2018–19 season andris nelsons bostonmusic director symphony orchestra

week 19 all-strauss program

Season Sponsors seiji ozawa music director laureate conductor emeritus

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Takeda is proud to support the Symphony Orchestra Table of Contents | Week 19

7 bso news 1 5 on display in symphony hall 16 bso music director andris nelsons 18 the boston symphony orchestra 23 , the anti-modernist innovator by thomas may 31 in memoriam: 36 this week’s program

Notes on the Program All-Strauss Program 38 The Program in Brief… 39 Sextet for Strings, Moonlight Music, and Closing Scene from “” 51 “” 61 To Read and Hear More…

Guest Artist

65 Renée Fleming

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

program copyright ©2019 Boston Symphony Orchestra, Inc. program book design by Hecht Design, Arlington, MA cover photo by Marco Borggreve cover design by BSO Marketing

BOSTON SYMPHONY ORCHESTRA Symphony Hall, 301 Massachusetts Avenue Boston, MA 02115-4511 (617) 266-1492 bso.org Fibra One typeface © Latinotype™

February 27 – June 16

Generously supported by the Darwin Cordoba Fund for Latin American Art.

Frida Kahlo, Self-Portrait with Hummingbird and Thorn Necklace (detail), 1940. Oil on canvas. Nickolas Muray Collection of Modern Mexican Art, Harry Ransom Center, The University of Texas at Austin. © 2019 Banco de México Diego Rivera Frida Kahlo Museums Trust, Mexico, D.F. / Artists Rights Society (ARS), New York. 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 • 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 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. •

week 19 trustees and advisors 3 Connecting to What Matters That’s the Benchmark Difference.

Call today to learn more 617.657.1895

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Independent Living | Assisted Living | Mind & Memory Approach *Opening summer 2019. Pending EOEA licensure. photos by Michael Blanchard and Winslow Townson

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 • 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.

Membership as of March 1, 2019

† Deceased

week 19 trustees and advisors 5 We are honored to support the Boston Symphony Orchestra

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

H E R E . F O R O U R C O M M U N I T I E S . H E R E . F O R G O O D . BSO News

A Special Recital by Thomas Adès and Kirill Gerstein of Music for Two Pianos, This Friday, March 15, at 8 p.m. at Jordan Hall at the New Conservatory Co-presented by the BSO and the Celebrity Series of Boston to celebrate Thomas Adès’s tenure as the BSO’s Deborah and Philip Edmundson Artistic Partner, Mr. Adès and pianist Kirill Gerstein join forces for a program of music for two pianos: Debussy’s En blanc et noir and Lindaraja, Stravinsky’s Symphony of Psalms as arranged for two pianos by Shostakovich, Lutosławski’s Variations on a Theme by Paganini, Adès’s Concert paraphrase on his opera Powder Her Face, and Ravel’s La Valse. This special performance takes place on Friday, March 15, at 8 p.m. at Jordan Hall. Tickets from $35 to $75 are available at the Symphony Hall box office, at bso.org, or by calling SymphonyCharge at (617) 266-1200. Please note that on the day of the concert, tickets may only be purchased at Jordan Hall.

BSO Community Chamber Concerts The BSO continues its free, hour-long Community Chamber Concerts featuring BSO musicians in communities throughout the greater Boston area on selected Sunday after- noons at 3 p.m., followed by a coffee-and-dessert reception for and musicians. The next program—music for brass quintet, featuring BSO members Thomas Siders and Benjamin Wright, trumpets; Rachel Childers, horn; Stephen Lange, trombone, and James Markey, bass trombone—will be played at Northeastern University’s Fenway Center, 77 St. Stephen St., Boston, this Friday afternoon, March 15, at 1:30 p.m.; this Sunday, March 17, at 3 p.m. at the First Church in Roxbury; and on Sunday, March 24, at 3 p.m. at First Baptist Church in Worcester. Admission is free, but reservations are required; please call 1-888-266-1200. For further details, please visit bso.org and go to “Education & Community” on the home page. The BSO’s 2018-19 Sunday-afternoon Community Concerts are sponsored by Takeda Pharmaceutical Company Limited.

BSO 101, the BSO’s Free Adult Education Series, Wednesday, April 3, 5:30-7 p.m. at Symphony Hall “BSO 101: Are You Listening?” offers the opportunity to enhance your listening abilities, and increase your enjoyment of BSO performances, through discussion of repertoire to be played in upcoming concerts, focusing on aspects of musical form and of the composers’ individual musical styles. In this season’s final session—“20th-Century Masters: Stravinsky and Shostakovich,” on Wednesday, April 3, from 5:30-7 p.m.—BSO Director of Program

week 19 bso news 7

Publications Marc Mandel, joined by a member of the BSO, will focus on Stravinsky’s The Rite of Spring and Petrushka, and Shostakovich’s last symphony, No. 15. Each BSO 101 session includes recorded musical examples and is self-contained, so no prior musical training, or attendance at any previous session, is required. Though admission to the BSO 101 session is free, we request that you make a reservation to secure your place; please call (617) 266-1200 or visit bso.org and go to “Education & Community” on the home page. individual tickets are on sale for all concerts in the bso’s 2018-2019 season. for specific information on purchasing tickets by phone, online, by mail, or in person at the symphony hall box office, please see page 91 of this program book.

The Kristin and Roger Servison Concert, Thursday, March 14, 2019 Retail Marketing Company, senior vice- president of Fidelity Brokerage Services, The performance on Thursday evening is and senior vice-president of Fidelity Capital. supported by a generous gift from Great Roger and Kristin have been involved with a Benefactors Kristin and Roger Servison. number of non-profit organizations, including Roger became a Life Trustee in 2016 and Historic New England, the Museum of Fine previously served on the BSO Board of Arts, Boston, Tenacity, Winsor School, Trustees beginning in 2001. He was elected Japan Society of Boston, Vincent Memorial to the BSO Board of Overseers in 1996 Hospital, and Pioneer Institute, among others. and served as a vice-chair of the Board of Trustees from 2003 to 2013. The Catherine and Paul Kristin and Roger have been BSO subscribers for twenty years and also attend Holiday Pops, Buttenwieser Guest Artist Spring Pops, and Tanglewood performances. Thursday, March 14, 2019 “The BSO has been such an important part Thursday evening’s appearance by Renée of our lives, and we’ve enjoyed introducing Fleming is supported by a generous gift our daughter to the joys of the Symphony from Great Benefactors Catherine and Paul through Tanglewood and the Family Concert Buttenwieser. Elected a BSO Overseer in programs,” they have said. Kristin and Roger 1998 and Trustee in 2000, Paul was elevated have served on the benefactor committee to Life Trustee in 2017. He served as president for Opening Night at Pops and Symphony for of the Board of Trustees from 2014 to 2017 many years. They have endowed a BSO first and a vice-chair of the Board of Trustees violin chair, currently held by Bonnie Bewick. from 2010 to 2013. The Servisons have also generously supported Paul’s interest in music began at a young the Artistic Initiative, Immediate Impact age, when he studied piano, violin, clarinet, Fund, Symphony Annual Fund, and Opening and as a child and teenager. Nights. They are members of the Higginson Together, Paul and Katie developed their Society at the Virtuoso level, as well as the lifelong love of music, and have attended Walter Piston Society. Roger has served on the BSO’s performances at Symphony many board committees over the years. Hall and Tanglewood for more than fifty Roger is the former president of Strategic years. The Buttenwiesers have generously New Business Development of Fidelity supported numerous BSO initiatives, including Investments. He joined Fidelity in 1976 as BSO commissions of new works, guest vice president of marketing. During his forty artist appearances at Symphony Hall and years of service, Roger held such executive Tanglewood, fellowships at the Tanglewood roles as executive vice-president, managing Music Center, and Opening Nights at Symphony director, president of Fidelity Investments and Tanglewood. They also endowed a

week 19 bso news 9 BSO first violin chair, currently held by Aza Harvard Medal for service in 2010. In 1988, Raykhtsaum. Paul and Katie, who have Paul and Katie founded the Family-to-Family served on many gala committees, chaired Project, an agency that works with homeless Opening Night at Symphony for the 2008-09 families in Eastern Massachusetts. Katie, season. Paul was a member of the Search who is a social worker, spent most of her Committee recommending the appointment career in early child development before of Andris Nelsons as the BSO’s Ray and Maria moving into hospice and bereavement work. Stata Music Director. She is a graduate of Mount Holyoke College and Boston University School of Social The Buttenwiesers support many arts Work. Paul is a psychiatrist who specializes organizations in Boston and are deeply in children and adolescents, as well as a involved with the community and social novelist. He is a graduate of justice. In 2014, Paul stepped down as and Harvard Medical School. chairman of the Institute of Contemporary Art, Boston, after a decade of leading the Board of Trustees. He is a trustee and former The Traynor Family Concert chair of American Repertory Theater and Saturday, March 16, 2019 received the A.R.T. Angel Award in 2018. Paul is also a trustee of Partners in Health, The performance on Saturday evening is honorary trustee of the Museum of Fine Arts, supported by a generous gift from longtime Boston, fellow of the American Academy BSO patrons Stephen and Ronney Traynor, of Arts and Sciences, and member of the and their daughters, Wendy Traynor and President’s Advisory Council at Berklee Roberta Traynor. The Traynor family has College of Music. A former overseer of subscribed to the BSO for more than , he was awarded the thirty-five years. It has been Ronney and

NEW 2-CD SET! Following upon their previous Grammy-winning releases on Deutsche Grammophon of Shostakovich’s symphonies 5, 8, 9, and 10, this new, two-disc “Under Stalin’s Shadow” set from Andris Nelsons and the Boston Symphony Orchestra pairs live performances of the SYMPHONY NO. 7, “LENINGRAD,” from 1941, representing the resistance of the Russian people to the Nazi siege of that city, and the rarely heard, multi-faceted SYMPHONY NO. 6, from 1939. Filling out the set are the composer’s celebratory “Festive Overture,” Op. 96, and a suite from his incidental music to a 1940 Leningrad production of Shakespeare’s “King Lear.”

Available February 22! $21.95 In the Symphony Shop or at bso.org.

10 Stephen’s great job to raise their children on a (encore April 1); and two upcoming programs heavy diet of opera, classical music, and jazz; under the direction of Gustavo Dudamel, the and to expose them to the great performers first pairing Schumann’s Symphony No. 1, at the BSO, Boston Pops, and Tanglewood, Spring, and Stravinsky’s The Rite of Spring, as well as through Family Concerts, Popular (April 6; encore 15), the second to include Artist concerts, and other special events music of Paul Desenne, Ginastera’s Piano at Symphony Hall. That love has become Concerto No. 1 with soloist Sergio Tiempo, a passion for Ronney and Stephen’s grand- and Estévez’s Cantata Criolla with tenor children, Hannah, Dana, and Baird Feeney. Aquiles Machado, baritone Gustavo Castillo, Baird had the honor of singing with his and the Tanglewood Festival Chorus (April 13; high school choir as they performed with encore April 22). the Boston Pops in December 2014. The Traynor family extends its thanks to the BSO for inspiring many generations. Join Our Community of Music Lovers— The BSO’s Performance History The Friends of the BSO of Dvorákˇ “Stabat Mater”: As a music lover, you know how special A Correction it is to experience a performance here at Symphony Hall. Attending a BSO concert The performances of Dvoˇrák’s Stabat Mater is a communal experience—thousands of led by Seiji Ozawa at Symphony Hall—the concertgoers join together to hear 100 BSO’s only Symphony Hall performances musicians collaborate on each memorable of the complete work prior to this season— performance. Without an orchestra, there and at New York’s Carnegie Hall took place is no performance, and without an audi- in January 1980 (not January 1981, as errone- ence, it is just a rehearsal. There’s another ously stated at the end of the program note community that helps to make it all possi- in the program book of this past February 28- ble—the Friends of the BSO. Every $1 the March 2). The date was given correctly in BSO receives through ticket sales must be “The Program in Brief…” earlier in that book. matched by an additional $1 of contributed support to cover annual expenses. Annual BSO Broadcasts on WCRB membership gifts from the Friends of the BSO help bridge that gap. The Friends are BSO concerts are heard on the radio at 99.5 the cornerstone upon which the orchestra WCRB. Saturday-night concerts are broad- is built, keeping the music playing to the cast live at 8 p.m. with host Ron Della Chiesa, delight of audiences all year long. In addition and encore broadcasts are aired on Monday to joining our family of like-minded music nights at 8 p.m. In addition, interviews with lovers, you’ll also enjoy a variety of exclusive guest conductors, soloists, and BSO musi- benefits designed to bring you closer to the cians are available online at classicalwcrb. music you cherish. Friends receive advance org/bso. Current and upcoming broadcasts ticket ordering privileges, discounts at the include this week’s all-Strauss program Symphony Shop, and special invitations under Maestro Nelsons featuring soprano to such behind-the-scenes donor events Renée Fleming in the final scene from the as BSO and Pops working rehearsals, and opera Capriccio and closing with Also sprach much more. Friends memberships start at Zarathustra (March 16; encore March 25); just $100. To join our community of music the Saturday, March 23 concert led by BSO lovers in the Friends of the BSO, contact Germeshausen Youth and Family Concerts the Friends Office at (617) 638-9276 or Conductor Thomas Wilkins, featuring saxo- [email protected], or join online at phonist James Carter, of music by Adolphus bso.org/contribute. Hailstork, Roberto Sierra, Price, and Ellington

week 19 bso news 11 Explore Memory Care Arts & Culture White Oak Cottages at Fox Hill Village offers a unique alternative Living at Fox Hill Village means the planning is done. for those who can no longer live at You just show up! Join your neighbors for an excursion of guided home due to memory impairment. tours, eateries and shops to explore. Make it easy and take the bus to With our specially designed Symphony Hall. Take day trips to Tanglewood, the cottages, philosophy of care, and Boston Ballet, the Wang Theatre and more! unique staffing model, we provide the very best living options for our With numerous intellectually stimulating outings, residents with dementia and a variety of adult learning programs highlighting Alzheimer’s disease. We are a history, finance, current events and the arts, you’ll proud partner of The Green House® Project, a national move- never be bored at Fox Hill Village. ment to transform long-term care. In the Loge at the In addition to our commitment to rich Museum of Fine Arts, To learn more, call cultural offerings, we have: Boston 781-320-1999 or visit WhiteOakCottages.com • Cooperative Ownership • Floorplans from 615 to 1,900 sq. ft. • Privacy and Security • Over 100 Beautiful Acres WHITE OAK Call today to schedule your private tour 781-493-6805. COTTAGES Visit us at FoxHillVillage.com 10 Longwood Drive, Westwood, MA 02090 AT FOX HILL VILLAGE

Developed by Massachusetts General Hospital Proudly Celebrating Over 25 Years! BSO Members in Concert On Camera With the BSO For the final concert of its 2018-19 season, The Boston Symphony Orchestra frequently the Concord Chamber Music Society, found- records concerts or portions of concerts ed by BSO violinist Wendy Putnam, presents for archival and promotional purposes via the Takács Quartet on Sunday, March 17, at our on-site video control room and robotic 3 p.m. (pre-concert lecture at 2 p.m.) at the cameras located throughout Symphony Hall. Concord Academy Performing Arts Center, Please be aware that portions of this con- 166 Main Street, Concord, MA. On the pro- cert may be filmed, and that your presence gram are Haydn’s Quartet in G, Op. 76, No. 1, acknowledges your consent to such photog- Bartók’s Quartet No. 6, and Grieg’s Quartet raphy, filming, and recording for possible use No. 1 in G minor, Op. 27. Tickets are $47 and in any and all media. Thank you, and enjoy $38 (discounts for seniors and students). For the concert. more information, call (978) 405-0130 or visit concordchambermusic.org. Those Electronic Devices… Collage New Music, founded by former BSO As the presence of smartphones, tablets, and percussionist Frank Epstein, closes its 2018- other electronic devices used for commu- 19 season with an evening of first Boston nication, note-taking, and photography has performances of works by Yu-Hui Chang, increased, there have also been continuing Richard Festinger, Eric Moe, and Andrew expressions of concern from concertgoers Imbrie, under the direction of David Hoose, and musicians who find themselves dis- on Sunday, March 31, at 8 p.m. (pre-concert tracted not only by the illuminated screens talk at 7 p.m.) at Edward M. Pickman Concert on these devices, but also by the physical Hall at the Longy School of Music of Bard movements that accompany their use. For College, 27 Garden Street, Cambridge. Gen- this reason, and as a courtesy both to those eral admission tickets at $30 (discounts for on stage and those around you, we respect- seniors and students) and more information fully request that all such electronic devices are available at collagenewmusic.org. be completely turned off and kept from view Go Behind the Scenes: while BSO performances are in progress. In addition, please also keep in mind that The Irving W. and Charlotte F. Rabb taking pictures of the orchestra—whether Symphony Hall Tours photographs or videos—is prohibited during The Irving W. and Charlotte F. Rabb Sym- concerts. Thank you very much for your phony Hall Tours, named in honor of the cooperation. Rabbs’ devotion to Symphony Hall through a gift from their children James and Melinda Rabb and Betty (Rabb) and Jack Schafer, Comings and Goings... provide a rare opportunity to go behind Please note that latecomers will be seated the scenes at Symphony Hall. In these free, by the patron service staff during the first guided tours, experienced members of the convenient pause in the program. In addition, Boston Symphony Association of Volunteers please also note that patrons who leave the unfold the history and traditions of the Bos- auditorium during the performance will not ton Symphony Orchestra—its musicians, be allowed to reenter until the next convenient- conductors, and supporters—as well as pause in the program, so as not to disturb the offer in-depth information about the Hall performers or other audience members while itself. Tours are offered on select weekdays the music is in progress. We thank you for at 4 p.m. and some Saturdays at 3:30 p.m. your cooperation in this matter. during the BSO season. Please visit bso.org/ tours for more information and to register.

week 19 bso news 13 ASSISTING NEW ENGLAND FAMILIES WITH THE SALE OF THEIR FINE JEWELRY AND PAINTINGS SINCE 1987.

ALEXANDER CALDER Gold Brooch, ca. 1948

SOLD AT AUCTION: $79,300

GROGANCO.COM | 20 CHARLES STREET, BOSTON, MASSACHUSETTS 02114 | 617.720.2020 on display in symphony hall This year’s BSO Archives exhibit on the orchestra and first-balcony levels of Symphony Hall encompasses a widely varied array of materials, some of it newly acquired, from the Archives’ permanent collection. highlights of this year’s exhibit include, on the orchestra level of symphony hall: • An exhibit case in the Brooke Corridor documenting grand musical events in Boston prior to the founding of the BSO • An exhibit case in the Brooke Corridor spotlighting BSO founder and sustainer Henry Lee Higginson • An exhibit case in the Brooke Corridor celebrating women composers whose music the BSO has performed • Two exhibit cases in the Hatch Corridor focusing on the construction and architecture of Symphony Hall in the first balcony corridors: • An exhibit case, audience-right, tracing the crucial role of the BSO’s orchestra librarian throughout the orchestra’s history • An exhibit case, also audience-right, highlighting a newly acquired collection of letters written between 1919 and 1924 by Georg Henschel, the BSO’s first conductor, to the French flutist Louis Fleury, as well as Henschel the composer • An exhibit case, audience-left, documenting Symphony Hall’s history as a venue for jazz concerts between 1938 and 1956 in the cabot-cahners room: • Two exhibit cases focusing on the life, career, and family history of the late Tanglewood Festival Chorus founder/conductor John Oliver, including personal and professional papers, photographs, and other memorabilia, all donated to the BSO Archives in 2018 by Mr. Oliver’s estate • An exhibit case drawn from materials acquired by the BSO Archives in 2017 documenting the life and musical career of former BSO violinist Einar Hansen, a member of the BSO from 1925 to 1965

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

week 19 on display 15 Marco Borggreve

Andris Nelsons

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

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

16 on Deutsche Grammophon of Shostakovich’s symphonies 4, 5, 8, 9, 10, and 11, The Year 1905, as part of a complete, live Shostakovich symphony cycle for that label; and a new 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 is Maestro Nelsons’ final season as artist-in-residence at the Konzerthaus and marks his first season as artist-in-residence at Hamburg’s Elbphilharmonie. In addition, he continues his regular collaborations with the Vienna Philharmonic and Berlin Philharmonic. Throughout his career, he has also established regular collaborations with Amsterdam’s Royal Concertgebouw Orchestra, the Bavarian Radio Symphony Orchestra, and the Philharmonia Orchestra, and has been a regular guest at the Bayreuth Festival and House, Covent Garden.

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

week 19 andris nelsons 17 Boston Symphony Orchestra 2018–2019

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

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

18 photos by Winslow Townson and Michael Blanchard

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

week 19 boston symphony orchestra 19

Richard Strauss, the Anti-Modernist Innovator by Thomas May

On his all-Richard Strauss program this week, Andris Nelsons juxtaposes music by the young firebrand (Strauss’s orchestral tone poem “Also sprach Zarathustra”) with excerpts from the composer’s final opera, “Capriccio” (here featuring Renée Fleming)—compositions separated by nearly half a century. The narrative of Modernist progress could make little sense of the long arc of Strauss’s career and so wrote much of it off as “reactionary”; but such short-sightedness, which once prevailed, has since given way to a more balanced assessment, one more aligned with contemporary sensibilities.

“The destruction was horrific,” wrote one of Vienna’s music critics when Also sprach Zarathustra was first heard there in March 1897, several months after Richard Strauss had conducted the tone poem’s world premiere in Frankfurt. Resorting to vivid metaphors of the composer exploding his “anarchic music bomb,” the reviewer admitted to “sparks of genius that fly out in the midst of this musical blasting operation” but warned that “art must protect itself”—else “the way is free for the rule of the street.”

So far, so good: anticipating the notorious “scandal premieres” involving both Stravinsky and Schoenberg’s circle by a good sixteen years, Strauss was accruing impressive credentials as the prototypical Modernist enfant terrible. Indeed, Strauss’s timing seemed impecca- bly synchronized with the mixture of hope and angst that greeted the dawn of a new century. At one point, he even weighed giving his score the subtitle “Symphonic Optimism in fin-de-siècle form, dedicated to the 20th century.” That, more or less, is what the young Belá Bartók seems to have taken from his first experience with this music in 1902,

week 18 23

Satirical cartoon by Felix Jüttner in response to the 1909 premiere of Strauss’s “”

when he was still only twenty. The Hungarian composer later recalled that Zarathustra, “[though] received with shudders by musicians [in Budapest], stimulated the greatest enthusiasm in me; at last I saw the way that lay before me.”

A few years after Bartók’s epiphany, Strauss was still making news as a depraved avant- gardist. After the failure of his first two operas, the one-actSalome (premiered in 1905) provided his breakthrough to stage success. became an international sensation but provoked such outrage when unveiled at the Metropolitan Opera in 1907 that the production was closed after a single performance.

Expectations ahead of the premiere in 1909 of his subsequent opera, Elektra, were pos- itively feverish, information about the score being strictly embargoed. A kind of period trigger warning, one cartoon of the era (reproduced above) depicts a victim strapped to an “Elektric chair” and being tormented by a trumpet-wielding Strauss. (The linkage between modern music and murderous assault seems to have become a trope: when Walter Damrosch led the premiere of the young Aaron Copland’s First Symphony in 1925, he turned to the audience and declared that if an artist is capable of writing such music at age twenty-three, “within five years he will be ready to commit murder.”)

In short: from the premiere in 1889 of —the tone poem in which he first achieved a real breakthrough to his signature style—through the first decade of the 20th century, Richard Strauss commanded a reputation as a formidable revolutionary, a spearhead of Europe’s musical avant-garde. Even Schoenberg fell under his influence during this period, learning tricks of the trade from Don Juan and expressing aston- ished admiration at the originality of Salome’s score: “Perhaps in another twenty years, someone will manage to explain the theory behind these harmonic progressions,” he remarked.

week 19 25 Elektra came to represent a Rubicon the revolutionary dared not venture across. With regard to how far he had stretched himself in this score, Strauss himself, looking back from the distance of many years, observed: “I went to the utmost limits of harmony, psy- chological polyphony (Klytämnestra’s dream), and the capacity of today’s ears to take in what they hear.” Having used all twelve notes of the chromatic scale as the subject of a fugue in Zarathustra’s “Science” section, here the composer edged past super-saturated late Romanticism, touching on the disturbing new potential of free (a)tonality. Following Elektra, when he was in his mid-forties, Strauss and his Modernist peers continued along paths that soon diverged dramatically. Many of the latter came to disparage Strauss’s prolific oeuvre post-Elektra as an embarrassing anachronism out of tune with the times. And this bias held sway through much of the 20th century.

Even his official biographer and friend Willi Schuh implicitly acknowledged this dichotomy in the introduction he contributed to a Festschrift celebrating Strauss’s 80th birthday in 1944. But Schuh gave it a positive spin by comparing him with another long-lived artist, Johann Wolfgang von Goethe (an idol of the aging composer): “In their young years lauded and condemned as ‘revolutionaries’ of their art, in their mature years, on account of their classical posture, suspected of being ‘reactionaries,’ both followed their daimon calmly through all the various phases of their relation to the world until they reached advanced age.” Even nowadays, what happened after Elektra is often described as a step back from the abyss, handily symbolized by the volte-face that

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26 Richard Strauss in later life

(premiered in 1911) seems to enact not only in musical style but as a fantasy anchored to a nostalgic view of the past.

Curiously, that image of stepping back from the abyss is sometimes applied to another composer who was almost the exact contemporary of Strauss (outliving him by nearly a decade): Jean Sibelius, whose bleak, despairing Fourth Symphony (also premiered in 1911) is taken to embody an Elektra-like stretching-to-the-limit for its composer, after which he “reverted” to a more immediately accessible musical language, rejecting pressure to continue along the Modernist path. As with Strauss, the music of Sibelius faced the censure of gatekeepers of opinion who preferred to enforce a linear, putatively progressive interpretation of artistic history; and Sibelius has similarly benefited from reassessment by later champions of his work. Once derided as yet another holdout from outdated Romanticism, the Finn is now hailed as a pioneer on his own terms, a source of inspiration for composers ranging from Peter Maxwell Davies to John Adams and Thomas Adès.

Strauss, for his part, almost perversely went out of his way to épater l’avant-garde, so to speak, by playing the role of the conventional bourgeois to the hilt. He reveled in mate- rial comforts and pointedly talked about his creative work with the attitude of a man of business: exactly the opposite of how Modernism preferred to typecast the protesting, alienated artist—an image that was itself held over from the Romantic era. And there is the far darker issue of Strauss’s (brief) role as a music official in the early years of the Third Reich (though he kept his distance from the Nazi Party). Rather than emigrate, his defenders argue, Strauss intended to use his influence to counteract National Socialist policies. In any case, what can at best be construed as political naiveté and detachment strengthened the association of later Strauss with a reactionary worldview.

Yet, with the collapse of faith in the Modernist project, the once widespread view of a sharp dichotomy between the revolutionary and the reactionary in Strauss’s music has

week 19 27 ONE DAY UNIVERSITY® at Tanglewood Sunday, June 23, 9:30am – 1:15pm Ozawa Hall at General Registration: $159 Impactful Immigration, register today! Life Changing Books event schedule & Musical Masterpieces

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ONE DAY UNIVERSITY at Tanglewood • For more information, call Hester Breen at 617-638-9270 itself come to seem out of date. When originality for its own sake no longer stands as the chief criterion for creative authenticity, Strauss’s instinct to respect “the capacity of today’s ears”—to honor the need to communicate with his audience — points toward a different understanding of innovation, one that is by no means a risk-free retreat to the comforting familiarity of the past. Leon Botstein, an eloquent exponent of the postmodern reevaluation of Strauss, observes that “the simultaneous presentation, undercutting, and gradual withdrawal of the sentimental in music is perhaps Strauss’s profoundest contri- bution” to the artist’s response to the condition of modernity.

All of this is distilled into Capriccio, premiered in 1942, and which Strauss conceived less as a grand finale than as a subtle epilogue to his operatic career—in the composer’s phrase, as a “theatrical fugue” (recalling the fugue that concludes Verdi’s late Falstaff) and “a conversation piece for music.” Strauss made Capriccio an opportunity to ruminate on the history of opera itself, the perennial aesthetic issue of the proper relation between words and music here taking concrete form as an allegorical love story.

At Capriccio’s center is the widowed Countess Madeleine, on whom the composer lavished one of the most sumptuous and refined solo scenes in all of his operas. The Countess touches on the very questions that affected Strauss as he reflected on his own position in a rapidly changing world, and on larger issues that must remain open-ended: the relation between beauty and truth, head and heart, the “real world” and the ideal perfection of art. thomas may writes about the arts and blogs at memeteria.com.

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week 19 29 BOSTONS #1 GLOBAL CARRIER. Connecting you to 45+ destinations worldwide. PROUD TO BE THE OFFICIAL AIRLINE OF THE BOSTON SYMPHONY ORCHESTRA. IN MEMORIAM André Previn April 6, 1929 – February 28, 2019

The Boston Symphony Orchestra mourns the loss of composer- conductor-pianist André Previn, who passed away in February and would have turned 90 on April 6, a birthday to have been celebrated at Tanglewood this coming summer. Maestro Previn’s connection to the Boston Symphony Orchestra dates back to August 1977 at Tanglewood, on which occasion he conducted the BSO for the first time, initiating a decades-long relationship that continued through his August 2009 Tanglewood appearances conducting the BSO, appearing as pianist with the Boston Symphony Chamber Players, and performing an evening of jazz favorites with bass player David Finck, followed in October 2010 and August 2011 by further concerts with the Boston Symphony Chamber Players. In addition to his subscription-series and Tanglewood concerts with the orchestra—which included numerous performances in the dual role of conductor and piano soloist—he also led the BSO at Carnegie Hall in New York as well as on a 1997 tour to the Canary Islands and Florida. With the BSO he led the world premieres of several works of his own, among them the suite from his first opera,A Streetcar Named Desire (1999); the Violin Concerto, Anne-Sophie (2002), a BSO commission written for Anne-Sophie Mutter; the Double Concerto for Violin, Contrabass, and Orchestra (2004), premiered here at his request; and the BSO-commissioned Owls (2008). He performed, taught regularly, and coached chamber music at the Tanglewood Music Center, and composed his Octet for Eleven (2010) on commission for the Boston Symphony Chamber Players.

In the course of his distinguished and multifaceted career, the much-honored Mr. Previn also held chief artistic posts with the London Symphony Orchestra, Houston Symphony, BSO Archives

Conducting the BSO at Symphony Hall on March 14, 1996

week 19 31 Los Angeles Philharmonic, Pittsburgh Symphony, Oslo Philharmonic, and Royal Philharmonic. He Harald Hoffmann appeared regularly in recitals and chamber music, collaborating with such artists as Vladimir Ashke- nazy, Janet Baker, Barbara Bonney, the Emerson String Quartet, Renée Fleming—for whom he composed the role of Blanche DuBois in A Street- car Named Desire—Yo-Yo Ma, Sylvia McNair, and Gil Shaham, as well as members of the BSO, the London Symphony, the Gewandhaus Orchestra of Leipzig, and the Vienna Philharmonic.

André Previn seems always to have been part of our musical landscape, meaning not just the landscape of “classical music,” but music in general. Born in Berlin, he had already studied at that city’s Hochschule für Musik and briefly at the Paris Conservatoire before settling with his family in Los Angeles and then becoming an American citizen in 1943. At the MGM film studios, he worked first as an orchestrator, then as a full-fledged composer, which in turn meant conducting his own scores. His award-winning film score arrangements includedGigi , Porgy and Bess, Irma La Douce, and My Fair Lady. Continuing to make a name for himself as a jazz pianist in clubs and on recordings, he also took composition lessons and led classical repertoire with studio musicians, at which point the idea of becoming a “real” conductor first took hold. Service in the Army brought an unexpected opportunity: stationed in San Fran- cisco, he was able to take lessons with , who was then conductor of the San Francisco Symphony.

In the late 1960s, defying skeptics prone to pigeonholing him as a “Hollywood type,” he began winning posts with important orchestras on both sides of the Atlantic—which Walter H. Scott

Conducting Mozart’s Concerto in C for Flute and Harp on August 1, 1983, at Tanglewood, with then BSO principals Doriot Anthony Dwyer and Ann Hobson Pilot

32 didn’t stop him from pursuing his work as a classical and jazz pianist, and as a stage Walter H. Scott composer for both Broadway (including the musical Coco starring Katherine Hep- burn as the designer Coco Chanel) and London (where he collaborated with play- wright Tom Stoppard). He also became, given his inviting personality and gifts as raconteur, one of television’s most com- pelling music educators, on the BBC and, in the United States, particularly with the Pittsburgh Symphony Orchestra. Con- Conducting the BSO at Tanglewood in August 1981 sidering his varied “musical lives,” it was also unsurprising that his wide-ranging affinities in the classical realm encompassed such key British composers as Vaughan Williams, Walton, and Elgar; the great French colorists Debussy, Ravel, and Dutilleux; and significant 20th-century Russians like Prokofiev and Shostakovich. He also continued to compose steadily, which followed nat- urally from his work as conductor and pianist with some of the world’s most important orchestras, singers, and instrumentalists.

A decade ago, on the occasion of his 80th birthday, André Previn observed how proud and happy he was to be not just a composer, not just a conductor, not just a pianist, but a musician—a part of what he called “the best profession in the world,” noting how grateful he was to be in it. Countless music lovers around the world remain equally grateful that he was. Hilary Scott

Conducting the combined forces of the BSO and Tanglewood Music Center Orchestra in Tchaikovsky’s “1812” Overture to close the gala Tanglewood on Parade concert of August 5, 2008

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season sponsors TICKETS ON SALE NOW! JUNE 15-SEPTEMBER 1 888-266-1200 • tanglewood.org andris nelsons, ray and maria stata music director bernard haitink, lacroix family fund conductor emeritus seiji ozawa, music director laureate thomas adès, deborah and philip edmundson artistic partner Boston Symphony Orchestra 138th season, 2018–2019

Thursday, March 14, 8pm | the kristin and roger servison concert Friday, March 15, 8pm Saturday, March 16, 8pm | the traynor family concert

andris nelsons conducting

These concerts are dedicated to the memory of André Previn (1929-2019), a beloved friend and colleague of the Boston Symphony Orchestra for more than forty years, and whose artistry and warm personality throughout his brilliant, multifaceted career brought joy to countless music lovers worldwide (see page 31).

all-strauss program

sextet for strings from the opera “capriccio,” opus 85 tamara smirnova and haldan martinson, violins steven ansell and cathy basrak, violas blaise déjardin and adam esbensen, cellos

moonlight music and closing scene from the opera “capriccio,” opus 85 renée fleming, soprano

English supertitles by Cori Ellison SuperTitle System courtesy of DIGITAL TECH SERVICES, LLC, Portsmouth, VA Casey Smith, supertitles technician Ruth DeSarno, supertitles caller

{intermission}

Please note that this week’s performances of the Sextet for Strings and Moonlight Music from Strauss’s opera “Capriccio” and of Strauss’s “Also sprach Zarathustra” are being recorded for future release on compact disc. Your cooperation in keeping noise in Symphony Hall at a minimum is sincerely appreciated.

36 “also sprach zarathustra,” tone poem for large orchestra, free after nietzsche, opus 30 Sunrise—Of the Afterworldly—Of the Great Longing— Of Pleasures and Passions—The Tomb Song—Of Science and Learning—The Convalescent—The Dance- Song— The Night Wanderer’s Song thursday evening’s appearance by renée fleming is supported by a gift from catherine and paul buttenwieser. thursday evening’s performance of strauss’s sextet, moonlight music, and closing scene from “capriccio” is supported by a gift in honor of john p. meyer, from his wife jo frances meyer. saturday evening’s appearance by renée fleming is supported by a gift from alan j. and suzanne w. dworsky. bank of america and takeda pharmaceutical company limited are proud to sponsor the bso’s 2018-19 season.

These concerts will end about 9:50. Concertmaster Malcolm Lowe performs on a Stradivarius violin, known as the “Lafont,” generously donated to the Boston Symphony Orchestra by the O’Block Family. First associate concertmaster Tamara Smirnova performs on a 1754 J.B. Guadagnini violin, the “ex-Zazofsky,” and James Cooke performs on a 1778 Nicolò Gagliano violin, both generously donated to the orchestra by Michael L. Nieland, M.D., in loving memory of Mischa Nieland, a member of the cello section from 1943 to 1988. Steinway & Sons Pianos, selected exclusively for Symphony Hall. The BSO’s Steinway & Sons pianos were purchased through a generous gift from Gabriella and Leo Beranek. Special thanks to Fairmont Copley Plaza, Delta Air Lines, and Commonwealth Worldwide Executive Transportation. Broadcasts of the Boston Symphony Orchestra are heard on 99.5 WCRB. In consideration of the performers and those around you, please turn off all electronic equipment during the performance, including tablets, cellular phones, pagers, watch alarms, messaging devices of any kind, anything that emits an audible signal, and anything that glows. Thank you for your cooperation. Please note that the use of audio or video recording devices, or taking pictures of the artists—whether photographs or videos—is prohibited during concerts.

Marco Borggreve

week 19 program 37 The Program in Brief...

Richard Strauss’s final opera,Capriccio , and his tone poem Also sprach Zarathustra date from opposite ends of his long career, with some forty-five years separating them. Capriccio was completed in 1941 and first performed in 1942; such was Strauss’s status as a composer that, despite the Reich’s disapproval of some of his friends, he was none- theless able to produce an opera in in the heart of wartime. Capriccio contemplates the question of the primacy of music or words in opera, symbolically represented in the choice the heroine must make between two suitors, one a composer, the other a poet.

The Sextet for Strings reflects Strauss’s examination of operatic conventions: this mostly demure ten-minute piece takes the place of an overture and, upon the raising of the curtain, is revealed as music being played within the opera, in a performance attended by the characters. It is generally warm and lovely, with a brief moment of intense tension at its center; like an overture, it foreshadows the opera’s tone. The Moonlight Music, from near the end, sets the stage for the closing scene, in which the Countess Madeleine contemplates the opera’s central question as personified by her two suitors. The BSO’s only previous subscription performances of Capriccio’s closing scene, in March 2000, were led by André Previn, to whose memory this week’s concerts are dedicated.

Although the opening moments of Richard Strauss’s 1896 tone poem Thus spake Zarathustra are recognizably among the most famous passages in music—even predating the fame gained through its use in the soundtrack of Stanley Kubrick’s 2001: A Space Odyssey—the work as a whole is less frequently played than such other Strauss as Don Juan or Till Eulenspiegel. The work’s origin as Strauss’s musical response to an important but mystical and controversial philosophical treatise by Friedrich Nietzsche makes its concept perhaps less immediate than those of its fellows among the six great tone poems Strauss wrote between 1888 and 1898, but its musical features are just as dramatic and brilliant. Following the famous “Sunrise” passage, its episodes evoke sections from Nietzsche’s big poem, including “Of joys and passions,” “Of science,” “The convalescent,” and several others. Strauss makes his points in a purely musical way, using the opening fanfare as a motivic touchstone through the emotionally far-ranging narrative.

Robert Kirzinger/Marc Mandel

38 Richard Strauss Sextet for Strings, Moonlight Music, and Closing Scene from the opera “Capriccio,” Opus 85

RICHARD GEORG STRAUSS was born in Munich, Germany, on June 11, 1864, and died in Garmisch-Partenkirchen, in the Bavarian Alps, on September 8, 1949. He composed “Capriccio,” the last of his fifteen operas, in 1939-41, completing it on August 8, 1941. The first performance was given in Munich on October 28, 1942; the conductor was , who had also written the libretto, and the role of the Countess Madeleine was taken by , Krauss’s wife.

THE ORCHESTRA IN THE FINAL SCENE OF “CAPRICCIO” consists of two flutes, two oboes and English horn, two clarinets, basset horn, and bass clarinet, three bassoons, four horns, two trumpets, bass trombone, timpani, two harps, and strings.

Think Strauss and think loud. Think exuberant extroversion, think unsurpassed orchestral virtuosity, even think bombast on occasion, think the swagger of Don Juan, the jokes of Till Eulenspiegel, the fierce mortal struggle ofDeath and Transfiguration (whose accurate portrayal Strauss himself admired as he lay dying sixty years later) as well as the tech- nicolor exaltation of its closing pages, think Heldenleben with its untroubled narcissism and brilliant portraiture, think of Dr. and Mrs. Strauss in bed in the , think of the thundersheets and the wind machine in the Alpine Symphony. But tonight’s program begins with a very different Richard Strauss, an artist capable of exquisite del- icacy and touching intimacy. Not that those qualities are absent from the masterpieces I have mentioned—Heldenleben is especially rich in such moments—but there they are oases in the framework of a grand, public style, while Capriccio, the last of Strauss’s fif- teen operas (sixteen if you count the two versions of separately), is a work so private that one marvels that it dares to be an opera at all. It is the supreme achievement of the Strauss who was a master of piano and pianissimo, of transparency, and one who could be wonderfully eloquent in understatement.

There is a sad film clip of Strauss conducting a rehearsal in Munich of the end of Act II of Der Rosenkavalier. It comes from the last year of the composer’s long life, 1949. The

week 19 program notes 39 Program page for the only previous BSO subscription performances of the closing scene from “Capriccio” in March 2000, with conductor André Previn and soprano Janice Watson (BSO Archives)

40 orchestra greets him with an emotional ovation, which is moving to see and hear, but, even though the young leads him by the arm into the pit and onto the podium, he stumbles. His voice is vigorous and his appearance handsome, but he conducts Baron Ochs’s enchantingly sleazy waltz without a trace of energy or spirit.

He had stumbled in his public life too. The biographies give bewilderingly contradictory accounts of the last two decades of Strauss’s life. He was not a Nazi, but he was not an outspoken opponent either and despised the Nazis no more than any other political party. He tried, even in the climate of the early Hitler years, to continue his collaboration with Stefan Zweig, the Jewish author who had written the libretto for his opera (The Silent Wife), and he had a Jewish daughter-in-law to protect. At the same time, he watched with equanimity as Jewish colleagues were driven from the country and, always convincing himself that he was serving the cause of music by his actions or that if he did not take on certain jobs someone worse would, he replaced Toscanini at Bayreuth when the Italian conductor withdrew in protest against Hitler’s anti-Semitic policies, he took over ’s concerts at the Berlin Philharmonic, and he allowed Goebbels to name him President of the Reichsmusikkammer, the official government music bureau. He didn’t let his feelings show, but it is hard to escape the idea that the composer of Till Eulenspiegel, , , and Elektra must have felt incredibly compromised.

Nor was he happy about his musical life. He seemed to be more a historical figure than a living composer. He was still writing—he had never stopped—but his fame rested on

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For more information, contact John Morey at 617-292-6799 or [email protected] Richard Strauss with conductor Clemens Krauss, who also collaborated with Strauss on the libretto for “Capriccio”

music dating from before : nothing since Der Rosenkavalier, first produced in 1911, had really caught on. It was a truism that Richard Strauss was washed up and had been for decades, that he had outlived himself. In the years since his death, that judgment has been revised, indeed entirely overturned, much as comparable verdicts on late Puccini, Debussy, Rachmaninoff, and Stravinsky have been reconsidered. True, none of Strauss’s later operas is a box office magnet comparable toRosenkavalier , but no one now avers that Ariadne auf Naxos, , , and Capriccio are fee- ble efforts by a composer in decline: they all have a large public that loves them.

The year 1941 found Strauss and his wife in poor health, depressed by the war, worried about prospects for their daughter-in-law and their half-Jewish grandson, dismayed by the ever more chilly treatment the composer was getting at the hands of the German government, and unhappy about his failure to make headway with a tone poem Die Donau (The Danube) he had hoped to give the Vienna Philharmonic as a hundredth- birthday present. Work on Capriccio cheered Strauss up somewhat, not least because after unhappy experiences with , the clumsy librettist of , , and , he had found a congenial and stimulating literary partner in the conductor Clemens Krauss. The premiere of Capriccio in October 1942 went well, too, and he was especially delighted by the contributions of his librettist-conductor as well as those of Viorica Ursuleac and the young .

Strauss was twenty-eight when he wrote his first opera, , and seventy-seven when he completed Capriccio, his last. But his father was solo horn at the Court Opera in Munich (more of him later), and so Richard had grown up around opera from the begin- ning. It is fitting that his last theater piece should be an opera about opera—and the last time Strauss raised a baton, after sixty-five years of conducting, it was to lead the Inter- mezzo (the Moonlight Music) from Capriccio.

Capriccio has a complicated history, which from first thought to first performance spanned ten years. While Clemens Krauss signed as librettist, Stefan Zweig, Joseph

week 19 program notes 43 Understand ALL sides.

wgbhnews.org wgbhnews.org Gregor, and Rudolf Hartmann had all been involved en route, as was Strauss himself, and the references in the play encompass various historical characters from 18th-century Paris, the 16th-century poet Pierre Ronsard, Carlo Goldoni, the rivalry of Gluck and Piccinni, Strauss himself, and, centrally, Antonio Salieri’s Prima la musica e poi le parole (“First the music and then the words”), which had its premiere in 1786 as half of a double bill of operas about opera, its partner being Mozart’s The Impresario.

Strauss himself thought of this “conversation piece”—as the title page calls it—as “caviar to the general.” It is witty, intelligent conversation subtly set, laced with sharp obser- vation of human behavior, only occasionally expanding into that lush, all-embracing, purr-inducing lyricism at which Strauss was so good. The issue is: which is more import- ant in opera, the words or the music? The occasion for the discussion is the preparation of a new opera which is in fact Capriccio, though this is disguised by virtue of the fact that the action is set in Paris in the spring of 1777. Much ink has been lavished on this question since the beginning of opera nearly 400 years ago. Most of the argument has been dry, humorless, angry. In Capriccio it takes on charm because it is presented as human drama. Flamand, a composer, and Olivier, a poet, are both in love with the beautiful young and widowed Countess Madeleine. Which will she choose? Strauss emphasized to his librettist that he must not supply a happy ending; rather, that the curtain should fall on a question mark. But in opera, music has, so to speak, the last word, literally as well as figuratively. Krauss and Strauss, word-loving, word-beholden,

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46 Viorica Ursuleac (1894-1985) and Strauss following the October 1942 premiere in Munich of “Capriccio,” on which occasion Ursuleac (wife of the conductor Clemens Krauss) originated the role of the Countess Madeleine

word-skilled though they both were, were themselves musicians. Capriccio does end on a question mark, but quietly the orchestra suggests that if there were an answer...

It is the Countess’s birthday, and her two admirers have written presents. Olivier’s is a sonnet (actually one of Ronsard’s) and Flamand’s is a string sextet, and when the curtain rises we see the Countess, eyes closed, listening to Flamand’s offering. This Sextet for Strings is the first music we hear inCapriccio . It is the overture, and it is also our trans- port to the pre-Revolutionary Paris of Strauss’s fantasy. In the turns of its lovely texture it suggests a smiling, subtly erotic sketch for the tragic to be written four years later. It is a declaration of love, Flamand’s to Madeleine, Strauss’s to music.

Countess Madeleine is lovely to the eye, beguiling to men, not inexperienced, ironic, narcissistic, not deeply certain of who she is and what she wants and needs. As the opera begins to draw to its close, it is evening, the witty, profound, and impassioned arguments about opera have subsided, and everyone has left. The elegant salon is flooded in moonlight, with Strauss’sMoonlight Music evoking moonlight as only he knew how to paint it for us. Madeleine learns from her major-domo that Olivier, the poet, has left word that he will call on her in the morning and will plan to be in the library at eleven. She hears this news not without chagrin and amusement because Flamand, the composer, has already announced his intention of meeting her in the library at eleven. She begins her Closing Scene: “Tomorrow morning at eleven! It is disaster!...” Since Olivier wrote a sonnet in her praise and Flamand set it to music, the two rivals have become inseparable, Madeleine observes. Accompanying herself on the harp, she sings through the sonnet. Words and musical tones, she remarks, melt into one and become some- thing new. But how to choose? Her image in the mirror gives her no answer but responds only with a searching look. Indeed, can there even be a conclusion that is not trivial? The last words in the opera are the major-domo’s: “Madame Countess, supper is served.” Madeleine leaves the room, smiling, humming Flamand’s melody for Olivier’s sonnet as

week 19 program notes 47 The Juilliard-Nord Anglia Performing Arts Programme The British International School of Boston offers students an innovative performing arts curriculum developed by The Juilliard School in collaboration with Nord Anglia Education. Students will gain life skills to enrich their academic experience, develop cultural literacy and be inspired to engage with performing arts throughout their lives. www.naejuilliard.com/bisboston she goes, and Strauss, all his long life a supreme master of final cadences, here gives us what is perhaps his most beautiful one—music’s loveliest question mark.

Michael Steinberg michael steinberg was program annotator of the Boston Symphony Orchestra from 1976 to 1979, and after that of the San Francisco Symphony and New York Philharmonic. Oxford University Press has published three compilation volumes of his program notes, devoted to symphonies, con- certos, and the great works for chorus and orchestra.

THE FIRST AMERICAN PERFORMANCE OF “CAPRICCIO” (sung in English) was given at the Juilliard School in New York on April 4, 1954 (with a preview performance on April 2); Frederick Waldman conducted, with Gloria Davy in the role of the Countess Madeleine.

THE BOSTON SYMPHONY ORCHESTRA has played music from “Capriccio” on three previous occasions: on July 3, 1997, at Tanglewood—the Moonlight Music and Closing Scene, with soprano Jessye Norman and conductor Seiji Ozawa; in subscription concerts in March 2000—the Sextet, Moonlight Music, and Closing Scene, with soprano Janice Watson and conductor André Previn (the only previous subscription performances of the Closing Scene); and in March 2015—the Sextet alone, conducted by Christoph von Dohnányi.

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Download the App Richard Strauss “Also sprach Zarathustra,” Tone poem for large orchestra, free after Nietzsche, Opus 30

RICHARD GEORG STRAUSS was born in Munich, Germany, on June 11, 1864, and died in Garmisch-Partenkirchen, Bavaria, on September 8, 1949. He began the composition of “Also sprach Zarathustra” in Munich on February 4, 1896, and completed it on August 24. Strauss himself conducted the Municipal Orchestra of Frankfurt-am-Main in the first performance on November 27, 1896.

THE SCORE OF “ALSO SPRACH ZARATHUSTRA” calls for one piccolo, three flutes (third dou- bling second piccolo), three oboes, English horn, two clarinets, E-flat clarinet, and bass clarinet, three bassoons and contrabassoon, six horns, four trumpets, three trombones, two bass tubas, timpani, bass drum, cymbals, triangle, orchestral bells, a deep bell, two harps, and strings.

Surely no major philosopher has ever had a closer relationship to music and musicians than Friedrich Nietzsche, and no work of philosophy has inspired more musical composi- tions than his Also sprach Zarathustra (Thus spake Zarathustra). Nietzsche was an excellent pianist and an amateur composer as well, having turned out a fair number of choral works both sacred and secular, songs, and piano pieces by his thirtieth year. And even as late as 1887, when he was forty-three, he published a work for chorus and orchestra entitled Hymnus an das Leben (Hymn to Life) to a text by the woman he once hoped to marry, Lou von Salome. But the central experience in his musical life, reflected in his writings ever after, was his acquaintance with Wagner, whose music at first overwhelmed him totally, to such an extent that he turned the end of his first book,The Birth of Tragedy out of the Spirit of Music (1872), which had begun as a study of the ritual origin of Greek tragedy, into a paean to Wagner’s work. Gradually, though, he became disillusioned with Wagner and eventually turned into one of his most outspoken opponents. But in addition to being drawn to some of the musical questions of the day, at least as they reflected his own concerns, Nietzsche was also a source for music in others. His best-known work, Also sprach Zarathustra (1883-85), served as the basis for songs by Schoenberg, Delius, Medtner, and Taneyev, as well as larger works by Mahler (Third Symphony), Delius (A

week 19 program notes 51 Program page for the first Boston Symphony Orchestra performance of Strauss’s “Also sprach Zarathustra” on October 30, 1897, with Emil Paur conducting (BSO Archives)

52 Mass of Life), and Strauss, not to mention such lesser-known composers as Diepenbrock, Rezniˇcek, Peterson-Berger, Campo, and Ingenhoven.

Also sprach Zarathustra has an unusually poetic text for a work of philosophy, loosely nar- rative in character, filled with extraordinary imagery and wordplay. It consists of four parts containing some eighty short sections, each recording the (invented) sayings of Zarathustra (“Zoroaster” to the Greeks) covering all sorts of diverse topics; each section ends with the formula “Also sprach Zarathustra” (“Thus spake Zarathustra”). From the beginning, Zarathustra speaks of the death of God and man’s need to overcome himself, to become the “Übermensch,”* to break out of the inertia and cultural conditioning that is so much a part of life that it is considered “human nature.”

Strauss became acquainted with Nietzsche’s work while reading in preparation for work on his first opera,Guntram . What interested him most of all was the philosopher’s crit- icism of the established church and ultimately of all conventional religion. Strauss was the last composer who could be called an intellectual, but he made the courageous deci- sion to attempt to deal with Nietzsche’s philosophical ruminations as a symphonic poem. Perhaps he was attracted by the beauty of the language in the poem, of which Nietzsche himself said (in his Ecce Homo) that it might well be considered a musical composition. But it is one thing to regard a poetic text as being “musical” in some metaphorical sense and quite another to compose music about it.

Strauss’s approach avoided what is perhaps the fundamental notion of Nietzsche’s philosophy—that the same events will recur eternally on a grand scale—even though that might have lent itself perfectly to a gigantic rondo. He chose, instead, one partic- ular theme of the work, which he described after the first Berlin performance: “I did not intend to write philosophical music or portray Nietzsche’s great work musically. I meant rather to convey in music an idea of the evolution of the human race from its origin, through the various phases of development, religious as well as scientific, up to Nietzsche’s idea of the Übermensch.”

For a musical setting of his plan, Strauss conceived one enormous movement that has little in common with the traditional musical forms which, however extended, had been the framework behind such earlier works as Don Juan (an extended sonata) or Till Eulenspiegel (a free rondo). For Zarathustra, Strauss selected a limited number of section titles from Nietzsche’s work and arranged them in a way that made possible musical variety and development of material, quite unconcerned that they were presented in an

* Nietzsche used the German word “Übermensch” for his notion of the elevated being who overcomes the finitude of this life, not through brute power but rather (as the root word Mensch“ ” implies) through attaining a superiority in those characteristics that are uniquely human. Shaw’s Man and Superman popularized an alternative translation of the term, but these days it is too closely associated in our minds with comic book heroes to be of use when discussing Nietzsche or his ideas.

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order quite different from the philosopher’s: Strauss was, after all, creating a work of music and seeking particularly musical means to express the main idea.

The most important of the unifying musical ideas—it comes up again and again—is the use of two keys, C and B, whose tonic notes are as close together as they can be melod- ically, though harmonically they are very far apart, to represent the natural world on the one hand and the inquiring spirit of man on the other. Time and again these two tonalities will be heard in close succession—or, indeed, even simultaneously. This frequent pairing helps justify the very ending of the work, which has been hotly debated since the first performance.

At the head of the score Strauss printed the opening lines of Nietzsche’s prologue, in which Zarathustra observes the sunrise and announces his decision to descend to the world of mankind from the lonely spot high up in the mountains where he has passed ten years. The opening of the tone poem is a magnificent evocation of the primeval Sunrise, with an important three-note rising figure in the trumpets representing Nature and the most glorious possible cadence in C (alternating major and minor at first before closing solidly in the major). That trumpet theme is the single most important melodic motive of the work.

Immediately there is a drastic change of mood to the section entitled Von den Hinter- weltlern (“On the Afterworldly”), the most primitive state of man, which is, to Nietzsche, the condition of those who put their faith in an afterlife rather than seek fulfillment in this life. Gloomy, insubstantial phrases soon introduce an important new theme (heard here in B minor) leaping up, pizzicato, in cellos and basses; this theme is used through- out to depict man’s inquiring mind. Strauss satirizes those inquiries that lead to religion by quoting the opening phrase of the plainsong Credo in the horns and moves into a lush passage of conventional sweetness for the strings divided into sixteen parts.

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56 This leads into Von der grossen (“On the Great Longing”), a passage that appears much later in Nietzsche’s book; but its title was so apt for Strauss’s plan—to depict man’s yearning to move beyond ignorance and superstition—that he uses it at this point. The section is developmental in character, combining the B minor “inquiring mind” motive with the C major “Nature” motive, while casting further aspersions at religion by quoting the Magnificat melody as well as the Credo. A vigorous new figure rushes up from the depths of the orchestra, gradually overpowering everything else. With a harp glissando it sweeps into Von den Freuden- und Leidenschaften (“Of Pleasures and Passions”). This section, in C minor, links man’s sensual life with Nature (through the key relationship) rather than his spirit. It introduces a passionate new theme followed by an important motive blared out by trombones and heard frequently thereafter, sometimes identified as the theme of “satiety,” representing the protest of those higher elements of spirit against such indulgence. This theme has elements related harmonically to both keys, C and B, and therefore plays an important part in the proceedings. A development of this material, Das Grablied (“The Tomb Song”), follows immediately in B minor and related keys.

It dies away into the depths as cellos and basses begin a passage in strict imitation labeled Von der Wissenschaft (“On Science”). What could be more scientific than a fugue? And this one begins with the notes of the Nature theme, in C, followed imme- diately by the three notes of the B minor triad, then continuing to all the remaining pitches of the chromatic scale. The imitations work the tonality around to B minor again, and a new developmental section gets underway, climaxing in Der Genesende (“The Convales cent”), in which vigorous statements of the fugue theme, beginning in the bass, intertwine with the “satiety” theme, leading finally to a powerful C major triple-forte for full orchestra, breaking off into pregnant silence. The next chord? B minor, bringing in an extended new development of several of the major ideas, treated with extraordinary orchestral virtuosity.

This comes to an end in an utterly unexpected way—by turning into a Viennese waltz, and a waltz in C major at that! For this section Strauss borrows Nietzsche’s title Das Tanzlied (“The Dancing Song”). Here, for the very first time in Strauss’s life, he seems ready to take on his older namesakes, the other Strausses who were renowned as the waltz kings. And here, already, we can get more than a tiny glimpse of Der Rosenkavalier, still some sixteen years in the future. This waltz begins as an amiable and graceful dance with a theme based on the Nature motive, but it soon builds in energy and vehemence, as many of the earlier themes make their appearance, only to be destroyed in turn by the “satiety” motive, which takes over fiercely at the climax of the score (corresponding to a similar climax in the book), as a great bell tolls twelve times.

Strauss marks this passage in the score Nachtwandlerlied (“Night Wanderer’s Song”), though that word is not used by Nietzsche. The equivalent passage in the book is “Das andere Tanzlied” (“The other dancing song”), where a bell peals twelve times and between each of its clangs the poet inserts a line of the poem “O Mensch! Gib Acht!” (“O man,

week 19 program notes 57 take care!”); the entire poem, which was used by Mahler in his Third Symphony, is recapitulated later in the fourth part of Nietzsche’s book. Strauss treats the passage as purely instrumental; the bell rings every four measures, ever more softly, as the music settles onto a chord of C major, only to slip, with magical effect, into a gentle, bright B major for the coda, in which the violins present a sweet theme representing “spiritual freedom.” It moves delicately up to the heights, in the top strings and woodwinds, to all appearances preparing a conclusion on the B major chord.

Yet this B is softly but insistently undercut by cellos and basses, pizzicato, with the rising three-note “Nature” motive, as if to say: Earth—the natural world—abides in spite of all. Four more times the upper instruments reiterate their chord of B, only to find that the bottom strings repeat the C with quiet obstinacy, finally bringing the work to an end.

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58 Those last measures, almost closing in two keys simultaneously, aroused endless discus- sion when the work was first performed. One Boston critic, Louis Elson, found nothing to admire in the piece, which he characterized as “chaos.” Referring to the title of the tone poem, he commented: “Zarathustra... did everything but speak; he had an impediment in his speech which caused him to stutter even the most beautiful phrases. At the end of the work there is a modulation from the key of B to the key of C that is unique, for the Gordian knot is cut by the simple process of going there and going back again. If such modulations are possible, then the harmony books may as well be burnt at once.”

But Elson showed no sign of appreciating Strauss’s carefully worked out opposition of the two keys throughout the work, which alone justifies that extraordinary conclusion. Indeed, though Strauss admitted to and even explained the literary program that lay at the back of his mind when composing, his artful musical development—the interaction between two keys that normally have little relationship to one another, the rich thematic progress creating its own unique pattern of statement and recapitulation, the brilliant scoring—produced a work that really does not need its program for support. It is more likely, in fact, that the better one knows Nietzsche’s book, the less useful it is as a guide to the music. At the same time, Strauss’s rich invention, lavish display of sheer technique, and imaginative treatment of a basic formal problem provide quite enough to occupy the attention during the performance of this colorful score.

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

THE AMERICAN PREMIERE OF “ALSO SPRACH ZARATHUSTRA” took place in Chicago (less than three months after the premiere led by Strauss in Frankfurt) on February 5, 1897, with Theodore Thomas conducting the Chicago Symphony Orchestra.

THE FIRST BOSTON SYMPHONY PERFORMANCE took place on October 30, 1897, with Emil Paur conducting, subsequent BSO performances being given by , Max Fiedler, , Pierre Monteux, Serge Koussevitzky, Eleazar de Carvalho, , Erich Leinsdorf, William Steinberg, Michael Tilson Thomas, Kazuyoshi Akiyama, Emil Tchakarov, Seiji Ozawa (numerous times in Boston and out of town between 1981 and 1999, including tour performances in Japan in 1986 and the BSO’s most recent Tanglewood performance on July 18, 1998), and then BSO Assistant Conductor Marcelo Lehninger (substituting for Andris Nelsons to lead the most recent subscription performances, in January 2012).

week 19 program notes 59 Be in touch with the full spectrum of arts and culture happening right here in our community. Visit The ARTery at wbur.org/artery today. To Read and Hear More...

The biggest biography of Richard Strauss is still Norman Del Mar’s three-volume Richard Strauss, which gives equal space to the composer’s life and music (Cornell University paperback); Capriccio receives detailed attention in Volume III, Also sprach Zarathustra in Volume I. More recent books on the composer include Tim Ashley’s Richard Strauss in the well-illustrated series “20th-Century Composers” (Phaidon paperback); The life of Richard Strauss by Bryan Gilliam, in the series “Musical lives” (Cambridge paperback); Raymond Holden’s Richard Strauss: A Musical Life, which examines the composer’s life through detailed consideration of his work as a conductor (Yale University Press), and Richard Strauss: Man, Musician, Enigma (Cambridge University Press) by Michael Kennedy, who also wrote Richard Strauss in the “Master Musicians” series (Oxford paperback) and whose Strauss article in The New Grove Dictionary of Music and Musicians (1980) was reprinted in The New Grove Turn of the Century Masters: Janáˇcek, Mahler, Strauss, Sibelius (Norton paperback). The Strauss entry in the 2001 edition of The New Grove is by Bryan Gilliam. Charles Osborne’s The Complete Operas of Richard Strauss provides a first-rate introduction to all of Strauss’s operas (Da Capo paperback).

Renée Fleming has recorded the closing scene of Strauss’s Capriccio with conducting the Vienna Philharmonic (Decca). In addition, she is the Countess Madeleine on a video release of a 2011 Metropolitan Opera performance of Capriccio with conducting (Decca), as well as on video releases of pro- ductions from the Opéra National de Paris (Arthaus Musik) and the Vienna Staatsoper (C Major). For a complete recording of Capriccio on compact disc, the classic account, from 1957, has conducting the Philharmonia Orchestra with a cast headed by soprano Elisabeth Schwarzkopf, tenor Nicolai Gedda, and baritone Dietrich Fischer-Dieskau (EMI; monaural). Prior to that, in 1953, Schwarzkopf recorded what is considered to be an equally classic account of just the closing scene, with Otto Ackermann conducting the Philharmonia Orchestra (also EMI and monaural). Noteworthy later recordings of the complete opera feature with Karl Böhm conducting the Bavarian Radio Symphony Orchestra (Deutsche Grammophon) and with Ulf Schirmer conducting the Vienna Philharmonic Orchestra (Decca). Other recordings of the closing scene have featured sopranos (who is also the Countess Madeleine in a live 1964 Vienna Staatsoper perform- ance of the complete opera led by Georges Prêtre on Orfeo), Felicity Lott (who can

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This week’s Boston Symphony performances of Also sprach Zarathustra with Andris Nelsons conducting are being recorded for future release on compact disc. Nelsons has previously recorded Zarathustra with the City of Birmingham Symphony Orchestra (Orfeo) and the Royal Concertgebouw Orchestra of Amsterdam (a video release on C Major). The BSO has previously made three recordings of the piece: with Serge Koussevitzky con- ducting in 1935 (originally RCA), William Steinberg in 1971 (Deutsche Grammophon), and Seiji Ozawa in 1981 (Philips). A 1986 Ozawa/BSO performance from Festival Hall in Osaka, Japan, was issued on both Laserdisc (Sony) and DVD (Parnassus). Strauss himself can be heard conducting two performances of Also sprach Zarathustra with the Vienna Philharmonic, one from 1942 (reissued on CD by Music & Arts), the other from 1944 (Preiser). Other recordings of varying vintage include ’s with the New York Philharmonic (Sony), ’s with the San Francisco Symphony Orchestra (Decca), Gustavo Dudamel’s with the Berlin Philharmonic (Deutsche Grammophon), Herbert von Karajan’s with the Berlin Philharmonic (Deutsche Grammo- phon), ’s with the Staatskapelle (EMI), ’s with the Los Angeles Philharmonic (Decca), and ’s with the Chicago Symphony Orchestra (RCA).

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week 19 read and hear more 63

Guest Artist

Renée Fleming

Renée Fleming is one of the most acclaimed singers of our time. In 2013, President Obama awarded her America’s highest honor for an artist, the National Medal of Arts. She brought her voice to a vast new audience in 2014, as the only classical artist ever to sing “The Star-Spangled Banner” at the Super Bowl. Winner of the 2013 Grammy Award (her fourth) for Best Classical Vocal Solo, Ms. Fleming has sung for momentous occasions ranging from the Nobel Peace Prize ceremony to the Diamond Jubilee Concert for Queen Elizabeth II at . In 2008 she became the first woman in the 125-year history of the Metropolitan Opera to solo-headline an opening night gala. Ms. Fleming earned a Tony Award nomination for her performance in the 2018 Broadway production of Carousel. Her current and upcoming tour schedule includes concerts in New York, Chicago, London, Amsterdam, Paris, Barcelona, Hong Kong, and Beijing. She is heard on the soundtracks of the 2018 Best Picture Oscar winner The Shape of Water and Three Billboards Outside Ebbing, Missouri, and she provided the singing voice of Roxane, played by Julianne Moore, in the film of the best-selling novelBel Canto. This summer she will make her London musical theater debut in The Light in the Piazza at Royal Festival Hall. In September, Decca released Ms. Fleming’s latest album, “Renée Fleming: Broadway,” featuring a collection of great musical theater songs from the 1920s to the present day. She has recorded everything from complete operas and song recitals to indie rock and jazz, and her album “Signatures” was selected by the U.S. Library of Congress for the National Recording Registry. Known for bringing new audiences to classical music and opera, she has sung not only with Plácido Domingo and Andrea Bocelli but also with , Sting, Josh Groban, and Joan

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66 Baez. She has hosted an array of television and radio broadcasts, including the Metropolitan Opera’s “Live in HD” series and “Live from Lincoln Center.” In her role as artistic advisor to the John F. Kennedy Center for the Performing Arts, Ms. Fleming launched a collaboration with the U.S. National Institutes of Health, with participation by the National Endowment for the Arts, focused on the science connecting music, health, and the brain. Over the past year she has given more than twenty presentations with scientists and practitioners across North America on this subject. In 2010 she was named the first-ever creative consultant at Lyric Opera of Chicago. She is a member of the Board of Trustees of Carnegie Hall, the Board of Sing for Hope, and the Artistic Advisory Board of the Polyphony Foundation, and is a spokesperson for the American Musical Therapy Association. Her memoir The Inner Voice, published in 2004, is currently in its sixteenth printing. Among her awards are the Fulbright Lifetime Achievement Medal, Germany’s Cross of the Order of Merit, France’s Chevalier de la Légion d’Honneur, and Honorary Membership in the Royal Academy of Music.

Renée Fleming made her Tanglewood and Boston Symphony Orchestra debuts in July 1991, as Ilia in a concert performance of Mozart’s Idomeneo led by Seiji Ozawa. Her BSO subscription series debut was in December 1998, in Haydn’s The Creation with conducting, since which time she has appeared numerous times with the BSO in Boston and at Tanglewood, where she has also been heard in recital in Seiji Ozawa Hall. Among her many other Symphony Hall appearances with the orchestra, she gave the American premiere of a work written for her, Henri Dutilleux’s BSO-commissioned Le Temps l’Horloge, in 2007, as well as the American premiere of its definitive revised version in January 2016. She sang the role of Tatyana in a 2008 concert performance of Tchaikovsky’s Eugene Onegin with the Tanglewood Music Center Orchestra, and in 2016 at Tanglewood performed music of Egon Wellesz and with the Emerson String Quartet and Strauss’s with the BSO under Ken-David Masur. Her most recent BSO appearances were as the Marschallin in concert performances of Strauss’s Der Rosenkavalier led by Andris Nelsons to open the BSO’s 2016-17 subscription season. This summer at Tanglewood, as the BSO’s 2019 Koussevitzky Artist, she will appear in the BSO-commissioned world premiere of Kevin Puts’s The Brightness of Light (inspired by letters of the iconic American artist Georgia O’Keeffe and her husband, the photographer- curator Alfred Stieglitz) as well as participate in a Tanglewood Learning Institute session on that new work, and offer master classes with the young singers of the Tanglewood Music Center.

week 19 guest artist 67 orchestrate your legacy

“A charitable remainder trust is a great way to support the music of the BSO and Tanglewood. At the same time, it allowed me to give my children income when they most needed it.”

—Mary Newman (1928–2016) Life Trustee, Great Benefactor, and life income gift donor

A charitable remainder trust, like the one Mary established prior to her passing, is one of a few gift options that can provide attractive income and tax advantages, all while helping to preserve the BSO for generations to come. For more information about the benefits of a life income gift and how such a gift can help you leave a lasting legacy for the BSO, please contact Jill Ng, Director of Planned Giving and Senior Major Gifts Officer at 617-638-9274 or [email protected].

Visit us at bso.org/plannedgiving Amherst Early Music Weeekend Workshops and the Festival at Connecticut College

Amherst Early Music Festival July 14-28, 2o19 Connecticut College, New London, CT Largest early music program in the US Choral Workshop with Kent Tritle Recorder classes at all levels Baroque Strings for Modern Players Fully staged Baroque Opera Historical Dance Program Auditioned programs for emerging artists Festival Concert Series All on the beautiful campus of Connecticut College, in New London, CT

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Listen. The future of music, made here.

Exceptional music, every day. See musicians of tomorrow, today. The Great Benefactors

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

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

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

week 19 the great benefactors 71

The Maestro Circle Annual gifts to the Boston Symphony Orchestra provide essential funding to support 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 2018-19 season. ‡ This symbol denotes a deceased donor.

Alli and Bill Achtmeyer • Mr. and Mrs. George D. Behrakis • Peter A. 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 • Nancy and Richard Lubin • 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 • Anonymous (2)

The Higginson Society The Higginson Society embodies a deep commitment to supporting musical excellence, which builds on the legacy of the Boston Symphony Orchestra’s founder and first benefactor, Henry Lee Higginson. The BSO is grateful to current Higginson Society members, whose gifts to the Symphony Annual Fund provide more than $5 million in essential funding to sustain our mission. The BSO acknowledges the generosity of the donors listed below, whose contributions were received by January 25, 2019. For further information on becoming a Higginson Society member, please contact Kara O’Keefe, Associate Director of Individual Giving, Annual Funds, at 617-638-9259. ‡ This symbol denotes a deceased donor. founders $100,000 and above Peter A. Brooke • Barbara and Amos Hostetter • Wendy Shattuck and Samuel Plimpton virtuoso $50,000 - $99,999 Alli and Bill Achtmeyer • Mr. and Mrs. George D. Behrakis • Mr. and Mrs. William N. Booth • Alan J. and Suzanne W. Dworsky • Thomas and Winifred Faust • Ted and Debbie Kelly • Joyce Linde • Nancy and Richard Lubin • Carmine A. and Beth V. Martignetti • John S. and Cynthia Reed • Sue Rothenberg ‡ • Kristin and Roger Servison • Brooks and Linda Zug • Anonymous (2) encore $25,000 - $49,999 Amy and David Abrams • Jim and Virginia Aisner • Lloyd Axelrod, M.D. • Judith and Harry ‡ Barr • Gabriella Beranek • Ann Bitetti and Doug Lober •

week 19 the maestro circle 73 RICHARD STRAUSS JACQUES OFFENBACH DIE ÄGYPTISCHE LA BELLE HELENA HÉLÈNE (THE EGYPTIAN HELEN) (THE BEAUTIFUL HELEN) BOSTON PREMIERE FULLY STAGED ONE NIGHT ONLY CONDUCTED BY GIL ROSE CONCERT PERFORMANCE DIRECTED BY FRANK KELLEY CONDUCTED BY GIL ROSE APRIL 19, 2019 AT 7:30PM JUNE 14, 2019 AT 7:30PM NEC’S JORDAN HALL JUNE 16, 2019 AT 2:00PM HUNTINGTON AVENUE THEATRE

BUY TICKETS AT 617.826.1626 OR VISIT ODYSSEYOPERA.ORG

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2018–2019 season andris nelsons music director

under 40? bso tickets $20! $20 tickets are available for most BSO concerts for patrons under 40 years of age. Proof of age required. Tickets are available on a first-come, first-served basis on both the orchestra and balcony levels.

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#BSO1819 bso.org • 617-266-1200 Season Sponsors

74 Joan and John ‡ Bok • Gregory E. Bulger Foundation/Gregory Bulger & Richard Dix • Ronald G. Casty • John F. Cogan, Jr. and Mary L. Cornille • Roberta L. and Lawrence H. ‡ Cohn, M.D. • Donna and Don Comstock • Diddy and John Cullinane • Cynthia and Oliver Curme • Alan and Lisa Dynner • Deborah and Philip Edmundson • William and Deborah Elfers • Dr. David Fromm • Joy S. Gilbert • The Grossman Family Charitable Foundation • Mrs. Francis W. Hatch • Mr. and Mrs. Brent L. Henry • Michelle and Mark Jung • Meg and Joseph Koerner • Elizabeth W. and John M. Loder • Josh and Jessica Lutzker • Jane B. and Robert J. Mayer, M.D. • Sandra Moose and Eric ‡ Birch • Megan and Robert O’Block • William and Lia Poorvu • William and Helen Pounds • James and Melinda Rabb • Louise C. Riemer • Cynthia and Grant Schaumburg • Richard and Susan Smith Family Foundation: Richard Smith; John and Amy Smith Berylson; James Berylson; Jonathan Block and Jennifer Berylson Block; Robert Katz and Elizabeth Berylson Katz; Robert and Dana Smith; Madeline Smith; Ryan Smith; Debra Smith Knez; Jessica Knez; Andrew Knez • Theresa M. and Charles F. Stone III • Stephen, Ronney, Wendy and Roberta Traynor • Stephen and Dorothy Weber • Anonymous (4) patron $12,000 - $24,999

Noubar and Anna Afeyan • Mr. and Mrs. Peter Andersen • Lois and Harlan Anderson ‡ • Liliana and Hillel Bachrach • Roz and Wally Bernheimer • Roberta and George ‡ Berry • Mr. and Mrs. ‡ John M. Bradley • Lorraine Bressler • Thomas Burger and Andrée Robert • Catherine and Paul Buttenwieser • Eleanor L. and Levin H. Campbell • Arthur Clarke and Susan Sloan • Barbara and Fred Clifford • Ernest Cravalho and Ruth Tuomala • Joan P. and Ronald C. Curhan • Sally Currier and Saul Pannell • Edith L. and Lewis S. ‡ Dabney • Gene and Lloyd Dahmen • Drs. Anna L. and Peter B. Davol • Mr. and Mrs. Miguel de Bragança • Bob and Happy Doran • The Gerald Flaxer Charitable Foundation, Nancy S. Raphael, Trustee • Mr. and Mrs. Paul B. Gilbert • Barbara and Robert Glauber • Thelma ‡ and Ray Goldberg • Raymond and Joan Green • Richard and Nancy Heath • Mrs. Nancy R. Herndon • Mr. James G. Hinkle and Mr. Roy Hammer • Albert A. Holman III and Susan P. Stickells • Alice Honner-White and Pieter C. White • Ms. Emily C. Hood • Prof. Paul L. Joskow and Dr. Barbara Chasen Joskow • Steve Kidder and Judy Malone • Lizbeth and George Krupp • Tom Kuo and Alexandra DeLaite • Mr. and Mrs. David S. Lee • Dr. and Mrs. Joseph B. Martin • Kurt and Therese Melden • Jo Frances and John P. Meyer • Dr. Martin C. Mihm, Jr. • Anne M. Morgan • Kristin A. Mortimer • Jerry and Mary ‡ Nelson • Polly and Dan ‡ Pierce • Randy and Stephanie Pierce • Janet and Irv Plotkin • Susanne and John Potts • Linda H. Reineman • Graham Robinson and Jeanne Yu • Dr. Michael and Patricia Rosenblatt • Sean Rush and Carol C. McMullen • Benjamin Schore • Arthur and Linda Schwartz • Robert ‡ and Rosmarie Scully • Eileen Shapiro and Reuben Eaves • Ann and Phillip Sharp • Solange Skinner • Katherine Chapman Stemberg • Blair Trippe • Drs. Roger and Jillian Tung • Eric and Sarah Ward • Harvey and Joëlle Wartosky • Drs. Christoph and Sylvia Westphal • Gwill E. York and Paul Maeder • Anonymous (3) sponsor $6,000 - $11,999

Nathaniel Adams and Sarah Grandfield • Ms. Deborah L. Allinson • David and Holly Ambler • Dr. Ronald Arky • Marjorie Arons-Barron and James H. Barron • Diane M. Austin and Aaron J. Nurick • Mrs. Hope Lincoln Baker • Dr. Peter A. Banks • Mr. and Mrs. Eugene F. Barnes III • Lucille Batal •

week 19 the higginson society 75 At Brookhaven, lifecare living is as good as it looks. Brookhaven at Lexington offers an abundance of opportunities for intellectual growth, artistic expression and personal wellness. Our residents share your commitment to live a vibrant lifestyle in a lovely community.

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Sunday, March 17, 2019 12noon and 3pm Symphony Hall BOSTON YOUTH SYMPHONY Federico Cortese, Conductor Edward Berkeley, Stage Director Vocal soloists Sung in English, devised for children ages 6 and older TICKETS Adults $20, Children $5 Visit BYSOweb.org or call SymphonyCharge at 888-266-1200

BYSO/BSO: Partnering for the Future

76 Mr. Edward B. Berk and Ms. Naomi Weinberg • Mrs. Linda Cabot Black • Brad and Terrie Bloom • Traudy and Stephen Bradley • Joseph Brooks • Drs. Andrea and Brad Buchbinder • Julie and Kevin Callaghan • Jane Carr and Andy Hertig • Mr. and Mrs. Miceal Chamberlain, Jr. • Ms. Bihua Chen and Jackson J. Loomis, Ph.D. • Ronald and Judy Clark • Mrs. Abram Collier • Victor Constantiner • Ms. RoAnn Costin • Dr. William T. Curry, Jr. and Ms. Rebecca Nordhaus • Eve and Philip D. Cutter • Lynn Dale and Frank Wisneski • Mr. and Mrs. Samuel Denbo • Rachel and Peter Dixon • Richard Dixon and Douglas Rendell • Phyllis Dohanian • Mrs. Richard S. Emmet • Pamela Everhart and Karl Coiscou • Mrs. Shirley A. Fennell • Beth and Richard Fentin • Mr. and Mrs. Steven S. Fischman • Barbie and Reg Foster • Myrna H. Freedman • Nicki Nichols Gamble • Beth and John Gamel • Dr. and Mrs. Levi A. Garraway • Adele C. Goldstein • Martha and Todd Golub • Jack Gorman • David and Harriet Griesinger • Alexander Healy • Mr. and Mrs. Ulf B. Heide • Rebecca Henderson and James Morone • Drs. James and Eleanor Herzog • Mrs. Richard D. Hill • Mary and Harry Hintlian • Patricia and Galen Ho • Timothy P. Horne • G. Lee and Diana Y. Humphrey • Joanie V. Ingraham • Blake Ireland, in memory of Anne Ireland • Nancy and G. Timothy Johnson • Susan Johnston • Rita J. and Stanley H. Kaplan Family Foundation, Inc./Susan B. Kaplan and Nancy and Mark Belsky • Barbara and Leo Karas • Stephen B. Kay and Lisbeth L. Tarlow • Seth A. and Beth S. Klarman • Dr. Nancy Koehn • Mr. Robert K. Kraft • Pamela S. Kunkemueller • Mr. Benjamin H. Lacy • Mr. and Mrs. Henry Lee • Thomas and Adrienne Linnell • Betty W. Locke • Dr. and Mrs. Frederick H. Lovejoy, Jr. • Anne R. Lovett and Stephen G. Woodsum • Mahnidahni, in loving memory of her mother Paula • Nancy Lurie Marks Family Foundation • Ann Merrifield and Wayne Davis • Kyra and Jean Montagu • Mr. and Mrs. Paul M. Montrone • Betty Morningstar and Jeanette Kruger • Richard P. and Claire W. Morse Foundation • Cecilia O’Keefe • John O’Leary • Jane and Neil Pappalardo • Mr. and Mrs. Joseph M. Paresky • Drs. James and Ellen Perrin • Slocumb H. and E. Lee Perry • Susan J. Pharr and Robert C. Mitchell • Ann M. Philbin • Andrew and Suzanne Plump • Dr. Herbert Rakatansky and Mrs. Barbara Sokoloff • Dr. and Mrs. Michael Rater • Peter and Suzanne Read • John Sherburne Reidy • Sharon and Howard Rich • Mr. and Mrs. Henry Rosovsky • Debora and Alan Rottenberg • William and Kathleen Rousseau • Darin S. Samaraweera • Joanne Zervas Sattley • Norma and Roger A. Saunders • Mrs. Marvin G. Schorr • Lynda Anne Schubert • Betsy and Will Shields • Christopher and Cary Smallhorn • Ms. Nancy F. Smith • Tiina Smith and Lawrence Rand • Anne-Marie Soullière and Lindsey C.Y. Kiang • Maria and Ray Stata • Tazewell Foundation • John Lowell Thorndike • Magdalena Tosteson • Polly J. Townsend • John Travis • Lois Wasoff and James Catterton ‡ • Mr. and Mrs. David Weinstein • Ms. Vita L. Weir and Mr. Edward Brice, Jr. • John C. Willis, Jr. • Elizabeth H. Wilson • June and Jeffrey Wolf • Dr. and Mrs. Michael J. Yaremchuk • Marillyn Zacharis • Dr. and Mrs. Nicholas T. Zervas • Anonymous (6)

week 19 the higginson society 77 BSO Major Corporate Sponsors 2018–19 Season

BSO SEASON LEAD SPONSOR Bank of America is proud of our longstanding support of the Boston Symphony Orchestra and we’re excited to serve once again as co-sponsor for the 2018-2019 season. Bank of America’s support of the arts reflects our belief that the arts matter: they are a powerful tool to help economies thrive, to help individuals connect with each other and across cultures, and to educate and enrich societies. Our Arts and Culture Program is diverse and global, supporting nonprofit arts institutions that Miceal Chamberlain deliver the visual and performing arts, provide inspirational and educational Massachusetts President, sustenance, anchor communities, create jobs, augment and complement existing Bank of America school offerings, and generate substantial revenue for local businesses. On a global scale, the arts speak to us in a universal language that provides pathways to greater cultural understanding. It’s an honor and privilege to continue our collaboration with the Boston Symphony Orchestra, and to play a part in welcoming the valued audiences and world-class artists for each and every performance of this cherished institution.

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

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

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

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

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

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

week 19 bso major corporate sponsors 79 GRIEG GOUNOD GERSHWIN

ANY WAY YOU PLAY IT, THE BSO IS ALWAYS GOURMET

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

GOURMETCATERERS.COM/BSO • BSO.ORG Administration

Mark Volpe, Eunice and Julian Cohen President and Chief Executive Officer, endowed in perpetuity Evelyn Barnes, Jane B. and Robert J. Mayer, M.D. Chief Financial Officer 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 Chorus Manager • Sarah Funke Donovan, Associate Archivist for Digital Assets • Julie Giattina Moerschel, Executive Assistant to the President and Chief Executive Officer • Vincenzo Natale, Chauffeur/Valet • Sarah Radcliffe-Marrs, Manager of Artists Services • Eric Valliere, Assistant Artistic Administrator administrative staff/production

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

Dennis Alves, Director of Artistic Planning • Richard MacDonald, Executive Producer and Operations Director • Pamela J. Picard, Executive Producer and Event Director, July 4 Fireworks Spectacular, and Broadcast and Media Director Helen N.H. Brady, 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

week 19 administration 81

2018–2019 season andris nelsons music director

bso 101 A FREE ADULT EDUCATION SERIES Wednesdays, 5:30–7pm at Symphony Hall

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

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

Nina Jung Gasparrini, Director of Donor and Volunteer Engagement • Ryan Losey, Director of Foundation and Government Relations • Pam Malumphy, Interim Director of Individual Giving • 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 and Information Systems Kaitlyn Arsenault, Graphic Designer • Erin Asbury, Manager of Volunteer Services • Stephanie Baker, Assistant Director, Campaign Planning and Administration • Shirley Barkai, Manager, Friends Program and Direct Fundraising • Laine Carlucci, Assistant Manager, Donor Relations • Stephanie Cerniauskas, Executive Assistant • Caitlin Charnley, Assistant Manager of Donor Relations and Ticketing • Sarah Chin, Donor Acknowledgment and Research Coordinator • Allison Cooley, Major Gifts Officer • Emily Diaz, Assistant Manager, Gift Processing • Elizabeth Estey, Individual Giving Coordinator • Emily Fritz-Endres, Assistant Director of Board Administration • Barbara Hanson, Senior Major Gifts Officer • Michelle Houle, 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 • Suzanne Page, Major Gifts Officer • Mark Paskind, Assistant Manager of Planned Giving • Kathleen Pendleton, Assistant Manager, Development Events and Volunteer Services • Johanna Pittman, Grant Writer • Francis Rogers, Major Gifts Officer • 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 • Deron Hall, Associate Director of Strategic Education Partnerships • Cassandra Ling, Head of Strategic Program Development, Education • Beth Mullins, Manager of Education and Community Engagement • Sarah Saenz, Assistant Manager of Education and Community Engagement facilities Robert Barnes, Director of Facilities symphony hall operations Peter J. Rossi, Symphony Hall Facilities Manager Charles F. Cassell, Jr., Facilities Compliance and Training Coordinator • Alana Forbes, Facilities Coordinator • Shawn Wilder, Mailroom Clerk maintenance services Jim Boudreau, Lead Electrician • Samuel Darragh, Painter • Thomas Davenport, Carpenter • Steven Harper, HVAC Technician • Adam Twiss, Electrician environmental services Landel Milton, Lead Custodian • Desmond Boland, Custodian • Julien Buckmire, Custodian/Set-up Coordinator • Claudia Ramirez-Calmo, Custodian • Garfield Cunningham,Custodian • Errol Smart, Custodian • Gaho Boniface Wahi, Custodian tanglewood operations Robert Lahart, Director of Tanglewood Facilities Bruce Peeples, Grounds Supervisor • Peter Socha, Tanglewood Facilities Manager • Fallyn Davis, Tanglewood Facilities Coordinator • Stephen Curley, Crew • Richard Drumm, Mechanic • Maurice Garofoli, Electrician • Bruce Huber, Assistant Carpenter/Roofer

week 19 administration 83 OUR NEW BOSTON SHOWROOM IS NOW OPEN.

Steinway and other pianos of distinction park plaza, boston natick mall, natick msteinert.com

We are pleased to welcome customers to our elegantly appointed new showroom in the Park Plaza building in Boston. You are invited to view our selection of Steinway, Boston, Essex and Roland pianos in a comfortable new setting. Or visit our showroom at the Natick Mall. 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 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 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 Sarah L. Manoog, Senior Director of Sales, Marketing, and Branding Amy Aldrich, Associate Director of Subscriptions and Patron Services • Patrick Alves, Front of House Associate Manager • Amanda Beaudoin, Senior Graphic Designer • Gretchen Borzi, Director of Marketing Programs and Group Sales • Lenore Camassar, Associate Manager, SymphonyCharge • Megan Cokely, Group Sales Manager • Susan Coombs, SymphonyCharge Coordinator • Jonathan Doyle, Graphic Designer • Diane Gawron, Executive Assistant to the Chief Operating Officer • Paul Ginocchio, Manager, Symphony Shop and Tanglewood Glass House • Neal Goldman, Subscriptions Representative • Roberta Kennedy, Director of Retail Operations • Tammy Lynch, Front of House Director • Michael Miller, Director of Ticketing and Customer Experience • Michael Moore, Manager of Digital Marketing and Analytics • Meaghan O’Rourke, Digital Media Manager • Ellen Rogoz, Marketing Manager • Laura Schneider, Internet Marketing Manager and Front End Lead • Robert Sistare, Senior Subscriptions Representative • Richard Sizensky, Access Coordinator • Emma Staudacher, Subscriptions Associate • Kevin Toler, Art Director • Himanshu Vakil, Associate Director of Internet and Security Technologies • Thomas Vigna, Group Sales and Marketing Associate • David Chandler Winn, Tessitura Liaison and Associate Director of Tanglewood Ticketing box office Jason Lyon, Symphony Hall Box Office Manager • Nicholas Vincent, Assistant Manager Kelsey Devlin, Box Office Administrator • Evan Xenakis, Box Office Representative event services Kyle Ronayne, Director of Events Administration • James Gribaudo, Function Manager • John Stanton, Venue and Events Manager • Jessica Voutsinas, Events Administrative Assistant tanglewood music center

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

week 19 administration 85 “...audiences value that emotional connection with the orchestra and the conductor...it’s not enough just to play the notes.” - Andris Nelsons

As a music lover, you know how special it is to experience a performance here at Symphony Hall. You can make your BSO experience even more enriching— discover how rewarding it is to be a Friend of the BSO. Every $1 the BSO receives through ticket sales must be matched by an additional $1 of contributed support to cover annual expenses. The generosity of the Friends of the BSO is truly the financial foundation that enables the Orchestra to thrive. By joining the Friends with an annual membership gift, you help build a legacy of spectacular performances, ensuring incredible music is accessible to all who wish to hear. enjoy friends-only privileges, including: • Access to BSO or Boston Pops Working Rehearsals • Advance ticket ordering • Exclusive behind-the-scenes experiences at historic Symphony Hall • 10% discount at the Symphony Shop

To learn more or to join, visit the information stand in the lobby, call 617-638-9276, or find us online at bso.org/contribute. 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 Houses, Adele Cukor • Ushers, Carolyn Ivory boston project leads 2018-19

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

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week 19 administration 87 Next Program…

Saturday, March 23, 8pm

thomas wilkins conducting

adolphus hailstork “an american port of call”

roberto sierra concerto for saxophones and orchestra I. Rhythmic II. Tender III. Playful IV. Fast (with swing) james carter

{intermission}

price “symphonic reflections,” from symphony no. 3 in c minor III. Juba (Allegro) II. Andante ma non troppo IV. Scherzo. Finale (Allegro)

ellington “a tone parallel to harlem (harlem suite)”

Thomas Wilkins, the BSO’s Germeshausen Youth and Family Concerts Conductor, makes his subscription series debut with this concert, which features music of three African-American composers along with a work by the Puerto Rico-born Roberto Sierra. Sierra wrote his Concerto for Saxophones and Orchestra for eminent jazz saxophonist James Carter, including opportunities for improvisation within his dynamic and soulful score. Also in the jazz spectrum is Duke Ellington’s lush, impressionistic tone poem A Tone Parallel to Harlem. Florence Price graduated from Boston’s New England Conservatory in 1906 as a pianist and organist; she also studied composition there. She wrote her Third Symphony in 1940 on a commission from the WPA; Thomas Wilkins has arranged sections of the four-movement work into a tone poem he calls “Symphonic Reflections.” The brash, optimistic concert-opener An American Port of Call was written in 1984 for the Virginia Symphony Orchestra by Adolphus Hailstork, inspired by his bustling home city of Norfolk, VA, where he is a professor at Old Dominion University.

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

Saturday ‘A’ March 23, 8-9:50 Thursday ‘D’ April 11, 8-9:40 THOMAS WILKINS, conductor Friday Evening April 12, 8-9:10 (Casual Friday, with introductory comments JAMES CARTER, saxophones by a BSO member and no intermission) ADOLPHUS An American Port of Call Saturday ‘B’ April 13, 8-9:40 HAILSTORK GUSTAVO DUDAMEL, conductor ROBERTO SIERRA Concerto for Saxophones and Orchestra SERGIO TIEMPO, piano AQUILES MACHADO, tenor PRICE “Symphonic Reflections” from Symphony No. 3 GUSTAVO CASTILLO, baritone ELLINGTON A Tone Parallel to Harlem TANGLEWOOD FESTIVAL CHORUS, (Harlem Suite) JAMES BURTON, conductor PAUL DESENNE Hipnosis Mariposa (April 11 and 13 only) Friday ‘A’ April 5, 1:30-3:10 GINASTERA Piano Concerto No. 1 Saturday ‘A’ April 6, 8-9;40 ESTÉVEZ Cantata Criolla Thursday ‘A’ Tuesday, April 9, 8-9:40 GUSTAVO DUDAMEL, conductor Thursday ‘B’ April 18, 8-9:50 SCHUMANN Symphony No. 1, Spring Friday ‘A’ April 19, 1:30-3:20 STRAVINSKY The Rite of Spring Saturday ‘B’ April 20, 8-9:50 ANDREW MANZE, conductor FRANCESCO PIEMONTESI, piano BACEWICZ Concerto for String Orchestra MOZART Piano Concerto No. 19 in F, K.459 MENDELSSOHN Symphony No. 5 in D, Reformation (with original ending)

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

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

week 19 coming concerts 89 Symphony Hall Exit Plan

90 Symphony Hall Information

For Symphony Hall concert and ticket information, call (617) 266-1492. For Boston Symphony concert program information, call “C-O-N-C-E-R-T” (266-2378). The Boston Symphony Orchestra performs ten months a year, in Symphony Hall and at Tanglewood. For infor- mation about any of the orchestra’s activities, please call Symphony Hall, visit bso.org, or write to the Boston Symphony Orchestra, Symphony Hall, 301 Massachusetts Avenue, Boston, MA 02115. The BSO’s web site (bso.org) provides information on all of the orchestra’s activities at Symphony Hall and at Tanglewood, and is updated regularly. In addition, tickets for BSO concerts can be purchased online through a secure credit card transaction. The Eunice S. and Julian Cohen Wing, adjacent to Symphony Hall on Huntington Avenue, may be entered by the Symphony Hall West Entrance on Huntington Avenue. In the event of a building emergency, patrons will be notified by an announcement from the stage. Should the building need to be evacuated, please exit via the nearest door (see map on opposite page), or according to instructions. For Symphony Hall rental information, call (617) 638-9241, or write the Director of Event Administration, Symphony Hall, Boston, MA 02115. The Box Office is open from 10 a.m. until 6 p.m. Monday through Friday, or until a half-hour past starting time on performance evenings. On Saturdays, the box office is open from 4:30 p.m. until 8:30 p.m. when there is a concert, but is otherwise closed. For an early Saturday or Sunday performance, the box office is generally open two hours before concert time. To purchase BSO Tickets: American Express, MasterCard, Visa, Diners Club, Discover, a personal check, and cash are accepted at the box office. To charge tickets instantly on a major credit card, call “SymphonyCharge” at (617) 266-1200, from 10 a.m. until 5 p.m. Monday through Friday (12:30 p.m. to 4:30 p.m. on Saturday). Outside the 617 area code, phone 1-888-266-1200. As noted above, tickets can also be purchased online. There is a handling fee of $6.50 for each ticket ordered by phone or online. Group Sales: Groups may take advantage of advance ticket sales. For BSO concerts at Symphony Hall, groups of twenty-five or more may reserve tickets by telephone and take advantage of ticket discounts and flexible payment options. To place an order, or for more information, call Group Sales at (617) 638-9345 or (800) 933-4255, or e-mail [email protected]. For patrons with disabilities, elevator access to Symphony Hall is available at both the Massachusetts Avenue and Cohen Wing entrances. An access service center, large print programs, and accessible restrooms are avail- able inside the Cohen Wing. For more information, call the Access Services line at (617) 638-9431 or TDD/TTY (617) 638-9289. In consideration of our patrons and artists, children under age five will not be admitted to Boston Symphony Orchestra concerts. Please note that no food or beverage (except water) is permitted in the Symphony Hall auditorium. Patrons who bring bags to Symphony Hall are subject to mandatory inspections before entering the building. Those arriving late or returning to their seats will be seated by the patron service staff only during a convenient pause in the program. Those who need to leave before the end of the concert are asked to do so between pro- gram pieces in order not to disturb other patrons.

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

week 19 symphony hall information 91 Subscriber Ticket Resale: If you are unable to attend a Boston Symphony concert for which you hold a subscrip- tion ticket, you may make your ticket available for resale by calling (617) 638-9426 up to one hour before the concert. This helps bring needed revenue to the orchestra and makes your seat available to someone who wants to attend the concert. A mailed receipt will acknowledge your tax-deductible contribution. Rush Seats: There are a limited number of Rush Seats available for Boston Symphony subscription concerts on Tuesday and Thursday evenings, and on Friday afternoons. The low price of these seats is assured through the Morse Rush Seat Fund. Rush Tickets are sold at $10 each, one to a customer, at the Symphony Hall box office on Fridays as of 10 a.m. for afternoon concerts, and on Tuesdays and Thursdays as of 5 p.m. for evening concerts. Please note that there are no Rush Tickets available for Friday and Saturday evenings. Please note that smoking is not permitted anywhere in Symphony Hall. Camera and recording equipment may not be brought into Symphony Hall during concerts. Lost and found is located at the security desk at the stage door to Symphony Hall on St. Stephen Street. First aid facilities for both men and women are available. On-call physicians attending concerts should leave their names and seat locations at the Cohen Wing entrance on Huntington Avenue. Parking: The Prudential Center Garage (after 2 p.m.) and Copley Place Parking on Huntington Avenue offer discounted parking to any BSO patron with a ticket stub for evening performances. Limited street parking is available. Elevators are located outside the O’Block/Kay and Cabot-Cahners rooms on the Massachusetts Avenue side of Symphony Hall, and in the Cohen Wing. Ladies’ rooms are located on both main corridors of the orchestra level, as well as at both ends of the first balcony, audience-left, and in the Cohen Wing. Men’s rooms are located on the orchestra level, audience-right, outside the O’Block/Kay Room near the elevator; on the first-balcony level, also audience-right near the elevator, outside the Cabot-Cahners Room; and in the Cohen Wing. Coatrooms are located on the orchestra and first-balcony levels, audience-left, outside the O’Block/Kay and Cabot-Cahners rooms, and in the Cohen Wing. Please note that the BSO is not responsible for personal apparel or other property of patrons. Lounges and Bar Service: There are two lounges in Symphony Hall. The O’Block/Kay Room on the orchestra level and the Cabot-Cahners Room on the first-balcony level serve drinks starting one hour before each performance. For the Friday-afternoon concerts, both rooms open at noon, with sandwiches available until concert time. Drink coupons may be purchased in advance online or through SymphonyCharge for all performances. Boston Symphony Broadcasts: Saturday-evening concerts of the Boston Symphony Orchestra are broadcast live in the Boston area by 99.5 WCRB Classical Radio Boston. BSO Friends: The Friends are donors who contribute $100 or more to the Boston Symphony Orchestra Annual Funds. For information, please call the Friends of the BSO Office at (617) 638-9276 or e-mail [email protected]. If you are already a Friend and you have changed your address, please inform us by sending your new and old addresses to Friends of the BSO, Symphony Hall, Boston, MA 02115. Including your patron number will assure a quick and accurate change of address in our files. BSO Business Partners: The BSO Business Partners program makes it possible for businesses to participate in the life of the Boston Symphony Orchestra. Benefits include corporate recognition in the BSO program book, access to the Beranek Room reception lounge, two-for-one ticket pricing, and advance ticket ordering. For further infor- mation, please call the BSO Business Partners Office at (617) 638-9275 or e-mail [email protected]. The Symphony Shop is located in the Cohen Wing at the West Entrance on Huntington Avenue and is open Thurs day and Saturday from 3 to 6 p.m., and for all Symphony Hall performances through intermission. The Symphony Shop features exclusive BSO merchandise, including calendars, coffee mugs, an expanded line of BSO apparel and recordings, and unique gift items. The Shop also carries children’s books and musical-motif gift items. A selection of Symphony Shop merchandise is also available online at bso.org and, during concert hours, outside the Cabot-Cahners Room. All proceeds benefit the Boston Symphony Orchestra. For further information and telephone orders, please call (617) 638-9383, or purchase online at bso.org.

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