the Discriminating NEW MET SEASON Shopper PHOTO: PAOLA KUDACKI / MET OPERAPHOTO:/ PAOLA KUDACKI

The Met’s 2019 – 20 season features ﬁve new productions, including Philip Glass’s Akhnaten, starring Anthony Roth Costanzo (pictured) as the Egyptian pharaoh opposite J’Nai Bridges as Nefertiti. Tickets go on sale June 23 — or curate your own series of performances and save up to 15%. Peter Gelb GENERAL MANAGER Learn more at metopera.org/tickets or by Yannick Nézet-Séguin world class calling 212.362.6000. JEANETTE LERMAN-NEUBAUER MUSIC DIRECTOR

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C+I 2019 studs.indd 3 8/29/19 12:15 PM Tanglewood_Jun_SingleTickets.indd 2 5/29/19 9:18 AM C+I 2019 studs.indd 4 8/29/19 12:16 PM 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 • Albert A. Holman, III • Barbara W. Hostetter • Stephen B. Kay • Edmund Kelly • Steve Kidder • Tom Kuo, ex-ofﬁcio • Jeffrey Leiden • Joyce Linde • John M. Loder • Nancy K. Lubin • Carmine A. Martignetti • Robert J. Mayer, M.D. • Peter Palandjian • Pamela L. Peedin • Steven R. Perles • Lina S. Plantilla, M.D. • Carol Reich † • Arthur I. Segel • Wendy Shattuck • Nicole M. Stata • 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 Corporation

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 • Darcey Bartel • 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 • George Jacobstein • Stephen J. Jerome • Giselle J. Joffre • Susan A. Johnston • Mark Jung • John L. Klinck, Jr. • Gi Soo Lee, MD EdM • Roy Liemer • Sandra O. Moose • Kristin A. Mortimer •

Programs copyright ©2019 Boston Symphony Orchestra, Inc. Cover photo by Chris Lee Cecile Higginson Murphy • John F. O’Leary • Jean Park • 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 • Marc Rubenstein • 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. • Margery Steinberg, Ph.D • Katherine Chapman Stemberg • Jean Tempel • Douglas Dockery Thomas • Mark D. Thompson • Blair Trippe • Jacqueline Togut • 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.

† Deceased Tanglewood

The Tanglewood Festival On August 13, 15, and 16, 1936, the Boston Symphony Orchestra, led by Serge Koussevitzky, gave its first concerts in the Berkshire Hills of western Massachusetts. Those outdoor concerts did not take place at Tanglewood, however, but under a large tent at Holmwood, a former Vanderbilt estate that later became The Center at Foxhollow. In fact, the first Berkshire Symphonic Festival had taken place two summers earlier, at Interlaken, when, organized by a group of music-loving Berkshire summer residents, three outdoor concerts were given by members of the New York Philharmonic led by composer/conductor Henry Hadley. But after a second series of concerts in 1935, plans for 1936 proved difficult, so the organizing committee instead approached Koussevitzky and the BSO’s Trustees, whose enthusiastic response led to the BSO’s first concerts in the Berkshires. In the winter of 1936, following that summer’s BSO concerts, Mrs. Gorham Brooks and Miss Mary Aspinwall Tappan offered Tanglewood, the Tappan family estate, with its buildings and 210 acres of lawns and meadows, as a gift to Koussevitzky and the orchestra. A two-weekend festival was planned for 1937, and on August 5 that year, an enthusiastic crowd assembled under a tent for the first Tanglewood concert, an all-Beethoven program. At the all-Wagner concert that opened the 1937 festival’s second weekend, rain and thunder twice interrupted the Rienzi Overture and necessitated the omission altogether of the Siegfried Idyll, music too gentle to be heard through the downpour. At the intermission, Miss Gertrude Robinson Smith, one of the festival’s founders, made an appeal to raise funds for the building of a permanent structure. The appeal was broadened by means of a printed circular handed out at the two remaining concerts, and within a short time enough money was raised to begin active planning for a “music pavilion.” Eliel Saarinen, the eminent architect selected by Koussevitzky, proposed an elaborate design that went not only far beyond the festival’s immediate needs, but also well beyond the $100,000 budget. When his second, simplified plans were also deemed too expensive, he wrote that if the Trustees insisted on remaining within their budget, they would have “just a shed...which any builder could accomplish without the aid of

A banner advertising the 1939 Berkshire Symphonic Festival (BSO Archives) an architect.” The Trustees then asked Stockbridge engineer Joseph Franz to simplify Saarinen’s plans further, and the “Shed” he erected—which remains, with modifications, to this day—was inaugurated on August 4, 1938, with the first concert of that year’s festival. Except for the war years 1942-45, the Shed has resounded to the music of the Boston Symphony Orchestra every summer since, becoming almost a place of pilgrimage to millions of concertgoers. In 1940, the Berkshire Music Center (now the Tanglewood Music Center) began its operations. By 1941 the Theatre-Concert Hall, the Chamber Music Hall, and several small studios were finished, and the festival had so expanded its reputation for excellence that it drew nearly 100,000 visitors. In 1959, as the result of a collaboration After the storm of August 12, 1937, which precipitated a fundraising drive between the acoustical consultant Bolt for the construction of the Tanglewood Shed (BSO Archives) Beranek and Newman and architect Eero Saarinen and Associates, the installation of the then-unique Edmund Hawes Talbot Orchestra Canopy, along with other improvements, produced the Shed’s present world-famous acoustics. Since 1966, the Boston University Tanglewood Institute has sponsored programs offering individual and ensemble instruction to talented younger students, mostly of high school age. In 1988, the Shed was rededicated on the occasion of its 50th anniversary as “The Serge Koussevitzky Music Shed,” recognizing the far-reaching vision of the BSO’s legendary music director. With the BSO’s acquisition in 1986 of the High- wood estate adjacent to Tanglewood, the stage was set for the expansion of Tanglewood’s public grounds by some 40%. A master plan developed by the Cambridge firm of Carr, Lynch, Hack and Sandell to unite the Tangle- wood and Highwood properties confirmed the feasibility of using the newly acquired property as the site for a new concert hall to replace the outmoded Theatre-Concert Hall (which, with some modifications, has remained in use since 1941), and for improved Tanglewood Music Center facilities. Designed by the architectural firm William Rawn Associates of Boston, in collaboration with acoustician R. Lawrence Kirkegaard & Associates of Downer’s Grove, Illinois, Seiji Ozawa Hall was inaugurated on July 7, 1994, providing a modern venue for Tanglewood Music Center concerts, and for the varied recital and chamber music concerts The tent at Holmwood, where the BSO played offered by the BSO and its guests. Ozawa Hall its first Berkshire Symphonic Festival concerts in 1936 (BSO Archives) with its attendant buildings also became the focal point of the Tanglewood Music Center’s Leonard Bernstein Campus. This year, the opening of the Linde Center for Music and Learning provides additional rehearsal and performance space for the Tanglewood Music Center, while also housing the new Tanglewood Learning Institute. Today, Tanglewood annually draws more than 350,000 visitors . Besides the concerts of the Boston Symphony Orchestra, the schedule includes chamber music and recital programs featuring prestigious guest artists; Prelude Concerts; Saturday-morning Rehearsals; the annual Festival of Contemporary Music; concerts by the young musicians of the Tanglewood Music Center; appearances by the Boston Pops Orchestra, and concerts by a variety of jazz and non-classical artists. The season offers not only a vast quantity of music, but also a vast range of musical forms and styles, all presented with a continuing regard for artistic excellence that maintains Tanglewood’s status as one of the world’s most significant music festivals.

The Tanglewood Music Center Since its start as the Berkshire Music Center in 1940, the Tanglewood Music Center (TMC) has become one of the world’s most influential centers for advanced musical study. Serge Koussevitzky, the BSO’s music director from 1924 to 1949, founded the Center to create a first- class music academy where, with the resources of a great symphony orchestra at their disposal, young instrumentalists, vocalists, conductors, and composers would sharpen their skills under the tutelage of BSO musicians and other specially invited artists. The Music Center opened formally on July 8, 1940, with speeches and music. “If ever there was a time to speak of music, it is now in the New World,” said Koussevitzky, alluding Then TMC director Gunther Schuller (back to camera) leading to the war then raging in Europe. then BSO music director Seiji Ozawa, with bass drum, and a “So long as art and culture exist group of Music Center percussionists during a rehearsal for there is hope for humanity.” Randall Tanglewood on Parade in 1976 (BSO Archives/photo by Heinz Weissenstein, Whitestone Photo) Thompson’s Alleluia for unaccompa- nied chorus, written specifically for the ceremony, made such an impression that it is still performed at each summer’s opening ceremony. The TMC was Koussevitzky’s pride and joy for the rest of his life. He assembled an extraordinary faculty in composition,

Severe Weather Action Plan

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

PLEASE NOTE THAT A PERFORMANCE MAY BE DELAYED OR SUSPENDED during storm conditions and will be resumed when it is safe to do so. operatic and choral activities, and instrumental performance; he himself taught the most gifted conductors. Koussevitzky continued to develop the Tanglewood Music Center until 1950, a year after his retirement as BSO music director. Charles Munch, his successor, ran the TMC from 1951 through 1962, working with Leonard Bernstein and Aaron Copland to shape the school’s programs. In 1963, new BSO music director Erich Leinsdorf took over the reins while also restoring a renewed emphasis on contemporary music. In 1970, three years before his appointment as BSO music director, Seiji Ozawa became head of the BSO’s programs at Tanglewood, with Gunther Schuller leading the TMC and Leonard Bern- stein as general advisor. Leon Fleisher was the TMC’s artistic director from 1985 to 1997. In 1994, with the opening of Seiji Ozawa Hall, the TMC centralized its activities on the Leonard Bernstein Campus. Ellen Highstein became Director of the Tanglewood Music Center in 1997. The 150 young performers and composers in the TMC’s Fellowship Program— advanced musicians who generally have completed all or most of their formal training— participate in an intensive program encompassing chamber and orchestral music, opera, and art song, with a strong emphasis on music of the 20th and 21st centuries. All participants receive full fellowships that underwrite tuition, room, and board. According to recent estimates, 20% of the members of American symphony orchestras, and 30% of all ﬁrst-chair players, studied at the TMC. Prominent alumni include Claudio Abbado, Leonard Bernstein, Stephanie Blythe, Phyllis Curtin, Christoph von Dohnányi, Michael Gandolﬁ, Osvaldo Golijov, John Harbison, Gilbert Kalish, Oliver Knussen, Lorin Maazel, Wynton Marsalis, Zubin Mehta, Seiji Ozawa, Leontyne Price, Ned Rorem, Sanford Sylvan, Michael Tilson Thomas, Dawn Upshaw, Shirley Verrett, and David Zinman. Tanglewood Music Center alumni play a vital role in the musical life of the nation, and the TMC remains one of the world’s most important training grounds for the composers, conductors, instrumentalists, and vocalists of tomorrow.

Tanglewood Learning Institute Representing one of the most significant milestones here since the founding of Tanglewood in 1937 and the inception of the Tanglewood Music Center in 1940, the newly inaugurated Tanglewood Learning Institute (TLI) offers participants—whether newcomers or longtime Tanglewood patrons—an unprecedented and expansive array of engaging cross-cultural programs reflecting the shift toward participatory activities that complement the concert experience. TLI’s offerings link Tanglewood performances to relevant themes from the worlds of visual arts, film, history, philosophy, and current events by exploring thought-provoking approaches designed to view the world through the lens of music, while also breaking down the traditional barrier between artist and listener. Notable TLI presenters this year include former Secretary of State Madeleine K. Albright; Pulitzer Prize-winning author and historian Doris Kearns Goodwin; cellist Yo-Yo Ma; soprano Renée Fleming; BSO Music Director Andris Nelsons; composer John Williams, and playwright Tom Stoppard, as well as other important artists and cultural figures of our time. Among the new TLI initiatives are Saturday-morning Focal Point programs for amateur visual artists; a Sunday-evening Cinematics film series related to Tanglewood programming; TLI Immersion Weekends that delve deeply into major musical themes of the summer; TLI OpenStudios, offering master classes led by leading performers; Meet the Makers, presenting a wide spectrum of creators sharing the inspiration behind their craft, and The Big Idea, featuring major societal thinkers of our time. The home of the Tanglewood Learning Institute is the Linde Center for Music and Learning, a new, four-building, multi-use complex that also provides concert and rehearsal space for the Tanglewood Music Center and establishes Tanglewood, for the first time in its 82-year history, as a year-round facility. Designed by William Rawn Associates Architects, the Linde Center represents the largest building project at Tangle- wood since the completion and inauguration in 1994, a quarter-century ago, of Seiji Ozawa Hall, also designed by William Rawn Associ- ates. The Linde Center for Music and Learning boasts three technically advanced studios designed to maximize its flexibility for performance, rehearsal, and educational offerings of the Tanglewood Learning Institute. In addition, Cindy’s Café offers an informal place for musicians and audience members to interact—a hub for visitors, TMC Fellows and faculty, BSO players, and TLI participants. The buildings gather around a 100-year-old red oak, with a serpentine covered walkway connecting each building and framing views and paths through the landscape. Also as a part of this major investment in Tanglewood, Studio E in the new Linde Center for Music and Learning (Robert Benson) the BSO has revitalized Tanglewood’s bucolic 524-acre campus with new plantings, improvements to pedestrian circulation, and the restoration of views of the Stockbridge Bowl. The opening of the Linde Center for Music and Learning, along with the establish- ment of the Tanglewood Learning Institute, marks a transformational milestone in the history of Tanglewood.

Tanglewood Welcome Center The Tanglewood Welcome Center, located at the Main Gate next to the box office, offers general information about Tanglewood and literature about other Berkshire attractions. Hours are Monday-Thursday, 10am-6pm; Fridays from 10am-intermission; Saturdays from 9am-intermission; and Sundays from 12 noon-intermission. Lost and Found is located at the Tanglewood Welcome Center. Visitors who find stray property may hand it to any Tanglewood official. Tanglewood Visitor Center The Tanglewood Visitor Center, located on the first floor of the Tappan Manor House at the rear of the lawn across from the Koussevitzky Music Shed, provides general information on all aspects of Tanglewood, as well as information about other Berkshire attractions. The Visitor Center also includes a BSO Archives exhibit on Tanglewood and the Tanglewood Music Center, as well as the early history of the estate. Hours are Monday-Thursday, 10am-5pm; Fridays from 10am-intermission; Saturdays from 9am-intermission; and Sundays from 12 noon-intermission.

This Summer’s Special Archival Exhibit at the Tanglewood Visitor Center

A Blueprint for Excellence The Evolution of the Tanglewood Campus

To provide historical context relevant to the inauguration this summer of the new Linde Center for Music and Learning, this summer’s special focus exhibit at the Tanglewood Visitor Center draws upon the BSO Archives’ extensive collection of photographs, architectural plans, and other memo- rabilia documenting the evolution of the Tangle- wood grounds from 1937 to the present. Besides documenting the origins and early owner- The lowering by crane of a steel arch to ship of the Tanglewood form the roof of Seiji Ozawa Hall, 1993 (Walter H. Scott) and adjacent Highwood Photo, c.1950, of the Theatre-Concert Hall, estates, the exhibit explores which was completed in 1941 (Egone) the early development of the Tanglewood grounds, and the construction from the late 1930s through the 1940s of the Shed, Theatre-Concert Hall, Chamber Music Hall, and Main Gate area, all designed originally by Finnish architect Eliel Saarinen and his son Eero Saarinen. Also included in the exhibit are materials pertinent to the integration of the Tangle- wood and Highwood estates following the BSO’s purchase of Highwood in 1986, which allowed not only for the merging of the two properties, but for the construction of Seiji Ozawa Hall, designed by William Rawn Associates, and the creation of the Tanglewood Music Center’s Leonard Bernstein Campus—ultimately setting the stage for this summer’s inauguration of both the new Linde Center for Music and Learning, also designed by William Rawn Associates, and the Tanglewood Learning Institute.

Tanglewood’s Main Gate as completed originally in 1948 (Howard S. Babbitt)

Aerial view from the 1950s of Tanglewood and the neighboring Highwood estate (photographer unknown) In Consideration of Our Performing Artists and Patrons

Please note: We promote a healthy lifestyle. Tanglewood restricts smoking to designated areas only. For the purpose of this policy, “smoking” includes such tobacco products as cigarettes, cigars, and pipes, as well as the use of e-cigarettes, regardless of whether they include tobacco. Latecomers will be seated at the first convenient pause in the program. If you must leave early, kindly do so between works or at intermission. Except for water, please do not bring food or beverages into the Koussevitzky Music Shed, Theatre, or Ozawa Hall. Please note that the use of audio or video recording equipment during concerts and rehearsals is prohibited, and that video cameras may not be carried into the Music Shed or Ozawa Hall during concerts or rehearsals. Cameras are welcome, but please do not take pictures during the performance as the noise and flash are dis- turbing to the performers and to other listeners. For the safety of your fellow patrons, please note that cooking, open flames, sports activities, bikes, scooters, skate- boards, hoverboards, weapons (except for on-duty security officers), drones, and other similar unmanned aircraft are prohibited from the Tanglewood grounds. Patrons are permitted to use small, open-sided canopies in designated areas of the lawn provided that they do not penetrate grounds infrastructure and do not unreasonably obstruct the view of other lawn patrons. Ball playing is not permitted on the Shed lawn when the grounds are open for a Shed concert; during Shed concerts, children may play ball only in designated areas around the Visitor Center and in the Apple Tree lot near Ozawa Hall, but only if such activity does not disturb performances, rehearsals, or patrons sitting on the lawn. Shirts and shoes must be worn inside concert halls. No areas of the lawn may be cordoned off for any reason. Please also note that patrons assume responsibility for properly securing their lawn equipment, and for any damages to persons or property arising from the use of such equipment at Tanglewood. In consideration of the performers and those around you, please be sure that your cellular phones, pagers, watch alarms, and tablets are switched off during concerts, as well as all other texting and electronic devices. The following are also not permitted at Tanglewood: solicitation or distribution of material; unauthorized ticket resales; animals other than approved service animals; motorized vehicles other than transport devices for use by mobility-impaired individuals. For the safety and security of our patrons, we reserve the right to inspect all bags, purses, backpacks, and other items brought onto the Tanglewood grounds. Thank you for your cooperation.

Tanglewood Information

PROGRAM INFORMATION for Tanglewood events is available at the Welcome Center (Main Gate), Visitor Center (Tappan Manor House), and the new Linde Center for Music and Learning, as well as at the Bernstein Gate, Highwood Gate, and Lions Gate, or by calling (413) 637-5180. For weekly pre-recorded program information, please call the Tanglewood Concert Line at (413) 637-1666. BOX OFFICE HOURS are from 10am-6pm Monday through Friday (extended through intermission on concert evenings); Saturday from 9am through intermission of the evening concert; and Sunday from 10am through intermission of the afternoon concert. Payment may be made by cash, personal check, or major credit card. Tickets may also be purchased at the Symphony Hall box office in Boston, Monday through Friday from 10am-5pm. To charge tickets by phone using a major credit card, please call SYMPHONYCHARGE at 888-266-1200 or in Boston at 617-266-1200. Tickets can also be ordered online at tanglewood.org. Please note that there is a service charge for all tickets purchased by phone or online. TANGLEWOOD.ORG provides up-to-date information on all Boston Symphony Orchestra and Tanglewood Music Center activities at Tanglewood. TLI.ORG provides information about Tanglewood Learning Institute activities. The free BSO APP is available from Google Play on Android devices and from the App Store on Apple devices. FOR PATRONS WITH DISABILITIES, parking facilities are located at the Main Gate, Ozawa Hall, and the Linde Center for Music and Learning. Wheelchair service is available at the Main Gate, Ozawa Hall, and Linde Center, and at the reserved-parking lots. Accessible restrooms, pay phones, and water fountains are located throughout the Tanglewood grounds. Assistive listening devices are available at the Koussevitzky Music Shed, Seiji Ozawa Hall, and the Linde Center; please speak to an usher. To purchase tickets, call VOICE 1-888-266-1200 or TDD/TTY (617) 638-9289. For information about disability services, please call (617) 638-9431, e-mail [email protected], or visit tanglewood.org/access. FOOD AND BEVERAGES are available at the Tanglewood Café, the Tanglewood Grille, Highwood Manor House, Cindy’s Café at the new Linde Center for Music and Learning, and at other locations as noted on the map. Cindy’s Café is open Sundays-Fridays from noon-2:30pm and evenings when there is a concert in Ozawa Hall. The Tanglewood Café is open on Saturdays from 9am-2:30pm; on Shed concert evenings Fridays and Saturdays through intermission; and on Sundays from noon through intermission. The Tanglewood Grille, Shed Snack Bar, and Shed Beer Garden are open through intermission when Tanglewood is open for Shed concerts. The Ozawa Snack Bar is open when the grounds are open for Ozawa Hall concerts. Highwood Manor House is open prior to BSO concerts for dinner on Friday and Saturday, and for Sunday brunch; please call 413-637-4486 for reservations at least 48 hours in advance. Visitors are invited to picnic before concerts. Meals-To-Go may be ordered by calling 413-637-5152, or visit tanglewood.org/dining for online ordering or more details. LAWN TICKETS: Undated lawn tickets for Tanglewood concerts may be purchased in advance at the Tanglewood box office. Lawn Pass Books offer eleven tickets for the price of ten. Note that these tickets are not valid for Popular Artists or Tanglewood Learning Institute events. LAWN TICKETS FOR ALL BSO AND POPS CONCERTS IN THE SHED MAY BE UPGRADED AT THE BOX OFFICE, subject to availability, for the difference in the price paid for the original lawn ticket and the price of the seat inside the Shed. FREE LAWN TICKETS FOR YOUNG PEOPLE: On the day of BSO and Pops concerts, and Ozawa Hall recitals, children age seventeen and younger are offered special lawn tickets to attend Tanglewood concerts FREE OF CHARGE. Up to four free children’s lawn tickets are offered per parent or guardian for each concert, but please note that children under five must be seated on the rear half of the lawn. Please note, too, that children under five are not permitted in the Koussevitzky Music Shed or in Seiji Ozawa Hall during concerts or Open Rehearsals, and that this policy does not apply to organized children’s groups (15 or more), which should contact Group Sales at Symphony Hall in Boston, (617) 638-9345, for special rates. For Popular Artists concerts, free lawn tickets are available only for children under age 2. KIDS’ CORNER, where children accompanied by adults may take part in musical and crafts activities supervised by BSO staff, is offered at 9:30 a.m. on Saturdays and noon on Sundays. Further information about Kids’ Corner is available at the Tanglewood Visitor Center. Tickets to the Sunday concert or Saturday-Morning Rehearsal are required. SATURDAY-MORNING REHEARSALS of the Boston Symphony Orchestra are open to the public, with reserved-seat Shed tickets available at the Tanglewood box office for $34 (front and boxes) and $24 (rear); lawn tickets are $14. A half-hour Pre-Rehearsal Talk is offered free of charge to all ticket holders, beginning at 9:30 a.m. in the Shed. FIRST AID STATIONS are located near the Main Gate and the Bernstein Campus Gate. PHYSICIANS EXPECTING CALLS are asked to leave their names and seat numbers with the guide at the Main Gate (Bernstein Gate for Ozawa Hall events). THE TANGLEWOOD TENT near the Koussevitzky Music Shed offers bar service and picnic space to Tent Members on concert days. Tent Membership is a benefit available to donors through the Tanglewood Friends Office. THE GLASS HOUSE GIFT SHOPS, which remain open during performances, sell adult and children’s leisure clothing, accessories, posters, stationery, CDs, and gift items. Glass House Main Gate is open Monday-Thursday from 10am-4pm; Friday from 10am until 30 minutes after the evening concert; Saturday from 9am until 30 minutes after the evening concert; and Sunday from 12 noon-5pm. Glass House Highwood Gate is open Friday from 5:30pm through post-concert; during the Saturday-Morning Rehearsals and Saturday evenings from 5:30pm until after the evening concert; Sunday from 12 noon- 5pm; and on Ozawa Hall concert evenings through intermission. THE BSO FREQUENTLY RECORDS CONCERTS or portions of concerts via hand-held or robotic cameras for archival and promotional purposes. Please be aware that your presence at Tanglewood acknowledges your consent to such photography, filming, and recording for possible use in any and all media. TANGLEWOOD HAS A ZERO TOLERANCE POLICY for harassment of any kind, including but not limited to race, national origin, gender, gender identity, gender presentation, sexual orientation, age, disability, religion, and citizenship. Harassment includes but is not limited to stalking, verbal or physical intimidation, offensive verbal comments, physical assault and/or battery, inappropriate physical contact, and unwelcome physical attention. If you are made to feel uncomfortable or unsafe, please immediately report any concerns to Tanglewood staff or security personnel so appropriate action can be taken.

Boston Symphony Orchestra Tanglewood 2019

ANDRIS NELSONS BERNARD HAITINK SEIJI OZAWA THOMAS ADÈS Ray and Maria Stata LaCroix Family Fund Music Director Laureate Deborah and Philip Music Director Conductor Emeritus Edmundson Artistic Partner endowed in perpetuity endowed in perpetuity THOMAS WILKINS Germeshausen Youth and Family Concerts Conductor endowed in perpetuity

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

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 led the BSO in fourteen wide-ranging subscription programs in 2018-19 at Symphony Hall in Boston, repeating two of them at New York’s Carnegie Hall. In summer 2015, following his first season as music director, Andris Nelsons’ contract with the BSO was extended through the 2021-22 season. He and the BSO have made three European tours together, in 2015, 2016, and 2018. In November 2017, he and the orchestra toured Japan together for the first time. In February 2018, Maestro Nelsons became Gewandhau- skapellmeister of the Gewandhausorchester Leipzig, in which capacity he brings the BSO and Gewandhaus Orchestra together for a unique multi-dimensional alliance. The fifteenth music director in the history of the Boston Symphony Orchestra, Andris Nelsons made his BSO debut at Carnegie Hall in March 2011, his Tanglewood debut in July 2012, and his BSO subscription series debut in January 2013. His recordings with the BSO, all made live in concert at Symphony Hall, include the complete Brahms symphonies on BSO Classics; Grammy-winning recordings on Deutsche Grammophon (photo by Marco Borggreve) of Shostakovich’s symphonies 4, 5, 8, 9, 10, and 11 (The Year 1905) as part of a complete Shostakovich symphony cycle for that label; and a recent two-disc set pairing Shostakovich’s symphonies 6 and 7 (Leningrad). 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 marks Maestro Nelsons’ final season as artist-in-residence at the Konzerthaus Dortmund and first season as artist-in-residence at Hamburg’s Elbphilharmonie. In addition, he continues his regular collaborations with the Vienna Philharmonic and Berlin Phil- harmonic. Throughout his career, he has also established regular collaborations with Amsterdam’s Royal Concertgebouw Orchestra, the Bavarian Radio Symphony Orchestra, and the Philharmonia Orches- tra, 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 study- At Tanglewood in 2014 (Marco Borggreve) ing 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. A Brief History of the Boston Symphony Orchestra

Now in its 138th season, the Boston Symphony Orchestra gave its inaugural concert in 1881, realizing the dream of its founder, the Civil War veteran/businessman/philan- thropist Henry Lee Higginson, who envisioned a great and permanent orchestra in his hometown of Boston. Today the BSO reaches millions of listeners, not only through its concert performances in Boston and at Tanglewood, but also via the internet, radio, television, educational programs, recordings, and tours. It commissions works from today’s most important composers; its summer season at Tanglewood is among the world’s most esteemed music festivals; it helps develop future audiences through BSO Youth Concerts and educational outreach programs involving the entire Boston community; and, during the Tanglewood season, it operates the Tanglewood Music Center, one of the world’s most important training grounds for young professional-caliber musicians. The Boston Symphony Chamber Players, made up of BSO principals, are known worldwide, and the Boston Pops Orchestra sets an international standard for performances of lighter music. Launched in 1996, the BSO’s website, bso.org, is the largest and most- visited orchestral website in the United States, receiving approximately Major Henry Lee Higginson, 7 million visitors annually on its full site as well as its smart phone-/ founder of the Boston mobile device-friendly web format. The BSO is also on Facebook and Symphony Orchestra Twitter, and video content from the BSO is available on YouTube. An (BSO Archives) expansion of the BSO’s educational activities has also played a key role in strengthening the orchestra’s commitment to, and presence within, its surround- ing communities. Through its Education and Community Engagement programs, the BSO provides individuals of all backgrounds the opportunity to develop and build relationships with the BSO and orchestral music. In addition, the BSO offers a variety of free educational programs at Symphony Hall and Tanglewood, as well as special initiatives aimed at attracting young audience members. The Boston Symphony Orchestra gave its inaugural concert on October 22, 1881, under Georg Henschel, who remained as conductor until 1884. For nearly twenty years, BSO concerts were held in the old Boston Music Hall; Symphony Hall, one of the world’s most revered concert halls, opened on October 15, 1900. Henschel was succeeded by the German-born and -trained conductors Wilhelm Gericke, Arthur Nikisch, Emil Paur, and Max Fiedler, culminating in the appointment of the legendary

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

YOU DON’T HAVE TO STAY TO GET AWAY The Courtyard at The Red Lion Inn is one of the Berkshires’ true summer pleasures. Whether you’re a guest, or live around the corner, the flower-filled, casual dining spot offers you a taste of the region’s favorite season. The menu features al fresco dining with traditional Red Lion favorites, as well as seasonal specialties. So why not laze away a sun-drenched afternoon under an umbrella? Or spend your evening sipping on a drink and star gazing? The Courtyard is the perfect haven from the everyday world. Open June through September.

30 Main Street, Stockbridge redlioninn.com Illustration by Ryan McMenamy

C+I 2019 studs.indd 5 8/29/19 12:16 PM C+I 2019 studs.indd 6 8/29/19 12:16 PM JUNE 8 THROUGH SEPTEMBER 22 (detail), c. 1883-84. Harvard Art Museums/Fogg Museum, Bequest from the Collection of Maurice Wertheim, Class of 1906 (detail), c. 1883-84. Harvard Art Museums/Fogg Museum, Bequest from the Collection of Maurice Wertheim,

RENOIR Seated Bather THE BODY, THE SENSES Pierre-Auguste Renoir,

Renoir: The Body, The Senses is organized by the Clark Art Institute, Williamstown, Massachusetts, and the Kimbell Art Museum, Fort Worth, Texas. This exhibition is supported by an indemnity from the Federal Council on the Arts and the Humanities. The Clark’s summer 2019 exhibitions Williamstown, Massachusetts and programs are made possible in part by generous support from Denise Littleﬁeld Sobel. Presentation of Renoir: The Body, The Senses at the Clark is generously supported by Robert and Martha Berman Lipp, Acquavella Galleries, and the Robert Lehman Foundation. clarkart.edu

C+I 2019 studs.indd 7 8/29/19 12:16 PM News that makes you think.

wgbhnews.org

C+I 2019 studs.indd 8 8/29/19 12:16 PM Table of Contents

Friday, August 9, 6pm (Prelude Concert) 3 MEMBERS OF THE BOSTON SYMPHONY ORCHESTRA ROGER VIGNOLES, piano Music of Britten and Fauré

Friday, August 9, 8pm 8 BOSTON SYMPHONY ORCHESTRA LEONIDAS KAVAKOS, violin and conductor Music of Beethoven and Dvoˇrák

Saturday, August 10, 8pm 15 BOSTON SYMPHONY ORCHESTRA RAFAEL PAYARE conducting NIKOLAI LUGANSKY, piano Music of Carreño, Rachmaninoff, and Brahms

Sunday, August 11, 2:30pm 25 BOSTON SYMPHONY ORCHESTRA THOMAS ADÈS conducting INON BARNATAN, piano Music of Ives and Beethoven

Sunday, August 11, 7:30pm 34 YO-YO MA, cello J.S. Bach’s Six Suites for Solo Cello

Saturday-Morning Open Rehearsal Speakers July 13 and 27; August 10 and 24—Marc Mandel, BSO Director of Program Publications July 6 and 20; August 3 and 17—Robert Kirzinger, BSO Associate Director of Program Publications

Koussevitzky Shed and lawn video projections provided by Myriad Productions, Saratoga Springs, NY Walter H. Scott

TANGLEWOOD WEEK 6 TABLE OF CONTENTS 1

2019 Tanglewood

Prelude Concert Friday, August 9, 6pm Florence Gould Auditorium, Seiji Ozawa Hall

MEMBERS OF THE BOSTON SYMPHONY ORCHESTRA SHEILA FIEKOWSKY, violin (1st violin in Fauré) LISA JI EUN KIM, violin (1st violin in Britten) DANIEL GETZ, viola OLIVER ALDORT, cello ROGER VIGNOLES, piano

BRITTEN String Quartet No. 2 in C, Opus 36 Allegro calmo senza rigore Vivace Chacony: Sostenuto

FAURÉ Piano Quintet No. 1 in D minor, Opus 89 Molto moderato Adagio Allegretto moderato

Piano by Steinway & Sons – the Artistic Choice of Tanglewood Special thanks to Commonwealth Worldwide Executive Transportation In consideration of the artists 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.

TANGLEWOOD WEEK 6 PRELUDE PROGRAM 3 NOTES ON THE PROGRAM

The great English composer Benjamin Britten (1913-1976) completed his String Quartet No. 2 in C, Opus 36, on October 14, 1945. It was one of three Britten works commemorating the 250th anniversary of Henry Purcell’s death (the others were Young Person’s Guide to the Orchestra and Holy Sonnets). Adopting Purcell’s favorite Chacony (ground-bass) form for the quartet’s finale, Britten explored the kind of finale-dominated three-movement layout in which all movements share the same keynote—a layout used in Beethoven’s Moonlight and Opus 109 piano sonatas. Bee- thoven’s Opus 109, with its lightning scherzo and spacious final variations, may have provided impetus—the Chacony being, like its Beethoven analogue, a variation structure almost twice the length of the two previous movements combined. In the first movement, the opening upward-gliding tenth introduces three first- subject themes. The second of these reappears to begin the subsidiary group. Weird, whispered musings on the tenth-motif hover during the development, and Britten drastically compresses the recapitulation, presenting the three themes simultaneously. All instruments are muted throughout Britten’s mordant scherzo. Paired instruments in unison deliver the stuttering, scurrying theme. In a central section, the first violin chants a desperate melody in octaves. The stately Chacony theme, cast in sarabande rhythm, is delivered pianissimo by the four instruments in unison. To articulate the progress of the twenty-one variations, Britten interpolates cadenzas after variations 6, 12, and 18. The first six variations fan out to encompass multiple registers, then more animated rhythms. Six scherzo variations follow the forceful cello cadenza, while the next group, introduced by a viola cadenza, comprises an intensely expressive slow movement. After a violin cadenza replete with coruscating scales and trills, the final three variations constitute a coda, which not only provides a closing climax but also unifies the finale and ties it to the rest of the quartet.

Gabriel Fauré (1845-1924) completed two piano quartets before beginning in 1887 his Piano Quintet No. 1 in D minor, Opus 89, a work whose gestation was long and difficult. Initially, Fauré planned to compose another piano quartet, but by 1890 his sketches for the piece included an additional violin. Frustrated with the work, he set it aside for long periods, finally completing it in 1905 when he was sixty and had just become director of the Paris Conservatoire. He remarked: “The work of considerably recasting, balancing, and improving the first movement was very hard. And now when I read it and hear it in my head, it seems to me that it has a very deceptive air of spontaneity.” Dedicated to the violinist Eugène Ysaÿe, the quintet was premiered on March 23, 1906, at the Cercle Artistique in Brussels with the Ysaÿe Quartet and pianist Blanche Selva. It was not rehearsed until the day before the premiere, a circumstance blamed on Ysaÿe’s chaotic lifestyle. The work was initially a disappointment to the audience;

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

4 the composer attributed the ambivalent reception to a resemblance he himself then detected between the principal theme of his finale and Beethoven’s Ode to Joy. The first of Fauré’s works to be written after he became aware of impending deafness, it has an overall feeling of melancholy and introspection, yet is interspersed with passionate exclamations. The highly personal and introspective first movement contains a much-celebrated “dream” sequence in which a lovely, spectral melody floats above arpeggios. Fauré creates a light texture with a long lyrical melodic line announced by the second violin, rising over quick arpeggios on the piano, the two complementing each other as the piano part’s liquidity infuses the music with a very French type of beauty. The movement has three themes that take the overall mood from severity to wistfulness. Fauré briefly planned four movements, but ultimately wrote three, the second being a melancholic, contemplative Adagio. Fauré develops the Adagio’s two subjects by weaving them together, using characteristic motives from each to create emotional climaxes. The impulsive, rondo-like finale starts with a buoyant opening theme which soon yields to abundant yet subtle contrapuntal treatment. The density of the string texture is the moving force, even though the piano bears equal melodic responsibility. As the movement progresses, the emotional range of the music is ecstatic, stormy, and sunny, the swirling coda boldly joining them all together. Intent on unity rather than diversity, Fauré presents the successive themes as complements or extensions of each other.

Notes by BENJAMIN FOLKMAN (Britten) and SUSAN HALPERN (Fauré) Benjamin Folkman is an annotator and lecturer on music as well as author-editor of Alexandre Tcherepnin: A Compendium. New York-based annotator Susan Halpern writes program notes, articles, and liner notes on symphonic, recital, and chamber music repertoire.

Artists

A member of the Boston Symphony Orchestra since 1975, Sheila Fiekowsky was born in Detroit and began studying the violin at age nine when she was offered a violin through a public school program. Her musical studies quickly progressed when her teacher, a bass player, insisted she begin lessons with Emily Mutter Austin, a violinist with the Detroit Symphony Orchestra. Her summers were spent at the Meadowmount School of Music, where she studied violin with Ivan Galamian and chamber music with Joseph Gingold. She appeared as a soloist with the Detroit Symphony at sixteen and that same year won the National Federation of Music Clubs Biennial Award. Ms. Fiekowsky attended the Curtis Institute of Music, where she studied with Ivan Galamian and Jaime Laredo. In chamber music classes, she worked with Felix Galimir and members of the Guarneri Quartet. She holds a master’s degree from Yale University, where her teacher was Joseph Silverstein. Her chamber music experience includes performances at the Marlboro, Norfolk, and Aspen music festivals. A regular performer in chamber music concerts at Symphony Hall and Tanglewood, she has been heard in numerous chamber music and solo concerts in the Boston area. Her solo appearances include concerts with the Newton Symphony, North Shore Symphony, Mystic Valley Orchestra, and Boston Pops Orchestra. Ms. Fiekowsky plays a Hieronymus Amati violin made circa 1670 in

TANGLEWOOD WEEK 6 PRELUDE PROGRAM NOTES 5 Cremona, Italy. She currently occupies the Shirley and J. Richard Fennell Chair in the BSO’s second violin section. San Diego native Lisa Ji Eun Kim joined the Boston Symphony Orchestra violin section at the start of the 2017-18 subscription season. She received her bachelor’s and master’s degrees from the Juilliard School, where she studied with Hyo Kang and David Chan. Ms. Kim has participated in various festivals such as Music Academy of the West, the Schleswig-Holstein Music Festival, Norfolk Chamber Music Festival, and Verbier Festival, under such mentors as Paul Kantor, Robert McDufﬁe, Ruggiero Ricci, Robert Lipsett, and Abram Shtern. She was runner-up in the Juilliard School’s annual concerto competition in 2013. For two consecutive years, 2011 and 2012, Ms. Kim won the grand prize of the Musical Merit Competition, resulting in a full scholarship to the Aspen Music Festival and School in 2012. An active chamber musician and soloist, she was a member of the Houston Symphony in the 2016-17 season. She has performed as soloist with the San Diego Symphony, Grossmont Symphony, Saratoga Symphony, San Diego Chamber Orchestra, San Diego Youth Symphony, and San Diego Youth Philharmonia. Daniel Getz joined the viola section of the Boston Symphony Orchestra at the start of the 2013-14 season. Raised in Bethesda, Maryland, Mr. Getz began studying violin at age eight and switched to the viola at sixteen, studying with National Symphony violist Mahoko Eguchi. In 2011 he received his bachelor of music degree from the New England Conservatory, where he was a student of Kim Kashkashian. He earned his master of music degree at the Juilliard School in 2013 as a student of Heidi Castleman and Robert Vernon. Daniel Getz has performed the Bartók, Walton, and Stamitz viola concertos as a soloist with various orchestras in his hometown. He also

6 frequently performs chamber music concerts in the greater Boston area and in the Berkshires with other members of the BSO. Mr. Getz teaches viola and chamber music at the New England Conservatory Preparatory School. Prior to joining the BSO, he performed as a substitute with the orchestra as well as with the New York Philharmonic. An alumnus of the Tanglewood Music Center, he has also participated at the Aspen Music Festival, Kneisel Hall, and the Perlman Music Program. Cellist Oliver Aldort joined the Boston Symphony Orchestra in September 2015. Raised on Orcas Island, in Washington State, Mr. Aldort began his musical studies on cello and piano at the age of six, gave his debut recital at seven, and has performed as a soloist with orchestras since he was ten, including appearances with the Victoria Symphony Orchestra, Newton Symphony Orchestra, and Philharmonia Northwest Orchestra. He was co-principal cellist of the Curtis Symphony Orchestra in the 2013-14 season and has performed at the Verbier Festival Academy, the Tanglewood Music Center, and the Steans Music Institute at Ravinia. Mr. Aldort has appeared on KOMO TV’s “Northwest Afternoon,” NPR’s “From the Top,” and CBC Radio, and was featured in the 2008 British TV documentary “The World’s Great- est Musical Prodigies.” He has been awarded top prizes in numerous competitions, including the 2007 MTNA Junior Competition, as well as the 2008 and 2010 Seattle Young Artists Music Festival. Mr. Aldort received his bachelor of music degree from the Curtis Institute of Music in May 2015. His principal teachers have included Carter Brey, Peter Wiley, Lynn Harrell, Ron Leonard, and Amos Yang. Roger Vignoles is internationally recognized as one of the world’s most distinguished collaborative pianists and musicians. Regarded as a leading authority on the song repertoire, he regularly partners the ﬁnest singers in major venues around the world. Originally inspired to pursue a career as a piano accompanist by the playing of Gerald Moore, he read music at Magdalene College, Cambridge, and later joined the Royal Opera House as a répétiteur. He then completed his training with the renowned Viennese-born teacher Paul Hamburger. In the course of his distinguished career, Mr. Vignoles has collaborated with such leading singers as Elis- abeth Söderström, Dame Kiri Te Kanawa, Sir Thomas Allen, Barbara Bonney, Kath- leen Battle, Christine Brewer, Brigitte Fassbaender, Bernarda Fink, Susan Graham, Thomas Hampson, Lorraine Hunt Lieberson, Dame Felicity Lott, Mark Padmore, John Mark Ainsley, Sarah Walker, Measha Brueggergosman, and Kate Royal, among others. He performs extensively at such major venues worldwide as the Wigmore Hall, Philharmonie Cologne, Vienna’s Konzerthaus and Musikverein, Amsterdam’s Concertgebouw, the Musée d’Orsay, New York’s Carnegie Hall and Frick Collection, La Scala, Oper Frankfurt, the Théatre des Champs-Élysées, Schubertiade Schwarzen- berg, Bonn Beethovenfest, Baden-Baden Festival, and Teatro del Zarzuela in Madrid. This summer he occupies the Renee Longy Master Teacher Chair, gift of Jane and John Goodwin, as a Tanglewood Music Center faculty member. Stu Rosner

TANGLEWOOD WEEK 6 PRELUDE PROGRAM NOTES 7 2019 Tanglewood Boston Symphony Orchestra 138th season, 2018–2019

Friday, August 9, 8pm “UnderScore Friday” concert, including introductory comments from the stage by BSO violist Danny Kim

LEONIDAS KAVAKOS, violin and conductor

BEETHOVEN Violin Concerto in D, Opus 61 Allegro ma non troppo Larghetto Rondo: Allegro Mr. KAVAKOS

{Intermission}

DVORÁKˇ Symphony No. 7 in D minor, Opus 70 Allegro maestoso Poco adagio Scherzo: Vivace Finale: Allegro

The performance of Beethoven’s Violin Concerto is supported by a gift from Ken Stark in memory of Lynn.

8 NOTES ON THE PROGRAM

Ludwig van Beethoven (1770-1827) Violin Concerto in D, Opus 61 First performance: December 23, 1806, Theater an der Wien, Vienna, Beethoven cond., Franz Clement, soloist. First BSO performance: January 5, 1884, Georg Henschel cond., Louis Schmidt, Jr., soloist. First Tanglewood performance: August 8, 1940, Serge Kousse- vitzky cond., Albert Spalding, soloist. Most recent Tanglewood performance: July 30, 2017, Bramwell Tovey cond., Pinchas Zukerman, soloist. For his first-movement cadenza at tonight’s performance, Leonidas Kavakos plays his own arrangement of Beethoven’s first-movement cadenza (which includes a dialogue between soloist and timpani) from the composer’s little-known 1807 transcription of the Violin Concerto for piano and orchestra. The works Beethoven finished in the last half of 1806—the Violin Concerto, the Fourth Symphony, and the Fourth Piano Concerto among them—were completed rather rapidly by the composer following his extended struggle with the original version of his opera Fidelio, which had occupied him from the end of 1804 until April 1806. The most important or chestral work Beethoven had previously completed was the Eroica, in which he overwhelmed his audiences with a forceful new musical language reflecting both his own inner struggles in the face of impending deafness and also his aware ness of the political atmosphere around him. The next big orchestral work to embody this “heroic” style would be the Fifth Symphony, which began to germinate in 1804 but was completed only in 1808. Meanwhile, a more relaxed sort of expression began to emerge, incorporating a height- ened sense of repose, a more broadly lyric element, and a more spacious approach to musical architecture. But while they share these characteristics, it is important to remember that the Violin Concerto, Fourth Symphony, and Fourth Piano Concerto do not represent a unilateral change of direction in Beethoven’s approach to music; rather they reflect the emergence of a particular element that appeared strikingly at this time. Sketches for the Violin Concerto and the Fifth Symphony in fact occur side by side; and that the two aspects—lyric and heroic—of Beethoven’s musical expression are not entirely separable is evident also in the fact that ideas for both the Fifth and Pastoral symphonies appear in the so-called Eroica sketchbook of 1803-04, and that these two very different symphonies—the one strongly assertive, the other more gentle and subdued—were not completed until 1808, two years after the Violin Concerto. The prevailing lyricism and restraint of Beethoven’s Violin Concerto doubtless also reflect the particular abilities of Franz Clement, the violinist for whom it was written. More than just a virtuoso violinist, Clement was also an accomplished pianist, score-reader, and accompanist; from 1802 until 1811 he was conductor and concertmaster of Vienna’s Theater an der Wien. Beethoven headed the autograph manuscript with the dedication, “Concerto par Clemenza pour Clement, primo Violino e direttore al Teatro a vienna dal L.v. Bthvn 1806.” It seems that Beethoven completed the concerto barely in time for the premiere at the Theater an der Wien on December 23, 1806. Clement reportedly performed the solo part at sight, but this did not prevent the undauntable violinist from interpolating, between the two halves of the concer- to, a piece of his own played with his instrument held upside down—or at least so it was said, for many years. Only later, however, did the concerto come to win its place in the repertory, after the thirteen-year-old violin virtuoso Joseph Joachim played

TANGLEWOOD WEEK 6 FRIDAY PROGRAM NOTES 9 it in London on May 27, 1844, with Felix Mendelssohn conducting. ( Joachim left a set of cadenzas for the concerto that are sometimes still heard today, as did another famous interpreter, Fritz Kreisler.) By all reports, Clement’s technical skill was extraordinary and his intonation no less than perfect, but he was most highly regarded for his “gracefulness and tenderness of expression,” for the “indescribable delicacy, neatness, and elegance” of his playing, attributes certainly called for in this concerto. But this is not to say that Beethoven’s concerto is lacking in the virtuoso element, something we may claim to hear more readily in, say, the later 19th-century violin concertos by Brahms and Tchaikovsky, both of which have more virtuosity written into the notes on the page, and which may seem bigger or grander simply because of their more romantically extrovert musical language. In fact, an inferior violinist will get by less readily in the Beethoven concer- to than in any of the later ones: the most significant demand this piece places upon the performer is the need for utmost musicality of expression, virtuosity of a special, absolutely crucial sort. An appreciation of the first movement’s length, flow, and musical argument is tied to an awareness of the individual thematic materials. It begins with one of the most novel strokes in all of music: four isolated quarter-notes on the drum usher in the opening theme, the first phrase sounding dolce in the winds and offering as much melody in the space of eight measures as one might wish. The length of the movement grows from its duality of character: on the one hand we have those rhythmic drumbeats, which provide a sense of pulse and of an occasionally martial atmosphere, on the other the tuneful, melodic flow of the thematic ideas, against which the drumbeat figure can stand in dark relief. The slow movement, in which the flute and trumpets are silent, is a contemplative set of variations on an almost motionless theme first stated by muted strings. The solo violinist adds tender commentary in the first variation (the theme beginning in the horns, then taken by the clarinet), and then in the second, with the theme entrust- ed to solo bassoon. Now the strings have a restatement, with punctuation from the winds, and then the soloist reenters to reflect upon and reinterpret what has been heard, the solo violin’s full- and upper-registral tone sounding brightly over the orchestral string ac com pani ment. Yet another variation is shared by soloist and plucked strings, but when the horns suggest still another beginning, the strings, now unmuted and forte, refute the notion. The soloist responds with a trill and improvises a bridge into the closing rondo. By way of contrast, the music of this finale is mainly down-to-earth and humorous; among its happy touches are the outdoorsy fanfares that connect the two main themes and, just before the return of these fanfares later in the movement, the only pizzicato notes asked of the soloist in the course of the entire concerto. These fanfares also serve energetically to introduce a cadenza, after which another extended trill brings in a quiet restatement of the rondo theme in an extraordinarily distant key (A-flat) and then the brilliant and boisterous final pages, the solo violinist keep- ing pace with the orchestra to the very end.

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

10 Antonín Dvoˇrák (1841-1904) Symphony No. 7 in D minor, Opus 70 First performance: April 22, 1885, London Philharmonic Society, Dvoˇrák cond. First BSO performances: October 1886, Wilhelm Gericke cond. Most recent Tanglewood performance: July 12, 2015, Ludovic Morlot cond. Five years elapsed between the composition of Dvoˇrák’s Sixth and Seventh sym phonies, but they were years of increasing fame and busy composition in other genres, in clu d ing the brilliant Scherzo capriccioso, the dramatic Hussite Over ture, and the closely argued F minor trio. His opera Dmitri (which, in terms of its plot, is a sequel to Mus sorgsky’s Boris Godunov) had been performed in Prague and the comic opera The Cunning Peas ant in Hamburg. Most im portant for Dvoˇrák’s international reputation, though, was the extraordinary popularity that he enjoyed in London after Jo seph Barnby introduced his Stabat Mater in 1883. He himself conducted the Stabat Mater and other works, including the Sixth Sym phony, during a London visit made in the spring of 1884 at the invitation of the Royal Philharmonic Society. Through out his visit he was warmly fêted by the English. As he wrote to a friend, I am convinced that England offers me a new and certainly happier future, and one which I hope may benefit our entire Czech art. The English are a fine people, enthusiastic about music, and it is well known that they remain loyal to those whose art they have enjoyed. God grant that it may be so with me. Not long after his return home, Dvoˇrák learned that the Philharmonic Society had elected him a member; at the same time, the society requested a new symphony. Though the commission was tendered in June, Dvoˇrák did not rush into the work. In fact, he waited six months before starting to sketch, and even then the composition in volved more than his usual amount of preliminary work and later rewriting. No doubt he was consciously aiming to do his best not only for the English orchestra that re quest ed the work, but also for his mentor Johannes Brahms, whose Third Symphony, performed just a short time before, was both a challenge and an inspiration as Dvoˇrák once again prepared to enter the lists of symphonic composition. Many writers consider the resulting symphony to be Dvoˇrák’s greatest single achievement, a work of powerful and varied moods, a nationalistic symphony that offers more than quaint touristy views of peasant dances (a stereotype of the nationalistic schools), that offers, indeed, the highest degree of musical seriousness and refinement. When the score was published in the autumn of 1885, his publisher Simrock’s title page contributed to a long-lasting confusion in the numbering of the Dvoˇrák sympho nies. Since it was only the second of his symphonies to appear in print, it was published as “No. 2.” But the manu script described the work as Dvoˇrák’s “6th Symphony”—and it was actually his seventh! (He had composed a symphony early on for entry in a competition, and when he was unable to get the score back after- wards, he apparently assumed that the work was lost forever, and numbered his remaining symphonies for the rest of his life as if he had never composed that early first symphony. That score was rediscovered after Dvoˇrák’s death, and the standard numbering now follows the order of composition.) The published score bore no dedication—not even to the Philharmonic Soci ety. But Dvoˇrák’s manuscript bears a private inscription. After he had heard a pair of stunning performances of the symphony given in Berlin under the direction of Hans von Bülow on October 27 and 28, 1889, the composer pasted a photograph of von Bülow to the title page of his score and added the words, “Hail! It was you who brought the work to life!”

TANGLEWOOD WEEK 6 FRIDAY PROGRAM NOTES 11 Dvoˇrák’s enthusiasm for von Bülow’s performance was in part caused by the fact that this symphony had been received with scant success on the Continent at its first perform ance, in Vienna, under Hans Richter. Richter himself had written to the composer ex press ing his dismay with the reaction of the Viennese audience, then as now among the most conservative to be found in the world. “Our Philharmonic audiences,” wrote Richter, “are often—well, let us say, queer. I shan’t, however, let that put me off.” But Richter noted that the new symphony absolutely required “a dramatically trained conductor—a Wagnerian (Hans Bülow will forgive me!)” to do full justice to its range of mood. The symphony opens with a theme of deep Slavic foreboding, lyrical in character but built of motives that could serve as the germ for development. The first page of the final score contains a note in the composer’s hand that reveals, “The main theme occurred to me when the festival train from Pest arrived at the State station in 1884.” The theme certainly has little of “festival” character, but the train in question (Dvoˇrák was noted for his fondness for locomotives and his familiarity with their schedules) brought dozens of anti-Hapsburg patriots to a National Theater Festival in Prague, so it is not unlikely that the Czech colorations in melody and harmony arose from his patriotic mood. Some of the transitional themes are related to ideas in the Hussite Overture, another recent patriotic score composed in memory of the 14th-century Czech religious reformer Jan Hus; these, too, no doubt arose from patriotic connections in Dvoˇrák’s mind. These stern reflections usher in a rocking, sunny second ary theme that contrasts strikingly with the other material. The con- centration of both development and recapitulation make this one of Dvoˇrák’s densest symphonic movements in terms of sheer quality of incident. The Poco adagio begins with a square-cut melodic phrase that comes to its ordained end after eight measures, raising visions of possible theme-and-variations form with a series of starts and stops. But immediately after the statement of that theme, the musical thought opens out to become increasingly chromatic and expressive in a movement filled with wonderful touches of poignancy and colorful elaboration in the or chestral writing. The scherzo is written in 6/4 time, but from the beginning there is an exhilarating conflict between the two beats per measure of 6/4 (in the accompaniment) and the three beats per measure of 3/2 that the ear perceives in the melody. This is, in fact, a furiant, a characteristic Czech dance. Dvoˇrák worked hard at the rhythmic light- ness evident throughout this utterly delightful movement, so spontaneous in effect that it is difficult to realize the amount of sketching and rewriting that went into its bubbling effervescence. In stark contrast, the finale begins in a mood of tragedy— starting right from the intense opening phrase, the last three notes of which are re peated to begin a slow, hymnlike march—with vivid themes developed to a majes- tic close that only turns definitively to the major in the last bars.

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

12 Guest Artist

Leonidas Kavakos Leonidas Kavakos is recognized as a violinist and artist of rare quality, known for his virtuosity and the integrity of his playing. By age twenty-one, Mr. Kavakos had already won the Sibelius, Paganini, and Naumburg competitions. This success led to his making the first-ever recording of the original version of the Sibelius Violin Concerto (1903/4), which won the 1991 Gramophone Concerto of the Year Award. He was named Gramophone Artist of the Year 2014 and in 2017 won the Léonie Sonning Music Prize. In the 2018-19 season, Mr. Kavakos is artist-in-residence at both the Dallas Symphony Orchestra and the Bavarian Radio Symphony Orchestra, appearing as concerto soloist and in the dual role of soloist-conductor with both orchestras. In North America, he performed with the San Francisco Symphony, embarked on a recital tour with pianist Enrico Pace, and gave a concert with Yuja Wang at Carnegie Hall. Highlights in Europe included a tour with Emanuel Ax and Yo-Yo Ma performing the Brahms piano trios and performances as soloist with the Vienna Philharmonic, London Symphony Orchestra, Royal Concertgebouw Orchestra, and Danish National Symphony, among others. He also toured China giving both recital and orchestral performances. Over the years Mr. Kavakos has developed close relationships with some of the world’s most prestigious orchestras and, more recently, he has also built a strong profile as a conductor. This season he conducted the Vienna Symphony Orchestra, Orchestra dell’Accademia Nazionale di Santa Cecilia, Chamber Orchestra of Europe, and Budapest Festival Orchestra. Mr. Kavakos recently signed an exclusive contract with Sony Classical, for whom he has previously recorded Mendelssohn’s Violin Concerto, and, as soloist and conductor with Camerata Salzburg, the Mozart violin concertos. In fall 2017 he joined Yo-Yo Ma and Emanuel Ax for a highly successful recording of the Brahms piano trios for the label. Upcoming recording projects include Beethoven’s Violin Concerto as soloist-conductor with the Bavarian Radio Symphony Orchestra, followed by Bach’s complete solo sonatas and partitas. His other recordings include “Virtuoso” with Enrico Pace, Brahms’s violin sonatas with Yuja Wang, Brahms’s Violin Concerto with Riccardo Chailly and the Gewandhausorchester Leipzig, and the complete Beethoven violin sonatas with Enrico Pace, all on the Decca label. He plays the “Willemotte” Stradivarius violin of 1734. Leonidas Kavakos made his Boston Symphony Orchestra debut in March 2007 with Bartók’s Violin Concerto No. 2 and his Tanglewood debut in August 2014 with Szymanowski’s Violin Concerto No. 2. His most recent Tanglewood appearance with the orchestra was in August 2015, performing the Sibelius Violin Concerto; his most recent subscription appearances were in November/December 2017, as soloist in Prokofiev’s Violin Concerto No. 2. He has appeared with the BSO in the dual role of soloist-conductor on several occasions, most recently in November 2014. This past Tuesday night in Ozawa Hall he performed Beethoven piano trios with Emanuel Ax and Yo-Yo Ma; this coming Tuesday night in Ozawa Hall, he and Emanuel Ax perform a program of Beethoven violin sonatas.

TANGLEWOOD WEEK 6 GUEST ARTIST 13 The Colton Family Concert in Honor of the Tanglewood Learning Institute Saturday, August 10, 2019 The performance on Saturday evening is supported by a generous gift from Judith and Stewart Colton. Judith and Stewart have been dedicated Tanglewood patrons for more than thirty-ﬁve years. Members of the Koussevitzky Society, the couple has supported the Tanglewood Annual Fund, the Tanglewood Music Center, Seranak, and Tanglewood galas for many years. They also contributed to the new Linde Center for Music and Learning through the Tanglewood Forever campaign. In 2016, the Coltons established the Judith and Stewart Colton Fund to support Tanglewood and the Tanglewood Learning Institute, and they named the Judith and Stewart Colton Tanglewood Learning Institute Director, a new position in the BSO’s senior administration held by Sue Elliott. Currently celebrating its inaugural summer season, the Tanglewood Learning Institute marks a transformational new era of programming in Tanglewood’s history. Through dynamic programs, the Tanglewood Learning Institute represents a new concept in creative enrichment that connects audiences, musicians, artists, students, academics, and cultural leaders. With its diverse mosaic of voices and visions, the Tanglewood Learning Institute inspires curiosity and fosters a more engaging and deeper experience of Tanglewood concerts and music, while exploring ideas resonant with the wider culture. This summer’s wide-ranging offerings include immersion weekends, interactive talks, open rehearsals, lectures, ﬁlms, master classes, workshops, unconventional performances, visual arts programs, and insider experiences. BSO Archives

14 2019 Tanglewood Boston Symphony Orchestra 138th season, 2018–2019

Saturday, August 10, 8pm THE COLTON FAMILY CONCERT IN HONOR OF THE TANGLEWOOD LEARNING INSTITUTE

RAFAEL PAYARE conducting

CARREÑO “Margariteña, glosa sinfónica”

RACHMANINOFF Piano Concerto No. 1 in F-sharp minor, Opus 1 Vivace Andante Allegro vivace NIKOLAI LUGANSKY

{Intermission}

BRAHMS Symphony No. 1 in C minor, Opus 68 Un poco sostenuto—Allegro Andante sostenuto Un poco allegretto e grazioso Adagio—Più Andante—Allegro non troppo ma con brio—Più Allegro

TANGLEWOOD WEEK 6 SATURDAY PROGRAM 15 NOTES ON THE PROGRAM

Inocente Carreño (1919-2016) “Margariteña, glosa sinfónica” Composed 1954. First performance: December 1954, with the composer conducting, at the Latin Music Festival in Caracas, Venezuela. This is the first performance by the Boston Symphony Orchestra of any music by Inocente Carreño. The duration of “Margariteña” is about fourteen minutes. At the time of his death in 2016, at the age of ninety-six, Inocente Carreño was the grand old man of Venezuelan compositional life, having made contributions to a wide range of genres over the course of a career that outlasted presidencies and dictatorships, economic booms and busts, and turbulent demographic and technological shifts. Born on the island of Margarita, off Venezuela’s northern, Caribbean coast, Carreño grew up in a deeply musical family whose matri- arch was his grandmother Mauricia, or “Güicha,” as she was affectionately known. Despite receiving only a limited primary education, Carreño was able to read music from an early age and developed considerable facility with regional dance and song forms before he was even a teenager. In the late 1930s, following a move to Caracas, the capital, Carreño co-formed the Trío Caribe, which became a popular attraction on Venezuelan radio (he was the guitarist). Around the same time, he enrolled in the courses of Vicen- te Emilio Sojo, then the doyen of Venezuelan composers, whose teaching encouraged him to redirect his attention to concert music. It was also during this period that Carreño began performing with the Venezuela Symphony Orchestra, eventually on horn—something directly reflected in the prominent role given to that instrument in his Margariteña. In his later years, Carreño was particularly active as a conductor, an administrator, and even a cultural diplomat. Both at home and abroad, Carreño is best-known as the composer of Margariteña, one of the foundational documents of Venezuela’s national orchestral repertory. Yet if Carreño once characterized Margariteña as his most “nationalistic” score, it also bears a strong autobiographical stamp. A kind of symphonic rhapsody on folk tunes from Margarita, the piece casts a glance back at Carreño’s childhood there, and, in particular, at the impact of Güicha. In fact, Carreño even went so far as to suggest that “the influence of my grandmother was such that she could be said to be the author of [...] Margariteña,” which originated in large part with “the songs she once taught me there on the island, the ones that I heard out of her mouth.” Foremost among these is an Iberian-tinged malagueña with which Carreño was long associated, “Margarita es una lagrima” (“Margarita is a tear”), whose leading motive is heard right at the start, in the solo horn. A more sweeping, extended treatment of it soon follows, after which comes a quick, insistent canción de cuna, or lullaby, given first by bassoon and clarinets, with string and harp accompaniment; significantly, it is constructed from the same sequence of intervals as the “Margarita” motive. It soon climaxes in a heroic, brass-led fortissimo episode, sounding a canto del pilón (a “pilón” is a hollowed-out tree trunk used to crush food, like an oversized mortar and pes- tle). After the climax abates, various instrumental voices toss around a lighthearted, syncopated triple-time version of the canto del pilón, and following an altered reprise of the humid, dramatic opening mood, the strings offer one more new theme, a children’s song Carreño knew as “Tigüitigüitos.” Now Carreño starts combining Margariteña’s themes in a real show of compositional virtuosity, and the score culmi- nates in an opulent, multi-hued potpourri containing elements of them all.

16 According to Carreño, it was Sojo who persuaded him to give Margariteña its deﬁn- itive subtitle, “glosa sinfónica,” in reference to a poetic metrical scheme imported from Spain early in the history of American colonization. However, Carreño’s original subtitle, “rapsodia,” would probably have been just as ﬁtting, given Margariteña’s big-hearted, CinemaScope romanticism, which emphatically sees the world as if through the eyes of the child that its composer once was.

MATTHEW MENDEZ Matthew Mendez is a New Haven-based musicologist, critic, and annotator who was the 2014 Tanglewood Music Center Publications Fellow. He was the recipient of a 2016 ASCAP Foundation Deems Taylor/Virgil Thomson Award for outstanding music journalism.

Sergei Rachmaninoff (1873-1943) Piano Concerto No. 1 in F-sharp minor, Opus 1 First performance: (original version; first movement only) March 29, 1892, Moscow Conservatory, Vasily Safonov cond., Rachmaninoff, soloist; (revised score) New York, January 28, 1919, Russian Symphony Orchestra, Rachmaninoff, soloist. First Boston Symphony performances: (original version) December 1904/January 1905, Wilhelm Gericke cond., Carlo Buonamici, soloist; (revised version) Novem- ber/December 1978, Seiji Ozawa cond., Lydia Artymiw, soloist. First Tangle- wood performance: July 8, 1984, Leonard Slatkin cond., Bella Davidovich, soloist. Only other Tanglewood performance: July 8, 2007, André Previn cond., Jean-Philippe Collard, soloist. Rachmaninoff first came to the United States in 1909, for which occasion he composed his Piano Concerto No. 3 in D minor. His reputation as pianist, conductor, and composer was secure, and his fame rested to a great extent on the success of two of his works, the C-sharp minor piano prelude, and the Piano Concerto No. 2 in C minor, which he had composed in 1901. He would never escape the popularity of the prelude—audiences called for it wherev- er he went—and he was even to consider the demand for the Second and Third concertos something of a hindrance. “I have rewritten my First Concerto,” he stated in 1931. “It is really good now. All the youthful freshness is there, and yet it plays itself so much more easily. But nobody pays any attention. When I tell them in America that I will play the First Concerto, they do not protest, but I can see by their faces that they would prefer the Second or Third.” He wrote the First Concerto while he was a student at the Moscow Conservatory. An attempt at a C minor piano concerto in November 1889 had come to nothing, and other works intervened, but by April 1891 he had completed the first two movements of the F-sharp minor. In a flurry of activity, he finished the piece on summer holiday in 1891, working from five in the morning until eight in the evening, composing the final movement and scoring the last two movements in the space of two and a half days, an effort that left him tired but pleased. In March 1892 a concert of student works at the Moscow Conservatory provided the occasion for the premiere, albeit just the first movement. The conductor, Vasily Safonov, professor of piano and director of the Conservatory, was notorious for making changes in the pieces to be performed on these occasions, cleaning them up, cutting them, anything to make them more playable. But Rachmaninoff held his ground, not only refusing to accept alterations, but even correcting Safonov’s tempos and shadings when the conductor’s ideas differed from his own.

TANGLEWOOD WEEK 6 SATURDAY PROGRAM NOTES 17 By 1908, however, Rachmaninoff’s attitude toward his First Concerto had changed. By then his works included the Second Concerto, numerous pieces for piano and voice, chamber, choral, and operatic works, and two symphonies (though it should be noted that the First had been a dreadful failure at its premiere in 1897, such a failure, in fact, that the composer submitted to hypnosis and autosuggestion to set his compositional juices ﬂowing properly again). His appearances were in demand both at home and abroad, and he no longer considered the F-sharp concerto a suitable touring piece. Thoughts of revising the work came as early as April 1908: “Now I plan to take my First Concerto in hand tomorrow, look it over, and then decide how much time and work will be required for its new version, and whether it’s worth doing anyway. There are so many requests for this concerto, and it’s so terrible in its present form, that I should like to work at it and, if possible, get it into decent shape...” But composing, performing, and traveling kept Rachmaninoff from the revision until November 1917, in the aftermath of the Russian Revolution, and at which time regular musical activities had been suspended until a return to normal conditions. At odds with the new regime, feeling his career at a standstill, the composer seized upon an invitation to appear in Stockholm, and just before Christmas of 1917, he and his family left Russia, never to return. Rachmaninoff had previously rejected offers to stay in America (he had turned down the conductorship of the Boston Symphony Orchestra in 1909 and again in 1918) but decided at the end of the 1920-21 musical season to make New York City his home, later settling in Los Angeles. He remained a resident of the United States, recording and touring on both sides of the Atlantic, and also continuing to compose, until his death in 1943. “It will have to be written all over again, for its orchestration is worse than its music,” Rachmaninoff said of the F-sharp minor’s original version, and his changes

18 are concerned with matters of instrumentation, texture, and structure, the thematic content remaining basically what it was. The final product is tight, concise, even classical in form, the thematic recurrences being on the whole quite regular. The orchestral and piano writing is considerably thinned out. The balance between tune and figuration in the piano’s initial statement of the first-movement theme represents an alteration of an alteration, for Rachmaninoff changed this passage first during the initial revision, then in the pre-publication proofs. In the second movement, the composer lightened the texture and added touches of chromaticism. In the final form of the third movement, the fortissimo opening is new, and a prominent return of the main theme near the end is omitted. The first movement opens Vivace, the “youthful freshness” of the composer being immediately apparent. The cascading triplets for piano that separate the introductory fanfares provide the basis for connective and transitional material later in the movement. The main theme sounds espressivo, then dolce, the second theme cantabile, Rachmaninoff’s markings ensuring the mood (as if the tunes themselves would not). The principal theme achieves its particular romantic, open quality through an immediate, sequential repetition of its opening measures. The second theme, reached by a vivace, scherzando passage, is at once insistent and halting, the linger- ing fourth note of the tune offsetting the rhythmic charge of the first three. The development makes much of the second theme’s opening motive, and the working out of the main theme is preceded by its appearance in the solo horn. The broad horn calls early in the development are straight out of Tchaikovsky, whom the student Rachmaninoff idolized. At the recapitulation, the main theme is heard moderato and cantabile in the piano, its original upbeat restored, and the second theme’s return is made striking by a touch of solo violin. The movement’s opening fanfare returns in the piano to announce the cadenza, which concludes with a sweeping, maestoso statement of the principal theme. The prevailing calm of the D major second movement is established by an ascending motive first heard in the solo horn, that most romantic of all instruments. A piano episode offers an espressivo (again!) theme not heard elsewhere in the movement, and the ascending horn motif, more intense, sounding a third higher than at the start, brings in the main part of the movement, with piano filigree weaving through the orchestral texture. A rustling woodwind accompaniment is heard just before the close, which is again marked by solo horn. As noted earlier, the fortissimo opening of the third movement is new. The finale is for the most part all energy, rhythm, and drive, punctuated by moments suggesting dance, and even jazz. Two principal themes are introduced. When they reappear after a central, lyrical episode—which contains yet another of those plaintive, wind- ing string melodies that Rachmaninoff seems to have endlessly available—the first is recapitulated outright, the second only suggested by the intervallic swellings of winds and brass. The emotional plane of this lyrical episode is as far from the main world of the movement as its key, E-flat major, is remote from the concerto’s home F-sharp minor; through this interlude, the piano is suitably distant and restrained. But for the most part, the orchestra in this movement accedes to the piano’s demands (if grudgingly at one point), and the soloist leads the way to the bright, Allegro vivace, F-sharp major close.

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

TANGLEWOOD WEEK 6 SATURDAY PROGRAM NOTES 19 Johannes Brahms (1833-1897) Symphony No. 1 in C minor, Opus 68 First performance: November 4, 1876, Karlsruhe, Otto Dessoff cond. First BSO performance: December 10, 1881, Georg Henschel cond. First Tanglewood performance: August 15, 1937, Serge Koussevitzky cond. Most recent Tanglewood performance by the BSO: July 19, 2013, Vladimir Jurowski cond. Most recent Tanglewood performance: July 31, 2016, Tanglewood Music Center Orchestra, Andris Nelsons cond. (to conclude that summer’s Leonard Bernstein Memorial Concert). When Brahms finished his First Symphony in September 1876, he was forty- three years old. (Beethoven was twenty-nine, Schubert fifteen, Schumann twenty-two, Mahler twenty-eight at the completion of their respective first symphonies; Mozart was nine, but that’s another story altogether.) As late as 1873, the composer’s publisher Simrock feared that a Brahms symphony would never happen (“Aren’t you doing anything any more? Am I not to have a symphony from you in ’73 either?” he wrote the composer on Feb- ruary 22), and Eduard Hanslick, in his review of the first Vienna performance, noted that “seldom, if ever, has the entire musical world awaited a composer’s first symphony with such tense anticipation.” Brahms already had several works for orchestra behind him: the Opus 11 and Opus 16 serenades, the D minor piano concerto (which emerged from an earlier attempt at a symphony), and that masterwork of orchestral know-how and control, the Variations on a Theme by Haydn. But a symphony was something different and had to await the sorting out of Brahms’s complicated emotional relationship with Robert and Clara Schu mann (only after Robert’s death in 1856 could Brahms finally begin to accept that his passion for the older Clara needed to remain unrequited), and, more important, of his strong feelings about following in Beethoven’s footsteps. Beethoven’s influence is certainly to be felt in Brahms’s First Symphony: in its C minor- to-major progress; in the last-movement theme resembling the earlier composer’s Ode to Joy—a relationship Brahms himself acknowledged as something that “any ass could see” (perhaps less obvious is the relationship between the theme itself and the slow-moving violin phrase of the last movement’s opening measures); and, perhaps most strikingly, in the rhythmic thrust and tight, motivically based construction of the work—in some ways quite different from the melodically expansive Brahms we encounter in the later symphonies. But at the same time, there is really no mistaking the one composer for the other: Beethoven’s rhythmic drive is very much his own, whereas Brahms’s more typical expansiveness is still present throughout this symphony, and his musical language is unequivocally 19th-century-Romantic in manner. Following its premiere at Karlsruhe on November 4, 1876, and its subsequent ap pearance in other European centers, the symphony elicited conflicting reactions. Brahms himself had already characterized the work as “long and not exactly amiable.” Clara Schumann found the ending “musically, a bit flat...merely a brilliant afterthought stemming from external rather than internal emotion.” Hermann Levi, court conductor at Munich and later to lead the 1882 Bayreuth premiere of Wagner’s Parsifal, found the two middle movements out of place in such a sweeping work, but the last movement he decreed “probably the greatest thing [Brahms] has yet created in the instrumental field.” The composer’s close friend Theodor Billroth described the last movement as “overwhelming,” but found the material of the first movement “lacking in appeal, too defiant and harsh.”

20 One senses in these responses an inability to reconcile apparently conflicting elements within the work, and the two inner movements do indeed suggest a world quite different from the outer ones. At the same time, these reactions also point to the seeming dichotomy between, as Hanslick put it, “the astonishing contrapuntal art” on the one hand and the “immediate communicative effect” on the other. But the two go hand in hand: the full effect of the symphony is dependent upon the compositional craft that binds the work together in its progress from the C minor struggle of the first movement through the mediating regions of the Andante and the Allegretto to the C major triumph of the finale. The first Allegro’s two principal motives—the three eighth-notes followed by a longer value, suggesting an abstraction of the opening timpani strokes, and the hesitant, three-note chromatic ascent across the bar, heard at the start in the violins—are al ready suggested in the sostenuto introduction, which seems to begin in mid-struggle. The move ment is prevailingly somber in character, with a tension and drive again suggestive of Bee thoven. The second idea’s horn and wind colorations provide only passing relief: their dolce and espressivo markings will be spelled out at greater length in the symphony’s second movement. The second and third movements provide space for lyricism, for a release from the tension of the first. The calmly expansive oboe theme of the E major Andante is threatened by the G-sharp minor of the movement’s middle section (whose six- teenth-note figurations anticipate the main idea of the third movement), but tran- quility prevails when the tune returns in combined oboe, horn, and solo violin. The A-flat Allegretto is typical of Brahms in a grazioso mood—compare the Second Sym phony’s third movement, or the finale of the Piano Concerto No. 2—and continues the respite from the main battle. And just as the middle movements of the symphony are at an emotional remove from the outer ones, so too are they musically distant, having passed from the opening C minor to third-related keys: E major for the second movement and A-flat major for the third. At the same time, the third movement serves as preparation for the finale: its ending seems unresolved, completed only when the C minor of the fourth movement, again a third away from the movement that precedes it, takes hold. As in the first movement, the sweep of the finale depends upon a continuity between the main Allegro and its introduction. This C minor introduction gives way to an airy C major horn call (originally conceived as a birthday greeting to Clara Schumann in 1868) which becomes a crucial binding element in the course of the movement. A chorale in the trombones, which have been silent until this movement, brings a canonic buildup of the horn mot to and then the Allegro with its two main ideas: the broad C major tune suggestive of Bee thoven’s Ninth, and a powerful chain of falling intervals, which crystallize along the way into a chain of falling thirds, Brahms’s musical hall- mark. The movement drives to a climax for full or ches tra on the trombone chorale heard earlier and ends with a final affirmation of C major—Brahms has won his struggle.

MARC MANDEL

TANGLEWOOD WEEK 6 SATURDAY PROGRAM NOTES 21 Guest Artists

Rafael Payare Venezuelan conductor Rafael Payare makes his Boston Symphony Orchestra and Tanglewood debuts this evening. Mr. Payare’s musicianship, technical brilliance, and charismatic podium presence have made him one of the most sought-after young conductors to be working regularly with the world’s leading orchestras. He was appointed principal conductor of the Ulster Orchestra in Northern Ireland in September 2014 and made his BBC Proms debut with them in August 2016. In September 2017 the orchestra named him music director in recognition of the huge impact he has made on the orchestra and the community of Northern Ireland. In the 2019-20 season, Mr. Payare becomes music director of the San Diego Symphony. Highlights of his 2018-19 season include return visits to the Philharmonia Orchestra, Royal Stockholm Philharmonic, Bamberger Symphoniker, Danish National Symphony Orchestra, and the BBC Symphony Orchestra at London’s Barbican Centre, as well as debuts with the Tonhalle Orchestra of Zurich, the Montreal Symphony Orchestra, and Detroit Symphony. He enjoys a special relationship with the Sinfonietta Cracovia, which recently named him its honorary conductor. Soloists with whom he has collaborated include Daniil Trifonov, Frank Peter Zimmermann, Gil Shaham, Jean-Yves Thibaudet, Nikolai Lugansky, Christiane Karg, Alisa Weilerstein, Nikolaj Znaider, Piotr Anderszewski, Elisabeth Leonskaja, Sergey Khachatryan, Jonathan Biss, and Dorothea Röschmann. Born in 1980 and a graduate of the celebrated El Sistema in Venezuela, Mr. Payare began his formal conducting studies in 2004 with José Antonio Abreu. He has conducted all the

22 major orchestras in Venezuela, including the Simón Bolívar Orchestra. Having also served as principal horn of that ensemble, he took part in many prestigious tours and recordings with conductors including Giuseppe Sinopoli, Claudio Abbado, Sir Simon Rattle, and Lorin Maazel. In May 2012, Rafael Payare was awarded ﬁrst prize at the Malko International Conducting Competition.

Nikolai Lugansky Pianist Nikolai Lugansky works regularly with such top conductors as Osmo Vänskä, Yuri Temirkanov, Mikhail Pletnev, Gianandrea Noseda, and Vladimir Jurowski. Concerto highlights for the 2018-19 season include performances with the Minnesota Orchestra, Tokyo Metropolitan Symphony Orchestra, Orchestre de Paris, Rus- sian National Orchestra, Orquesta Nacional de España, and the Iceland and Bamberg symphonies. A tour with the Orchestre National de France took him to China, and from there he joined the St. Petersburg Philharmonic for concerts in Taipei and Japan. He is a regular recitalist the world over, his performances this season including the International Piano Series in London, Amster- dam’s Muziekgebouw, and the Théâtre des Champs-Élysées in Paris, as well as a residency at Flagey in Brussels. Mr. Lugansky appears regularly at music festivals throughout the world, including Aspen, Tanglewood, Ravinia, and Verbier. As a chamber musician, he collaborates with musicians such as Vadim Repin, Alexander Kniazev, Mischa Maisky, and Leonidas Kavakos. Mr. Lugansky has won a number of awards for his many recordings. His recital CD featuring Rachmaninoff’s piano sonatas won the Diapason d’Or, and his recording of concertos by Grieg and Prokoﬁev with Kent Nagano and the Deutsches Symphonie-Orchester Berlin was a Gramophone Editor’s Choice. He recently signed an exclusive contract with the Har- monia Mundi label, which last year released two of his CDs—Rachmaninoff’s 24 Preludes and an album of solo piano music by Debussy—both being met with enthusiastic reviews. Mr. Lugansky is artistic director of the Tambov Rachmaninoff Festival and is also a supporter of, and regular performer at, the Rachmaninoff Estate and Museum of Ivanovka. He studied at Moscow’s Central Music School and the Moscow Conservatory, where his teachers included Tatiana Kestner, Tatiana Nikolayeva, and Sergei Dorensky. In April 2013 he was awarded the honor of People’s Artist of Russia. Nikolai Lugansky made his BSO debut in October 2012 with Rachmaninoff’s Piano Concerto No. 3 and his Tanglewood debut performing that same work with the Tan- glewood Music Center Orchestra in August 2014 in that summer’s Leonard Bernstein Memorial Concert. He has since appeared with the BSO as soloist in Rachmaninoff’s Rhapsody on a Theme of Paganini in March 2016 and in Prokoﬁev’s Piano Concerto No. 3 at Tanglewood in July 2017. Stu Rosner

TANGLEWOOD WEEK 6 GUEST ARTISTS 23 The Boston Symphony Association of Volunteers Concert Sunday, August 11, 2019 The performance on Sunday afternoon is named in honor of the Boston Symphony Association of Volunteers (BSAV). In 1984, a group of dedicated BSO supporters founded the BSAV to ensure that all aspects of the organization are commensurate in quality with the incredible music performed by the BSO on stage. Each year, some 700 Boston and Tanglewood volunteers offer their enthusiasm, leadership, and more than 25,000 hours of their cumulative time in service of the BSO’s mission. Members of the BSAV regularly serve in many roles at Symphony Hall and at Tanglewood, such as tour guides, docents, greeters, and ushers. In fact, it’s not a stretch to say that at some point, most BSO patrons have been helped by a BSAV member, from concertgoers in Symphony Hall to children attending instrument playgrounds. BSAV volunteers are vital stewards of the organization and help patrons build connections to the orchestra. The BSO’s musicians, board, and staff remain grateful for their passionate service. Stu Rosner

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Sunday, August 11, 2:30pm THE BOSTON SYMPHONY ASSOCIATION OF VOLUNTEERS CONCERT

THOMAS ADÈS conducting

IVES “Three Places in New England” I. The ‘St. Gaudens’ in Boston Common (Col. Robert Gould Shaw and his Colored Regiment) II. Putnam’s Camp, Redding, Connecticut III. The Housatonic at Stockbridge

BEETHOVEN Piano Concerto No. 4 in G, Opus 58 Allegro moderato Andante con moto Rondo: Vivace INON BARNATAN

{Intermission}

BEETHOVEN Symphony No. 6 in F, Opus 68, “Pastoral” Awakening of happy feelings upon reaching the countryside. Allegro ma non troppo Scene at the brook. Andante molto mosso Cheerful gathering of the country folk. Allegro— Thunderstorm. Allegro— Shepherd’s song. Happy, grateful feelings after the storm. Allegretto

TANGLEWOOD WEEK 6 SUNDAY PROGRAM 25 NOTES ON THE PROGRAM

Charles Ives (1874-1954) “Three Places in New England” (Orchestral Set No. 1) First performance: January 10, 1931, Chamber Orchestra of Boston (made up of BSO members performing a reduced instrumentation), Nicolas Slonimsky cond., Town Hall, New York, the work having been composed mainly in the period 1912-17, followed by further work on the second and third movements between 1919 and 1921. First performance of the original version for large orchestra (as restored by James B. Sinclair): February 9, 1974, Yale Symphony Orchestra, John Mauceri cond. First BSO performance: February 1948, Richard Burgin cond. Only previous complete Tanglewood performance by the BSO: August 10, 2007, James Levine cond. Andris Nelsons led the BSO in “The Housatonic at Stockbridge” on August 27, 2017, preceding that summer’s season-ending performance of Beethoven’s Ninth Symphony. The premiere of Three Places in New England gave Ives the rare opportunity to hear a professional performance of one of his forty or so professional works, most of which lay mute in manuscript for decades. He attended the premiere by the Chamber Orchestra of Boston, a new-music group founded by Boston’s resident avant-gardist, Nicolas Slonimsky, who had been introduced to “the unknown composer” by their mutual friend, the like-minded modernist Henry Cowell. “The reviews were mixed,” Slonimsky later wrote. In a stroke of daring following the January 1931 premiere, Slonimsky took Three Places abroad, first to Havana that March, and then to Europe, that enterprise being financed by Ives himself. (Ives made his money as an insurance executive on Wall Street.) In program notes for the June 1931 performance in Paris, Slonimsky distilled its essence: “géographie transcendentale par un Yankee d’un génie étrange et dense”—“transcen- dental geography by a Yankee of strange and dense genius.” “Géographie” signifies how Ives projected a precise location for each place. “Transcendentale” implies the legacy of Emerson and Thoreau, Ives’s idols. By making his quotations of American popular music integral to his style, Ives honors their belief in the profundity of ordi- nary experience. “Étrange et dense” alludes to Ives’s love of dissonance and his cine- matic approach to musical texture. Often, Three Places courts chaos, as Ives pans his musical landscapes with a cubist camera, juxtaposing many styles at once. Each movement of Three Places in New England is accompanied by a poem or program explaining its title and sometimes its internal action. “The ‘St. Gaudens’ in Boston Common (Col. Shaw and his Colored Regiment)” refers to the bas-relief by the sculptor Augustus St. Gaudens. Unveiled in 1897 across from the State House, it commemorates the Massachusetts 54th—the first African-American corps in the North to fight in the Civil War, led by Col. Robert Gould Shaw. Ives responds to the momentous metamorphosis of former slaves into freedom-fighters into martyrs by depicting this “Black March”—his other name for “St. Gaudens”—as a reverent journey reworking “plantation” songs from blackface minstrelsy, particularly Stephen Foster’s “Old Black Joe,” with drumbeats depicting both the varying paces of the marching men and the “drum-beat of the common-heart.” About six minutes in, a sudden brief military note of triumph surprises us. Is this the regiment doing battle? The trombone quotes from the 19th-century song “The Battle Cry of Freedom,” to say “The Union forever.” “Putnam’s Camp, Redding, Connecticut” also serves Ives’s sense of patriotism. Welding together material from two earlier pieces—Country Band March and an Overture and March, 1776 (c.1902-03)—the “plot line” for this piece centers on

26 Israel Putnam’s stoical leadership in the winter campaign of 1778-79. “Putnam’s Camp” opens with a boisterous depiction of a Fourth of July picnic at the local state park named after the war hero. An amateur band messes up and plays out of sync. In the second section of the movement, a mysterious chord in the strings, piano, flute, and harp brings on a dream sequence: a curious child wanders into the woods. He sees a vision of the Goddess of Liberty, who pleads with mutinous cold-weary soldiers, her plaintive oboe melody insistently amplified by other wood- winds. Their defiant desertion of camp to the strains of a Revolutionary War tune, “The British Grenadiers,” is arrested only by Putnam’s timely arrival. The final section returns to the picnic and games. In contrast to the public environment of the first two places, “The Housatonic at Stockbridge” reveals the composer’s private side. Married on June 9, 1908, to Harmony Twichell, Ives began this intimate tone poem upon returning from their Berkshire honeymoon. “We walked in the meadows along the river, and heard the distant singing from the church across the river. The mist had not entirely left the river bed, and the colors, the running water, the banks and elm trees were something that one would always remember.” His nature painting recalls the sensuousness of Debussy; the “distant singing” is depicted through borrowings from the Baptist hymn “Dorrnance,” freely altered for the main theme. In the end, Three Places in New England transcends internal allusions and external borrowings by realizing on its own autonomous terms Ives’s goal of composing music to communicate consciousness—“not something that happens but the way something happens.” Now one of Ives’s most loved pieces, Three Places in New England speaks directly to Aaron Copland’s observation: “In listening to the music of Ives, I have sometimes puzzled over what it is that makes his work, at its best, so humanly moving.”

JUDITH TICK Judith Tick is Matthews Distinguished Professor Emeritus of Music History at North- eastern University, and the author of Becoming Ella, a biography of Ella Fitzgerald forthcoming from W.W. Norton, Inc. Also among her books are Music in the USA: A Documentary Companion; American Women Composers Before 1870, and a biography of the composer Ruth Crawford Seeger.

Ludwig van Beethoven (1770-1827) Piano Concerto No. 4 in G, Opus 58 First performance: March 1807, home of Prince Lobkowitz (private performance); December 22, 1808, Vienna, with Beethoven as soloist (public premiere). First BSO performance: December 1881, Georg Henschel cond., George W. Sumner, soloist. First Tanglewood performance: August 3, 1947, Serge Koussevitzky cond., Joseph Battista, soloist. Most recent Tanglewood performance: August 17, 2018, Andris Nelsons cond., Yefim Bronfman, soloist. During the years immediately following the composition and private first perform ance of the Eroica Symphony, that overwhelming breakthrough in Beethoven’s output, ideas for new compositions crowded the composer’s sketchbooks, and one im por tant piece after another was completed in rapid succession. Normally he worked on several pieces at a time during this fruit- ful period and assigned opus numbers as they were completed. The Eroica (Opus 55) was composed in 1803, though final touches were probably added early in the following year. From 1804 to early 1806 Beetho ven was deeply engrossed in

TANGLEWOOD WEEK 6 SUNDAY PROGRAM NOTES 27 28 the composition and first revision of his opera Leo nore (ult i mately to be known as Fidelio), but this did not prevent him from completing as well three piano sonatas (in cluding two of the big gest and most famous, the Waldstein, Opus 53, and the Appassionata, Opus 57), the Triple Concerto (Opus 56), the Fourth Piano Con- certo (Opus 58), and the Razumovsky string quartets (Opus 59). By the end of 1806 he had added the Fourth Symphony (Opus 60) and the Violin Concerto (Opus 61), and he had undertaken a good deal of work already on the piece that became the Fifth Sym phony. Truly a heady outpouring of extraordinary music! The opening of the Fourth Concerto’s first move ment went through some development be fore achieving its very striking final form, one of the most memorable be gin nings of any concerto. Rather than allowing the orchestra to have its extended say un impeded during a lengthy ritornello, Beethoven chose to establish the presence of the soloist at once—not with brilliant self-assertion (he was to do that in his next piano concerto), but rather with gentle insinuation, singing a quiet phrase ending on a half-cadence, which requires some sort of response from the orchestra. This response—quiet, but startling in the choice of harmony—produces a moment of rich poetry that echoes in the mind through the rest of the movement. The brief slow movement, with its strict segregation of soloist and orchestral strings (the remainder of the orchestra is silent), is so striking that it seems to demand explanation. Professor Owen Jander of Wellesley College has suggested that the movement as a whole is Beethoven’s translation into sound of the story of Orpheus and Euridice. (Vienna at that time was enjoying a sudden spurt of interest in Ovid’s Meta morphoses, one of the principal classical sources of the Orpheus legend, which had long been popular with composers given its demonstration of the power of music over even the forces of death.) The second movement ends in E minor. Beethoven establishes a direct link to the third movement—and a wonderful musical surprise—by retaining two of the notes of the E minor triad (E and G) and reharmonizing them as part of a chord of C major. Thus the rondo theme of the last movement always seems to begin in the “wrong” key, since by the end of the phrase it has worked its way around to the home key of G. This gives Beethoven special opportunities for witty musical sleight-of-hand, since his returns to the rondo theme throughout the movement will come through harmonic prep aration not of the home G, but of the “off-key” beginning of C. This movement, too, is spacious and rich in ideas, many of them developed from four tiny melodic and rhythmic figures contained in the rondo theme itself. Most of the movement rushes along at a great pace, though there is a smooth and relaxed second theme by way of contrast. Soon after this has been recapitulated, Beethoven offers a rich and rare mo ment of unusual (for him) orchestral color: under a continuing delicate spray of notes high up in the piano, the divided violas play a smoothed-out, almost rhythmless version of the main theme; it comes as such a surprise that they are almost through be fore we recognize what is happening. But this same smooth version of the crisp rondo theme recurs in the enormous coda, first in bassoon and clarinets, then—most wonderfully—in a canon be tween the piano’s left hand and the bassoons and clarinets, before the final full or ches tral statement of the theme brings the concerto to its brilliant close with some last prankish echoes.

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

TANGLEWOOD WEEK 6 SUNDAY PROGRAM NOTES 29 Ludwig van Beethoven Symphony No. 6 in F, Opus 68, “Pastoral” First performance: December 22, 1808, Vienna, Beethoven cond. First BSO performance: January 1882, Georg Henschel cond. First Tanglewood performance: August 5, 1937 (the BSO’s first Tanglewood concert), Serge Koussevitzky cond. Most recent Tanglewood performance: July 24, 2016, Juanjo Mena cond. Beethoven took delight in the world of nature. When in Vienna he never failed to take his daily walk around the ramparts, and during his summers spent outside of town he would be outdoors most of the day. The notion of treating the natural world in music seems to have occurred to him as early as 1803, when he wrote down in one of his sketchbooks a musical fragment in 12/8 time (the same meter used in the Pastoral’s “Scene at the brook”) with a note: “The more water, the deeper the tone.” Other musical ideas later to end up in the Sixth Symphony appear in Beethoven’s sketchbooks sporadically in 1804. During the winter of 1806-07, he worked out much of the thematic material for all the movements but the second. In the fall of 1807 and the spring of 1808 he concentrated seriously on the work and apparently finished it by summer 1808, since he reached an agreement that September 14 with the publisher Breitkopf & Härtel for the sale of this symphony with four other major works. One thing that aroused extended discussion of the new symphony—a discussion that lasted for decades—was the fact that Beethoven provided each movement of the work with a program, or literary guide to its meaning. His titles are little more than brief images, just enough to suggest a specific setting: I. Awakening of happy feelings upon reaching the countryside. II. Scene at the brook. III. Cheerful gathering of the country folk. IV. Thunderstorm. V. Shepherd’s song. Happy, grateful feelings after the storm. But much more important for an understanding of Beethoven’s view is the overall heading that Beethoven had printed in the program for the first performance: “Pastoral Symphony, more an expression of feeling than a painting.” Even given the birdcalls of the second movement, the thunderstorm of the fourth, and the ranz des vaches (Swiss herdsman’s song) borrowed by Beethoven to introduce the final movement’s “hymn of thanksgiving,” he never intended that this work be considered an attempt to represent events in the real world, an objective narrative in musical guise. Rather, this symphony provided yet again what all of his symphonies had offered: subjective moods and impressions captured in harmony, melody, color, and the structured passage of time. Ultimately, all those elements that might be labeled “pro- grammatic” can be seen to nestle snugly and fittingly into what the eminent critic and annotator Donald Francis Tovey has called “a perfect classical symphony.” Beethoven’s sketchbooks also reveal that he was working on his Fifth and Sixth symphonies at the same time. They were finished virtually together, given consecutive opus numbers (67 and 68), and premiered in the same concert (where they were reversed in numbering, with the Pastoral, given first on the program, identified as “Symphony No. 5”). Further, only twice in Beethoven’s symphonic writing—that is, in these two symphonies—did Beethoven link the movements of a symphony so they would be performed without a break. In the Fifth Symphony, the scherzo is connected to the finale by an extended, harmonically tense passage that demands resolution

30 in the bright C major of the closing movement. Much the same thing happens in the Pastoral Symphony, although the level of tension is not nearly so high, and the linking passage has grown to a full movement in and of itself (the thunderstorm), resulting in Beethoven’s only ﬁve-movement symphony. Yet no two symphonies are less likely to be confused, even by the most casual listener— the Fifth, with its demonic energy, tense harmonies, and powerful dramatic climaxes on the one hand, and the Sixth, with its smiling and sunny air of relaxation and joy on the other. Nothing shows more clearly the range of Beethoven’s work than these two masterpieces, twins in their gestation, but hardly identical. Popular biographies of Bee thoven tend to emphasize the heaven-storming, heroic works of the middle period—the Eroica and Fifth symphonies, the Egmont Overture, the Emperor Concerto, the Razum ov sky string quartets, the Waldstein and Appassionata sonatas—at the expense of other aspects of his art. On the other hand, some critics of a “neoclassical” orientation claim to ﬁnd the even-numbered symphonies to be more successful than the overtly dramatic works. Both views are equally one-sided and give a blinkered representation of Beethoven. His art embraces both elements and much more.

STEVEN LEDBETTER

Guest Artists

Thomas Adès, CBE Now in his third year as the BSO’s Deborah and Philip Edmundson Artistic Partner, a position recently extended through the BSO’s 2020-21 season, composer-conductor- pianist Thomas Adès was born in London in 1971. Renowned as both a composer and a performer, he works regularly with the world’s leading orchestras, opera companies, and festivals, and was made a CBE in the 2018 Queen’s Birthday Honours. Mr. Adès’s most recent opera, The Exterminating Angel, premiered at the 2016 Salzburg Festival and has also been performed at the Metropolitan Opera and at London’s Royal Opera House. His opera The Tempest was commissioned by and ﬁrst performed at the Royal Opera House in 2004, with a new production at the Metropolitan Opera in 2012. Orchestral commissions include those from the City of Birmingham Symphony Orches- tra, Berlin Philharmonic, Carnegie Hall, the New World Symphony, Berliner Festspiele, BBC Proms, Los Angeles Philharmonic, London’s Royal Festival Hall, and the Boston Symphony Orchestra. As the BSO’s artistic partner he leads the orchestra in Boston and at Tanglewood, performs chamber music with the Boston Symphony Chamber Players, and directs the Festival of Contemporary Music at Tangle- wood. As a conductor, he appears regularly with the Los Angeles, New York, and London philharmonic orchestras, the Boston, London, BBC, City of Birmingham, Melbourne, and Sydney symphony orchestras, and the Royal Concertgebouworkest in Amsterdam. In the 2018-19 season he led the Orchestre de Paris, Britten Sinfonia, and Leipzig Gewandhausorchester. Recent piano engagements include solo recitals at Carnegie Hall and London’s Wigmore Hall and concerto appearances with the Boston Symphony and New York Philharmonic. This season included a solo Janáˇcek program in London, Paris, Lisbon, and the Czech Republic, Schubert’s Winterreise at Wigmore Hall with Ian Bostridge, and duo-recitals with Kirill Gerstein at Carnegie Hall and Boston’s Jordan Hall. Mr. Adès’s honors include the Grawemeyer Award for Asyla (1999) and the British Composer Award for The Four Quarters. The recording of

TANGLEWOOD WEEK 6 GUEST ARTISTS 31 his second opera, The Tempest, won a Gramophone award; the DVD of the Metropolitan Opera’s production was awarded the Diapason d’Or de l’année, Best Opera Gram- my Award, and ECHO Klassik Music DVD Recording of the Year. The Exterminating Angel won the World Premiere of the Year at the International Opera Awards. In 2015 Mr. Adès was awarded the prestigious Léonie Sonning Music Prize. Thomas Adès made his BSO conducting debut in March 2011, subsequently returning for further subscription concerts on several occasions, most recently in March 2019, when he led the world premiere of his BSO-commissioned Concerto for Piano and Orchestra with soloist Kirill Gerstein, as well as works by Liszt and Tchaikovsky. He made his ﬁrst Tanglewood appearances in July 2017, conducting the BSO and also appearing as pianist in a Schubert program with baritone Andrè Schuen and members of the Emerson String Quartet. His most recent Tanglewood appearance with the BSO was last summer, conducting a July 2018 program of Adès and Sibelius.

Inon Barnatan Making his Boston Symphony Orchestra and Tanglewood debuts this afternoon, pianist Inon Barnatan is the recipient of both the Avery Fisher Career Grant (2009) and Lincoln Center’s 2015 Martin E. Segal Award. Mr. Barnatan is the new music director of the La Jolla Music Society Summerfest, this year being his ﬁrst in the role. A regular soloist with many of the world’s foremost orchestras and conductors, the Israeli pianist recently served three seasons as the inaugural artist-in-association of the New York Philharmonic. This season he plays Beethoven with Hamburg’s Elbphilharmonie Orchestra led by Alan Gilbert, Mozart with the Australian Chamber Orchestra in New York’s Alice Tully Hall, and Rachmaninoff with the Pittsburgh Symphony and Israel Philharmonic, also led by Alan Gilbert. In recent seasons he has made debuts at the BBC Proms, with the London and Helsinki philharmonic orchestras, and with the Chicago, Baltimore, Fort Worth, Indianapolis, Nashville, San Diego, and Seattle symphony orchestras. Also a sought-after chamber musician, he collaborates this season with the Dover, Calidore, and St. Lawrence string quartets, performing with the latter at Carnegie Hall, and tours the U.S. and Europe with his frequent collaborator, cellist Alisa Weilerstein, along with violinist Sergey Khachatryan and percussionist Colin Currie. He appeared with the Boston Symphony Chamber Players in April 2011. Mr. Barnatan makes his recital debut in the International Piano Series at London’s Southbank Centre and plays additional recitals at the Seattle Symphony’s Benaroya Hall and for the Celebrity Series in Boston, where he has appeared in various chamber conﬁgurations since 2008. His passion for contemporary music has seen him commission and perform many works by living composers, including premieres of pieces by Thomas Adès, Sebastian Currier, Avner Dorman, Alan Fletcher, Joseph Hallman, Alasdair Nicolson, Andrew Norman, and Matthias Pintscher. Mr. Barnatan’s critically acclaimed discography includes Avie and Bridge recordings of Schubert’s solo piano works, as well as “Darknesse Visible,” which scored a place on the “Best of 2012” New York Times list. His most recent release is a live recording of Messiaen’s ninety-minute masterpiece Des Canyons aux étoiles, in which he played the formidable solo piano part at the Santa Fe Chamber Music Festival. His 2015 Decca Classics release, “Rachmaninov & Chopin: Cello Sonatas” with Alisa Weilerstein, earned rave reviews on both sides of the Atlantic.

TANGLEWOOD WEEK 6 GUEST ARTISTS 33 2019 Tanglewood Boston Symphony Orchestra 138th season, 2018–2019

Sunday, August 11, 7:30pm Florence Gould Auditorium, Seiji Ozawa Hall THE CAROLINE AND JAMES TAYLOR CONCERT DEDICATED TO ANDRÉ PREVIN, WHOSE WRY WIT, VIRTUOSITY, AND IRREVERENT GENIUS KNEW NO BOUNDS

YO -YO MA, cello

J.S. BACH The Six Cello Suites, BWV 1007-1012

Suite No. 1 in G, BWV 1007 Prélude Allemande Courante Sarabande Menuett I; Menuett II Gigue

Suite No. 2 in D minor, BWV 1008 Prélude Allemande Courante Sarabande Menuett I; Menuett II Gigue

Suite No. 3 in C, BWV 1009 Prélude Allemande Courante Sarabande Bourrée I; Bourrée II Gigue

Please note that there will be no intermission in this concert.

34 Suite No. 4 in E-ﬂat, BWV 1010 Prélude Allemande Courante Sarabande Bourrée I; Bourrée II Gigue

Suite No. 5 in C minor, BWV 1011 Prélude Allemande Courante Sarabande Gavotte I; Gavotte II Gigue

Suite No. 6 in D, BWV 1012 Prélude Allemande Courante Sarabande Gavotte I; Gavotte II Gigue

TANGLEWOOD WEEK 6 SUNDAY PROGRAM 35 The Caroline and James Taylor Concert Dedicated to André Previn, Whose Wry Wit, Virtuosity, and Irreverent Genius Knew No Bounds Sunday, August 11, 2019 Yo-Yo Ma’s performance on Sunday evening is supported by a generous gift from BSO Trustee Caroline “Kim” Taylor and her husband, James Taylor, in memory of the late composer, conductor, and pianist André Previn, who died in February 2019. Over the years, the Taylors have given generously to Tanglewood and the Boston Symphony Orchestra, recently including the Tanglewood Learning Institute at the Linde Center for Music and Learning. They have also endowed a full fellowship for a cellist at the Tanglewood Music Center, and for more than a decade have donated the proceeds of James’s July 4th performances at Tanglewood. Kim previously served on the President’s Committee on the Arts and Humanities after being appointed by former President Obama. She also served as co-chairman of President Obama’s Organizing for Action, an advocacy group working on such issues as climate change and the prevention of gun violence. Kim was a member of the BSO staff for more than twenty years, working closely with Music Director Laureate Seiji Ozawa and Boston Pops Conductor Laureate John Williams. She was elected a BSO Trustee in 2009. In 2015, James was presented with the Presidential Medal of Freedom, the nation’s highest civilian honor, by President Obama. In December 2016, in one of the last ofﬁcial ceremonies of the Obama administration, he was a recipient at the Kennedy Center Honors, which are presented annually to individuals who have enriched American culture by distinguished achievement in the performing arts. James has received the National Medal of Arts, as well as the French government’s distinguished Chevalier of the Order of Arts and Letters (Ordre des Arts et des Lettres). His most recent album, “Before This World,” topped the Billboard chart at #1. James’s next album, a collection of American standards, is due for release in February 2020. Corinne Schippert Corinne

André Previn and Yo-Yo Ma as the “band” at the wedding of Kim and James Taylor in February 2001, playing Elgar’s “Salut d’amour”

36 “The Bach Project” In this special Sunday-evening Shed concert, Yo-Yo Ma plays all six of J.S. Bach’s Suites for Solo Cello, music that has given him, in his own words, “sustenance, comfort, and joy during times of stress, celebration, and loss.” The concert is part of Yo-Yo Ma’s two-year global initiative, “The Bach Project,” encompassing thirty-six performances he will give of the Bach suites across six continents, coupled with what he calls “days of action” seeking “to put culture in action by bringing people and organizations together to address pressing social issues” and “invite all of us to think differently about the role of culture in society.” Here in the Berkshires, the “Day of Action” comprised a series of events with Yo-Yo Ma yesterday, August 10, in Pittsﬁeld. For more information on “The Bach Project,” please visit www.bach.yo-yoma.com.

J.S. Bach (1685-1750) The Six Cello Suites, BWV 1007-1012 The six solo cello suites of J.S. Bach are some of the great composer’s most celebrated works, although it was not always so—even putting aside that Bach was known mostly only to connoisseurs and composers for about a hundred years after his death. Mozart and Beethoven played his Well-Tempered Clavier for their own pleasure and edification. Felix Mendelssohn is credited with putting Bach publicly front-and-center as a composer for the ages with a performance of the St. Matthew Passion in 1829 (about 100 years after its composition)—that being, of course, a work with enough firepower to spark the Romantic imagination. The cello suites, far more intimate music, were seen as little more than difficult exercises (like Czerny’s piano studies) until the Catalan cellist Pablo Casals (1876-1973), having discovered them for himself in his teens, presented them in recital as the fully fledged artistic statements they truly are. Perhaps earlier cellists can be forgiven for not seeing past the “etude” character of individual movements of these suites. Many of Johann Sebastian Bach’s most celebrated works, including the present Suites for Solo Cello, along with the solo violin sonatas and partitas, the Goldberg Variations, The Well-Tempered Clavier, The Art of the Fugue, and even the B minor Mass, are “compiled” works, collections of smaller pieces that, taken individually, are exquisite gems of limited scope. Fitted together, these composite works are encyclopedic models of compositional and instrumental technique and artistic possibility, dealing with virtually every style and method known in Bach’s time. The perfection of his approach has been studied and mimicked diligently by the greatest representatives of each succeeding generation, from Mozart through Shostakovich to the present. Scholars have been unable precisely to pinpoint the occasion or request that was the impetus for the cello suites. Some of the pieces may have been written earlier, but they were likely brought together as a set around 1720, at which time Bach was serv- ing as Kapellmeister to Prince Leopold of Anhalt-Cöthen, a position he held from 1717 to 1723. It was in these years that Bach produced some of his most important composite pieces, including the unparalleled Brandenburg Concertos and the sonatas and partitas for violin solo. The manuscript in the handwriting of Anna Magdalena Bach (his second wife) is the earliest source we have of the cello suites, dating from about the late 1720s; here, the pieces are called “6 Suites for Violoncello Solo without Bass.” The specificity is important: as in the solo violin works, Bach is exploring

TANGLEWOOD WEEK 6 SUNDAY PROGRAM NOTES 37 the possibility of a “virtual” polyphony: the audible impression of multiple lines of counterpoint for a solo instrument incapable, realistically, of much more than one melody at a time. The solo instrument provides its own accompanying bass line, and implied harmonies or broken arpeggios outline the chord progressions normally defined by the continuo (harpsichord and sometimes another bass instrument). An example of this can be found in the arpeggiated Prelude of the G major First Suite. In the first measures, the repeated low G establishes the bass, the D (second pitch) the “tenor,” and the B (third pitch) the “soprano” voices; each of these “voices” can be followed independently of the others virtually throughout this movement. This basic principle can be observed throughout all six suites. The first four suites were written for the cello as we know it, more or less—four strings tuned, low to high, to C-G-D-A. The Fifth calls for a top string retuned down from A to G. (Any retuning of the strings is called “scordatura”; it remains a relative- ly rare technique. It’s not uncommon for cellists to perform the Fifth Suite using the standard tuning, as Yo-Yo Ma does, but in recent years it has once again become more usual to retune.) The Sixth was written for an instrument with five strings, the fifth string being tuned to the E a fifth higher than the standard top string, but it’s usual to hear it performed on the standard cello these days. The six suites are based on the longstanding form of the Baroque suite, comprising four dances in the same key—Allemande, Courante, Sarabande, and Gigue, in that order. Bach adds an imaginative, and in each case very different, Prelude, as well as a dance of a more up-to-date type, always the fifth movement. The first two suites feature linked pairs of Menuetts; the Third and Fourth suites have Bourrées; and Gavottes are found in the Fifth and Sixth. Although each suite shares at least five movement-types with its fellows, their character, even between identical dance forms (say, any two Sarabandes) varies greatly. Among the Preludes, for example, we find studies in arpeggiated chords (First and Fourth suites); the Fifth Suite’s prelude is itself a prelude plus fugue paralleling what we might find in The Well-Tempered Clavier; the Sixth is clearly itself a dance. Within most movements, ornamentation is generally left up to the wisdom of the performer, but in some cases there are indications of trills or turns; in the Allemande of the Sixth Suite, the runs of thirty-second notes and sixty-fourth notes reflect explicit embellishment, echoes of Bach the performer. A live performance of this music is an extraordinary experience: the performer’s actions to produce these sounds correspond to the physical and expressive demands of each passage, and this in turn is transmitted that much more strikingly to the viewer/listener. The effect can be dazzling, even overwhelming over time, although the changing, clearly demarcated character of each new movement, and to begin each new suite, allows us periodically to re-establish our equilibrium. Finally, in a performance of all six suites together, even as we marvel at the brilliance of moments and the satisfying arc of movements, we marvel most at the cumulative expressive, artistic impact of the music.

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

38 Guest Artist

Yo-Yo Ma Whether performing new or familiar works from the cello repertoire, collaborating with communities and institutions to explore culture’s social impact, or engaging unexpected musical forms, Yo-Yo Ma fosters connections that stimulate the imagination and reinforce our humanity. Mr. Ma maintains a balance between engagements as a soloist with orchestras, recital and chamber music activities, and collaborations with a wide circle of artists and institutions. In 1998, expanding upon his belief that cultural collaboration is essential to a strong society, he established Silkroad, a collective of artists from around the world who create music engaging their many traditions. Yo-Yo Ma has expanded the cello repertoire, performing lesser-known music of the 20th century and commissions of new concertos and recital pieces by diverse composers. Among his many roles, he is the Chicago Symphony Orchestra’s creative consultant, artistic advisor at large to the John F. Kennedy Center for the Performing Arts, and artistic director of the Youth Music Culture Guangdong festival. His discography of more than one hundred albums includes nineteen Grammy-winners. His recent recordings include “Bach Trios” with Edgar Meyer and Chris Thile; “Brahms: The Piano Trios” with Emanuel Ax and Leonidas Kavakos; and “Six Evolutions—Bach: Cello Suites.” In 2018 he set out to perform J.S. Bach’s six suites for solo cello in one sitting in thirty-six locations around the world. Born in Paris to Chinese parents who later moved the family to New York, he began to study cello at age four, attended the Juilliard School, and in 1976 graduat- ed from Harvard University. His numerous awards include the National Medal of the Arts, the World Economic Forum’s Crystal Award, the Presidential Medal of Freedom, the Kennedy Center Honor, and the Avery Fisher, Glenn Gould, Léonie Sonning, and Polar Music prizes. He has performed for eight American presidents, most recently at the 56th Inaugural Ceremony at the invitation of President Obama. Yo-Yo Ma made his BSO subscription series debut in February 1983 and his Tanglewood debut in July that year. In 2015, he was one of the Boston Symphony Orchestra’s two inaugural Kousse- vitzky Artists at Tanglewood. He appears three times at Tanglewood this summer: with Emanuel Ax and Leonidas Kavakos in a program of Beethoven piano trios (which took place this past Tuesday night, August 6, in Ozawa Hall); performing the six Bach cello suites in tonight’s special Shed concert; and as soloist in Schumann’s Cello Concerto with conductor François-Xavier Roth and the BSO next Sunday afternoon, August 18. Stu Rosner

TANGLEWOOD WEEK 6 GUEST ARTIST 39 Tanglewood Forever Campaign

Tanglewood Forever, a $64 million donor-funded initiative, will expand Tanglewood’s natural beauty, improve the visitor experience, connect communities, and its future. The Boston Symphony Orchestra extends its deepest gratitude to the many donors who have made a transformative and lasting impact on Tanglewood through their support of the Tanglewood Forever Campaign from 2012-2019.

One Million and above

Cynthia and Oliver Curme • Hermine Drezner and Jan Winkler ‡ • The Gordon Family • Nathan and Marilyn Hayward • Dorothy and Charlie Jenkins • Joyce Linde • Linde Family Foundation • Perles Family Foundation • William and Lia Poorvu • Carol ‡ and Joe Reich • Caroline and James Taylor • Stephen and Dorothy Weber • Samantha and John Williams • Anonymous (2)

$500,000–$999,999

Liliana and Hillel Bachrach • Stewart and Judith Colton • John C. and Chara C. Haas ‡ • Ricki Tigert Helfer and Michael S. Helfer • Estate of Gerry Lesunaitis • Beth and Carmine Martignetti • Massachusetts Cultural Facilities Fund • Cynthia and John S. Reed • Mr. and Mrs. George J. Seibert • Dorothy Dudley Thorndike ‡ and John Lowell Thorndike • Anonymous

$250,000–$499,999

Elana and Robert Baum • Margo Behrakis and George D. Behrakis • Roberta and George ‡ Berry • William E. Briggs and Donald Usher • Bonnie and Terry Burman • Elliott Carter ‡ • Isanne and Sanford Fisher • The Honorable Peter H.B. Frelinghuysen ‡ • Thomas P. Hosmer ‡ • Barbara and Amos Hostetter • Carol and George Jacobstein • Stephen B. Kay and Lisbeth L. Tarlow/The Aquidneck Foundation • Ted and Debbie Kelly • Jane B. and Robert J. Mayer, M.D. • Joseph C. McNay/The New England Foundation • The Messinger Family • Claudio and Penny Pincus • The Pryor Family • Family and Friends of Burton ‡ and Suzanne Rubin • Dr. Richard M. Shiff ‡ • Patty Plum Wylde • Marillyn Tufte Zacharis • Thalia ‡ and Nicholas T. Zervas • Anonymous

$100,000–$249,999

Gideon Argov and Alexandra Fuchs • Gregory E. Bulger Foundation/Gregory Bulger & Richard Dix • Susan and Joel Cartun • John F. Cogan, Jr. and Mary L. Cornille • Dr. Charles L. Cooney and Ms. Peggy Reiser • Alan J. and Suzanne W. Dworsky • Alan and Lisa Dynner • Eitan and Malka Evan • Beth and Richard Fentin • Jane and Jack Fitzpatrick ‡ • The Jane and Jack Fitzpatrick Trust • Nancy Fitzpatrick and Lincoln Russell • The Frelinghuysen Foundation • Rabbi Elyse Frishman and Rabbi Daniel Freelander • Marion Gardner-Saxe and Leonard Saxe • Scott and Ellen Hand • Rhoda Herrick, from the Herrick Theatre Foundation • Mrs. Marilyn Brachman Hoffman ‡ • Valerie and Allen Hyman • Margery and Everett Jassy • Leslie and Stephen Jerome • The Rita J. and Stanley H. Kaplan Family Foundation; Nancy and Mark Belsky, Susan B. Kaplan, Scott Kaplan Belsky, Gila Belsky Modell • The Joan Whittle McClane Leftwich Memorial Fund • Cynthia and Robert J. Lepofsky •

40 Nancy and Richard Lubin • Jay and Shirley ‡ Marks • Ann Merriﬁeld and Wayne Davis • Nancy and Jay Nichols • Donald and Laurie Peck • Plimpton-Shattuck Fund • Jonathan and Amy Poorvu • Mary Ann and Bruno A. Quinson • Robert W. Renton ‡ • Ronald and Karen Rettner • Dr. Robin S. Richman and Dr. Bruce S. Auerbach • Carole and Edward I. Rudman • Joan and Michael Salke • Malcolm and BJ Salter • Richard Saltonstall Charitable Foundation • Sunrise Foundation • Ruth McCormick Tankersley Charitable Trust • Douglas Dockery Thomas • Anonymous (3)

$50,000–$99,999

Lois and Harlan Anderson ‡ • Phyllis and Paul Berz • Walter and Hildi Black • Carol and Robert Braun • Jane Braus • The Family of Alan & Lorraine Bressler • The Brooke Family • Drs. Andrea and Brad Buchbinder • Linda Dulye, in honor of Ann Dulye • Harriett M. Eckstein • Thomas and Winifred Faust • Ina and Haskell Gordon ‡ • Charles and Carol Grossman Family Fund • Susie and Stuart Hirshﬁeld • Enid and Charles ‡ Hoffman • Albert A. Holman III and Susan P. Stickells • Jackie and Larry Horn • Stephen and Michele Jackman • Tanny and Courtney Jones • Robert Kleinberg • Shirley and William Lehman • Elizabeth W. and John M. Loder • Carol Parrish and Paul Clark • Lina S. Plantilla, M.D. and Eduardo R. Plantilla, M.D. • Hon. Susan Phillips Read • Thomas and Kim Rufﬁng • Joanne Zervas Sattley • Dan Schrager and Ellen Gaies • Richard and Carol Seltzer • Arlene and Donald Shapiro • Adrienne Silverstein and Family, In memory of Joseph Silverstein • Scott and Robert Singleton • Alex and Patricia Vance • Mark and Martha Volpe • Karen Thomas Wilcox • Brooks and Linda Zug

‡ Deceased List is as of June 18, 2019. For more information, please contact Stephanie Baker at 617-638-9265 or [email protected].

TANGLEWOOD WEEK 6 TANGLEWOOD FOREVER CAMPAIGN 41 The Maestro Circle Annual gifts to the Boston Symphony Orchestra provide essential funding to the support of ongoing operations and to sustain our mission of extraordinary music-making. The BSO is grateful for the philanthropic leadership of our Maestro Circle members whose current contributions to the Orchestra’s Symphony, Pops and Tanglewood annual funds, gala events, and special projects have totaled $100,000 or more during the 2018-2019 season. ‡ This symbol denotes a deceased donor.

Alli and Bill Achtmeyer • Peter Brooke • Gregory E. Bulger Foundation/Gregory Bulger & Richard Dix • Cynthia and Oliver Curme • Michael L. Gordon • The Nancy Foss Heath and Richard B. Heath Educational, Cultural and Environmental Foundation • Barbara and Amos Hostetter • Charlie and Dorothy Jenkins/The Ting Tsung and Wei Fong Chao Foundation • Joyce Linde • Carmine A. and Beth V. Martignetti • National Endowment for the Arts • The Perles Family Foundation • Carol ‡ and Joe Reich • Sue Rothenberg ‡ • Wendy Shattuck and Samuel Plimpton • Maria and Ray Stata • Caroline and James Taylor • Marillyn Tufte Zacharis • Anonymous (2)

Society Giving at Tanglewood The following list recognizes gifts of $3,000 or more made since September 1, 2018 to the Tanglewood Annual Fund and Tanglewood restricted annual gifts. The Boston Symphony Orchestra is grateful to the following individuals and foundations for their annual support as Bernstein or Koussevitzky Society members during the 2018-2019 season. For further information on becoming a Society member, please contact Kara O’Keefe, Associate Director of Individual Giving, Annual Funds, at 617-638-9259.

Koussevitzky Society Founders $100,000 and above

Michael L. Gordon • Charlie and Dorothy Jenkins/The Ting Tsung and Wei Fong Chao Foundation • Carol ‡ and Joe Reich • Caroline and James Taylor Virtuoso $50,000 to $99,999

Linda J.L. Becker • Bonnie and Terry Burman • R. Martin Chavez • Cynthia and Oliver Curme • Joyce Linde • Nancy and Jay Nichols • Perles Family Foundation • Claudio and Penny Pincus • Mrs. Irene Pollin • Mr. James E. Pollin • Sue Rothenberg ‡ • Carol and Irv Smokler Encore $25,000 to $49,999

Alli and Bill Achtmeyer • Joan and Richard Barovick • Mr. and Mrs. George D. Behrakis • Jan Brett and Joseph Hearne • Gregory E. Bulger Foundation/Gregory Bulger & Richard Dix • Ginger and George Elvin • Martha and Todd Golub • Ronnie and Jonathan Halpern • Scott and Ellen Hand • Drs. James and Eleanor Herzog • Jackie and Larry Horn • Valerie and Allen Hyman • Elizabeth W. and John M. Loder • Jane B. and Robert J. Mayer, M.D. • Eduardo Plantilla, M.D. and Lina Plantilla, M.D. • Ronald and Karen Rettner • Norma and Jerry Strassler • Linda and Edward Wacks • Stephen and Dorothy Weber • June Wu Benefactor $20,000 to $24,999

Roberta and George ‡ Berry • Sydelle and Lee Blatt • BSO Members’ Association • Joseph and Phyllis ‡ Cohen • Isanne and Sanford Fisher • The Frelinghuysen Foundation • Cora and Ted ‡ Ginsberg • Carol B. Grossman • The Edward Handelman Fund • Carol and George Jacobstein • Leslie and Stephen Jerome • Jay and Shirley ‡ Marks •

42 Mrs. Millard H. Pryor, Jr. • Suzanne and Burton ‡ Rubin • Carole and Edward I. Rudman • Arlene and Donald Shapiro • Hermine Drezner and Jan ‡ Winkler • Marillyn Tufte Zacharis Patron $10,000 to $19,999

Gideon Argov and Alexandra Fuchs • Norman Atkin MD and Joan Claire Schwartzman in Memory of Shirley Marks • Liliana and Hillel Bachrach • Robert and Elana Baum • Phyllis and Paul Berz • Marlene and Dr. Stuart H. Brager ‡ • Catherine and Paul Buttenwieser • Susan and Joel Cartun • Ronald G. Casty • The Cavanagh Family • John F. Cogan, Jr. and Mary L. Cornille • James and Tina Collias • Ranny Cooper and David Smith • Drs. Anna L. and Peter B. Davol • Eitan and Malka Evan • Beth and Richard Fentin • Adaline H. Frelinghuysen • Dr. Fredric C. Friedman and Ms. Cathy Demain Mann • Dr. and Mrs. Levi A. Garraway • Malcom and Linda Griggs • Dr Lynne B Harrison • James and Kristin Hatt • Ms. Jeanne M. Hayden and Mr. Andrew Szajlai • Nathan and Marilyn Hayward • Ricki Tigert Helfer and Michael S. Helfer • Susie and Stuart Hirshﬁeld • Margery and Everett Jassy • Prof. Paul L. Joskow and Dr. Barbara Chasen Joskow • The Loretta and Michael Kahn Foundation, Inc. • The Kandell Fund, in memory of Florence and Leonard S. Kandell • Brian A. Kane • The Rita J. and Stanley H. Kaplan Family Foundation; Nancy and Mark Belsky, Susan B. Kaplan, Scott Kaplan Belsky and Gila Belsky Modell • Stephen B. Kay and Lisbeth L. Tarlow • Robert Kleinberg • Toby and Paul Koren • Lizbeth and George Krupp • Norma and Sol D. Kugler • Mr. Dan Kurtz • Shirley and William Lehman • Arlene and Jerome Levine • Arthur and Vicki Loring • Rebecca and Nathan Milikowsky • Robert E. and Eleanor K. Mumford • Jerry and Mary ‡ Nelson • Mr. and Mrs. Gerard O’Halloran • Polly and Dan ‡ Pierce • Andrew and Audrey Proto • Mary Ann and Bruno A. Quinson • Cynthia and John S. Reed • Peggy Reiser and Charles Cooney • Steve and Andrea Ryan • Dr. Beth Sackler and Mr. Jeffrey Cohen • Sagner Family Foundation • Kenan and Andrea Sahin • Malcolm and BJ Salter • Schnesel Family Fund • The Honorable George and Charlotte Shultz • Rita and Harvey Simon • Scott and Robert Singleton • Jerry and Nancy Straus • Roz and Charles Stuzin • Lois and David Swawite • Jean C. Tempel • Linda and Daniel Waintrup • Anonymous (4) Prelude $7,500 to $9,999

Hildi and Walter Black • Brad and Terrie Bloom • Drs. Judith and Martin Bloomﬁeld • Jane Braus • Debby and Scott Butler • Judith and Stewart Colton • Dr. William T. Curry, Jr. and Ms. Rebecca Nordhaus • Saul and Barbara Eisenberg • Mrs. Estanne Fawer and Mr. Martin Fawer • Esta and Kenneth Friedman • Thomas M. Fynan and William F. Loutrel • Lonnie and Jeffrey Garber • Marion Gardner-Saxe and Leonard Saxe • Leslie and Johanna Garﬁeld • Dr. Donald and Phoebe Giddon • Richard Holland and Cathy Birkhahn • Stephen and Michele Jackman • Liz and Alan Jaffe • Jeanne and Richard Jaffe • Martin and Wendy Kaplan • Helaine and Marvin Lender • Geri and Roy Liemer • Janet McKinley • Joan G. Monts • Mr. and Mrs. Michael Monts • Kate and Hans Morris • Karen and Chet Opalka • Rabbi Rex Perlmeter and Rabbi Rachel Hertzman • Elaine and Bernard Roberts • Barbara and Michael Rosenbaum • Sue Z. Rudd • Joan and Michael Salke • Marcia and Albert Schmier • The John and Zelda Family Foundation In Memory of John Schwebel • JoAnne and Joel Shapiro • Arthur and Mary Ann Siskind • Lauren Spitz • Ken Stark in Memory of Lynn • Dorothy and Gerry Swimmer • Aso O. Tavitian • Roger Tilles • Antoine and Emily van Agtmael • Karen and Jerry Waxberg • Gail and Barry Weiss • Ray Ellen and Allan Yarkin • Carol and Robert Zimmerman Member $5,000 to $7,499

Deborah and Charles Adelman • Michael and Susan Albert • Mr. and Mrs. Stanley A. Applebaum • Stephen Barrow and Janis Manley-Barrow • Timi and Gordon Bates • David Bear and Laurie Hammer Bear • Judith Bergman and Richard Budson • Jerome and Henrietta Berko • Carole and Richard Berkowitz • Linda and Tom Bielecki •

TANGLEWOOD WEEK 6 SOCIETY GIVING AT TANGLEWOOD 43 Louis and Bonnie Biskup • Gail and Stanley Bleifer • Betsy and Nathaniel Bohrer • Mark G. and Linda Borden • Carol and Bob Braun • Judy and Simeon Brinberg • Maggie and Don Buchwald • Mr. and Mrs. Jon E. Budish • Mrs. Laura S. Butterﬁeld • David and Maria Carls • Carol and Randy Collord • Ann Denburg Cummis • Mr. and Mrs. Stephen Davis • Dr. and Mrs. Harold Deutsch • Gigi Douglas ‡ and David Fehr • Chester and Joy Douglass • Alan and Lisa Dynner • Ursula Ehret-Dichter • Dr. T. Donald ‡ and Janet Eisenstein • Mr. and Mrs. Martin H. Elrad • Nancy Edman Feldman and Mike Chefetz • Deborah Fenster-Seliga and Edward Seliga • Laura and Philip Fidler • Patricia and James Fingeroth • Bud and Ellie Frank • Rabbi Daniel Freelander and Rabbi Elyse Frishman • Carolyn and Roger Friedlander • Audrey and Ralph Friedner • Heidi and Austin Frye • Lynne Galler and Hezzy Dattner • Mrs. Athena G. Garivaltis • Drs. Anne and Michael Gershon • Robert ‡ and Stephanie Gittleman • David H. Glaser and Deborah F. Stone • Stuart Glazer and Barry Marcus • Judi Goldsmith • Corinne and Jerry Gorelick • Jud and Roz Gostin • Susan and Richard Grausman • Mr. Harold Grinspoon and Ms. Diane Troderman • The Guttman Family Foundation, in memory of Jerome B. and Albee P. Guttman • David Haas • Beverly and Lyman Hamilton • Joseph K. ‡ and Mary Jane Handler • Barbara Colgan Haynes • Peter and Ann Herbst • Mrs. Barbara Herzberg • Enid and Charles ‡ Hoffman • Mr. Gerald Hornik • Mr. and Mrs. Charles L. Housman • Nancy and Walter Howell • Marty and Judy Isserlis • Lola Jaffe • Ms. Lauren Joy • Adrienne and Alan Kane • Shulamit ‡ and Chaim Katzman • Mr. and Mrs. Bruce Kelly • Patricia Kennelly and Edward Keon • Mr. and Mrs. Carleton F. Kilmer • Deko and Harold ‡ Klebanoff • Phyllis (Patti) and Harvey Klein • Alan Kluger and Amy Dean • Meg and Joseph Koerner • Margaret and Richard Kronenberg • J. Kenneth Kruvant and Cathy Kruvant • Dr. and Mrs. Stephen Kulvin • Marilyn E. Larkin • Cynthia and Robert J. Lepofsky • Mrs. Toby H. Levine • Ira Levy, Lana Masor and Juliette Freedman • Anthony and Alice Limina • Ian and Christa Lindsay • Jane and Roger Loeb • Phyllis and Walter F. Loeb • Dr. Nancy Long and Marc Waldor • Diane H. Lupean • Paula Lustbader • Mr. and Mrs. Tod MacKenzie • Diane and Darryl Mallah • Carmine A. and Beth V. Martignetti • Suzanne and Mort Marvin • Wilma and Norman Michaels • Teresa and Martin Monas • Mr. and Mrs. Raymond F. Murphy, Jr. • Richard Novik and Eugenia Zukerman • John and Mary Ellen O’Connor • Arnold and Ellen Offner • Mr. and Mrs. Stephen M. Oristaglio • Peter Palandjian and Eliza Dushku-Palandjian/Intercontinental Real Estate Corporation • Donald and Laurie Peck • Ms. Claudia K. Perles • Lee Perlman and Linda Riefberg • Rabbi Rex Perlmeter and Rabbi Rachel Hertzman • Wendy Philbrick • Jonathan and Amy Poorvu • Ted Popoff and Dorothy Silverstein • Ellen and Mickey Rabina • Mr. Jonathan Resnick • Mr. and Mrs. Albert P. Richman • Dr. Robin S. Richman and Dr. Bruce Auerbach • Bette Sue and Lawrence Rosenthal • Edie and Stan Ross • Selma Rothstein • Milton B. Rubin • Larry and Pat Rutkowski • Elisabeth Sapery and Rosita Sarnoff • Dr. and Mrs. James Satovsky • Bob and Silvia Schechter • Sari Scheer and Sam Kopel • Mr. Gary S. Schieneman and Ms. Susan B. Fisher • David and Rosalie Schottenfeld • Mr. Daniel Schulman and Ms. Jennie Kassanoff • Marvin and Carol Schwartzbard • Carol and Richard Seltzer • Lois and Leonard Sharzer • The Shields Family • Susan and Judd Shoval • The Silman Family • Marion A. Simon • Mr. and Mrs. Stanley Singer • Mr. Peter Spiegelman and Ms. Alice Wang • Lynn ‡ and Lewis Stein • Suzanne and Robert Steinberg • Noreene Storrie and Wesley McCain • Ms. Pat Strawgate • Mr. and Mrs. Patrick J. Sullivan • Ingrid and Richard Taylor • Mr. and Mrs. Steven A. Tobin • Jacqueline and Albert Togut • Bob Tokarczyk • Diana O. Tottenham • Barbara and Gene Trainor • Kevin Truex and Francis Burnes • Stanley and Marilyn Tulgan • Myra and Michael Tweedy • Alex and Patricia Vance • Marilyn and Ron Walter • Ms. Gayllis R. Ward and Mr. James B. Clemence • Ron and Vicki Weiner • Betty and Ed Weisberger • Mr. Robert W. Werner and Ms. Suzanne H. Werner • Carol Andrea Whitcomb • Carole White • The Wittels Family • Sally and Steve Wittenberg • Susan Ellen Wolf • The Jessie and Bernard Wolfson Family Foundation • Ms. Erika Z. Goldberg and Dr. Stephen Kurland • Richard M. Ziter, M.D. • Ms. Gail Zunz and Dr. Sharyn J. Zunz • Anonymous (3)

44 Bernstein Society $3,000 to $4,999

Ms. Jean F. Adelson • Mrs. Ruth Alexander • Arthur Appelstein and Lorraine Becker • Mr. and Mrs. Stephen N. Ashman • David and Susan Auerbach • Mr. Benny Barak and Dr. Barbara Baum Barak • Ms. Shirley B. Barnes • Mr. ‡ and Mrs. Derek J. Benham • Cindy and David Berger • Helene Berger • John Bergman • Richard Bernstein and Janice Abbott • Birgit and Charles Blyth • Ms. Morene Bodner and Mr. David P. Carlisle • Jim and Linda Brandi • Elaine and Charlie Brenner • William E. Briggs • Richard and Diane Brown • Sandra L. Brown • Rhea and Allan Bufferd • James and Debbi Buslik • Patricia Callahan • Mr. and Mrs. Larry Carsman • Mr. Edward Chazen and Ms. Barbara Gross • Margaret and Bertram Chinn • Dr. Frank Clark and Dr. Lynn Delisi • Lewis F. Clark, Jr. • Malcolm and Ann Cole • Linda Benedict Colvin, in loving memory of her parents, Phyllis and Paul Benedict • Deborah and Gary Crakes • Brenda and Jerome Deener • Arthur and Isadora Dellheim • Mr. and Mrs. Matthew Deres • Margaret Deutsch • Mr. Ritchie Dion • Emilie and Clark Downs • Terry and Mel Drucker • In memory of Ann Dulye from Linda Dulye • Mr. and Mrs. Leonard Edelson • Adele and Bruce Fader • Dr. and Mrs. Gerald D. Falk • Marcia and Jonathan Feuer • Nancy and Peter Finn • Steve and Renee Finn • Elizabeth Fontaine • John and Alice Frazier • Carolynn and Michael Friedman • Jill and Harold Gafﬁn • John and Ann Galt • George and Barbara Gellert • Drs. Ellen Gendler and James Salik in memory of Dr. Paul and Rochelle Gendler • Ann Ghublikian and Margaret Sutherland • Mr. and Mrs. James W. Giddens • David and Marita Glodt • Joe and Perry Goldsmith • Paul Gompers and Jody Dushay • Hon. José A. Gonzalez, Jr. and Mary Copeland • Rhonna and Ezra Goodman • Mr. and Mrs. Thomas Graham • Jody and Martin Grass • Patricia and Louis Grossman • Michael and Muriel Grunstein • Dr. and Mrs. Melvin Hanzel • Mr. and Mrs. Hans Homburger • James ‡ and Joan Horwitz • Richard and Marianne Jaffe • Denise Gelfand and Peter Dubin • Miriam and Gene Josephs • Barbara and Gerry Katz • Mr. and Mrs. Ezra Katz • Hans Knapp • Richard and Amy Kohan • Mr. Robert L. Kuttner and Ms. Joan Fitzgerald • Cary and Beth Lakenbach • Jay and Cheryl Lawrence • Mr. Arthur J. Levey and Ms. Rocio Gell • Jeremy Levine • Thomas and Adrienne Linnell • Benjamin and Sharon Liptzin • Dr. and Mrs. Richard E. Litt • David Lloyd and Meg Mortimer • Luria Family • Jb and Evan Mallah • Jackie and Dr. Malcolm Mazow • Mr. and Mrs. Charles H. McGill III • Terence McInerney • Profs. Gary and Robin Melton • Soo Sung and Robert Merli • Steven and Michele Mestman • Judy and Richard J. Miller • Michael and Annette Miller • Mrs. Loraine B. Millman • Dr. Ronald and Merri Millman • Linda and Stuart Nelson • Rosalie and I. MacArthur Nickles • Ms. Cynthia Noe and Mr. Charles Grice • Ms. Nancy O’Malley and Mr. Jon Reinhardt • Dr. William S. Packard and Dr. Charles L. Ihlenfeld • Mr. Gerald W. and Mrs. Alice Padwe • Mr. Kenneth Patterson • Ms. Marie Pindus • Letty Cottin Pogrebin and Bert Pogrebin • Sumit Rajpal and Deepali Desai • Robert and Ruth Remis • Burton and Marjorie Resnic • Ms. Pamela Reznick • Dr. and Mrs. Jeffrey S. Ross • Barbara Rubin • Thomas and Kim Rufﬁng • Joanne Zervas Sattley • Mr. and Mrs. Michael Scheck • Dan Schrager and Ellen Gaies • Heidi and Robert Schwartz • Jane and Marty Schwartz • Betsey and Mark Selkowitz • Natalie and Howard Shawn • Jackie Sheinberg and Jay Morganstern • Theodore and Barbara Shiffman • Linda and Marc Silver, in loving memory of Marion, Sidney and Daniel Silver • Florence and Warren Sinsheimer • Maggie and Jack Skenyon • Anne Smith and John Goodhue • Tracey and Elliott Stein • Shirley and Al Steiner • Milton Steren • The Barrington Foundation. Inc. • Jodi and Paul Tartell • John Lowell Thorndike • Mr. and Mrs. Jack Tobin • Mr. Donald J. Toumey • Jonathan and Shari Turell • Donald Usher and William E. Briggs • Kae and Ben Wallace • William Wallace • Mr. and Mrs. Melvin A. Warshaw • Peter and Pat Weber • Dr. and Mrs. Jerry Weiss • Fred and June Wertlieb • Ms. Nancy Whitson-Rubin • Elisabeth and Robert ‡ Wilmers • Mr. Robert R. and Mrs. Sharyn B. Wilson • Lynn Carlson and Prescott Winter • Dr. Thomas and Barbara Wright • Cheryl and Michael Zaccaro • Anonymous

TANGLEWOOD WEEK 6 SOCIETY GIVING AT TANGLEWOOD 45 The Walter Piston Society The Walter Piston Society was established in 1987 and named for the Pulitzer Prize-winning composer and noted musician who endowed the BSO’s Principal Flute Chair with a bequest. The Society recognizes and honors those who have established one or more “planned” gifts for the future benefit of the Boston Symphony Orchestra, Boston Pops, or Tanglewood. Such gifts include bequest intentions (through one’s will, personal trust, IRA, or insurance policy), charitable trusts, and gift annuities. If you would like information about how to include the BSO in your gift plans, or if you find that your name is not included with other Walter Piston Society members and should be, please contact Jill Ng, Director of Planned Giving and Senior Major Gifts Officer, at (617) 638-9274 or [email protected]. ‡ This symbol denotes a deceased donor.

Mark and Stephanie Abrams • Sonia S. Abrams • Ms. Suzanne Abramsky • Vernon R. Alden • John F. Allen • Rosamond Warren Allen • Ms. Nancy Amstutz • Mr. Harlan Anderson ‡ • Mr. Matthew Anderson • Mariann Berg (Hundahl) Appley • Dr. David M. Aronson • Henry W. D. Bain • Mr. Sherwood E. Bain • Dr. and Mrs. Richard F. Balsam • Dr. and Mrs. James E. Barrett • Stephen Barrow and Janis Manley-Barrow • Rose Basile • John and Molly Beard • Carol Beck • Robert Michael Beech • Alan and Judith Benjamin • Gabriella Beranek • George and Joan Berman • Roz and Wally Bernheimer • Leonard and Jane Bernstein • Roberta Berry • Mr. Roger Berube • Mrs. Stanton L. Black • Edward Boesel and Darrell Martinie ‡ • Joan T. Bok • Gary F. Borla • Mr. John M. Bradley • Carol and Bob Braun • Karen M. Braun • Jane Braus • Jan Brett and Joseph Hearne • William E. Briggs • Peter A. Brooke • Phyllis Brooks • Mrs. E. B. Brown • Ms. Lorian R. Brown • Sandra L. Brown • Diana L. Burgin • Bonnie and Terry Burman • Margaret A. Bush • Mrs. Winifred B. Bush • Catherine and Paul Buttenwieser • Mrs. Mary L. Cabot • Crystal Cousins Campbell • Eleanor L. and Levin H. Campbell • Mr. and Mrs. Steven Castraberti • Kathleen G. and Gregory S. Clear • Barbara S. and Frederic M. Clifford • John F. Cogan, Jr. and Mary L. Cornille • Ms. Carolyn A. Cohen • Saul and Mimi Cohen • Dr. and Mrs. James C. Collias • Mrs. Abram T. Collier • Mr. and Mrs. Marvin A. Collier • Mrs. Carol P. Côme • Dr. William G. and Patricia M. Conroy • Dr. Michael T. Corgan ‡ and Sallie Riggs Corgan • Edwin and Myrtle Cox • Ann Denburg Cummis • Joan P. and Ronald C. Curhan • William D. Curtis • Mrs. Edith L. Dabney • Gene and Lloyd Dahmen • Eda Daniel • Peggy Daniel • Eugene M. Darling, Jr. • Mr. Nelson J. Darling, Jr. • Deborah B. Davis • Maude Sergeant Davis • Tamara P. and Charles H. Davis II • Mr. Henry B. Dewey • Richard Dixon and Douglas Rendell • Dr. Ruth Dlugi-Zamenhof and Dr. Robert Zamenhof • Mr. and Mrs. David Doane • Nina L. and Eugene B. Doggett • Joanne and Jerry Dreher • Henry P. Dunbar • The Rev. and Mrs. J. Bruce Duncan • Alan R. Dynner • Mrs. Harriett M. Eckstein • Ms. Marie J. Eger and Ms. Mary Jane Osborne • Ursula Ehret-Dichter • Mrs. Richard S. Emmet • Lillian K. Etmekjian • David H. Evans • Marilyn Evans • Roger and Judith Feingold • Mr. Gaffney J. Feskoe • C. Peter and Beverly A. Fischer • Doucet and Stephen Fischer • Mr. Stuart M. Fischman • David D. Foster • Elaine Foster • Dr. Joyce B. Friedman ‡ • Mr. Gabor Garai and Ms. Susan Pravda • Mrs. James G. Garivaltis • David H. and Karen L. Gaylin • Drs. Michael and Anne Gershon • Mrs. Henry C. Gill, Jr. ‡ • Annette and Leonard Gilman • Cora and Ted ‡ Ginsberg • Barry Glasser and Candace Baker • Mrs. Joseph Glasser • Susan Godoy • Ray Goldberg • Mr. Mark R. Goldweitz • Midge Golin • Hon. José A. Gonzalez, Jr. and Mary Copeland • Jane W. Goodwin • Mrs. Clark H. Gowen ‡ • Jordan and Laura Green • Madeline L. Gregory • Mrs. Norman Gritz • Edmund A. Grossman • Hope Hagler • Mr. and Mrs. Roger H. Hallowell, Jr. • Mr. Michael A. Halperson • Dr. Firmon E. Hardenbergh • Anne and Neil Harper • Ms. Judith Harris • Mrs. Francis W. Hatch • Ira Haupt, II • Deborah Hauser • Mr. Harold A. Hawkes • Nathan and Marilyn Hayward • Dorothy A. Heath • Ricki Tigert Helfer and Michael S. Helfer • Julie and Bayard Henry • Ann S. Higgins • Mr. James G. Hinkle, Jr. • Joan and Peter Hoffman • Ms. Emily C. Hood • Silka Hook ‡ • Jackie and Larry Horn • Timothy P. Horne • Wayne and Laurell Huber • Mr. and Mrs. F. Donald Hudson • Holcombe Hughes, Sr. • Mrs. Roger Hunt • Amy Hunter Maguire and Steven Maguire • Mrs. Joseph Hyman • Valerie and Allen Hyman • Patricia A. Insley • Janet S. Isenberg • Charles and Carolyn Jack •

46 Margery and Everett Jassy • Mrs. David Jeffries • Carolyn J. Jenkins • Lloyd W. Johnson and Joel H. Laski • Ms. Elizabeth W. Jones • Mrs. H.E. Jones • Ron and Joyce Jones • Richard Michael Kagan • Dr. Alice S. Kandell • Eva R. Karger • David L. Kaufman • Stephen B. Kay and Lisbeth L. Tarlow • Ms. Nancy Keil • Dr. Eileen Kennedy • Robert W. Kent • Mary Ellen Kiddle • Athena and Richard Kimball • L. Chloe King • Mary S. Kingsbery • Mr. Robert Kirzinger • Anita Ruthling Klaussen and Bud Collins ‡ • Ms. Marsha A. Klein • Mason J. O. Klinck • Kathleen Knudsen • Joan H. Kopperl • David Korn and Carol R. Scheman • Mr. Robert K. Kraft • Mr. and Mrs. Rudolf M. Kroc • Mr. Richard I. Land • Mr. and Mrs. Robert A. Lawrence • Dr. Robert Lee • Don and Virginia LeSieur • Toby Levine • Jeffrey and Della Levy • Marjorie Lieberman • Mrs. George R. Lloyd • John M. Loder • Diane H. Lupean • Adam M. Lutynski and Joyce M. Bowden • John C. MacRae • Mr. and Mrs. Donald Malpass, Jr. • Matthew B. and Catherine C. Mandel • Shirley and Jay ‡ Marks • Mrs. Nancy Lurie Marks • Gail and Steven Marlow • Mr. and Mrs. Jeffrey E. Marshall • Jane B. and Robert J. Mayer, M.D. • Ellen W. Mayo • Mrs. Barbara McCullough • Mrs. Richard M. McGrane • Mrs. David McKearnan • Mrs. Willard W. McLeod, Jr. • Mr. ‡ and Mrs. Russell P. Mead • Joel Robert Melamed, M.D. • Karen Metcalf • Fern King Meyers • Richard Mickey and Nancy Salz • Dr. Martin C. Mihm, Jr. • Edie Michelson Milender and Sumner Milender • Richard S. Milstein, Esq. • Dale and Robert Mnookin • Patricia A. Monk • P.J. Mont • Joan G. Monts • Mrs. John Hamilton Morrish • Richard P. and Claire W. Morse • John Munier and Dorothy Fitch • Cecile Higginson Murphy • Katharine S. Nash • Chloe Nassau • Robert Neff • Anne J. Neilson • Ms. Diana Nelson • Michael L. Nieland, M.D. • Mr. Richard C. Norris • Mr. and Mrs. Arthur E. Norton • Fritz and Luciana Noymer • Helene and Martin Oppenheimer • Annette and Vincent ‡ O’Reilly • Mrs. Stephen D. Paine • Mrs. Marion S. Palm • Catherine L. Pappas • Mary B. Parent • Janet Fitch Parker • Mr. and Mrs. Richard J. Parker • Joyce and Bruce Pastor • Patrice Evelyn Pastore • Nancy and Robert Payne • Mr. and Mrs. John B. Pepper • Mr. John A. Perkins ‡ • Wendy Philbrick • Rev. Louis W. Pitt, Jr. • Mrs. Rita Pollet • William and Lia Poorvu • M. Joan Potter • William and Helen Pounds • Patricia Ross Pratt • Mrs. Murray Preisler • Mr. Peter J. Previte • Dr. Robert O. Preyer • Carol Procter • Mrs. Millard H. Pryor, Jr. • James and Melinda Rabb • Dr. Herbert Rakatansky and Mrs. Barbara Sokoloff • Mark Reach and Laurel Bifano • Mr. John B. Read, Jr. • Peter and Suzanne Read • Kenneth Sawyer Recu • John Sherburne Reidy • Robert and Ruth Remis • Ms. Carol Ann Rennie ‡ •Marcia and Norman Resnick • John J. and Emily M. Reynolds • Frederick and Bonnie Rich • Dr. Paul A. Richer • Wendy H. Robbins • Elizabeth P. Roberts • Mr. David Rockefeller, Jr. • Fran and Liz Rogers • Dr. J. Myron Rosen • Peter and Rachel Ross • Mr. James L. Roth • Pauline A. Rowe • Wallace and Carol Rowe • Arnold Roy • Sue Z. Rudd • Joan and Michael Salke • John A., Helen M., ‡ and John W. Salkowski • Mr. Robert M. Sanders • Mr. Stephen Santis • The Sattley Family • Roger A. Saunders • Leonard Saxe and Marion Gardner-Saxe • Ms. Carol Scheifele-Holmes and Mr. Ben L. Holmes • Constance Lee Scheurer • Liolia J. Schipper • Dr. Raymond Schneider • Dr. Curtis Schondelmeyer and Scott Russian • Dr. and Mrs. Leslie R. Schroeder • Gloria Schusterman • Mrs. Aire-Maija Schwann • Mrs. George James Seibert • Kristin and Roger Servison • Joyce and Bert Serwitz • Arlene and Donald Shapiro • Carl H. and Claudia K. Shuster • Mrs. Jane Silverman • Scott and Robert Singleton • Barbara F. Sittinger • Dr. and Mrs. Jan P. Skalicky • Natalie K. Slater • Drs. Norman Solomon and Merwin Geffen • Mrs. George R. Sprague • Maria and Ray Stata • Mr. and Mrs. Joseph Stavenhagen • Mr. and Mrs. Nick Stcavish • Lewis and Margery Steinberg • Susan Stempleski • Marylen R. Sternweiler • Mr. and Mrs. Josiah Stevenson IV • Anne B. and Galen L. Stone • Lillian C. Stone • Theresa M. and Charles F. Stone III • Norma and Jerry Strassler • Peter and Joanna Strauss • Mr. and Mrs. Jonathon D. Sutton • Mona N. Tariot • Mr. Thomas Teal • John Lowell Thorndike • Mr. and Mrs. Samuel Thorne • Diana O. Tottenham • Daniel Vincent and Stephen Borboroglu • Robert Volante • Mark and Martha Volpe • Edward Wacks, Esq. • Eileen and Michael Walker • Carol A. Walker • Harvey and Joëlle Wartosky • Stephen and Dorothy Weber • Allen C. West • Ron and Sandy Weston • Carol Andrea Whitcomb • Mrs. Constance V. R. White • Mr. Edward T. Whitney, Jr. ‡ • Dr. Michael Wiedman • Karen Thomas Wilcox • Mr. and Mrs. Richard E. Willett • Mr. Jeffery D. Williams • Samantha and John Williams • Sybil Williams • Mrs. Margaret Williams-DeCelles • Jeanne H. Wolf • Chip and Jean Wood • David A. Wood • Donald G. and Jane C. Workman • Robert W. and Sheri Olans Wright • Drs. Richard and Judith Wurtman • Patricia Plum Wylde • Mr. David Yalen • Isa Kaftal Zimmerman and George ‡ O. Zimmerman • Richard M. Ziter, M.D. • Anonymous (77)

TANGLEWOOD WEEK 6 THE WALTER PISTON SOCIETY 47 Tanglewood Major Corporate Sponsors 2019 Season Tanglewood major corporate sponsorships reﬂect the importance of alliance between business and the arts. We are honored to be associated with the following organizations and gratefully acknowledge their partnerships.

Chase is proud to be the 2019 Tanglewood Season Sponsor. Chase is the U.S. consumer and commercial banking business of JPMorgan Chase & Co. (NYSE: JPM), a leading global financial services firm with assets of $2.6 trillion and operations worldwide. Chase serves nearly half of America’s households with a broad range of financial services, including personal banking, credit cards, mortgages, auto financing, investment advice, small business loans and payment processing. Customers can choose how and where they want to bank: Nearly 5,000 branches, 16,000 ATMs, mobile, online and by phone. For more information visit chase.com/boston.

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 second year of our partnership.

Dawson Rutter Commonwealth Worldwide Executive Transportation is proud to be President and CEO 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.

For information regarding BSO, Boston Pops, and/or Tanglewood sponsorship opportunities, contact Joan Jolley, Director of Corporate Partnerships, at (617) 638-9279 or at [email protected]. C+I 2019 studs.indd 17 8/29/19 12:17 PM C+I 2019 studs.indd 18 8/29/19 12:17 PM Trust aving that sense of security— Hand the knowledge your investment advisor understands your financial situation—is invaluable. Discover the qualities that can help provide some certainty in these uncertain times. Have a conversation with our managing director, Gary Schiff, and the team at October Mountain Financial Advisors. 103 West Park Street Lee, MA 01238 Tel: 413-243-4331 FAX: 413-243-0499 octobermountainfa.com St. Germain Investment Management operates as October Mountain Financial Advisors in the Berkshires.

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Where were we 50 years ago?

The Final Impossibility: Man’s Tracks on the Moon (detail), 1969. Norman Norman Rockwell Museum Collection © Norman Rockwell Family Arnold Skolnick, Concert poster for the Woodstock festival, August 1969. Rockwell Family Agency. All rights reserved. Agency. All rights reserved.

5o years of illustration art

NRM.org Stockbridge MA 413.298.4100 KIDS & TEENS FREE!

C+I 2019 studs.indd 19 8/29/19 12:17 PM One hundred years of lives reclaimed

A U.S. News & World Report Top Ten “Best Hospital” in Psychiatry 413.298.5511 www.austenriggs.org/100

Toole Insurance has been working with successful families in the northeast since 1939.

If it matters to you, proudly representing it matters to us. and other ﬁne insurers 800-958-6653 tooleinsurance.com

C+I 2019 studs.indd 20 8/29/19 12:17 PM BSO, TMC, and TLI at Tanglewood

For detailed program and ticket information about BSO and Tanglewood Music Center (TMC) concerts, please visit tanglewood.org. For detailed program and ticket information about the Tanglewood Learning Institute, please visit TLI.org. Brochures with complete programs and ticket information are available at the Welcome Center by the Main Gate, at the Visitor Center in the Tappan Manor House, and at the Linde Center for Music and Learning.

Friday, July 5, 6pm, Ozawa Hall Tuesday, July 9, 8pm, Ozawa Hall Prelude Concert—MEMBERS OF THE BSO TLI—FULL TILT Music of Mozart, Jongen, and Françaix MEOW MEOW—“Pandemonium”

Friday, July 5, 8pm, Shed Wednesday, July 10, 8pm, Ozawa Hall BSO—ANDRIS NELSONS, conductor HILARY HAHN, violin EMANUEL AX, piano All- J.S. Bach program Music of Mozart and Mahler Thursday, July 11, 8pm, Ozawa Hall Saturday, July 6, 10:30am, Shed VENICE BAROQUE ORCHESTRA Rehearsal (Pre-Rehearsal Talk, 9:30am) AVI AVITAL, mandolin BSO program of Saturday, July 6 Music of Geminiani, Vivaldi, Albinoni, and Paisiello Saturday, July 6, 5pm, Ozawa Hall TLI—THE BIG IDEA Friday, July 12, 6pm, Ozawa Hall MADELEINE K. ALBRIGHT Prelude Concert—MEMBERS OF THE BSO Music of Cage, Ninfea Cruttwell-Reade, Steve Saturday, July 6, 6:15pm, Linde Center Reich, and Steven Snowden TMC Prelude Concert—TMC FELLOWS Music of Previn, Marc Neikrug, and John Friday, July 12, 8pm, Shed Harbison BSO—ANDRIS NELSONS, conductor JAN LISIECKI, piano Saturday, July 6, 8pm, Shed THOMAS ROLFS, trumpet BSO—ANDRIS NELSONS, conductor ROBERT SHEENA, English horn ANNE-SOPHIE MUTTER, violin Music of Copland and Grieg Music of Joan Tower, Previn, and Dvoˇrák Saturday, July 13, 10:30am, Shed Sunday, July 7, 10am, Ozawa Hall Rehearsal (Pre-Rehearsal Talk, 9:30am) TMC Chamber Music Concert BSO program of Sunday, July 14 Music of Sarah Gibson (world premiere; TMC commission), Debussy, Jack Frerer, Saturday, July 13, 6:15pm, Linde Center Katherine Balch (world premiere; TMC TMC Prelude Concert—TMC FELLOWS commission), and Mozart Music of Stravinsky, Röntgen, and Clara Schumann Sunday, July 7, 2:30pm, Shed BOSTON POPS ORCHESTRA—JOHN Saturday, July 13, 8pm, Shed WILLIAMS and DAVID NEWMAN, BSO—ANDRIS NELSONS, conductor conductors KRISTINE OPOLAIS, OKSANA VOLKOVA, ANNE-SOPHIE MUTTER, violin JONATHAN TETELMAN, and RYAN SPEEDO “Across the Stars: Music of John Williams” GREEN, vocal soloists TANGLEWOOD FESTIVAL CHORUS Monday, July 8, 8pm, Ozawa Hall Verdi’s Requiem TMC ORCHESTRA—ANDRIS NELSONS and CONDUCTING FELLOWS, conductors Sunday, July 14, 10am, Ozawa Hall THOMAS ROLFS, trumpet TMC CHAMBER MUSIC CONCERT Music of Berlioz, Tchaikovsky, and Music of Andrew Haig, Dvoˇrák, Joan Tower, Shostakovich, and Detlev Glanert’s and Shostakovich Concerto for Trumpet and Orchestra (world premiere; TMC commission) The Berkshires’ Iconic Resort & Estate The Champagne Salon by Dom Perignon First of its kind in the US, open year round The Conservatory Seasonal and elegant four-course tasting menu The Bistro Seasonally local cuisine for breakfast, lunch and dinner

Visit Blantyre.com or call 413.637.3556 Sunday, July 14, 2:30pm, Shed Sunday, July 21, 10am, Ozawa Hall BSO—ANDRIS NELSONS, conductor TMC CHAMBER MUSIC CONCERT HÅKAN HARDENBERGER, trumpet Music of Shapero, Crumb, Sid Richardson, Music of Beethoven, HK Gruber, and Strauss Penderecki, and Lukas Foss

Monday, July 15, 8pm, Ozawa Hall Sunday, July 21, 2:30pm, Shed TMC ORCHESTRA—STEFAN ASBURY and BSO—ANDRIS NELSONS, conductor CONDUCTING FELLOWS, conductors JEAN-YVES THIBAUDET, piano Music of Respighi, Helen Grime (world Music of Gershwin and Stravinsky premiere; TMC commission), and Tchaikovsky Sunday, July 21, 8pm, Ozawa Hall Tuesday, July 16, 8pm, Ozawa Hall TMC VOCAL CONCERT MILOŠ, classical guitar Music of Ginastera and Ravel Music of J.S. Bach, Granados, Albéniz, Villa-Lobos, Lennon/McCartney, Harrison, Tuesday, July 23—Tanglewood on Parade and Mathias Duplessy Grounds open at 2pm for music and activities throughout the afternoon, including Tangle- Wednesday, July 17, 8pm, Ozawa Hall wood Music Center and Boston University GAUTIER CAPUÇON, cello Tanglewood Institute performances. JEAN-YVES THIBAUDET, piano Gala concert, 8pm, Shed Music of Schumann, Brahms, Sibelius, and BSO, BOSTON POPS ORCHESTRA, and Shostakovich TMC ORCHESTRA Thursday, July 18, 8pm, Linde Center ANDRIS NELSONS, KEITH LOCKHART, JOHN WILLIAMS, THOMAS WILKINS, and TMC VOCAL CONCERT JAMES BURTON, conductors Music of Hemsi, Chaminade, Falla, and Ives Music from Wagner’s Die Walküre; James Friday, July 19–Sunday, July 21 Burton’s The Lost Words, for children’s choir and orchestra (world premiere; BSO TLI—O’KEEFFE WEEKEND co-commission); Respighi’s Fountains of Rome; Friday, July 19, 6pm, Ozawa Hall Tchaikovsky’s 1812 Overture, and more Prelude Concert—MEMBERS OF THE BSO Fireworks to follow the concert Music of Poulenc, Saint-Saëns, Massenet, and Ravel Wednesday, July 24, 8pm, Ozawa Hall RENÉE FLEMING, soprano Friday, July 19, 8pm, Shed EMERSON STRING QUARTET BSO—ANDRIS NELSONS, conductor SIMONE DINNERSTEIN, piano GAUTIER CAPUÇON, cello Music for string quartet by Walker, Richard Music of Betsy Jolas, Saint-Saëns, Debussy, Wernick, and Barber, and Penelope, for and Ravel soprano, string quartet, and piano, by André Previn and Tom Stoppard (world premiere; Saturday, July 20, 10:30am, Shed BSO co-commission) Rehearsal (Pre-Rehearsal Talk, 9:30am) BSO program of Sunday, July 21 Thursday, July 25, 8pm, Ozawa Hall STEFAN JACKIW, violin Saturday, July 20, 6:15pm, Linde Center JEREMY DENK, piano TMC Prelude Concert—TMC FELLOWS HUDSON SHAD, vocal quartet Music of Britten and Brahms All-Ives program including Violin Sonatas Nos. 1-4 plus hymns, patriotic songs, and Saturday, July 20, 8pm, Shed marches that inspired the sonatas BSO—ANDRIS NELSONS, conductor RENÉE FLEMING and ROD GILFREY, Friday, July 26–Sunday, July 28 vocal soloists TLI—WAGNER WEEKEND WENDALL HARRINGTON, video artist Friday, July 26, 6pm, Ozawa Hall Music of Elgar and Kevin Puts’s The Brightness of Light (world premiere; BSO co-commission) Prelude Concert—MEMBERS OF THE BSO Music of J.S. Bach Friday, July 26, 8pm, Shed Sunday, July 28, 10am, Ozawa Hall BSO—ANDRIS NELSONS, conductor TMC CHAMBER MUSIC CONCERT PAUL LEWIS, piano Music of Wagner, Ari Sussman, Berg, and TANGLEWOOD FESTIVAL CHORUS Schoeck Music of Shostakovich, Mozart, and Ravel Sunday, July 28, 2:30pm (Act II) and Saturday, July 27, 10am, Ozawa Hall 6:30pm (Act III) BSO—THOMAS WILKINS, conductor TMC ORCHESTRA—ANDRIS NELSONS, COLEEN HOLMES, narrator conductor BSO Family Concert, to include Prokofiev’s AMBER WAGNER (Sieglinde), CHRISTINE Peter and the Wolf GOERKE (Brünnhilde), STEPHANIE BLYTHE (Fricka), SIMON O’NEILL Saturday, July 27, 10:30am (Siegmund), JAMES RUTHERFORD (Wotan), Rehearsal (Pre-Rehearsal Talk, 9:30am) and FRANZ-JOSEF SELIG (Hunding), vocal TMC Orchestra program of Sunday, July 28 soloists JESSICA FASELT, EVE GIGLIOTTI, WENDY Saturday, July 27, 5pm, Ozawa Hall BRYN HARMER, KELLY CAE HOGAN, TLI—THE BIG IDEA DANA BETH MILLER, RONNITA MILLER, DORIS KEARNS GOODWIN MARY PHILIPS, and RENÉE TATUM (Valkyries), vocal soloists Saturday, July 27, 6:15pm, Linde Center Wagner’s Die Walküre, Act II (2:30pm) and TMC VOCAL PRELUDE CONCERT Act III (6:30pm) To include Wagner’s Wesendonck-Lieder (Concert performances sung in German with English supertitles) Saturday, July 27, 8pm, Shed Single ticket provides admission to both concerts. TMC ORCHESTRA—ANDRIS NELSONS, conductor Tuesday, July 30, 8pm, Ozawa Hall AMBER WAGNER (Sieglinde), SIMON PAUL LEWIS, piano O’NEILL (Siegmund), and FRANZ-JOSEF Music of Haydn, Brahms, and Beethoven SELIG (Hunding), vocal soloists Wagner’s Die Walküre, Act I Wednesday, July 31, 8pm, Ozawa Hall (Concert performance sung in German with THOMAS HAMPSON, baritone English supertitles) LARA DOWNES, piano THE BEYOND LIBERTY PLAYERS “Song of America: Beyond Liberty”

Promotional stamps issued by the Berkshire Symphonic Festival Committee to publicize the Boston Symphony Orchestra’s first Berkshire Festival concerts in August 1936, the year before the BSO took up annual summer residence at Tanglewood (BSO Archives) Thursday, August 1, 8pm, Ozawa Hall Wednesday, August 7, 8pm, Ozawa Hall NATIONAL YOUTH ORCHESTRA OF YEFIM BRONFMAN, piano THE UNITED STATES OF AMERICA All-Beethoven program SIR ANTONIO PAPPANO, conductor ISABEL LEONARD, mezzo-soprano Thursday, August 8–Monday, August 12 Music of Benjamin Beckman (world FESTIVAL OF CONTEMPORARY MUSIC premiere), Berlioz, and Strauss TLI FESTIVAL OF CONTEMPORARY MUSIC WEEKEND Friday, August 2, 6pm, Ozawa Hall August 8, 8pm, Ozawa Hall: TMC ORCHESTRA Prelude Concert—MEMBERS OF THE BSO AND VOCAL FELLOWS, THOMAS ADÈS, Music of Hindemith, Price, and Shostakovich conductor August 9, 2:30pm, Linde Center: TMC Friday, August 2, 8pm, Shed CHAMBER MUSIC CONCERT The Serge and Olga Koussevitzky Memorial August 10, 6:15pm, Linde Center (TMC Prelude Concert Concert): TMC FELLOWS and NEW FROMM BSO—KEN-DAVID MASUR, conductor PLAYERS JOSHUA BELL, violin August 11, 10am, Ozawa Hall: TMC CHAMBER Music of Martin and Dvoˇrák MUSIC CONCERT August 11, 5pm, Linde Center: SILENT FILMS Saturday, August 3, 10:30am, Shed WITH NEW SCORES BY TMC Rehearsal (Pre-Rehearsal Talk, 9:30am) COMPOSITION FELLOWS BSO program of Sunday, August 4 August 12, 6pm, Ozawa Hall (Prelude Concert): Saturday, August 3, 6:15pm, Linde Center PIANO WORKS OF KNUSSEN AND OTHERS TMC Prelude Concert—TMC FELLOWS August 12, 8pm, Ozawa Hall: TMC Music of Tomasi, George Lewis, and Fauré ORCHESTRA, THOMAS ADÈS, conductor

Saturday, August 3, 8pm, Shed Friday, August 9, 6pm, Shed BSO—ASHER FISCH, conductor Prelude Concert—MEMBERS OF THE BSO PINCHAS ZUKERMAN, violin ROGER VIGNOLES, piano AMANDA FORSYTH, cello Music of Britten and Fauré Music of Schumann, Avner Dorman, Friday, August 9, 8pm Beethoven, and Mendelssohn BSO—LEONIDAS KAVAKOS, conductor Sunday, August 4, 10am, Ozawa Hall and violin TMC CHAMBER MUSIC CONCERT Music of Beethoven and Dvoˇrák Music of Copland, Harriet Steinke, Beethoven, Saturday, August 10, 10:30am, Shed and Weinberg Rehearsal (Pre-Rehearsal Talk, 9:30am) Sunday, August 4, 2:30pm, Shed BSO program of Sunday, August 11 BSO—DIMA SLOBODENIOUK, conductor Saturday, August 10, 8pm, Shed YEFIM BRONFMAN, piano Music of Rachmaninoff and Sibelius BSO—RAFAEL PAYARE, conductor NIKOLAI LUGANSKY, piano Sunday, August 4, 7pm, Linde Center Music of Carreño, Rachmaninoff, and Brahms TLI—CINEMATICS/FULL TILT Sunday, August 11, 2:30pm, Shed TMC VOCAL FELLOWS Selections from John Cage’s Song Books BSO—THOMAS ADÈS, conductor INON BARNATAN, piano Monday, August 5, 8pm, Ozawa Hall Music of Ives and Beethoven TMC CHAMBER ORCHESTRA Sunday, August 11, 7:30pm, Shed TMC VOCAL AND CONDUCTING FELLOWS Music of Haydn, Eisler, and Tchaikovsky YO-YO MA, cello J.S. Bach’s Suites for Solo Cello Tuesday, August 6, 8pm, Ozawa Hall Tuesday, August 13, 8pm, Ozawa Hall EMANUEL AX, piano LEONIDAS KAVAKOS, violin LEONIDAS KAVAKOS, violin YO-YO MA, cello EMANUEL AX, piano A program of Beethoven piano trios A program of Beethoven violin sonatas

Wednesday, August 14, 8pm, Linde Center Sunday, August 18, 8pm, Ozawa Hall TMC VOCAL CONCERT TMC ORCHESTRA—GIANCARLO Music of Wolf, Elizabeth Vercoe, Hahn, GUERRERO, conductor Massenet, and Debussy TMC CONDUCTING AND VOCAL FELLOWS Thursday, August 15, 8pm, Ozawa Hall Music of Sibelius, Hindemith, and Mahler THE KNIGHTS ERIC JACOBSEN, conductor Friday, August 23–Sunday, August 25 GIL SHAHAM, violin TLI—FILM WEEKEND Music of Ligeti, Brahms, György Kurtág, and Kodály Friday, August 23, 6pm, Ozawa Hall Prelude Concert—TANGLEWOOD FESTIVAL Friday, August 16, 6pm, Shed CHORUS Prelude Concert—MEMBERS OF THE BSO JAMES BURTON, conductor KIRILL GERSTEIN, piano Friday, August 23, 8pm, Shed Music of Dohnányi and Brahms BSO—YU-AN CHANG, conductor Friday, August 16, 8pm INGRID FLITER, piano BOSTON POPS ORCHESTRA—KEITH Music of Mendelssohn, Ravel, and Schuber LOCKHART, conductor “Star Wars: A New Hope” Saturday, August 24, 10:30am, Shed Film with live orchestral accompaniment Rehearsal (Pre-Rehearsal Talk, 9:30am) BSO program of Sunday, August 24 Saturday, August 17, 10:30am, Shed Rehearsal (Pre-Rehearsal Talk, 9:30am) Saturday, August 24, 5pm, Ozawa Hall BSO program of Sunday, August 18 TLI—THE BIG IDEA DANIEL SHAPIRO Saturday, August 17, 2:30pm, Linde Center WORKS BY TMC COMPOSITION FELLOWS Saturday, August 24, 8pm, Shed BOSTON POPS Saturday, August 17, 6:15pm, Linde Center JOHN WILLIAMS’ FILM NIGHT TMC Prelude Concert—TMC FELLOWS DAVID NEWMAN, conductor Music of Ravel and Brahms JOHN WILLIAMS, host

Saturday, August 17, 8pm, Shed Sunday, August 25, 2:30pm, Shed BSO—FRANÇOIS-XAVIER ROTH, conductor BSO—GIANCARLO GUERRERO, conductor KIRILL GERSTEIN, piano NICOLE CABELL, J’NAI BRIDGES, Music of Brahms and Schumann NICHOLAS PHAN, and MORRIS ROBINSON, vocal soloists Sunday, August 18, 10am, Ozawa Hall TANGLEWOOD FESTIVAL CHORUS TMC CHAMBER MUSIC CONCERT Music of Schoenberg and Beethoven Music of Mendelssohn, Osvaldo Golijov, Lara Poe, Fred Lerdahl, and Brahms

Sunday, August 18, 2:30pm, Shed BSO—FRANÇOIS-XAVIER ROTH, conductor YO-YO MA, cello MEMBERS OF THE BSO HORN SECTION Music of Schumann and Brahms

Programs and artists subject to change.

Boston University Tanglewood Institute Boston University Tanglewood Institute (BUTI) is recognized internationally as a premier summer training program for advanced young musicians ages 10–20, and is the only program of its kind associated with a major university and one of the world’s great symphony orchestras. BUTI’s intensive and innovative programs, distinguished faculty, and the opportunities afforded through its unique affiliation with the Boston Symphony Orchestra and Tanglewood Music Center have combined to give it a celebrated and distinctive reputation among its peers. Founded in 1966, BUTI resulted from the vision of Erich Leinsdorf, then music director of the BSO, who invited Boston University College of Fine Arts to create a summer program that would complement the existing offerings of the BSO’s Tanglewood Music Center. More than fifty years later, BUTI continues to build upon its legacy of excellence, annually offering a transformative experience to more than 400 young instrumentalists, composers, and singers from across the country and around the world. BUTI alumni contribute to today’s musical world as prominent performers and conductors, composers and educators, and administrators, supporters, and audience members. Currently, fifteen members of the BSO are BUTI alumni. (photo by Stratton McCrady) Each summer, BUTI presents more than 100 performances throughout the Berkshires, including six concerts in Seiji Ozawa Hall. All events are free and open to the public unless otherwise noted. For more information about BUTI, please stop by our office on the Leonard Bernstein Campus on the Tanglewood grounds, call 617.353.3386, or visit us online at bu.edu/tanglewood.

2019 BUTI Concert Series in Ozawa Hall

YOUNG ARTISTS ORCHESTRA*: Saturday, July 13, 1:30pm. Bruce Kiesling conducts Bates’ (BUTI’94) Desert Transport, Britten’s Sinfonia da Requiem, and Mussorgsky’s Pictures at an Exhibition. Saturday, July 27, 1:30pm. Miguel Harth- Bedoya conducts Mazzoli’s (BUTI ’98) River Rouge Transfiguration, Brahms’ Symphony No. 2, and Ginastera’s Harp Concerto, Op. 25, with Ann Hobson Pilot, harp; Gerald Elias conducts Vivaldi’s Concerto alla rustica and Telemann’s Concerto polonois. Saturday, August 10, 1:30pm. Paul Haas conducts Haas’ (BUTI ’87,’88) …in spiralis…, Dukas’ The Sorcerer’s Apprentice, and Mahler’s Symphony No. 1.

YOUNG ARTISTS WIND ENSEMBLE: Sunday, July 14, 7pm. David Martins conducts works by Gandolfi, Gillingham, Gregson, and Ticheli. Sunday, July 28, 2:30pm. H. Robert Reynolds conducts works by Gould, Grainger, Grantham, Marquez, and Gershwin’s Rhapsody in Blue, with Thomas Weaver (BUTI ’08), piano.

YOUNG ARTISTS CHORUS: Saturday, August 3, 1:30pm. Katie Woolf conducts Orff’s Carmina burana.

* Young Artists Orchestra tickets are available for $13 each and available at bso.org. For complete concert series, ticket, and venue information, visit bu.edu/tanglewood. BUTI’s 2019 Summer Concert Series is generously sponsored by M&T Bank. Tanglewood Business Partners The BSO gratefully acknowledges the following for their generous contributions of $750 or more for the 2019 season. Underlined Boldface denotes Koussevitzky Society support of $5,000 or more; boldface denotes Bernstein Society support of $3,000-$4,999 or more, and italics denote Highwood Club support of $1,500-$2,999. For information about how to join Tanglewood Business Partners, please contact Laurence Oberwager at 413-717-1513 or [email protected]. We hope you will support our members by patronizing them!

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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 Lisa Bury, Interim Chief Development Officer Sue Elliott, Judith and Stewart Colton Tanglewood Learning Institute Director Anthony Fogg, William I. Bernell Artistic Administrator and Director of Tanglewood Leslie Wu Foley, Helaine B. Allen Director of Education and Community Engagement 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, Chief Strategy Officer and Clerk of the Corporation 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, Senior Manager of Choruses • Sarah Funke Donovan, Associate Archivist for Digital Assets • Kimberly Ho, Assistant Manager of Choruses • 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 • Emilio Gonzalez, TLI Program Manager • Tuaha Khan, Assistant Stage Manager • Pat Meloveck, Stage Technician • Jake Moerschel, Technical Director • John Morin, Stage Technician • Mark C. Rawson, Stage Technician • Emily W. Siders, Concert Operations Administrator • Nick Squire, Recording Engineer • Christopher Thibdeau, Management Ofﬁce Administrator • Joel Watts, Assistant Audio and 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, Boston Pops Business Director • Leah Monder, Operations Manager • Wei Jing Saw, Assistant Manager of Artistic Administration • Amanda Severin, Manager of Artistic Planning and Services

Business Office

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

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 Donor and Volunteer Engagement • Ryan Losey, Director of Foundation and Government Relations • Jill Ng, Director of Planned Giving and Senior Major Gifts Officer • Richard Subrizio, Director of Development Communications • Mary Thomson, Director of Corporate Initiatives • Jennifer Roosa Williams, Director of Development Research, Information Systems, and Analytics Kaitlyn Arsenault, Graphic Designer • Erin Asbury, Manager of Volunteer Services • Stephanie Baker, Associate Director of Development Analytics and Strategic Planning • Shirley Barkai, Manager, Friends Program and Direct Fundraising • Stephanie Cerniauskas, Executive Assistant • Caitlin Charnley, Assistant Manager of Donor Relations and Ticketing • Allison Cooley, Major Gifts Officer • Gina Crotty, Individual Giving Coordinator • Kelsey Devlin, Donor Ticketing Associate • Emily Diaz, Assistant Manager, Gift Processing • Chris Fiecoat, Assistant Director of Donor Relations • Emily Fritz-Endres, Assistant Director of Board Administration • Joshua Hahn, Assistant Manager of Individual Giving, Annual Funds • Barbara Hanson, Senior Major Gifts Officer • Michelle Houle, Donor Acknowledgment and Research Coordinator • Rachel Ice, Individual Giving Coordinator • James Jackson, Associate Director, Telephone Outreach • Heather Laplante, Assistant Director of Development Information Systems • Anne McGuire, Manager, Corporate Initiatives and Development Research • Kara O’Keefe, Associate Director of Individual Giving, Annual Funds • Kathleen Pendleton, Assistant Manager, Development Events and Volunteer Services • Jana Peretti, Assistant Director of Development Research • Johanna Pittman, Grant Writer • Laura Sancken, Board Engagement Officer • Jenny Schulte, Assistant Manager of Development Communications • Alexandria Sieja, Assistant Director, Development Events • Yong-Hee Silver, Senior Major Gifts Officer

Education and Community Engagement

Jenna Goodearl, Program Director, Youth and Family Initiatives • Cassandra Ling, Head of Strategic Program Development, Education • Beth Mullins, Program Director, Community Partnerships and Projects • Sarah Saenz, Manager of Education and Community Engagement

Event Services Kyle Ronayne, Director of Events Administration James Gribaudo, Function Manager • John Stanton, Venue and Events Manager • Jessica Voutsinas, Events Administrative Assistant

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 • Julien Buckmire, Custodian/Set-up Coordinator • Claudia Ramirez-Calmo, Custodian • Garﬁeld Cunningham, Custodian • Bernita Denny, Custodian • Errol Smart, Custodian • Gaho Boniface Wahi, Custodian TANGLEWOOD OPERATIONS Robert Lahart, Director of Tanglewood Facilities Bruce Peeples, Tanglewood Grounds Manager • Peter Socha, Tanglewood Facilities Manager • Ross Jolly, Tanglewood Facilities Manager • Fallyn Davis, Tanglewood Facilities Coordinator • Stephen Curley, Crew • Richard Drumm, Mechanic • Bruce Huber, Assistant Carpenter/Roofer • Ronald Paul, Plumber/HVAC Technician • Dale Romeo, Electrician

Human Resources

Michelle Bourbeau, Payroll Administrator • John Davis, Associate Director of Human Resources • Kevin Golden, Payroll Manager • Susan Olson, Human Resources Recruiter • Rob Williams, Human Resources Generalist

Information Technology Timothy James, Director of Information Technology James Beaulieu, IT Services Team Leader • Andrew Cordero, IT Services Analyst • Ana Costagliola, Senior Database Analyst • Stella Easland, Telephone Systems Coordinator • Michael Finlan, Telephone Systems Manager • Karol Krajewski, Senior Infrastructure Architect • Brian Van Sickle, IT Services Analyst

Public Relations

Emily Cotten, Junior Publicist • Matthew Erikson, Senior Publicist • Linda Matchan, Senior Publicist

Publications Marc Mandel, Director of Program Publications James T. Connolly, Program Publications Coordinator and Pops Program Editor • Robert Kirzinger, Associate Director of Program Publications

Sales, Subscriptions, and Marketing

Gretchen Borzi, Director of Marketing Programs and Group Sales • Allison Fippinger, Interim Director of Digital Strategy • Roberta Kennedy, Director of Retail Operations • Michael Miller, Director of Ticketing and Customer Experience Amy Aldrich, Associate Director of Subscriptions and Patron Services • Patrick Alves, Front of House Associate Manager • Amanda Beaudoin, Senior Graphic Designer • 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 • Tammy Lynch, Front of House Director • Michael Moore, Manager of Digital Marketing and Analytics • 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, Director of Creative Services • Himanshu Vakil, Associate Director of Internet and Security Technologies • Thomas Vigna, Group Sales and Marketing Associate • Eugene Ware, Associate Marketing Manager • Andrew Wilds, SymphonyCharge Representative • David Chandler Winn, Tessitura Liaison and Associate Director of Tanglewood Ticketing

Box Office Jason Lyon, Symphony Hall Box Office Manager • Nicholas Vincent, Assistant Manager Shawn Mahoney, Box Office Representative • Evan Xenakis, Box Office Administrator

Tanglewood Music Center

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

Tanglewood Summer Management Staff

Stephen Curley, Parking Coordinator • Eileen Doot, Business Office Manager • Nicholas Duffin, Visitor Center Manager • Christopher Holmes, Public Safety Supervisor • Tammy Lynch, Tanglewood Front of House Director • Peter Nabut, TLI Production Manager • Rebecca Patterson, Tanglewood Business Partners Assistant • Peggy and John Roethel, Seranak Managers FAVORITE RESTAURANTS OF THE BERKSHIRES

If you would like to be part of this restaurant page, please call 781-642-0400. Boston Symphony Association of Volunteers

Executive Committee Chair, Jerry 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 House Gift Shops, Adele Cukor • Ushers, Carolyn Ivory Tanglewood Project Leads 2019 Brochure Distribution, Mark Beiderman • Exhibit Docents, Joan Buccino and Bonnie Desrosiers • Greeters, Monica Sinclair • Guide’s Guide, Audley H. Fuller and Renee Voltmann† • Information Table, Jane and Howard Jacobs • Newsletter, Nancy Finn • Off-Season Educational Resources, Susan Geller and Alba Passerini • Seranak Flowers, Sandra Josel • Tanglewood Family Fun Fest, William Ballen and Margery Steinberg • Tanglewood for Families, Ruth Markovits and Phyllis Pollack • Tanglewood Host Program, Rita Yohalem • TMC Lunch Program, Carlos and Susan Murawczyk and Ellen and Len Tabs • Tour Guides, Howie Arkans and Steve Mestman • Volunteer Applications, Judy Levin • Welcome Center, Gail Harris and Anne Hershman • Young Ambassadors, William Ballen and Carole Siegel

† Deceased Tanglewood Emergency Exits

Koussevitzky Music Shed

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