2016–17 season andris nelsons music director

week 4 walton elgar holst

season sponsors seiji ozawa music director laureate bernard haitink conductor emeritus lead sponsor supporting sponsor thomas adès artistic partner The most famous 19th-century American painter you’ve never heard of

Through January 16, 2017

mfa.org/chase

“William Merritt Chase” was organized by the Museum of Fine Arts, ; The Phillips , Presented with generous support from The Mr. and Mrs. Raymond J. Horowitz Foundation Washington, DC; the Fondazione Musei Civici di Venezia; and the Terra Foundation for American Art. for the Arts, Inc., and the Deedee and Barrie A. Wigmore Fund in honor of Malcolm Rogers. Additional support from the Betty L. Heath Fund for the Art of the Americas, and the The exhibition and its publication were made possible with the Eugenie Prendergast Memorial Fund, made possible by a grant from Jan and Warren Adelson. generous support of the Terra Foundation for American Art.

William Merritt Chase, The Young Orphan (An Idle Moment) (detail), 1884. Oil on canvas. NA diploma presentation, November 24, 1890. National Academy Museum, New York (221-P). Table of Contents | Week 4

7 bso news 1 5 on display in symphony hall 16 bso music director andris nelsons 18 the boston symphony orchestra 21 brahms’s orchestral voice by jan swafford 2 8 this week’s program

Notes on the Program

30 The Program in Brief… 31 39 47 Gustav Holst 55 To Read and Hear More…

Guest Artists

59 61 Yo-Yo Ma 65 Tanglewood Festival Chorus 66 Lisa Graham

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

the friday preview on october 21 is given by composer/pianist jeremy gill.

program copyright ©2016 Boston Symphony Orchestra, Inc. program book design by Hecht Design, Arlington, MA cover photo by Chris Lee cover design by BSO Marketing

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

andris nelsons, ray and maria stata music director bernard haitink, lacroix family fund conductor emeritus seiji ozawa, music director laureate thomas adès, deborah and philip edmundson artistic partner 136th season, 2016–2017

trustees of the boston symphony orchestra, inc.

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

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

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

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

Noubar Afeyan • James E. Aisner • Peter C. Andersen • Bob Atchinson • Lloyd Axelrod, M.D. • Liliana Bachrach • Judith W. Barr • Linda J.L. Becker • Paul Berz • Mark G. Borden • Partha Bose • William N. Booth • Karen Bressler • Anne F. Brooke • Gregory E. Bulger • Thomas M. Burger • Joanne M. Burke • Bonnie Burman, Ph.D. • Richard E. Cavanagh • Yumin Choi • Michele Montrone Cogan • Roberta L. Cohn • RoAnn Costin • William Curry, M.D. • Gene D. Dahmen • Lynn A. Dale • Anna L. Davol • Michelle A. Dipp, M.D., Ph.D. • Peter Dixon • Dr. Ronald F. Dixon • Ursula Ehret-Dichter • Sarah E. Eustis • Joseph F. Fallon • Beth Fentin • Peter Fiedler • Steven S. Fischman • John F. Fish • Sanford Fisher • Jennifer Mugar Flaherty • Alexandra J. Fuchs • Robert Gallery • Stephen T. Gannon • Zoher Ghogawala, M.D. • Cora H. Ginsberg • Robert R. Glauber • Todd R. Golub • Barbara Nan Grossman • Nathan Hayward, III • Ricki Tigert Helfer • Rebecca M. Henderson • James M. Herzog, M.D. • Stuart Hirshfield • Albert A. Holman, III • Lawrence S. Horn • Jill Hornor • Valerie Hyman •

week 4 trustees and overseers 3 CARING FOR WHAT’S IMPORTANT IS PART OF OUR MISSION. Official Airline of the Boston Symphony Orchestra. photos by Michael J. Lutch

Everett L. Jassy • Stephen J. Jerome • Darlene Luccio Jordan, Esq. • Paul L. Joskow • Karen Kaplan • Stephen R. Karp • Steve Kidder • John L. Klinck, Jr. • Tom Kuo • Sandra O. Moose • Cecile Higginson Murphy • John F. O’Leary • Peter Palandjian • Donald R. Peck • Wendy Philbrick • Randy Pierce • Claudio Pincus • Lina S. Plantilla, M.D. • Irving H. Plotkin • Irene Pollin • Jonathan Poorvu • William F. Pounds • Claire Pryor • James M. Rabb, M.D. • Ronald Rettner • Robert L. Reynolds • Robin S. Richman, M.D. • Dr. Carmichael Roberts • Graham Robinson • Patricia Romeo-Gilbert • Michael Rosenblatt, M.D • Susan Rothenberg • Sean C. Rush • Malcolm S. Salter • Dan Schrager • Donald L. Shapiro • Phillip A. Sharp, Ph.D. • Anne-Marie Soullière • Michael B. Sporn, M.D. • Nicole Stata • Margery Steinberg, Ph.D • Katherine Chapman Stemberg • Jean Tempel • Douglas Thomas • Mark D. Thompson • Albert Togut • Blair Trippe • Joseph M. Tucci • Sandra A. Urie • Edward Wacks, Esq. • Linda S. Waintrup • Sarah Rainwater Ward • Dr. Christoph Westphal • June K. Wu, M.D. • Patricia Plum Wylde • Marillyn Zacharis overseers emeriti

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

† Deceased

week 4 trustees and overseers 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

Boston Symphony Chamber Players 2016-17 Season at Jordan Hall: Four Sunday Afternoons at 3 p.m. at Jordan Hall The Boston Symphony Chamber Players perform four Sunday-afternoon concerts each season at Jordan Hall at the New Conservatory, beginning this year on October 30 with a concert featuring the BSO’s new Artistic Partner Thomas Adès as both pianist and conductor in a program of music by Britten, Adès, Brahms, Stravinsky, Purcell, and Schubert. Complete details of this season’s four-concert series are shown in the full-page ad on page 12. Subscriptions to the four-concert series are available at $132, $95, and $75; please call the Subscription Office at 1-888-266-7575. For single tickets at $38, $29, and $22, please call SymphonyCharge at (617) 266-1200 or visit bso.org.

BSO Artistic Partner Thomas Adès and Tenor Ian Bostridge in Schubert’s “Winterreise” at Jordan Hall on Friday, October 28, at 8 p.m. In addition to his triple-threat appearance as pianist, composer, and conductor with the Boston Symphony Chamber Players on Sunday afternoon, October 30, at Jordan Hall, new BSO Artistic Partner Thomas Adès will collaborate with renowned English tenor Ian Bostridge in a performance of Schubert’s great song cycle Winterreise on Friday night, October 28, at 8, also at Jordan Hall—a special, non-subscription concert presented in association with the Celebrity Series of Boston to celebrate the start of Mr. Adès’s three-

week 4 bso news 7 year tenure with the BSO. Remaining tickets are available at the Symphony Hall box office, online at bso.org, or by calling SymphonyCharge at (617) 266-1200. In addition to these two Jordan Hall appearances, Thomas Adès will conduct the BSO the following weekend, November 3, 4, and 5, in a program of Britten, Sibelius, and his own Totentanz for mezzo- soprano, , and orchestra; tickets for these concerts are also available at the Symphony Hall box office, online, or by calling SymphonyCharge.

BSO 101, the BSO’s Free Adult Education Series at Symphony Hall and Beyond “BSO 101” returns in 2016-17, again offering the opportunity to increase your enjoyment of BSO concerts. These free sessions with BSO Director of Program Publications Marc Mandel joined by members of the BSO—on Wednesdays at Symphony Hall from 5:30-7 p.m., and, thanks to the generosity of an anonymous donor, on Sundays from 2-3:30 p.m. in various Boston-area communities—will enhance your listening abilities and appreciation of music by focusing on upcoming BSO repertoire, examining aspects of musical shape and form, and of the composers’ individual musical styles. Each session includes recorded musical examples, and each is self-contained, so no prior musical training, or attendance at any previous session, is required. Up next: “–Rethinking Tradition,” on Wednesday, November 2, at Symphony Hall, and on Sunday, November 6, at Salem State University. For more information, please visit bso.org, where BSO 101 can be found under the “Education & Community” tab on the home page.

Friday Previews at Symphony Hall Friday Previews take place from 12:15-12:45 p.m. in Symphony Hall before all of the BSO’s Friday-afternoon subscription concerts throughout the season. Given by BSO Director of Program Publications Marc Mandel, Assistant Director of Program Publications Robert Kirzinger, and a number of guest speakers, these informative half-hour talks incorporate recorded examples from the music to be performed. This week’s Friday Preview on Octo- ber 21 is given by composer/pianist Jeremy Gill. Friday Previews in the weeks ahead will be given on October 28 and November 4 by Robert Kirzinger, and on November 11 by Marc Mandel.

individual tickets are on sale for all concerts in the bso’s 2016-2017 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.

Boston Symphony Orchestra the Fairmont Copley Plaza. George brings Celebrates Fifteen Seasons thirty-five years of hospitality industry expe- With Fairmont Copley Plaza rience with him to Boston, most recently as The BSO’s 2016-17 season marks BSO Great Fairmont’s Regional Vice-President, Bermuda Benefactor Fairmont Copley Plaza’s fifteenth & Caribbean, and General Manager of the year as the Official Hotel of the BSO. In Fairmont Southhampton. Paul Tormey, for- marking this milestone, we are pleased to mer Fairmont Copley Plaza General Manager, welcome George Terpilowski as the newly was recently appointed Fairmont’s Regional appointed Regional Vice-President, North- Vice-President, California, and General Man- east U.S. Region and General Manager of ager of the Fairmont San Francisco.

8 The Carmine A. and Beth V. cil. Mr. and Mrs. Martignetti are both grad- Martignetti Concert, uates of Boston College, where they remain Thursday, October 20, 2016 actively involved as alumni. They have three children and reside in Chestnut Hill, MA. Thursday evening’s performance is support- ed by a generous gift from Great Benefactors Carmine A. and Beth V. Martignetti, who The Catherine and Paul have been BSO subscribers for eighteen con- Buttenwieser Guest Artist, secutive years, beginning in 1999. Mr. Mar- Thursday, October 20, 2016 tignetti joined the BSO Board of Overseers The appearance of Yo-Yo Ma on Thursday that same year and was elected to the Board evening is supported by a generous gift from of Trustees in 2007. He currently serves as Great Benefactors Catherine and Paul But- a Vice-Chair of the Board of Trustees and a tenwieser. Elected a BSO Overseer in 1998 member of its Executive Committee, as well and Trustee in 2000, Paul currently serves as as Chair of the Trustees Nominating and President of the Board of Trustees. He served Governance Committee, and a member of as a Vice-Chair of the Board of Trustees from the Leadership Gifts and Overseers Nomi- 2010 to 2013. nating committees. Mr. and Mrs. Martignetti served as co-chairs of Symphony Gala for the Paul’s interest in music began at a young 2011-12 season, which raised more than $1.1 age, when he studied piano, violin, clarinet, million for the BSO, a record-breaking goal and conducting as a child and teenager. for the gala at the time. They also served He and Katie developed their lifelong love as co-chairs of Opening Night at Pops in of music together; they have attended the 2007, and have served as members of many BSO’s performances at Symphony Hall and gala committees. Besides their support of Tanglewood for more than fifty years. The Opening Night galas, the Martignettis have Buttenwiesers have generously supported generously supported BSO corporate events, numerous BSO initiatives, including BSO and the Symphony and Tanglewood Annual commissions of new works, guest artist Funds, among other BSO initiatives. appearances at Symphony Hall and Tangle- wood, fellowships at the Tanglewood Music Mr. Martignetti is President of Martignetti Center, and Opening Nights at Symphony Companies, the leading distributor of wine and Tanglewood. They also endowed a and spirits in New England. In addition to BSO first violin chair, currently held by his involvement at the Symphony, Mr. Mar- Aza Raykhtsaum. Paul and Katie, who have tignetti serves as chairman of the Board of served on many gala committees, chaired Trustees at Tabor Academy in Marion (MA) Opening Night at Symphony for the 2008-09 and as a Trustee at Boston College in Chest- season. Paul serves on the Executive, Lead- nut Hill. He has also served as a Trustee of ership Gifts, and Trustees Nominating and the Brooks School in North Andover and the Governance committees, and was a member Park School in Brookline. Mrs. Martignetti is of the Search Committee recommending the also an active volunteer throughout Boston, appointment of Andris Nelsons as the BSO’s currently serving on the Board of Overseers Ray and Maria Stata Music Director. at the Isabella Stewart Gardner Museum and the President’s Advisory Council and The Buttenwiesers support many arts orga- the Women’s Health Leadership Council at nizations in Boston and are deeply involved Brigham and Women’s Hospital, where she with the community and social justice. Paul was previously a member and vice-chair of recently stepped down as chairman of the the BWH Trust, President of the Friends of Institute of Contemporary Art, Boston, after Brigham and Women’s Hospital, and on the a decade leading the Board of Trustees. He hospital’s Board of Trustees for twelve years. is a trustee and former chair of the Ameri- She has also served as a member of the Har- can Repertory Theater, trustee of Partners vard School of Public Health’s Dean’s Coun- in Health, honorary trustee of the Museum

week 4 bso news 9 OYSTER PERPETUAL

DATEJUST 41

rolex oyster perpetual and datejust are ® trademarks. of Fine Arts, Boston, fellow of the American Friday-afternoon Bus Service Academy of Arts and Sciences, member of to Symphony Hall the President’s Advisory Council at Berklee College of Music and the Director’s Advi- If you’re tired of fighting traffic and search- sory Council of the Harvard University Art ing for a parking space when you come to Museums, and former overseer of Harvard Friday-afternoon Boston Symphony con- University. In 1988, Paul and Katie founded certs, why not consider taking the bus from the Family-to-Family Project, an agency that your community directly to Symphony Hall? works with homeless families in Eastern The BSO is pleased to continue offering Massachusetts. Katie, who is a social worker, round-trip bus service on Friday afternoons spent most of her career in early child develop- at cost from the following communities: ment before moving into hospice and bereave- Beverly, Canton, Cape Cod, Concord, ment work. She is a graduate of Mount Holy- Framingham, the South Shore, Swamp- oke College and Boston University School scott, Wellesley,Weston, and Worcester in of Social Work. Paul is a psychiatrist who Massachusetts; Nashua, New Hampshire; specializes in children and adolescents, as and Rhode Island. In addition, we offer bus well as a writer. He is a graduate of Harvard service for selected concerts from the Holy- College and Harvard Medical School. oke/Amherst area. Taking advantage of your area’s bus service not only helps keep this convenient service operating, but also BSO Broadcasts on WCRB provides opportunities to spend time with BSO concerts are heard on the radio at 99.5 your Symphony friends, meet new people, WCRB. Saturday-night concerts are broad- and conserve energy. For further information cast live at 8 p.m. with host Ron Della Chiesa, about bus transportation to Friday-afternoon and encore broadcasts are aired on Monday Boston Symphony concerts, please call the nights at 8 p.m. In addition, interviews with Subscription Office at (617) 266-7575. guest conductors, soloists, and BSO musicians are available online, along with a one-year Planned Gifts for the BSO: archive of concert broadcasts. Listeners Orchestrate Your Legacy can also hear the BSO Concert Channel, an online radio station consisting of BSO con- There are many creative ways that can let cert performances from the previous twelve you support the BSO over the long term. months. Visit classicalwcrb.org/bso. Current Planned gifts such as bequest intentions and upcoming broadcasts include last week’s (through your will, personal trust, IRA, or program of Smetana, Bartók, Mussorgsky, insurance policy), charitable trusts, and gift and Janáˇcek led by Czech conductor Jakub annuities can generate significant benefits for Hru˚ša in his BSO debut, with violinist Frank you now while enabling you to make a larger Peter Zimmermann (encore October 24), this gift to the BSO than you may have otherwise week’s program of Walton, Elgar, and Holst thought possible. In many cases, you could led by Charles Dutoit with Yo-Yo Ma and the realize significant tax savings and secure an Tanglewood Festival Chorus (October 22; attractive income stream for yourself and/ encore October 31), and next week’s pro- or a loved one, all while providing valuable gram of Mozart and Bartók under Maestro future support for the performances and pro- Dutoit featuring vocal soloists Ildikó Komlósi grams you care about. When you establish and Matthias Goerne in Bartók’s Bluebeard’s and notify us of your planned gift for the Bos- Castle (October 29; encore November 7). ton Symphony Orchestra, you will become a

week 4 bso news 11 boston symphony chamber players at jordan hall Founded in 1964, the renowned Boston Symphony Chamber Players combine the talents of the BSO’s principal players with those of guest artists and other BSO members to explore the full spectrum of chamber music repertoire. Concerts take place on four Sunday afternoons at New England Conservatory’s Jordan Hall. Tickets: $38, $29, $22 sunday, october 30, 3pm sunday, april 2, 3pm with Thomas Adès, piano with Elizabeth Fischborn, soprano and mezzo-soprano Kelley O’Connor and David Deveau, piano BRITTEN Sinfonietta for winds and strings, Op. 1 JOLIVET Pastorales de Noël, for flute, Thomas ADÈS Court Studies from The Tempest, bassoon, and harp for clarinet, violin, cello, and piano Fred LERDAHL Fire and Ice, for soprano and BRAHMS Ophelia-Lieder, arranged by John double bass Woolrich for voice and chamber ensemble PROKOFIEV Quintet for oboe, clarinet, violin, STRAVINSKY Three Shakespeare Songs viola, and double bass, Op. 39 PURCELL (arr. ADÈS) Two Songs Daniel CROZIER Masques, for oboe and string trio SCHUBERT Quintet in A for piano and BRAHMS Trio in A minor for clarinet, cello, strings, D.667, Trout and piano, Op. 114 sunday, january 22, 3pm sunday, may 7, 3pm TAFFANEL Wind Quintet in G minor with Leif Ove Andsnes, piano SAINT-SAËNS Septet in E-flat for piano, STRAVINSKY Octet for flute, clarinet, trumpet, and strings, Op. 65 two bassoons, two trumpets, and two Eric TANGUY Afterwards, for flute and piano trombones FRANÇAIX Octet for winds and strings Sofia GUBAIDULINA Garden of Joys and Sorrows, for flute, viola, and harp Please note that on the day of the concert, WEINBERG Sonata for solo double bass, Op. 108 tickets may only be purchased at Jordan Hall. SHOSTAKOVICH Piano Trio No. 2 in E minor, Op. 67

Tickets: Call 617-266-1200 Please note that on the day of the concert, $38, $29, $22 or visit bso.org. tickets may only be purchased at Jordan Hall. member of the Walter Piston Society, joining October 24, at 8 p.m. at Edward M. Pickman a group of the BSO’s most loyal supporters Concert Hall at the Longy School of Music of who help to ensure the future of the BSO’s Bard College, 27 Garden Street, Cambridge. extraordinary performances. Members of the Soprano Mary Mackenzie is featured. Gen- Piston Society—named for Pulitzer Prize- eral admission is $30 (discounts for seniors winning composer and noted musician Wal- and students), available at the door. ter Piston, who endowed the Principal Flute BSO assistant conductor Ken-David Masur Chair with a bequest—are recognized in sev- leads the NEC Philharmonia in a free concert eral of our publications and offered a variety on Wednesday, October 26, at 7:30 p.m. at of exclusive benefits, including invitations to New England Conservatory’s Jordan Hall. On various events in Boston and at Tanglewood. the program are Finnis’s Flicker, Reger’s Vari- For more information about planned gift ations and Fugue on a Theme of Mozart, and options and how to join the Walter Piston César Franck’s Symphony in D minor. Visit Society, please contact Jill Ng, Director of necmusic.edu for more information. Planned Giving and Senior Major Gifts Offi- cer, at (617) 638-9274 or [email protected]. We would be delighted to help you orchestrate Those Electronic Devices… your legacy with the BSO. As the presence of smartphones, tablets, and other electronic devices used for com- BSO Members in Concert munication, note-taking, and photography has increased, there have also been continu- BSO principal flute Elizabeth Rowe is soloist ing expressions of concern from concertgoers in Bach’s Orchestral Suite No. 2 on Sunday, and musicians who find themselves distracted October 23, at 3 p.m. at Faneuil Hall with the not only by the illuminated screens on these Bach, Beethoven and Brahms Society, Steven devices, but also by the physical movements Lipsitt, music director, on a program also that accompany their use. For this reason, including music of Ginastera and Mozart. and as a courtesy both to those on stage and Tickets are $35-$78, available at web.ova- those around you, we respectfully request tiontix.com. For more information, visit bbb- that all such electronic devices be completely society.org or call (305) 970-1132. turned off and kept from view while BSO per- BSO members Robert Sheena, English horn, formances are in progress. In addition, please Michael Wayne, clarinet, and Jason Snider, also keep in mind that taking pictures of the horn, are among the artists and NEC faculty orchestra—whether photographs or videos— performing in a “Music for Food” concert fea- is prohibited during concerts. Thank you very turing works of Mozart, Brahms, and Berio on much for your cooperation. Sunday, October 23, at 7:30 p.m. at Brown Hall at New England Conservatory. “Music for Food” is a musician-led initiative to fight Comings and Goings... hunger in our community. Suggested dona- Please note that latecomers will be seated tion is $25 ($10 for students); all proceeds by the patron service staff during the first benefit Women’s Lunch Place in Boston. Visit convenient pause in the program. In addition, necmusic.edu for more information. please also note that patrons who leave the auditorium during the performance will not Collage New Music, founded by former BSO be allowed to reenter until the next conve- percussionist Frank Epstein and whose nientpause in the program, so as not to dis- membership includes BSO violinist Catherine turb the performers or other audience mem- French and former BSO cellist Joel Moerschel, bers while the music is in progress. We thank opens its season with music of William you for your cooperation in this matter. Kraft, Nina C. Young, Arthur Berger, Andrew Rindfleisch, and Hayg Boyadjian on Monday,

week 4 bso news 13 MASTERCARD® IS PROUD TO SUPPORT THE BOSTON SYMPHONY ORCHESTRA

EXPLORE PRICELESS® BOSTON EXPERIENCES AT PRICELESS.COM

Certain terms and restrictions apply. Quantities are limited. For MasterCard® cardholders only. MasterCard, World MasterCard, Priceless and the MasterCard brand mark are registered trademarks of MasterCard International Incorporated. © 2016 MasterCard. on display in symphony hall This season’s BSO Archives exhibit once again displays the wide variety of holdings in the Boston Symphony Archives. highlights of this year’s exhibit include, on the orchestra level of symphony hall: • a display case in the Brooke Corridor exploring the BSO’s early performances of works by Brahms • two display cases in the Brooke corridor focusing on BSO music directors Arthur Nikisch (1889-93) and Charles Munch (1949-62) • two display cases in the Huntington Avenue corridor featuring the percussionists and timpanists, and the contrabassoonists, of the BSO exhibits on the first-balcony level of symphony hall include: • a display case in the first-balcony corridor, audience-right, devoted to the BSO’s acquisition in 1926 of the Casadesus Collection of “ancient instruments” • a display case, also in the first-balcony corridor, audience-right, focusing on historic BSO performances of Shostakovich’s Sixth and Seventh symphonies • a display case in the first-balcony corridor, audience-left, exploring the early history of the Boston Pops

CABOT-CAHNERS ROOM EXHIBIT—THE HEINZ W. WEISSENSTEIN/WHITESTONE PHOTOGRAPH COLLECTION: 45 YEARS AT TANGLEWOOD An exhibit highlighting the acquisition by the BSO Archives of the Whitestone Photo- graph Collection, a collection of more than 90,000 negatives and prints documenting the rich musical life at Tanglewood, the BSO’s summer home

TOP OF PAGE, LEFT TO RIGHT: Photograph of a 19th-century serpent from the Casadesus Collection of Ancient Instruments, acquired by the BSO in 1926 (photographer unknown) Souvenir program for the U.S. and Canadian tour of the Orchestre National de led by Charles Munch in 1948—the year before he became the BSO’s music director Photographer Heinz Weissenstein flanked by , Gunther Schuller, and Seiji Ozawa at Tangle- wood, 1970 (photo by then BSO Assistant Manager Mary H. Smith, using Weissenstein’s Rolleiflex camera)

week 4 on display 15 Marco Borggreve

Andris Nelsons

In 2016-17, his third season as the BSO’s Ray and Maria Stata Music Director, Andris Nelsons leads the Boston Symphony Orchestra in fourteen wide-ranging subscription programs at Symphony Hall, repeating three of them at New York’s Carnegie Hall in late February/early March, followed by two concerts in Montreal and Toronto. In the sum- mer of 2015, following his first season as music director, his contract with the Boston Symphony Orchestra was extended through the 2021-22 season. In addition, in 2017 he becomes Gewandhauskapellmeister of the Gewandhausorchester Leipzig, in which capacity he will also bring the BSO and GWO together for a unique multi-dimensional alliance. Following the 2015 Tanglewood season, Maestro Nelsons and the BSO under- took a twelve-concert, eight-city tour to major European capitals as well as the Lucerne, Salzburg, and Grafenegg festivals. A second European tour, to eight cities in Germany (including the BSO’s first performance in Leipzig’s famed Gewandhaus), ustria,A and Luxembourg, took place in May 2016.

The fifteenth music director in the history of the Boston Symphony Orchestra, Andris Nelsons made his BSO debut at Carnegie Hall in March 2011 with Mahler’s Symphony No. 9. He made his Tanglewood debut in July 2012, leading both the BSO and Tangle- wood Music Center Orchestra as part of Tanglewood’s 75th Anniversary Gala. His first CD with the BSO—live recordings of Wagner’s Tannhäuser Overture and Sibelius’s Symphony No. 2—was released in November 2014 on BSO Classics. In 2014-15, in col- laboration with Deutsche Grammophon, he and the BSO initiated a multi-year recording project entitled “Shostakovich Under Stalin’s Shadow,” to include live performances of Shostakovich’s symphonies 5 through 10 and other works composed under the life-threatening shadow of Soviet dictator Joseph Stalin. Released in July 2015, their first Shostakovich disc—the Symphony No. 10 and the Passacaglia from the Lady Macbeth of Mtsensk—won the 2016 Grammy Award for Best Orchestral Performance. May 2016 brought not only the second release in this series—a two-disc set including

16 symphonies 5, 8, and 9 and excerpts from Shostakovich’s 1932 incidental music for Hamlet—but also the extension of the collaboration with Deutsche Grammophon to encompass the composer’s complete symphonies and Lady Macbeth of Mtsensk. More recently, this past August, their disc of Shostakovich’s Symphony No. 10 won Gramo- phone Magazine’s Orchestral Award.

From 2008 to 2015, Andris Nelsons was critically acclaimed as music director of the City of Birmingham Symphony Orchestra. In the next few seasons, he continues his collaborations with the Berlin Philharmonic, Philharmonic, the Royal Concertge- bouw Orchestra of Amsterdam, the Bavarian Radio Symphony Orchestra, and the Philhar- monia Orchestra. A regular guest at the , Vienna State Opera, and Metropolitan Opera, he returned to the Bayreuth Festival in summer 2014 to conduct Wagner’s Lohengrin, in a production directed by Hans Neuenfels, which he premiered at Bayreuth in 2010. Under a new, exclusive contract with Deutsche Grammophon, Mr. Nelsons will record the complete Beethoven symphonies with the and Bruckner symphonies with the Gewandhausorchester Leipzig.

Born in Riga in 1978 into a family of musicians, Andris Nelsons began his career as a trumpeter in the Latvian National Opera Orchestra before studying conducting. He was principal conductor of the Nordwestdeutsche Philharmonie in Herford, Germany, from 2006 to 2009 and music director of the Latvian National Opera from 2003 to 2007. Mr. Nelsons is the subject of a 2013 DVD from Orfeo, a documentary film enti- tled “Andris Nelsons: Genius on Fire.” Marco Borggreve

week 4 andris nelsons 17 Boston Symphony Orchestra 2016–2017

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

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

18 photos by Michael J. Lutch

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

week 4 boston symphony orchestra 19 UnCommon consistency Commonwealth Worldwide has been the premier chauffeured transportation choice of discerning clientele - in Boston and beyond - for over 30 years; specializing in corporate executive travel, financial roadshows, private aviation, entertainment productions, five-star luxury hotels and meetings/special events in all 50 states and 79 countries worldwide. We’re proud to be the official provider of the Boston Symphony Orchestra and Boston Pops for yet another glorious year!

CommonwealthLimo.com 800-558-5466 • +1-617-787-5575 specializing in corporate executive travel, financial roadshows, private aviation, entertainment productions, five-star luxury hotels and meetings/special events e’re proud to be the official provider of the Boston Symphony Orchestra Brahms’s Orchestral Voice by Jan Swafford

Author/composer Jan Swafford reflects on the place in the concert repertoire of Brahms’s four symphonies and two piano concertos, which Andris Nelsons and the Boston Symphony Orchestra perform November 8-19, with soloist Hélène Grimaud in the concertos.

It would have been a considerable surprise to critics and connoisseurs of the late 19th century to learn that by the time the 20th century was well underway, Johannes Brahms had become one of the most beloved composers of orchestral music, a position he has occupied ever since. There are perhaps two central reasons for his own time’s coolness toward that side of his work. First, orchestral music was a comparatively sparse element in his output. Haydn wrote over a hundred symphonies, Mozart over forty, Beethoven nine, Brahms four. Mozart wrote over thirty concertos, Beethoven seven, Brahms four (two for piano, one for violin, and the Double Concerto for violin and cello). Added to that were his two orchestral overtures, the Haydn Variations, two early serenades, and that’s all. In its Brahms programs this fall, the Boston Symphony will perform the four symphonies and the two piano concertos, which together form a summary of most of his life and career.

Moreover, listeners of his day tended to find Brahms’s orchestral music difficult and intellectual, too much for the common listener. Even Max Kalbeck, a member of Brahms’s intimate circle and eventually his biographer, felt that the symphonies lacked Beethoven’s popular touch and would never find a wide audience. And of course we can’t forget that when Symphony Hall opened its doors in 1900, a local critic suggested the egresses should be marked “Exit In Case of Brahms.”

Brahms in 1868, when the “German Requiem” was premiered

week 4 brahms’s orchestral voice 21

Brahms in his thirties

There are in turn two aspects to our critic’s notorious brickbat. First, many of the other orchestral works created during Brahms’s lifetime were conceived on the Wagner/Liszt side of the equation, meaning perfervid in expression and usually based on programmatic ideas—a story, a poem, a drama. It was Liszt who invented the orchestral tone poem founded on a literary theme (e.g., Les Preludes, or the Faust-Symphony). By the end of the century, that concept had expanded into the symphonic poems of —Don Juan, Don Quixote, Thus spake Zarathustra, and others—which were operatically decked out with images and events.

Brahms was not a mainstream Romantic, and he resolutely avoided program music. A characteristic example is his Tragic Overture, firmly in the tradition of programmatic Romantic overtures such as Mendelssohn’s Fingal’s Cave, which was inspired by a famous landmark in Scotland. But in his Tragic Overture, Brahms did not inform us what particular tragedy he had in mind, if any. In other words, he wrote a high-Romantic genre work that omitted a central element—storytelling and tone —suggested by its title. Mean- while in all his music Brahms stayed true to Classical forms going back through Beethoven to Mozart and Haydn, which we know under the names of sonata form, sonata-rondo, theme and variations, and so on—the old forms that Wagner and Liszt declared dead and buried. Brahms, Liszt wrote, represents “the posthumous party” in music.

For Romantic audiences, program music offered lots of handles to get into a piece: drama, imagery, emotion that goes for the jugular. Brahms offered few overt handles: no stated drama, no imagery, and shades of feeling often more delicate and subtle than the titanic or the heart-on-sleeve variety Romantics craved (think Liszt, Bruckner, Tchaikovsky). He was declared the great abstractionist, uniting Classical form with Romantic expression. Whether in a song or a symphony Brahms was more concerned with the overall expressive tone and its progress, and the effectiveness of the form, than in tone painting, or Wagner’s epic spine-tinglings, or Bruckner’s warm bath of emotion

week 4 brahms’s orchestral voice 23 and paroxysms of brass. Meanwhile there was Brahms’s use of what came to be called “developing variation,” which in practice means that as soon as an idea is presented he usually begins to toy with it, meditate on it, develop it. He can’t simply say something and leave it alone, critics said. You can’t keep up with his incessant tinkering with ideas, his endless roaming through the keys.

So audiences called Brahms’s orchestral voice intellectual and forbidding, and preferred his far more extensive body of chamber music, his German Requiem, his stacks of light- classical items like the Hungarian Dances and Liebeslieder Waltzes. Make no mistake: in terms of career, Brahms had one about as successful as a composer ever has. It was his orchestral music that was the main sticking point. As an example, the exquisitely beauti- ful Violin Concerto never caught on in his lifetime.

Yet, as cultural historian Peter Gay noted, as soon as Brahms was in his grave his orchestral reputation went in short order from forbidding to warm and fuzzy. What happened? How did the forbidding Brahms become a familiar and cherished part of the repertoire? Much of that process is unsearchable. I suspect, though, that some of it had to do with the spread of the German Requiem, which the Boston Symphony played earlier this season. That piece was more or less an instant and permanent success, and it seems to me that anyone who hears this manifestly heartfelt, moving, powerful piece understands that this is who Brahms was. So via that and/or other routes, this under- standing finally came to be applied to the supposedly abstract orchestral music. In other words, listeners began better to understand its warmth, its subtle drama, its distinctive melodic and harmonic beauty. In short, its humanity.

24 Brahms around the time of his Symphony No. 3, premiered 1883

None of this is simple, though, and the development of Brahms’s orchestral work as reflected in the BSO’s November programs is a case in point. The kind of problem his music faced can be seen in the early reception of the First Piano Concerto. At its 1859 second performance, in conservative Leipzig with Brahms as soloist, he was hissed off the stage. To the extent that the public knew concertos, they were virtuosic and win- ning ones by the likes of Viotti, Paganini’s hyper-virtuosic outings, the elegant ones of Mozart, and the more robust ones of Beethoven—nothing like the tone of tragic alarm that begins the First, the concerto’s enormous proportions, its widely variegated ideas, its singular integration of orchestra and soloist. It’s the first concerto that resembles a symphony during which a piano just happens to be playing most of the time! The solo part manages to be at once brutally difficult without being conventionally virtuosic.

Still, in its tone the First Piano Concerto was a one-off for Brahms, suffused with the turmoil of his early twenties—his discovery by Robert Schuman, Schumann’s descent into madness, Brahms’s doomed passion for Clara Schumann. (So much for the great abstractionist.) He finished the First Concerto after years of struggle with a medium with which he never entirely felt comfortable. It took him over a decade more to find his true voice with the orchestra, which appeared first in the Haydn Variations of 1873. The 1881 Second Piano Concerto is even longer then the First, its piano part as two-fistedly epic, its symphonic approach to the concerto the same as the First. But this is the work of a mature master experienced with the orchestra, and its tone is largely Olympian except for the massive and demonic scherzo.

The symphonies have their own complexities. The First Symphony’s tumultuous opening movement was drafted in 1862, when Brahms was twenty-nine, though only later did he add its searing, fateful introduction. He finally finished the First some fifteen years later. It is marked by Beethoven through and through: the progress from darkness at the beginning to light in the finale echoes Beethoven’s Fifth; the chorale theme of Brahms’s

week 4 brahms’s orchestral voice 25 Mahler’s No. 4 or Mozart’s No. 40? At Fairmont Copley Plaza, we appreciate all our guests’ preferences. In a city renowned for its passionate embrace of the arts, there is a hotel that sits at its center. Fairmont Copley Plaza is honored to be the Official Hotel of two of the world’s greatest orchestras, the Boston Symphony and the Boston Pops.

For reservations or more information, call 1 800 441 1414 or visit www.fairmont.com/copley-plaza-boston finale recalls Beethoven’s Ninth. When somebody pointed out the latter resemblance, Brahms snapped, “Any jackass can see that!” He meant that anyone discerning can see that the piece is also unmistakably Brahms’s own, the chorale theme in his own heart-piercing expressive world, the traditional forms handled with enormous freedom and imagination. The relatively sunny—albeit some dark clouds—Second Symphony is Brahms’s equally individual response to, among other things, Beethoven’s Pastoral Sym- phony.

Some have called the Third Symphony the first one where he escaped the model of Beethoven and stamped the genre definitively with his own personality, from its tow- ering and anguished moments to the exquisitely lyrical ones, the treatment of form so original that the underlying traditional models seem close to dissolution: for one exam- ple, the recapitulation and development of the second movement’s ominous chorale theme is reserved for the finale. Finally came Brahms’s late farewell to symphonies in the towering, dark-toned Fourth, in which his backward-looking viewpoint joined with his unique voice comes to rest in the elegiac finale, laid out in the Baroque form of the chaconne.

So in this Boston Symphony series we see Brahms as composer of concertos and sym- phonies from early to late. Concertos were a high-Romantic genre, and his were at once part of that tradition and distinctive. By the time he finished the First Symphony the genre was verging on moribund (Liszt, Wagner, and their disciples had already declared it dead), never having regained the heights Beethoven brought it to. From the First to the Fourth Brahms virtually revived the symphony, paving the way for generations of symphonists to come: Bruckner, Mahler, Sibelius, and a long list beyond. He also provid- ed, even if he did not live to see it, works that live vibrantly in the repertoire and in the hearts of countless listeners. jan swafford is a prizewinning composer and writer whose books include biographies of Johannes Brahms and Charles Ives, “The Vintage Guide to ,” and, most recently, “Beethoven: Anguish and Triumph.” An alumnus of the Tanglewood Music Center, where he studied composition, he is currently working on a biography of Mozart.

week 4 brahms’s orchestral voice 27 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 136th season, 2016–2017

Thursday, October 20, 8pm | the carmine and beth v. martignetti concert Friday, October 21, 1:30pm Saturday, October 22, 8pm | sponsored by fairmont copley plaza Tuesday, October 25, 8pm

charles dutoit conducting

celebrating charles dutoit’s 80th birthday and his longstanding association with the boston symphony orchestra

walton overture, “portsmouth point”

elgar cello concerto in e minor, opus 85 Adagio—Moderato Allegro molto Adagio Allegro, ma non troppo yo-yo ma

{intermission} Peter Vanderwarker

From the BSO library in Symphony Hall

28 holst “the planets,” suite for large orchestra, opus 32 Mars, the Bringer of War (Allegro) Venus, the Bringer of Peace (Adagio) Mercury, the Winged Messenger (Vivace) Jupiter, the Bringer of Jollity (Allegro giocoso) Saturn, the Bringer of Old Age (Adagio) Uranus, the Magician (Allegro) Neptune, the Mystic (Andante) women of the tanglewood festival chorus, lisa graham, guest chorus conductor

thursday evening’s performance by yo-yo ma is supported by a gift from catherine and paul buttenwieser. thursday evening’s performance of elgar’s cello concerto is supported by a gift from tom kuo and alexandra delaite. friday afternoon’s appearance by yo-yo ma is supported by a gift in memory of dr. jerome h. grossman. saturday evening’s performance of elgar’s cello concerto is supported by a gift from thomas burger and andree robert. saturday’s performance of holst’s “the planets” is made possible by a gift from nancy koehn in honor of the antarctic explorer ernest shackleton. tuesday evening’s performance of elgar’s cello concerto is supported by a gift from roger and judith feingold. this week’s performances by the tanglewood festival chorus are supported by the alan j. and suzanne w. dworsky fund for voice and chorus. bank of america and dell emc are proud to sponsor the bso’s 2016-17 season.

The evening concerts will end about 10, the afternoon concert about 3:30. Concertmaster Malcolm Lowe performs on a Stradivarius violin, known as the “Lafont,” generously donated to the Boston Symphony Orchestra by the O’Block Family. 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 Chauffeured Transportation. The program books for the Friday series are given in loving memory of Mrs. Hugh Bancroft by her daughters, the late Mrs. A. Werk Cook and the late Mrs. William C. Cox. Broadcasts of the Boston Symphony Orchestra are heard on 99.5 WCRB. In consideration of the performers and those around you, please turn off all electronic equipment during the concert, including tablets, cellular phones, pagers, watch alarms, messaging devices of any kind, anything that emits an audible signal, and anything that glows. Thank you for your cooperation. Please note that the use of audio or video recording devices, or taking pictures of the orchestra—whether photographs or videos—is prohibited during concerts.

week 4 program 29 The Program in Brief...

Born in 1902, William Walton represented a generation thriving in the British musical renaissance made possible by Edward Elgar and his immediate successors, Gustav Holst among them. Walton, one of the “bright young things” of the English arts scene in the between-wars era, wrote brilliant, tuneful, energetic music that mirrored the madcap energy of the 1920s exemplified by his friends Cecil Beaton and the literary Sitwell family—Osbert, Sacheverell, and Edith. It was the latter’s poetry that provided Walton with the vehicle for his first success, the near-Dadaist Façade, composed when he was only twenty-one. In writing the irrepressibly energetic overture Portsmouth Point in 1925, he was inspired by Thomas Rowlandson’s 18th-century print of the port of Portsmouth (see page 35).

Edward Elgar was the most significant figure in the English musical renaissance, with such large-scale works as The Dream of Gerontius and the Enigma Variations capturing the British imagination like no native music had done in centuries. By the time he wrote his Cello Concerto in 1919, Elgar was celebrated as the country’s greatest composer. Composed after the tragedy of the First World War, the concerto is often thought to be a response to those years. It would prove to be his last significant piece; Elgar virtually lost his will to write music following his wife Alice’s death in 1920.

The Cello Concerto was premiered by Felix Salmond with the London Symphony Orchestra under the composer’s baton in October 1919. Rehearsal time for the big work was woefully inadequate and the premiere was a disaster. This was probably a factor in the concerto’s slow acceptance into the repertoire until a celebrated 1965 recording by Jacqueline du Pré with John Barbirolli and the LSO. It has since become one of the handful of true repertoire concertos for the instrument.

The Planets is by far the best-known work by the English composer Gustav Holst, who, like his contemporary , developed his style through a fusion of modern harmonic techniques with English folksong. Also deeply influenced by Eastern mysticism, he wrote a number of works exploring such ideas. The Planets is an extension of this, a seven-movement orchestral suite depicting the astrological characters and effects of the planets of the solar system (excluding Earth). Written over the course of several years in the mid-1910s, The Planets was premiered by Adrian Boult in a private performance in 1918, and, following a few partial performances, the public premiere of the complete suite was given by Albert Coates and the London Symphony Orchestra in November 1920. The distinctive and varied characters of these pieces, from the bellicose Mars to mysterious Neptune, have kept this piece near the top of the list of the most familiar and popular orchestral works of the 20th century.

Robert Kirzinger

30 William Walton Overture, “Portsmouth Point”

SIR WILLIAM WALTON was born in Oldham, Lancashire, England, on March 29, 1902, and died in Ischia, , on March 8, 1983. He composed the overture “Portsmouth Point” in in the spring of 1925. The first performance took place on June 22, 1926, in , in a concert of the International Society for New Music, with Volkmar Andreae conducting the Tonhalle Orchestra. A London performance took place a week later with Eugene Goossens conducting; the American premiere followed on November 19 that same year, with Serge Koussevitzky conducting the Bos- ton Symphony Orchestra.

THE SCORE OF THE OVERTURE calls for two flutes, piccolo, two oboes, English horn, two clar- inets, bass clarinet, two bassoons, contrabassoon, four horns, three trumpets, three trombones, tuba, timpani, snare drum, cymbals, bass drum, tambourine, xylophone, and strings.

William Walton achieved sudden celebrity with two very different works that were first performed in public in the summer of 1923, when he was twenty-one. The first was the “entertainment” Façade in which a reciter performed through a megaphone from behind a curtain declaiming a series of eccentric nonsense poems by Edith Sitwell while a handful of instruments played distinctly jazzy music. All bright young Londoners were enthralled by its novelty while the critics were bemused or befuddled. Eventually Walton arranged these very miscellaneous pieces into two suites, in which form Façade has con- tinued to be one of the signature pieces that represent the spirit of the ’20s.

Two months later Walton’s first string quartet was performed at the first festival of the International Society for Contemporary Music in Salzburg played by the McCul- lagh Quartet, an all-female quartet from Liverpool. This work is uncompromising in its modernity and unyielding in its pursuit of ambitious formal goals, and as different from Façade as Ives is from Gershwin. It contains not a trace of jazz and not a trace of tonality, and is exceedingly difficult to play. One of London’s leading string players considered that it would “sound better if it were played backwards,” and Walton later repudiated the work.

week 4 program notes 31 Program page for the first Boston Symphony Orchestra performances—the American premiere— of Walton’s overture “Portsmouth Point” on November 19 and 20, 1926, with Serge Koussevitzky conducting (BSO Archives)

32 Neither of these works opened a path to his true style. The piece that put in place one side of the composer’s future personality is Portsmouth Point, a riotous overture for full orchestra composed in 1925. He had composed barely anything for orchestra before, but nevertheless he found an idiom that shows off the brilliance of the brass and percussion, which would be brought to perfection in later works such as Belshazzar’s Feast and the First Symphony.

In the spring of 1925 he traveled with the Sitwells to Spain. He had known Sacheverell Sitwell, Edith’s younger brother, at Oxford, and he soon became friends with Osbert Sitwell, the elder brother. The three siblings formed an eccentric literary salon of their own as writers and critics, and they supported Walton generously in his early years and introduced him to leading London musicians. On this trip he composed the new over- ture, basing it on a colored print by Thomas Rowlandson, drawn in 1811 (see page 35). Walton had already written an overture on Rowlandson’s print Dr. Syntax but it was not performed and is now lost. Both prints are full of the comic spirit, but Portsmouth Point is alive with humanity, all gathered at the quayside of Portsmouth harbor, home of the Royal Navy.

In the distance a group of ships reveals no sign of the disciplined maneuvering that had won the Battle of Trafalgar six years earlier. On land there are tradesmen and porters, sailors and idlers, fiddlers and cripples, with a moneylender’s shop on one side and the Ship Tavern on the other. Confusion and activity reign, with scolding, flirting, drinking, and

week 4 program notes 33

The print “Portsmouth Point” by English caricaturist Thomas Rowlandson (1756-1827)

gossiping the main concern of all. The print, wholly in the tradition of Hogarth’s images of London life, was very popular, and for Walton it was literally inspiring since he later said that the main theme came to him while riding on the top of a No. 22 London bus.

The score was completed in Spain, and like the ill-fated string quartet was chosen for a festival of the International Society for Contemporary Music, this one to be held in Zurich in 1926. Even before the performance an arrangement of the overture for piano duet was published by Oxford University Press, the beginning of a lifelong association between composer and publisher. The Zurich performance was well received, even though Walton thought it sounded “ghastly.” A week later the piece was heard in London when Eugene Goossens conducted it as an interlude in a program given by the Diaghilev ballet.

It soon enjoyed regular performances in many cities, including Boston, New York, and Chicago. In September 1927 Walton conducted it for the first time himself. “Though I say it myself,” he wrote, “I conducted quite magnificently, really excelling myself; the score, being enormous, slipped off the tiny desk in the middle of the work, but quite unperturbed I conducted the rest by heart.”

In 1930 it was recorded for the first time, and in 1932 it was heard by the aged Elgar, who didn’t like it. On the other hand wrote to Walton in 1964: “I don’t know if I ever told you, but hearing your Viola Concerto and Portsmouth Point (works which I still love dearly) was a great turning point in my musical life. I’d got in a muddle, and you showed me the way of being relaxed and fresh, and intensely personal.”

The music of Portsmouth Point is fresh, certainly, but barely relaxed, since the dynamic energy released in the first bar is sustained to the end in an unstoppable rhythmic feast. There are some softer, lighter passages, but the rhythm never falters; Walton keeps

week 4 program notes 35 ©2016 Bose Corporation. CC018258 P We invite you to experience what our passion brings to t to brings passion our what experience to you invite We what inspires all we do at Bose. Bose. at do we all inspires what To learn more or to order: to or Tomore learn ht rae mc o wa w lv aot ui. n it’s And music. about love we what of much creates that Each musician reads from the same score, but each brings brings each but score, same the from reads musician Each including how you can hear Bose hear can youhow including performance of our products. Visit our website to learn mor learn to website our Visit products. our of performance his or her own artistry to the performance. It’s their passion passion their It’s performance. the to artistry own her or his assion Bose.com It’s at the heart heart the at hearttheat It’s

performanc ® sound for yourself. of their their of And our And s. e— he he e . Osbert, Edith, and Sacheverell Sitwell, William Walton, and the actor Neil Porter at the New Chenil Galleries on the occasion of the second public performance of Walton’s “Façade,” April 1926

players and audience on their toes with teasing Stravinskyan rhythms which require constant changes of time signature. This alone makes Walton’s feat of being able to conduct it from memory the more remarkable. Michael Kennedy has aptly remarked that with its nautical tunes and pungent harmony, “the sailors of HMS Pinafore have had a night on the tiles.”

Portsmouth Point may convey a young man’s confident exuberance, but as the years went by Walton became more and more troubled by doubting the value of his own music, and by a diffidence that almost stopped him composing altogether. He was shy both in public and in private and never enjoyed the acclamation that greeted him in later life. The extrovert that we hear in Portsmouth Point, and in its companion piece, the overture Scapino composed for the Chicago Symphony Orchestra in 1940, was intrinsic to the music, not to the man.

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

THE FIRST BOSTON SYMPHONY PERFORMANCES—ALSO THE FIRST AMERICAN PERFORM- ANCES—OF WALTON’S “PORTSMOUTH POINT” were led by Serge Koussevitzky on November 19 and 20, 1926, the only subsequent BSO performances until now being given by Koussevitzky in January/February 1930 in Boston and New York, and by Richard Burgin in January 1933 and December 1941.

week 4 program notes 37

Edward Elgar Cello Concerto in E minor, Opus 85

SIR EDWARD ELGAR was born in the village of Broadheath, just outside of Worcester, England, on June 2, 1857, and died in Worcester on February 23, 1934. He wrote the “moderato” theme of the first movement of the Cello Concerto on March 23, 1918 (after returning home from hos- pital after a tonsillectomy), began concentrated work on the piece that July, and completed it on August 3, 1919. The composer conducted the first performance on October 27, 1919, with the London Symphony Orchestra and soloist Felix Salmond in the Queen’s Hall, London. The score is dedicated to Elgar’s friends Sidney and Frances Colvin.

IN ADDITION TO THE CELLO SOLOIST, the score calls for an orchestra of two flutes and piccolo, two oboes, two clarinets, two bassoons, four horns, two trumpets, three trombones, tuba, timpani, and strings.

Only for twenty of his seventy-six years did Elgar enjoy the simultaneous benefits of fame and creative abundance. For the first forty-two years he was unknown in the wider world, and for the last fourteen his muse was in retirement, if not quite still. The work that closed this twenty-year period of high creativity was the Cello Concerto, completed in the summer of 1919. A year later, with the death of his beloved wife Alice, Elgar with- drew more and more from public life and wrote no more masterpieces.

His slow progress toward national recognition was no doubt due to the fact that he grew up far from London and did not study with someone who could have helped him on his way. He was largely self-taught and did not at all match people’s notion of a typical composer, expected in those days to be an aesthete in the manner of Oscar Wilde, or at least a foreigner. A friend who had played under his direction described him as “a very distinguished-looking English country gentleman, tall, with a large and somewhat aggressive moustache, a prominent but shapely nose and rather deep-set but piercing eyes. It was his eyes perhaps that gave the clue to his real personality: they sparkled with humour, or became grave or gay, bright or misty as each mood in the music revealed

week 4 program notes 39 Program page for the first Boston Symphony performance of Elgar’s Cello Concerto on April 12, 1955, with soloist Maurice Eisenberg under the direction of Charles Munch (BSO Archives)

40 itself. He looked upstanding, and had an almost military bearing. He was practical to a degree, he wasted no time. The orchestra, it is almost needless to say, adored him.”

Until the success of the Enigma Variations in London in 1899, he was regarded as a provincial composer, which indeed he was, composing mostly for the regional festivals that flourished in late Victorian England. Then the great works appeared in steady suc- cession: The Dream of Gerontius, Sea Pictures, the Pomp and Circumstance marches, In the South, the Introduction and Allegro for strings, the First Symphony, the Violin Concerto, the Second Symphony, Falstaff, and a group of three chamber works composed toward the end of the war: the Violin Sonata, the String Quartet, and the Piano Quintet. These three works were composed at Brinkwells, the house in Sussex where the Elgars moved in 1917. It was odd that Elgar should live anywhere but in his beloved West Country, but this house brought him respite from the constant anxieties of the war, and is readily associated with the leaner, more reflective style that the Cello Concerto perfectly illus- trates. A letter written at this time describes his routine: “I rise about seven work till 8-15 – then dress, breakfast – pipe (I smoke again all day!) work till 12-30 lunch (pipe) – rest an hour – work till tea (pipe) – then work till 7-30 – change, dinner at 8. Bed at 10 – every day practically goes thus... We go for lovely walks... the woods are full of flowers, wonderful...”

On September 26, 1918, with the war still on, Elgar’s wife’s diary recorded “wonderful new music, real wood sounds & other lament wh. shd. be in a war symphony.” But this 201617Classical SEASON AT THE SHALIN LIU PERFORMANCE CENTER

NOV 11 Takács Quartet All-Beethoven program NOV 19 Roberto Díaz, viola DEC 9 Dover Quartet JAN 25 Brooklyn Rider FEB 12 Christian Tetzlaff, violin & Lars Vogt, piano MAR 5 Taeguk Mun, cello APR 29 Luca Buratto, piano Takács Quartet rockportmusic.org :: 978.546.7391

week 4 program notes 41 Husband and wife Bob Chellis and Sandy Adams moved to Fox Hill Village at the ages of 73 and 74. The Best Place Before my wife and I moved to Fox Hill Village, I was a senior housing planner for 40 years. Research and jobs took me to Memory Care hundreds of the best places. White Oak Cottages at Fox Hill Village offers I am the second generation in my family to live at a unique alternative for those who can Fox Hill Village. My mother lived here until she was no longer live at home due to memory 104 years old! The continuing care was a blessing for impairment. With our specially designed her, and it will be for my wife and myself. Fox Hill is cottages, philosophy of care, and unique staffing model, we provide the very the best place for us. best living options for our residents with We wanted to move while the decision was ours to make. We’ve been dementia and Alzheimer’s disease. We delighted from day one. We have all the comforts of home and none of are a proud partner of The Green House® Project, a national movement to transform the worry. long-term care. • Cooperative Ownership To learn more, call 781-320-1999 • In-Home Assistance or visit WhiteOakCottages.com • Beautiful Location WHITE OAK Call us to schedule your private tour 781-329-4433. COTTAGES AT FOX HILL VILLAGE Visit us at FoxHillVillage.com 10 Longwood Drive, Westwood, MA 02090

Developed by Massachusetts General Hospital Proudly Celebrating 25 Years! Elgar recording in the HMV studio, c.1915

was to be a concerto, not a symphony, and as it neared completion the following sum- mer, Elgar described it as “a real large work & I think good & alive.” The Cello Concerto was completed in August 1919 and first performed in the Queen’s Hall, London, on October 26 of that year with Felix Salmond as the soloist and Elgar himself conducting. In the cello section of the orchestra (the London Symphony Orchestra) was a future conductor, John Barbirolli, then aged nineteen, who was later to conduct an historic recording of the work with Jacqueline du Pré. On that first night Elgar had been given too little rehearsal time, and the main impression was of orchestral incompetence. Ernest Newman reported that the orchestra “made a lamentable public exhibition of itself.” Later the work came to be recognized as one of the handful of supreme concer- tos for the instrument. In 1928 Elgar conducted a recording of the work with Beatrice Harrison as the soloist. The original soloist, Salmond, moved to the United States in 1922, and after a brief spell teaching at the Juilliard School he was head of the cello department at the Curtis Institute from 1925 to 1942. Among his pupils were Bernard Greenhouse and Leonard Rose.

We may discern in the Cello Concerto a sentiment of resignation and even of despair generated from within by that strong vein of melancholy that had always been an ines- capable element of Elgar’s music, and from without by the desolating impact of the Great War. But the Cello Concerto is not a threnody, nor even, so far as we can tell, a deliberately planned swansong. It is reflective, playful, tearful, and energetic by turns, like all his best music, and we underestimate the work if we attach too much to its autumnal character. Many of its pages might have been summoned into existence by the Wand of Youth.

Unlike the traditional concerto it has four movements, not three. Brahms’s Second Piano Concerto had expanded the form to four movements and taken on mighty sym- phonic proportions, but Elgar here has four movements not for length and weight but

week 4 program notes 43 for diversity and contrast. The movements are all concise, especially when compared to the expansive landscape of the Violin Concerto’s three movements. As in his two sym- phonies, the two central movements, a scherzo and a slow movement, offer a complete contrast in momentum and temper. The declamatory opening of the work recurs trun- cated at the beginning of the scherzo and in full, this time with marvelously valedictory effect, at the end of the finale.

After a declamatory opening for the soloist, the first movement’s gentle lilt is far removed from any pomp or circumstance. Over the meandering first theme Elgar wrote in his sketchbook “very full, sweet and sonorous,” and although the whole orchestra tries to give it breadth, it ends as it began, bleak and bare. The scherzo that follows is in 4/4 time with bustling sixteenths reminiscent of the Introduction and Allegro for strings of many years earlier. There is a brief expressive phrase offered here and there in contrast, but lightness prevails.

For the slow movement Elgar indulges unashamedly in the yearning phrases and sliding harmony that breathe nostalgia and tranquility. This is not a lament but a private world of sweetness so direct and complete that it requires no development or expansion. For all its heartrending beauty, the movement is short, and its half-close leads directly into the finale. Here, after another declamatory start, the movement settles into a sturdy rhythm which proceeds in a businesslike and oddly impersonal fashion right through to the closing pages. Then, as if yielding to some fatal destiny, Elgar adds an epilogue in slow tempo as passionate as anything he had ever written, full of drooping phrases and desperate gestures, like a dying man reaching up for help. There is asperity too, in the harmony, and the music slides inevitably into a brief memory of the slow movement fol- lowed by the work’s opening statement and a brief energetic (and surely ironic) close.

Hugh Macdonald

WHAT MAY HAVE BEEN THE FIRST AMERICAN PERFORMANCE of Elgar’s Cello Concerto was given by the Saint Louis Symphony with Vladimir Golschmann conducting and soloist Max Steindel on January 19, 1934.

THE FIRST BOSTON SYMPHONY PERFORMANCE OF ELGAR’S CELLO CONCERTO was con- ducted by Charles Munch with soloist Maurice Eisenberg on April 12, 1955 (a single Tuesday-night performance). Subsequent BSO performances featured Jacqueline du Pré (with Daniel Barenboim conducting), Zara Nelsova (William Steinberg: the first BSO subscription series to include the piece, in December 1969), Ralph Kirshbaum (Myung-Whun Chung), Yo-Yo Ma (on six occasions between August 1989 and August 2012, with Jeffrey Tate in August 1989; André Previn in February 1990, in Boston and New York; John Williams in August 1993 and August 2003; Charles Dutoit in August 2010, and Stéphane Dénève in August 2012), Lynn Harrell (with Tate, Neville Marriner, and Julian Kuerti), and Mischa Maisky (Yan Pascal Tortelier). The most recent subscription performances were Lynn Harrell’s with Julian Kuerti, in November 2008. The most recent Tanglewood perform- ance was Yo-Yo Ma’s with Stéphane Dénève, on August 11, 2012.

week 4 program notes 45

Gustav Holst “The Planets,” Suite for large orchestra, Opus 32

GUSTAV HOLST was born—Gustavus Theodore von Holst—in Cheltenham, Gloucestershire, England, on September 21, 1874, and died in London on May 25, 1934. He composed “The Planets” in London and Thaxted, Suffolk, between 1914 and 1916, beginning with “Mars” (though before the outbreak of war in August), continuing with “Venus” and “Jupiter” that fall, writing “Saturn,” “Uranus,” and “Neptune” in 1915, and finishing with “Mercury” in 1916. The first per- formances were private, one of a two-piano arrangement made and played by Vally Lasker and Norah Day (Holst’s assistants at St. Paul’s School, where he was music master), and the other by the Queen’s Hall Orchestra under Adrian Boult on September 29, 1918. “Venus” was performed for the first time, along with “Mercury” and “Jupiter,” in London on November 22, 1919, with the composer conducting, and the first performance of the complete suite took place in London on November 15, 1920, conducted by Albert Coates.

THE SCORE OF “THE PLANETS” calls for four flutes, two piccolos, bass flute, three oboes, bass oboe, English horn, three clarinets, bass clarinet, three bassoons, contrabassoon, six horns, four trumpets, three trombones, tenor tuba, bass tuba, six timpani, triangle, side drum, tambourine, cymbals, bass drum, gong, bells, glockenspiel, celesta, xylophone, two harps, organ, strings, and (in the last movement) six-part women’s chorus.

In his early years Holst went under the full name Gustav von Holst, but he was entirely English in his upbringing, as were his father and grandfather. His closest friend was Ralph Vaughan Williams, and his fondness for English folksong is clear from such pieces as his Somerset Rhapsody and Moorside Suite. But he was also fascinated by remote cul- tures and occult beliefs. He studied Sanskrit and Hindu literature, and his choice of texts for operas and songs was astonishingly wide. His range of musical activities was wide too, being composer, arranger, conductor, and full-time schoolteacher all his life. He managed to find time to write an immense quantity of music in different forms, skirting the traditional categories of symphony, sonata, and string quartet, and instead making unconventional groups of pieces on unconventional subjects.

week 4 program notes 47 Program page for the January 1932 Boston Symphony performances of Holst’s “The Planets” with the composer himself conducting, the first—and only previous—BSO performances having been given by Pierre Monteux in January 1923 (BSO Archives)

48 A suite of seven tone poems on the astrological implications of the planets was an inspired conception of this kind, which came to him partly from an ambition to write more orchestral music on the lines of his “oriental” suite Beni-Mora, completed in 1910, partly (perhaps) in imitation of Schoenberg’s Five Pieces for Orchestra which he had heard in 1912, and partly from reading What is a Horoscope and How is it Cast by Alan Leo, recently published. First performed at the end of hostilities in 1918, the ferocious imagery of Mars, Bringer of War, was assumed to have been written in response to the battlefield carnage, when in fact it was sketched out in the summer of 1914, before war was declared. It thus belongs to that significant body of aggressive orchestral music by European composers that seemed to prefigure the violence soon to be unleashed.

Mars was the first movement to be composed, and if Holst at one time planned to pres- ent the seven planets in the obvious order, beginning with Mercury, the closest to the sun, and ending with Neptune, then thought to be the furthest planet in the solar system, he settled instead on a sequence that leads from the grim physicality of mortal combat via the intervening planets to Neptune’s disembodied mystical universe. Mercury was moved to third place, where a scherzo would normally be found in a symphony. There is naturally no movement for Pluto, which was not then known to exist (and is now in any case demoted from planetary status).

Venus and Jupiter were also composed in 1914, with Saturn, Uranus, and Neptune in 1915 and Mercury, the last to be written, in 1916. Opportunities for performing such a large work were limited in the war years, but thanks to Balfour Gardiner, a generous benefac- tor to English musicians and himself a composer, Holst was able to hear a private run- through, skimpily rehearsed, in September 1918, and the full work publicly performed for the first time in November 1920. (Balfour Gardiner’s great-nephew, Sir John Eliot Gardiner, has in his turn made a fine recording of the work.) Holst always resisted per- formances of individual movements, but was powerless to prevent the popularity of

week 4 program notes 49 Bowers & Wilkins congratulates the Boston Symphony Orchestra on its Grammy Award for “Shostakovich: Under Stalin’s Shadow”

Bowers & Wilkins products consistently set the benchmark for high-performance stereo, home theater and personal sound. The 802 Diamond loudspeakers are the reference monitors in the control room at Boston Symphony Hall. Bowers & Wilkins offers best in class speakers for nearly every budget and application, along with award-winning headphones and Wireless Music Systems. Most recently, Bowers & Wilkins has become the audio system of choice for premium automotive manufacturers such as BMW and Maserati. Gustav Holst at twenty-two

certain sections, notably Jupiter, whose broad tune he allowed to be issued as a hymn to the words “I vow to thee, my country.”

Mars was the Greek god of war, but Holst was not trying just to reflect the mythological characters of the Greek gods after whom the planets are named. He was also interested in their astrology, to which Alan Leo’s book guided him. The battle imagery of Mars is unmistakable, made grotesque by insistent drumbeats and the 5/4 meter, and building again and again to brutal climaxes on huge dissonant chords. The organ adds its power- ful voice to the uproar.

Mythology associates Venus more with love than with peace, while astrology endows those born under this planet with a refined nature and deep devotion to those they love. Following directly after Mars, Venus inevitably delivers peace, but also explores serenity, beauty, and delicate quietude, aided by the sounds of glockenspiel, celesta, and harps.

Mercury, the Winged Messenger, moves swiftly and nimbly, and a “mercurial” character emerges from the interplay of instruments and the brilliance of the woodwinds. A sym- phonic scherzo in form, it contains a Trio in which a melody (which might have come from Borodin) is heard on a solo violin and then, unchanged, a dozen times more in dif- ferent orchestral dress each time.

Jupiter brings jollity and much else besides. Enthusiasm, manly energy, lopsided acro- batics, peasant merrymaking, nobility, and grandeur—these all seem to have a place in this movement, with its broad tune in the middle evoking Elgar’s world. Leo attributed to Jupiter’s sons “an abundance of life and vitality. Those born under its influence are cheery and hopeful in disposition, and possess a noble and generous spirit. They possess that true religious spirit which gives faith, and abundant hope.” All this and more is con- tained in this rich, generous movement.

week 4 program notes 51 Suburban Serenity In an Estate Setting

Presenting... Woodmere At Brush hill

Greater Boston’s newest upscale townhome community

Enjoy suburban serenity in an estate setting with a distinctively designed home featuring soaring ceilings, first floor master suite and private outdoor space, just 8 miles from Boston.

Priced from $895,000 WoodmereAtBrushHill.com GPS: 866 Brush Hill Road Milton, Massachusetts 02186

Contact Melissa Flamburis at 857-345-9547 to schedule your visit

Proudly Offered by Northland Residential Corporation, Developer of Exceptional Properties Throughout New England For Over 45 Years Saturn, said to have been Holst’s favorite movement, is the longest in the suite. The orchestration is highly imaginative, with the three flutes and harp harmonics treading painfully forward while the double basses stir in the depths. The bass oboe adds its unusual voice. Old age is represented as slow and steady, but not necessarily in a negative sense. The melodic fragments are highly expressive and the balance of the movement is profoundly satisfying.

Holst’s attribution of magic powers to Uranus seems to have been his own fanciful gloss on the strange, erratic character associated with that planet. Thumping timpani, galumphing bassoons, swirling piccolos, and a humorous march certainly add up to a lov- able eccentricity and a remarkably inventive piece of music, as if performed... by magic.

With Neptune, the Mystic, Holst comes to the psychological heart of his planetary journey. The 5/4 meter may be an echo of Mars, but the stillness of the music and the delicacy of its orchestration paint a quite different world. The supreme invention was to call for an invisible choir of female voices, which fade to nothing like a dot of light disap- pearing into the infinite darkness of space.

Hugh Macdonald

THE FIRST AMERICAN PERFORMANCE OF “THE PLANETS” was given by Frederick Stock with the Chicago Symphony Orchestra on December 31, 1920.

THE FIRST BOSTON SYMPHONY PERFORMANCES OF “THE PLANETS” were given by Pierre Monteux in January 1923. The next BSO performances, in January 1932, were led by Holst him- self, while he was a visiting professor at Harvard. The program was entirely of his own music, also including his “St. Paul’s Suite,” the prelude and scherzo “Hammersmith,” and the ballet from his opera “The Perfect Fool.” He reported on that occasion to Imogen Holst, his daughter and future biographer: “The band treated me royally. At two of the rehearsals they insisted on staying half an hour extra and at every possible occasion they cheered me…. The only fault of the orchestra was ceilings, first floor master suite and private outdoor space, that they were over anxious. On Friday’s concert there were half a dozen extraordinary slips in the Planets; in the Perfect Fool Ballet the harpist missed a line, and the water music sounded quite mod- ern; while in the St. Paul’s Suite I broke a collar stud. But Saturday’s concert was really good.” Subsequent BSO performances of the complete suite—all with the Tanglewood Festival Chorus, John Oliver, conductor, unless otherwise specified—were given by Adrian Boult (with a chorus trained by Arthur Fiedler), William Steinberg (with the New England Conservatory Chorus, Lorna Cooke deVaron, conductor), Andrew Davis, Seiji Ozawa (also with the New England Conservatory Chorus), John Williams, Bernard Haitink, Robert Spano (the most recent subscription performances, in January 2007), and (the most recent Tanglewood performance, on August 27, 2010).

week 4 program notes 53 WEALTH MANAGEMENT SINCE 1838

JAY EMMONS ADRIENNE SILBERMANN BEN WILLIAMS CHARLIE HAYDOCK President

PETER BROWN OLIVER SPALDING PAM CHANG TED OBER

NAOMI DALESSANDRO SETH GELSTHORPE CHARLIE CURTIS DREW SCHNELLER

Building on the past to create our new future.

For almost two centuries, Welch & Forbes has been guiding people in New England and beyond with conservative yet forward-thinking investment management advice and sophisticated tax, trust and estate planning. We forge long-lasting bonds with our clients because we create deep and trusting relationships. If you value an enduring relationship with a firm expert in wealth management, please contact Ed Sullivan, Vice President, at 617.557.9800.

45 School Street, Old City Hall, Boston, MA 02108 T: 617.557.9800 | www.welchforbes.com To Read and Hear More...

The Walton entry in the 2001 New Grove Dictionary of Music and Musicians is by Byron Adams; the one in the 1980 Grove (predating Walton’s death by several years) is by Hugh Ottoway. Books on the composer include Michael Kennedy’s Portrait of Walton (Oxford paperback); William Walton: Behind the Façade, by Susana Walton, the composer’s widow (Oxford), Frank Howes’s The Music of William Walton (Oxford), and William Walton, The Romantic Loner: A Centenary Portrait Album by Humphrey Burton and Maureen Murray (also Oxford). Worth seeking is Bayan Northcott’s essay “In Search of Walton,” an 80th-birthday tribute to the composer that appeared in The Musical Times for March 1982.

Walton himself recorded his overture Portsmouth Point with the London Philharmonic (Lyrita). Other recordings include Sir Adrian Boult’s with the BBC Symphony (originally EMI, now Warner Classics), André Previn’s with the London Symphony Orchestra (orig- inally EMI, now Warner Classics), and Leonard Slatkin’s with the London Philharmonic (Virgin Classics).

Among the most important studies of Elgar and his music is Portrait of Elgar by Michael Kennedy (Oxford); Kennedy is also the author of The life of Elgar in the series “Musical lives” (Cambridge University paperback). Jerrold Northrop Moore’s Edward Elgar: A Creative Life is another big biography (Oxford). Moore has also edited Edward Elgar: Letters of a Lifetime (Oxford) and produced a discography of Elgar’s work as a conductor, Elgar on Record: The Composer and the Gramophone (out of print). Edward Elgar and his World is a 2007 compilation of essays originating from the Bard Music Festival and edited by Byron Adams (Princeton University paperback). Also from 2007 is Elgar: An Anniversary Portrait, a valuable collection of essays assembled and introduced by Nicholas Kenyon (Continuum).

Yo-Yo Ma recorded Elgar’s Cello Concerto with André Previn and the London Symphony Orchestra (Sony). The composer himself took the podium for two recordings of the Cello Concerto, both with Beatrice Harrison as soloist, the first, abridged, in 1920, the second, in 1928, with the London Symphony Orchestra (the latter recording was paired on an EMI “Great Recordings of the Century” CD with Elgar’s 1932 recording of his Violin Concerto with Yehudi Menuhin). Another historical recording of note, from 1945, has cellist Pablo Casals with Adrian Boult and the BBC Symphony Orchestra (EMI and

week 4 read and hear more 55 Redefining Retirement

Carleton-Willard Village is a place to truly call home. The grounds connect our residents to a rich sense of heritage, while social activities foster a deep sense of connection. Interested in connecting with our community while staying in your own home? Carleton- Willard At Home offers a membership with many of the benefits of Village life. Contact us today to learn more.

781.275.8700 www.cwvillage.org

BEETHOVEN EROICA

From the heroic drama of Beethoven’s Eroica to the romantic beauty of Mendelssohn’s Italian Symphony, this is going to be quite the ride.

RICHARD EGARR Beethoven: Symphony No. 3, Eroica CONDUCTS THE H+H Mendelssohn: Symphony No. 4, Italian PERIOD INSTRUMENT FRI. OCT 28, 2016 AT 7:30PM ORCHESTRA SUN. OCT 30, 2016 AT 3:00PM SYMPHONY HALL

HANDELANDHAYDN.ORG 617.266.3605

56 other labels). Modern recordings feature (among others, and listed alphabetically by soloist) Jacqueline du Pré, either live in 1970 with Daniel Barenboim and the Philadelphia Orchestra (Sony) or in her famous 1965 studio account with John Barbirolli and the London Symphony Orchestra (EMI), Lynn Harrell with Lorin Maazel and the Cleveland Orchestra (London/Decca), Steven Isserlis with Richard Hickox and the London Sym- phony Orchestra (Virgin Classics), Ralph Kirshbaum with Alexander Gibson and the Royal Scottish National Orchestra (Chandos), Truls Mørk with Simon Rattle and the City of Birmingham Symphony Orchestra (Virgin Classics), Daniel Müller-Schott with André Previn and the Oslo Philharmonic (Orfeo), and Alisa Weilerstein with Daniel Barenboim and the Staatskapelle Berlin (Decca).

Most of the main reference materials on Holst are by his daughter, the writer-conductor- composer-administrator Imogen Holst (1907-1984), whose many books and articles about her father—including Gustav Holst: A Biography (published originally in 1938; revised 1969) and The Music of Gustav Holst (from 1950; revised 1968)—remain import- ant sources. A third edition of the latter book (an edition also including Holst’s Music Reconsidered) came out in 1984 (Da Capo). It was she who provided the Holst entry for the 1980 edition of The New Grove Dictionary of Music and Musicians. The Holst entry in the 2001 Grove is by the composer Colin Matthews, who, together with the composer’s daughter, edited Gustav Holst: Collected Facsimile Edition of Autograph Manuscripts of the Published Works (London, 1974-83). A study by Richard Greene of The Planets is avail- able in the Cambridge Music Handbooks series (Cambridge University paperback).

The Boston Symphony Orchestra recorded The Planets under William Steinberg in 1970 (Deutsche Grammophon) and under Seiji Ozawa in 1979 (Philips). John Williams and the Boston Pops Orchestra recorded it in 1986 (Philips). Charles Dutoit recorded The Planets with the Montreal Symphony Orchestra (Decca). Holst’s own 1926 recording with the London Symphony Orchestra has been reissued on compact disc; this was once available in EMI’s “Composers in Person” series (paired with Elgar’s 1926 Enigma Varia- tions recording with the Royal Albert Hall Orchestra). Other recordings (listed alphabet- ically by conductor) include Leonard Bernstein’s with the (Sony Classical), Sir Adrian Boult’s with the London Philharmonic (EMI), Sir ’s with the London Symphony Orchestra (LSO Live), Vladimir Jurowski’s live with the London Philharmonic (LPO Live), Herbert von Karajan’s with the Berlin Philharmonic (Deutsche Grammophon), James Levine’s with the Chicago Symphony Orchestra (Deutsche Grammophon), André Previn’s with either the London Symphony (EMI) or the Royal Philharmonic (Telarc), and Sir Simon Rattle’s live with the Berlin Philharmonic (EMI, in a two-disc set with short, Planets-inspired works by Colin Matthews, Kaija Saariaho, Matthew Pintscher, Mark-Anthony Turnage, and Brett Dean).

Marc Mandel

week 4 read and hear more 57

Guest Artists

Charles Dutoit

This past summer, Charles Dutoit, who was a student at Tanglewood in 1959, was Tan- glewood’s 2016 Koussevitzky Artist, acknowledging his commitment to teaching and performing at Tanglewood and his decades-long association with the Boston Symphony Orchestra. His two weeks of BSO concerts this month continue the celebration of his longstanding relationship with the orchestra, and also celebrate his 80th birthday. Since his initial Boston Symphony appearances in 1981 at Symphony Hall and in 1982 at Tan- glewood, Maestro Dutoit has returned frequently to the BSO podium at both venues. This past summer at Tanglewood, he conducted both the Boston Symphony Orchestra and the Tanglewood Music Center Orchestra, as well as leading a special all-Stravinsky Ozawa Hall program, “Charles Dutoit and Friends,” featuring a staged performance of the compos- er’s L’Histoire du soldat. In the spring of 2014, substituting at short notice for Lorin Maazel, he led the final three programs of the BSO’s 2013-14 subscription season followed by the orchestra’s tour to China and . Currently artistic director and principal conductor of London’s Royal Philharmonic Orchestra, Charles Dutoit recently celebrated his thirty-year artistic collaboration with the Philadelphia Orchestra, which, in turn, bestowed upon him the title of conductor laureate. He collaborates each season with the orchestras of Bos- ton, Chicago, San Francisco, New York, and Los Angeles and is also a regular guest on the concert stages of London, Berlin, Paris, , Moscow, Sydney, Beijing, Hong Kong, and Shanghai, among others. He was artistic director of the Montreal Symphony Orchestra for twenty-five years and has also held posts with the Orchestre National de France and NHK Symphony in Tokyo, of which he is currently music director emeritus. He was music

week 4 guest artists 59 familymatters

Our Private Client Group is at With one of the largest Private the forefront of developing and Client Groups in New England, implementing sophisticated tax- sensitive planning techniques for we treat our clients’ family and individuals and families, and for the charitable objectives as paramount. largest and most complex estates. We offer the full range of services relating to probate matters and the administration of estates and trusts: ƒ Estate Planning and Administration ƒ Trust Investment and Administration Services ƒ Charitable Planning

goulstonstorrs.com director of the Philadelphia Orchestra’s season at the Mann Music Center for ten years and at the Saratoga Performing Arts Center for twenty-one years. Strongly interested in the younger generation of musicians, he has been music director of the Sapporo Pacific Music Festival and Miyazaki International Music Festival in Japan, as well as the Canton International Summer Music Academy in Guangzhou. In 2009 he became music director of the Verbier Festival Orchestra. When still in his early twenties, Charles Dutoit was invit- ed by Herbert von Karajan to conduct the Vienna State Opera. He has since conducted at Covent Garden, the Metropolitan Opera, , Rome Opera, and the Teatro Colón in Buenos Aires. In 1991 he was made Honorary Citizen of the City of Phila- delphia; in 1995, Grand Officier de l’Ordre National du Québec, and in 1996, Commandeur de l’Ordre des Arts et des Lettres by the government of France. In 1998 he was invested as Honorary Officer of the Order of Canada. In 2007 he received the Gold Medal of the city of Lausanne, his birthplace, and in 2014 he was given the Lifetime Achievement Award from the International Classical Music Awards. Charles Dutoit holds honorary doctorates from McGill, Montreal, and Laval universities, and from the Curtis School of Music. Prior to this season, his most recent subscription concerts with the BSO, in February 2016, includ- ed music of Berlioz (the Resurrexit and Te Deum), Dutilleux (Timbres, espace, mouvement), Ravel (Rapsodie espagnole and L’Heure espagnole), and Falla (Nights in the Gardens of Spain).

Yo-Yo Ma

Yo-Yo Ma’s multi-faceted career is testament to his continual search for new ways to communicate with audiences, and to his personal desire for artistic growth and renewal. Whether performing new or familiar works from the cello repertoire, coming together with colleagues for chamber music, or exploring cultures and musical forms outside the West- ern classical tradition, he strives to find connections that stimulate the imagination. Mr. Ma maintains a balance between his engagements as soloist with orchestras worldwide and his recital and chamber music activities. One of his goals is the exploration of music as a means of communication and as a vehicle for the migration of ideas across a range of cultures throughout the world. Expanding upon this interest, in 1998, Mr. Ma established

week 4 guest artists 61 NEVER HAS LUXURY BEEN THIS EXPRESSIVE.

THE REIMAGINED RX F SPORT From the available panorama glass roof to the 20-inch alloy wheels,* the RX F SPORT raises the level of luxury with a chiseled design and Adaptive Variable Suspension. The RX F SPORT from Lexus. This is sophistication, sharpened. lexus.com/RX | #LexusRX

IRA LEXUS IRA LEXUS OF MANCHESTER LEXUS OF NORTHBOROUGH Danvers, MA (978) 777-7777 Bedford, NH (603) 644-5600 Northborough, MA (508) 870-3222

HERB CHAMBERS LEXUS OF HINGHAM HERB CHAMBERS LEXUS LEXUS OF WATERTOWN Hingham, MA (781) 210-5200 Sharon, MA (781) 255-2000 Watertown, MA (617) 393-1000

Options shown. *20-in performance tires are expected to experience greater tire wear than conventional tires. Tire life may be substantially less than 20,000 miles, depending upon driving conditions. ©2016 Lexus Silkroad, a nonprofit organization that seeks to create meaningful change at the intersec- tions of the arts, education, and business. Under his artistic direction, Silkroad presents performances by the acclaimed Silk Road Ensemble and develops new music, cultural partnerships, education programs, and cross-disciplinary collaborations. Silkroad’s ongoing affiliation with Harvard University has made it possible to broaden and enhance educa- tional programming. Through his work with Silkroad, as throughout his career, Yo-Yo Ma has expanded the cello repertoire, performing lesser-known music of the 20th century and commissions of new concertos and recital pieces by a diverse group of composers. As the Chicago Symphony Orchestra’s Judson and Joyce Green Creative Consultant, Mr. Ma part- ners with Riccardo Muti to provide collaborative musical leadership and guidance on inno- vative program development for the Negaunee Music Institute of the Chicago Symphony Orchestra, and for Chicago Symphony artistic initiatives. In March 2016 he was appointed Artistic Advisor at Large to the John F. Kennedy Center for the Performing Arts as part of its initiatives honoring the centenary of JFK’s birth and to encourage the idea of creative citizenship. Mr. Ma’s discography of more than one hundred albums includes eighteen Grammy-winners. His most recent release, “Sing Me Home,” recorded with the Silk Road Ensemble, was released in April 2016 as the companion album to the documentary film “The Music of Strangers,” created by Oscar-winning producer Morgan Neville. Yo-Yo Ma was born in Paris to Chinese parents who later moved the family to New York. He began to study cello at age four, attended the Juilliard School, and in 1976 graduated from Harvard University. His numerous awards include the Avery Fisher Prize, the Glenn Gould Prize, the National Medal of the Arts, the Dan David Prize, the Leonie Sonning Music Prize, the World Economic Forum’s Crystal Award, the Presidential Medal of Freedom, the Polar Music Prize, and the Vilcek Prize in Contemporary Music; he was a 2011 Kennedy Center Honoree. Mr. Ma serves as a UN Messenger of Peace and as a member of the President’s Committee on the Arts & the Humanities. He has performed for eight American presi- dents, most recently at the invitation of President Obama on the occasion of the 56th Inau- gural Ceremony. He plays two instruments, a 1733 Montagnana cello from Venice and the 1712 Davidoff Stradivarius. Since his BSO debut in February 1983, Yo-Yo Ma has appeared many times with the orchestra in Boston, at Tanglewood, and on tour.

week 4 guest artists 63 2016-17

Our upcoming NOVEMBER concerts Darkness & Light Salem Salem 11/11 8:00 Brookline 11/13 3:00 Friday Evenings at 8:00 In Historic Hamilton Hall Szymanowski Nov 11 | Jan 6 | Mar 10 | Apr 21 String Quartet No. 2, Opus 56 Beethoven Brookline String Quartet No. 7, Opus 59, No. 1 in F Sunday Afternoons at 3:00 In Beautiful St. Paul’s Church Lucia Lin, Tatiana Dimitriades, violins Nov 13 | Jan 8 | Mar 12 | Apr 23 Rebecca Gitter, viola – Jonathan Miller, cello

You ™ Please note Hamilton Hall is a Registered National Historic Landmark and is not handicap accessible to the performance hall on the second floor. Are Hear BostonArtistsEnsemble.org

Symphony Shopping

VisitVisit the Symphony ShopShop inin the the Cohen Cohen Wing atat the West Entrance onon Huntington Huntington Avenue. Hours:Open Thursday Tuesday andthrough Saturday, Friday, 3-6pm, 11–4; Saturdayand for all from Symphony 12–6; and Hall from performances one hour beforethrough each intermission. concert through intermission.

64 Tanglewood Festival Chorus Lisa Graham, Guest Chorus Conductor John Oliver, Founder and Conductor Laureate

This season at Symphony Hall, the Tanglewood Festival Chorus joins the Boston Symphony Orchestra for performances of Richard Strauss’s , Brahms’s Ein deutsches Requiem, Bach’s B minor Mass, and Mozart’s Requiem under BSO Music Director Andris Nelsons, Holst’s The Planets under Charles Dutoit, Busoni’s Piano Concerto under Sakari Oramo, and Debussy’s Nocturnes under BSO Conductor Emeritus Bernard Haitink. Origi- nally formed under the joint sponsorship of Boston University and the Boston Symphony Orchestra, the all-volunteer Tanglewood Festival Chorus was established in 1970 by its founding conductor John Oliver, who stepped down from his leadership position with the TFC at the end of the 2014 Tanglewood season. Awarded the Tanglewood Medal by the BSO to honor his forty-five years of service to the ensemble, Mr. Oliver now holds the lifetime title of Founder and Conductor Laureate and occupies the Donald and Laurie Peck Master Teacher Chair at the Tanglewood Music Center.

Though first established for performances at the BSO’s summer home, the Tanglewood Festival Chorus was soon playing a major role in the BSO’s subscription season as well as BSO concerts at Carnegie Hall. Now numbering more than 300 members, the ensemble performs year-round with the Boston Symphony and Boston Pops. It has performed with Seiji Ozawa and the BSO in Hong Kong and Japan, and with the BSO in under James Levine and Bernard Haitink, also giving a cappella concerts of its own on the two lat- ter occasions. The TFC made its debut in April 1970, in a BSO performance of Beethoven’s Ninth Symphony with Leonard Bernstein conducting. Its first recording with the orchestra, Berlioz’s La Damnation of Faust with Seiji Ozawa, received a Grammy nomination for Best Choral Performance of 1975. The TFC has since made dozens of recordings with the BSO and Boston Pops, with James Levine, Seiji Ozawa, Bernard Haitink, Sir Colin Davis, Leonard Bernstein, Keith Lockhart, and John Williams. In August 2011, with John Oliver conducting and soloist Stephanie Blythe, the TFC gave the world premiere of Alan Smith’s An Unknown Sphere for mezzo-soprano and chorus, commissioned by the BSO for the ensemble’s 40th anniversary. Its most recent recordings on BSO Classics, all drawn from live performances, include a disc of a cappella music led by John Oliver and released to mark the TFC’s 40th

week 4 guest artists 65 anniversary; and, with James Levine conducting, Ravel’s complete Daphnis and Chloé (a Grammy-winner for Best Orchestral Performance of 2009), Brahms’s German Requiem, and William Bolcom’s Eighth Symphony for chorus and orchestra (a BSO 125th Anniversary Commission). Besides their work with the Boston Symphony, members of the Tanglewood Festival Chorus have performed Beethoven’s Ninth Symphony with Zubin Mehta and the Israel Philharmonic; participated in a Saito Kinen Festival production of Britten’s under Seiji Ozawa in Japan, and sang Verdi’s Requiem with Charles Dutoit to help close a month-long International Choral Festival given in and around Toronto. The ensemble had the honor of singing at Sen. Edward Kennedy’s funeral; has performed with the Boston Pops for the Boston Red Sox and Boston Celtics; and can also be heard on the soundtracks of Clint Eastwood’s Mystic River, John Sayles’s Silver City, and Steven Spielberg’s Saving Private Ryan. TFC members regularly commute from the greater Boston area, western Massachusetts, Connecticut, Rhode Island, New Hampshire, Vermont, and Maine, and TFC alumni frequently return each summer from as far away as Florida and California to sing with the chorus at Tanglewood. Throughout its history, the TFC has established itself as a favorite of conductors, soloists, critics, and audiences alike.

Lisa Graham

A familiar face on the Boston musical scene, Lisa Graham has made an impressive name for herself as a versatile conductor of multiple repertoires. Ms. Graham is the Evelyn Barry Director of Choral Programs at Wellesley College, where she conducts the Wellesley College Choir, Chamber Singers, and Choral Scholars (featured in the motion picture Mona Lisa Smile) and is a respected academic. She is a frequent conductor with the Handel and Haydn Society, directing their Holiday Sing concert for several seasons as well as being a conductor in their educational program for more than a decade. During her thirteen-year tenure as music director, the Metropolitan Chorale has grown to become a hundred-member-strong chorus drawn from communities throughout the greater Boston area. This season marks its fourth year appearing with Keith Lockhart and the Boston Pops for their holiday tours around New England. Prior to arriving in the Boston area,

66 Lisa Graham was on the conducting faculty at California State University Northridge. She taught conducting at the University of Southern California, where she earned her Master of Music and Doctor of Musical Arts degrees, while serving as assistant conductor to the USC Thornton Chamber Choir. As a vocalist, she has performed as a soprano soloist and has toured extensively. Ms. Graham is comfortable with a wide range of musical idioms, from the esoteric to the popular. A founding member and former president of the National Collegiate Choral Conductor’s Organization, she has served as a Choir Repertoire and Standards Chair for the Massachusetts American Choral Director’s Association and is an active guest conductor, clinician, and festival adjudicator.

Women of the Tanglewood Festival Chorus Lisa Graham, Guest Chorus Conductor John Oliver, Founder and Conductor Laureate (Holst, The Planets, October 2016)

In the following list, § denotes membership of 40 years or more, * denotes membership of 35-39 years, and # denotes membership of 25-34 years.

sopranos

Deborah Coyle Barry • Anna S. Choi • Bridget Dennis • Emilia DiCola • Christine Pacheco Duquette* • Mary A.V. Feldman # • Donna Kim • Nancy Kurtz # • Farah Darliette Lewis • Jaylyn Olivo • Kimberly Pearson • Johanna Schlegel • Sarah Telford # • Kirstie Wheeler

mezzo-sopranos

Lauren A. Boice • Janet L. Buecker • Abbe Dalton Clark • Danielle Coombe • Diane Droste # • Irene Gilbride* • Irina Kareva • Ana Morel • Louise Morrish • Laurie R. Pessah • Ada Park Snider* • Amy Spound • Lelia Tenreyro-Viana • Michele C. Truhe • Marguerite Weidknecht #

Martin Amlin, Rehearsal Pianist Julia Carey, Rehearsal Pianist Jen Dilzell, Chorus Manager Kristie Chan, Chorus and Orchestra Management Assistant

week 4 guest artists 67

The Great Benefactors

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

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

seven and one half million Mr. and Mrs. George D. Behrakis • John F. Cogan, Jr. and Mary L. Cornille • Cynthia and Oliver Curme/The Lost & Foundation, Inc. • EMC Corporation

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

two and one half million Mary and J.P. Barger • Gabriella and Leo Beranek • Roberta and George ‡ Berry • Peter and Anne Brooke • Eleanor L. and Levin H. Campbell • Chiles Foundation • Mara E. Dole ‡ • Fairmont Copley Plaza and Fairmont Hotels and Resorts •

Jane and Jack Fitzpatrick ‡ • Susan Morse Hilles ‡ • Dorothy and Charlie Jenkins • Stephen B. Kay and Lisbeth L. Tarlow/The Aquidneck Foundation • The Kresge Foundation • Lizbeth and George Krupp • Liberty Mutual Foundation, Inc. • Massachusetts Cultural Council • Kate and Al ‡ Merck • Cecile Higginson Murphy • National Endowment for the Arts • William and Lia Poorvu • John S. and Cynthia Reed • Carol and Joe Reich • Kristin and Roger Servison • Miriam Shaw Fund • State Street Corporation and State Street Foundation • Thomas G. Stemberg ‡ • Miriam and Sidney Stoneman ‡ • Elizabeth B. Storer ‡ • Caroline and James Taylor • Samantha and John Williams • Anonymous (3)

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 • William I. Bernell ‡ • BNY Mellon • The Boston Foundation • Lorraine D. and Alan S. ‡ Bressler • Jan Brett and Joseph Hearne • Gregory E. Bulger Foundation/Gregory Bulger and Richard Dix • Ronald G. and Ronni J. Casty • Commonwealth Worldwide Chauffeured Transportation • Mr. and Mrs. William H. Congleton ‡ • William F. Connell ‡ and Family • Country Curtains • Diddy and John Cullinane • Edith L. and Lewis S. ‡ Dabney •

Elisabeth K. and Stanton W. Davis ‡ • Mary Deland R. de Beaumont ‡ • Delta Air Lines • Bob and Happy Doran • Alan and Lisa Dynner and Akiko ‡ Dynner • Deborah and Philip Edmundson • William and Deborah Elfers • Elizabeth B. Ely ‡ • Nancy S. and John P. Eustis II ‡ • Shirley and Richard ‡ Fennell • Anna E. Finnerty ‡ • John and Cyndy Fish • Fromm Music Foundation • The Ann and Gordon Getty Foundation • Marie L. Gillet ‡ • Sophia and Bernard Gordon • Mrs. Donald C. Heath ‡ • Francis Lee Higginson ‡ • Major Henry Lee Higginson ‡ • 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 ‡ • Nancy and Richard Lubin • Vera M. and John D. MacDonald ‡ • Nancy Lurie Marks Family Foundation • Carmine A. and Beth V. Martignetti • Commonwealth of Massachusetts • The McGrath Family • The Andrew W. Mellon Foundation • Henrietta N. Meyer ‡ • Mr. and Mrs. Nathan R. Miller ‡ • Mr. and Mrs. Paul M. Montrone • Richard P. and Claire W. Morse Foundation • William Inglis Morse Trust •

Mary S. Newman ‡ • Mrs. Mischa Nieland ‡ and Dr. Michael L. Nieland • Mr. ‡ and Mrs. Norio Ohga • P&G Gillette • The Claudia and Steven Perles Family Foundation • Polly and Dan ‡ Pierce • Mary G. and Dwight P. Robinson, Jr. ‡ • Susan and Dan ‡ Rothenberg • Carole and Edward I. Rudman • Richard Saltonstall Charitable Foundation • Wilhemina C. (Hannaford) Sandwen ‡ • Hannah H. ‡ and Dr. Raymond Schneider • Carl Schoenhof Family • Ruth ‡ and Carl J. Shapiro • Marian Skinner ‡ • Richard and Susan Smith Family Foundation/Richard A. and Susan F. Smith • Sony Corporation of America • Dr. Nathan B. and Anne P. Talbot ‡ • Diana O. Tottenham • The Wallace Foundation • Edwin S. Webster Foundation • Roberta and Stephen R. Weiner • The Helen F. Whitaker Fund • Helen and Josef Zimbler ‡ • Brooks and Linda Zug • Anonymous (9)

‡ Deceased

week 4 the great benefactors 71

Corporate, Foundation, and Government Contributors

The operating support provided by members of the corporate community, foundation grantors, and government agencies enables the Boston Symphony Orchestra to maintain an unparalleled level of artistic excellence, to keep ticket prices at accessible levels, and to support extensive education and community engagement programs throughout the Greater Boston area and the Commonwealth of Massachusetts. The BSO gratefully acknowledges the following contributors for their generous support during the 2015-16 season through major corporate sponsorships, corporate events, BSO Business Partners, foundations programs, and government grants.

$500,000 and above Fidelity Investments

$250,000 - $499,999 Arbella Insurance Foundation and Arbella Insurance Group, John F. Donohue • Bank of America, Anne M. Finucane, Miceal Chamberlain • EMC Corporation, William J. Teuber, Jr. • Fairmont Copley Plaza, George Terpilowski • Massachusetts Cultural Council and MassDevelopment

$100,000 - $249,999 American Airlines, Jim Carter • Commonwealth Worldwide Chauffeured Transportation, Dawson Rutter • Delta Air Lines, Charlie Schewe • The Nancy Foss Heath and Richard B. Heath Educational, Cultural and Environmental Foundation • National Endowment for the Arts

$50,000 - $99,999 Citizens Bank, Stephen T. Gannon • Dick and Ann Marie Connolly • Fromm Music Foundation • The Geoffrey C. Hughes Foundation • The Ann and Gordon Getty Foundation • Intercontinental Real Estate Corporation, Peter Palandjian • Mastercard • Miriam Shaw Fund • National Historical Publications and Records Commission • Parthenon-EY, Alli and Bill Achtmeyer • Perspecta Trust, LLC, Paul M. Montrone • Putnam Investments, Robert L. Reynolds • Stoneman Family Foundation • Suffolk Cares, John F. Fish

week 4 corporate, foundation, and government contributors 73 BE INSPIRED! 59th SEaSoN, 2016–2017

BOSTON YOUTH SYMPHONY ORCHESTRAS BYSO ON PARADE Federico Cortese, Music Director Sunday, March 12, 2017 • 3pm • Symphony Hall BRiTTEN the Young Person’s Guide to the orchestra 59TH SEASON OPENING CONCERT Sunday, October 16, 2016 • 3pm • Symphony Hall 59TH SEASON FINAL CONCERT MOZART Symphony No. 41, “Jupiter” Sunday, June 11, 2017 • 3pm BEETHOVEN Symphony No. 8 Sanders Theatre at Harvard University BARTÓK Concerto for orchestra BRaHMS Symphony No. 4 BYSO OPERA Sunday, January 29, 2017 • 3pm For tickets visit www.BYSOweb.org Sanders Theatre at Harvard University Experience the Future of Classical Music photo by Michael J. Lutch TcHaikOVSky Eugene Onegin

In residence at Boston University BYSO/BSO: Partnering for the Future

74 $25,000 - $49,999 The Aaron Copland Fund for Music, Inc. • Adage Capital Management, Michelle and Bob Atchinson • Anbaric Holding LLC, Edward N. Krapels • Josh and Anita Bekenstein • Connell Limited Partnership, Frank Doyle, Margot C. Connell • Eileen and Jack Connors, Jr. • Eaton Vance Corp., Thomas E. Faust, Jr. • Elizabeth Taylor Fessenden Foundation • Eversource Energy, Jim Judge • Gerondelis Foundation • Goodwin, Regina M. Pisa • Grew Family Charitable Foundation • Hemenway & Barnes LLP, Kurt F. Somerville • Highland Capital Partners & Highland Consumer Partners • Hill Holliday, Karen Kaplan • Houghton Mifflin Harcourt, William Bayers • John Hancock Financial, Craig Bromley • Kingsbury Road Charitable Foundation • Liberty Mutual Insurance, David H. Long • The Lynch Foundation • The McGrath Family/The Highland Street Foundation/Holly and David Bruce • Natixis Global Asset Management, John T. Hailer • The New England Foundation, Joseph C. McNay • Staples, Inc., Shira Goodman • Vertex Pharmaceuticals, Inc., Jeffrey Leiden • Waters Corporation, Chris O’Connell • Edwin S. Webster Foundation • Wilmington Trust, N.A., Christopher T. Casey • Wynn Boston Harbor, Bob DeSalvio

$15,000 - $24,999 The Harold Alfond Foundation • Analog Devices, Inc., Ray Stata • Arthur J. Hurley Company, Inc., Arthur J. Hurley III • Associated Grant Makers of Massachusetts • Bicon, LLC, Vincent J. Morgan, D.M.D. • Blue Cross Blue Shield of Massachusetts, Andrew Dreyfus • The Boston Consulting Group, Kermit King • Boston Private, Clayton G. Deutsch • Boston Seed Capital, LLC, Nicole Maria Stata • The Carl & Ruth Shapiro Family Foundation • Charles Schwab & Co., Inc. • Clough Capital Partners, LP, Charles I. Clough, Jr. • RoAnn Costin • John and Diddy Cullinane • Debevoise & Plimpton LLP, Gregory J. Lyons • Farley White Interests, Roger W. Altreuter, John F. Power • Flex Pharma, Christoph Westphal • Goldman, Sachs & Co. • Greater Media, Inc., Peter H. Smyth • J.P. Marvel Investment Advisors, Inc., Joseph F. Patton, Jr. • John Moriarty & Associates, Inc., John Moriarty, David Leathers • The Gerald R. Jordan Foundation, Darlene L. Jordan • The Lowell Institute • Macy’s • John and Rose Mahoney • Martignetti Companies • Medical Information Technology, Inc., Howard Messing • MetLife Foundation • MullenLowe U.S. / Interpublic Group, Michael I. Roth • New Balance Foundation, Anne and Jim Davis • New England Development, Stephen R. Karp • OvaScience, Harald Stock • The Alice Ward Fund of The Rhode Island Foundation • Saquish Foundation • The TJX Companies, Inc. • Tufts Health Plan, Thomas A. Croswell • Sandra Urie and Frank Herron • Ernst von Siemens Music Foundation • VPNE Parking Solutions, Kevin W. Leary • WBZ-TV/CBS Boston, Mark Lund • Anonymous

$10,000 - $14,999 Advent International Corporation, Peter A. Brooke • Albrecht Auto Group, George T. Albrecht • Arthur J. Gallagher & Co., Patrick Veale • Billy Rose Foundation • Boston Properties, Inc., Douglas T. Linde • Dennis and Kimberly Burns • Cabot Corporation, Martin O’Neill • Charles River Laboratories, Inc., James C. Foster • Chubb, John Swords • Colliers International, Kevin C. Phelan • Deutsch Family Wine & Spirits • DJ Dream Fund, Inc. • EY, George R. Neble • Fiduciary Trust, Todd Eckler • FTI Consulting, Stephen J. Burlone • Steve and Betty Gannon • H. Carr & Sons, Inc., James L. Carr, Jr. • Herald Media, Inc., Patrick J. Purcell •

week 4 corporate, foundation, and government contributors 75 Music for All! Something for everyone!

Fun, thoughtful, legendary, passionate, energetic - FRANCISCO NOYA, MUSIC DIRECTOR we showcase it all in this season’s musical mosaic!

The New Phil presents a very Special Event...

Fun and Fancy - Opening Night at New Phil!

October 29 PDQ Bach: Concerto for Simply Grand Piano 8:00 PM with Jeffrey Biegel, piano East Coast premiere of PDQ Bach’s latest work!

Dvořák: Symphony No. 6

All programs subject to change. For ticket information, please visit newphil.org

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

76 Ironshore, Kevin H. Kelley • JPMorgan Chase & Co., Stephen W. Burbage • Kaufman & Company, LLC, Sumner Kaufman • Roger and Myrna Landay Charitable Foundation • Mintz, Levin, Cohn, Ferris, Glovsky and Popeo, P.C. and ML Strategies, LLC, R. Robert Popeo, Esq. • Morgan, Lewis & Bockius LLP, Catherine Curtin • Navigator Management, Thomas M. O’Neill • New England Patriots Charitable Foundation • Steve and Judy Pagliuca • Raytheon Company • Jack and Alissa Sebastian • TA Realty, Michael Ruane • Tetlow Realty Associates, Inc., Paul B. Gilbert • The Verrochi Family • Wayne J. Griffin Electric, Inc., Wayne J. Griffin

$5,000 - $9,999 Abbot and Dorothy H. Stevens Foundation • Accenture • Adelaide Breed Bayrd Foundation • Adler Pollock & Sheehan P.C. • Allied Universal Security Services • The Amphion Foundation, Inc. • Amuleto, Mexican Table • Atlantic Trust Private Wealth Management • Berkshire Bank • Berkshire Partners LLC • Blake & Blake Genealogists • The Boston Globe • The Cambridge Homes • Century-TyWood Manufacturing Inc. • Chadwick Martin Bailey • The Clayton F. and Ruth L. Hawkridge Foundation • The Cleary Family • Michael Cronin • Cushman & Wakefield • Cutler Associates, Inc. • D.C. Beane and Associates Construction Company • Davidson Kempner Capital Management LP • Irene E. and George A. Davis Foundation • Davis Polk & Wardwell LLP • DeMoulas Supermarkets, Inc. • Gaston Dufresne Foundation • E2 Showjumpers • The E. Nakamichi Foundation • Edward A. Taft Trust • Epsilon • Feeney Brothers Excavation • The French American Fund for Contemporary Music • General Catalyst Partners • Greater Boston Chamber of Commerce • High Output, Inc. • IBM • International Paper • Jack Madden Ford • Locke Lord LLP • Lucia B. Morrill Charitable Foundation • McCarter & English, LLP • McKinsey & Company • The Norio Ohga Foundation • Nutter McClennen & Fish LLP • Joe and Kathy O’Donnell • Pamplona Capital Management • People’s United Bank • Abraham Perlman Foundation • Proskauer Rose LLP • PwC • Quanta Services, Inc. • Riemer & Braunstein LLP • Thomas A. and Georgina T. Russo Family Fund • William E. and Bertha E. Schrafft Charitable Trust • Shawmut Design and Construction • Signature Printing & Consulting, Woburn, MA • Stetson Whitcher Fund • The Studley Press, Inc. • Sullivan & Cromwell LLP • TigerRisk Partners • W.B. Mason Co., Inc. • Walsh Brothers, Inc. • Willis Towers Watson • Wilmer Cutler Pickering Hale and Dorr LLP • Wolf, Greenfield & Sacks, P.C. • Anonymous (2)

$2,500 - $4,999 Alice Willard Dorr Foundation • Allied Printing Services, Inc. • Boston Magazine • Brookline Youth Concerts Fund • Cambridge Community Foundation • Cambridge Trust Company • Carson Limited Partnership • Complete Staffing Solutions, Inc. • Congress Wealth Management • Katharine L.W. and Winthrop M. Crane, 3D Charitable Foundation • Elizabeth Grant Fund • Deborah and Vernon Ellinger and Colin and Erika Angle • Fire Equipment, Inc. • Fowler Printing & Graphics • The Fuller Foundation • Jackson and Irene Golden 1989 Charitable Trust • Greenberg Traurig LLP • Hoche-Scofield Foundation • Morrison & Foerster LLP • NorBella • Oxford Fund • Republic Services • Ruberto, Israel & Weiner • Sametz Blackstone Associates • Mr. and Mrs. Ronald Sargent • P.J. Spillane Company • Vedder Price • Verrill Dana • Anonymous

week 4 corporate, foundation, and government contributors 77 BSO Major Corporate Sponsors 2016–17 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 2016-17 season. Bank of America's support of the arts reflects our belief that the arts matter: they are a powerful tool to help economies thrive, to help individuals connect with each other and across cultures, and to educate and enrich societies. Our Arts and Culture Program is Miceal Chamberlain diverse and global, supporting nonprofit arts institutions that deliver the Massachusetts President, visual and performing arts, provide inspirational and educational sustenance, Bank of America anchor communities, create jobs, augment and complement existing school offerings, and generate substantial revenue for local businesses. On a global scale, the arts speak to us in a universal language that provides pathways to greater cultural understanding. It’s an honor and privilege to continue our collaboration with the Boston Symphony Orchestra, and to play a part in welcoming the valued audiences and world-class artists for each and every performance of this cherished institution.

BSO SEASON SUPPORTING SPONSOR Dell EMC is pleased to support the Boston Symphony Orchestra. Dell EMC provides the foundation to enable our enterprise customers' digital transformation through our trusted hybrid cloud and big-data solutions, built upon a modern data center infrastructure that incorporates industry- leading converged infrastructure, servers, storage, and cybersecurity technologies. David Goulden President

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 support the Boston Symphony Orchestra through sponsorship of the BSO’s Casual Fridays Series, College Card program, Youth & Family Concerts, and the BSO’s Young Professionals program. These outreach pro- grams give both area students and young professionals from Boston and from around the globe the opportunity to experience great classical music performed by one of the world’s leading orchestras in one of the world’s greatest concert halls. Through the Foundation, Arbella helps support organi- zations like the Boston Symphony Orchestra that work so hard to positively impact the lives of those around them. We’re proud to be local, and our passion for everything that is New England helps us better meet all the unique insurance needs of our neighbors.

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

OFFICIAL HOTEL OF THE BSO George Terpilowski Fairmont Copley Plaza Boston is proud to be the official hotel of the BSO. Regional Vice President, We look forward to many years of supporting this wonderful organization. North East U.S. and For more than a century Fairmont Copley Plaza and the BSO have graced General Manager, their community with timeless elegance and enriching experiences. The Fairmont Copley Plaza BSO is a New England tradition and like Fairmont Copley Plaza, a symbol of Boston’s rich tradition and heritage.

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

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

week 4 bso major corporate sponsors 79 join our community of music lovers

The Boston Symphony is a world-renowned orchestra right in your community. But 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 the financial foundation of all the Orchestra achieves. Friends ensure a legacy of spectacular performances and the BSO’s connection to its community through education and engagement. friends-only privileges include: • Access to BSO or Boston Pops Working Rehearsals • Advance ticket ordering • Exclusive 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. Administration

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

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

Sarah J. Harrington, Director of Planning and Budgeting • Mia Schultz, Director of Investment Operations and Compliance • Natasa Vucetic, Controller James Daley, Accounting Manager • Karen Guy, Accounts Payable Supervisor • Jared Hettrick, Budget and Finance Reporting Assistant • Erik Johnson, Finance and Marketing Administrator • Evan Mehler, Budget Manager • Robin Moxley, Payroll Supervisor • Nia Patterson, Staff Accountant • Mario Rossi, Staff Accountant • Lucy Song, Accounts Payable Assistant • Teresa Wang, Staff Accountant • Maggie Zhong, Senior Endowment Accountant

week 4 administration 81 Wolfgang, Gustav, Johann Sebastian, Sergei, and Franz, meet NEC’s 2016-17 Orchestra Season Cindy, Ellen, features work by seven women composers. That’s in addition to Augusta, Anna, favorites by Mozart, Mahler, Bach, and more. Fabulous performances, Caroline, Jennifer, superb young musicians, Jordan Hall—and such exciting music. All for free. You don’t want to miss and Kati. this season!

necmusic.edu/orchestras

82 development

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

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

week 4 administration 83 A BLAZING RETELLING OF THE OEDIPUS STORY

TURNAGE

NOVEMBER 16 – 20 | EMERSON/PARAMOUNT CENTER

TICKETS START AT $25 BLO.ORG 617.542.6772

MUSIC FOUNDATION

Silver Anniversary Gala MONDAY, OCTOBER 31 SYMPHONY HALL, BOSTON

GARRICK OHLSSON ANDRÉ PREVIN MEMBERS OF THE BSO BOSTON COMMUNITY GOSPEL CHOIR Tickets: www.tmfgala.org | Tel. 857-222-8263 photo © Michael J. Lutch

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

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

Helen N.H. Brady, Director of Group Sales • Alyson Bristol, Director of Corporate Partnerships • Dan Kaplan, Director of Boston Pops Business Development • Roberta Kennedy, Buyer for Symphony Hall and Tanglewood • Sarah L. Manoog, Director of Marketing • Michael Miller, Director of Ticketing Amy Aldrich, Associate Director of Subscriptions and Patron Services • Christopher Barberesi, Assistant Manager, Corporate Partnerships • Gretchen Borzi, Associate Director of Marketing • Lenore Camassar, Associate Manager, SymphonyCharge • Megan Cokely, Group Sales Manager • Susan Coombs, SymphonyCharge Coordinator • Jonathan Doyle, Graphic Designer • Paul Ginocchio, Manager, Symphony Shop and Tanglewood Glass House • Mary Ludwig, Manager, Corporate Sponsor Relations • Tammy Lynch, Front of House Director • Ronnie McKinley, Ticket Exchange Coordinator • Michelle Meacham, Subscriptions Representative • Michael Moore, Associate Director of Internet Marketing and Digital Analytics • Laurence E. Oberwager, Director of Tanglewood Business Partners • Meaghan O’Rourke, Internet Marketing and Social Media Manager • Greg Ragnio, Subscriptions Representative • Doreen Reis, Advertising Manager • Laura Schneider, Internet Marketing Manager and Front End Lead • Robert Sistare, Senior Subscriptions Representative • Richard Sizensky, Access Coordinator • Kevin Toler, Art Director • Himanshu Vakil, Associate Director of Internet and Security Technologies • Claudia Veitch, Director, BSO Business Partners • Thomas Vigna, Group Sales and Marketing Associate • Amanda Warren, Graphic Designer • Ellery Weiss, SymphonyCharge Representative • David Chandler Winn, Tessitura Liaison and Associate Director of Tanglewood Ticketing box office Jason Lyon, Symphony Hall Box Office Manager • Nicholas Vincent, Assistant Manager Jane Esterquest, Box Office Administrator • Kelsey Devlin, Box Office Representative event services James Gribaudo, Function Manager • Kyle Ronayne, Director of Event Administration • Luciano Silva, Manager of Venue Rentals and Event Administration • John Stanton, Venue and Events Manager tanglewood music center

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

week 4 administration 85

Boston Symphony Association of Volunteers executive committee Chair, Martin Levine Vice-Chair, Boston, Suzanne Baum Vice-Chair, Tanglewood, Alexandra Warshaw Secretary, Susan Price Co-Chairs, Boston Mary Gregorio • Trish Lavoie • George Mellman Co-Chairs, Tanglewood Bob Braun • David Galpern • Gabriel Kosakoff Liaisons, Tanglewood Glass Houses, Adele Cukor • Ushers, Carolyn Ivory boston project leads 2016-17

Café Flowers, Stephanie Henry and Kevin Montague • Chamber Music Series, Rita Richmond • Computer and Office Support, Helen Adelman • Flower Decorating, Linda Clarke • Guide’s Guide, Audley H. Fuller and Renee Voltmann • Instrument Playground, Melissa Riesgo • Mailings, Steve Butera • Membership Table/Hall Greeters, Sabrina Ellis • Newsletter, Cassandra Gordon • Volunteer Applications, Carol Beck • Symphony Shop, Karen Brown • Tour Guides, Cathy Mazza

Celebrating

Finding the Key OCT 29 8 PM Andy Vores Xylophonic WORLD PREMIERE Yehudi Wyner Piano Concerto “Chiavi in mano” Geoffrey Burleson, piano Carl Ruggles Evocations Béla Bartók Concerto for Orchestra TICKETS ON SALE ALL PERFORMANCES AT TSAI PERFORMANCE CENTER NEPhilharmonic.org

week 4 administration 87 Next Program…

Thursday, October 27, 8pm Friday, October 28, 1:30pm (Friday Preview from 12:15-12:45 in Symphony Hall) Saturday, October 29, 8pm

charles dutoit conducting

mozart symphony no. 39 in e-flat, k.543 Adagio—Allegro Andante con moto Menuetto: Allegretto Finale: Allegro

{intermission}

bartók “duke bluebeard’s castle,” opus 11 ildikó komlósi, mezzo-soprano (judith) matthias goerne, baritone (bluebeard) george meszoly, speaker (prologue)

This second program celebrating Charles Dutoit’s 80th birthday juxtaposes music of Mozart and Bartók. First performed in 1918, Bartók’s one-act, two-character Bluebeard’s Castle, his only opera, pairs a lush and exotic score with a psychologically penetrating libretto by Béla Balázs, based on a fairy tale by Charles Perrault. Its seven tableaux correspond to seven doors opened by Blue- beard’s new bride Judith, each scene a catalyst for the composer’s fantastical musical imagination. Opening the program is Mozart’s Symphony No. 39 in E-flat, the first of the composer’s final trio of symphonies composed in quick succession in the summer of 1788. Elegant and high-spirited, it stands as one of the symphonic pinnacles of the Classical Style.

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

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

Thursday ‘C’ October 27, 8-10:05 Thursday ‘A’ November 3, 8-9:45 Friday ‘B’ October 28, 1:30-3:35 Friday ‘A’ November 4, 1:30-3:15 Saturday ‘B’ October 29, 8-10:05 Saturday ‘B’ November 5, 8-9:45 CHARLES DUTOIT, conductor THOMAS ADÈS, conductor ILDIKÓ KOMLÓSI, mezzo-soprano (Judith) CHRISTIANNE STOTJIN, mezzo-soprano MATTHIAS GOERNE, baritone (Bluebeard) MARK STONE, baritone GEORGE MESZOLY, speaker (Prologue) BRITTEN Sinfonia da Requiem MOZART Symphony No. 39 SIBELIUS Tapiola BARTÓK Bluebeard’s Castle ADÈS Totentanz, for mezzo-soprano, (sung in Hungarian with baritone, and orchestra English supertitles)

Tuesday ‘C’ November 8, 8-10:20 Friday, October 28, 8pm Thursday ‘D’ November 10, 8-10:20 Jordan Hall, New England Conservatory Friday ‘B’ November 11, 1:30-3:45 IAN BOSTRIDGE, tenor Saturday ‘A’ November 12, 8-10:15 THOMAS ADÈS, piano ANDRIS NELSONS, conductor SCHUBERT Winterreise HÉLÈNE GRIMAUD, piano Presented in association with the Celebrity Series NATHAN the space of a door (world of Boston to celebrate the start of Thomas Adès’s premiere; BSO commission) three-year tenure as the BSO's Artistic Partner BRAHMS Piano Concerto No. 1 BRAHMS Symphony No. 1 (November 8 & 10 only) Sunday, October 30, 3pm BRAHMS Symphony No. 2 Jordan Hall, New England Conservatory (November 11 & 12 only) BOSTON SYMPHONY CHAMBER PLAYERS with THOMAS ADÈS, pianist and conductor and KELLEY O’CONNOR, mezzo-soprano BRITTEN Sinfonietta for winds and strings, Op. 1 ADÈS Court Studies from The Tempest, for clarinet, violin, cello, and piano BRAHMS Ophelia-Lieder, arranged by John Woolrich for voice and chamber ensemble Programs and artists subject to change. STRAVINSKY Three Shakespeare Songs PURCELL Two Songs, arranged by The BSO’s 2016-17 season is supported Thomas Adès for voice in part by the Massachusetts Cultural and piano Council, which receives support from the State of Massachusetts and the National SCHUBERT Quintet in A for piano and Endowment for the Arts. strings, D.667, Trout

week 4 coming concerts 89 Symphony Hall Exit Plan

90 Symphony Hall Information

For Symphony Hall concert and ticket information, call (617) 266-1492. For Boston Symphony concert program information, call “C-O-N-C-E-R-T” (266-2378). The Boston Symphony Orchestra performs ten months a year, in Symphony Hall and at Tanglewood. For 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 (12 noon until 6 p.m. on Saturday), until 8:30 p.m. on concert evenings, and for a half-hour past starting time for other events. In addition, the box office opens at least two hours prior to most Sunday performances. Single tickets for all Boston Symphony subscription concerts are available at the box office. To purchase BSO Tickets: American Express, MasterCard, Visa, Diners Club, Discover, a personal check, and cash are accepted at the box office. To charge tickets instantly on a major credit card, call “SymphonyCharge” at (617) 266-1200, from 10 a.m. until 6 p.m. Monday through Friday (12 noon to 6 p.m. on Saturday). Outside the 617 area code, phone 1-888-266-1200. As noted above, tickets can also be purchased online. There is a han- dling 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 Administrator line at (617) 638-9431 or TDD/TTY (617) 638-9289. In consideration of our patrons and artists, children age four or younger will not be admitted to Boston Symphony Orchestra concerts. Please note that no food or beverage (except water) is permitted in the Symphony Hall auditorium. Patrons who bring bags to Symphony Hall are subject to mandatory inspections before entering the building. Those arriving late or returning to their seats will be seated by the patron service staff only during a convenient pause in the program. Those who need to leave before the end of the concert are asked to do so between 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 4 symphony hall information 91 Ticket Resale: If you are unable to attend a Boston Symphony concert for which you hold a subscription ticket, you may make your ticket available for resale by calling (617) 266-1492 during business hours, or (617) 638-9426 up to one hour before the concert. This helps bring needed revenue to the orchestra and makes your seat available to someone who wants to attend the concert. A mailed receipt will acknowledge your tax-deductible contribution. Rush Seats: There are a limited number of Rush Seats available for Boston Symphony subscription concerts on Tuesday and Thursday evenings, and on Friday afternoons. The low price of these seats is assured through the Morse Rush Seat Fund. Rush Tickets are sold at $9 each, one to a customer, at the Symphony Hall box office on Fridays as of 10 a.m. for afternoon concerts, and on Tuesdays and Thursdays as of 5 p.m. for evening concerts. Please note that there are no Rush Tickets available for Friday and Saturday evenings. Please note that smoking is not permitted anywhere in Symphony Hall. Camera and recording equipment may not be brought into Symphony Hall during concerts. Lost and found is located at the security desk at the stage door to Symphony Hall on St. Stephen Street. First aid facilities for both men and women are available. On-call physicians attending concerts should leave their names and seat locations at the Cohen Wing entrance on Huntington Avenue. Parking: The Prudential Center Garage and Copley Place Parking on Huntington Avenue offer discounted parking to any BSO patron with a ticket stub for evening performances. Limited street parking is available. As a special benefit, guaranteed pre-paid parking near Symphony Hall is available to subscribers who attend evening con- certs. For more information, call the Subscription Office at (617) 266-7575. Elevators are located outside the O’Block/Kay and Cabot-Cahners rooms on the Massachusetts Avenue side of Symphony Hall, and in the Cohen Wing. Ladies’ rooms are located on both main corridors of the orchestra level, as well as at both ends of the first balco- ny, audience-left, and in the Cohen Wing. Men’s rooms are located on the orchestra level, audience-right, outside the O’Block/Kay Room near the elevator; on the first-balcony level, also audience-right near the elevator, outside the Cabot-Cahners Room; and in the Cohen Wing. Coatrooms are located on the orchestra and first-balcony levels, audience-left, outside the O’Block/Kay and Cabot-Cahners rooms, and in the Cohen Wing. Please note that the BSO is not responsible for personal apparel or other property of patrons. Lounges and Bar Service: There are two lounges in Symphony Hall. The O’Block/Kay Room on the orchestra level and the Cabot-Cahners Room on the first-balcony level serve drinks starting one hour before each performance. For the Friday-afternoon concerts, both rooms open at noon, with sandwiches available until concert time. Drink coupons may be purchased in advance online or through SymphonyCharge for all performances. Boston Symphony Broadcasts: Saturday-evening concerts of the Boston Symphony Orchestra are broadcast live in the Boston area by 99.5 All-Classical. BSO Friends: The Friends are donors who contribute $100 or more to the Boston Symphony Orchestra Annual Funds. For information, please call the Friends of the BSO Office at (617) 638-9276 or e-mail [email protected]. If you are already a Friend and you have changed your address, please inform us by sending your new and old addresses to Friends of the BSO, Symphony Hall, Boston, MA 02115. Including your patron number will assure a quick and accurate change of address in our files. BSO Business Partners: The BSO Business Partners program makes it possible for businesses to participate in the life of the Boston Symphony Orchestra. Benefits include corporate recognition in the BSO program book, access to the Beranek Room reception lounge, two-for-one ticket pricing, and advance ticket ordering. For further 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.

92

Bank of America applauds the Boston Symphony Orchestra for bringing the arts to all When members of the community support the arts, they help inspire and enrich everyone. Artistic diversity can be a powerful force for unity, creating shared experiences and a desire for excellence.

Bank of America recognizes the Boston Symphony Orchestra for its success in bringing the arts to performers and audiences throughout our community. Visit us at bankofamerica.com/massachusetts Life’s better when we’re connected®

©2016 Bank of America Corporation | AR7NWC3L